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Home SAUDI ARABIA The Mirage of Serious Saudi Religious and Political Reforms
This article is sourced from Chapters Five and Six of my book, "Oil and God. Sustainable Energy Will Defeat Wahhabi Terror"
Fundamental religious and political reforms in Saudi Arabia are a necessity for the benefit of Islam, Saudi Arabia, the Middle East, and the wider world. However, the al-Saud regime will not allow that to happen.
Obstacles in the Way of Genuine Wahhabism Reform
1. Wahhabism is the Saudi Kings' constitution and legitimating ideology to rule over the tribes. King Abdulaziz replaced Bedouin discord and rivalries by the brotherhood of Islam. Wahhabism is the glue that keeps the tribes under control and supportive of the regime. It is difficult to imagine a different ideology that could keep the tribes at peace with each other. To water down the glue is to risk the collapse of the al-Saud reign. Without Wahhabism, the "exaggerated individualism, lack of cooperation, and extreme jealousy among different segments of a tribe"[1] could re-surface and bring civil war and the potential division of Saudi Arabia.
2. Wahhabism is a useful psychological weapon. It energizes the Saudi masses in the regime's confrontation with Iran and discrimination against Saudi Shi'ites and Isma'ilis.[2] But nationalism is not a viable alternative to Wahhabism in the confrontation with Iran. Saudi Arabia's Grand Mufti, Abdulaziz bin Baz (1963-1999), called nationalism "a movement of ignorance whose main purpose is to fight Islam and destroy its teachings and rules."[3] Saudi history textbooks teach that Arab nationalism is "a conspiracy promoted by the West and Zionism to undermine the unity of Muslims."[4] It will be generations before such values fade away.
3. Dressed up in Wahhabi garb, the treatment of women in Saudi Arabia is constructed with the security of the regime in mind. It nullifies the potential political opposition of one half of the Saudi society. In addition to gender segregation,[5] the male guardian system reduces the legal status of women to that of children. Should a woman engage in objectionable behavior, her guardian must pledge in writing to the police his personal responsibility for the woman's future misbehavior. A husband, father, son, or a brother must grant his permission before a wife, mother, daughter, or a sister may open a bank account, form a business venture, be employed, get married, undergo medical treatment, apply for a passport, or travel abroad. In the age of Apple and Google, an application called Absher, created by the National Information Center of the Saudi Ministry of Interior allows men to track the whereabouts of their wives and daughters.[6]
4. Blind obedience to the king rests on the king's claim of divine rule. Obedience by the masses does not flow from democratic principles. The palace ulama made the Quranic Verse 4:59 a religious duty, an act of piety. The belief in predestination, a core tenet, justifies the rule of a tyrannical ruler as if he were ordained by the will of God. For example, Dr. Abdulaziz al-Rayyis, a well known cleric, preached in a mosque in Medina on August 4, 2018 that blind obedience to the king is required even if he were caught on television committing acts of fornication and drinking alcohol.[7]
5. Saudi Arabia is challenged today by two opposing religious extremes. The first is from the Muslim Brotherhood for representative democracy. The second is from the likes of al-Qaeda and the so-called Islamic State for more austere and violent Wahhabism. In reaction to these challenges, to maintain his Wahhabi credibility, the king will not abolish Shari'a courts and polygamy will not become illegal.[8] Saudi religious reforms will be limited to cosmetics only, like allowing women to drive cars, attend sporting event, and allow the opening of movie theatres. Al-Qaeda warned the Crown Prince that his cinemas and World Wrestling Entertainment event in Jeddah in April 2018 are sinful and opening the door for "corruption and moral degeneration."[9] On January 16, 2019, preacher Abdulaziz al-Rayyis, demanded demolition of the churches on Muslim lands and the continued prohibition of church construction in Saudi Arabia.[10]
6. Societal customs, habits, and values do not get erased or reversed by fiat. Arabia's inhabitants have been under the control and constant indoctrination of the al-Sauds and their Wahhabi clerics for the past two centuries. It would require generations to erase common beliefs such as, Shi'tes and Isma'ilis are not Muslims, Christians and Jews are heretics (kuffar), women are light on faith and brains, and only Wahhabis go to paradise.
As for the political sphere, the probability of reform is zero. Democracy and the king's absolute authority are a zero-sum game. The slightest gain for democracy represents a corresponding loss to the king's absolute authority. Representative democracy is frightening to the al-Sauds. It puts an end to their throne. Therefore, prospects for real democratic reforms is nil. The appointed Consultative Council will never become a democratically elected law-making assembly with powers to enact laws outside the king's instructions.
Manifesting Daily Living in Saudi Arabia
Saudi politics finds solutions to the challenges of modern living in seventh century Arabia as imagined by Wahhabi palace clerics. The following are some examples.
The educational curriculum is overwhelmingly skewed toward Wahhabi theology, laws, and rituals. Starting with the first grade, young children are taught that Jews, Christians, and other non-Muslims are destined to 'hellfire.' As the children grow up, the same message is honed more explicitly. Of the sixteen core subjects that comprise the twelfth grade curriculum in high schools, nine are on Islam and related subjects.[11] The teaching of philosophy is prohibited. Wahhabi indoctrination aims at pre-occupying Saudis with religious dogma, belief in predestination, hatred of and jihad against the other, and promises of houris in paradise. Proselytization and conversion of non-Muslims to Wahhabism represent a very important mission to Saudi officialdom and Wahhabi clerics.
Religious Police
Brigades of religious police, known as mutawwa' (meaning coercers) fanatically and crudely enforce Wahhabi dictums. Although they were stripped recently of the authority to make arrests,[12] they ensure that government and business offices are closed for the five daily prayers (sunrise, noon, afternoon, sunset, and night). They empty shops, supermarkets, banks, and restaurants of customers during prayer time. They ensure that women are covered from head to toe in a black loose garment, and that women are not in the company of unrelated men, a serious offense. They enforce the ban on alcohol and prohibited foods, such as pork. They remove objectionable articles, photographs, and advertisements from foreign newspapers, magazines, and books. They raid shops, restaurants, cafes, supermarkets, hospitals, and other establishments without permission if they suspect a violation. They enforce a strict prohibition on religious activities by Christians, despite the fact that the Qur'an requires Muslims to hold Jesus and Mary in great reverence, and a million Christian expatriates live in the country. A Christian may not wear a cross pendant nor carry a Bible, for, if discovered, he will face imprisonment, lashings, and deportation.
The religious police are as old as the Saudi state. King Khalid (1975-1982) gave it the status of an independent agency of the government named, The Commission for the Promotion of Virtue and the Prevention of Vice. Numbering around 5,000 men, supported by approximately twice as many administrative staff, and operating out of around 500 police stations, the financial cost of the agency is not public. However, the agency's annual budget may be estimated to be in the region of a billion dollars, taking into account officers and staff salaries, office overhead, the cost of running the agency's fleets of distinctive SUVs, and other outlays.
Arts, Monuments, and Idolatry
Fear of falling into idolatry or in love with anything that might distract from the love and adoration of God is prohibited. Wahhabi hatred of archaeological sites, historical monuments, and cultural heritage drove the Taliban to dynamite the 1,500-year old Buddhas of Bamiyan in Afghanistan in March 2001. The Islamic State destroyed much of Syria's Palmyra and the Mosul museum and the Ninevah ruins in Iraq in 2016.[13] In Saudi Arabia itself, 98 percent of the country's historical and religious sites have been destroyed since 1985, including the house of the Prophet's uncle in Mecca, which was flattened to make way for a hotel, and the house of the Prophet's first wife, Khadijah, in order to make way for public toilets. A Hilton Hotel has been built on the site where the house of the first caliph Abu Bakr once stood.[14]
Furthermore, for a Wahhabi, visiting the graves of family and relatives is sinful as is playing a musical instrument, drawing or acquiring a painting depicting the human figure, or sculpting or acquiring a statue of a man, let alone a woman. Moroccan sociologist Fatima Mernissi considers that Islamists see love between a man and a woman as a threat to the couple's allegiance to Allah.[15]
Penal Code
The Saudi Wahhabi agenda is demonstrated through Shari'a law with an archaic court system, complete with primitive, cruel seventh century penalties such as public severing of limbs, beheadings, and crucifixions, typically following the Friday noon prayers.[16] Flogging is a component of almost every prison sentence. The well-known Saudi blogger, Raif Badawi, convicted of insulting Islam, has been given 10 years in prison and 1,000 lashes. After Friday prayers on January 9, 2015, he was brought to a public square in Jeddah, feet and hands shackled, and flogged 50 times.[17]
Modern Saudi Arabian society is a paradox. While Wahhabism returns society to a seventh-century religious cult, Saudi Arabia is awash in glittering twenty-first century Western consumer products and tall glass buildings.
Daily Living Under Wahhabi Dictums in the Words of a Saudi Female Journalist
The following encapsulates the oddity of Wahhabi teaching, preaching, and way of life, written in Arabic by Saudi journalist Nadine al-Budayr, and translated by Chiara Pellegrino.
I studied in public schools and read in my coursework that the other – Christian or Zoroastrian, Jew, Buddhist or Hindu – is a kafir, or nonbeliever. I also studied the rules of other faiths and schools within Islam – Shiite, Isma'ili, Twelver, Sufism – the followers of which are all considered nonbelievers and heretics. The same is true for thought. Those who indulge in thought and say what they think, breaking the doctrinal framework are nonbelievers, apostate and heretic. The liberal, the leftist, the modernist … they are all nonbelievers.
In schoolwork I learned that the woman is temptation, that her body is fitna (sedition) and that it is the cause of man's entry into the Gehennam (hell). I read that the man is a wolf that seduces women and therefore I must fear him. I mustn't leave the house or participate in the progress of the nation – that's how I am taught to protect my chastity. I studied that I was a gemstone to be preserved in a chest that can only be opened by its guardian, his Excellency, the man. Millions of women are unemployed, our economy is on the brink of the abyss and, yet, there are still those who urge women to stay home. I studied that it was prohibited to question and to have a personal thought. It is prohibited to innovate, invent and discover. All is written, illustrated and explained in religious books and all of my attempts to think differently are equal to leaving the community and detaching oneself from Muslims.
I studied that seventy-two beautiful women await men in paradise. And since having sex is prohibited in the earthly world, the shortcut to the afterlife is martyrdom through killing western nonbelievers. I studied that women's sports are prohibited, driving a car is haram (sinful/ prohibited), traveling without the consent of the guardian is haram, democracy is haram, high heels are haram, the hairdryer is haram. Short dresses, even if worn in the presence of siblings is haram. Music, singing, dance, film, theater, festivals, promiscuity with men, philosophy, modern poetry are all haram, along with reading books that are not religious, liberty and the laws of personal status. [18]
[1] Ibrahim Ezzidine, and D.P. Cole, Saudi Arabian Bedouin (Cairo Papers in Social Science, The American University in Cairo, 1978), PP. 11 and 18.
[2] Exploitation of religion for political purposes is age-old in the Middle East. Shah Ismail (1501-1524) forced the conversion of what was Sunni Persia to Shi'ite Islam in order to introduce Shi'ism's zeal into Persia's wars against the Sunni Ottoman Empire. Indeed, Wahhabism helped defeat the Soviet Union in the Afghanistan War (1979-1989).
[3] Al-Rasheed, A History of Saudi Arabia, P. 190.
[4] Ibid. P. 191.
[5] As an example of the extreme extent of gender segregation, Saudi "religious police stopped schoolgirls from leaving a blazing building because they were not wearing headscarves and abayas (black robes) ... 15 girls "died in the fire."
"Saudi Police 'Stopped' Fire Rescue," BBC, (March 15, 2002).
http://news.bbc.co.uk/2/hi/middle_east/1874471.stm
[6] Laura Sydell, "Apple, Google Criticized For Carrying App That Lets Saudi Men Track Their Wives," National Public Radio (US), (February 12, 2019).
https://www.npr.org/2019/02/12/693994447/apple-google-criticized-for-carrying-app-that-lets-saudi-men-track-their-wives
[7] "Criticizing the ruler is prohibited even if he fornicates and drinks alcohol," Al-Quds Al-Arabi, (August 4, 2018).
http://www.alquds.co.uk/?p=987808
[8] As if to capture the high religious ground, the holiday period in 2017 for the month of fasting, Ramadan, was lengthened for government employees to 23 days (June 16, 2017-July 8, 2017), from 11 days in 2016,
CNN, Saudi Arabia just gave government workers a very long vacation (23 days!), June 21, 2017,
http://money.cnn.com/2017/06/21/news/saudi-arabia-vacation-government-workers/index.html
[9] Bethan McKernan, "Al-Qaeda warns Saudi Crown Prince his cinemas and WWE events are sinful," The Independent, (June 2, 2019).
https://www.independent.co.uk/news/world/middle-east/al-qaeda-saudi-crown-prince-wwe-cinemas-sinful-mohammed-bin-salman-yemen-a8379021.html
[10] Al-Quds Al-Arabi newspaper. (January 16, 2019).
[11] Qur'an, tafsir (interpretation of the Qur'an), Hadith (Sayings of the Prophet) and Islamic culture, tawheed (studies in monotheism), fiqh (Islamic jurisprudence), Arabic grammar, Arabic literature, history, and social studies.
[12] Will Worely, "Saudi Arabia Strips Religious Police of Powers of Arrest and Says They Must Be 'Kind and Gentle,'" The Independent, (April 14, 2016).
http://www.independent.co.uk/news/world/middle-east/saudi-arabia-strips-religious-police-of-powers-of-arrest-and-says-they-must-be-kind-and-gentle-a6983816.html
[13] "Here Are the Ancient Sites ISIS Has Damaged and Destroyed," National Geographic,
[14] "Saudi Arabia Bulldozes Over Its Heritage," Time magazine,
[15] Hisham Sharabi, Neopatriarchy: A Theory of Distorted Change in Arab Society (Oxford University Press, Oxford, UK, 1998), PP. 33-34.
[16] "When It Comes to Beheadings, ISIS Has Nothing Over Saudi Arabia," Newsweek magazine, (October 14, 2014).
http://europe.newsweek.com/when-it-comes-beheadings-isis-has-nothing-over-saudi-arabia-277385?rm=eu
[17] "Saudi blogger receives first 50 lashes of sentence for 'insulting Islam'," The Guardian, (January 10, 2015).
https://www.theguardian.com/world/2015/jan/09/saudi-blogger-first-lashes-raif-badawi
[18] OASIS, The "J'Accuse" of a Saudi Journalist, by Nadine al-Budayr, translated from the original Arabic by Chiara Pellegrino, (26 May 2016).
http://www.oasiscenter.eu/articles/religions-and-the-public-sphere/2016/05/26/the-j-accuse-of-a-saudi-journalist


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Q: Refresh ListView I have problem to refresh my ListView when I use scroll down. We need update my adapter. I don't know how to do it.
My Activity:
public class VerProyectos extends ActionBarActivity {

    private SearchView buscar;
    int inicio = 0;
    int fin = 10;
    @SuppressLint("NewApi") @Override
    protected void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);
        //this.requestWindowFeature(Window.FEATURE_NO_TITLE); //Quitar la barra de titulo
        setContentView(R.layout.activity_ver_proyectos);
        ActionBar bar = getActionBar();
        bar.setTitle("Ver Proyectos");
        bar.setBackgroundDrawable(new ColorDrawable(Color.parseColor("#ffa120")));

        listaProyectos = (ListView)findViewById(R.id.listaProyectos);
        //adapterProyectos = new proyectosAdapter(VerProyectos.this, list);
        addProyect(inicio, fin);
        inicio += 10;

        listaProyectos.setOnItemClickListener(new OnItemClickListener() {
            @Override
            public void onItemClick(AdapterView<?> arg0, View arg1, int pos,
                    long arg3) {

                Intent irAInfoProyecto = new Intent(VerProyectos.this, InfoProyecto.class);
                irAInfoProyecto.putExtra("tituloProyecto", datos[pos].getTitulo());
                irAInfoProyecto.putExtra("descripcionProyecto", datos[pos].getDescripcion());
                irAInfoProyecto.putExtra("totalProyecto", datos[pos].getTotal());
                irAInfoProyecto.putExtra("invertirProyecto", datos[pos].getInvertido());

                startActivity(irAInfoProyecto);
            }
        });

        listaProyectos.setOnScrollListener(new OnScrollListener() {
            private int visibleThereshold = 0;
            @Override
            public void onScrollStateChanged(AbsListView view, int scrollState) {
                // TODO Auto-generated method stub
                // Realizamos la actualizacion cuando se detenga el Scroll,
                // o sea, este en estado idle

                if(scrollState == SCROLL_STATE_IDLE){
                            // Si el ultimo elemento + 1 es mayor o igual que el
                            // numero de elementos en la lista menos los que quedan
                            // fuera de la pantalla inicia la carga
                    if (listaProyectos.getLastVisiblePosition() == listaProyectos.getAdapter().getCount() - 1
                            && listaProyectos.getChildAt(listaProyectos.getChildCount() - 1).getBottom() <= listaProyectos.getHeight()){
                                    // Añado a la lista una footer view para indicarle al
                                    // usuario que se estan cargando datos
                        addProyect(inicio, fin);
                        inicio += 10;

                        //listaProyectos.refreshDrawableState();
                        //adapterProyectos.notifyDataSetChanged();
                    }
                }
            }

            @Override
            public void onScroll(AbsListView view, int firstVisibleItem,
                    int visibleItemCount, int totalItemCount) {
                // TODO Auto-generated method stub

            }
        });

    }

    private void addProyect(final int principio, final int ultimo) {
        final ProgressDialog pDialog = new ProgressDialog(VerProyectos.this);
        final ConexionBBDD conexion = new ConexionBBDD();
        pDialog.setIndeterminate(false);
        pDialog.setCancelable(true);
        pDialog.show();
        pDialog.setContentView(R.layout.progress_dialog_personalizado);
        final proyectosAdapter adapterProyectos = new proyectosAdapter(VerProyectos.this, list);
        new Thread(new Runnable() {

            public void run() {
                    datos = conexion.obtenerDatosProyecto(principio, ultimo);

                    if (datos != null){
                        for (int i=0 ; i<datos.length; i++){
                            list.add(new datosProyectos(datos[i].getTotal(), datos[i].getInvertido(), datos[i].getDesde(),
                                    datos[i].getTitulo(), datos[i].getDescripcion(), datos[i].getDibujo(),
                                    Integer.parseInt(datos[i].getTotal()), Integer.parseInt(datos[i].getInvertido())));
                            //adapterProyectos.notifyDataSetChanged();
                        }
                        //listaAux.add(list);
                    }
                    runOnUiThread(new Runnable() {
                        public void run() {
                            pDialog.dismiss();
                            int pos = listaProyectos.getCount() - 1;
                            // Inicializamos el adapter.
                            listaProyectos.setAdapter(adapterProyectos);

                            //listaProyectos.setSelection((listaProyectos.getCount() -12));
                            listaProyectos.setSelection(pos);

                        }
                    });
                }

        }).start();

    }

    @SuppressLint("NewApi") @Override
    public boolean onCreateOptionsMenu(Menu menu) {
         MenuInflater inflater = getMenuInflater();
         inflater.inflate(R.menu.ver_proyectos, menu);
         return super.onCreateOptionsMenu(menu);
    }

    @Override
    public boolean onOptionsItemSelected(MenuItem item) {
        // Handle action bar item clicks here. The action bar will
        // automatically handle clicks on the Home/Up button, so long
        // as you specify a parent activity in AndroidManifest.xml.
        int id = item.getItemId();
        if (id == R.id.action_settings) {
            return true;
        }
        return super.onOptionsItemSelected(item);
    }

    public void onBackPressed() {
        Intent irAMenuInversor = new Intent(this, MenuInversor.class);
        startActivity(irAMenuInversor);
        finish();
    }
}

My adapter:
public class proyectosAdapter extends ArrayAdapter<datosProyectos> {

    public proyectosAdapter(Context context, ArrayList<datosProyectos> datos) {
        super(context, R.layout.cuadro_proyecto, datos);
        // Guardamos los parámetros en variables de clase.
        this.context = context;
        this.datos = datos;
    }

    public View getView(int position, View convertView, ViewGroup parent) {
        // En primer lugar "inflamos" una nueva vista, que será la que se
        // mostrará en la celda del ListView. Para ello primero creamos el
        // inflater, y después inflamos la vista.
        LayoutInflater inflater = LayoutInflater.from(context);
        View item = inflater.inflate(R.layout.cuadro_proyecto, null);

        bar = (ProgressBar) item.findViewById(R.id.progressBar_proyecto);
        titulo = (TextView) item.findViewById(R.id.textCategoria);
        descripcion = (TextView) item.findViewById(R.id.textDescripcion);
        total = (TextView) item.findViewById(R.id.textTotal);
        invertido = (TextView) item.findViewById(R.id.textInvertido);
        desde = (TextView) item.findViewById(R.id.textDesde);
        imagen = (ImageView) item.findViewById(R.id.list_image_proyecto);

        bar.setMax(datos.get(position).getBarTotal());
        bar.setProgress(datos.get(position).getBarProgreso());
        if (datos.get(position).getBarProgreso() >= datos.get(position).getBarTotal()){
            bar.getProgressDrawable().setColorFilter(Color.GREEN, Mode.SRC_IN);
        }

        titulo.setText(datos.get(position).getTitulo());
        descripcion.setText(datos.get(position).getDescripcion());
        total.setText(datos.get(position).getTotal());
        invertido.setText(datos.get(position).getInvertido());
        desde.setText(datos.get(position).getDesde());
        imagen.setImageBitmap(datos.get(position).getDibujo());

        return item;
    }
}

redpajama_set_name: RedPajamaStackExchange


text:
Obama urges Arab world to set up inclusive governments
AFP, , Monday 8 Feb 2016
US President Barack Obama urged Arab countries on Monday to establish inclusive governments to ensure security in a region rocked by turmoil.
"When governments truly invest in their citizens, their education, skills, and health, and universal human rights are upheld, countries are more peaceful, more prosperous and more successful," he told the opening day of the World Government Summit in Dubai.
"As we have seen in the tumult across the Middle East and North Africa, when governments do not lift up their citizens, it's a recipe for instability and strife," he said in a video address to the conference.
Obama recalled discussing with leaders of the six Arab monarchies of the Gulf at Camp David last year how "true and lasting security requires an inclusive government that serves all citizens".
Several Middle East and North African countries have been rocked by a wave of uprisings demanding reforms that started in Tunisia and led to the 2011 Arab Spring.
Some of the uprisings, such as those in Syria, Libya and Yemen, have morphed into civil wars prompting the rise of extremists such as the Islamic State militant group as well as an exodus of millions of refugees to Europe.
The president of the World Bank Group, Jim Yong Kim, echoed Obama at the Dubai summit, urging leaders to "build inclusive governments".
"Good governance is the foundation of all development," Kim told participants.
"Many parts of the world are becoming more fragile, making quality leadership and good governance ever more important."
He called for governments to be "transparent in their actions and fully engage with citizens".
"Governments must invest in their people to give them the opportunity to reach their full potential... create business environments that encourage innovation, competition and private sector investments which will in turn create jobs."
More than 3,000 participants from 125 countries, including world leaders and top experts, are attending the three-day summit on governance.
"Please note, across this region and around the world, those of you who embrace reform and truly invest in the lives of your people will continue to have a partner and friend in the United States," Obama told the forum.

redpajama_set_name: RedPajamaCommonCrawl


Nickel and copper were co-extracted from ammoniacal ammonium sulfate leach liquors (pH-9.5) with LIX 64N extractant in a laboratory-size mixer-settler continuous circuit. Three extraction stages resulted in >99-pct extraction of nickel, substantial copper extraction, and essentially no cobalt extraction from leach liquors.
Nickel is obtained from two main types of deposits from the mineral garnierite (Ni-silicate) in nickel-rich laterite formed by weathering of ultramafic rocks in tropical climates. It also is mined from Ni-sulfide concentrations, mainly from pentlandite in igneous mafic rocks.
Cooked Limonite Before nickel can be extracted from the limonite, the ore must first be cooked using the ore cooker. Put the ore cooker over a forge and light the forge. As the temperature of the forge increases, so will the ore cooker.
The Mond process, sometimes known as the carbonyl process is a technique created by Ludwig Mond in 1890 to extract and purify nickel. The process was used commercially before the end of the 19th century.
In refineries using a chloride leach for nickel matte, solvent extraction is used to remove cobalt directly from the pregnant solution. The resulting concentrated solution, after some purification, is suitable for the recovery of cobalt by electrowinning.
The comparative experiments carried out for various phase mixing times indicated very slow extraction of iron(III) (which is rapidly extracted by acetyloacetone or benzyloacetone) and quite slow extraction of nickel by Hostarex DK-16, but not so slow as it is known for nickel extraction by benzoyloacetone or dibenzoylomethane.
The nickel extraction curve is the average of the two curves given above. Recycling of nickel follows a hyperbolic tangent curve from 30% to 90% recycling with a break point of year 1950 and width 50 years.
Nickel is primarily extracted from the nickel sulphides pentlandite, pyrrhotite, and millerite, which contain about 1% nickel content, and the iron-containing lateritic ores limonite and garnierite, which contain about 4% nickel content.
Like some other metals, nickel can be extracted from its ores with the help of smelting (heating in a blast furnace), electrolysis (where the ore is split into its constituents by passing an electric current through a solution), or by reacting it with acids (in the Mond process).
Extraction of Cobalt and nikel - Free download as PDF File (.pdf), Text File (.txt) or read online for free.
When extracting copper it sometimes didn't work, & they thought it could = the work of the devil. Turned out to = Nickel & not copper, so named it after devil's 1st name.


text:
Quick Answer: What Is An Example Of Line In Art?
What is a straight line called?
What is the other name of horizontal line?
What are the two types of shapes in art?
What is the element of line?
What are three basic kinds of lines?
Why is line so important in art?
What are the two types of line in art?
What are the two types of lines?
What are the 8 elements of art?
What is a line in design?
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How is line used in art?
What is line in Element of Art?
How is line defined in drawing?
What are the five basic kinds of lines?
What are the classification of lines?
What is the meaning of line?
A line is sometimes called a straight line or, more archaically, a right line (Casey 1893), to emphasize that it has no "wiggles" anywhere along its length.
Two lines lying in the same plane that do not intersect one another are said to be parallel lines..
Horizontal Synonyms – WordHippo Thesaurus….What is another word for horizontal?levelparallelperfectly verticalperfectly horizontalon a lineof same heightparallel with the grounddead flatlined upon one plane23 more rows
There are two main types of shapes, geometric and organic. While most works of art contain both geometric and organic shapes, looking at those that are more completely divided can serve to clarify these qualities.
Line is the most basic visual element. Lines can be used to define shapes and figures, but also to indicate motion, emotion, and other elements.
They are:Horizontal Lines.Vertical Lines.Parallel Lines.Perpendicular Lines.
Lines are used to create shape, pattern, texture, space, movement and optical illusion in design. The use of lines allows artist to demonstrate delicacy or force. Curves may take us slowly uphill, or turn sharply twisting our mind as they turn. a line can express various moods and feelings.
Types of linesContour lines are used to define edges. … Dividing lines can also define edges, but what distinguishes them from contour lines is they divide space. … Decoration lines are used to embellish an object. … Gesture lines are quick and rough continuous lines used to capture form and movement.
It is how the elements of art and design—line, shape, color, value, texture, form, and space—are organized or composed according to the principles of art and design—balance, contrast, emphasis, movement, pattern, rhythm, unity/variety—and other elements of composition, to give the painting structure and convey the …
Line, simply put, is the path traced by the movement of a single point. Theoretically it has no width as it then becomes a shape. In visual arts practice we can consider the most basic example of a line the simple linear mark made by a pen, brush or pencil.
Line in an artwork can be used in many different ways. It can be used to suggest shape, pattern, form, structure, growth, depth, distance, rhythm, movement and a range of emotions. We have a psychological response to different types of lines: Curved lines suggest comfort and ease.
Lines are marks moving in a space between two points whereby a viewer can visualize the stroke movement, direction, and intention based on how the line is oriented. Lines describe an outline, capable of producing texture according to their length and curve.
Line art or line drawing is any image that consists of distinct straight or curved lines placed against a (usually plain) background, without gradations in shade (darkness) or hue (color) to represent two-dimensional or three-dimensional objects. … One of the most fundamental elements of art is the line.
There are five basic kinds of lines: vertical, horizontal, diagonal, curved, and zigzag.
There are four types of lines: horizontal line, vertical line, perpendicular, and parallel lines. They are defined based on their orientation, and the angles if any, formed between them.
The definition of a line is a mark connecting two points, something stretched between two things, or two or more people standing in a row. … An example of a line is a horizontal mark drawn on a piece of paper.
Why Are Social Issues Important?
What is a social condition? Social conditions include
Quick Answer: Do Movie Actors Get Royalties?
How much do movie stars make in royalties?
Question: Is Having A Pacemaker A Disability?
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Quick Answer: Is DeviantArt Still Popular?
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The recognition and acceptability of the organization for its wide range of Quality Ayurveda (Herbal) formulations in most of therapeutic segments, have made the organization honored at various times and forums in the country. Aimil has the unique distinction of achieving following Awards.
Hon'ble Prime Minister SH. ATAL BIHARI VAJPAYEE hands over the National Special Recognition Award to SH. K.K. SHARMA (Managing Director) AIMIL Pharmaceuticals (India) Ltd. As an "Outstanding Entrepreneur" for the year 1998, on 30th Aug. 2000 at Vigyan Bhawan, New Delhi.
Hon'ble Finance Minister SH. JASWANT SINGH presenting the National Award to SHRI. K.K. SHARMA (Managing Director) AIMIL Pharmaceuticals (I) Ltd. for "Research and Development efforts" for the year 2000, on 28th Aug. 2002 at Hotel Ashoka, New Delhi.
Hon'ble Prime Minister SH. ATAL BIHARI VAJPAYEE hands over the National Award for "Quality Products" to SH. PANKAJ MARWAHA (Director Marketing) AIMIL Pharmaceuticals (India) Ltd. for the year 1998, on 30th Aug. 2000 at Vigyan Bhawan, New Delhi.


text:
L'aéroport de Bydgoszcz Ignacy Jan Paderewski  () est un aéroport régional polonais dans la ville de Bydgoszcz, en Pologne. Il est le neuvième plus grand aéroport de Pologne en termes de trafic passagers. L'aéroport a desservi  en 2016. Il dispose d'un terminal aéroportuaire et de quatre pistes, la principale étant 08/26 qui est longue de .

Situation
Il se trouve à seulement  du centre-ville.

Statistiques

Compagnies aériennes et destinations

Édité le 19/06/2020  Actualisé le 06/12/2022

Voir aussi
 Liste des aéroports en Pologne

Références

Bydgoszcz

redpajama_set_name: RedPajamaWikipedia


Can Smart Technology Help Save Our Environment?
Home Devices Can Smart Technology Help Save Our Environment?
There's a lot of chatter about smart home technology, and whether or not it is good for us, for our kids, for our pets, for our brain development, for our future…but what about our environment? Let's be honest, we need to do everything we can for our environment – to protect, to sustain it, to nurture it. If we don't do it, no one else is going to.
So, instead of ho-humming about what a waste or danger smart technology is, I'd like to talk about how it might save us from the worst of ourselves. I mean, someone or something has to, right?
So, the obvious thing to call out here is that using some smart home technology can result in energy and water efficiency.
Beyond that, though, it can bring technology to people that might otherwise have a difficult time accessing and using those devices to the benefit of our environment.
For those that live in apartments or small homes with limited space, composting can be an out-of-reach dream. It just takes up too much space, makes noise and can leave an odor that permeates everything in the home. No matter how much you love the environment, there are some things that you just can't make work.
That's where high-tech composting enters to save the day. I'll admit that this area of technology isn't quite as "smart" as the other home technology that is out these days, but let's just skip past that fact. There's wiggle room when you're trying to save the environment.
There are some at-home composting devices on the market, but I'm going to talk about the Food Cycler Platinum, which helps small space dwellers commit to small waste promises. The device isn't small by any means, but it can fit on your countertop. Maybe just find a place to store your toaster when you're not using it, since it doesn't help you save the environment.
This compact machine lets you dump in your scraps, then press a button to break them all down. You don't have to get your hands dirty, and there won't be a mess or odor to deal with. The noise is minimal – pretty much similar to the sound volume that a dishwasher makes. There is a filter monitoring system, so actually, I guess it is a little smart. It's also a bit pricey at about $400 but worth it because again, the environment.
There are also options that help those that lack an outdoor space grow and maintain an indoor garden. These are often self-sustaining, and they help food growth reach sustainability, while contributing a healthy atmosphere to your individual home. Most smart garden products are going to use energy efficient lighting and have water tanks that help reduce waste. Devices like Click and Grow also use "smart soil" which helps you get it right and keeps your plants healthy.


Addiction affects not only the individual, but also the entire family unit. Many times the addiction of the individual has had a substantial negative impact on the health of the family. The majority of the time trust between the addict and other members of the family is gone, and the family members are left hurt and confused. This is where family addiction counseling becomes essential.
The family will need to recover along with the individual in our care. Members of the family will have their own stresses and feelings related to addiction that will need to be addressed. Family members will learn skills that will help them, as individuals and a family unit, create a healthy atmosphere for their loved one.
Educating the family, in addition to the addict, helps everyone involved understand the addiction process. This is of monumental importance in recovery, as a support system is vital to staying sober. Families will learn about the disease of addiction, enabling, and how to support their loved one in their recovery in healthy ways.
Participating in family programs in which education and treatment sessions include loved ones.
Attending individual therapy to learn appropriate coping skills.
MWVSR Family Resource Center is a safe place where recovery development occurs and where individuals will be matched with people offering recovery support services. Our center is a place where you will be heard; a venue for healthy, drug and alcohol free socialization; and family supports for all stages of recovery.
WHO DOES OUR CENTER SERVE?
We serve anyone who is in recovery or seeking recovery, and their families.


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NEW YORK (Reuters) - Virtual currencies like bitcoin can be regulated as commodities by the U.S. Commodity Futures Trading Commission, a federal judge ruled Tuesday.
U.S. District Judge Jack Weinstein in Brooklyn ruled that the CFTC had standing to bring a fraud lawsuit against New York resident Patrick McDonnell and his company Coin Drop Markets, allowing the case to go forward.
Weinstein upheld that determination on Tuesday, saying it was supported by the plain meaning of the word "commodity" and that the CFTC had broad leeway to interpret the federal law regulating commodities.
In fact, the agency said, the customers never received the advice they paid for, and that Coin Drop Markets was never registered with the CFTC. It said that McDonnell took down the company's website and stopped responding to customers.
Regulation of virtual currencies is still in its early stages. Congress has not passed any laws addressing it directly. Both the CFTC and Securities and Exchange Commission have warned of the need to combat fraud in the virtual currency markets.


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Celeb couple Liam Talbot and Charli Robinson have swapped their humble Carindale house for a dream home in Chandler
Elizabeth Tilley
Charli Robinson, fiance Liam Talbot and daughter Kensington at their Chandler home. Picture: Richard Whitfield for New Idea.
CELEBRITY power couple Liam Talbot and Charli Robinson have sold their former home in Brisbane's south in just seven days, proving coronavirus isn't affecting buyer appetite for good properties.
It follows the couple's purchase of their "dream home" — a house dubbed the 'James Bond House' in nearby Chandler for a cool $5.1 million late last year.
Liam Talbot and Charli Robinson have moved in to this house in Chandler.
Records show Mr Talbot, a supercar driver, has just sold the more modest five-bedroom, two-bathroom house at 16 Conifer St, Carindale, for $925,000
CoreLogic records reveal it was listed by Tony O'Doherty of Belle Property Bulimba on April 1 and only sold on April 8.
Supercar driver Liam Talbot has sold this house in Carindale.
It comes as the pair recently announced their baby news, with TV personality Ms Robinson saying she was stunned when a routine blood test showed she was pregnant again.
The original Hi-5 star turned Getaway presenter told The Courier-Mail the pregnancy was a "beautiful surprise", and one she and Mr Talbot had hoped for after the birth of their daughter Kensington in December 2018.
Inside the house at 16 Conifer St, Carindale.
The couple is expecting a second baby girl in July.
The pair became engaged in October last year when Talbot got down on one knee during a live television interview before the Bathurst 1000.
The outdoor entertaining area of the home at 16 Conifer St, Carindale.
They recently moved in to the home at 558 London Rd, Chandler, which features two secret staircases and a massive garage that can accommodate up to 22 cars.
Records show Mr Talbot also owns an investment property at 73 Quay St, Bulimba, which he bought in 1999 and was last advertised for rent for $900 a week in 2015.
This house at 16 Conifer St, Carindale, has just sold for $925,000.


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Lightness in Childhood
Italo Calvino writes in his Lightness lecture in Six Memos for the Next Millennium of literature's existential function as being "the search for lightness as a reaction to the weight of living." Childhood most often depicted in fiction is one that was abruptly terminated by a difficult, or heavy, event. But, autobiographical material related to traumatic childhood events poses a challenge to handle in a way that best serves the artist and his vision. While many authors have used their childhood experiences in their work, if we examine these works using Calvino's Lightness lecture, can we find evidence of lightness?
Calvino looks for several elements to be present in a work that exemplifies lightness. In the fictional depictions of childhood that I read, few authors managed to have all of the elements within the work but nearly all used at least one. I was most attracted to the works that were filled with lightness – Virginia Woolf's To the Lighthouse and James Agee's A Death in the Family.
What I also found throughout the childhood literature was an attempt at capturing the essence of childhood prior to its abrupt termination by the traumatic event. For some authors, such as Woolf, what happens prior to the trauma comprises a great deal of the work. The time prior is often depicted as filled with the usually pleasant wonders of childhood. It is as if the writer is examining the childhood prior to test if the impressions remain associated with the lightness he feels about that time or is the lightness a delusion created by the counter-weight of the trauma?
Virginia Woolf's mother died in 1895 when Woolf was only thirteen years old. In her essay "Reminiscences" Woolf writes, "…her death was the greatest disaster that could happen; it was as though some brilliant day of spring the racing clouds of a sudden stood still, grew dark, and massed themselves; the wind flagged, and all creatures on the earth moaned or wandered aimlessly."
The family was profoundly affected by the mother's death. To make matters worse, Woolf's oldest sister Stella Duckworth, who had taken on the caregiver role, died just two years later. Woolf's father died when Woolf was twenty-two and her brother Thoby died two years after. In her essay "A Sketch of the Past" Woolf writes of her novel To the Lighthouse: "But I wrote the book very quickly, and when it was written I ceased to be obsessed by my mother."
In his Lightness lecture, Calvino recounts the story of Perseus and Medusa. Perseus cuts off Medusa's head without being turned to stone. He puts it in a bag and takes it with him. Calvino states, "Perseus's strength always lies in a refusal to look directly, but not in a refusal of the reality in which he is fated to live; he carries the reality with him and accepts it as his particular burden." The refusal to look directly at a childhood monster is one of the keys to imparting lightness to the work.
Woolf casts an indirect gaze upon the tragedies of her childhood in her novel To the Lighthouse. She creates the Ramsay family, based upon her own family, in fine detail. Yet, there are no scenes of the family member's deaths; rather she tells us of the tragedies in short passages marked by brackets. And she does this in the second section of the novel in which she writes primarily about the Ramsay's deserted seaside home.
" Mr. Ramsay, stumbling along a passage one dark morning, stretched his arms out, but Mrs. Ramsay having died suddenly the night before, his arms, though stretched out, remained empty."
"Prue Ramsay died that summer in some illness connected with childbirth, which was indeed a tragedy, people said, everything they said, had promised so well."
"A shell exploded. Twenty or thirty young men were blown up in France, among them Andrew Ramsay, whose death, mercifully, was instantaneous."
Calvino states, "The images of lightness that I seek should not fade away like dreams dissolved by the realities of present and future." Lightness "goes with precision and determination, not with vagueness and the haphazard." One of the ways to prevent the "weight of matter from crushing us" is to "allow atoms to make unpredictable deviations from the straight line." He calls this the "atomistic concept of the universe" or life down to its fine particles.
Woolf brings her eye for acute detail grounded in sensory impressions to her writing in To the Lighthouse. What surrounds the brief bracketed passages of the characters' deaths is a narrative engaged in the description of setting – the holiday house by the sea. A wind of darkness, or "nothingness" as she calls it, moves through the house, exemplifying Calvino's concept of the atomizing of things or "the poetry of the invisible, of infinite unexpected possibilities" – showing what is "infinitely minute, light and mobile."
So some random light directing them with its pale footfall upon stair and mat, from some uncovered star, or wandering ship, or the Lighthouse even, the little airs mounted the staircase and nosed around bedroom doors.
So with the house empty and the doors locked and the mattresses rolled round, those stray airs, advance guards of great armies, blustered in, brushed bare boards, nibbled and fanned, met nothing in bedroom or drawing-room…
Woolf, in my opinion, was a master of, as Calvino puts it, the "lightening of language whereby meaning is conveyed through a verbal texture that seems weightless, until the meaning itself takes on the same rarified consistency." This lightening of language is one of the three senses of lightness Calvino looks for in a work.
I must confess that understanding this sense of lightness has been difficult and so I asked several writers for their take. Their responses varied. Calvino is looking for ethereal prose that carries a weighty subject and/or uses language to shape time. Rather than use heavy language, such as subject-verb-direct object, which thuds on the page, use indeterminate clauses and figurative language. In this way, subject matters are implied, rather than being photographed exactly. We can also use sentences that start with a solid noun, which are weight-neutral, and move to lighter words and images, using a light verb so that a sentence moves from darkness and weight to light and lightness. We must also remember that letter sounds have physical connotations, some move against gravity such as the high frequency vowels (ee, ay, long i). These high frequency vowels are associated with exhilaration and energy, or movement, and movement implies lightness.
Woolf writes:
When darkness fell, the stroke of the Lighthouse, which had laid itself with such authority upon the carpet in the darkness, tracing its pattern, came now in the softer light of spring mixed with moonlight gliding gently as if it laid its caress and lingered stealthily and looked and came lovingly again.
Calvino writes, "As soon as the moon appears in poetry, it brings with it a sensation of lightness, suspension, a silent calm enchantment."
He also tells us that another sense of lightness is imparted by the "narration of a train of thought or psychological process in which subtle and imperceptible elements are at work, or any kind of description that involves a high degree of abstraction."
Woolf travels freely throughout the novel into her character's minds, using a stream of consciousness narrative. In the second section, titled "Time Passes", Woolf captures the emotions surrounding the deaths using subtle and imperceptible elements as revealed to us by – the nothingness in the deserted house, the stray airs that creep through it, the divine goodness, loveliness and stillness residing there, and even weary, old Mrs. McNab, the reluctant housekeeper.
Nothing, it seemed, could survive the flood, the profusion of darkness which, creeping in at keyholes and crevices, stole round window blinds, came into bedrooms, swallowed up here a jug and basin, there a bowl of red and yellow dahlias, there the sharp edges and firm bulk of a chest of drawers.
The nights now are full of wind and destruction; the trees plunge and bend and their leaves fly helter skelter until the lawn is plastered with them and they lie packed in gutters and choke rain-pipes and scatter damp paths.
Calvino describes the third sense as "a visual image of lightness that acquires an emblematic value." He quotes Paul Valery, "One should be light like a bird, and not like a feather." A bird implies willful movement, the ability to carry oneself into the sky. Woolf uses at least two visual images of movement and transformation that imply lightness in the novel. One being: the decay of the empty holiday house. She even writes that rats carry off bits of the house to gnaw on. The house had anchored the family together in their happiest moments and now it is disintegrating. "If the feather had fallen, if it had tipped the scale downwards, the whole house would have plunged to the depths to lie upon the sands of oblivion."
Yet transformation can bring beauty. Woolf writes, "Tortoise-shell butterflies burst from the chrysalis and pattered their life out on the windowpane." Much as we love our parents, there can be a sense of freedom felt when they pass on.
The other image is that of the long-awaited boat trip to visit the lighthouse. After many years, the family returns to the seaside house and Mr. Ramsay finally takes his children to see the lighthouse. Something he refused to do while their mother was alive.
Lily Briscoe also returns to the holiday house, as Woolf did in her mind, and "Through the open window the voice of the beauty of the world came murmuring…" Just as Perseus made the ground soft for Medusa's head to lie upon and the beautiful coral then grows there, and the nymphs desire this coral and feed the decapitated head in exchange for it, Woolf was able to lay her tragedies down and create something wholly beautiful and enchanting.
In 1916, James Agee's father was killed in an automobile accident when Agee was six. But Agee didn't want to write a memoir. Rather he sought to treat his painful autobiographical material one-step removed. He writes, "I must decide between a completely detached and a deeply subjective treatment. I doubt if in complete detachment there is a story there. Rather, do the subjective, as detachedly as possible." The result is the novel A Death in the Family. The story of six-year-old Rufus and the death of his father, Jay Follett, in an automobile accident in Knoxville, Tennessee (where Agee grew up). Unfortunately, Agee died before the completion of the novel.
And just as Woolf did not create scenes in which her personal tragedies are shown directly, neither does Agee. Though Agee wrote sections of the novel from the father's point of view, he did not compose a scene in which the accident occurs. We read about what happened to Jay Follett as is told by a character who came upon the wrecked vehicle and the dead father. And this is not told directly by the character but by another character, the Uncle of little Rufus, as Andrew heard it from the eyewitness. The revelation of the tragic details feels removed through this use of second-hand accounts. In fact, no one witnessed the actual accident. Follett was alone.
Agee also focuses in on three particular details of the accident. Andrew recounts, "'Something caught in his lights and it was one of the wheels of the automobile… it was still turning.'" Andrew repeats this statement. So Jay's car must've been upside down for a wheel to be turning in the light of some headlights and for the wheel to still be turning, it was a bad accident. Andrew goes on to tell Jay's wife, Mary, the vehicle was upside down, but we have deduced this already. Mary must've also and the conversation proceeds in this gentle, caring manner with information being revealed indirectly.
Then we learn that the first responder couldn't find "anything wrong except a little cut, exactly on the point of his chin." And this image of the little wound on Jay's chin is carried through to the funeral when Rufus sees his father's corpse resting in its coffin. "At the exact point of the chin, there was another small blue mark, as straight and neat as might be drawn with a pencil, and scarcely wider." The disfigurement is so inconsequential and benign that we feel the senselessness of the tragedy even deeper. How shocking the accident must've felt to Agee and his family is captured precisely with this non-disturbing image of a wound that didn't even bleed.
Then we get the image of the cotter pin from Jay's car. "They found that a cotter pin had worked loose – that is, had fallen all the way out – this cotter pin had fallen out, that held the steering mechanism together." Andrew describes the cotter pin as "like a very heavy hairpin." Hairpins are small. So something very small, something easily lost, caused this enormous and shocking tragedy.
And while we learn that the car must've hit a rock and Follett lost control because of the fallen-out cotter pin and hit his chin on the steering wheel, which killed him instantly, the images we hold of this horrific event are: the spinning auto wheel, the small chin wound, and the cotter pin. I think Agee was trying to express something he'd learned about life with the use of these images. Something along the lines of how life can change in a very small amount of time and that the catapulting event can derive from what are often almost unnoticeable details. Details we can be obsessed with after the event in our human quest for understanding. Cancer starts as a single cell, deadly viruses must be viewed with a microscope, the destroyed Space Shuttle Columbia lost some re-entry tiles, and Jay Follett was killed by a fallen-out cotter pin.
Calvino speaks in his Lightness lecture about the necessity of an "atomistic concept of the universe." Despite our intellectual capacity to think in the abstract, man remains a sensuous creature. We experience our existence and all its attendant emotions through the five senses, and what is striking about this, is that most of the information our senses gather comes to us in minute and often unseen particles. The small atoms that comprise matter are not all visible, some are gaseous. Odors can be sensed but remain unseen. Sounds are a sequence of pressure waves. Calvino says, "the knowledge of the world tends to dissolve the solidity of the world, leading to a perception of all that is infinitely minute, light, and mobile." He goes on to say that only a poet who has no doubts about the "physical reality of the world" can issue poetry of the "invisible, infinite unexpected possibilities."
Agee seems compelled to permeate the tragedy of his childhood with lightness, in as many senses of lightness as he can muster. He wants us to hear his childhood, "They (the locusts) are all around in every tree, so that the noise seems to come from nowhere and everywhere at once, from the whole shell of heaven, shivering in your flesh and teasing your eardrums … the regular yet spaced noises of the crickets, each a sweet cold silver noise three-noted, like the slipping each time of three matched links of a small chain." Agee draws our attention to not only a sound but its individual notes.
When Jay leaves his family for the last time, Agee provides a two page treatment of the sounds his automobile makes, the vehicle that kills Jay. He attempts to replicate the sound through the usage of the letters of the alphabet. Calvino talks about the alphabet as a model for combinations of minimal units and that we can view letters as atoms in continual motion. The teaching of phonics is comprised of the learning of the singular sounds each letter represents. Alphabet sounds carry their own weights, with some sounds being light such as the vowel teams 'ee' and 'ay' and the long vowel 'i', and other sounds being heavy. These are the low frequency vowels which bring energy down, such as the diphthongs 'ar, 'ow', 'oi, 'aw', 'oo' and the long vowel 'o'. Consonants carry differing weights also, whether they are made mostly by using air (r, p, h, f, sh, w) or by using the tongue and lips (b, d, k, g).
Agee draws our attention to minute particles: "The moistures of May drowned all save the most ardent stars, and gave back to the earth the sublimated light of the prostrate city." Here not only are we looking at both natural and artificial light but how light can be reflected by droplets of moisture so that it casts itself back upon the city. He writes of Jay's wife, "She was never to realize his intention of holding the warmth in for her; for that had sometime departed from the bed." Our loved ones do hold warmth within them and just as that impression of their warmth remains only briefly in the beds they rise from, the warmth of their physical presence in our lives departs instantly when they are taken from us.
When Jay is driving away from his family, on his way to eternity, "the auto bored through the center of the darkness of the universe; its poring shafts of light, like an insect's antennae, feeling into distinctness every relevant small obstacle and ease of passage…" Particles of light are indeed minute and an insect's antennae make sense of the smallest atoms. Even time can be thought of in very small units; seconds can be broken down into milliseconds and life can change in what seems to be an instant. During Jay's accident, Agee writes, "At the most there must have been just the tiniest fraction of a second when he felt the jolt and the wheel was twisted out of his hand, and he was thrown forward."
There is also energy, which can be measured and sometimes manifests itself visibly, such as lightning. It largely remains unseen to us, but rather is felt. It can be said that energy is made up of atoms. Andrew reflects that when he saw Jay's corpse he was aware of "a prodigious kind of energy in the air."
The lightness of the atoms which make up our universe that Agee constantly brings to the forefront of our attention contrasts starkly with the feeling his characters have when faced with the tragedy. Over and over Agee writes of the weight his characters feel when they learn of Jay's death.
Calvino states that there are two tendencies in literature: to "make language into a weightless element that hovers above things, like a field of magnetic impulses" or to "give language the weight, density and concreteness of things, bodies and sensations." He explores the ways in which writers "remove weight from the structure of stories and from language" as he himself tried to do in his writing.
Agee seems to have been conscious of trying to lighten the language he uses throughout the novel, especially when dealing with the most difficult aspects of death. And in certain instances, the manner in which the language is used, leads to a lightening of the character's thoughts. Just before Mary thinks Jay is in the house in the form of a ghost, she has an unbearable, what she calls "terrifying", thought that the accident was due to Jay driving drunk. To counter this she begins thinking "with such exactness and with such love of her husband's face, and of his voice, and of his hands, and of his way of smiling so warmly even though his eyes almost never lost their sadness, that she succeeded in driving the other thought from her mind." The repetition of and of and with such provides an uplifting rhythm and the phrases begun in this manner carry us lightly through the time in which Mary is dealing with her "terrifying" thought.
Agee imparts beauty and lightness to many moments that would be considered heavy in subject from the scene in which Jay's coffin leaves the house on its way to the cemetery to the moment when Rufus sees his father's coffin for the first time: "Rufus had never known such stillness. Their little sounds, as they approached his father, vanished upon it like the infinitesimal whisperings of snow, falling on open water."
As for the second sense of lightness, Agee uses the train of thought technique throughout his novel and with nearly all of his characters. There is an entire 28 page stream of consciousness section in the novel that reveals the thoughts of Rufus, modeled on Agee himself, and immediately follows the realization by Mary of the deep loss the family has suffered. We have this heavy infusion of sorrow followed by the lightness of hearing how the boy tries to fit in with the neighborhood children. I believe that a train of thought narrative imparts lightness by forcing the reader to view the character with empathy rather than sympathy. It is a different feeling to view the world from another's vantage point than it is to take on their burden.
Agee also takes us into Mary's thinking process as she gets ready to attend her husband's funeral. "I am carrying a heavier weight than I could have dreamed it possible for a human being to carry, yet I am living through it." Agee begins this section drawing attention to the heaviness of sorrow. "She thought: this is simply what living is; I never realized before what it is. She thought: now I am more nearly a grown member of the human race… She thought that she had never before had a chance to realize the strength that human beings have, to endure; she loved and revered all those who had ever suffered, even those who had failed to endure. She thought that she had never before had a chance to realize the might, grimness and tenderness of God." Agee goes on with this train, beginning nearly every sentence with She thought, creating a soothing rhythm until Mary finds the courage to leave her bedroom and go to the funeral.
The blood of Medusa gives birth to the winged horse, Pegasus. Calvino writes, "the heaviness of stone is transformed into its opposite." Agee creates at least two visual images of lightness that directly deal with his father's death and both involve transformation. The first visual image is that of Jay's ghost. While the family is discussing the recent news of Jay Follet's fatal car accident, they begin to experience an unusual sensation. Mary thinks someone is in the house "… and whoever or whatever it might be, she became sure that it was no child, for she felt in it a terrible forcefulness, and concern, and restiveness…" Mary claims that it is Jay and she begins speaking to him. She follows his ghost into her children's bedroom, and "she could feel his presence as strongly throughout the room as if she had opened a furnace door." Our presence is lightest when we have shed our physical bodies. Agee balances this thought of Jay as a spirit devoid of weight by following the ghostly experience with the discussion Andrew and Mary must have about the funeral arrangements. He writes, "Earth, stone, a coffin. The ugly craft of undertakers became real and tangible…"
The weight of the dead upon the living is carried through to the funeral scene, when the coffin must be put inside the funeral carriage. The movement continues when Agee creates a second visual image, that of a butterfly. Andrew tells Rufus:
Right when they began to lower your father into the ground, into his grave, a cloud came over and there was a shadow just like iron, and a perfectly magnificent butterfly settled on the – coffin, just rested there, right over the breast, and stayed there, just barely making his wings breathe, like a heart…until it (the coffin) grated against the bottom like a – rowboat. And just when it did the sun came out just dazzling bright and he flew up out of that – hole in the ground, straight up into the sky, so high I couldn't see him any more.
The novel ends with this image of transformation forefront in the reader's mind. Calvino points out in his lecture that Ovid shows lightness in his work by displaying the "continuity of the passage from one form to another" or that "everything can be transformed into something else."
Is literature written only for the benefit of the reader or does a quest for lightness as a counterbalance to the unbearable weight of life drive an author to explore difficult autobiographical material in a certain way? And can we as writers, benefit from re-visiting our childhood traumas when we imbue them with lightness? Perseus indirectly gazes at his monster Medusa, conquers her yet keeps her with him; her blood births Pegasus and with his hoof, Pegasus creates the spring the Muses drink from. Calvino states, "Whenever humanity seems condemned to heaviness, I think I should fly like Perseus into a different space."


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Jon Taffer's concept Taffer's Tavern opens inaugural football stadium location
Jon Taffer's franchise concept has debuted a satellite location at the FedEx Field stadium, home of the Washington Football Team
Jon Taffer's franchise concept has debuted a satellite location at the FedEx Field stadium, home of the Washington Football Team.
Taffer's Tavern, the full-service concept founded by Jon Taffer has debuted at the FedEx Field in Landover, Mayland. Located on the club level of the stadium, this marks the brand's first satellite location.
The location only took two weeks to set up the turnkey kitchen concept and didn't require any hoods or vents.
"Our Taffer's Tavern team is always ready on game day. Washington, D.C., is getting its first taste of our delicious tavern food, serving many of the 44,000 fans at FedEx Field this past Sunday, ahead of our full-service Penn Quarter location coming soon," said Taffer.
"We served some of our most popular handhelds and signature items, which all pair perfectly with an ice-cold beer. We're looking forward to introducing Taffer's Tavern to fans during football season and other events at FedEx Field."
The new location fields a sample of the most popular full menu items, including the hot tavern pretzel, spicy chicken sandwich, tavern fries, tot roast fries and roast beef au jus.
"Partnering with Taffer's Tavern allows us to raise the bar on the fan experience at FedExField. They bring unique dining options that many fans will find comforting and delicious for the stadium setting," said Bob Marks, vice president of hospitality for Levy, hospitality partner of FedEx Field.
"With operational efficiencies that are well-suited for the arena environment, Taffer's Tavern innovation allows us to meet the expectations of the modern fan."
The FedEx Field location is the second conversion for Cuisine Solutions, a manufacturer in sous vide foods and the franchisee for Taffer's Tavern in the Washington D.C. metro area. Cuisine Solutions recently signed a deal to bring a Taffer's Tavern location to the Penn Quarter neighborhood, adjacent to the Capital One area complex.
"We have secured yet another iconic location in the DMV area," said Cuisine Solutions president and CEO Felipe Hasselmann.
"Our FedEx Field Taffer's Tavern activation underscores the adaptable footprint of the concept. It also allows us to introduce the brand to stadium goers and give them a taste of popular menu items as a preview for what will be featured in our downtown D.C. restaurant locations."
Taffer's Tavern originally tied up with Cuisine Solutions to work on the menu and kitchen design for the brand but has now been charged with operating multiple locations across Washington D.C. and Northern Virginia.
Taffer's Tavern has also teamed up with FranSmart, a leading franchise development company behind the likes of Five Guys Burgers and Fries and QDOBA Mexican Grill.
"Taffer's Tavern is the perfect entertainment district restaurant concept, offering refined, high quality, delicious tavern food, served lightning fast and with consistency," said Fransmart CEO Dan Rowe.
"This stadium operation demonstrates the speed to open and flexibility of the hoodless and ventless restaurant concept. In addition to the full-service dining experience, I can see Taffer's Tavern in other event complexes, amphitheaters, airports and more."
Taffer's Tavern has gone from strength to strength this year after recently announcing the signing of a deal to open a restaurant in Boston.
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