Interethnic and intercultural relationships have moved to the top of the agenda in the past decades. Due to the outbreak of armed conflicts in various parts of the world and due to the increasing tendencies of racism and xenophobia, intercultural communication and confidence building measures between different groups of the population are widely discussed and urgently needed. In this context the initiatives promoting these relationships are crucial ones.
The course is designed to improve the professional skills of people working on projects in multilingual and multicultural contexts, e.g. NGOs working in education, media, social welfare or managers in development projects (NPOs, private and governmental initiatives) in Europe as well as in North-South cooperation.
Intercultural issues are treated as a cross-curricula topic in each workshop. The workshop is not based on a culture-specific approach, but rather on raising cultural and linguistic awareness. Therefor it is open for participants from different backgrounds and geographic regions. Diversity of participants backgrounds is an important resource for process oriented work within the whole course. In addition to the intercultural experiences within the summer school courses participants will have the opportunity to apply their skills in three different intercultural projects on site.
Long lasting results in interethnic relationships can efficiently be achieved by various organisations and institutions as well as non governmental organisations anchored in a regional context, being firm in handling specific regional issues.
More and more social and cultural activities are being transferred from the state to the so called third sector. Thus this third sector plays a major role in establishing democratic structures.
Working on intercultural topics and settings requires trust between parties which can best be achieved in settings of direct communication.
As far as NGO projects are concerned, they are characteristically placed in between the interests of the socio-political, socio-cultural, economical and educational systems of states. Part of the NGO´s task is to manage the interfaces between those systems.
As NGOs are situated locally and linked to different existing systems, they are more flexible in responding to changing needs.
Presently, intercultural organisations and institutions and NGOs are active in a great variety of sectors such as education, social assistance, culture, media, transfrontier co-operation and health care.
They support the development of societies by their sectorial activities as well as by their integrative function between different groups of society. To be able to fulfill this demanding tasks and to achieve sustainable results, these organisations and NGOs not only need substantial support (e.g. financial, legal, ...), but also support to improve their professional management skills.
Very often these skills are underestimated by members of these groups. In general their competence lies within interpersonal and intergroup communication, combined with high commitment. On the other hand this often goes along with organisational and administrative deficiencies. To maintain the interpersonal qualities it seems to be essential to increase the capability on the management side as they depend strongly on each other. Especially intercultural settings function well only when interpersonal and organisational items are well linked.
To find out more about the most urgent deficiencies, we organised a pilot workshop in February 2000 at the University of Klagenfurt. As participants, representatives from intercultural projects from Southeastern and Eastern Europe as well as NGOs working in a north-south context were invited. It was set to be a pilot workshop in order to elaborate - according to the needs of the participants - a curriculum for Intercultural Project Management.
Project members highly tend to identify with their common idea. Motivation comes from working for a good purpose, supported by high dynamics in initial phases; but often these projects depend on charismatic personalities. As the project develops, organisational structures become a must in order to increase the efficiency of work, but sometimes resistance to more abstract forms of management develops.
Possibly due to the numerous personal and structural differences and sometimes hostile environments they have to cope with, there is a strong desire to harmonise within the project itself. Necessary conflicts are ignored rather than dealt with. Distribution of tasks and functions do exist generally, but they often contradict the tendency of harmonising which then leads to energy consuming frictions within the team. Organisational conflicts often become personalised and can be further complicated by intercultural misunderstandings.
Intercultural projects have to manage not only internal organisational conflicts but diversities of cultures, languages, ethnicity and majority-minority relationships.
Some groups like NGOs have to cope with the contradiction of market-oriented environment as well as their self-definition as non profit organisations.
To be able to work as intermediate organisations, intercultural projects have to insist on their independence; but on the other hand they highly depend on administrative and political structures as well as on their financial supporters.
Based on the assessment of this workshop we developed a curriculum for a summer school on intercultural project management. The basic idea of the IPM Summer School is to create a training program that provides professional support to all who are in charge of intercultural projects. Originally the SC was designed for project managers within the Council of Europe´s confidence building measures program, but of course it will be open to all participants interested in intercultural and multilingual issues. The program will provide technical skills of project management such as project management tools, project controlling, project evaluation, fundraising and public relations skills as well as project management skills, such as leading and steering projects, dealing with conflicts and conflict management, mediation, team development, dealing with organisational issues, coping with multilingual settings and environments. Intercultural aspects will be a main topic in every course.
The program is conceived as an academic course that will be offered at the University of Klagenfurt, IFF (Institute for Interdisciplinary Research and Continuing Education).


Squalls happened today. Frequently and tropically. Swollen seas, gusty winds and torrential downpours were our companions for the day's activities. Luckily diving involves getting wet anyway so the latter was par for the course but the former two had effect on our plans. Of the two dive parties venturing out this morning the first had to turn back from their Oceanside target site and select an alternative in the shelter of the lagoon. The second dive party negotiated some dominating seas to find their calmer waters on the far Oceanside of an island to the wind. While those beneath explored the watery beauty around the reef, those on safety watch above could see the approaching squalls and watch the gradual arrival of tumultuous curtains of rain before an overcast break between downpours allowed a little drying for soaked bodies.
Despite the less than ideal conditions a full days diving and terrestrial work went ahead. Temperature loggers were recovered and replaced, fish, coral health, coral biodiversity and other surveys were the order of the day, all contributing to the build up of scientific knowledge of the Archipelago. In some respects the weather worked in our favour as we explored new dive sites within the lagoon that proved to be stunning in the richness and health of their corals, and biodiversity and abundance of fish life.
Whilst we all were getting wet diving Pete continued his terrestrial forays.
"Today another two islands were visited, both proposed as IBAs due to their breeding seabirds. The tide was on the rise when we reached the first and we could not navigate the boat over the coral reef fringe surrounding the island. This meant we had to jump over the side of the boat swim-surf over the reef fringe and then walk the remaining distance to the shore; a bracing start to a day of monitoring!
Jon, our expedition doctor, who accompanied Pete on his island explorations during the day arrived back at the boat early in the afternoon. This allowed him the time to turn his healing skills to the air compressors which fill our scuba tanks. Critical to achieving our underwater aims these need to be kept in tip top condition so the engine surgery kit of spanners, spares and nuts and bolts came out with a few cans of oil and perhaps a little dose of profanity. Duly sworn into wellbeing the compressors did their duty and we're set for diving in the morning. Fingers crossed we won't be getting quite so sodden and windswept while not submerged.


text:
Home — Essay Samples — History — Benjamin Franklin — Benjamin Franklin & Steve Jobs Two Phenomenal Examples Of Leaders & Inventors
Benjamin Franklin & Steve Jobs Two Phenomenal Examples Of Leaders & Inventors
Category: History, Sociology, Business
Subcategory: History of the United States, Identity, Entrepreneurship
Topic: Benjamin Franklin, Personal Life, Steve Jobs
Revolutionary Technical Leaders
Our nation has so many innovators and inventors. However, people remember only a few of them for their excellent achievements and accomplishments. This country is neither new nor short of excellent leaders who lead society with integrity and honesty. Benjamin Franklin and Steve Jobs were two phenomenal examples of such leaders and inventors our nation was lucky to have. Although, both of these fine men were as similar as they are different in their roles as leaders and innovators.
First of all, Benjamin Franklin and Steve Jobs were both excellent inventors in their own ways. Benjamin Franklin invented electrical products that we use in our daily lives. Some of his inventions were the lightning rod for protecting homes from lightning, and the Franklin stove for cooking with less wood and less fire danger. Nowadays lots of people use his invention of the bifocal lens. He also invented the machine urinary catheter which is used to test for gallbladder stones (Inventions and Improvements). Steve Jobs also invented technological products that people use in their daily life. Steve Jobs is mostly known for his Apple products like the MacBook, iPhone, iPad, iPod. These creative inventions made people's lives more convenient.
In addition, Benjamin Franklin and Steve Jobs were amazing leaders for the nation in their individual ways. Benjamin Franklin was one of the founding fathers of United States of America. He took part as a congressman in signing the Declaration of Independence during revolutionary war. He was a statesman, author, and diplomat for the U.S government. He was never a president though he always worked for the people. His sense of humor and helping nature helped him lead people in a strong and meaningful way. Steve Jobs was a co-founder of Apple Company. After a few years he became chairman and chief executive officer of Apple Company. Steve Jobs never concentrated on company profits. Instead, he wanted his best products to be used for the benefit of society. His revolutions led people into a new era of technology. Indeed, both of them helped create a better world for all of us with their creations.
Next, Benjamin Franklin and Steve Jobs did not have much education though they led good lives. Benjamin Franklin had to drop out from school at early age. This was because he was part of a large family, and his parents could not afford to send him to the good school. He took care of his family business after he dropped out from school. While managing his family business, he started helping people with his small inventions. Steve Jobs also dropped out from school and did not finish college. Instead, he joined a class related to computers. That class motivated him to start inventing. To sum up, their paths of education forced them to pursue completely different futures though they both dedicated their lives to making our nation stronger and better for everyone.
Furthermore, Benjamin Franklin and Steve Jobs both were morning people. Benjamin Franklin used to wake up early in the morning and run some errands before going to work. He used to have a well-disciplined routine for his daily life. A healthy diet and his passion for his work kept him healthy for long time. Steve Jobs also woke up in the morning and worked hard to serve the people. He used to eat lots of fruits such as apples which helped him come up with the idea of Apple products. In fact, their healthy working habits and disciplined routines led to commitment and passion of their work.
Moreover, Benjamin Franklin and Steve Jobs had different personal paths of life. Benjamin Franklin was born January 17th, 1706 in the city of Boston (Short Biography). He married Deborah Read and had two children. The children's names were Francis Folger Franklin and Sarah Franklin. Several years after, his wife got sick and struggled with strokes and eventually passed away. Benjamin Franklin got his first pleurisy attack before his marriage (Short Biography). He passed away at the age of eighty-four after serving the country for so long (Short Biography). Whereas Steve Jobs born on February 24, 1955 in San Francisco, California (Steve Jobs). He married to Laurene Powell and they had three children. He was given to adoption, and he found his biological parents later in the life. He came to know that he was sick, he decided to take a long leave from his work. He handed over his Apple Company somebody else and took rest. For so many years Jobs struggled with pancreatic cancer until sadly passed away (Steve Jobs). Though they both shared similarity in the good they did for our country, their lives were completely different. Lastly, Benjamin Franklin and Steve Jobs had their own hobbies and interests. In retirement, one of Benjamin Franklin's hobbies was reading the books. In his later years, this hobby made him as a writer. He also had an interest of learning about new techniques. As a result, he could help his father in his printing business.
Eventually, Franklin went on to publish full newspapers using his interest in printing techniques. Franklin also loved to travel, so he took a tour of all of England. Benjamin Franklin liked music a lot and with this hobby he invented a musical instrument called the Glass armonica (Inventions and Improvements). Yet Steve Job was a man of completely different interest and hobbies. He liked to listen to music using his invention of iTunes in his leisure time. The most important thing to him was to spend the time with his family. He used to watch movies made by the company he started: Pixar Movies (Steve Jobs).
To sum up, Steve Jobs took great pride in being a family man whereas Benjamin Franklin loved to spend his time tinkering or part-taking in literature. Though these men shared such a distinct difference in hobbies and interests, they went on to shape the world for the better. Clearly, Benjamin Franklin and Steve Jobs were truly great people. Though they had differences in their ways of life, they shared a lot of similarities in their goals for our country. This country was lucky to have had such excellent leaders and inventors. Their creations, commitment, inspiration, motivation, and passion allowed them to lead a successful life and achieve the goals they laid out for themselves and this country. Though they are no longer with us, we will always remember them for what they have done for this country and for being the embodiment of service and success through their inventions and contributions.
"Inventions and Improvements." Benjamin Franklin Historical Society, Word Press, 2014, www.benjamin-franklin-history.org/inventions-and-improvements/. Accessed 21 Sept 2018.
"Short Biography." Benjamin Franklin Historical Society, Word Press, 2014, www.benjamin- franklin-history.org/Short Biography/. Accessed 21 Sep 2018.
"Steve Jobs." Biography.com, A&E Networks Television, 11 Sep 2018, www.biography.com/people/steve-jobs-9354805. Accessed 21 Sep 2018.
GradesFixer. (2020, January, 03) Benjamin Franklin & Steve Jobs Two Phenomenal Examples Of Leaders & Inventors. Retrived January 21, 2020, from https://gradesfixer.com/free-essay-examples/benjamin-franklin-steve-jobs-two-phenomenal-examples-of-leaders-inventors/
"Benjamin Franklin & Steve Jobs Two Phenomenal Examples Of Leaders & Inventors." GradesFixer, 03 Jan. 2020, https://gradesfixer.com/free-essay-examples/benjamin-franklin-steve-jobs-two-phenomenal-examples-of-leaders-inventors/. Accessed 21 January 2020.
GradesFixer. 2020. Benjamin Franklin & Steve Jobs Two Phenomenal Examples Of Leaders & Inventors., viewed 21 January 2020, <https://gradesfixer.com/free-essay-examples/benjamin-franklin-steve-jobs-two-phenomenal-examples-of-leaders-inventors/>
GradesFixer. Benjamin Franklin & Steve Jobs Two Phenomenal Examples Of Leaders & Inventors. [Internet]. January 2020. [Accessed January 21, 2020]. Available from: https://gradesfixer.com/free-essay-examples/benjamin-franklin-steve-jobs-two-phenomenal-examples-of-leaders-inventors/
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redpajama_set_name: RedPajamaCommonCrawl


MANCHESTER UNITED'S training ground has been labelled a "morgue" as the squad morale is said to have hit a new low.
According to the Sun, the players have taken the recent bad run hard, especially after losing to Premier League minnows Huddersfield on Saturday.
Jose Mourinho's side have fallen away from the blistering pace which they started the season.
They now trail league-leaders Manchester City by five points with eight games gone.
And news leaking out about a depressing training ground environment will only compound more misery on the Red Devils.
The atmosphere at the training ground is the lowest it has been since Jose joined the club.
"The atmosphere at the training ground is the lowest it has been since Jose joined the club," a source told the Sun.
"Something isn't right. We wonder whether his comments about Paris and not staying long term has also had an impact.
"It's dropped off a cliff since Huddersfield. Not having Pogba's presence is always not going to help, as he is so bubbly.
The negative news leaking out of their Carrington training complex will only add to the pressure building on Mourinho.
The Portuguese boss recently refused to rule out managing Paris Saint-German in the future, after insisting he will not finish his career at Old Trafford.


Oscar Dresses from The Academy Awards also the Oscars are undoubtedly the most glamorous and stunning dresses in the world. The Oscars has been a true celebration of the achievements of some of the biggest stars of the screen. The famous stars and beauties take the gold for the best Oscar Dresses from the A-list designers in the fashion world to hit the Oscar red carpet.
Every year, the celebrities, such as Angelina Jolie, Khloe Kardashian, Camila Alves, Lupita Nyong'o, Mila Kunis, Selena Gomez, Miley Cyrus, Jennifer Lawrence, Scarlett Johansson, Halle Berry, Charlize Theron, Reese Witherspoon and Jennifer Lopez all wore some incredible red carpet dresses that have landed them in our round-up of the most iconic Oscar Dresses of all time.
For fashion girls, there's no better way to celebrate their big days than with a new wardrobe and some new formal gowns and prom dresses inspired by Oscar celeb dresses to match . Keep up with the latest Oscar red carpet trends for the holiday 2016 season with these gorgeous Oscars Dresses for prom. LizandLiz specialized in making red carpet dresses will be sure to turn your prom into a truly enchanted evening.
All the Oscar Dresses listed in LizandLiz red carpet dresses collection are not the original dresses the celebrities wore on the Oscar red carpet. LizandLiz team has re-designed and re-created the Oscar Dresses for less, for the girls who wants to dress like a red carpet star at an affordable price. LizandLiz promised each Oscar red carpet dress are well made and would be 99% the same as the original dresses.


text:
Q: Execute python files through code I have a very simple, yet difficult question: I wasnt to execute a python script through python.
The idea is really simple, I want to build a sort of like interlinked "scripts". It would work just like links in HTML, I have a game with different screens (such as main game, settings, etc), and when the user clicks on a "link" (E.g. Play Game), it would execute the maingame.py script in the main game subfolder.
Now here comes the problem: I tried using exec(open('somescript.py').read()) to open other scripts. However, the "python working folder" does not change (it doesn't change to the subfolder), and the imports in these scripts don't work because of this.
Can anyone suggest an alternative?

A: ummm os.chdir(os.path.dirname(script_name_to_run))? ... why not just make the files follow some sort of framework where they all have a run method or something that does the script? then just import it like normal? this is probably much better in practice...
file1.py
from file2 import run as run1
from file3 import run as run2
import random
[run1,run2][random.randint(0,1)]() # run one of them

file2.py
def run():
    #do whatever

file3.py
def run():
    #do something else

A: You could use a few options:

*

*Use subprocess.Popen which seems to be heavily favoured here
subprocess.Popen("python <path to .py file>")

*Use os.system which is a slightly dated version of the above and is less preferable as you have less control with it
os.system("python <path to .py file>")

*I tend to like to import other functions, variables and whatnot straight into other scripts. In your run.py file import the other two:
from run1 import *
from run2 import *

This option gives you access to ANY function, class or variable in run1 or run2 from within run.py.
Good Luck!

redpajama_set_name: RedPajamaStackExchange


text:
All Of Us Are Dead Season 2 Release Date and Time, Countdown, When Is It Coming Out?
All of Us Are Dead Season 2 Release Time and Date
All of Us Are Dead Season 2 Overview
When will it be out?
All Of Us are Dead Season 2 on Binge Watchers List
Highlights from All Of Us Are Dead Season 2
All Of Us Are Dead is one of the most popular South Korean Television Series, which was initially released on January 28, 2022. The series was very popular after its premiere. Season 2 is the second season of the series. Fans are excited about All Of Us Are Dead Season 2 and eager to find out when it will be released. It is likely that All Of Us Are Dead season 2 will be released sometime between 2022 and 2023. These are speculations. We will have wait to hear the official confirmation on the All Of Us Are Dead Season 2 date.
Name of the Season All of Us Are Dead
Season Number Season 2
All Of Us are Dead initial Release Date January 28, 2022
All of Us Are Dead Season 2 Release Date 2023
All of Us Are Dead Season 2 characters Yoon Chan Young
All Of Us Are Dead Season 2 should be out in 2023. All Of Us Are Dead Season 2 currently has the highest number of episodes, with new episodes being released every other week. One reason this series has gained such popularity is because of its gripping plot. We have provided a section below to help you find All Of Us Are Dead Season 2.
With the lockdown in place since 2020, binge-watchers have been increasingly interested in watching series. They are not limited to one genre or region. Exploring multiple avenues in series is also a common trend. Binge watchers are accustomed to watching All Of Us Are Dead Season 2 and it has been a regular on their list of shows to watch.
Yoon Chan Young is featured in Season 2 of All Of Us Are Dead. As you can see, there are many other characters in this movie. Enjoy the movie with family and friends. Below is information about the movie, including the release date and trailer. All Of Us Are Dead Season 2 is another such series that many Binge watchers have added to their watch list.
DisclaimerAll information on this site is provided for informational purposes only. We provide all information on this Site in good faith. However, we make no representations or warranties of any kind regarding the accuracy, adequacy or reliability of any information.


text:
package config

import (
	. "github.com/onsi/ginkgo"
	. "github.com/onsi/gomega"

	"github.com/9corp/9volt/fakes/dalfakes"
)

var _ = Describe("config", func() {
	var (
		fakeDalClient *dalfakes.FakeIDal
		cfg           *Config

		testMemberID      = "testMemberID"
		testListenAddress = "0.0.0.0:8080"
		testEtcdPrefix    = "9volt"
		testEtcdUserPass  = ""
		testEtcdMembers   = []string{"http://127.0.0.1:2379", "http://127.0.0.2:2379"}
		testTags          = []string{"tag1", "tag2"}
		testVersion       = "12345"
		testSemver        = "0.0.1"
	)

	BeforeEach(func() {
		fakeDalClient = &dalfakes.FakeIDal{}
		cfg = New(testMemberID, testListenAddress, testEtcdPrefix, testEtcdUserPass, testEtcdMembers,
			testTags, fakeDalClient, nil, testVersion, testSemver)

		Expect(cfg).ToNot(BeNil())
	})

	Context("ValidateDirs", func() {
		PIt("should return empty string slice on no errors")
		PIt("should error if dal runs into an error during key existance check")
		PIt("should error if required key does not exist")
		PIt("should error if required key is not a dir")
		PIt("should return a slice of errors (if errors are hit)")
	})

	Context("Load", func() {
		PIt("should load server config")
		PIt("should error if dal runs into error on initial config fetch")
		PIt("should error if config does not exist")
		PIt("should error if config is a dir (and not a key)")
		PIt("should error if dal get errors")
		PIt("should error if returned value map does not contain config")
		PIt("should error if load() returns an error")
	})

	Context("load", func() {
		PIt("should load server config")
		PIt("should error if config can't be unmarshalled onto serverConfig struct")
		PIt("should error if validate() fails")
	})

	Context("validate", func() {
		PIt("should return nil on happy path")
		PIt("should error on invalid HeartbeatInterval")
		PIt("should error on invalid HeartbeatTimeout")
		PIt("should error on invalid StateDumpInterval")
	})
})

redpajama_set_name: RedPajamaGithub


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Join M.Judson and Leaph Flower Boutique for a unique floral affair! Handmade felt flowers make great alternatives to traditional bouquets, as well as beautiful home decor. Just in time for Mother's Day and graduation parties, Blake from Leaph Flower Boutique will be at M.Judson from 9am-1pm. Come out and see his brilliant floral creations!


text:
Heart Yorkshire
Sweet But Psycho Ava Max Download 'Sweet But Psycho' on iTunes
Huddersfield House Fire 'Tragic Accident'
22 February 2016, 14:48 | Updated: 22 February 2016, 15:00
A house fire which left two young boys dead is being treated as a "tragic accident'', police have said.
The boys who died at their home in Huddersfield have been formally identified as three-year-old Logan Taylor and two-year-old Jake Casey.
A West Yorkshire Police spokesman said: ``Police are continuing to work closely with colleagues from West Yorkshire Fire and Rescue Service in investigating this incident, which appears at this stage to be a tragic accident.
"Police will maintain oversight until the full findings of the investigation are confirmed.''
The children were rushed to Huddersfield Royal Infirmary on Saturday afternoon but could not be saved.
Their mother and an older brother had managed to flee the house in Alder Street before firefighters arrived.
The fire was believed to have started in the front bedroom and a rescuer, thought to be a neighbour, tried to get in by climbing on a veranda at the back of the house.
The boys' father also dashed to the house to try to help, neighbours said.
It is not known if smoke alarms were fitted to the privately rented house, the family having moved into the property around six months ago according to neighbours.
The family's next door neighbour, who did not want to be named, said the mother was shouting, ``Help me! Help me!'', crying and screaming for help.
"We saw the smoke everywhere, a man tried to climb up to help but there was too much smoke, you could not see anything,'' she said.
"I asked the man, he said two children were still inside.
"Then the police and fire brigade came and they went inside.''
The neighbour said: "It's really shocking, everyone is in shock. My children were upset.''
Family members have returned to the scene of the tragedy to leave flowers.
West Yorkshire Fire and Rescue Service said firefighters with breathing apparatus brought the boys out.
On Sunday, group manager Chris Kirby said: "I was speaking to some of them yesterday, they had got tears in their eyes, they were very upset about the scenes that they had witnessed.''
Ukraine's President Zelenskyy walks fine line between downplaying war threat and appealing for help


Read these words on the silver plaque as you stand beneath Calder's The Eagle, in the Olympic Sculpture Park, and they resonate deeply. The bolts and bends in its blazing, red steel prompt you to envision the way its parts came together in the artist's mind. This year, as we celebrate the 10th anniversary of the Olympic Sculpture Park, Calder's words become especially poignant. Looking out at the park and the surrounding slices of Seattle framed by The Eagle's wings and legs—the art, the land, and the architecture—we are reminded of the way people came together to build this unique green space in the downtown corridor.
During the years that passed since the park opened on January 20, 2007, the sculptures, the design, the plants and all of the activities that happen among them have become embedded into the city that has grown around it. Skyscrapers bloom around the thick carpet of green and open span of sky while hundreds of container ships and ferries, otters and seals, pass through the Puget Sound below. When you scan the downtown skyline from the West Seattle shore, between CenturyLink Field's white arches and the Space Needle's hovering disc, the park's patch of green and The Eagle's spot of red stand out, too. Inside the park, a universe of sorts was carved, by two organizations and many individuals—a universe that continues to be shaped by Seattle itself.
In the months ahead, we will continue reflecting on the Olympic Sculpture Park's history with an in-depth look at the permanent and temporary works of art, the landscape, the programming, and more. We hope our memories of the last 10 years bring to mind some of your own and, even better, that you'll visit in 2017 to create new experiences during the park's 10th year.
We're celebrating the Olympic Sculpture Park turning 10 with a laser show! Installed for this year's SAM Lights on December 15, Greener by Iole Alessandrini and Ed Mannery is an art installation made from light that was originally on view at the grand opening of the park in 2007. Missed SAM Lights? Not to worry! Greener will light up the terrace through January 16.
In the 10 years since the laser grid of Greener cast SAM visitor's in its net, artist Alessandrini has had some time to reflect on the light sculpture, her practice, and what it means for an artwork and a sculpture park to interact and create visual connections for visitors. A Seattle transplant from Italy, Alessandrini began her Laser Project Series with Optical Engineer Ed Mannery in 2001 during a residency at Bellevue Art Museum. As Iole Alessandrini has had said of her work, "It is the intersection between these two creative expressions—art and architecture—" through which her work moves. At the Olympic Sculpture Park, Greener covers over 2,500 square feet of grass in the Gates Amphitheater between Richard Serra's Wake and the PACCAR Pavilion.
See this work in the twilight hour between sunset and park closure for optimal viewing!
SAM: How does nature factor into your focus on architecture and design?
Iole Alessandrini: Since early studies on light-art at the University of Washington (1996), I have been captured by the symbiotic and antithetic relationship between natural and artificial light. Symbiotic—in that natural and artificial light make things visible; antithetic—as the sun dominates over artificial light. Within enclosed spaces the laser of our installations is free from sun's interference and it appears radiant. In outdoor environments, the light from both the sun and the laser interplay with each other in a symbiotic and antithetic way. This unique interplay manifests when the sun sets and the sky darkens. During this transition, the light from the art prevails to become visible in itself, while revealing the natural landscape surrounding people.
What about the interplay between the tangible and intangible interests you and drives your work?
I think of light as a medium that I can model, shape and bend. Perhaps as one who shapes clay; I shape light. The singular wave-behavior of laser, which directs the rays to move parallel to each other, gives the laser-light the distinctive shape of a beam. In the presence of dust or smoke the light-beam becomes visible yet intangible.
With the installation Greener, Optical Engineer Ed Mannery and I used cone optics to direct the beam to form a plane. It is the nature of light to be evident when objects reflect it. In the park, the light-planes intersecting the grass-blades reveal this natural phenomenon and look as if they are lit from within. Both grass and light are evident yet the light remains intangible.
At SAM Olympic Sculpture Park installing Greener for the 10th anniversary of the park's opening.
Is movement crucial to all your light-based works? I'm thinking of something like "Three of Us" which captures movement through laser projections as compared to Greener which inspires movement through laser projections.
Many of our projects involve a direct connection with viewer and light. The Three of Us is a photo of a unique phenomenon of light captured with the camera as people move through the laser-planes. The project Untitled at Jack Straw Production (2004) provided us the first opportunity to document this phenomenon. I photographed a woman's hands as she moved them back and forth rapidly through the plane. This picture created the series which I titled Shroud as it shows a flat subject taking on a ghostly aspect through the interface with the light plane. The photos are unique as they resemble holograms and they are of great interest to me. I am an avid researcher of motion in photography as seen in the work by Eadweard Muybridge, Jules Etienne Marey and Harold Edgerton.
How is Greener activated by the interaction of park visitors?
Contemplating the work from a distance vs. interacting with it—as in immersing oneself in the light—are distinctive ways in which Greener can be experienced. Yesterday at the park during its opening, we observed that dynamic at play. In both cases it was satisfying to witness the sense of wonder and engagement coming from people staring at and interacting with 2,500 square feet of light under their feet. Greener visually connects different aspects of the Olympic Sculpture Park, from Serra's Wake to the PACCAR Pavilion causing visitors to walk and step over the grass and the light of our installation.
Do you see Greener differently after the last 10 years? What does the passage of time lend to the work and it's relationship to the park?
We were pleased to see that even after 10 years the technology continues to work. It works in function, and it works in keeping visitors engaged and mesmerized. Their appreciation of the art, the landscape, and the architecture speaks volumes, making Greener an aesthetic expression and synthesis of them all.
Taking Picts of Greener a laser installation for the 10th anniversary of SAM Olympic Sculpture Park. Home to see many tomorrow Dec 15, 2016.
This summer, Seattle artist Dan Webb will set up shop at the Olympic Sculpture Park. In a small wooden shed, he will gradually turn a tree into a procession of carved sculptures. He will continue to carve until nothing is left but sawdust.
The ephemeral project pays tribute to the natural life cycle of the tree, which will come from the sculpture park—our chief gardener has selected one that needs to be thinned for the health of the grove. The tree's seeds will be preserved and planted in the park.
We talked to Webb about his project—and what making art means to him.
Note: Selections from this interview appeared in the SAM magazine for June–September 2015. This is the full interview.
SAM: This summer, you'll be spending two months carving sculptures out of a tree but I hear that none of the works you make will be kept. What motivates you to do this? What's your thinking behind this?
Dan Webb: I think it really talks about a certain ephemerality to most things that everything lives for a while. I mean, even if you look at the acropolis or something like that, it's melting because of the rain and such. There are these things that we're able to make but we're not able to make anything that's permanent. So maybe the conceit of sculpture is that you can hold on to a moment for a bit but a lot of my work really references the idea of time and the idea of a cycle, that you're born and you live and you die and that just starts another beginning.
And I think wood is a great material to do that with. You know, it's a material that was alive and is no longer. There's a way that you can really talk about those kinds of systems, the falling apart and then coming out of the ashes and falling apart, that just seems really natural in wood. You don't have to reach very far and it doesn't seem mockish or melodramatic.
The work to me is on the one hand is quite light-hearted and fun and on the other hand is very much about entropy and death and stuff. I feel like that material spans that emotional distance really well. I do want all of that stuff kicking around in there somewhere.
SAM: —you can't keep carving anymore.
SAM: This is unique to carving. That if you keep going, your medium will disappear. If a painter just kept layering on paint and paint and paint and engaging in the process, his material would get thicker. His canvas would eventually get thicker but yours will eventually disappear.
Dan Webb: Exactly. Yeah, it's very much a reductive process—it's something you think about. It's something you notice as you carve, you know, that every time I take a little bit off, there's very much a reference. It's not a metaphor. It's very much like a tick of the clock. There's a little bit gone, you know, and that just percolates through the work.
It's hard to keep it away so that's really the beginning of it. I hope that doesn't sound like a big fat bummer but it's in there. But along that path of that life and all the stuff that I'm going to make, there's all sorts of stuff that's great.
You know, I'm really already planning on making a salad set for the table that I'm supposed to make in the park or making some kind of implements for people when they sit around their table and we have dinner in the park that will come from that tree [Dan is a featured artist for Party in the Park]. I want those things to really live a life and to be touched, to be in the hands of people and to go somewhere. That's just one idea. There's a few others too related to that.
SAM: That's one of the things I want to ask. How will you decide what to carve?
Dan Webb: There's a lot of improvisation in what happens with a particular piece of wood and some of it is just—to me—sort of silly inside jokes.
I always think of the phrase "ripped limb from limb" because I make so many limbs out of the limbs of trees through what amounts to a whole lot of violence, really. That just seems so dumb and obvious, to carve a limb from a limb, but I can't help myself.
It's still great. Not really worrying about the starting point is more of my process. The idea that [Marcel] Duchamp had of chance—the standard stoppages and all that kind of stuff of making, building into his process the way that he does—he isn't really sure what it's going to be. I'm sympathetic to that way of working.
I think illustrating my deep thoughts on things as they are would be a whole lot less interesting than discovering things along the way and being sensitive to the serendipity of certain shapes, certain ways that the wood seems to be doing certain things. Just listening to that makes it more than I think I could plan for it to be.
SAM: Is there a point in the carving where you either discover something and your path forward is set or because you get to a point where you've made enough decisions that you're now limited—?
Dan Webb: There is a point at which it's set. I'm starting to make things where I take a single block and I start cutting chunks out of the block and carving different things from them with a simple joint at the top, a dove-tail joint, and then sliding all those things together that I pull out of the block.
And I've found that it doesn't take very long before there's something going on with that initial piece that leads to the next piece and then I'm trying to really find that in the block. I'm trying to make sure that I can find that in there. So while there's improv, there's also me trying to exert my will on it. There's a tension between the two.
SAM: We tend to think about the artist as a solitary, isolated figure. I read somewhere that you work in a studio in Georgetown with other artists so you aren't necessarily that on a daily basis anyway. But now you're bringing your studio to the park, which is this very public space.
What are your expectations? Why are you interested? Are there things here you're excited about or worried about?
Dan Webb: Yeah, I know. Well, I think that really has to be part of the work. I am really interested in Robert Smithson's work, Partially Buried Woodshed, that he made in the 70s. I got a chance to see it actually. It was a woodshed where a bunch of woodworkers were and he poured a whole bunch of dirt on it and left it and it rotted. His work was really about entropy and everything like that. But I was really interested in what happens to those woodworkers inside of that. I know he pulled them out before he poured dirt on it—but the whole idea of what happens to the people, and how do people fit into that work, and his thinking in some ways informs this piece.
I'm very much the woodworker there in the shack. The activity of it, the pretty slow quotidian boringness of it will be on display, as well as the conversations I'll have and all the rest of it. I hope that's very much a part of the work.
SAM: What are five things you'll bring with you? What do you need to work when you're carrying your studio with you?
Dan Webb: Well, I'm going to have a rolling cart that I'll have to roll into the shack from the pavilion and roll back at the end of the night because there's—I'll probably have fifty or sixty chisels with me and saws—a lot of stuff will be required to do this. So I'd be pretty stumped if I had to think of just five. A cup of coffee, my toolbox. What else? What else do I get? Is that two? Technically I've already listed more than a hundred because of the tools so I better stop. I'm cheating already.
SAM: I want to ask you about some of your influences and I have to be honest—I'm hoping you'll talk a little bit about Robert Morris's Box With a Sound of Its Own Making.
Dan Webb: Oh, yeah, which I just paid homage to ten minutes ago. I love it. I love talking about other people's work. Well, it's just a towering work of genius, first of all.
I think what it does for me as a maker of things—it really says that there's this life lived by someone who made that thing. That new object was brought to this place by a person who thought things through, had all these problems to solve, and was having a hard day that day, and told a really hilarious joke at lunchtime to his friends.
So there's that really clear, awesome humanity to it.
The other thing too that becomes maybe even more important than the piece—the physical artifact really takes a backseat (maybe) to the idea, to the circumstance, to the context. There's a lot of things that go into it and the object becomes the artifact of that.
I think about that when I look at the Michelangelo "Slave" Series as well. It's not that they're finished or that's even important. They're sort of struggling to get out of this block environment. But you can just see his chisel. More than any other piece that Michelangelo made, you see these tourists just running by these things in Florence. Nobody looks at them. I was the only person.
You can see the chisel marks and you make the connection that there was this funny little shrunken dude who was making that stuff.
It seems to be pretty profound to me that there's the things that you think and feel and hope for. And then there's the artifact of that life—which is your work. Not forgetting that, not ever forgetting that, is really important.
SAM: That art is made by humans.
Dan Webb: Art is made by humans who are muddling through, and trying to make sense of it, and the issues are pretty much the same [then that they are now].
I think with a lot of other work, before I saw Box With a Sound of Its Own Making, it was harder for me to access some of that stuff. It seemed like this thing had just arrived—rather than feeling like there was a context for why that thing existed or there were conflicts and difficulties with them, which leads to it looking a certain way. You have to grapple with the thing.
SAM: How do you define mastery?
Dan Webb: You know, that word is a real—whenever I hear that word, I think of Caine in Kung Fu or something like that, an impossible TV black belt in a Shaolin temple. I don't know.
I know that it's easy to point to history and say well, Michelangelo was and Bernini was and Sam Maloof was. You could point to these people but I wonder if they would say that. I wonder if any of them—I bet they were champing to get to work so that they could get a little bit better that day, the day that they died.
I think at best what you can maybe access is total effort. I don't know that a lot of people understand what total effort is. It's not 99 percent. It's 100 percent and when you're absolutely, completely—then there's nothing left.
And to do that over the course of a long period of time, in order to get to a place where something like mastery becomes part of the question or part of the discussion—I think that's a pretty awesome, gratifying thing. But I don't know anybody that's even come close who would say, "Yeah. Yeah, mastery, that's me. Look up mastery in a dictionary and my picture's right there." I think the goal posts keep moving further.
SAM: I have this—well, it might be sort of a sillier question but I know in this book, Jenni Sorkin provides one of the essays and writes that there's this "uncommon sensuousness" of wood.
SAM: And I think romance novels and romantic comedies often cast their male leads as oh, first architects.
SAM: And then often carpenters.
Dan Webb: Wow, really? Man, I need more of this stuff.
SAM: So I'm wondering if you think there's anything to this romanticizing of wood.
SAM: Maybe it's tied to this larger phenomenon where our culture romanticizes working with our hands at this point.
SAM: There's a trust fund behind them.
Dan Webb: Yeah, so I think now, especially with our super-curated lives that we can do on social media, I think it takes on even more of the patina, this luster. We've made chefs into celebrities—the beautiful food that comes out and it just seems like magic—but at the end of the day, who really does want to do that stuff? You know, who really wants to castrate sheep and feed a hundred of them and shear a hundred of them? I mean, that's a small herd.
It's pretty romanticized, I would say, and I don't want to be privy to that. To me, it's a job, which is totally awesome. I'm super lucky and grateful that I get to work every day and do the thing that I get to do, but it's really hard. It's a really hard job for the most part. People will see when I'm in the park how romantic it really is.
That said, it's not totally crazy to talk about the sensuality of wood. I could definitely go on for a long time about that. I agree with it on the one hand. On the other hand, the nuts and bolts of how to make something are pretty hard, one, and, two, it's not a path for everyone. Let's just say that.
SAM: I have one question left about art and craft and their contentious recent history. Historically, they were tied closely together. How do you negotiate that?
Dan Webb: I still think we really fall prey to seeing things in a really binary way so if it's art, it's not craft; and if it's craft, it's not art; or if it's a conceptual, then it's not an object; or if it's an object, it's not conceptual. I'm a little disappointed at how binary even smart people can be about that stuff.
I think we're at a point in history where an artist can do anything that they want to do and call it art. In fact, if anything's art, then everything's art and if everything's art, then the word just lost all specificity. There's no meaning to that word and it's by design.
I think a lot of modernist artists and the post-modern artists, with a lot of effort and foresight, made that word meaningless, functionally meaningless. If you have knocked all those walls down that surrounded this idea of art, where are you?
I think when art gets subsumed by life and the bigger world rather than the art world—then it's all just the world. And that's not scary. And art didn't go away. The idea of having to digest the experiences that'll happen to us didn't go away. It's just that it starts to be more integrated into something bigger and I think it's a really exciting time for that. Whatever you want to do, it's all good.
For example, I think the move towards social practice is really interesting. But then you're in a realm where essentially telling a story or interacting with people becomes your art. If you do that, then you have to understand that—the nurses at the children's cancer ward, what's their story? I mean, you're elevating your story because it's "art." When what you're actually doing is saying, let's just realize that all stories are part of this conversation.
I think it's binary to say that the social practice story must be art but that the other stories that are so prevalent in all of our lives are less so because they haven't identified themselves as that.
If you really want to understand the repercussions of making the word meaningless, then you're in a big environment with a lot of really incredible stuff. I talk about that with technology. There're a lot of kids that are really interested in making art with technology. Technology's got to be this new cool thing and great art will be made from it—but maybe great art already has been made from it. There's a rover on Mars right now. The rover's totally rad. If you've seen it—it's so awesome. It's a six-wheeled super-cool thing and they [the people that made it] become your colleagues. If you want to go down that path, they become your colleagues.
For me, my colleagues happen to be woodworkers and carvers. I really jettisoned the idea that I'm going to fetishize originality or I'm going to say something that no other person in history has ever thought of. That ship has sailed, luckily. I'd way rather feel like I was stepping into a conversation and I was part of something rather than reinventing the wheel and feeling proud of myself for doing that. I just think that's a function of where we are.
Modernists made art and their brave, cool selves became their lives, but I think now we live a life and the result is our art. So it's flipped. A lot of it is flipped and that's a good place, exciting. It means that I get to have cool conversations about what I do with the lady that comes and reads my gas meter because she's able to get a little bit of what I do and it's not for art people. It's not designed just for the super-smartypants that went to art school.
SAM: All our pieces based on toilets?
Dan Webb: You could do it. I'm sure there's somebody that is doing it.
SAM: Where we started, to where we are now.
SAM: Well, thank you, Dan.
SAM: We really appreciate your taking the time.
You can follow Webb's progress this summer at the sculpture park. Learn more about the project on our website.
After many overcast months, I want nothing more than to spend as much time as possible outdoors and to enjoy the fleeting Seattle sun. Unfortunately, as a broke college student, I have little money to spend on summer activities. My solution? The Olympic Sculpture Park's free summer programs. So, here are my top five favorite things to see and experience at this summer at the sculpture park.
Music, and more broadly sound, plays a huge role in my focus and aesthetic appreciation of the world. YOU ARE HEAR, created by respected artist and sound engineer Trimpin, recognizes the complexity of sound. This exhibit is a hands on, interactive approach to the concept of sound and how we as listeners and viewers experience it.
This is a 46-foot-tall sculpture by Spanish artist Jaume Plensa and inspired by the Greek mountain nymph who was cursed by goddess Hera by restricting Echo's speech to be only the words of another. I'm fascinated by Greek and Roman mythology, so this statue struck an academic chord in me.
This piece is absolutely beautiful. On display in the PACCAR Pavilion, this contribution by Sol LeWitt brightens up the sculpture park, and is a joy to see from now until March 8, 2015. I haven't seen it in person yet, so I'm looking forward to seeing it in reality.
When local music, delicious food, and interesting art are in one place, I'm there. Every Thursday, starting July 10, SAM entices the community with art activities, live music performances, food trucks, and art tours. Because the event runs from 6-9 pm, attendees will get a beautiful view of the waterfront during sunset.
If you're excited about yoga and Zumba, or have never done either before, I highly encourage you to stop by every Saturday (beginning July 12) for free yoga lessons at 10:30 am, and then for Zumba at 2 pm. This is a great opportunity to get the weekend started on a relaxing note.
I'm so excited for everything the Olympic Sculpture Park has to offer this summer. There's something for everyone almost every day of the season. Check out a full schedule of what's happening at visitsam.org/summer.
Echo, Seattle Art Museum's massive new addition to the Olympic Sculpture Park, is starting to take shape.
A spectacular and iconic addition to the park, the 46-foot-tall sculpture by Spanish artist Jaume Plensa, will greet visitors as they wander the shoreline.
Echo has been given to the Seattle Art Museum from the collection of Barney A. Ebsworth. It was originally commissioned by the Madison Park Association in New York and installed at Madison Square Park in 2011 to great acclaim. It is made from resin, steel, and marble dust, and altogether weighs 13,118 pounds.
Echo was modeled on the nine-year-old daughter of the owner of restaurant near the artist's studio in Barcelona. With computer modeling, Plensa elongated and abstracted the girl's features. The sculpture's title references the mountain nymph of Greek mythology of the same name.
As told in Ovid's Metamorphoses, Echo offended the goddess Hera by keeping her engaged in conversation, and preventing her from spying on one of Zeus's amours. To punish Echo, Hera deprived the nymph of speech, except for the ability to repeat the last words of another.
Plensa offers us Echo with her eyes closed, seemingly listening or in a state of meditation. Envisioning Echo looking out over Puget Sound in the direction of Mount Olympus (a further reference to Greek mythology that is already embedded in the landscape), Plensa also intends for the sculpture to serve as a gathering point for introspection and contemplation. In our increasingly networked culture where information is endlessly copied and repeated, it is a work that invites viewers to pause.
Drop by the park and check out the progress when you have a moment. It's easy to spot Echo. Join her near the water and spend a few quiet moments next to her thoughtful presence at the Olympic Sculpture Park.


text:
Earlier this week The Wall Street Journal ran a piece on, of all things, the importance of the correlation coefficients between the returns of investments. I have mixed feelings about it.
On the one hand, correlation between asset returns is a neglected subject of great importance. The mid-Twentieth Century realization of its central role was the start of modern financial theory as we now know it. A professional level understanding of risk begins and ends with correlations, so it would make some sense for amateur investors to know at least the basics.
On the other hand, the article serves as a good reminder of why they know so little. Despite being called Why the Math of Correlation Matters, it contains no math. This might be because the author worried that her readers would find the math scary and hard, but I fear it is because the author herself finds it scary and hard.
The correlation coefficient (known simply as correlation to his friends) is a basic statistical measure that gauges the relatedness of two sets of numbers. It ranges from –1 to 1. As the WSJ explains well, a correlation of 0 means that the two sets of numbers are unrelated, that knowing the values of set X gives you no information at all about set Y.
Positive values tell you that the numbers run together to some degree, with a perfect score of 1 meaning that they are in perfect lock step. Negative numbers denote an inverse relationship, with –1 meaning that they are perfectly counterbalanced.
However, perfect lockstep does not mean identical, only that knowing the value for one set of numbers is enough to work out the other. In algebraic terms, a correlation of 1 means that there exists an equation to calculate Y from X of the form:
Y = a + bX (or Y = a – bX when correlation is –1)
Where a and b (a.k.a the intercept and slope) are constants. So, for example, Fahrenheit and Celsius temperature readings are correlated at 1.0, with a = 32 and b = 1.8. The WSJ explains b, but forgets about a, which is a larger oversight than you might think.
The importance of correlation in the investing world comes from the simple (and Nobel Prize winning) insight that since investors naturally seek to minimize risk, what they should do is construct portfolios with assets that have as low a correlation with each other as possible. Buying two assets with a correlation of 1.0 is pointless. They will both do well or poorly at exactly the same time.
But buying assets with low correlations to each other makes you better off, since their returns will tend to balance each other out. That means that the portfolio of assets will have a lower volatility and/or a higher return than any individual asset within it. Thus the power of diversification, sometimes referred to as the only free lunch in investing.
The WSJ article provides an enlightening table of asset class correlations with the S&P 500 over the past ten years. The top three assets are non-US developed market stocks, US small cap stocks, and emerging market stocks, which come in at correlations to the S&P 500 of 0.89, 0.88, and 0.82 respectively.
Those numbers are likely a surprise to the many sophisticated investors who cleverly diversified themselves away from US large caps by shifting a little into small caps and non-US stocks. There is some diversification value to be had there, but not as much as was available in such things as real estate, commodities, and bonds. Stocks are stocks the world over, and a bad month on Wall Street is likely to be a bad month in Tokyo and Rio de Janeiro too.
Which is not to say that putting a chunk of your money in emerging markets ten years ago would not have been very clever. The MSCI EM index was up an average of 11% a year over that period while the S&P 500 was close to flat. Being highly (or even perfectly) correlated does not mean that one investment is not habitually better, just as Fahrenheit temperature readings are systematically higher than Celsius ones. This is the importance of the a (or alpha) part that the WSJ skipped over.
Overall, the article is an unsatisfying tease. It tells us that correlation is important, and hints at why, but never quite gets down to brass tacks. The last section, subtitled "Where can I find information on correlation?" is particularly disappointing.
Most online correlation calculators are available only for financial advisers. So, one option is to ask your financial planner.
Tools for individuals include assetcorrelation.com, which finds correlations between assets and between asset classes.
R-squared, a measure found on Morningstar.com, shows strength of correlations between funds and benchmark indexes, but not directions of movement. The scale ranges from 0 to 100.
If you get yourself lists of the returns from two assets, Excel will calculate the correlation. (=CORREL() ) It's help function even has a decent explanation of how the calculation is performed. Assetcorrelation.com turns out to be a useful, if not very flexible, site.
R-squared is another statistical measure commonly used in finance. In the context of measuring the risk of a mutual fund, it is the square of the correlation between the fund and the benchmark. R is stats notation for an estimated correlation. R-squared runs from 0 to 1, not 0 to 100.
Investing, Media | Frank Curmudgeon | October 6, 2010 11:59 am
By Steve, October 6, 2010 @ 12:38 pm
Speaking of financial planners, I caught one just yesterday saying that a correlation of -1 means unrelated.
By jim, October 6, 2010 @ 1:45 pm
Correlation has been topic I don't know much about myself. I don't have a finance background and correlation is not something I've seen discussed in personal finance stuff at all. So its just something I haven't learned yet.
I think the WSJ article was a pretty decent introduction to the topic. Its a pretty complex topic to cover in any detail and a newspaper article is limited in length and has to keep things appropriate for a broad audience.
By Stagflationary Mark, October 6, 2010 @ 2:15 pm
That's just sad.
I'd love to find a financial planner who offered financial advice with a perfect -1 correlation. He or she would be SO bad that you could actually make money off of the advice by *always* doing the exact opposite!
Perhaps you have stumbled upon such a person.
One more thought on what a chart showing the lack of correlation looks like. I created the chart to make a point.
http://illusionofprosperity.blogspot.com/2010/09/failed-keynesian-phillips-curve.html
It shows the average unemployment over the previous 12 months vs. the year over year inflation rate (from 1948 to 2010). We're told that inflation helps us all. I'm not seeing the correlation there. It looks more like an ink blot test to me.
Out of curiosity, I just checked the r-squared value in the chart I just offered.
It was 0.02. On a scale of -1 to 1, that's about as close to zero correlation as you can get.
By David Harper, October 6, 2010 @ 8:16 pm
The actual math is strangely always avoided, but any CFA/MBA knows: correlation = covariance(X,Y/[volatility X]*[volatility Y]; this allows such that correlation is a function of volatility and teases out the weakness of covariance/variance.
No two assets exhibit a "single correlation" as such; each sample produces a different historical correlation. Like volatility, current correlation is only an estimate of an unobserved relationship – going forward will time-vary.
(Also, correlation is a linear dependence; non-linear dependence may be more realistic, handled with copulas)
By bex, October 6, 2010 @ 11:08 pm
Another thing I wish the article talked about was the problem of herd mentality… Once too many people think two assets are not co-related, they sometimes BECOME correlated.
This was one of the downfalls of the "Long Term Capital Management" folks. Once some hedge fund starts making a lot of money, people (sometimes) try to deduce the pattern… the end result being that they all start to buy the same things, because they think they are hedged.
Now… assume asset A goes up, and asset B goes down… also assume that there's suddenly a recession, or some other problem where these guys don't have enough liquidity. What will happen?
Well, a lot of folks will start selling off asset A while it's up to get some cash… which will probably make the price fall… just at the time that asset B is falling too.
Suddenly, all that fancy hedging ain't worth squat if too many people think it's a good idea
By Rob Bennett, October 7, 2010 @ 11:19 am
The importance of correlation in the investing world comes from the simple (and Nobel Prize winning) insight that since investors naturally seek to minimize risk
This is why things are such a mess today.
Investors seek to minimize risk? You could have fooled me.
A regression analysis of the historical data showed that the most likely 10-year return for stocks in 2000 was a negative 1 percent real. TIPS were paying a certain 4 percent real. Most investors (and most "experts"!) went with high stock allocations.
This is minimizing risk?
What most investors (and most "experts"!) do is construct convoluted theories for rationalizing their strong emotional preference for Get Rich Quick investing strategies.
I mean no personal insult with these words. My intent is to get some people to take a look at core flaws in the Modern Financial Theory mumbo jumbo that is in the process of eating us all alive (in my view!).
By Mt, October 7, 2010 @ 11:31 am
There is a person who made all these spreadsheets:
http://www.financialwebring.org/gummy-stuff/gummy_stuff.htm
In the list, there is one that I like called "Correlation" which pulls the information for 30 stocks from the internet and charts the correlations. There are others, too.
If you sift through the site, it is a treasure trove. I haven't seen software available for purchase which can do everything he has done for free with spreadsheets.
The guy is like the Canadian Da Vinci of Excel investment data.
By Importing from china, July 16, 2013 @ 5:33 pm
There's a lot of folks that I think would really appreciate your content. Please let me know. Many thanks
Weekly Link Round-up for October 15, 2010 | Blueleaf — October 16, 2010 @ 12:59 pm


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Q: Letsencrypt: Expected  but saw  When trying to install new letsencrypt certificates on my raspberry-pi apache 2.4 webserver using sudo certbot --apache I get the following error:
Error while running apache2ctl configtest.
Action 'configtest' failed.
The Apache error log may have more information.

apache2: Syntax error on line x of /etc/apache2/apache2.conf: Syntax error on line x of /etc/apache2/sites-enabled/xxx-le-ssl.conf: Expected </VirtualHost> but saw </VirtualHost></IfModule>

How can this error be fixed?

A: Thanks to the letsencrypt community I found a simple solution.
The error originates from missing newlines at the end of each enabled (apache) site.
So you either add them to each file in sites-enabled or 'sites-available' (both usually located in /etc/apache2/) or you can use Yanson's one liner:
for f in /etc/apache2/sites-available/*; do sed -i '$a\' "$f"; done


Permanent and semi-permanent makeup has become a recent trend in the aesthetic industry. Possibly none more so than microblading; The art of eyebrow pigmentation. While there remain plenty of options as to filling in, or plucking out, only microblading offers the long-term benefits we're all seeking. That is, full, perfectly formed eyebrows gracing our face, every morning we rise out of bed.
Interested in saving time and money? Who isn't? Microblading guarantees less upkeep in the mirror every morning, and fewer dollars spent in the cosmetic aisle. The hassle of both aforementioned activities alone is reason to consider. Throw in a legitimate ROI, and there's no question as to why this procedure has gained traction. While the upfront cost may be more than what you're used to spending on eyebrows, remember that it's expected to last two to three years!
Have you got bushy eyebrows? Great! You're a good candidate for microblading. Imparting a blueprint by which you can follow ensures your eyebrows look the same every time you walk out of the salon. Have thin or light eyebrows? Great! You too are a good candidate for microblading. This is especially true if you've recently experienced hair loss due to illness. Filling the area in with natural-looking, wispy lines may provide facial structure to those who have lacked it.


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Suvarna Home
Suvarna Garge (Editor)
Currently I am pursuing PHD, My Interests are Gardening, Learning new things ...
Luke Snyder
Duration 1995–2010
Introduced by Laurence Caso
Creator Richard Culliton
Created by Richard Culliton
Played by Van Hansis
TV show As the World Turns
Portrayed by Van Hansis (2005–10) (and others)
First appearance May 16, 1995 (1995-05-16)
Last appearance September 17, 2010 (2010-09-17)
Significant others Noah Mayer, Reid Oliver, Lily Walsh, Maddie Coleman, Jade Taylor, Brian Wheatley
First cousins Lucy Montgomery, Jade Taylor
Similar Noah Mayer, Reid Oliver, Luke Snyder and Noah Ma, Lily Walsh, Holden Snyder and Lily Walsh
Luciano Eduardo "Luke" Snyder is a fictional character from the American daytime drama As the World Turns. Actor Van Hansis is most recognized for his portrayal of Luke from his debut in December 2005 until the series finale in September 2010.
Character description
Luke was born to Lily Walsh and Damian Grimaldi, and was subsequently raised by Lily and Holden Snyder (see Holden Snyder and Lily Walsh). When Luke became a teenager, he came out to his parents Lily and Holden that he was gay. Eventually they accepted him. He is also part of soap opera's first gay supercouple, Luke Snyder and Noah Mayer, also known as "Nuke" (Noah, Luke).
The role of Luke Snyder was acted by several child actors from his debut in 1995 until 2001, when the character was SORASed with actor, Christopher Tavani. In March 2005, actor Jake Weary stepped into the role of a once again SORASed character of Luke.
Weary announced his decision to leave the series; this announcement led to rumors of the actor and his mother, Guiding Light actress Kim Zimmer leaving due to the character's upcoming coming out storyline. Zimmer denied such rumors, simply stating that Weary, who at the time was 15, wouldn't be able to dedicate the time needed for the storyline. He instead decided to focus on his school work.
On December 14, 2005 Van Hansis stepped into the role of Luke, replacing previous actor Jake Weary. Hansis would continue his portrayal until the series finale in 2010.
Luke is extremely honest, forthright and occasionally sarcastic. At best he's passionate, assertive and perceptive. At his worst he's overbearing, irrational and moody. He values his relationships highly and is very considerate, often putting the needs of others before himself. He's comfortable in both the privileged world of the Walsh and Grimaldi families and the more down-to-earth atmosphere of the Snyder family.
Despite being confident in his sexuality, Luke has shown himself to be extremely insecure at times, several times irrationally so. This is especially noticeable when it comes to his relationship with Noah Mayer. Luke came out as a gay teenager, dealt with bullying, and eventually gained the support of his parents and family. However it has left him very sensitive about his sexuality. Several people have said that he tries to make himself into a martyr for the cause and he takes no greater offense than to someone bashing homosexuality. Any derogatory comments about homosexuality, even ones not intended to be derogatory, Luke takes as a personal offense.
After a somewhat tumultuous long-term relationship with first love, Noah Mayer, that relationship ended. Luke began developing feelings for neurosurgeon, Dr. Reid Oliver, who was in town because Luke had blackmailed him to treat Noah. However, this was complicated by Noah wanting to restart his relationship with Luke. The show was cancelled before this storyline could play out.
When Luke was born, his mother Lily Walsh did not know whether his father was her then-spouse Damian Grimaldi or her lover Holden Snyder. Although Damian proved to be the father, the two men struggled over possession of the boy for years before Holden – who had married Lily some years earlier – adopted Luke. When Luke was a teenager, he confessed to the murder of Julia Larrabee, who he blamed for breaking up his parents' marriage, to protect his mother, who he thought was guilty of the crime. When the true killer was found to be somebody else, his life did not return to normalcy; as his mother began dating another man, Keith Morrissey, Luke became an alcoholic. Following her son's kidney failure, Lily was blackmailed into promising to marry Keith by his promise of a new kidney for Luke, but after Luke's passionate appeal to Keith he released her from her vow. Luke's family was left intact, but Luke's problems were not over, as he continued seeing destructive friends and accidentally hit a pedestrian, Jade Taylor, with his car.
Luke trusted Jade, who claims to everyone that she is Luke's cousin, enough to reveal his deepest secret to her – his romantic love for Kevin – she turned out to be a fraud, forcing him to pretend to be in love with her. Unfortunately, this destroys his relationship with Kevin. A desperate Luke comes out to his friend Will Munson before, on Will's advice, revealing his secret to his family. While a pregnant Lily can't accept her eldest son's sexual orientation, the rest of his family supports him.
Shortly after his surprise reappearance in their lives, Luke's birth father Damian tries to send Luke to a gender re-alignment camp. When Lily realizes the nature of the camp, she tries to reassure Luke that she will accept him, but thinking her the sole responsible party he lashes out angrily at her for her betrayal, inadvertently knocking her down the stairs. She lapses into a coma. Holden will not accept Luke's explanation for what happened, and Luke takes shelter from his adoptive father's anger with Damian. He grows closer to Damian especially when Damian claims to be dying...but it all falls apart when he later discovers the truth of his father's health. He severs ties with his birth father, changing his name, but yields his share in the Grimaldi family fortune to Damian before he goes.
Back home, Luke comes out to his friends. While Kevin has difficulty at first, he reconciles with Luke after Luke saves his life. Lily, who gave birth while in her coma, finally emerges to also reconcile with Luke and, to everyone's surprise, Jade turns out not to be a fraud after all.
While interning at WOAK, Luke meets and falls for Noah Mayer. Noah is dating Luke's friend Maddie Coleman, but soon after Luke reveals his feelings to Noah begins to struggle with his own attraction. Eventually, he acknowledges that he is also gay, although he fears revealing this to his father. Unfortunately, Colonel Mayer learns the secret when he catches them in their second kiss and rejects Noah before devising a plan to murder Luke. His efforts leave Luke paralyzed for a time, although physical therapy eventually puts him back on his feet. In spite of Colonel Mayer's plans, he and Noah remain a couple.
Their relationship is challenged when Noah, to save a young Iraqi woman with connections to his father from deportation, decides to marry her. Although he weds Ameera Ali Aziz, Noah reassures Luke of his steadfast love, but the relationship eventually instigates a break-up of the pair after Colonel Mayer is seemingly killed in a kidnapping plot and Ameera arrested. Noah blames Luke for the events, and Luke is angry that Noah requests time apart. The pair reconcile after a visit from Cyndi Lauper, who dedicates a performance of the song "True Colors" to them.
When Damian returns a portion of Luke's inheritance to him, he decides to start a charitable foundation, run by Brian Wheatley, who encourages Luke to be more discreet in his homosexuality to avoid alienating the philanthropic community. He also enters politics, running against his old friend Kevin for President of the Student Government at Oakdale U. He winds up cheating to overcome a dirty campaign by Kevin and is expelled. When Noah leaves him because of this, Luke begins drinking again and while drunk is kissed by Brian, who has married Luke's grandmother Lucinda. Later, when Luke is living at Holden's house and Brian and Lucinda must come to stay with them, does Brian confess that, while attracted to Luke, he loves Lucinda.
In spite of their agreement, this will not remain secret long. Luke and Noah are struggling to reconnect, but when Luke is jealous of Noah's continued relationship with Maddie, he kisses Brian himself. Noah, who sees this, is angry with Luke for some time, and Lucinda is soon angry as well when Jade blurts out the secret. Ostracized, Brian comes very close to suicide before Luke and Noah can intervene, but after their intervention he makes peace with Lucinda and his own homosexuality before leaving town.
Luke turns his Luke Snyder Foundation to LGBT rights after he and Noah are discriminated against in their housing search, but his personal life is complicated when Damian returns, ostensibly to make amends, and when a couple of men he takes on as volunteers for his Foundation prove to be con-men after money, kidnapping first Noah and then Luke. Damian saves them both and remarries Lily, but flees the country mysteriously soon after.
After Noah is blinded in an accident at film school, he breaks off with Luke, feeling a need to be independent. Luke falls in love with neurosurgeon Reid Oliver, who is working to save Noah's sight, and is torn when Noah eventually wants to reunite with Luke and move to Los Angeles where Noah is attending film school. He decides he cannot go. Tragically, Reid is mortally injured when his car is struck by a train When Reid dies, Noah returns in spite of himself to comfort his love, but while he is willing to remain in Oakdale with Luke, Luke urges him to pursue his dream. They agree that they will visit and one day may finally unite.
After a 54-year run, As The World Turns was cancelled as of Sept 17, 2010.
Luke Snyder Wikipedia
Similar TopicsHolden Snyder and Lily Walsh
Lily Walsh
Noah Mayer
Holden Snyder and Lily Walsh


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MCAS Miramar Community
MCAS Miramar
MCAS Miramar conducts successful test on microgrid
Story by Curtis Hill on 08/29/2019
By Curtis Hill, MCIWEST Energy Communication Specialist
MARINE CORPS AIR STATION MIRAMAR, Calif – On Saturday morning, Aug. 24, 2019, Marine Corps Air Station (MCAS) Miramar conducted a successful test of the Automatic Throw Over (ATO) mechanism of their nearly complete microgrid project.
Most of the air station was without electricity for approximately three hours as the test was being conducted.
All of the mission essential facilities on the air station were powered by backup generators to ensure installation security and operations related to national defense were not disrupted.
"Our microgrid delivers capabilities that will make MCAS Miramar one of the most energy-forward defense installations in the nation," said Col. Charles B. Dockery, commanding officer, MCAS Miramar.
"Today's successful test of the grid highlighted our ability to operate and keep the air station running should our local power providers become unavailable."
The microgrid proposal was submitted as an Energy Conservation Investment Program (ECIP) project in 2014 and was awarded in 2016. The $20 million project is expected to be completed and on line by the end of calendar year 2019.
The microgrid will be controlled from the Energy and Water Operations Center (EWOC) and will utilize a combination of distributed energy resources to provide enough electricity to power all of the mission essential facilities on the air station in the event power from the external grid is interrupted.
The Microgrid Control System (MCS) in the EWOC provides normal, economic, test and island modes for the microgrid. Island mode is when the installation is receiving no electricity from outside and is completely powering itself meeting the energy resilience goal set forth by Marine Corps Installations Command.
Reliability and efficiency will be built into the microgrid by utilizing diverse methods of energy production including landfill gas power, solar photovoltaic (PV) panels, clean diesel and natural gas generators and demand response.
The Utilities & Energy Management team at MCAS Miramar continue to take advantage of current and future technologies to ensure energy security giving the Marines of the 3rd Marine Aircraft Wing confidence the air station will be able to support their national defense mission during any natural or man-made power interruption.
On-Base Commissary Delivery Puts Groceries on Your Doorstep
Torrey Pines Golf Course Lives up to Its Reputation
25 of the Best MCAS Miramar Restaurants
MCAS Miramar Housing: 6 On-Base Options


Want to know if you'll need an umbrella today? Weather by Zapier will send a text first thing in the morning if there's going to be wet weather.
If rain is in the forecast for the day, Burner sends a text message to a phone number.
It's easy to connect Burner + Weather by Zapier and requires absolutely zero coding experience—the only limit is your own imagination.


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MughalArch.Com
Emperor Humayun's Garden Tomb
The Grave of Emperor Humayun
Second Mughal emperor, Nasir al-Din Muhammad Humayun, died in 1556.1 His grave is located in a chamber within the plinth, directly below the cenotaph that represents his grave.2 The cenotaph is located in the center of the main chamber in Humayun's Tomb. The grave's chamber can be accessed through a series of chambers starting from the first grave niche to the right of the plinth's southern staircase.3
"The actual grave of Emperor Humayun lies in a small three-metre-square room, and is in masonry covered with plain plaster, devoid of any ornamentation or inscriptions."4 Burying the body beneath a cenotaph at ground level is a tradition carried over from the grave of Timur at the Gur-i Amir in Uzbekistan, the Mughal dynasty's place of origin.5
This practice could be connected to the Fiqh, or Islamic law, indication that the dead be interred in the earth at a place that is designated for the burial of the dead.6 According to the Qur'an, "From it [earth] We created you and into it We shall send you back and from it We will raise you a second time."7 One could say that from his ground level plinth grave, Humayun rises to his cenotaph to face the eight passages to his garden paradise. The octagonal cenotaph chamber's eight passageways lead to the tomb's garden. This completes the natural chain of events that are described in the the Qur'an. We come from the earth in life, we return to the earth in death, and ideally, Allah raises us to live again in paradise.
1. S.A.A. Naqvi, Humayun's Tomb and Adjacent Buildings (New Delhi: Archaeological Survey of India, 1947), 5.
2. ibid, 10.
4. Ratish Nanda, "The Area of Humayun's Tomb," in Heritage of the Mughal World, ed. Philip Jodidio (Munich: Prestel, 2015), 169.
5. Laura E Parodi, "The Posthumous Portrait of Ḥaḍrat Jannat ʿAshiyānī: Dynastic, Saintly, and Literary Imagery in the Tomb of Humayun," Islamic Art 6, (2009): 136.
6. Sameh Strauch, comp., Sameh Strauch, trans., Fiqh Course: Tahaarah, Salaah, and Janaa'iz (Riyadh: International Islamic Publishing House, 2003), 204.
7. Qur'an 20:55.
Humayun's Grave in the Context of the Plinth and Humayun's Tomb's Footprint
A Section View of Humayun's Tomb
Humayun's grave is in a crypt inside the plinth, directly below his cenotaph.
A formal bibliography is posted on the outline page.
Brand, Michael. "Orthodoxy, Innovation, and Revival: Considerations of the Past Imperial Mughal Tomb Architecture." In Muqarnas 10: An Annual on Islamic Art and Architecture, edited by Margaret B. Sevcenko, 323-34. Leiden: E.J. Brill, 1993.
Hillenbrand, Robert. "Aspects of Timurid Architecture in Central Asia." In Utrecht Papers on Central Asia: Proceedings of the First European Seminar of Central Asian Studies Held at Utrecht, 16-18 December 1985, edited by H. Boeschoten and M. Van Damme, 255-86. Utrect: Institute of Oriental Languages, University of Utrecht, 1987.
The Plan of Humayun's Tomb
Dynastic Graves
Humayun's Tomb's Footprint
The Plan of Humayun's Tomb: Entrance Level
The Plan of Humayun's Tomb: Gallery Level
Copyright 2019-2020 - All rights reserved - Nina Garman - ninagarman@outlook.com


When I was in my early 20s, I smoked marijuana now and then. I liked it. It made me feel good and inspired my creativity and roused spiritual visions. But I reconsidered my use after encountering pagan magician Isaac Bonewits. He didn't have a moral objection to cannabis use, but believed it withered one's willpower and diminished one's determination to transform one's life for the better. For a year, I meditated on and experimented with his hypothesis. I found it to be true, at least for me. I haven't smoked since. My purpose in bringing this up is not to advise you about your relationship to drugs, but rather to urge you to question whether there are influences in your life that wither your willpower and diminish your determination to transform your life for the better. Now is an excellent time to examine this issue.
Would you like to shed unwieldy baggage before moving on to your next big challenge? I hope so. It will purge your soul of karmic sludge. It will prime you for a fresh start. One way to accomplish this bravery is to confess your sins and ask for forgiveness in front of a mirror. Here are data to consider: Is there anyone you know who would not give you a good character reference? Have you ever committed a seriously unethical act? Have you revealed information that was told to you in confidence? While under the influence of intoxicants or bad ideas, have you done things you're ashamed of? I'm not saying you're more guilty of these things than the rest of us; it's just that now is your special time to seek redemption.
Author Anaïs Nin said, "There are two ways to reach me: by way of kisses or by way of the imagination. But there is a hierarchy: the kisses alone don't work." For two reasons, Anaïs's formulation is especially apropos for you right now. First, you should not allow yourself to be seduced, tempted or won over by sweet gestures alone. You must insist on sweet gestures that are synergized by a sense of wonder and an appreciation of your unique beauty. Second, you should adopt the same approach for those you want to seduce, tempt or win over: sweet gestures seasoned with wonder and an appreciation of their unique beauty.
Many varieties of the nettle plant will sting you if you touch the leaves and stems. Their hairs are like hypodermic needles that inject your skin with a blend of irritant chemicals. And yet nettle is also an herb with numerous medicinal properties. It can provide relief for allergies, arthritis, joint pain and urinary problems. That's why Shakespeare invoked the nettle as a metaphor in his play Henry IV, Part 1: "Out of this nettle, danger, we pluck this flower, safety," the character named Hotspur says. In accordance with the astrological omens, Virgo, I choose the nettle as your power metaphor for the first three weeks of February.
In 1989, a man spent $4 on a painting at a flea market in Adamstown, Pa. He didn't care much for the actual image, which was a boring country scene, but he thought he could use the frame. Upon returning home, he found a document concealed behind the painting. It turned out to be a rare old copy of America's Declaration of Independence, originally created in 1776. He eventually sold it for $2.42 million. I doubt that you will experience anything quite as spectacular in the coming weeks, Sagittarius. But I do suspect you will find something valuable where you don't expect it, or develop a connection with something that's better than you imagined it would be.