When we discuss herbal remedies for ADD, we first understand ADD. Attention Deficit Disorder is a behavior-related condition. This neurological condition creates difficulty in impulsiveness and concentrating. ADD can cause difficulties in the average age of up to 8 years but can extend itself well into adulthood as well.
Different types of chemical food additives, artificial flavors and sweeteners, nutritional deficiencies, allergies, and refined sugar are the main reasons for the ADD. ADD is a disorder which also has a genetic link and some environmental influences are also found to be the main causes of ADD.
Some of the symptoms of ADD include Feeling of being bored, distraction, difficulty in concentrating, lack of focus, listening problems, difficulty in organizing the routine tasks, and frequent mood swings.
There are different methods of treatment available for ADD. Some of the traditional methods including pharmaceutical medicines provide an expensive solution to the problem. Moreover, these chemically processed medicines are not without harms.
Different natural remedies have been employed for treating ADD for years. Herbal remedies are the best in ADD treatment without medication. These herbal remedies for ADD provide the inexpensive way of treating this disease. We present some of the best herbal tips in this article that will help to fight against the ADD symptoms without causing any side effect.
Rhodiola Rosea is a natural herb which has adaptogenic properties. This herb is also known as a golden root. This herb has tremendous brain boosting and fat burning power. Active compounds including rosoavin are present in this herb which balance the cortisol (a stress hormone). Many research works have found that Rhodiola Rosea is effective for improving the focus and concentration problems in both children and adults. This herb helps in increasing the sensitivity in the nervous system that makes dopamine and serotonin, which are essential for controlling ADD symptoms. Rhodiola rosea side effects are minimal and is powerful in reducing ADD.
Children suffering from ADD can have many problems like sleepiness and getting up early in the morning. Herbal teas based on spearmint, lemongrass, chamomile, and other useful herbs can be used to give a soothing and calming effect to the body. These teas should be taken before bedtime. Natural ingredients present in these herbs prepare your body for sleep. Calming effect and timely sleep will make you look fresher and concentrate better in the morning. In Short herbal tea health benefits are huge and highly recommended for everyone at any age.
Brahmi is a marsh plant which is also known as water hyssop. The stems and leaves of this herb are used for preparing the medicine for ADD. This herb has ingredients which improve the brain function and make the memory strong. A study was conducted in the US, where people using Brahmi were tested for their memory and it was found that participants of the test had the ability to retain more information due to improved brain function. Brahmi side effects are minimal. Brahmi benefits are huge and to answer how long does brahmi take to work depends on the dosage of the herb.
What is Gotu kola ?. Well Gotu Kola is a plant which grows naturally in South Africa and Asia. This herb contains the natural ingredients including B1, B2, and B6 etc.
What are the Gotu Kola health benefits and what are the Gotu Kola side effects?
So, the use of this herb makes the brain healthy by providing the required ingredients in a natural way. It reduces anxiety and improves mental clarity. Many studies have found this herb in among the most useful herbal remedies for add. It's side effects are minimal and again depend on the dosage.
The bark of the pine tree is very useful material to treat the patient suffering from ADD. The extract of this bark is known as Pycnogenol. This extract contains many natural ingredients like taxifolin, phenolic acids, catechin, and procyanidins. These ingredients improve the condition of ADD. The use of this extract from the pine bark normalizes the antioxidant level in children with ADD and is among the most effective herbal remedies for ADD.
What are the best herbal beauty tips?


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Q: Qml Canvas Animation Error I have this qml file implemented into one of my main window files. However, the animation isnt showing. I copied this from a textbook tutorial on canvas animations so I was confident there would be no foreseeable errors in syntax. There are no errors when I debug, but I cannot see any part of the animation. Any ideas?
HeartBeat.qml
Canvas{
id: canvas
visible: true

width: 600
height: 300

property int lineWidth: 2
property var points: []
property real arg: -Math.PI

Timer{
    interval: 10
    repeat: true
    running: true
    onTriggered: {
        arg += Math.PI/180
        while(arg >= Math.PI) arg -= 2*Math.PI
    }
}

onArgChanged: {
    points.push(func(arg))
    points = points.slice(-canvas.width)
    canvas.requestPaint()
}

function func(argument){
    var a=(2*Math.PI/10); var b=4*Math/5
    return Math.sin(20*argument) * (
                Math.exp(-Math.pow(argument/a, 2)) +
                Math.exp(-Math.pow((argument-b)/a,2)) +
                Math.exp(-Math.pow((argument+b)/a, 2))
                )
}

onPaint:{
    var ctx = canvas.getContext("2d")
    ctx.reset()
    ctx.clearRect(0, 0, canvas.width, canvas.height)
    var pointsToDraw = points.slice(-canvas.width)
    ctx.translate(0, canvas.height/2)
    ctx.beginPath()
    ctx.moveTo(0, -pointsToDraw[0]*canvas.height/2)
    for(var i=1; i<pointsToDraw.length; i++)
        ctx.lineTo(i, -pointsToDraw[i]*canvas.height/2)
    ctx.lineWidth = canvas.lineWidth
    ctx.stroke()
}
}

Main.qml
Item{
    id: container
    x: 530
    y: 542
    width: 600
    height: 300
HeartBeat{
    id: heartBeatMonitor
}
}

I have no problem with other canvas animations... it is just this animation.

A: Adding logging is a good idea for early debugging.
onArgChanged: {
    points.push(func(arg))
    points = points.slice(-canvas.width)
    console.log(points);
    canvas.requestPaint()
}

After that I see that array is filled by a lot of NaN. Then I looked at var b=4*Math/5 and it seems a few letters are missng after Math. I don't know what was expected to be printed there.
Man, you should find better textbook!

redpajama_set_name: RedPajamaStackExchange


You Can Wear Vans Chaussures To The Beach, Town, To Work Or School. These Light Skate Chaussures By Vans Have A Reinforced Heel, Soft Inner Insole For Comfortable Impact And A Firm Vulcanized Sole With Nonslip Vans "Waffle" Pattern. Lacing Is Easier Due To Metal Rings. Slightly Padded Ankle Area. Fabric Surface.


Alright, let's be honest. You eat dinner most nights at a reasonable hour, but then, later in the evening, you find yourself heading to the freezer for your nightly ice cream fix, or to the pantry to raid the cookies and chocolate stash. Truthfully, you're not even hungry, but you feel a craving for something sweet and fatty. Nothing to be ashamed of–late night foraging is something many of us succumb to.
We all know that eating late at night isn't the best for our bodies, but why do we feel a strong urge to chow down long after the sun has set? Before I discuss the why of late night eating, let's take a look at how late night eating affects your health and well being.
First and foremost, eating late at night disrupts your body's natural rhythms. Your circadian rhythms and many other hormones in the body are affected by the type and amount of calories you ingest and the time of day you eat. Eating too close to bedtime not only disrupts your biological clock and interferes with your sleep, but it may also devastate vital body functions and contribute to disease.
Your body uses the naturally occurring fast that happens from approximately 8pm to 8am to reset hormones, especially cortisol, the short-term stress hormone, and ghrelin, the hunger hormone. If you don't allow your body enough time to fast and sleep deeply, these biological pathways become disrupted. And all of this can thrown your metabolism off kilter and lead to weight gain.
And finally, you'll want to avoid eating too close to bedtime because doing so may increase your risk of acid reflux. These symptoms include the all-too-familiar food regurgitation, heartburn, acid stomach, chronic throat clearing and dry cough. The stomach takes a few hours to empty, especially if you've eaten foods high in protein and fat, and if you get horizontal too soon after eating, your stomach may very well leak its contents up into your esophagus. Chronic acid reflux is something to take seriously as it can end up damaging your esophagus.
So now that you're clear on how late night eating affects your health and well being, let's examine why you feel the need to fill a bowl (or two) with your favorite treat when it's time to wind down the day.
First and foremost, you may not be eating enough calories, especially fiber-filled unprocessed whole plant foods, during the day. When our days are packed, we often skip meals or grab processed nutrient-deficient foods to satisfy our hunger. Our bodies are wise: if we haven't eaten enough nutrient-dense food during the day, they will send out signals, via cravings, later in the day to make up for any deficiencies.
Your stress level is high. When you're stressed and anxious all day , your cortisol level remains elevated at night, when it should be dropping. Cortisol increases your appetite for sugar and fat and this is why ice cream, cookies, cake and pies look so good in the wee hours. Combat night time stress eating by unwinding earlier in the evening. Dimming the lights helps lower cortisol levels, as does a detoxifying, soothing bath. Meditation and deep breathing exercises can also lower stress and cortisol levels.
Your blood sugar spikes up and crashes down throughout the day. If your blood sugar levels are constantly spiking and crashing, your cravings will feel intense and your best intentions for healthy eating will go right out the window. Ingesting processed foods full of sugar, fat and salt (think chips, cookies, candy and pretzels), and sugary, creamy beverages like coffee drinks, leads to unstable blood sugar levels. Consider reducing your intake of processed foods and added sugars–you'll notice those evening food cravings disappearing. Try selecting unprocessed whole plant foods like sweet potatoes, yams, nuts and berries for snacks.
You're an emotional eater and you turn to food for soothing, comfort, pleasure, excitement and distraction. Emotional hunger–an exaggerated desire or appetite for food–often feels like true physical hunger. In addition to the unwinding activities mentioned above, try journaling early in the evening to get thoughts and feelings down on paper. I encourage my clients to reflect on the day and practice a 3-step journaling process I call an Inner Conversation. Step1: What am I feeling? Take a moment to write down all the emotions you are aware of, including any sensations in your body. Allow yourself to be present to these emotions and sensations. Step2: What am I needing? If you're not physically hungry, your body does not need food! Perhaps you need comfort, validation, companionship, stimulation, reassurance or hope. Step3: Access your wise Inner Nurturer voice for comfort and reassurance and to help you meet your needs. This is the kind, loving, mature part of you that can always help you meet your needs. Practice using this voice as often as possible–write down phrases this voice can say to you that are calming and soothing. Practice your Inner Conversations as often as possible. The payoffs will be immense.
Late night eating is a bad habit. Try setting a conscious intention to break it. Be prepared to be uncomfortable for a few nights. The way you feel in the morning–physically and emotionally lighter–will be your motivation to continue. Sweet dreams.


text:
Last updated: 12:23 / Wednesday, 14 August 2019
Based in Miami
Participant Capital promotes Claudio Izquierdo to Chief Operating Officer
Photo: Claudio Izquierdo, Chief Operating Officer at Participant Capital / Courtesy
By Funds Society
Claudio Izquierdo has a long history of working with institutional investors and ultra-high net worth individuals throughout Latin America
With Claudio's years of experience in international investment and business development, the company is strongly aimed to elevate its global expansion
Participant Capital, a Miami-based private equity real estate investment firm, founded by Royal Palm Companies, a developer with more than 40-years of success, has announced today the promotion of Claudio Izquierdo to Chief Operating Officer. With Claudio's years of experience in international investment and business development, the company is strongly aimed to elevate its global expansion.
Claudio Izquierdo has a long history of working with institutional investors and ultra-high net worth individuals throughout Latin America. His successful career includes impressive achievements at some of the world's most prestigious investment banks such as Morgan Stanley where he rose to the position of Vice President. He also served as a Senior Vice President of Investments at UBS and a Senior Financial Advisor at HSBC.
"Claudio is an exceptional professional with international business acumen and deep expertise. He is managing over 30 distributors and building partnerships with key financial institutions across the globe," comments Daniel Kodsi, Participant Capital CEO. "We are proud to have him on our team!"
Prior to joining Participant Capital, Claudio enjoyed a successful career as an entrepreneur having established a number of international export and trading businesses. He has a degree in finance from Florida International University. He is a frequent contributor to a variety of trade and business publications and a sought-after speaker and expert authority on international investment and management products.
"I am happy to oversee how fast Participant Capital is growing,'' says Claudio. "Thanks to the dedication of our team, we are creating long-lasting value for our clients and providing direct access to world-class real estate projects from the ground-up at the developer's cost basis."
PARTICIPANT Capital
In Miami
Join PARTICIPANT at its Investment Launch Cocktail

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Winston-Salem Symphony presents a free 'Concert for Community' on Jan. 25
WINSTON-SALEM — The Winston-Salem Symphony and Youth Symphony will perform together for a "Concert for Community" at 3 p.m. on Saturday, Jan. 25. Under the baton of new Music Director Tim Redmond and Mark Norman, interim youth orchestras program director, the program will feature the combined professional and youth symphonies, totaling approximately 128 musicians, performing multiple pieces.
The concert is free and open to the public and will take place at Wait Chapel on the Wake Forest University campus. Although the concert is free, go to the symphony website at WSsymphony.org to reserve your ticket.
"Concert for Community is a terrific concept. This concert brings together the remarkable talent of both seasoned performers and emerging talents and allows the audience to experience extraordinary music for free," said Redmond. "Attendees will enjoy a selection of delightful pieces beautifully performed by our talented professional musicians and our gifted youth orchestra members, who represent tomorrow's stars. In addition, they will have the chance to hear the Peter Perret Youth Talent Search winners perform, whose talent and poise are remarkable. This concert is a wonderful opportunity to hear incredible music performed by masterful musicians for free!"
The Winston-Salem Symphony, conducted by Norman, will open the concert with of "Enigma for Symphony Orchestra" by the 2019 UNCSA composition contest winner Jacob Hinson. The 2019 Peter Perret Youth Talent Search winners will then take the stage with the Winston-Salem Symphony under the baton of Redmond. Alexander McDowell, a 13-year-old violinist and the junior division winner (ages eight to 13) will perform the first movement of Samuel Barber's Violin Concerto, Op. 14. Fifteen-year-old Cristian Makhuli, a pianist and the winner of the senior division (ages 14 through senior year of high school), will perform Piano Concerto No. 1 in E flat Major, S. 124 by Franz Liszt.
The annual Youth Talent Search, named in honor of former Winston-Salem Symphony Music Director Peter Perret, was developed to identify the region's most gifted and talented young musicians, to develop young talent, and to recognize and support the teachers and families of musically gifted children. Participation in the competition also provides students with experience and motivation to continue their musical studies. Many have gone on to become professional musicians, including the winner of the very first Peter Perret Youth Talent Search, who is now a member of the New York Philharmonic.
"This year's winners of the Peter Perret Youth Talent Search are terrific musicians, and I am thrilled to share them with concert goers," said Redmond. "Alexander McDowell brings a maturity and skill well beyond his years to Samuel Barber's poignant Violin Concerto. Cristian Makhuli's impressive technique and profound artistry will be on full display when he performs Franz Liszt's Piano Concerto No. 1, in E flat Major. I am also thrilled that the symphony will present a remarkable piece by young composer Jacob Hinson."
For the second half of the concert, the Winston-Salem Symphony and the Winston-Salem Symphony Youth Symphony will combine to play Pyotr Ilyich Tchaikovsky's beloved Symphony No. 5 in E Minor, Op. 64. Norman will conduct the first two movements and Redmond will conduct the final two movements.
How to protect yourself in a cold-weather workout


text:
Ditto Gorme
Battle of the Badges photo gallery
by Ditto Gorme access_time8 months ago
Clark Duval Thompson Mr. Clark Duval Thompson, age 71, of Atmore, Ala., passed away Tuesday, June 14, 2022 at his residence. He was born in Flomaton, Ala. to Alfred Duval and Martha Johnson Thompson. He was preceded in death by his parents and his wife, Judy Elaine Thompson. Mr. Thompson is survived by his children, Courtney (Chris) Harrison and Hope (Shawn) Lassiter, all of Atmore, Valerie (Mychal) Reddix of Spanish…
Back to his roots
Former EA coach Fountain selected to head W.S. Neal program Fountain By DON FLETCHER News Staff Writer Former Escambia Academy head football coach and athletic director Hugh Fountain will be returning to his roots. Fountain, head coach and athletic director at EA for the past 11 years, was officially hired Monday (June 13) as head coach and AD at W.S. Neal High (WSN). The announcement was made at the end…
Atmore veterinarian receives state award
Drs. Hank and Lacey Lee Special to Atmore News Dr. Hank Lee, co-owner of Lee Veterinary Clinic located in Atmore, was presented the Veterinarian of the Year Award by the Alabama Veterinary Medical Association (ALVMA) during an annual awards luncheon.Dr. Lee grew up on a beef cattle and row-crop farm in Atmore. He received his Bachelor's degree from Auburn University in 1996, followed by a DVM from Auburn University's College…
Yellow Hats introduce new school personnel
From left, Kike Pettaway, Forrest Jones, Vincent Harris By SHERRY DIGMONNews Publisher The Yellow Hat Society hosted a meet and greet Friday, June 10, to introduce newly hired school personnel – Escambia County Middle School principal Forrest Jones, Escambia County High School principal Kike Pettaway, and ECHS coach Vincent Harris.About 70 attended the event, including the following elected officials: State Representative Alan Baker, State Senator Greg Albritton, Commissioner Brandon Smith,…


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Zika virus is an emerging mosquito-borne virus that was first identified in Uganda in 1947 in rhesus monkeys through a monitoring network of sylvatic yellow fever. It was subsequently identified in humans in 1952 in Uganda and the United Republic of Tanzania. Outbreaks of Zika virus disease have been recorded in Africa, the Americas, Asia and the Pacific.
Zika virus disease is caused by a virus transmitted by Aedes mosquitoes.
People with Zika virus disease usually have symptoms that can include mild fever, skin rashes, conjunctivitis, muscle and joint pain, malaise or headache. These symptoms normally last for 2-7 days.
There is no specific treatment or vaccine currently available.
The best form of prevention is protection against mosquito bites.
The virus is known to circulate in Africa, the Americas, Asia and the Pacific.
Although the World Health Organisation is not currently recommending any travel or trade restrictions related to Zika virus some port authorities are requiring additional information for vessels and crew arriving from locations where a known outbreak of Zika is occurring. The Club will continue to monitor the situation and collate all the latest information on the topic and any implications this may have for shipowners on this resource page.
Advice to Members
Country All Countries Brazil Korea, North Korea, South People's Republic of China
Document Type All Document Types Loss prevention News
Topics All Topics Crew Health Customs Environment: Air emissions Ports
Zika virus update- March 17
The MEC is no longer required for vessels calling from Zika affected countries/areas.
New Regulations for Zika Virus in Korea
On the 18th of November 2016, the WHO announced that the Zika virus no longer represents a 'Public Health Emergency of International Concern'.
Proinde Guidelines: Shipboard sanitary inspection in Brazil / Mosquito-borne diseases in Brazil
Brazil is currently experiencing various outbreaks of mosquito-borne infectious diseases of significant concern to the health of those onboard vessels.Members can refer to the recent guidelines from Proinde which provide information and guidance covering both the common mosquito-borne diseases in Brazil and the sanitary inspections conducted on board to reduce health risks.
Zika Virus – Staying Safe
KVH Videotel have launched free Zika Virus training materials for seafarers. The workbook and accompanying short video provide useful tips on how best to avoid contracting Zika Virus and is specifically aimed at mariners.
Zika Virus: update
The European Centre for Disease Control advises that 41 countries currently have widespread transmission of Zika virus. These countries are American Samoa, Argentina, Aruba, Barbados, Bolivia, Brazil, Cape Verde, Colombi
Zika Virus: China Requires Mosquito Eradication Certificates for Vessels
On 2 March 2016, the Chinese Entry-Exit Inspection and Quarantine Bureau together with the Ministry of Transport and other six relevant authorities jointly issued "Notice on Prevention and Control of ZIKA Virus". This...
Zika Virus: New regulations for ships visiting South Korea
In response to the growing spread of the Zika virus, South Korea has developed preventative measures and issued updated Zika virus Prevention and Quarantine Guidelines. The Korea Ministry of Health and Welfare declared Zika virus...
MPA Circular No.14 - Zika Virus
The World Health Organisation; Factsheet on the Zika Virus; http://www.who.int/mediacentre/factsheets/zika/en/
The World Health Organisation; Q&A document on Zika Virus;
http://www.who.int/features/qa/zika/en/
Public Health England; Zika Virus Guidance;
https://www.gov.uk/guidance/zika-virus
Centers for Disease Control and Provention; Zika Travel Advice;
http://wwwnc.cdc.gov/travel/page/zika-travel-information
Cruise Lines International Association (CLIA); January newsletter page 3; http://www.cruising.org/docs/default-source/ta-newsletters/12616-clia_tacruisenews-jan-2016-139pm.pdf
Latest WHO situation report : http://www.who.int/emergencies/zika-virus/situation-report/14-april-2016/en/
Hong Kong : http://www.mardep.gov.hk/en/msnote/pdf/msin1621.pdf
Liberia : http://www.liscr.com/liscr/Portals/0/MarineAdvisory_04-16_ZikaVirus.pdf
Marshall Islands : http://www.register-iri.com/forms/upload/MSAdvisory_3-16_Revised.pdf
Advice to Crew:
The ITF (International Transport Workers' Federation) has issued an information factsheet in a bid to help seafarers around the world to protect themselves from the Zika virus. ITF Fact sheet


Talent management refers to the process of attracting, selecting, training, resourcing, and developing employees through an organization. Leading organizations recognize that talent management is a journey and seek strategic assistance to improve performance, outcomes, behaviors, and processes. The ProSidian Consulting Talent Management Solution Set incorporates structures and processes for Strategic Resourcing, Training and Knowledge Management, Leadership Development, and Change Management.
We focus on improving performance by developing effective organizations, groups, and individuals. With ProSidian Consulting you can: strategically resource the best people; develop leadership skills for high impact tasks; train and support employees; manage technology and process change; and build deep bench strength and talent pipelines.
Regardless of organizational size, industry, or geography, ProSidian Consulting has the right talent management solution to fit your needs. We help private companies and government agencies of all sizes improve operations through outputs that define success: Superior Performance, Distinctive Impact, and Endurance.
We integrate Talent Management initiatives and support Strategic Resourcing, Training & Knowledge Management, Leadership Development, and Change Management while you focus on the talent that drives results.
Strategic Resourcing: Responding to challenges faced while addressing key business issues and imperatives. We provide an Advisory "On Demand" Model with Big 4 leadership expertise that is ramp-able and scalable with highly qualified industry specialists. From a single expert to a team of specialized professionals (middle management to executive level), ProSidian provides the resources to successfully complete projects on time and within budget. Our teams are custom built to suit with deep industry expertise in the markets we serve and can collaborate throughout the entire project life-cycle as clients' needs change.
Training & Talent Management: Effective Training And Knowledge Management is a significant differentiator of sustainable advantage. Knowledge (Intellectual) capital is pivotal to organizational success. Training And Knowledge Management is a crucial component in managing this risk, creating competitive advantage and bottom line performance. Our Training and Knowledge Management support ensures values are aligned with job requirements. We help clients envision clear connections between key organizational issues and the approach to improving performance.
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Human Resources Support: A Data-Driven Approach to Human Resources Support Excellence. Private companies and federal agencies of all sizes rely on ProSidian to create sustainable advantage across the Human Resources Organization. With access to APQC's Process Classification Framework (PCF), ProSidian helps clients build World-Class HR organizations align with company or agency strategy with measurable results.


Outreach | Jet City Improv | Seattle, WA.
Improv for Good. It's what we believe in, and why we do what we do. Learn more about all of our outreach programs and learn how you can support our ongoing efforts to improve the community by clicking through the links below.
Jet City Improv operates as a 501(3)-3 non-profit organization because of our decide to take improv into the community. Your donations keep our outreach programs going!
Learn about the camps Jet City Improv visits every summer to perform for kids with life-altering illness or disabilities, all at no cost to the camp.
Learn more about our ongoing partnership with youth outreach organizations in the city of Seattle.
Turn that that cupboard full of cans into a freshly popped snack by donating to the Northwest Harvest box in our lobby!


Austway® Vending is a WA company that has been established since 1996. Peter and Bruna Antonas purchased the business in early 1999 and immediately started to improve customer service and expand the range of vending equipment.
Austway Vending Perth main focus has been on snack and drinkmachines. We have found that Combination machines are the most profitable. We continue to offer the most modern and efficient machinery with reliability being our main focus to suit our particular climate.


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Posts Tagged 'holy cross linthicum'
Mediterranean microtonal melismas are not unAmerican: making time for some musical musings
Published 28 April 2009 Uncategorized 13 Comments
Tags: alexander lingas, american orthodox music, byzantine chant, ecclesiastical chant, emily lowe, fr. john finley, fr. sergei glagolev, frederica mathewes-green, great synod of the church, hazards of church music, holy cross linthicum, holy trinity nashville, john michael boyer, kurt sander, leonidas kotsiris, liturgical music, liturgical texts and translation, missions, music, music as iconography, Orthodox choir schools, rachmaninoff vigil, random acts of chant, rightwingprof, sacred music, terry mattingly, the byzantine chant narrative of continuity, the byzantine chant narrative of decline
A few things have come out recently to which I've been meaning to respond, and I'm finally able to take a moment to do so.
First of all, the issue of AGAIN which just came out, among other things, reprints Fr. John Finley's essay, "Authentic Church Music". This was originally a talk given to the the AOCNA Conference on Missions and Evangelism in 2002, and I have seen it in at least two print publications since then — PSALM's newsletter, PSALM Notes, and now AGAIN. It is also, as the link shows, posted on the Antiochian website itself, so clearly Fr. John's piece has found an audience. Give it a read; I'll come back to this.
Second, there was this short piece which was run on PBS a couple of weeks ago. I'd love to find a way to embed it, but I haven't yet, so click on the link, watch it, then come back.
Third, RightWingProf has a couple of posts on music with which I tend to agree. The earlier is here, and a more recent one is here. Go read those, too.
Okay. You got all of that?
I've met Fr. John Finley a number of times. I met him at the Antiochian Sacred Music Institute back in 2004, and again at the PSALM National Conference in 2006. I also love his cookbook. He's a good man, so far as I can tell he's a good priest, and we know many of the same people. He's also one of the people to whom I've tried talking about the choir school model (an idea which I just seem to have the darndest time communicating in a form that makes sense to anybody but me).
There's a reason Fr. John's article has a continuing audience; it is well-written, it expresses a point of view clearly, and it is a point of view which is popular among many American converts to Orthodox Christianity:
Some may negatively assume that such a proposal must necessarily lead to the development of an American Orthodox music, which will sound like Protestant music or the 70's rock and roll Christian music of the baby boomer generation's surfer churches. On the contrary, we are hinting at the development of authentic sacred music for the One, Holy, Catholic and Apostolic Church in North America, a music founded on "that which has been delivered to us", but which is also the result of our interaction as Orthodox Christians with the surrounding American culture. (emphasis mine)
Fully Orthodox and fully American! Orthodox as the Seven Ecumenical Councils and American as apple pie! Isn't that what we all want?
The trouble that I have with the article, and what I offer as a critique, is that Fr. John unfortunately buys into what Alexander Lingas refers to as "the narrative of decline" with respect to Byzantine music as part of his argument. Specifically, this paragraph is problematic:
Is the Byzantine music that we sing today really Byzantine, i.e. from the Byzantine era of the 4th through the 15th Centuries? Are we not aware that the Church music of the See of Constantinople was heavily influenced by the demands of the Turks after the fall of the empire in 1453 AD? Are we aware that the authentic music of the Byzantine Church lost its diatonic character and accepted enharmonic and chromatic intervals during this period of the Turkish yoke? Are we aware that the music of today's churches in the Byzantine tradition throughout the entire Mediterranean region of the world is the result of the codification of these oriental elements by Chrysanthus in the 19th Century and is scarcely 200 years old?
Checking his footnotes, his citations are predictable — Strunk (1977) and Tillyard (1923). It's an appealing narrative for many folks; hey, you know that stuff in Byzantine music that makes you feel uncomfortable as an American because it sounds, well, Eastern? It's not actually as Orthodox as the Hellenophiles and Arabicists want you to think! It's a later development which occurred under the Turkish yoke! It's a narrative which validates the supposed biases of the "Western ear" (whatever that means) and knocks the practices of various national churches down a peg or two all at the same time — it's a very economical argument in that regard.
There's something else it manages to accomplish, too, which is hinted at in the body of the text and made explicit in a footnote:
We should continue the work of transcribing Byzantine notation into modern western linear notation and adopt modern western scale intervals.* We need to simplify the melodies in connection with the texts and encourage congregational participation. We should encourage the harmonization of the melodies. I have heard it said that the great musical contribution of the East is its melodies and the great contribution of the West is its development of harmony. What better place than America to bring these two great traditions together to form something uniquely American in terms of Orthodox Music? This, of course, has already been done in Russia, and will undoubtedly be a powerful influence on what is done in America in this area of musical development.
* This will, given time, effectively conform all Byzantine melodies to a diatonic equal-tempered scale. According to Byzantine Musical theorists, Medieval Byzantine Music was wholly diatonic anyway. So this could be construed as a move back toward a more pure form of Byzantine chant rather than a perversion of it.
So, actually, the more we file the edges and corners off of Byzantine music, the more Byzantine we make it, in fact! Better yet — we also make it more American at the same time. Perfect.
Also present is the fallacy that somehow congregational singing and congregational participation are coterminous. This seems to be one of those assumptions that makes people feel good but for which I have never actually seen any evidence. Don't take this as me meaning that I'm against congregational singing; I'm not, not at all. What I disagree with is the "everybody sings everything or they're not participating" model that seems to be the core postulate of many modern liturgists; that makes as much sense to me as saying "everybody paints the icons or they're not praying with them".
Now might be a good time to point out that in the last week, thanks to the magic of Inter-Library Loan, I've read Towards the Great Council: Introductory Reports of the Inter-Orthodox Commission in Preparation for the Next Great and Holy Council of the Orthodox Church, published in 1971, back when they thought the next Synod would be occurring around 1974 or 1975. I'll discuss it in more depth later, but Section 2 of this document is called "Fuller participation by the laity in the worship and life of the Church." It is all of two pages. This section seems relevant to the present discussion:
…the nature of lay participation in the life of the Church is clearly expressed in her dogmatic and canonical teaching; it is not a question causing special concern to the Orthodox Church and, for the time being at any rate, it does not constitute a burning problem for her. In all conscience the Orthodox church believes that there has never been, nor is there now, a spontaneous movement among the laity to acquire greater rights and duties in the Church, different from those which they have had since the Church's foundation. For they have always participated actively in worship and administration, in the pastoral work and teaching ministry of the Church, according to the rights and duties clearly laid upon them by Holy Tradition and the Canons. Their main rights and duties, as lay people and members of the Church, are to live in the fullness of the gifts and divine grace within our Holy Church and to witness by word and way of life to Christ the Saviour and to His gospel. (p. 23)
Obviously, this being 1971, this need not be the last word on the subject, but let's keep in mind that this was in the immediate wake of 1970 Roman Missal taking a pair of pinking shears to the Mass in the name of "active participation," and the Commission which drafted this document appears to be intending to head off any such attempts in the Orthodox world.
I must disagree with Fr. John about Byzantine notation and intervals; on a practical level, I might suggest that we might have an easier time getting the Greeks on board with the mission in America if we would stop treating their music as something we just found on the bottom of our shoe that somehow we have to fix and rescue from itself.
On a technical level, I wholeheartedly disagree about harmonization of Byzantine melodies. They function modally, not tonally; you cannot harmonize them according to conventions of Western functional harmony without eliminating the distinctives of the eight-mode system and reducing it to effectively two modes. This already happens when the well-meaning beginning isocratima thinks that the Second and Fourth Modes are intended to be major in character and mistakenly drones away on ni because it sounds like a tonic. The attempts at harmonizing many of these melodies which I have seen have been well-intentioned but nonetheless unfortunate; part-writing errors abound, to some extent unavoidably because the melodies are simply not conceived in the same way as melodies which follow Western conventions. Unavoidable though they may be, they still look, and sound, like part-writing errors.
On a level of Orthodox spirituality — here's one idea: how about we immerse ourselves in the received tradition before we start trying to "fix" it? Might not something emerge organically over time if we were to do that? That's not to say that we can't try things to see if they work, but my thinking is that we'd be best off doing so in continuity with the tradition, not at variance from. If we want to make Byzantine music conceptually more accessible to Western ears, the first step is recomposing melodies to fit the English texts according to Byzantine conventions, not just sanding off the corners of pre-existing melodies and shoehorning in the English. There are increasingly good models for doing so — we should follow them.
From the standpoint of scholarship — at the very least, I would encourage Fr. John to at least familiarize himself with, and subsequently engage, the scholarship which recasts the narrative into one of continuity rather than decline. A place to start might be Lingas' essay "Medieval Byzantine chant and the sound of Orthodoxy" in the book Byzantine Orthodoxies, Louth and Casiday, eds.
This brings me to the PBS piece on Emily Lowe at Holy Cross in Linthicum, MD. I am not certain if I've met Ms. Lowe; I met several people from Holy Cross at the Antiochian Sacred Music Institute back in '04, and she looks familiar, but I honestly can't remember. She has a lovely voice; the church is beautiful, and they've got her singing one of the signature hymns of Sunday Matins. It's also kind of fun seeing people like Kh. Frederica Mathewes-Green and Terry Mattingly in the choir.
The problem is when things like this are said (which I copy here from the transcript):
During the time of the Ottoman Empire, the Greek chants took on sort of a very Middle Eastern character, and that's when you hear this sort of dissonant, odd sounding things: (singing) Hallelujah, Hallelujah, Hallelujah, glory to thee oh God." It sounds very foreign to Western ears.
Again, there's that narrative of decline and cultural captivity with respect to Byzantine music. Granted, there are a lot of people in the Antiochian Archdiocese who teach that, including Fr. John, so it's not a huge surprise, but my guess is that if the PBS documentarians were to have interviewed somebody like John Michael Boyer, they would have had a different set of quotes.
Ms. Lowe describes herself in one of the comments on the video's page as "a piano teacher who just loves to sing". I'm going to guess we have a lot in common; we're what you might call armchair Byzantine musicologists. We've read a lot, we've heard a lot of recordings, been to a PSALM event or two and/or the Sacred Music Institute at the Antiochian Village, and we do our best with what we have, which are, as a rule, the Kazan transcriptions. I know I haven't yet had a chance to actually study with a chant teacher who genuinely knows what they are doing and has direct contact with the received tradition, and my hunch is that neither has Ms. Lowe. The practical reality for me is that there isn't anybody within a 4-5 hour drive for me to learn from; the closest person about whom I know is protopsaltis at Holy Trinity in Nashville, TN.
All of that is to say, if PBS came knocking on my door, I'd tell them I'm the wrong guy, everything I know I know because I read it in a book or have imitated a recording, I'm not an expert, I'm not an authority, and that they need to go talk to somebody like Boyer or Leonidas Kotsiris in Nashville, who have studied with great teachers (who were themselves students of great teachers and who have been singing these services in this idiom since they were blastocytes), and are themselves teaching it and passing it on. I would tell them they need to talk to people, not who are trying synthesize water from hydrogen and oxygen, but who have actually drunk from the well, if not marinated themselves in it.
Don't get me wrong — I'm absolutely not attacking Ms. Lowe here. I have bags and bags and bags of admiration for her. She's clearly wonderful, and a huge asset to Holy Cross. She does what she does very well, loves to do it, and offers it humbly in the service of Christ. That should be the big takeaway from this video, and it should be a model which all of us who use our voices in the service of the Church follow. It would be an honor to sing a service with her, anytime, anywhere. The trouble is the editors of the video presenting the content as authoritative and normative when it isn't.
Finally, for the most part, all I really have to say about RightWingProf's posts is — right on, brother. I take issue with a lot of the four-part writing which is out there for English translations for many of the same reasons he does. I don't think it has to be that way; I think passing 7ths and 2nds can work okay, but they can't be used as a sentimental harmonic trick.
There are a few little points I wish to engage, however.
I tend to disagree that professional choirs are somehow undesirable. Yes, fine, the Rachmaninoff Vigil is going to be too much for a parish choir as a rule. However, if you've got a cathedral choir that can pull it off — defined, as far as I'm concerned, as being able to sing it well and prayerfully — I don't see a problem using it liturgically. My overall discomfort is that we approach a mindset that says, "You're too good of a musician to serve the Church with the fullness of your gifts." I can't imagine telling an architect or an iconographer that, but we seem really comfortable telling singers that. No, it's not a concert, but there's a dichotomy between worship and performance which I think approaches being a false dichotomy at some point. My belief has always been, with respect to that dichotomy, if you sacrifice one for the other, you will do neither well. I completely own that I say that as a former Anglican, however, and that this informs my point of view.
I also fundamentally disagree with the blanket assumption, constantly asserted by many, that Slavic music is "more accessible to American ears". If sung well, in English, with a melody that actually fits the text in terms of stresses and meter, Byzantine music is plenty accessible to American ears. By contrast, Slavic music sung poorly with stresses and meter distributed in such a way as to do violence to the English text is going to be just as inaccessible to the American ear as people so frequently proclaim Byzantine music as being. This is not a slam against Slavic music or Orthodox music in the Slavic idiom; I'm a big fan of Fr. Sergei Glagolev (who was kind enough to inscribe my volume of his music at PSALM in 2006), and the Kurt Sander settings I've sung I've really liked. All I'm saying is that I think it is an error to say that somehow one national idiom of Orthodox music is fundamentally more accessible than another and to privilege that idiom based on that assertion. There may very well be reasons to privilege particular idioms in particular contexts, but I don't think this one holds up at all, and I think recent recordings of Byzantine chant in English bear that out.
Along similar lines, and to repeat a point made earlier, not everything needs to be sung along with by the congregation. Yes, it's church, not a concert; I might reply by saying it's church, not a campfire singalong. Melisma serves a particular function in the Byzantine idiom — frankly, that of following the rubrics. ἀργὰ καὶ μελὠς, "slowly and melodically", is sometimes what the rubrics call for. It is not the aberration many would make it, so I can't agree that it should be absolutely avoided in the parish.
That said, a parish choir needs to fight its weight. Period. If a choir can't sing it well and prayerfully, they shouldn't sing it at all. So, from that standpoint, I agree that there is nothing wrong with "keeping it simple," insofar as what we mean by that is that the music should be no more complicated than what the choir can sing well and prayerfully. In all likelihood, that's probably going to mean keeping things a lot simpler than we might otherwise like for the time being — heck, we use the Antiochian Village camp music book as the normative setting at All Saints — but it doesn't necessarily follow that choirs and congregations can't ultimately grow into certain kinds of repertoire.
If I were helping to start a mission, what I would be very curious to try, if I had 3-4 other singers who were up for it and who could sing it well and prayerfully, plus an acoustic which would complement it at least somewhat, is using the Thyateira translation with the Boyer/Lingas Byzantine arrangements, as found on The Divine Liturgy in English, as the standard music, and setting it up from the get-go in an antiphonal formation. The idea would be to make a particular traditional practice normative from the get-go so that people are used to it from the start, rather than the mission making it up as they go along. I've seen what that can look like, and I can't quite shake the idea that it is self-defeating and ultimately serves to paint missions into corners.
Perhaps it is good that I am not helping to start a mission.


As a member, you share in the benefits many peoples prayers.
Saint Pope John Paul II and Pope Benedict XVI also have felt this same compassion and understanding for those afflicted with and affected by the tragedy of mental illness.
They have both written to the Guild and gave their Apostolic Blessing to all of us. And they both assured us of their prayers.
Over 400 hundred consecrated religious representing their communities from the United States, Canada and abroad have personally written to us acknowledging their membership in "Spirit and Prayer" by being your spiritual support for the members of the Guild.
Will you, too, add to this spiritual support? You too, can pray with us and for each other.
It is always important to share with each other that there is hope and understanding. Our Apostolate is there to share a message of love and compassion. Through our spiritual support and spiritual advocacy, we must change the culture and world's understanding of mental illness. Will you join us?


Does anybody have any info on how centrifugal roasters work? Not a roaster with a centrifugal fan, a roaster that spins the beans as a mechanically efficient means of agitation. I believe the beans spin in a big bowl and are forced up the sides where they decelerated and dropped back to the bottom of the bowl. There are some interesting possibilities here.
So far the only hard info I have is that Probat-Burns makes a pair of them, a really big pair. But nothing else shows up on searches.
Any thoughts or actual info???
The idea behind a centrifugal roaster is to increase the amount of convection heat in the roaster to get faster roasting times, but have a much larger batch capacity. Because the beans are flat against the wall of the roaster, bean movement is more controlled than in a fluid bud roaster.
There is a thread on coffeeed Here on centrifugal roasters.
And probat has a brief description of the process here.
I don't know anything about them, but would love to see a video. Heck, I'd even take a cheesy CGI graphic.
coffeehound, I searched "centripetal" just in case, and it turned up nada WRT coffee.
You know, there are those stainless steel perforated cones people use for smashing food (twirling a round wooden masher) before canning it. I wonder if those cones could be used as a basis for a centrifugal roaster (CR)? They are about the right size and price for home roasting!
From the picture in this link that cup_in_hand gave us looks like a saucer they rotate. You can almost hear the bald man explaining the process.
Are you sure they spin that 'saucer?' That gray thing on top of the 'lid' is one huge blower. The central hole is its intake. So huge amounts of heated air is being sucked out of the roaster. I doubt it is being sent up a stack. So, it must be returned to the roaster. I suspect that it is being returned through tangential openings at the bottom of the 'saucer.' That airflow would spin the beans, sending them around and up the saucer due to a centrifugal force until they spill back down. The turbine-like blades at the inside edge of the lid is further evidence of some sort of airflow being used to make this work.
My guess is that the saucer does not spin, but the heated air does. The heated airflow isn't powerful enough to spout the beans, but is powerful enough to get them to spin up that circular ramp (saucer).
This also suggests that the saucer isn't heated, but that the air is, perhaps by a heater off to the side heating the return air. If so, then centrifugal roasters heat by convection, not conductance.
That doesn't mean that a spinning conical saucer won't work, as seedlings and coffeehound suggested. And perhaps some centrifugal roasters do employ that technique.
I don't think so, Dan. Could be, but I'm still thinking the efficiencies of this roaster come from it's unique ability to separate the bean motion from the air motion. By that I mean one of the difficulties in air-spout roasters is that bean motion and air motion are locked together. High air velocity/pressure is both the heater and the mover. So a big blower are necessary, as well as a big afterburner to deal with the huge volume of dirty air.
But I believe the centrifugal roaster greatly accelerates the beans with purely mechanical rotation of the bowl. So a huge volume of air isn't required either for high heating rates or bean motion. In addition, bean circulation is accomplished by non-rotating scoops at the rim of the bowl. At the rim of the bowl the beans are already rotating at a high velocity. All the scoops need to do is slow down the beans and direct them back toward the center of the bowl.
I don't think those fins in the lid are a centrifugal fan. I think they're bean brakes. There's some new ways of thinking going on here. That's what caught my interest in the first place. That, and I have never seen any homeroaster anywhere try to build one. I think the primary bowl and scoops could be easily built from two identical stainless bowls. Add a third one for the lid.
Am I way off track here?
"One of the SATURN's main components is its roasting drum, which consists of a roaster bowl and cover in which the coffee is agitated via centrifugal and Coriolis force. After attaining filling temperature, the bowl is filled with green coffee. The centrifugal force that develops via the rotation distributes the coffee uniformly across the whole surface of the bowl. A roast air stream is applied to the agitated coffee layer in the centre of the bowl so that beans are completely enveloped by the roast air. The roasting process can be stopped in a targeted way on the basis of a controllable water extraction mechanism before further cooling of the roasted coffee in the ring cooler below the bowl takes place."
However, it should read "coriolis effect."
dBanbit, I don't think those fins are part of any centrifugal fan either. Clearly, the lid does not spin. I suspect they are used to aid the air rotation.
We know the bottom of the 'saucer' is open, since that is how they dump the beans for cooling. It could also be open for the heated return air from the blower above. That blower, which would be powered by a motor in the range of 20Hp, could easily induce the beans to spin.
To cover the whole surface of the bowl would take careful manipulation of the spin speed and be rather low, seeing how angled that bowl is.
No No No! Please don't turn that wonderful gadget into some sort of coffee roaster!
Instead, give it to someone you know who is into canning, along with a big batch of blackberries. Wonderful jelly (without the seeds) can be made with one of those gadgets!
You make a perfectly logical observation. However, there is physics at work here and it's never logical! So your second observation is correct.
In fact, the shape of the bowl can control how the beans behave. There are two primary forces at work: gravity and centrifugal force. Gravity is always pulling the beans downward with the same force. Centrifugal force pushes the beans sideways - away from the center axis of the bowl's rotation. CF gets stronger if the drum rotates faster, but it also get stronger if the beans move farther away from the center even if the speed stays the same. Anyway, it's possible to shape the curve of a bowl to perfectly balance out the effects of gravity and CF, so that rotating at a specific RPM you could spread beans all over the inside of the bowl and none of them would move up or down, constant force perpendicular to the bowl surface. I believe the centrifugal roasters use this curve but they make the bowl just a little bit flatter or rotate it just a little bit faster, so all the beans would have a controlled tendency to slide on up to the rim in a fairly even procession.
I think I'm talking myself into building one of these out of the two big stainless salad bowls in our kitchen. Now, how can I get my wife out of the house for a day?
Now, how can I get my wife out of the house for a day?
I wanted to look up some info on "packed bed roasting" which is another ingenuous roasting method related to centrifugal roasters; also developed by Probat/Burns. While looking for info I came across this page.
The menus at the bottom of the page have descriptions of their roasters and the concepts behind them.
Its a slide show for a presentation, so watch for the navigation buttons on the bottom of the pages.
Great info on types of heat and how the work.
I just realized that on that last link, when you click on a type of roaster, there are buttons on the bottom of the page. If you click the button on the bottom right that says 'flow diagram', then click the next button it takes you to a flow diagram of the roaster.
The diagram for the centrifugal roaster shows that it is a recirculating roaster that reuses the hot air.
If you turn the button for features off, it shows an animation and you can turn the other features such as air and temperature on and off and it will show you how they work.
So, there ARE two types of centrifugal roasters. Probat calls the shallow, spinning saucer type a 'Bowl Roaster,' and the deep, spinning bowl type a 'Packed Bed Roaster.' The Bowl type has a spinning bowl, which surprised me. I expected the Bowl to be stationary.
Both use recirculated heat, which I expected. Note that the airflow if down, into the center for the Bowl, but is reversed for the Packed Bed. From this we know that the 'lid' pictured above is for a Packed Bed, and not a Bowl type.
According to Probat, both roast primarily via convection. The container in the Bowl is solid, but the Packed Bed is perforated.
I don't know if these would work for homeroasters DIY. The problem in all recirculating designs is finding a heat resistant blower with the right flow and pressure.


Two Palestinian children were killed and at least 15 others were wounded in an Israeli air strike on the Al Katteba headquarters in central Gaza City Saturday afternoon.
The Palestinian Ministry of Health announced that the two children were killed by Israeli shelling at Al Katهba headquarters in Gaza City.
Amir al-Nimra, 15-year-old and Lu'ai Kahil 16-year-old, were killed by Israeli aircraft bombing of Al Katiba headquarters area in Gaza, the ministry said.
Israeli shelling of Hamas headquarters in Gaza during the most serious and widespread flare-up between Israel and Palestinian fighters in Gaza since the 2014 war.
The Israeli Occupation Forces struck more than 40 Hamas targets throughout the Strip over the past 24 hours and 100 rockets were fired from Gaza at Israel, 16 of which were intercepted by the Iron Dome missile defense system.
More than 140 rocket alarm sirens have sounded throughout Israeli settlers communities near the Israel-Gaza border.
Israeli newspaper Haaretz reported that mediation efforts to bring calm to the south are underway.
The IOF spokesman said mediators are acting on the assumption that Israel will accept an agreement that is reached.
A Palestinian official who spoke to Reuters on condition of anonymity said Egypt and other international players were holding contacts with Israel and Gaza to restore calm. There was no immediate comment from officials in Cairo.
In the past few hours, the IOF has reduced the number of strikes, and has avoided carrying out attacks that will cause casualties in Gaza. The army, however, said it is preparing for further attacks.
Israel's cabinet will meet on Sunday to discuss the escalation in the south.
Israeli Prime Minister Benjamin Netanyahu held ongoing discussions with Avigdor Lieberman, IOF chief of staff Gadi Eisenkot and senior security officials. "It was decided to take tough action against Gaza.
Israel will increase its force as much as need. Our assumption of Hamas has been the worst blow since Operation Protective Edge," an Israeli official said.
Saturday's flare-up follows 24 hours of escalation, in which the army struck two Hamas attack tunnels and a training camp in the Strip after an IOF officer was moderately wounded on Friday after demonstrators threw a grenade at him in northern Gaza.


Below, we've listed five of the most frequently recommended and acclaimed commercial gym equipment brands, ranging from high-end European brands to manufacturers of reliable, well-made gym equipment based right here in the USA. Life Fitness Based in Illinois, Life Fitness is one of the world's best-known manufacturers of high-quality fitness equipment. Founded in 1977, the company has been building everything from racks, cable machines and gym systems to cardio equipment for more than 40 years. Life Fitness gym equipment is known for its solid build quality, modern design, and range of modern features. The company offers more than 400 different products in total, meaning it's possible to fit out an entire gym using nothing but Life Fitness equipment. As one of the most popular commercial gym equipment brands in the United States, it's very common to see Life Fitness equipment in both large and small gyms across the country. The popularity of Life Fitness equipment also means it's easy to find pre-owned Life Fitness equipment available for sale, making it easy to reduce your costs when opening a new gym, training facility or wellness club. Hammer Strength Developed by Gary Jones, the son of Nautilus, Inc. founder Arthur Jones, Hammer Strength is one of the best-known brands in the world of heavy-duty, durable fitness equipment. Unlike Life Fitness, which is known as a large brand that produces everything from weights and cable machines to cardio equipment, Hammer Strength mainly focuses on equipment for weight training, with few or no cardio machines. Hammer Strength has been producing gym equipment for decades and was even acquired by Life Fitness in the late 1990s. As a brand, Hammer Strength has a reputation for producing durable equipment that can hold heavy weights and handle impacts without any issues, making it a great choice for sports and powerlifting gyms. Cybex Run by Cybex International, Cybex is one of the world's top manufacturers of high-quality fitness equipment. Like Life Fitness, Cybex offers a complete range of gym equipment, from machines for cardiovascular training to racks, frames, and machines for resistance training. Cybex is best known for its range of cardio machines, making the brand a popular sight in spin studios and cardio-focused gyms. One of Cybex's most popular products is the Arc Trainer — a specialized cardio machine that offers efficient calorie burning with minimal joint impact. Beyond the Arc Trainer, Cybex also manufactures a wide range of high-quality treadmills, bikes, rowing machines and other equipment, making the brand a great choice if you need to set up a dedicated cardio area in your gym. Cybex equipment is also known as well made and reliable, with a great durability record and a lot of happy equipment owners. Despite being high-tech, Cybex equipment is generally built to last, with a lot of attention paid to durability and build quality. In short, if you're searching for the optimal brand for your cardio area or cardio-focused gym, it's definitely worth keeping Cybex in mind. TechnoGym Based in Cesena, Italy, TechnoGym is one of Europe's biggest manufacturers of high-end gym equipment. The company was founded in 1983 and grew massively throughout the 1990s and early 2000s to become one of the world's top commercial gym equipment brands. Chosen as one of the exclusive suppliers for the 2016 Summer Olympics, TechnoGym has a reputation for producing high quality, durable and technology-focused gym equipment with the needs of a discerning audience in mind. Many TechnoGym machines incorporate modern technology, such as LED displays and tablets, to help users monitor their workouts. In 2014, the company launched a line of equipment with a built-in VISIOWEB Android tablet platform for tracking reps, sets, rest time and other factors. As you'd expect from a premium manufacturer, TechnoGym's equipment isn't the cheapest on the market. However, it offers a great combination of modern design, high-quality materials and reasonable value for money. It's also extremely reliable, with a reputation for durability that makes it a worthwhile investment if you're interested in purchasing gym equipment that's built to last. Like many other fitness equipment manufacturers, TechnoGym offers a complete range of gym items, from cardiovascular machines such as treadmills and upright bikes to resistance training equipment. Precor Founded in Woodinville, WA by industrial engineer David Cruz in the early 1980s, Precor USA is one of the world's top commercial gym equipment brands. The company is famous for its focus on incorporating modern engineering into proven, timeless exercise equipment designs. Widely used in high-end commercial gyms, hotels, spas and other workout spaces, Precor gym equipment is durable, reliable and stylishly designed. The company offers a complete range of workout equipment, from cardio machines to stretch trainers, modular stations and more. Precor also manufactures a range of plate-loaded machines, making the brand a great option if you prefer plate-loaded equipment to conventional cable resistance machines. Add fair pricing into the equation (while Precor is by no means a cheap brand, it's also far from overly expensive) and it's easy to understand why so many gym owners have opted for Precor equipment when fitting out their facilities over the decades.


text:
[![Build Status](http://img.shields.io/travis/quadion/cocoapods-thumbs/master.svg?style=flat)](https://travis-ci.org/quadion/cocoapods-thumbs)
[![Gem Version](http://img.shields.io/gem/v/cocoapods-thumbs.svg?style=flat)](http://badge.fury.io/rb/cocoapods-thumbs)
[![Coverage](https://img.shields.io/codeclimate/coverage/github/quadion/cocoapods-thumbs.svg?style=flat)](https://codeclimate.com/github/quadion/cocoapods-thumbs)
[![Code Climate](https://img.shields.io/codeclimate/github/quadion/cocoapods-thumbs.svg?style=flat)](https://codeclimate.com/github/quadion/cocoapods-thumbs)

cocoapods-thumbs is a simple implementation of a graylist (whitelist + blacklist) for Podspecs.

When run, CocoaPods will check either the full Podfile or a single Podspec against votes stored in a server
and report them back to the user.

The server needs only to return a JSON (with a syntax similar to the one available at https://github.com/quadion/thumbs/blob/master/list.json).

While more elaborate servers providing means for users to vote with a UI can be created, using a GitHub repository with a single JSON file and voting through Pull Requests could suffice in most cases (this is what we do, our repo is https://github.com/quadion/thumbs).

## Installation

    $ gem install cocoapods-thumbs

## Usage

### Setting the server

Set the server URL by calling:

    $ pod thumbs server URL

example:

    $ pod thumbs server https://raw.githubusercontent.com/quadion/thumbs/master/list.json

### Checking a full Podfile

On the same directory your Podfile is, run:

    $ pod thumbs

### Checking a single Podspec

To check a single Podspec run:

    $ pod thumbs NAME REQUIREMENT

Where `REQUIREMENT` is a version requirement with the same supported syntax as in a Podfile.

By default, this will use a platform os iOS 8.3. If you want to override the platform and version you can add:

    $ pod thumbs NAME REQUIREMENT --platform=osx --version=10.10

Examples:

    $ pod thumbs AFNetworking
    $ pod thumbs AFNetworking '~> 2.5'
    $ pod thumbs AFNetworking --platform=ios --version=8.3

redpajama_set_name: RedPajamaGithub


text:
The Message Box
McConnell is Getting Away with Murder
messagebox.substack.com
Holding up needed economic relief to protect corporations should be politically devastating, but Dem's haven't yet made Republicans pay a price
Dan Pfeiffer
Mitch McConnell would rather save big corporations money than save American lives and jobs.
Seem like a harsh thing to say? Perhaps, but it's 100 percent true.
Millions of Americans face the expiration of unemployment benefits and are staring down the prospect of eviction in the middle of a pandemic and a recession. Congress is working on a relatively meager, but essential bipartisan relief bill that includes an extension of unemployment benefits, more loans for small businesses, funding for vaccine distribution, and an eviction moratorium. Even though this bill is a fraction of the support that was included in the HEROES Act passed by the Democratic House earlier this year, Democratic leaders have joined with a bipartisan coalition of Senators to back this compromise proposal.
McConnell — as he is wont to do — is blocking the proposal because he wants to include a provision that protects corporations from being sued if their workers die or get sick from COVID.
Charles P. Pierce @CharlesPPierce
The joker in the deck is that liability shield. Mitch McConnell is insisting on blanket immunity as the price of a relief bill. Mitch McConnell's Liability Shield Is the Joker in the DeckYou cannot leave corporate liability during a pandemic for state governments to puzzle out on their own.esquire.com
Killing Americans to help corporations is — on its face — such a politically (not to mention morally) atrocious position that anyone who adopts it should be run out of politics within hours. Yet, this is the position of the most important and influential Republican not named Trump. McConnell holding the relief bill hostage presents an opportunity and an imperative for Democrats.
Less Popular than Pond Scum
You don't need a PhD in statistics or a trove of polling data to deduce that providing big corporations with liability protections is a huge loser. When McConnell first raised the issue earlier this year, Crooked Media included it in a poll of Michigan as part of our Pollercoaster series with Change Research:
Overall Michigan voters oppose the policy 55 to 37. One in five Republicans oppose the liability protections and opposition is much stronger than support: only 16 percent strongly support it, while 42 percent are strongly opposed.
Private polling to which I was privy showed similar results in other states closer to the election. None of this is rocket science. Screwing over Americans to help corporations is bad politics. Doing so in a pandemic and a recession should be akin to committing ritual political suicide.
Democrats have a huge opportunity to put additional political pressure on the Republicans in these negotiations and make them pay a political price in Georgia.
McConnell's Bet
Mitch McConnell is devoid of morality, compassion, and even a shred of basic humanity, but he is not stupid. His only ideology is the accumulation of political power, which raises the question — why would he adopt such an unpopular position less than a month before a runoff election that will determine control of the Senate?
There are two possible reasons other than the perverse joy McConnell probably derives from hurting people: First, the liability provision is the top priority of the corporations, billionaires, and trade associations that fund the Republican Party. The massive grassroots money machine that propelled Democrats in the 2020 election has continued to pump resources into the runoff elections in Georgia. Therefore, McConnell has an imperative to keep the corporate money flowing. The Senate Leadership Fund, McConnell's SuperPAC, raised $71 million in the month after the election and has booked more than $40 million in television advertising in Georgia. The vast majority of that money was raised from a small handful of billionaires and corporate interests. Steve Schwartzman, a Wall Street tycoon in every pejorative sense of the term, gave $15 million. Not to put too fine a point on it, but the people funding the pro-Republican ads in Georgia stand to profit off the liability shield provision that McConnell is promoting. It's a simple quid pro quo.
The second reason is more alarming for Democrats. McConnell feels that he can support such a politically suicidal special interest giveaway because he has no fear that he will pay a political price. In the risk-benefit analysis, McConnell has clearly concluded that the benefit of the corporate money far outweighs the risk that voters in Georgia or elsewhere will hold Republicans accountable. McConnell was just reelected by a healthy margin in one of the most Republican states in the union. There is almost nothing he could do that would put his reelection prospects at risk. But McConnell also feels no concern that Democrats will make the Republican Senators running in Georgia or elsewhere pay for his misdeeds.
McConnell is betting that he can get away with it, because he is betting Democrats will let him. And he may be right.
Making the Turtle Pay the Price
The model for how Democrats should proceed can be found way back in 2002. After 9/11, there was a big bipartisan push in Congress to create the Department of Homeland Security. In hindsight, this was not the best idea. In the moment, however, it felt like a matter of great urgency. During the debate over the bill, Democrats pushed collective bargaining rights for some employees of the new department. A very simple and reasonable request with ample precedence across the government. Republicans rejected the idea out of a reflexive opposition to the rights of working people. This standoff stalled the bill.
The Bush White House, which was hoping to take control of the Senate in the upcoming midterms, smelled blood. The word went out to every Republican with access to a microphone — attack Democrats for putting the interests of union bosses over protecting Americans from terrorists. The attacks were ruthless and relentless. The Republicans did not mince words. They didn't care about admonitions from fact checkers or editorial boards. The Republicans hammered the living daylights out of every Democratic politician on the ballot culminating in an ad that compared Senator Max Cleland, a war hero that lost three limbs in Vietnam, to Osama Bin Laden. (Ironically one of the creators of this ad was Rick Wilson of Lincoln Project fame). I was working on a Senate race in very red South Dakota at the time and these ads were devastating. My candidate escaped by the skin of his teeth.
As a result, Democrats gave up their position, lost the election, and were afraid to oppose Republicans on national security issues for years to come.
There is no reason that Democrats can't run a similar play against McConnell and the Republicans for putting the interests of wealthy corporations above the lives of Americans. More people will get sick and die because of their opposition to a bill that funds vaccine distribution. We shouldn't be afraid to say so in very blunt language. While Democrats do not have Fox News or a rage filled Facebook algorithm pushing out our message, we could still put real pressure on Republicans if we spoke with one consistent voice. We could ensure that every Republican was asked about this choice by every reporter. We could put up brutal ads that hammer Republicans for sacrificing American lives for increased corporate profits. We could start every interview with an answer about Republicans holding up aid to workers to help corporations. We could do all those things, but we aren't.
Rep. Katie Porter showed exactly how to do this in a Twitter thread last night. More Democrats need to follow her lead. Voters can only punish Republican misdeeds if they know about those misdeeds and they won't know if Democrats don't tell them.
Rep. Katie Porter @RepKatiePorter
We should prioritize workers, not large corporations. Yet, Mitch McConnell is fighting tooth and nail to let corporations off the hook if their workers get COVID-19 on the job, and he's holding pandemic relief hostage at the expense of millions in the process. (1/5)
9,280 Retweets38,066 Likes
Maybe it's too much to ask for in the middle of a pandemic with the party regrouping and the President-elect forming his government after a delayed transition and a failed coup. But I bring this up because it is the exact sort of issue that Democrats need to drive home to voters if we have any chance at keeping the House and winning the Senate.
At some point, we need to put Republicans back on their heels for promoting morally abhorrent and politically unpopular policies. Democrats are in big trouble if Republicans can continue to pass the special interest agenda of their donors without paying a political price with the working class voters that put them in office.
When these opportunities come — and they will come again — we need to speak loudly and with one voice.
Dec 10, 2020Liked by Dan Pfeiffer
Thank you Dan for this. For me this will be a test to see if the Democratic Party can actually grow a pair or eat Wimpie Burgers and live under the Republican's thumb for a political eternity.
Happy Hanukkah.
Jerome Pandell
I really am puzzled about why this obsession of Mitch McConnell would matter to more than a few factories/plants that were slow to adopt to new COVID-19 rules, especially when there's very little data showing much resulting litigation.
Part of me wonders if this type of federal liability shield is a dress rehearsal for liability shields for other, more common everyday incidents, and McConnell believes if this passes and courts don't overturn the shield for some reason, then he can start conditioning passage of legislation on a whole host of liability shields for corporations.
Oh, want to pass a climate bill? Liability shield for companies who might cause climate change.
Oh, want immigration reform? Fine, liability shield for all contractors working on immigration/border issues.
Oh, want to expand Obamacare? Fine, but tort reform for hospitals/doctors price of passage.
Oh, want to cancel student debt via legislation? Fine, but no liability as to for profit colleges for failing/defrauding students.
Oh, want a major infrastructure program? Fine, but no liability for construction companies who build something that injures/kills workers and/or users of the final product.
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Knowing about your personality is what this extra credit was about. Filling out the questionnaire was a bit confusing or let's say difficult for me because I felt like both of the choices contained somewhat of my personality. Overall it was fun getting the result of my own personality. Every question I answered, I felt curious thinking that what change might this answer bring to my result. But, to know myself, I answered all questionnaire with those behaviors that is more in me in comparison. These questionnaires helped me to know what type of person I am.
Essay What Are Your Options For Bad Credit Debt Loans?
Essay How Can Hurt Your Credit Score?
Essay How Will This Class Affect Your Future Teaching?
Essay How Will This Affect Your Job?


text:
OBORO
New Media Lab
Contrainte/Restraint - exhibition - Opening pictures
Contrainte/Restraint - exhibition - Photos de l'exposition
A centre dedicated to production and presentation of art, contemporary practices and new media
OBOROmobile
Contrainte/Restraint
© L. Bambozzi, 2007
Activité image
Activité Entete
with Lucas Bambozzi, Nicole Franchy, Leandro Lima & Gisela Motta, José Carlos Martinat, Rodrigo Matheus, Amilcar Packer, Rolando Sánchez and Gabriel Acevedo Velarde
Curator(s):
Julie Bélisle
Kiki Mazzucchelli
Miguel Zegarra
Saturday, November 7, 2009 at 5 pm
A production by Groupe Molior
Following the success of its exhibitions Inside (Paço das Artes, Brazil, 2008) and Transitions/Transiciones (Centro Cultural de Lima, Peru, 2008) as well as several collaborations with these two countries in previous years, Le Groupe Molior is now showing an exhibition of works by Peruvian and Brazilian artists in two locations in Montreal: OBORO and the Maison de la culture Marie-Uguay.
Three young curators – Miguel Zegarra (Lima), Kiki Mazzucchelli (São Paulo) and Julie Bélisle (Montreal) – have selected eight artworks by new media artists from Peru and Brazil around the theme of restraint and its controlling effects on everyday life in these two South American countries.
The focus of this exhibition is to show what the Brazilian and Peruvian contexts, in their cultural, social, and political aspects, have in common regarding the use of media technologies. Lima, the capital of Peru, represents a new paradigm of modernity marked by paradox: chaos, poverty, mass access to technology, pirated technological products, historical buildings recycled into modern ones. All the signs of Peru's socio-economic complexity are concentrated here. São Paulo is Brazil's financial and business centre, a place where extremes of poverty and wealth co-exist. What these two cities have in common, and what is reflected in this exhibition, is the co-existence of paradoxical situations where the forces of modernity and precariousness are constantly at play.
Activite Bas de page
Lucas Bambozzi
Lucas Bambozzi is a multimedia artist based in São Paulo, Brazil. His works have been shown in solo and group exhibitions in more than 40 countries. He was a visiting artist at the CAiiA-STAR Centre, where he developed an extensive research about online privacy and pervasive systems as part of his M.Phil. studies, concluded in 2006 at the University of Plymouth, UK. His research on media and art has led to a series of curatorial projects such as: Life Goes Mobile (2005) and arte.mov, International Mobile Media Art Festival (2006-2009). Bambozzi has been working with collectives the FAQ/feitoamãos and Cobaia, dealing with live video performances and media intervention projects in public spaces. His recent exhibitions include Interconnect at ZKM, Karlsruhe, Germany (2006), Pensée Sauvage – on Freedom at Frankfurter Kunstverein in Germany (2007), Emergentes at LABoral, (2007/2008) Gijon, Spain, and RE:akt!, at ŠKUC gallery, Ljubljana in Slovenia.
Read more about Lucas Bambozzi
Nicole Franchy was born in Lima in 1977. She graduated from Escuela Superior de Bellas Artes Corriente Alterna (Silver Medal, Honours). She studied interactive software at Centro Fundación Telefónica in Lima and she is starting a Master Degree in Fine Arts at HISK Higher Institute for Fine Arts in Ghent, Belgium. Her recent solo exhibitions include Patron 3.15 H9 at Galería Vértice, Lima (2008), Espacios Compartidos at Centro Cultural Ricardo Palma, Lima (2006) and Urbania at Galería 5006, Buenos Aires (2007). She participated in recent group shows such as Des-habitables (traveling exhibition: Lima, Madrid, 2009-2010), La construcción del lugar común at Museo de Arte Contemporáneo, Lima (2008), Frontera / under the skyline at Galería Vértice (2007), Buenos Aires Photo at Palais de Glace, Buenos Aires (2006 and 2007 editions), Método de Duda at Galería Artco, Lima (2003). She has received many awards such as the First Prize of Photography Humboldt / Goethe Institute, Lima (2002), and she was a finalist for the X Concurso de Artes Visuales "Pasaporte para un Artista" / Embajada de Francia, Lima (2007) and the Unión Latina Prize (2008, finalist). She lives and works between Rome and Belgium.
Read more about Nicole Franchy
Leandro Lima & Gisela Motta
Leandro Lima and Gisela Motta were both born in São Paulo in 1976. Between 1996 and 1999, they studied Visual Arts at FAAP in São Paulo, and have been working in partnership since that time. Their solo exhibitions include Sob Controle (2009), Vivendo at Galeria Vermelho in São Paulo (2006), and Foreign Element at HIAP, Helsinki (2007). Their recent group exhibitions include the 10th Havana Biennale, Havana (2009), We Used to Be Painters at Plan 9, Bristol (2008), I/Legítimo at MIS, São Paulo (2008) and Aktuelle Videokunst aus Brasilien at KW Institute for Contemporary Art in Berlin (2007). Lima and Motta were artists-in-residence in the UK in 2008 through the Artist Links/ British Council program. In 2006, they were awarded the prestigious Marcantonio Vilaça Prize and also won the Incentive bursary at the Sergio Motta Art & Technology Awards in 2004.
Read more about Leandro Lima & Gisela Motta
José Carlos Martinat
José Carlos Martinat was born in Lima in 1974. He graduated from the Instituto Antonio Gaudí – Centro de la Fotografía. He studied sound design and interactive software and art. His recent group exhibitions include 7a Bienal do Mercosul (2009), 2da Trienal Poli/Gráfica from San Juan (2009), MALI Contemporáneo at Museo de Arte de Lima (2009), Emergentes presented at LABoral in Gijón, Spain (2008) and at Fundación Telefónica in Buenos Aires, Santiago and Lima (2008-2009), 10°00 S / 76°00 W at Galeria Leme in São Paulo (2007), Doppelgänger: El doble de la Realidad at MARCO Museo de Arte Contemporáneo de Vigo, Spain (2007), VAE9 Festival Internacional de Video/Arte/Electrónico in Lima (2005), World Wide Video Festival in Amsterdam (2004), Vía Satélite. Panorama de la fotografía y video arte contemporáneo del Perú, latinoamerican itinerancy. He received the Incentive for New Productions Award in the Vida 7.0 Arte y Vida Artificial Competition Fundación Telefónica, Madrid, Spain (2004). The artist is represented by Galeria Leme in São Paulo and Revolver Galería in Lima. He lives and works in Lima.
Read more about José Carlos Martinat
Rodrigo Matheus
Rodrigo Matheus was born in 1974 in São Paulo. He completed a B.A. in multimedia in the Faculty of Arts and Communication at the University of São Paulo. He has exhibited extensively in Brazil and abroad. In 2008, he had a solo exhibition at Galeria Fortes Vilaça, São Paulo and took part in several group shows, including Looks Conceptual or How I Mistook a Carl Andre for a Pile of Bricks at Galeria Vermelho, São Paulo, and Images Festival at Art Gallery of York University, Toronto. Other recent group exhibitions include Arquivo Geral at Centro de Arte Hélio Oiticica, Rio de Janeiro (2006), MAM na Oca at Oca, São Paulo (2006), and Paradoxos Brasil - Rumos Artes Visuais at Instituto Itaú Cultural, São Paulo, Centro Dragão do Mar Arte e Cultura, Fortaleza, Museu de Arte Contemporânea de Goiânia and at Paço Imperial, Rio de Janeiro (2005/2006). The artist is represented by Galeria Fortes Vilaça in São Paulo.
Read more about Rodrigo Matheus
Amilcar Packer
Amilcar Packer was born in Santiago de Chile in 1974 and lives and works in São Paulo. In 1999, he graduated in Philosophy from the Universidade de São Paulo. He studied with Eduardo Brandão from 1988 to 2001 at the independent art school Terceiro Andar. His recent solo exhibitions include Entre, Usina do Gasômetro, Porto Alegre, Brazil (2009), Polisemiose at the Centro Cultural Banco do Brasil, São Paulo (2006) and Grave at Galeria Vermelho, São Paulo (2005). His work has been featured in many recent group shows such as the 2nd Thessaloniki Biennale of Contemporary Art, Thessaloniki, Greece (2009), Tipos móviles in the 2nd Trienal Poligráfica de San Juan, San Juan, Porto Rico (2009), Farewell to Post-Colonialism Third Guangzhou Triennial, Time Museum/Guangdong Museum of Art, Guangzhou, China (2009), Interrogating Systems, CIFO Grants and Commissions Exhibition, Miami (2008), Geração da Virada, Instituto Tomie Ohtake, São Paulo (2006), Con los Ojos del Otro, Centro Cultural de España, Montevideo (2006), and the Sydney Biennale (2004).
Read more about Amilcar Packer
Rolando Sanchez
Rolando Sánchez was born in Lima in 1974. He graduated from Escuela Nacional de Bellas Artes de Lima and from the Electronic Engineering Faculty of Pontificia Universidad Católica del Perú, where he is a regular teacher. His recent group exhibitions include Homo Ludens Ludens at LABoral, Gijón, Spain (2008), Videt 08 International Festival of Vilafranca del Penedés, Barcelona, Spain (2008), V Bienal iberoamericana de Videocreación y Arte Digital Inquieta Imagen at Museo de Arte y Diseño Contemporáneo de San José, Costa Rica (2007), 3rd Festival of Electronic Art, Rosario, Argentina (2006), VAE10 Festival Internacional de Video/Arte/Electrónica, Lima (2006), 2nd Festival of Electronic Art 404, Rosario (2005), Break 2.3 New Species, Ljubljana, Slovenia (2005), Artware 3 at Centro Cultural de la Universidad Católica, Lima (2005), Softmachine at Galería Artco, Lima (2005). Sánchez was awarded prizes at the III Exhibition of Digital Art (Video installation category, Santa Fe, Argentina, 2006) and First Prize at the Metropolitan Contest for Young Visual Artists (Lima Municipality, 2006). He lives and works in Lima.
Read more about Rolando Sanchez
Gabriel Acevedo Velarde
Gabriel Acevedo Velarde was born in Lima in 1976. He graduated in Fine Arts from Universidad de las Américas, Puebla, México. The artist studied film production and photography. His recent solo exhibitions include Quorum Power at Museo Carrillo Gil, Mexico City (2009), No matter what happens to you, we will keep growing at Y Gallery, Queens, New York (2008), Incorporación, desprendimiento at Galeria OMR, Mexico City (2008), Marathon at Galeria Leme, Sao Paulo (2008), Sinapsis Insurrección at Sala de Arte Público Siqueiros, Mexico City (2006). His recent group shows include MALI Contemporáneo at Museo de Arte de Lima (2009), Guangzhou Triennial at Guangdong Museum of Art, China (2008), I/Legítimo at Paço das Artes / Museu da Imagem e do Som, São Paulo (2008), The Culture Clash, Working Rooms Project Space, London (2008), Fuck you human at Maribel Lopez Gallery, Berlin (2008), Zoótropo at Museo de Arte Moderno, Mexico City (2008), Panorama 2007 at Museu de Arte Moderna, São Paulo, FACE-UP at Galerie Adler, New York (2007), Geopolíticas de la Animación at Centro Andaluz de Arte Contemporáneo, Sevilla (2007), En Perfecto Desorden at Museo de Arte Reina Sofía, Madrid (2007), The Fourth Seoul International Media Arts Biennale (2006), Contemporary Video Art from Brazil at Galerie Adler, Frankfurt (2006). He has received many awards from Fundación Jumex (2007), the Rockefeller Foundation (2006), the American Center Foundation (2007) and at the 15th Festival Videobrasil (Honorific Mention). The artist is represented by Galeria Leme in São Paulo. He lives and works in Berlin.
Read more about Gabriel Acevedo Velarde
Julie Bélisle holds an MA in museology and has worked at the Galerie de l'UQAM since 2004. For her current doctoral studies in art history at UQAM she is focusing on accumulation processes in contemporary art, a specialization which has led her to participate in several anthropology research projects. She has published texts in various journals and exhibition catalogues and in 2007-2008 she took part in a writing residency at the 3e impérial (Granby, Québec). She also co-curated the exhibition Basculer presented at the Galerie de l'UQAM in 2007, conceived La science dans l'art, a virtual exhibition of 32 Canadian artists, and curated an exhibition on the work of the artist Monique Régimbald-Zeiber which was presented in Europe in 2008.
Read more about Julie Bélisle
Kiki Mazzucchelli is an independent curator and writer working between London and São Paulo. In 2009, she curated Jonathas de Andrade's solo exhibition Tropical Hangover (Galeria Marcantonio Vilaça, Recife) and an exhibition-in-print project for the magazine Carnation (São Paulo). In the same year she was awarded a two-month International Curator residency from the Fundación Gilberto Alzate Avendaño (Bogotá, Colombia). Recent curatorial projects include the group show Looks Conceptual or How I Mistook a Carl Andre for a Pile of Bricks (Galeria Vermelho, São Paulo), Brazilian photographer Barbara Wagner's solo show Brasília Teimosa (ICA, London) and the sound-based exhibition OIDARADIO (Paço das Artes, São Paulo). Her writings feature in several publications such as Bravo!, Cultura Pensamento, ArtPress, Flash Art and others, as well as in various exhibition catalogues. She is the UK correspondent for the Spanish magazine ArteContexto, member of the CCSP group of external curators and served as a jury member for the Technology Connections Festival promoted by Instituto Sergio Motta (São Paulo, June-July 2008).
Read more about Kiki Mazzucchelli
Miguel Zegarra was born in Lima, 1979. He graduated in History from Pontificia Universidad Católica del Perú. Since 2007, he has been the curator of Galería Vértice in Lima. From 2004 to 2006, he was co-curator of the traveling international exhibition, Vía Satélite. Panorama of photography and video in contemporary Peru presented in Buenos Aires, Mexico City, Montevideo, Santiago, San José and Lima. Since 2004, he has been curator of the International Festival of Video and Electronic Art in Lima (VAE). He has also curated the video installation by the artist Patricia Bueno that represented Peru at the 52nd Venice Biennale (2007). His recent curatorial projects include La generación del espectáculo: Arte peruano contemporáneo (Galería Kiosko, Bolivia, 2009), En tránsito al paraíso: Imaginarios de la migración (Galería Vértice, 2009), La construcción del lugar común (Museo de Arte Contemporáneo, Lima, 2008), Zona de desplazamientos: Videoarte peruano contemporáneo (MAMba Museo de Arte Moderno de Buenos Aires, 2007). He has published texts in different magazines like Third Text (London), Contemporary (London), Arte Al Día International (Buenos Aires) and Artmotiv (Lima). Recently he was selected to be part of the Peruvian delegation for the X Bienal Internacional de Cuenca (Ecuador, 2009), as a member of a curatorial team.
Read more about Miguel Zegarra
Contrainte / Restraint
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text:
Q: Hilbert polynomial for $X=Z(x^2+y^2+z^2+w^2)\subset \mathbb{P}^3$ I'm beginning to learn about Hilbert polynomials and I'm trying to find it for the variety $X=Z(x^2+y^2+z^2+w^2)\subset \mathbb{P}^3$.
I know that the leader term must be of the form $\frac{2}{2!}t^2$, since $\dim X=2$ and the degree of $x^2+y^2+z^2+w^2$ is $2$. I tried to look at the vector spaces $S(X)_m$ explicitly, for example, for $m=2$:
$$S(X)_2=(x^2,y^2,z^2,w^2, xy,xz,xw,yz,yw,zw)/(x^2+y^2+z^2+w^2)$$
Since $\overline{w}^2=-\overline{x}^2-\overline{y}^2-\overline{z}^2$, then $\{\overline{x}^2, \overline{y}^2,\overline{z}^2, \overline{x}\overline{y},\overline{x}\overline{z},\overline{x}\overline{w}, \overline{y}\overline{z}, \overline{y}\overline{w}, \overline{z}\overline{w}\}$ is a $k$-basis for $S(X)_2$ therefore $\dim_k S(X)_2=9$.
But I don't know where to go from here. What is the idea?

A: Let $h_X$ be the Hilbert function of $X=V_{+}(w^2+x^2+y^2+z^2)$, let $S(X)=\mathbb{K}[w,x,y,z]_{\displaystyle/(w^2+x^2+y^2+z^2)}$; by definition
$$
h_X:d\in\mathbb{Z}\to\dim_{\mathbb{K}}S(X)_d\in\mathbb{N}_{\geq0},
$$
and by hypothesis:
$$
h_X(d)=\begin{cases}
0\iff d<0\\
1\iff d=0\\
4\iff d=1\\
\vdots
\end{cases}.
$$
For $d\geq2$ a base $B_d$ of $S(X)_d$ as $\mathbb{K}$-vector space is
$$
\left\{\overline{x^ay^bz^c}\in S(X)\mid a,b,c\in\{0,1,\dots,d\},\,a+b+c=d\right\}\cup\left\{\overline{wx^ay^bz^c}\in S(X)\mid a,b,c\in\{0,1,\dots,d\},\,a+b+c=d-1\right\};
$$
the size of $B_d$ is
$$
\binom{3+(d-1)}{d}+\binom{3+(d-2)}{d-1}=\binom{2+d}{d}+\binom{1+d}{d-1}=\frac{(d+2)!}{d!2!}+\frac{(d+1)!}{(d-1)!2!}=\frac{(d+1)!}{(d-1)!2!}\left(\frac{d+2}{d}+1\right)=\frac{(d+1)d}{2!}\frac{2d+2}{d}=(d+1)^2;
$$
summerize:
$$
h_X(d)=\begin{cases}
0\iff d<0\\
(d+1)^2\iff d\geq0
\end{cases};
$$
that is Hilbert polynomial $\chi_X(d)$ of $X$ is $(d+1)^2$.