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Linda Pearse
Associate Professor — Music History
lpearse@mta.ca
HH 417
https://sacabuche.com/
Dr. Linda Pearse is trained in musicology and performance studies. An active and engaged teacher and researcher, her work engages with art music prior to 1700, intercultural encounter, historiography and music history pedagogy.
Canadian performer and musicologist Linda Pearse specializes in the musical repertoire of the seventeenth century. Pearse is Associate Professor of Music at Mount Allison University (New Brunswick) and serves as an Adjunct Lecturer at McGill University. Following studies at the Schola Cantorum (Basel), a career in Europe included regular performances with the Stuttgart Philharmoniker, the Stuttgart Opera House, the Basel Symphony, La Cetra, piano possibile, and the Stuttgart Musical Theater. Studies in performance at Indiana University Bloomington and musicology at McGill University round out her diverse international musical experiences. Pearse is Artistic Director of the San Francisco Early Music Baroque Workshop (USA) and the Sackville Festival of Early Music (Canada).
Pearse's research, funded by the Social Sciences and Humanities Research Council of Canada (SSHRC) as well as the Canada Council for the Arts, FACTOR Canada and other bodies, focuses on intercultural encounters, music history pedagogy, and the performance of early European art music, drawing on historiographical, performative, and traditional musicological frameworks.
An enthusiastic and dedicated pedagogue, Pearse co-directs a research team with Margaret Walker (Queen's, PI) and Sandria P. Bouliane (Laval, co-applicant) that brings together undergrad and graduate students from the three universities for the project "Changing Colonial Narratives in Music History" (SSHRC IDG 2021). In addition to directing a research lab in the summer months, she supports students working on Independent Student Research Grant projects, Experiential Learning courses, and Independent studies. Many of her students go on to study at Canada's finest graduate institutions and to engage successfully in myriad other professional directions (e.g., arts administration, music education, music therapy). Her written publications bring her perspectives and experiences as a performer together with her consideration of intercultural encounter, musicology, and pedagogy.
In the artistic realm, Pearse creates intercultural projects with her collaborators Ann Waltner and John Watkins (University of Minnesota) that weave music, texts, images, and soundscapes.
How Do We Listen? tells the truth of the surviving family of a Shubenacadie Indian Residential School survivor, Virginia Acquin. The project combines soundscape, music, and text to create a performance which engages with historical and present cultural and religious contact in New Brunswick, all with an eye to the complex identities of Indigenous, specifically Wolastoqiyik and Mi'kmaq, and non-Indigenous peoples who reside in the region that is now known as the Province of New Brunswick (SSHRC IDG 2015; SSHRC Connection 2017; premiere Oct 2019; for documentary film and articles see links below).
The truths shared and spoken by Pearse's collaborator Angela Acquin (Wolastoqew) about her grandmother's experiences at the Shubenacadie Indian Residential School lead the narrative and structure the performance. The work employs Indigenous music, seventeenth-century sacred Italian and German music, and newly commissioned compositions by jazz composer, Joel Miller. In addition to Acquin's personal account, a spoken script includes contemporary Indigenous poetry by Rita Joe (Mi'kmaq; 1996) and Mihku Paul (Wolastoqiyik; 2012), historical documents, segments of the Truth and Reconciliation Commission report (2015), and a script by Waltner. The musicians (Indigenous and non-Indigenous) perform soundscapes and whisper clusters that respond to and comment on the texts, and in part, are intended to represent the lost voices of the thousands of Indigenous children who died or succumbed to disease, drug abuse, or alcoholism as a result of their experiences at the Indian Residential Schools. The project is supported by film director and Elder Brian Francis (Mi'kmaq), and Elder J. J. Bear (Wolastoqiyik) who provided language support, directed smudge ceremonies, and shared his personal account of a Residential Day School in New Brunswick. (See links for documentary films and published articles.)
Other intercultural projects include Matteo Ricci: His Map and Music that premiered in China (2010), and that considers Matteo Ricci's Map of the World (1602), writings by Chinese literati, and the music that might have surrounded him. Venetia 1500, a work inspired by the Barbari aerial woodcut of Venice (c.1500), weaves new music by Canadian Kevin Morse (Mount Allison), early European art music, texts, and images, to explore the gritty world of Venice in the sixteenth century, and finding resonance with Maritime cultures in decline (2015).
Since 2008, Pearse has directed the early brass and string ensemble ¡Sacabuche! Extensive touring has included performances in Beijing (China), Hong Kong and Macau (China), Hawaii, Chicago, Seattle, Vancouver Island, Calgary, Vancouver, Minneapolis, Indianapolis, New York, San Francisco, Bloomington (IN), Madison (WI), Kansas City, and Houston. In addition to work with ¡Sacabuche!, Pearse has performed with Tafelmusik, La Rose des Vents, Pacific MusicWorks (Seattle), The Toronto Consort, Music of the Baroque (Jane Glover), Ensemble Caprice (Montréal), and the Spiritus Chamber Choir (Timothy Shantz).
With ¡Sacabuche! she has released two albums on the ATMA label: 17th-Century Italian Motets with Trombone (Sept 2015) and Hidden Treasures: 17th-Century Music of Habsburg and Bohemian (April 2021). She has recorded for broadcast with Harmonia (NPR), IPR, and WFIU, and with Cappella Artemisia. Her critical edition of Seventeenth-Century Italian Motets with Trombone is published with A-R Editions (April 2014).
Pearse, D. Linda. 2019 (released in 2021). "Expanding University Music Ensemble Curricula: Lessons from an Intercultural Artistic Collaboration." Special Issue: Decolonizing Music Pedagogies. Edited by Margaret Walker and Robin Attas. Intersections: Canadian Journal of Music 39(1): 21–40.
Pearse, D. Linda, Angee Acquin, Robin Attas, and Ann Waltner. 2019. "Unpacking a Moment: Decolonization in the Performing Arts?" MUSICultures: Journal of the Canadian Society for Traditional Music 46: 1–31.
Pearse, D. Linda, Ann Waltner, Nicholas Godsoe. 2017. "Historically Informed Soundscape: Mediating Past and Present." Journal of Sonic Studies 15. [peer-reviewed online journal]
Waltner, Ann, Qin Fang, D. Linda Pearse. 2010. "Performing Matteo Ricci: His Map and Music." Ming Studies, Journal of the Society for Ming Studies 62: 1–24.
BOOK / CRITICAL EDITION
Pearse, D. Linda, ed. 2014. "Seventeenth-Century Italian Concerted Motets with Trombone." Vol. 19, Series 2. Collegium Musicum. A-R Editions, Yale University: Middleton, WI.
http://www.areditions.com/seventeenth-century-italian-motets-with-trombones.html
Pearse. D. Linda. 2020. Review of The Cambridge Encyclopedia of Brass Instruments. Edited by Trevor Herbert, Arnold Meyers, and John Wallace. Cambridge University Press: Cambridge, 2019. International Trombone Association Journal.
Pearse, D. Linda. 2018. Review of The Sixteenth-Century Trombone: Dimensions, Materials and Techniques. Hannes Vereecke. Épitome musical. Turnhout: Brepols, 2016. 254 pp. €75. Renaissance Quarterly 71(3): 1180–1182. https://doi.org/10.1086/700520
Pearse, D. Linda. July 2015. Review of Berühmte Posaunen-Virtuosen: Friedrich August Belcke, Carl Traugott Queisser, Albert Robert Müller, Joseph Serafin Alschausky & Posaunisten des Gewandhausorchesters Leipzig [Famous Trombone Virtuosos: Friedrich August Belcke, Carl Traugott Queisser, Albert Robert Müller, Joseph Serafin Alschausky & Trombonists of the Leipzig Gewandhaus Orchestra] by Rolf Handrow (Reichenberg, Germany: Crescendo-Brass GbR, 2014). Printed in German. International Trombone Association Journal 43(3): 49–50.
Pearse, D. Linda. 2013. Review of "The Trombone in the Renaissance: A History in Pictures and Documents" by Stewart Carter (Bucina: Historic Brass Society; Hillsdale, NY: Pendragon Press, 2012). Historic Brass Society Journal (December): 57–61.
Non-Refereed Publications
Pearse, D. Linda. 2016. "Immediate Feedback: Principles from the Performing Arts Studio." In Mount A Teaches, 195–212. Edited by Louise Wasylkiw and Jennifer Tomes. Friesen Press: Victoria BC.
Weiner, Howard, Charlotte Leonard, and D. Linda Pearse (submission, December 2020). A Catalogue of Early Trombone Repertoire. Brepols. Epitome Musical.
PhD Musicology, McGill University (ABD)
Doctor of Music, Indiana University Jacobs School of Music, 2011
Master of Music, Schola Cantorum Basiliensis, Basel, Switzerland, 2006
F. M. Alexander Technique Teacher Training Course, Basel, Swizterland, 2002
Artist Diploma, Hochschule für Musik, Trossingen, Germany, 2000
Bachelor of Music, McGill University, Montréal, 1996
Pearse, D. Linda. April 2021. Audio Recording. Hidden Treasures: Seventeenth-century Instrumental and Sacred music from Habsburg and Czech Archives. Recorded in Montréal, May 2019, 61 minutes. ¡Sacabuche! Label: ATMA Classique.
Pearse, D. Linda, Angela Acquin, Brian Francis (Mi'kmaq), Ann Waltner. August 2020; forthcoming. How do we listen? Video-documentary for educational purposes. Nova Media Productions. Filmed October 1–4, 2019. https://youtu.be/gRJzX0crV2Q
Pearse, D. Linda, artistic director. Video Recording. 2017. Excerpts from Hidden Treasures: The Austrian Habsburgs and the Kroměřiž Archives. Filmed September 22, 2017 in Sackville, NB by Améri Ka Productions. ¡Sacabuche!
https://www.youtube.com/watch?v=3PKzWH0mi10
Pearse, D. Linda. Video Recording. 2017. Collaborative Communities, ¡Sacabuche!
https://www.youtube.com/watch?v=FjVKx-G3udg&t=122s
Pearse, D. Linda. Video Recording. 2016. Matteo Ricci: His Map and Music. Direct Light Studios, San Francisco, CA USA. https://youtu.be/FLXojsLy8I8
Pearse, D. Linda. CD Recording. 2015. Seventeenth-Century Italian Motets, ¡Sacabuche! Recorded in Montréal, ATMA Classique.
PRI Broadcast Recording. 2014. A Baroque Christmas in the New World, with Indiana University Historic Performance Institute, Public Radio International (PRI) – Harmonia, Christmas Broadcast 2014, recorded October 23–26, 2014
Smith, Candace. Audio Recording. 2006. Raphaella Aleotti: Le Monache di San Vito. Cappella Artemesia, Italy. Role: Performer
SRF Broadcast recording. 2004. Adolf Wölfli. Ruedi Häusermann (director). Theater Basel, Basel,
Switzerland. Role: Performer
Gordon, Michael (composer). Audio Recording. 2002. Decasia. Basel Sinfonietta. Basel, Switzerland. Role: Performer
Grants, awards & honours
The Newberry Library, Short-Term Fellowship, "Sounds of the Early Modern Period", Newberry Library, Chicago, 2018
Paul Paré Award of Excellence 2016–2018, for excellence in Research, Scholarship, or Creative Activity, Mount Allison University
External Grants (selection only)
Social Sciences and Humanities Research Council of Canada (SSHRC), Insight Development Grant. 2021–2022. Changing Colonial Narratives in Music History. Co-Applicant; with Margaret Walker (PI, Queen's) and Sandria P. Bouliane (Co-Applicant, Laval), $61,793
SSHRC, Connection Grant for Indigenous Research Capacity. 2018–2020. Principal Investigator; $48,811
Factor Canada, Juried Recording Projects, ¡Sacabuche! recording project, post=production costs of a recording of early Habsburg music, 2019. Two years, $6,900.
Canada Council for the Arts, Travel Grant, Arts Abroad, supporting travel for tour to Honolulu and Kona, Hawaii, 2017, $9,300.
Canada Council for the Arts, Explore and Create, supporting a recording of early Habsburg music, 2017. Two years, $15,000.
New Brunswick Arts Board, Career Development Grant, Arts by Invitation, September 2017. One year, $1758.33
Canada Council for the Arts, Recording Grant for "Hidden Treasures." 2016–2018 (extended to 2020), $15,000.
SSHRC, Insight Development Grant, Musical Mappings in the Early Modern World: Encounters, Exchanges, Collisions, June 2015. Lead applicant – Pearse; Collaborators – Ann Waltner and John Watkins (University of Minnesota); Two years, $67,485
Factor Canada, Juried Recording Projects, ¡Sacabuche! recording project, 17th Century Italian Motets with Trombone, 2014–2015; One year, $10,000
New Brunswick Arts Board, Arts by Invitation, ¡Sacabuche! Minneapolis Tour, Matteo Ricci: His Map and Music, Venetia 1500, Italy Invades Poland!, April 2014; One year, $1,750
Canada Council for the Arts, Travel Grants to Musicians, ¡Sacabuche! Matteo Ricci: His Map and Music, Tour to China, June 2013; One year, $2,000
New Brunswick Arts Board, Documentation Grant, ¡Sacabuche! Venetia 1500, 2012–2013; Two years, $7,000
Internal Grants (2011–present)
President's Research and Creativity Award (PRCA), Mount Allison University. Funding for student RAs to work in research lab activity (2021–23)
Marjorie Young Bell Fund, Category A, Sabbatical Leaves, 2021
Marjorie Young Bell Fund, Category B Conference Travel, 2020 (extended to 2022)
Marjorie Young Bell Fine Arts and Music Awards, "How Do We Listen? Interdisciplinary and Intercultural Collaboration in Performance and Film", support for Indigenous Speaker, October 2019
PRCA. Funding for research and creative activity (2016–18, extended to 2020)
MTA Connects SSHRC Aid to Small Universities Fund 2016, Collaborative Workshop on Creative and Scholarly Practice, Mount Allison University, for a workshop with Indigenous musicians in September 2017
Marjorie Young Bell Fund 2015, Category B Conference Travel, funding to support travel costs for "Early Music: From Manuscript to Market," paper presentation and residency in Bloomington, IN, USA October 2–6
Bridge Funding 2014, for reworking a SSHRC Insight Development Grant (see SSHRC IDG, Musical Mappings, above)
J.E.A. Crake Foundation 2014, funding for Colloquium and Workshops for students with visiting professional artists of the 17th-Century Italian Motets recording and concert
Special Projects Fund 2014, Music Department, funding for Colloquium and Workshops for students with visiting professional artists of the 17th-Century Italian Motets recording and concert
Marjorie Young Bell Fine Arts Award 2014, funding for Colloquium and Workshops for students with visiting professional artists of the 17th-Century Italian Motets recording and concert
Marjorie Young Bell Fund 2014, Category A Sabbatical Leaves, Research Trip to Vienna, research on early manuscripts and prints leading to the creation of a Catalogue of Early Music for Trombone.
President's Research and Creative Activities Fund 2014, funding for continued work on SSHRC IDG proposal project (received 4A ranking), 2014
CultureWorks Grant, funding for exploratory conversations about the Venetia 1500 project.
President's Research and Creativity Fund 2013, funding for an audio recording of 17th-Century Italian Motets with Trombones
Marjorie Young Bell Fund 2013, Category B Conference Travel, funding for travel to lecture and perform at the Early Music Vancouver Summer Festival, August 2013
Special Projects Fund 2013, Music Department, funding for visiting artists, North American Works for Bass Trombone concert
Special Projects Fund 2013, Music Department, funding for visiting artists, Atlantic Brass
Marjorie Young Bell Fund 2012, Category B Conference Travel, funding to present paper at the International Historic Brass Symposium, New York, NY, USA, July 12, 2012
Marjorie Young Bell Faculty Fellowship 2012–2014, funding for the creation of the interdisciplinary project Venetia 1500, premiered in Sackville, September 29, 2013. Title: 2012–2014 Marjorie Young Bell Faculty Fellow


Tim Knowles' artistic practice works with the environment, involving and incorporatiing nature and landscape. Deveron Projects worked with Tim in 2014 in the event Urbanscape + Ruralsprawl, which explored the concept of walking as artistic practice. Since 2015 Huntly sees Tim working on research for the project Exploration Aids and the creation of a network of Howffs and further outdoor assistance.


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Luper Dupree Pullin' Strings | Alternative Fruit
Pullin' Strings
Earfood were huge on the underground college music scene in the States. They played loads of epic gigs and made a real name for themselves among the young intelligentsia of America. Something terrible happened, one of their number disappeared and until this day they haven't been heard from. Will we ever know? Maybe someone does. However, front-man Luper has progressed from this child's-play version of a music career and established himself as an adult composer and artist. With a second album waiting in the wings, a novel written by himself, and social media fame, Luper Dupree can relax in the knowledge that his hard work is paying off extremely well.
With a psychedelic retro folk sound from a few decades ago, a modern edge cuts through the effects to raise Luper to the top of the track. Melody and chord progression form jigsaw pieces which slide in and out of each other's grasp. Spinning on their axis, each segment shines and morphs like a kaleidoscope of sound. Great lyrics and quirky vocal expressiveness sit atop of playful guitar and hot drumming to keep the song in motion. A smooth delivery allows the oddity behind the scenes to be noticed but to not steal the show. The music remains within the realms of listenable by quite a large degree however there's a definite side to the sound which wants to do something different. It's a great balance that works well to bring an acid folk noise into the world of well made rock n roll.
Listen to the track on Soundcloud
Invest in the artist on Amazon
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Then visit Luper Dupree online
And follow him on Twitter

redpajama_set_name: RedPajamaCommonCrawl


H.E. Dr. Ahmed Albanna, UAE Ambassador to India met Mr. Nitesh Mahajan, Assistant Director, Lovely Professional University at Embassy, New Delhi on Thursday, 12th October 2017.
In the meeting, Mr. Nitesh Mahajan briefed to the Ambassador about the Lovely Professional university as it is the largest single campus university in Jalandhar, Punjab that offered more than 200 academic degree programs in IT, Engineering, Management, Food technology, Bio-technology and other short term courses that strengthen the global bonds among its 30,000 students hailing from 50 countries and 29 Indian States.
Mr. Mahajan extended the privilege to invite H.E. Dr. Ahmed Albanna as the Chief Guest at the Annual International Fest "One World" scheduled on 22nd and 23rd November 2017. He also invited him for upcoming fair and events in the University Campus.
H.E. Dr. Ahmed Albanna praised their efforts for the Education system and innovative pedagogic involvement of global significance that can be rendered rewarding, fruitful and inspiring for Indian students and the students from across the globe.
The Ambassador, appreciated and assured to make his presence at the University Campus in the near future.


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Teacher gives a kidney, changes girl's life
In 2016, Oakfield teacher Jodi Schmidt gave a kidney to student Natasha Fuller. Today, Natasha's life is transformed, and Schmidt's is richer, too.
Teacher gives a kidney, changes girl's life In 2016, Oakfield teacher Jodi Schmidt gave a kidney to student Natasha Fuller. Today, Natasha's life is transformed, and Schmidt's is richer, too. Check out this story on fdlreporter.com: http://fondul.ac/2iYUSMK
Sharon Roznik, USA TODAY NETWORK-Wisconsin Published 5:34 a.m. CT Nov. 28, 2017 | Updated 7:46 p.m. CT Nov. 28, 2017
Kidney recipient Natasha Fuller of Oakfield eats in McDonalds in Fond du Lac Tuesday November 7, 2017, with her grandma Chris Burleton. It's a tradition they keep after Natasha's health checkups. Doug Raflik/USA TODAY NETWORK-Wisconsin(Photo: Doug Raflik/USA TODAY NETWORK-Wisconsin)Buy Photo
OAKFIELD - Natasha Fuller is a self-professed "talker" — an exuberant 9-year-old who can go from heartfelt tears speaking of her grandmother's love to peals of laughter when she talks about French fries.
The third-grader from Oakfield Elementary School has been through a lot in the last year. And while she may not understand all the fancy medical terms and grown-up talk about her condition, two things she is clear about in no uncertain terms.
She received the gift of life when she got a new kidney from Jodi Schmidt, a teacher at Oakfield who was touched by the spunk and spirit of the little girl who always greeted her in the hallways with a bright smile and quick hello.
And she can now eat chocolate. Glorious chocolate.
"I try not to eat too much, but that's hard because I love it so much," Natasha said during a recent visit with her and her grandmother Chris Burleton. Her gestures are big for such a small girl, her hands happily darting about like small birds.
The story of the student and teacher's special bond made national news last year, and their step-by-step journey through the organ transplant process at Children's Hospital of Wisconsin and Froedtert & the Medical College of Wisconsin was covered by USA TODAY NETWORK-Wisconsin. The story spread across the country, hitting all the national news stations.
RELATED: Ger Xiong helps others start businesses. Now she needs help to find a kidney donor.
RELATED: Second chance at life': His heart transplant is built on decades of science, medicine
That was the hardest part of all, Schmidt says today: the endless media, the interviews from a hospital bed, the chaos of press on Natasha and Jodi's first day back at Oakfield Elementary School. Even Schmidt's surgery was recorded as part of a campaign to promote living organ donations.
"It was really overwhelming because I am a simple person," Schmidt said. "But our goal was awareness, so anything that came along to get the word out we took full advantage of."
Natasha Fuller, 8, gets a hug from Oakfield Elementary School teacher Jodi Schmidt, who donated her kidney to the little girl. (Photo: Courtesy of Chris Burleton)
Burleton, Natasha's grandmother and guardian, recalled the moment she was called into the school office in March 2016 so Schmidt could tell her of the decision she has made to give a kidney to Natasha.
"I thought maybe Natasha was in some kind of trouble," Burleton said. "Instead, I was given a box to open and a note inside that said 'It's a match!' That's when I lost it."
RELATED: Teacher to give kidney to student
RELATED:A teachers' gift: Kidney twins forever
Her granddaughter had been sick from birth with prune belly syndrome, a condition that causes urinary tract disease and the need for kidney dialysis. Just prior to receiving the transplant in May 2016, Natasha was in renal failure and had run out of options.
Since the surgery, Natasha has gained 37 pounds, Burleton said, is pink-cheeked and happy to "jabber" about everything and anything that interests a 9-year-old.
"Oh yes, I am noisy, I know it," Natasha said during a recent, enthusiastic interview. "I am always giving Nana hugs and kisses and I like to sit with her and we watch our favorite TV shows together on the Hallmark Channel."
Natasha's recovery from the organ transplant process includes regular visits to Children's Hospital to check blood work and medications levels. Whiles she's there she makes it a point to visit the friends she made at the dialysis center when she was receiving dialysis three times a week.
Jodi Schmidt, left, hugs a teddy bear while Natasha Fuller hugs a teddy bear and smiles Friday at Children's Hospital in Milwaukee as the two met for the first time following kidney donation and transplant surgeries Tuesday. (Photo: Nathan Phelps/USA TODAY NETWORK-Wisconsin)
"I like to keep special stuff in my head to remember, like the volunteers that came in to play with me when I was in dialysis, and the one guy who would pick me up and do airplanes with me," she said.
The almost-10-year-old (on Dec. 13, she emphasizes) still struggles with being the shortest in her class and with trying to be good all the time, she said. Her grandmother assures her that she will grow, and the two talk about the upcoming holidays. There are plans to view Christmas lights and bake cookies and make snow angels.
"And now, when Nana takes me to McDonald's I can have more than 10 french fries, so that's really great too," Natasha said of things she now enjoys post-transplant.
Lingering effects from prune belly syndrome (named for the lack of stomach muscles), also known as Eagle-Barrett syndrome, can include a propensity for urinary tract infections. So far, Burleton said, medications have helped Natasha stay healthy.
Schmidt said after the surgery, her life went quickly back to normal after a six-week recovery period.
"I definitely overdid it at first and got yelled at for it, but now, I wouldn't know from one day to the next that I only have one kidney," said Schmidt, the mother of three young boys.
The story of Jodi and Natasha was buoyed by the Oakfield community. Schmidt's co-workers donated their sick days to her recovery time, and fundraisers paid for gas cards for the families and other expenses.
RELATED: Transplant surgery a success for teacher-student
RELATED: 'We're a team for life': They help organ donation patients make it to a new life
The big reward, Schmidt says, will be sharing Natasha's life, through all the celebrations, and the tough times as well.
During a recent Veteran's Day assembly at the school, Schmidt said she watched Natasha run up to the teacher's mother and give her a big hug.
"It melted my heart, it was so cute," Schmidt said. "And it reminds me that any little discomfort I went through was worth it all, worth the gift of life."
This USA TODAY NETWORK-Wisconsin series, in conjunction with Froedtert & the Medical College of Wisconsin and Green Bay Packers wide receiver Randall Cobb, highlights stories about organ, eye and tissue donation in an effort to increase the number of donors in the state.
Since its inception in 2007, the National Kidney Registry for living donor transplants has facilitated 2,367 kidney transplants.
More information is available at: kidneyregistry.org
Join Wisconsin's donor registry at: www.donorregistry.wisconsin.gov
Learn more about living donations at: https://www.donatelife.net/types-of-donation/living-donation/
Read or Share this story: http://fondul.ac/2iYUSMK


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In linear algebra, a convergent matrix is a matrix that converges to the zero matrix under matrix exponentiation.

Background
When successive powers of a matrix T become small (that is, when all of the entries of T approach zero, upon raising T to successive powers), the matrix T converges to the zero matrix.  A regular splitting of a non-singular matrix A results in a convergent matrix T.  A semi-convergent splitting of a matrix A results in a semi-convergent matrix T.  A general iterative method converges for every initial vector if T is convergent, and under certain conditions if T is semi-convergent.

Definition
We call an n × n matrix T a convergent matrix if

for each i = 1, 2, ..., n and j = 1, 2, ..., n.

Example
Let

Computing successive powers of T, we obtain

and, in general,

Since

and

T is a convergent matrix.  Note that ρ(T) = , where ρ(T) represents the spectral radius of T, since  is the only eigenvalue of T.

Characterizations
Let T be an n × n matrix.  The following properties are equivalent to T being a convergent matrix:
 for some natural norm;
 for all natural norms;
;
 for every x.

Iterative methods

A general iterative method involves a process that converts the system of linear equations

into an equivalent system of the form

for some matrix T and vector c.  After the initial vector x(0) is selected, the sequence of approximate solution vectors is generated by computing

for each k ≥ 0.   For any initial vector x(0) ∈ , the sequence  defined by (), for each k ≥ 0 and c ≠ 0, converges to the unique solution of () if and only if ρ(T) < 1, that is, T is a convergent matrix.

Regular splitting

A  matrix splitting is an expression which represents a given matrix as a sum or difference of matrices.  In the system of linear equations () above, with A non-singular, the matrix A can be split, that is, written as a difference

so that () can be re-written as () above.  The expression () is a regular splitting of A if and only if B−1 ≥ 0 and C ≥ 0, that is,  and C have only nonnegative entries.  If the splitting () is a regular splitting of the matrix A and A−1 ≥ 0, then ρ(T) < 1 and T is a convergent matrix.  Hence the method () converges.

Semi-convergent matrix
We call an n × n matrix T a semi-convergent matrix if the limit

exists.  If A is possibly singular but () is consistent, that is, b is in the range of A, then the sequence defined by () converges to a solution to () for every x(0) ∈  if and only if T is semi-convergent.  In this case, the splitting () is called a semi-convergent splitting of A.

See also
Gauss–Seidel method
Jacobi method
List of matrices
Nilpotent matrix
Successive over-relaxation

Notes

References
 .
 .

 .

Limits (mathematics)
Matrices
Numerical linear algebra
Relaxation (iterative methods)

redpajama_set_name: RedPajamaWikipedia


By keeping you on track, on budget, inspired and excited, planning your wedding should not seem like it is an overwhelming task. Solmaz and her team are with you every step of the way, advising, assuring and providing a sounding board for your wedding day vision.
Pretty Occasions can help you through venue selection, vendor management of suppliers and rentals, and assist you with finding the perfect stationary, cake and floral designs to bring your vision to life.
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We could not have asked for a better experience for our wedding ceremony. Being that half of my wife's family does not speak or understand Farsi, we wanted to make both our parents agree that the best money we spent on our wedding was on Pretty Occasions. My wedding could not have gone any smoother and stress free :) From our first meeting, we could tell she was VERY organized and detail oriented. She helped me come up with a vision for my wedding and gave me the most amazing advice and suggestions to make it even better! They responded promptly to all my emails and I was always in contact with someone if I had any questions. I honestly had the best night of my life because of Solmaz. Many guests came up to us and said our wedding was the best one they have ever been to! THANK YOU Solmaz for making my wedding day so amazing and filled with the most amazing memories!! We are going to miss working with you!
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text:
Q: Measure the uniformity of distribution of points in a 2D square I am currently running into this problem: I have a 2D square, and have a set of points inside it, say, 1000 points. I need a way to see if the distribution of points inside the square are spread out (or more or less uniformly distributed) or they tend to gather together in some spot area inside the square.
Need a mathematical/statistical (not programming) way to determine this. I googled, found something like goodness of fit, Kolmogorov... and just wonder if there are other approaches to achieve this. Need this for class paper.
So: Inputs: a 2D square, and 1000 points. Output: yes/no (yes = evenly spread out, no = gathering together in some spots).
Any idea would be appreciated. Thanks

A: There is something called the discrepancy of a set of points in, say, the unit square. The smaller it is, the more uniformly distributed the point set. It is discussed in detail in the book, Kuipers and Niederreiter, Uniform Distribution of Sequences. You may also be able to find information about it by a judicious websearch.

redpajama_set_name: RedPajamaStackExchange


Nonprofit Board Discourse: a Meeting of the Minds??
Several years ago, a nonprofit director complained to me that there was too little "conflict" at board meetings. Too few hands were raised to challenge or simply question the efficacy of certain important agenda items. Having participated in hundreds of nonprofit meetings, I can vehemently report that this laissez-faire response still typifies the majority of director attitudes, especially for items that deserve vigorous discussion. Why is that? And why is the term conflict perceived as an asset to an organization that is determined to move forward? Below are some answers based on my own experience in the nonprofit environment.
Major Focus is on Operations: As I have commented in other posts, focusing on operations seems to be a default option for many nonprofits. Unlike members of business boards who have substantial financial investments in their organizations, nonprofit board members are volunteers with little personal risk and with insufficient motivation to challenge the status quo. Since the median nonprofit director's term of service is seldom greater than 6 years, a board member can lack significant interest in the nonprofit's long term future. In addition operational items are more concrete and inherently more interesting because many center on people related decisions. Then there's the "nice guy" impulse—directors' meetings are usually brief (1 to 1.5 hours) and board member are often reluctant to voice dissenting views that may offend colleagues and extend meeting times.
Preparation Is Critical: Review of governance agenda materials leads the way to more rigorous discussions. This requires nonprofits to provide meeting materials at least one week in advance to facilitate fact- based discussions. Some may argue that busy board members will ignore materials well in advance of the meetings. But isn't it a solid advantage to have some of the most interested board members well briefed for the meeting?
Recruitment: Nominating candidates for the board who have the abilities to interact effectively at meetings are important to improving the quality and quantity of meeting discussions. While nonprofits often need a diversity of board members from different fields and backgrounds, they also must have a core of directors who know the differences between governance and operational activities, who understand what is involved in critical thinking, have demonstrated leadership elsewhere and have broad understandings of what constitutes strategic planning. Otherwise the board, like the one I encountered, had many very busy middle level managers who did well on time-constrained specific projects, but they had no interest in governance or strategic planning. The de facto result was that the Board Chair authoritatively operated the board.
Getting Together: Currently, most nonprofit board members live time-compressed lifestyles and only connect with others at formal board or committee meetings. To build an effective team decision-making, board members need to know each other personally and professionally. Board chairs and CEOs must take steps to provide social or professional occasions for the board at which directors can interact. Sometimes a simple 10-minute agenda item at a meeting asking each member to briefly review personal or professional events can help—as proven by organizations like Rotary.
Passion vs. Passivity: The nonprofit director who lamented the absence of "conflict" in the boardroom recognizes that an engaged and often challenging governing body is in the best interest of a healthy and forward moving organization.


I am addicted to Facebook... I was introduced to it by Karen, and now it is my life-long (or day-long) mission to find everyone that I have ever known on it to hook up with. I have hooked up with a guy I went to Jr. High with, little sisters of good friends, people I went to high school and university with... now if only I can find Trevor Linden... hahahaha... then I would really be a stalker.... hmmm... I wonder if Russ Stalker is on there? He really is a guy (as opposed to a make-believe guy)... one of those guys that is super good looking and nice, and they don't even know it - the best kind! Whoa - that got off topic a little.
Okay - I don't think that I have anything else to say... oh - if I don't happen to post tomorrow - tomorrow is Karen's birthday... she is older than me so it is all good. I think that I am going to start only having older friends so that when I am 30 I will still be the youngest one... sorry Katrina - that means you have been voted off the island 'cause your brithday is in September... hahaha... just joking.
I must go now as I am making absolutely no sense. I just watched two episodes of Degrassi: The Next Generation online, and now I must get ready to watch curing in an hour and a half by perhaps doing some work... yeah right! I am off to scour Facebook for more of my peeps.
oh, I just had my 200th post too! We should celebrate, with alcohol, then you can add 'drinks with students' to your portfolio!


text:
from functools import wraps
from wapi.formatters import get_formatter

class objname(object):
    def __init__(self, name):
        self.name = name

    def __call__(self, func):
        func.obj_name = self.name
        return func

class extends(object):
    def __init__(self, extended):
        self.extended = extended

    def __call__(self, func):
        def new_func(*args, **kwargs):
            d = getattr(args[0].__class__, self.extended)(*args, **kwargs)
            d.update(func(*args, **kwargs))
            return d
        if hasattr(func, 'obj_name'):
            new_func.obj_name = func.obj_name
        return wraps(func)(new_func)

def include(obj, method=None, **kwargs):
    return serialization(obj, method, **kwargs)[1]

def include_list(objs, method=None, **kwargs):
    try:
        s = get_object_serialization(objs[0], method)
    except IndexError:
        return []
    return [s.method(obj, **kwargs) for obj in objs]

def chain(obj, method=None, **kwargs):
    return dict([serialization(obj, method, **kwargs)])

def proplist(obj, properties):
    return dict([(prop, getattr(obj, prop)) for prop in properties])

def merge(*args, **kwargs):
    """Merges any dictionaries passed as args with kwargs"""
    base = args[0]
    for arg in args[1:]:
        base.update(arg)

    base.update(kwargs)
    return base

def S(**kwargs):
    """Convenience function for creating dictionaries more cleanly"""
    return kwargs

def empty(obj_name):
    return { obj_name: {} }

_SERIALIZERS_REGISTRY = {}

class Serialization(object):
    def __init__(self, name, method):
        self.name = name
        self.method = method

    def apply(self, obj, **kwargs):
        return (self.name, self.method(obj, **kwargs))

class NoSerializationMethod(RuntimeError):
    pass

class BaseSerializerType(type):
    def __init__(mcs, name, bases, dct):
        super(BaseSerializerType, mcs).__init__(name, bases, dct)
        if getattr(mcs, 'serializes', None):
            _SERIALIZERS_REGISTRY[mcs.serializes] = mcs()

class BaseSerializer(object):
    obj_names = {}
    def __init__(self, *args, **kwargs):
        super(BaseSerializer, self).__init__(*args, **kwargs)
        for k, v in self.__class__.__dict__.iteritems():
            if hasattr(v, 'obj_name'):
                self.__class__.obj_names[v] = v.obj_name

    def obj_name(self, func):
        return self.__class__.obj_names.get(func)

    def default(self, obj, **kw):
        try:
            return dict([(k, v) for k, v in obj.__dict__.iteritems() if not k.startswith('_')])
        except AttributeError:
            return dict()

    def _get_serialization(self, obj, method):
        try:
            m = getattr(self, method or 'default')
        except AttributeError:
            raise NoSerializationMethod('Serialization "%s" is not defined in serializer "%s" for object "%s"' % \
                (method, _SERIALIZERS_REGISTRY.get(obj.__class__, Serializer).__name__, obj.__class__.__name__))
        return Serialization(self.obj_name(m) or obj.__class__.__name__.lower(), m)

    def _do_serialization(self, obj, method=None, **kw):
        serialization = self._get_serialization(obj, method)
        return serialization.apply(obj, **kw)

class Serializer(BaseSerializer):
    __metaclass__ = BaseSerializerType

class DictSerializer(Serializer):
    serializes = {}.__class__

    def default(self, obj, **kwargs):
        return dict([(k, chain(v)) for k, v in obj.iteritems()])

_DEFAULT_SERIALIZER = Serializer()

def get_class_serializer(cls):
    try:
        return _SERIALIZERS_REGISTRY[cls]
    except KeyError:
        return _DEFAULT_SERIALIZER

def get_object_serialization(obj, method=None):
    ser = get_class_serializer(obj.__class__)
    return ser._get_serialization(obj, method)

def serialize(format, objs, method=None, out=None, **kwargs):
    fmt = get_formatter(format)(out=out)
    fmt.start()

    if len(objs) == 0:
        fmt.empty()
    else:
        fmt.format_list([get_object_serialization(objs, method).apply(obj, **kwargs) for obj in objs])
    fmt.end()
    return fmt.get()

def serialize_one(format, obj, method, out=None, **kwargs):
    fmt = get_formatter(format)(out=out)
    fmt.start()
    serialization = get_object_serialization(obj, method)
    fmt.format(serialization.apply(obj, **kwargs))
    fmt.end()
    return fmt.get()

def serialization(obj, method=None, **kwargs):
    return get_object_serialization(obj, method).apply(obj, **kwargs)

redpajama_set_name: RedPajamaGithub


The website was acquired by IAC's division in 2011 Ok Cupid was initially owned by Humor Rainbow, Inc.
Spark Match debuted as a beta experiment of allowing registered users who had taken the Match Test to search for and contact each other based on their Match Test types.The popularity of Spark Match took off and it was launched as its own site, later renamed Ok Cupid.The current Ok Cupid Dating Persona Test is still largely identical, in question and text blurb content and order, to the original Match Test.In 2001, they sold Spark Notes to Barnes & Noble, and began work on Ok Cupid. In 2008, Ok Cupid spun off its test-design portion under the name Hello Quizzy , while keeping it inextricably linked to Ok Cupid and reserving existent Ok Cupid users' names on HQ. To stay safe, there are certain steps that you should take while dating – both online and offline.
If they didn't send one, it was time to be suspicious that they were married or hiding for some other reason.


text:
This is a bash script that runs on my nagios server and goes out to my UniFi Video server to check the Last Recording Start Time field of each camera. It takes the MAC address of the camera and calls the UniFi Video API to pull and parse the JSON returned.

It depends on the small 'jq' package, which is readily available. See https://stedolan.github.io/jq/ for more information.

Once jq is installed, you might need to change the full path of jq in the shell script. Add commands.cfg to etc/objects/commands.cfg.
You'll also need to generate an API key in your UniFi Video Server.
You may also want to change the warning and critical thresholds to something more appropriate to your environment.

I've also included a sample service check command, which you have to add into Nagios with the device's MAC address to actually call the API. Fill in the fqdn hostname, API key and camera MAC address to match your UniFi video server. Note that the MAC address should be written without the colon (:).

I also had to change the permissions on the script to allow the nagios user to run it. Simply do a chmod 755 on the file and restart the nagios service.

The code isn't perfect, but gets the job done for what I needed. If you have any issues or quesitons, I'm glad to help as I can.
This could probably be easily modified to check any number of variables on the cameras.

Thanks for taking a look!


text:
I Was Injured on a NICE Bus
April 18, 2019 in
The Nassau Inter-County Express bus is a private bus service that operates through Queens and Nassau and Suffolk counties. The bus line was formerly a part of the MTA fleet until it became a private line in 2011. In a three year span beginning in 2015, MTA buses crashed nearly 21,000 times, leaving passengers wondering about bus crash liability.
Although NICE is no longer part of the MTA, the line experienced its own rash of accidents at the end of 2018 and it is important to be aware of your options if you experience an injury on NICE or any other bus line. What happens if you experience an injury on a NICE bus? Who is liable? Is compensation possible?
NICE Owes Passengers a Duty of Care
Whenever you travel on public transportation – whether you are riding on a bus, passenger train, subway or some other means – the transportation company owes you a duty of care to transport you safely to your destination. In other words, the driver must take reasonable care to drive safely and the company must take reasonable care to maintain its fleet to prevent injury to its passengers while they are on the bus.
Unfortunately, some drivers fail to provide passengers with a reasonably safe drive to the destination, which can occur for multiple reasons. In some cases, the driver feels overworked and exhausted, resulting in fatigued driving. In others, the driver fails to follow the rules of the road and acts negligently, causing an accident.
Alternatively, the bus company may indirectly cause harm to passengers by failing to maintain buses in proper working order; if a breakdown occurs and passengers experience injury, the company bears responsibility. Or, if a bus driver has to stop suddenly to avoid an accident and the company did not maintain proper safety equipment inside the bus, the company may face liability for passenger injuries.
Breaching a Duty of Care May Mean Liability
In order for an entity to accept liability for injuries related to bus accidents, passengers must prove the following elements:
The company or driver owed passengers a duty of care to transport passengers safely to the destination.
Either breached the duty of care by failing to act reasonably to ensure passenger safety.
Passengers suffered injuries as a result of the incident.
Passengers experienced damages from the injuries.
In most bus accident cases, the duty of care rests firmly on the bus company, who – as explained previously – must act reasonably to prevent injury to passengers and other drivers. Any failing of the bus driver or bus company to drive safely or maintain the bus, resulting in an accident, may result in liability. In the state of New York, a driver's negligence results in liability for the bus company.
However, in some cases, an outside party causes the crash. Following are some instances in which someone else may assume liability for a bus crash:
The city, county, or state fails to maintain the roadway, traffic signals, or signs. An accident resulting from poor road conditions may be the responsibility of a government entity.
Another driver acts negligently and causes an accident involving the bus. Partial or full liability may rest on the other driver.
If a part of the bus's mechanical systems, tires, or brakes fails and causes an accident, multiple parties may hold liability. The manufacturer of the part may hold responsibility, or the bus company in charge of maintenance may accept liability.
NICE Liability
If you sustain an injury in an incident involving a NICE bus, the county as owner and the private operator may both be held liable. The best course of action after any bus accident is to speak with a personal injury attorney regarding your options.


text:
ATP Argentina Open, Quarter Final: Schwartzman v Bedene, 18:30
Daily match picks / By TradeShark
Schwartzman 1.53, Bedene 2.78
Bedene has won all 3 of their previous matches. They last met in June 2015 on the grass in Nottingham. He won in 3 sets. Their other twomatches were both on clay. He won them in 2014 and 2013 in straight sets.
Head to head info from TennisInsight.com
Overall results are better for Bedene in the last 12 months. He won 71% of his matches compared to 60% for Schwartzman. On clay he leads with 80% v 62% matches won in the last year.
Schwartzman was comfortable in his first round match with Haider Maurer. He won in straight sets and was broken twice. In the last round he faced Bellucci who is trying to find form after his ban for doping. Bellucci took the opening set but Schwartzman fought back to win in 3 sets.
Bedene also had an easy first round match against Vesely but was really tested by Ramos in the last round. He lost the opening set and a very late break in the second set gave him the set. He ran away with the deciding set and lost just 1 game.
Value on Bedene to take at least a set. Three sets seem likely. Lay Schwartzman around 1.40.
Update: Bedene won 6-4, 6-4.


text:
Pavel Buchnevich's Lack Of Ice Time Is Both Baffling And Damaging
By Joseph Fortunato@JoeFortunatoBSB Dec 15, 2017, 10:09am EST
Share All sharing options for: Pavel Buchnevich's Lack Of Ice Time Is Both Baffling And Damaging
Marc DesRosiers-USA TODAY Sports
By every conceivable metric, Pavel Buchnevich is one of the most productive forwards on the Rangers. Except for the one metric that's most easily controlled: Ice time.
That's a blunt lead to this story, but it's about the only way you can start an article like this. Buchnevich is amazing in almost every way (nearly to the point of saying "unquestionably so") and yet he simply doesn't get the ice time from his head coach. At this stage in the game, this is as close to a fireable offense as Alain Vigneault has had in his career in New York (which is saying something). Hell, even Sports Illustrated knows what the Rangers have in Buchnevich (read this if you haven't).
To simply things further, here's a handy cheat sheet for all important metrics on the year, and where Buchnevich stands against his own teammates:
You can make a very fair argument that if Mika Zibanejad hadn't missed five games this year he would overtake Buchnevich for goals (they're tied with 11 right now) and points. Even if that were the case, though, Buchnevich would fall to third on the team in goals and points -- and that's assuming Buchnevich wouldn't have put up points with Zibanejad there as well. Even so, Buchnevich has made a ridiculously impact for the Rangers and hasn't been rewarded for his efforts. And you can make a solid argument that Vigneault's lack of playing him is not just unfair but is actively hurting the team.
Out of curiosity, I looked among each team's top two forwards in points and where they stood in terms of their own team's ice time (among forwards only). The results are pretty much exactly what you would expect. (Any team where the 2nd and 3rd point producers were tied were also added, which is why some teams have three players.)
Outside of Columbus (the John Tortorella effect), Montreal (where noted agitator Brendan Gallagher is somehow leading the team in points), Chicago (who has a rookie who is lighting the world on fire in Alex DeBrincat), and New Jersey (Jesper Bratt is doing the same thing) most every team, well, plays their best players a lot. That's because this is the easy part of the equation: You can control ice time, so give it to your players who are putting up points.
Buchnevich, for whatever reason, does not get this benefit of thinking. Buchnevich has played just a minute more per game than Jimmy Vesey (10 points in 31 games), 45 seconds more than Jesper Fast (15 points in 26 games, but isn't a player expected to produce offense), a full 1:07 behind linemate Chris Kreider (Buchnevich has more goals, assists, and points), and nearly three and a half minutes less than Zibanejad. I had this argument when I wrote about why Buchnevich vs. Vesey was something that didn't need to happen, but the point of this article isn't to put down other Rangers. The point is to say that Buchnevich should be elevated above most of his teammates when it comes to ice time, simply because he produces when given the opportunity. That;s sort of how this entire thing works, no?
The one area Vigneault gives Buchnevich his ice time is on the power play; where Buchnevich's 2:59 per game is third on the team and second among forwards. At the very least, Vigneault recognizes that Buchnevich is a difference maker with the puck, but why hasn't he seen that at 5v5 as well?
People claim he's bad in his own zone, but that's beat reporter and MSM fallacies because he's a European player who takes risks with the puck. That there were even people willing to publicly argue the fact that Vesey was a better, more polished player is laughable. And those arguments have predictably died down as Buchnevich continues his ascent to being a damn good, potentially great hockey player. And if you needed further proof, you can see from the above that his possession metrics are at the top of the shelf -- which includes a noticeable dip with David Desharnais on his line (Kreider is seeing this as well as Pat discusses here).
Young players like this don't come around very often. While most 18- and 19-year-old players are killing lesser competition in junior hockey, Buchnevich was plying his trade against men in the KHL. At 18 he had 18 points in 40 KHL games, at 19 he had 30 in 48 (then put up 20 points in 11 MHL playoff games -- think of the MHL as the AHL to the KHL), and at 20 he put up 37 points in 58 games. His 20 points in 41 NHL games last year should have opened up eyes, but instead his coaching staff elected to healthy scratch him for Tanner Glass. It makes no sense, but that's the way it's been at times under this regime.
The good news is that Buchnevich is producing, and he's playing in a top-six role. He hasn't seen the fourth line for an extended period of time since earlier this year (again, insane) and it seems like he's attracted enough national attention that he probably can't be removed from the top-nine without some backlash. But there shouldn't be safety nets when it comes to Buchnevich. There shouldn't be a leash on his ice time.
He needs to be playing as much as he can, because when he is playing he's helping the Rangers win hockey games.


text:
Blu-ray Review - Planes: Fire and Rescue (2014)
Now Available to Own
On Blu-ray, DVD, or Download
Related Review:
Planes (2013)
AKA: Disney's Planes: Fire & Rescue; Planes: Fire & Rescue
As the very embodiment of not just wishing upon a star but aspiring to fly among them to make his Disney dreams come true, in the first of three planned "World of Cars" spin-off Planes pictures, Dane Cook's ambitious crop duster ventured from humble beginnings as a farm flyer before overcoming enormous obstacles to take to the international skies as a world-class racer.
Yet just because the underdog made it to the top of our eye-line (in some gorgeously crafted CG sequences that helped distract us from the otherwise by-the-numbers plotline), it doesn't mean that he'll be smooth sailing in the sky for long as this time around, reality in the form of a faulty gearbox soon sends him crashing down from cloud nine.
Hoping to remedy the mess he's made at home, Dusty cruises over to Piston Peak National Park for what he assumes will be a cakewalk compared to everything he's achieved.
However he quickly finds himself overwhelmed, outclassed, and — whether or not he wants to admit it — seriously impressed by the high precision flying, jaw-dropping displays of teamwork, bravery and lack of ego evidenced by the squad of true heroes whom he encounters.
And though it may be smaller in scope to the global scale of its predecessor, Planes: Fire and Rescue is vastly superior to the first film which ran out of gas and plot by the end of the first act.
Yet while the original Planes would have been better off wrapping up its entire storyline in the form of a short film as opposed to a feature, Fire and Rescue only gets better as it continues, particularly as witnessed by the coolly cinematic introduction to the crew (and what they can do) cut in time to AC/DC's "Thunderstruck."
Admittedly and much like the previous installment, Fire is a retread of the same character archetypes, storylines, style, and structure of Cars — this time with Ed Harris taking on the role as the mentor embodied by Paul Newman in the Pixar original.
However, the one bonus that this film has over the rest of the World series is a genuinely witty, against-type voice-over turn by Modern Family's Julie Bowen Dipper, the aptly-named new coworker of Dusty who's as dippy and she is determined to make Dusty her wingman.
While Dipper's overeager charm recalls Jessie in Toy Story 2 and Dory in Finding Nemo, a theme from another Pixar franchise film floats into the last half of Disney's Planes that echoes the mature moral conveyed in Monsters University.
For just as Billy Crystal's Mike struggled to adapt his future plans and roll with the punches when he learned that the path he'd always imagined for himself wasn't in the cards, it's precisely the same ability-driven setback that Dusty faces in this film upon realizing that sometimes life doesn't always go the way you'd expect.
A rough patch of a plot twist that can also be viewed as a metaphor for disability, Dusty's role-defining character arc is universally relatable from multiple points-of-view.
Uniting the ambitious flier with his mentor on a more soulful level, viewers eventually discover that, like Dusty, the decision to join the Fire and Rescue Squad came later in life as a fallback career for the character voiced by Harris as well.
Predictably of course, Planes: Fire and Rescue takes a cheap way out by giving its characters another happily ever after solution in the nick of time. Nonetheless, even utilizing this plotline is an admirably responsible step in the right direction for Disney given that their entire empire is built upon wishing on a star and dreams coming true.
For fittingly, over the past thirty years there's been a definite paradigm shift at the House of Mouse in an important transition for not only the classic fairy tales that served as a foundation for the happiest place on earth but also in the underdog films that have replaced them as modern day wish fulfillment sagas.
Winningly, they've managed to infuse the works with more realism while still staying true to their roots by never taking away from the importance of optimistic dreams.
Thus, Disney has not only taken responsibility for the oversimplification of tales of old by showing us heroes that know they might need a backup plan to save themselves when times are tough but they also give the youngest generation filmic examples of these very lessons at the very same time.
While it's nowhere near as impactful or thrilling as recent Disney fare including the superlative Wreck it Ralph or Frozen, much like Dusty you have to admire the ability of Planes to bounce back from the problems of the first one early on to deliver something stronger and more successful all around.
Text ©2014, Film Intuition, LLC; All Rights Reserved. http://www.filmintuition.com Unauthorized Reproduction or Publication Elsewhere is Strictly Prohibited and in violation of the Digital Millennium Copyright Act. FTC Disclosure: Per standard professional practice, I may have received a review copy of this title in order to voluntarily decide to evaluate it for my readers, which had no impact whatsoever on whether or not it received a favorable or unfavorable critique.
Labels: Animation, Blu-ray, Blu-ray Review, Dane Cook, Disney, Ed Harris, Hal Holbrook, John Michael Higgins, Julie Bowen, Patrick Warburton, Teri Hatcher, Walt Disney
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Fairy Tail Collection Five (12) DVD
Publisher: Manga
Released: August 31st 2020
Fairy Tail Collection 5 contains episodes 97-120 of the anime directed by Shinji Ishihira.
The most powerful wizards in Fairy Tail travel to a remote island rich in magic - and history. There, they compete against one another to see who among them deserves to be given the title of "S-Class." But where these wizards go, chaos is sure to follow. Their trials are interrupted when the most powerful of the dark guilds - Grimoire Heart - shows up in search of a legendary wielder of black magic. Once they find him, they'll use his skills to bring death to every corner of the world.
If Fairy Tail has any hope of defeating their diabolical opponents, they're going to have to combine all their powers and work together like never before. But as curses start to fly between wizards, the real danger might come from Zeref, an infamous dealer of death whose devilish plans for the future could bring an end to this golden age of magic.
Reference MANG7645


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focused at a constant 15 feet.


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My Favourite Movies
#Hotcorner
VIDEO | The Wild and Crazy Guys of 80s Comedy according to author Nick de Semlyen
REVIEW | Stardust: Gabriel Range's biopic of David Bowie
INTERVIEW | Locarno Film Festival chief Giona Nazzaro: "Cinema in the present tense…"
Surviving Harry Potter | Daniel Radcliffe and the avoidance of career wilderness
Can you dig it? Some Lessons We Learned From The Warriors
They Don't Make 'Em Like That No More | Doris Day
REVISITING | Mississippi Grind, Ben Mendelsohn and an unmissable cinematic bromance
Why The Zen Diaries of Garry Shandling is Judd Apatow's best film yet
Giancarlo Vulcano: "From 30 Rock to Briarpatch, my journey as a composer…"
in Soundtrack
From Saturday Night Live and 30 Rock to Briarpatch, our interview with the Brooklyn-based composer
While my guitar gently weeps: composer Giancarlo Vulcano in action.
by Adam Lowes 3rd February 2020
NEW YORK – Brooklyn-based composer Giancarlo Vulcano has been steadily making a name for himself in comedy television for a number of years now, initially finding his niche as part of the music team for Saturday Night Live. Moving up to eventual scoring duties on that show's fictious behind-the-scenes counterpart, 30 Rock, he has subsequently lent his talents to the hit Netflix show Unbreakable Kimmy Schmidt. More recently he created the music for the hotly-anticipated neo-noir series Briarpatch, from Legion co-producer Andy Greenwald and TV wunderkind Sam Esmail (Mr. Robot and Homecoming). We manged to grab some time over Skype to chat with Vulcano about Briarpatch and his formative years in the business.
Your IMDb page lists your early experiences as working in the music department on a couple of Scorsese films and Cronenberg's A History of Violence. Can you talk about what that entailed?
«My first job outside of college was a music copyist. That's someone who separates the instruments in a musical arrangement for members of a band or an orchestra. I was working at Saturday Night Live where I met the composer of A History of Violence, Howard Shore. Incidentally, he was the original music director of that show. I started working for him as an assistant when he was in the middle of all his work for The Lord of the Rings. I'd do everything, including making sure copyists in England had the correct sheets and getting all the mixes back to Howard. I would actually sit in on the spotting sessions. This is where a composer discussing whereabouts all the music cues should go in the film. It was a little bit of everything. This also meant I was involved in a lot of the recording sessions, most of which were done in London. To see a score on paper for months and then to hear an orchestra bring it to life was an invaluable tool. I feel so lucky that I'd be sitting in the room while Howard conducted. It was really a great education on a technical level».
You started your career scoring short film but your biggest gig after that was scoring for 30 Rock, right?
«Again, that was through the Saturday Night Live connection. All those years when I was working with Howard, I actually held on to the SNL gig. It was back when Tina Fey was still on the show and I was copying for her husband Jeff Richmond – a fantastic composer in his own right – who was working there doing the sketch music. He was a lovely guy and we were friends. When 30 Rock started in 2006 he needed help with the scoring. That turned into playing guitar for score and then heavier work. At a certain point my IMDb credit for 30 Rock turned into score producer because eventually it became about getting musicians in to record and identifying musical numbers for the show in each script. Eventually I composed a bunch of episodes».
Sounds like it was a matter of leaning into your strengths as a composer and hanging in there until the opportunity arose to move up?
«That how it seemed to work for me. There are any number of ways to breaking into the industry but for me I really like the mechanics of music. I'm really a student of orchestration and the way each musical component works. I was certainly trying to ascend in my career. 30 Rock was a really exciting time for me. The show had 20 or 22 episodes a season. I haven't done a season of that length in a long time. You see movies where a guy is running down the hallway with a piece of paper because an orchestra is about to record and he throws it on the stand. It was really like that».
Fast-forwarding to present day, can you give us a little flavour of Briarpatch?
«It's a drama, which is a genre I've rarely tackled with my bigger gigs. It's an anthology series where the entire story is held in ten episodes. It's a noir mystery that takes place in Texas about a woman played by Rosario Dawson who goes back to her home town to solve the mystery of who killed her sister. There's some incredible actors on the show. The more surreal aspects of the show offered me the opportunity to do some wilder stuff».
Did you get complete freedom to do that?
«My friend and co-creator of the show, Andy Greenwald, wanted things to be crazier. To be pushed to go even further out there is a really fun thing to have happen. I was friends with Andy even before the show and we have a shared love of music. He has great taste and is into things that are far from traditional. It was a real pleasure working with a guy like that».
Giancarlo Vulcano and Lenny Pickett
You say it was a departure for you creatively. Was there any trepidation about signing up for the series?
«It was a departure from the TV stuff I'd worked on, but I was always scoring smaller, often darker, projects while I was on series hiatus, so that style is a big part of my life, creatively».
When you're scoring for a fantastic actress like Dawson, does it somehow elevate your own work?
«Sometimes the performance on screen makes your music sound better than it is because the acting is so great. That can be deceptive because you can put something underneath a scene and think you're done. Then you realise that it's not quite up to the highest standard because the actor is carrying the whole weight. You have to step back and make sure the music is supporting the scene. I noticed that a lot on Briarpatch because visually it looks so great and the actors are amazing. I would just think "oh my god, my music sounds so good" (laughs). Quite often I'd have to withdraw a little and make sure I was contributing properly in regard to my part».
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Graham Reynolds
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Cormac Bluestone
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Composer Emily Rice shares his journey into the Miss Juneteenth score and talks about the future of females composers
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Star Trek, First Blood, The Twilight Zone: we look back at one of Hollywood's greatest composers
in Classics
HOT CORN Guide | Top 10 music documentaries you need to watch
Pulp, punks and Pearl Jam. We've waded through the many great music documentaries on streaming (and there are many) and narrowed it down to a definitive top ten.
Game of Thrones Live Experience: How to prepare for the concerts. And get tickets
Thom Yorke on Suspiria: "It was a form of making spells"
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Sturdust Movie Review. Gabriel Range's biopic of David Bowie is heartfelt and thoughtful, but doesn't quite hit the mark. Despite Johnny Flynn's personable performance, this dull film never really takes flight.
by Jo-Ann Titmarsh 15th January 2021
Many who flocked in their masses to watch Captain Marvel might be surprised to learn where the writer/directing duo of Anna Boden and Ryan Fleck themselves emerged from before their first taste of large-scale Hollywood franchise film-making. Prior to the MCU, Boden and Fleck had spent over a decade in the independent scene, bringing to the screen …
by Adam Lowes 13th January 2021
by John Bleasdale 2nd January 2021
Why Primal is a gloriously daft throwback to the nineties video shop era
Primal is daft and wholly entertaining way of killing 90 minutes. Directed by Nick Powell, the movie starred by Nicolas Cage. Take Cage out of the equation and it's as close to replicating the experience of renting an early nineties B-movie as can you get in this modern age of filmmaking.
by Adam Lowes 2nd January 2021
REVISITING | Johnny Suede, Nick Cave and the first leading role of Brad Pitt
Johnny Suede: Brad Pitt's first leading role as a big-haired wannabe hipster musician puts the pomp in pompadour
Mr. Jones – Trailer
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MY FAVOURITE MOVIES | Peter Strickland: 'Me, Eraserhead and Morricone'
Hot Corn's column in which musicians, actors, artists, directors tell us about their favourite movies
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My Favourite Movies | Paul Schrader on Robert Bresson and rewatching Mishima
MY FAVOURITE MOVIES | Radioactive star Sam Riley
Sam Riley speaks to Hot Corn all about his favourite ever movies – in support of the Marie Curie biopic Radioactive, starring Rosamund Pike in the leading role.
MY FAVOURITE MOVIES | Niamh Algar on Thelma, Louise and that scene from My Girl
Niamh Algar, the star of The Virtues and Calm With Horses, speaks exclusively to The Hot Corn, and tells us all about her very favourite movies, from childhood until now.
MY FAVOURITE MOVIES | Vivarium director Lorcan Finnegan
Lorcan Finnegan, the director of Vivarium – starring Imogen Poots and Jesse Eisenberg, takes part in our 'My Favourite Movies' series, to discuss the films that inspired him.
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« Should You Replace Your HVAC System?
Unusual smells in your home are usually a sign that something's wrong. Sometimes it's just an over-ripe garbage bag, but when the smell is coming from your furnace, then it's time to dig a little deeper. Here are some smells you can experience from your furnace, and what they might mean for your home.
If you're smelling a burning smell, and it's the start of the heating season, then you're probably just smelling the dust burning off of the system after months of non-use. This is not something to be concerned with. However, if the burning smell smells metallic, similar to an overheated motor, then you may have a problem with the furnace blower. If you don't address the issue, the motor could overheat, melting the attached wires and creating a serious electrical risk. For this smell, you need to call an HVAC professional immediately after turning off your system.
If you're smelling rotten eggs or a similar smell, you probably have a gas leak. This is an emergency. Open all of the doors and windows in your home, call 911 and get out of the home. Natural gas is scented to smell this way so homeowners are aware when there is a problem.
Chemical smells are difficult to diagnose, because they can be due to a number of causes. If you're smelling a chemical smell, it may be a sign of a cracked heat exchanger. This particular problem puts your family at serious risk for CO poisoning, so you need to get it looked at right away. Even if you're not completely sure what the smell smells like, you need to have someone look at it right away to ensure your family is protected.
Are you noticing unusual smells from your furnace this winter? Shamrock Heating & Cooling offers a comprehensive list of furnace repair and maintenance services. Don't put your family's safety at risk, but give us a call to have one of our experienced furnace technicians take a look at your system to determine the source of the smell. We even offer emergency repair service, so if you have a serious gas leak or your CO alarm goes off in the middle of the night, we are here to assist.
Give Shamrock Heating & Cooling call or contact us online today to ensure your family is safe and protected from the dangerous causes of these common furnace smells.
This entry was posted on Monday, January 23rd, 2017 at 6:49 am and is filed under Uncategorized. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.


Reprinted from Ideaography, first published July 19, 2008.
A handy little actionscript class (download) from doesnotcompute to, well, draw lines and arrows. The great thing about this article is that it takes you through the process of how to use the arrow class efficiently and also provides an editor to experiment with arrow style.


How Serious Are Duplicate Meta Tag Issues?
Home > Google News > Google SEO > How Serious Are Duplicate Meta Tag Issues?
Let's say you have a very dynamic web site and you also generate your meta keywords dynamically. Could you be penalized (or receive a warning) if those meta keywords are very similar? In a nutshell, yes, though there's a 'debate' across two forum threads.
You may receive a warning in Google Webmaster Tools, but you will probably not receive a penalty. However, as JohnMu says in a Google Groups thread, those "warnings" are mostly nudges that you should try to diversify the meta data. You should keep in mind that the terminology should "makes sense to your users." If that means you need to work with duplicate meta data, then that's how you should proceed.
Forum discussion continues at WebmasterWorld and Google Groups.


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Nonfiction Books
Ron Charles
Michael Dirda
Carlos Lozada
10 books to read in December
By Bethanne Patrick
November 30, 2021 at 8:00 a.m. EST
Almost all of the books on this month's list come out on the same early December date, in plenty of time for you to choose one or more as gifts. Happy holiday reading!
"The Hotel," by Sophie Calle (Dec. 7)
Calle, a French artist, is known as a "forensic conceptualist," and her book, published for the first time in English, is a kind of catalogued voyeurism. In 1981, Calle worked as a chambermaid in a Venetian hotel, using not just a broom and a mop, but also a camera and a cassette recorder. The rumpled sheets and discarded items reveal much about humanity.
The 10 best books of 2021
"A History of Wild Places," by Shea Earnshaw (Dec. 7)
This atmospheric thriller begins with Travis Wrenn, whose search for a missing woman leads him to Pastoral, a secretive Oregon commune. Years after he too disappears, members of Pastoral discover his abandoned truck and begin uncovering long-buried secrets.
"Garbo," by Robert Gottlieb (Dec. 7)
Raised in poverty in Sweden, Greta Garbo has captivated generations of film fans with her sultry on-screen presence. Her retirement, at the height of her fame, made her even more fascinating. Gottlieb, the renowned editor and author, sheds light on this enigmatic actress.
"Bright Burning Things," by Lisa Harding (Dec. 7)
This Irish author's American debut is drawing comparisons to Douglas Stuart's Booker Prize winner "Shuggie Bain." Both are about alcoholic mothers with young children, but "Bright Burning Things" focuses more on the maternal experience, as one-time party girl Sonya fights to keep her son, Tommy, after she falls into the hell of addiction.
The best mysteries and thrillers of 2021
"Beasts of a Little Land," by Juhea Kim (Dec. 7)
Beginning in 1917, this historical novel about two people struggling to survive spans decades in Korea's tumultuous history. Jade, sold as a young girl to a school for courtesans in Pyongyang, forms a bond with JungHo, a Seoul orphan who wants to fight for freedom. Their relationship will be tested as Jade's circumstances improve.
"The Cat Who Saved Books," by Sosuke Natsukawa; translated by Louise Heal Kawai (Dec. 7)
Combine "The Elegance of the Hedgehog" with "Mr. Penumbra's 24-Hour Bookstore" and you might get a feel for this delightful novel. A talking bookstore cat persuades a young man named Rintaro to embark on a quest to save books from barbarous fates, including languishing on shelves and being "tortured" by a man whose speed-reading tutorials involve scissors.
The best feel-good books of 2021
"Fishing the Wild Waters: An Angler's Search for Peace and Adventure in the Wilderness," by Conor Sullivan (Dec. 7)
A former Coast Guard officer and lifelong outdoorsman takes readers to three of the remaining wild fishing destinations in the United States, in Hawaii, Alaska and New England. Yes, he's concerned with environmental matters and sustainable consumption, but he's also after the kind of serenity found when humans connect with the natural world.
"White on White," by Aysegül Savas (Dec. 7)
Savas elegantly explores loneliness in her second novel. After a student rents an apartment, its artist owner, Agnes, unexpectedly returns, moving into the upstairs studio. As the two become acquainted, and the student see Agnes's new works — involving white paint on white canvas — the tenant realizes she's witnessing a woman crumbling.
"The Death of My Father the Pope: A Memoir," by Obed Silva (Dec. 7)
Born in Mexico and raised in the United States, where he was drawn in by gang culture, Silva discovered the power of literature after being paralyzed from the waist down by a gunshot wound. Now a college professor, Silva has written a book that dissects the cruel effects his father's alcoholism had on their family and himself.
"52 Shabbats: Friday Night Dinners Inspired by a Global Jewish Kitchen," by Faith Kramer (Dec. 14)
If you're Jewish and regularly celebrate Shabbat, Kramer's new cookbook, with stunning photos by Clara Rice, will give you fresh ideas for family favorites. But faith isn't a prerequisite to appreciate this gorgeous compendium with mini Bundt cakes that riff on New York black-and-white cookies, a fail-safe challah loaf and even a Moroccan tagine.
Bethanne Patrick is the editor, most recently, of "The Books That Changed My Life: Reflections by 100 Authors, Actors, Musicians and Other Remarkable People."


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Leasinvest tagline
CNUE intranet
The Notary's Role
EU Topics
4th Congress – The Transfer of Company Headquarters in the EU
posted in: CNUE news
On the second day of the congress, Friday 6 October, Europe's notaries presented a series of proposals for a directive on the transfer of company seat in the European Union.
Indeed, the adoption of a fourteenth Company Law Directive on the transfer of a company's registered office is an idea that has been the subject of contradictory debates in the European institutions over the last 20 years, recalled the CNUE Vice-President Marius Kohler. At present, this process, which allows a company to set up in another EU country without losing its legal personality, depends on the various national laws and principles established by the Court of Justice of the European Union, protecting the freedom of establishment. In addition, companies can make use of existing EU instruments such as the Merger Directive.
However, this situation could change rapidly with the presentation on 29 November of a package of legislative measures by the European Commission which could include provisions on the transfer of company seats. For the notaries of Europe, a future directive will have to provide for appropriate procedural rules and protective measures for workers, minority shareholders and creditors.
This view is in line with the view expressed by MEP Evelyn Regner (S&D, Austrian) who also called for a strengthening of the rights of stakeholders. She called for a directive that does not lead to circumvention of the legal, social and tax provisions of the EU and the Member State of origin. This was also the position of the Deputy Secretary General of the European Trade Union Confederation (ETUC), Peter Scherrer, who demanded "information and consultation rights for employees", referring to the use of the transfer of seat to limit employees' co-management rights.
"Establishing a legal framework takes time", said Susanne Knöfel, Deputy Head of Unit for Company Law at the European Commission, recalling the complexity of this issue. The Commission is currently considering different options and is listening to the reasons given by companies when they move from one Member State to another, while remaining aware of the risk of transfer for reasons other than 'real economic' reasons. She indicated that the possibility of introducing measures to combat tax evasion was being examined.
During the congress, the participants were informed of a proposal for a European directive on the cross-border transfer of seat, drawn up by the Spanish notariat. The document is available on the congress website: https://www.notariesofeurope-congress2017.eu/en/media-library/
The proposal lays down as a central principle a two-pronged examination: first by the Member State of origin, which would have to check that the national conditions for a transfer are met, and second by the host Member State, which would then be responsible for verifying compliance with the conditions of its own legislation for the incorporation and registration of the company.
Another fixed requirement is the simultaneous transfer of the registered office and the actual place of business. The idea behind this proposal – supported in particular by Professor Peter Kindler of the Munich Faculty of Law – is that the isolated transfer of the registered office entails risks of abuse such as the conversion of companies into letterbox companies or circumvention of legal protection standards.
The conclusions of Topic II and the working papers are available at the following link: https://www.notariesofeurope-congress2017.eu/en/media-library/
Congress website at www.notariesofeurope-congress2017.eu
Congress Facebook page: @notariescongress
Congress Twitter account: @NotaryCongress and #NotariesCongress
2012 CNUE


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Messages Carried by Ripples in Space and Time
In our daily life, we measure space with yardsticks and time with clocks. This gives us the illusion that space and time are absolute. With that mindset, Isaac Newton, the son of a farmer who stayed at home during a bubonic plague, pondered why apples in his family's orchard fell straight to the ground and suggested in 1687 that gravity is a force between any two objects.
A century before Newton's realization, Galileo Galilei concluded that the gravitational acceleration of a body would be independent of its mass, contrary to Aristotle's assertion that heavy objects fall faster than the lighter ones. Indeed, during the Apollo 15 mission to the Moon in 1971, the astronaut David Scott dropped a feather and a hammer from his hands and the two hit the ground at the same time because of the lack of a lunar atmosphere.
Three centuries after Galileo, Albert Einstein came up with the thought experiment that people in a free-falling elevator would have no sense of gravity because their feet would not press against the floor of the elevator, since their feet and the floor are falling at the same rate. This led him to recognize in 1907 that gravity is not a force but rather an acceleration of the reference frame shared by all objects, irrespective of mass or composition — the so-called equivalence principle. If so, Einstein reasoned, gravity must be a distortion of space and time, shared by all objects. In fact, standing on a rocket which is accelerating at 1 gee, the surface gravity of Earth, feels exactly like standing on Earth.
In November 1915, Einstein formulated the equations that describe how spacetime is curved by matter and how the curvature of spacetime dictates the motion of matter. The curvature of a surface can be inferred from the sum of the angles of a triangle on it. Whereas 180 degrees is the sum of the three triangle angles on a flat surface, this is the sum of just the two base angles for a triangle drawn on the surface of a sphere, like the Earth, with the base lying on the equator and the two sides meeting at the north pole.
A simple way to visualize the curvature of spacetime is to consider a two-dimensional analog to the three-dimensional space we inhabit. Consider a bowling bowl resting at the center of a trampoline made of rubber and curving its flexible surface. If we kick a marble at the right speed around the center, it will follow a circle because of the curvature of the trampoline surface. But if we were to remove the bowling bowl and give the marble the same kick, it would move along a straight line on the flat surface. For the same reason, if we were to remove the Sun instantly from the Solar system, the Earth would fly out along a straight line because the local spacetime would become flat.
Now imagine moving the bowling ball back and forth periodically. This would inevitably produce ripples in the rubber surface of the trampoline, propagating out like a wave generated by a stick moved back and forth on the surface of a pond. In the same way, a companion star moving the Sun back and forth, would generate ripples in spacetime called gravitational waves. These waves interact so weakly with matter that they cannot be damped anywhere in the Universe, as I have shown in a recent paper.
In August 2015, a century minus two months after Einstein's equations were formulated, the LIGO experiment detected the first gravitational wave signal from the collision of two black holes at the edge of the Universe. This opened a new window for observing the Universe.
By now, seven years and nearly a hundred additional event signals after LIGO's pioneering discovery, astronomers celebrate a new frontier of gravitational wave astrophysics. On the one hand, our ability to explain all the signals as mergers of black holes or neutron stars is rewarding. But at the same time, the lack of unexpected sources is disappointing.
For example, we could have identified bursts of gravitational waves from topological defects of spacetime, called cosmic strings, which are hypothesized to be generated by symmetry-breaking phase transitions in the early universe. We could have also detected artificially-produced bursts of gravitational waves, used for communication among advanced technological civilizations.
But perhaps we will find these unusual signals with the future generations of gravitational wave detectors. A novel detection scheme, the Pulsar Timing Arrays (PTAs), uses pulsars as distributed clocks to detect the passage of a low-frequency gravitational wave from the mergers of massive black holes at the centers of galaxies.
With my former postdoc, Dan D'Orazio, we showed in a recent paper that PTAs could potentially be used as a new method for calibrating cosmological distances and measuring the Hubble expansion rate through gravitational-wave parallax. The principle is familiar. Darwinian survival selected animals with two eyes since they were able to assess the distance of threatening objects by viewing them from two directions. For the same reason, having an array of pulsars allows us to identify the distance of a cosmological source of gravitational waves.
In an even more recent paper with Hamsa Padmanabhan, we showed that PTAs can unravel the formation history of the first supermassive black holes in the first billion years after the Big Bang. This data will complement the deep images of galaxies during that epoch, obtained by the Webb telescope.
Webb's images are artificially colored, since the corresponding infrared wavelengths are invisible to the human eye. What we cannot see with our eyes, we detect with infrared sensors, and what we cannot detect through light, we detect through gravitational waves.
The latest advances in our understanding of the cosmos stem from developing technologies that make the invisible detectable. Humanity follows a steady progression towards extending the limits of our biological senses with technological devices that probe our cosmic neighborhood more effectively. Technological extensions of our body make the invisible detectable.
This work is not done. We still have to find the nature of dark matter and dark energy as well as the nature of singularities, like those in black holes and the Big Bang. Singularities are points where the curvature of spacetime diverges and Einstein's equations break down.
A brilliant scientist has yet to formulate an extension of Einstein's equations that incorporates quantum mechanics and explains away the singularity of the Big Bang. Thought experiments might not be sufficient. Here's hoping that the clues for how to move forward will be encoded in gravitational waves from the early universe, the equivalent of the falling apples in Newton's orchard.
Francesco Carrubba
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erma0x
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The Substitute for the Drake Equation in Extraterrestrial Space Archaeology