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Mensa Politics
Barry Leff
Certain new Mensa members have expressed confusion over the various factions within their local group. Thus a poll has been conducted to enable us to explain to these novices (as well as old members) just who's who in the typical local group.
The basic factions usual found are: the In group, the Out group (and proud of it), a faction of the In group that denies an In group exists, a faction of the Out group that wishes the In group didn't exist, and those who are either ignorant of the In/Out [quoteright]group phenomenon or who don't care. To simplify discussion, we shall refer to these groups as In, Out, In*, Out*, and Don't Care, respectively.
To start with, let's consider in historical perspective how these various factions usually evolve. The process typically begins when someone thinks it would be a nice idea to develop the local group. The basis for the In faction is founded among those who are the "movers and shakers," getting Mensa and all its various events off the ground. Whenever there are a set of movers and shakers and a set of those who just enjoy, a certain different status is acquired by those who donate time and energy. Status is the only reward for such efforts.
The Out group now arises because certain people see this In group as being cliquish and elitist (not in keeping with the spirit of an elitist group like Mensa?). Rather than attempt to join forces with a perceived elitist and snobbish crowd, an Out group comes into being that is able to feel elitist and snobbish by eschewing the In group mentality.
In* now develops as members who drifted into the In group learn of some of the underlying struggle and think the whole thing is silly, as they certainly didn't have any trouble getting involved with the "In" group and don't see what the whole brouhaha is about. Out* becomes that group too reserved to make an attempt to get involved with the Ins, yet is uncomfortable with being part of the outs, so they would just prefer that none of it existed. Don't Care is of course self-explanatory.
A typical train of events follows. Through an intensive political campaign, Out manages to get voted into local group office, perturbing In, who was enjoying the status quo. Out acts aggressively, makes changes, and upsets In, who decides out should get out and In should get back in so calm and tranquility can then reign once again. Of course, out enjoys being in and making a fuss and takes steps to keep In out while solidifying its position by recruiting Don't Cares to Outs. Meanwhile, In* and Out* sit around and watch all the various machinations with fascination, while Don't Care just enjoys the mainstream of what Mensa is all about without worrying about Machiavellian intrigue in the battle for an unpaid and underappreciated Mensa administration.You are no doubt wondering about the results of the poll mentioned at the beginning of this treatise. Using modern, statistically validated empirical forecasting techniques, a random panel of experts (or is it a panel of random experts?) has determined the following distribution for a typical local group, namely San Francisco Regional Mensa:
In* 67
Out* 35
Don't Care 2,205
Barry Leff was active in San Francisco Regional Mensa in the 1980s and early 1990s. After 20 years of slaving away in high-tech he saw the light, got God, and went back to school to become a rabbi. Leff is now a member of Maumee Valley Mensa in the Toledo, Ohio area, where he serves as a pulpit rabbi. Leff and family are busily preparing to move to Israel in the summer of 2007. A certified flight instructor, Leff tells his flight students he�ll get them closer to God (or at least he�ll get them praying) one way or the other.


This 13-part series is being published from December 2015 to December 2016 in Arkansas Catholic, the weekly newspaper for the Diocese of Little Rock. To order a subscription, visit Arkansas Catholic. These articles are being written by the staff of Little Rock Scripture Study for the Holy Year of Mercy. Each one includes questions for group study. To read or print an article, click on one from the list below. For more information, contact Little Rock Scripture Study.


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Генрих Рудольф Герман Фридрих фон Гнейст (; 13 августа 1816, Берлин — 22 июля 1895,  Берлин) — прусский юрист и политик.

Биография
Рудольф фон Гнейст родился 13 августа 1816 года в Берлине.

Учился в средней школе в Эйслебене и с 1833 года изучал право в Берлинском университете. Там он стал членом братства студентов «Старый Берлин». После окончания университета и хабилитации (1839), он был приват-доцентом на юридическом факультете Берлинского университета, с 1845 года — экстраординарным, а в 1858 году — ординарным профессором Берлинского университета.

Кроме преподавания занимался политической деятельностью; был депутатом прусской палаты и рейхстага, членом городского совета (1845—1849 и 1858—1875). С 1867 года он был одним из руководителей Национал-либеральной партии. Он высказывался за расширение в Пруссии правового государства и независимой судебной системы. Сегодня он известен в первую очередь как ведущий сторонник независимой и автономной административной юстиции. Был одним из основателей и первый президент Ассоциации по социальной политике («академических социалистов»).

Был президентом 7-го (1868, в Гамбурге), 9-го (1871, в Штутгарте), 10-го (1872, во Франкфурте-на-Майне), 11-го (1873, в Ганновере), 12-го (1875, в Нюрнберге), 13-го (1876, в Зальцбурге), 14-го (1878, в Йене), 16-го (1882, в Касселе), 17-го (1884, в Вюрцбурге), 18-го (1886, в Висбадене), 20-го (1889, в Страсбурге) и 22-го (1893, в Аугсбурге) съездов немецких юристов. Ни один другой адвокат не удостаивался такого признания до этого так часто.

В 1888 году из-за своих социальных услуг рабочему классу он был избран почётным членом «Общества взаимопомощи общественным работам» в Любеке. В том же году был возведён во дворянство (и получил право носить фамилию фон Гнейст).

Умер 22 июля 1895 года в Берлине и был похоронен на городском Старом кладбище святого Матфея.

Примечания

Литература

Выпускники Берлинского университета
Профессора Берлинского университета
Политики Пруссии
Похороненные на Старом кладбище церкви Святого Матфея
Депутаты рейхстага (Германская империя)
Адвокаты Германии
Члены Академии деи Линчеи
Члены Национал-либеральной партии Германии
Председатели Союза социальной политики

redpajama_set_name: RedPajamaWikipedia


Mr. Forkuo Kyei is the Chief Executive officer and Managing Director of GLICO LIFE. Hither to his appointments as Managing Director of GLICO LIFE, he held varied management position within GLICO including that of the Executive Director of GLICO LIFE.
Mr. Forkuo Kyei joined GLICO in 1987 when he was still a student and fully in 1992 when he completed his first degree. He has and still plays a pivotal role in the growth and success of the organization since its inception in 1987.
Management from Cardiff Business School, Wales (UK). Further, he holds an MSc in Insurance & Risk Management from Cass Business School (UK). He is also a graduate with a BSc in Development Planning from the Kwame Nkrumah University of Science and Technology (KNUST), Ghana.
Mr. Forkuo Kyei was the 2nd Vice President and the Chairman of the Life Insurance Council of the Ghana Insurers Association (GIA) from 2014 to September 2016.
Mr. Kyei is passionate about insurance and has been instrumental in the quest to advancing life insurance in Ghana. He is indeed a valued resource for the Ghana Insurance industry.


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Q: Handle wifi issue with stringWithContentOfUrl While testing my application, i connected to a wifi network which needed an authentication to access the internet.
I would have like [NSString stringWithContentOfUrl:encoding:error:] to fail or return the content of this authentication page even if it is not the page I asked. But it keeps on trying to download, and never returns.
Do you have any solution to detect this kind of issue ?

A: I would recommend using NSURLConnection. When a redirect happens it will call the delegate method as mentioned here. Also with NSURLConnection you will have greater control in the future when you add additional features and content. Or should the router not do a redirect and just force you to a page, you will be able to use the NSURLConnection to download the content and parse it to determine if it is indeed the page you were looking for.

A: In that case you'll have to do some coding. Download the contents of the url via NSURLRequest -> NSURLConnection. Then via the NSURLConnection's delegate methods you can respond to the authentication challenge.

redpajama_set_name: RedPajamaStackExchange


Whether it's a business meeting, an office party, special occasion or organising a social lunch for everyone in your group, Had To Happen Catering in North Sydney is the perfect solution.
We can deliver ready to eat meals for groups of any size or our professional staff can cater at any venue appointed by you so that you can enjoy restaurant quality meals in any desired location.
We have a range of packages to suite your catering needs starting at $10 per person thru to $25 per person for "The Works"
* Please note we cater for a minimum of 10 people through to 200.


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RF Supreme Court delivered its verdict to Zeytullaev
Crimean Tatar has been sentenced to 15 years.
ROSTOV-ON-DON (QHA) -
The Supreme Court of the Russian Federation sentenced the Ukrainian political prisoner Ruslan Zeitullaev to 15 years of imprisonment with a restriction for a year after serving his sentence, journalist Anton Naumluk said.
Defense had fully proved the legal inconsistency of this case, however no arguments were taken into account by the court, lawyer Emil Kurbedinov noted in the video message after the trial.
"In our opinion, everything is illegal and unreasonable. Whatever arguments we take, the court accepted only the general conclusions of the prosecution. Today the concept of terrorism has mutated, and a person who has never exploded anything in his life can become a terrorist, as Ruslan Zeytullayev said in his speech. The concept of terrorism has become an instrument in fighting against dissenters and political opponents," Kurbedinov said.
The verdict was based on the same evidence, testimonies of witnesses and examinations that formed the basis of the previous verdict, the lawyer Edem Semedlyaev added.
The defense intends to file a complaint with the European Court of Human Rights, as well as with the International Criminal Court and the UN Court of Justice.
Ruslan Zeytullaev has already announced a third indefinite hunger strike from today. Lawyers are worrying, because they will lose contact with him for a while as verdict has taken effect.
"Today the sentence becomes effective and the convicted defendant will be sent to serve the sentence and it is not yet known where. Communication with him will cease completely for a while, and we will not know about his fate and health," Semedlyaev added.
Earlier, at the session of the Supreme Court of the Russian Federation, Ruslan Zeytullaev announced an indefinite hunger strike demanding that Valery Lutkovskaya, the Human Rights Commissioner of the Verkhovna Rada of Ukraine, and the representative of the Consulate General of Ukraine, Russian human rights activists and journalists to be allowed to visit him in the detention center of Rostov.
Reference: January 23, 2015 four Crimean Muslims were detained in the Crimea for the alleged involvement in the organization "Hizb ut-Tahrir", which is recognized terrorist in Russia. Since June 1, 2016, their case has been considered in the North Caucasus District Military Court.
Ruslan Zeytullayev was sentenced to seven years in prison, Ferat Sayfullaev, Rustem Vaitov and Yuri Primov were sentenced to five years' imprisonment. All of them must serve their sentences in the colony of the general regime.
December 27, 2016, the Supreme Court of the Russian Federation quashed the verdict against the Crimean Tatar Ruslan Zeytullaev and forwarded the case for revision to the North District Military Court of Rostov, thereby satisfying the complaint of the prosecution who claims that Zeytullayev was allegedly the organizer of the Hizb ut-Tahrir cell in the Crimea and required to charge the Crimean Tatar under Part 1 of Art. 205.5 of the Russian Federation Criminal Code (providing from 15 to 20 years imprisonment) instead of Part 2 of Art. 205.5 of the Criminal Code.
PHOTOS: Internet
Crimea society "Hizb ut-Tahrir case" Zeytullaev open letter appeal courts over Crimean Tatars violation of human rights in the Crimea Semedlyaev
Ruslan Zeytullaev asks journalists to come at appeal hearings
FSB officer attempted to provoke Zeytullayev to betrayal
Arrest of defendants in Bakhchysarai Hizb ut-Tahrir case extended
Zeytullayev urges to fight for freedom of political prisoners

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How use preg_replace in PHP to do this example? I need a little help. I have a string:
$str = "{{abc}} {{cde}}";

$str = preg_replace('/({{\w+}})/', '$1', $str);

echo $str; //{{abc}} {{cde}}

But I want each {{string}} will return just string. For above example will return abc cde.

A: Just move the parentheses (capture group) to capture only what you want:
$str = preg_replace('/{{(\w+)}}/', '$1', $str);


During a live talk with Anne Fadiman, author of The Spirit Catches You and You Fall Down, on April 1, 2014 at Bowdoin, viewers participated by emailing in questions to the author. The talk was moderated by Susan Bell, Bowdoin's A. Myrick Freeman Professor of Social Sciences and chair of the sociology and anthropology department, and Steven Loebs '60, research associate at the Joseph McKeen Center for the Common Good and professor emeritus, College of Public Health, The Ohio State University.
3 Comments to "Online Book Talk with Author Anne Fadiman"
This talk was one of the most insightful, interesting, and illuminating I have ever heard. I have long admired Anne Fadiman for her beautiful, nuanced writing in A Spirit Catches You and You Fall Down. Hearing her reflect and consider the questions posed and then respond so thoughtfully and thoroughly was inspiring. Thank you, Bowdoin, for hosting this talk.
This video appears to be taken down. Can it be re-stored?


Blazing fast, sleek design and instant updates. You can't go wrong.
Carlbot's reaction roles are fast, extremely easy to set up, customizable and don't limit you. Unlike some other bots offering reaction roles, Carlbot allows for 'unique roles' meaning members can only pick up one role from a message (useful for colors).
One role can't be assigned on two different messages; other than that? Nothing.


I enjoy the lazy days at home, appreciating my own backyard and the comforts of the familiar, but more often than not I have a deep longing for the mysterious, the exotic, the uncharted. I want to be embraced by ancient traditions, unexpected landscapes and ornate architecture. I want to hear languages I don't understand and connect with the smile of a stranger. My heart longs for the adventure and the surrender to the unknown and Myanmar seems the perfect place to satiate my desires.
Heed the call on your heart and listen to the whispers for they will grow thunderous until they are honored.


text:
I've tried Firefox and Chrome, Windows and Linux, on two different laptops. Can't get my camera t...
Question: Can't access pi camera in Spectral Workbench
lukemcpheters is asking a question about general: Subscribe to answer questions on this topic
lukemcpheters asked on July 08, 2019 22:04
I've tried Firefox and Chrome, Windows and Linux, on two different laptops. Can't get my camera to show up as a selectable option. The only available option is the laptops built-in camera. I can access the pi camera through pi.local and it works fine, just not through Spectral Workbench. No idea where to go from here i don't see anything on the site that talks about this issue, any advice is appreciated.
warren commented 9 days ago
Hi, thanks for posting your question. There are some answers here: https://publiclab.org/questions/cedarlodge/02-27-2018/uploading-images-from-raspberry-pi
And our new Spectral Workbench Capture project is trying to address this question this summer in https://github.com/publiclab/spectral-workbench.js/issues/56 -- which I believe @jenjimah is helping out with?
Hi, i think your message somehow got deleted? But i got it by email.
Actually the Pi camera doesn't connect to a computer by USB as a webcam in general, although we've tried to make progress on that via linux kernel modifications: https://github.com/publiclab/pi-builder/issues/56
In the meantime, the software available at https://publiclab.org/pi-builder can let you connect to a Raspberry Pi via a webpage, and save images from it. We are trying in the Spectral Workbench Capture project to make this integrate with Spectral Workbench itself, but it's an ongoing project.
In the meantime, you can save images, then upload them via http://spectralworkbench.org/upload
This isn't ideal, but it's what's possible with a Raspberry Pi today -- hopefully soon the open source community will come up with some better solutions, and we're doing what we can to push that forward!
jenjimah commented 5 days ago
Yes when you see the live webcam feed on pi.local, you're basically just accessing a website which is streaming the pi camera video, so it doesn't register on your computer as a plugged-in webcam.
For now I have been doing what warren said, which is just taking photos and uploading them to spectral workbench manually. But if you really want a live option without having to wait, one way to do it is by creating a "virtual webcam" out of the web stream from pi.local.
One software that does this is OBS (https://obsproject.com/). It's not part of PublicLab but it is an open source project that allows you to use a window or a part of your screen as a live webcam, which you could then connect to the spectralworkbench capture interface. You'd just have to select your webpage with pi.local running as the webcam input source.
It's not ideal but it's just an option for now. You'll probably want to change the preview settings to a higher resolution on the cam settings (because the resolution for preview and capture can be different).
Pending approval by community moderators. Please be patient!
phibli commented about 15 hours ago
@jenjimah I also struggled with this and give your workaround using OBS a go. Let's see...keep you posted! :)
@warren has anyone tried to use the raspberry pi as the main computer, not installing the special Public Lab image but a different one, hooking it up to a screen and then access the spectral workbench over a browser on the pi itself? That should work, shouldn't it?
What is the wifi range of the ras-pi when mapping?
updated about 1 month ago by molangmuir10
question:raspberry-pi
question:pi-camera
question:raspberry-pi-spectrometer
question:lego-spectrometer
first-time-poster


Toronto Fail (Link Round-up): Shame, Not Pride, Toronto.
June 30, 2010 — Restructure!
Here is a link round-up of some bad news in Toronto.
Long story short: Pride Toronto, which is an internationally famous week-long celebration of queer and trans pride, has made conscious or unconscious attempts to curtail the wholehearted participation of queer and trans folks of colour and their allies in Pride. They have attempted to relocate and shrink black-identified spaces, and they [had] banned [Queers Against Israeli Apartheid] from participation in Pride 2010.
Video after video, photo after photo, story after story came pouring in this weekend telling us about another friend or another relative who had been unlawfully arrested, beaten, spit on, psychologically, physically, and emotionally abused and relentlessly harassed by the police in Toronto.


text:
Home News National United Arab Emirates Dubai fish farm to produce enough salmon to fully meet local demand
Dubai fish farm to produce enough salmon to fully meet local demand
Afish farm in Jebel Ali is planning to increase its production of organic, locally-farmed Atlantic salmon to cover the entire demand for the second most eaten fish in the UAE, after hammour.
This was revealed by Bader bin Mubarak, CEO of Fish Farm LLC, to Gulf News following the visit by His Highness Sheikh Mohammed bin Rashid Al Maktoum, Vice President and Prime Minister of the UAE and Ruler of Dubai, at the aquatic farm on Tuesday. Sheikh Hamdan Bin Mohammad Bin Rashid Al Maktoum, Dubai Crown Prince and Chairman of Dubai Executive Council, was also present during the visit.
Bader bin Mubarak |
Image Credit: Supplied
Sheikh Mohammed said expanding domestic food production to achieve self-sufficiency is a strategic objective and one of the main pillars of the National Food Security Strategy.
"Food is a strategic commodity and we look to young Emiratis to propose new ideas and projects to help further enhance food production. We have a clear strategy and sufficient resources to achieve our objectives. We are confident that we can generate practical solutions to achieve self-sufficiency," he underlined.
Sheikh Mohammed added the UAE did not witness any shortage in food supply despite the exceptional situation created by coronavirus outbreak. He noted it showed the strength and resilience of the national food security strategies and capability to respond to the needs of the community.
Future of fish farm
During the visit, bin Mubarak briefed Sheikh Mohammed and his accompanying delegation on the strategy of the farm and its future expansion plans, particularly in the area of cold-water fish, aimed at reducing imports and securing sustainable supplies to local markets.
Fish Farm has three facilities across the UAE, including a hatchery in Umm Al Quwain and cage farms in Dibba, Fujairah. The main facility in Jebel Ali can produce around 3,000 metric tons of organic fish per year, including salmon, sea bass, sea bream and hammour for local consumption.
All in a day's catch | Image Credit: Supplied
Bin Mubarak told Gulf News, Fish Farm ranks number four in the world in terms of producing organic salmon. It is also the only salmon breeding system in the world with full environment control.
Fish Farm mimics the natural life cycle of salmon which is found mainly in cold water such as Antarctica, Alaska, Norway, the North Sea and Scotland.
Salmon eggs are sourced from Scotland and hatched in Umm Al Quwain before being transferred to the Jebel Ali facility. Bin Mubarak said it would take at least two years to have a full-grown salmon ready for consumption that weighs between 3-4 kg each.
He noted the price of the salmon they produce cannot be compared to commercially imported fish. "Our salmon is 100 per cent organic, unlike commercial fish which are given artificial feeds," he noted.
"Moreover, our fish are fresh as it would take only a couple of hours to reach the market or be on the table, unlike commercial fish which takes at least three to four days before reaching the stalls," bin Mubarak underlined.
Producing food at home
The UAE is putting a premium on the importance of producing food at home to boost the country's economic and environmental sustainability. Recently, Gulf News reported that the UAE is using innovative methods to cultivate food crops on a large scale.
Speaking to Gulf News, Halima Al Jasmi, head of the Fisheries Section at the Ministry of Climate Change and Environment (MoCCAE), said the UAE is also boosting its aquatic resources.
"We are working to boost fish production through national programmes and initiatives, such as cultivation of coral reefs and mangroves, installing artificial caves, specifying permitted fishing zones and equipment, imposing seasonal fishing ban on several species during their spawning seasons and permanent ban on endangered species, as well as designating 16 marine protected areas that account for 12 per cent of our marine and coastal territory."
In particular, Al Jasmi said some of the innovative fish cultivation methods include the use of Recirculating Aquaculture System (RAS) and aquaponics
RAS is a closed water treatment system in a controlled environment. Its main advantage the reduction of water use as water can be reused after treatment. Aquaponics, on the other hand, is combining aquaculture with hydroponics (soil-less planting).
To boost fishing this summer and to mitigate the impact of COVID-19 on food supply, Al Jasmi noted has eased the restrictions on fishing trip and facilitated the remote selling of fish.
MoCCAE has lifted the annual fishing and trade ban on Arabian safi (rabbitfish), sheri (emperor), and sharks from April 5 and introduced apps targeting fishermen to boost local fishing that range between 78,000 – 79,000 tons of catch annually.
© Gulf News
After rice the UAE now plans to grow its own coffee and wheat
Dubai eases air travel restrictions, allows travel abroad and welcomes visitors
Residential rents in Dubai see a sharp drop, especially in these areas
First COVID-19 vaccine approval: How and when
tags: Corona Virus COVID-19 Crisis Farmers Fish Farm Modern Farming NewsFeatured Pandemic Salmon United Arab Emirates
previous COVID-19: UAE sterilisation drive to tackle coronavirus is complete, movement restrictions lifted
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Q: What is the value for $\tan^{-1}(1)+\tan^{-1}(2)$? From the formula $$\tan^{-1}(x) + \tan^{-1}(y) = \tan^{-1} \left(\frac{x+y}{1-xy}\right)$$
we get that $\tan^{-1}(1)+\tan^{-1}(2)$ should be $\tan^{-1}(-3)$.
But if you calculate the value $\tan^{-1}(1)+\tan^{-1}(2)$ directly, you get a positive value that is not equal to $\tan^{-1}(-3)$.
Sorry for the silly question!

A: The quoted formula cannot be right, as your argument clearly shows. Let $\theta$ be our sum. A close relative of the quoted formula, namely
$$\tan(s+t)=\frac{\tan s+\tan t}{1-\tan s\tan t},$$
 is right whenever $\tan s$ and $\tan t$ are defined, and the denominator is non-zero. Using it  we find that $\tan(\theta)=-3$.
Note now that $\arctan(-3)$ is the number between $-\pi/2$ and $0$ whose tangent is $-3$. But our sum $\theta$ is between $\pi/2$ and $\pi$. To find the angle between $\pi/2$ and $\pi$ whose tangent is $-3$, add $\pi$. We find that $\theta=\pi+\arctan(-3)$, or if you prefer, $\pi-\arctan(3)$.

A: See http://eulerarchive.maa.org/hedi/HEDI-2009-02.pdf for a formula relating the function atan.
Also interesting http://www.craig-wood.com/nick/articles/pi-machin/


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Tag Archive: vocal
Chetham's is delighted to announce a new era for its Vocal and Choral programme! Young singers will now be able to join the School from Year 9, where previously they...
Students across the country are gearing up to take GCSE and A-level exams. It can be a stressful time, not just for teenagers but for parents and guardians too – particularly because they might...
Finding the right music teacher for your child can be a difficult decision, whether you're hoping to get started on your first ever instrument or to take your playing to...
— 22nd February 2019
A celebration of friendship for Chetham's Spring Music
Spring Music week is always an exciting time of year. As the new season dawns, students lay aside their text books and spend a week in rehearsals with our various...
Chetham's students release Don't Look Back in Anger, six months after the Manchester Arena attack
Please support victims of terror across the UK through the British Red Cross UK Solidarity Fund Today, Wednesday 22 November, marks six months since the terrorist attack at Manchester Arena,...
— 9th December 2016
Christmas Carol Competition 2016
This year's Chetham's Carol Competition produced a real variety of choral pieces, with thoughtful texts and imaginative musical settings. The judge was Matthew Owens, a former Chetham's student, published composer and current Director...
— 21st October 2016
Autumn Music course is a resounding success
Every term, academic lessons come to an end and Chetham's devotes itself to performance. The Autumn Music course is particularly special, as for many young players it is a first...
Vanessa Redgrave to join Chetham's Sinfonia to remember WWI
We are delighted that acclaimed actor Vanessa Redgrave will join Chetham's Sinfonia and composer Laura Rossi for two special performance linked to the centenary of the First World War in...


Why would we need an Emotional Compass?
And, first of all, what is an Emotional Compass?
When we experience territories, we create stories.
We model these stories using mental maps. These maps have seldom anything to do with what actually lies within the territories themselves. A mental map refers to one person's point of view perception of their own world, and is influenced by that person's culture, background, mood and emotional state, instantaneous goals and objectives.
If we move along the streets of my city in a rush, trying to find a certain type of shop or building, our experience will be different than the one we would have had if we were searching for something else.
We will see certain things and not notice other ones which we would have noticed otherwise.
Some things we will notice because they are familiar, common, or because associate them to memories and narratives. Some will stand out because they react with some element of our culture or background.
All this process continuously goes on as our feelings, emotions, objectives and daily activities change, creating the tactics according to which we traverse places and spaces, to do the things we do.
In the density of cities, this process happens for potentially millions of people at the same time.
In his "the Image of the City", Kevin Lynch described cities as complex time-based media, symphonies produced by millions of people at the same time in their polyphonic way of acting, moving, interpreting, perceiving and transforming the ambient around themselves: a massive, emergent, real-time, dissonant and randomly harmonic, work of time-based art with millions of authors that change all the time.
In this, our mental maps – the personal representations of the city which we build in our minds to navigate them to fulfil our needs and desires – live a complex life as our perception joins into the great performance of the city.
Dissonance is the essence of the city itself, and represents its complexity, density and opportunities for interaction.
Harmony represents affordances, the things which are recognised and shared by different cultures.
Those elements of the perceptive landscape onto which we can agree upon, which we recognise and attribute compatible meanings, allowing us to collaborate, meet, do things together.
For example, Haken and Portugali have suggested a broad definition of landmarks to refer to any distinguished city elements that shape our mental map. Or as Appleyard, Golledge and Spector who have conducted studies about the imageability of urban elements not because of their visual stimulus but because they possess some personal, historical, or cultural meaning.
These features found within our mental maps enable the possibility to design the affordances of places and spaces. We can use the understanding of what is consistently recognized and understood to design the elements of space/time which will be able to describe to people what is allowed or prohibited, suggested or advised against, possible or imaginable.
Lynch's concepts of legibility and imageability are closely related to James J. Gibson's notion of affordances developed in his direct perception theory, according to which the objects of the environment can afford different activities to various individuals and contexts. And, again, in Haken and Portugali, all elements of a city afford remembering, as they shape in the mental maps in human minds.
In a further step in the direction of citizen activation, we can also imagine to make this type of understanding widely known and usable, to enable people to express themselves (and their mental maps of how they perceive the world) more effectively and powerfully.
These possibilistic scenarios have become radically viable with the widespread of ubiquitous technologies. Nomadic devices (such as smartphones) and their applications we are able to merge our physical understanding of the world with the digital one: the two have, in fact, become so interweaved and interconnected as to form a new physicality, visuality and tactility which shape our everyday experiences of the world.
According to Mitchell's "City of Bits", McCullough's Digital Ground, Zook's and Graham's DigiPlace we are constantly immersed in emergent networks of interconnected data, information and knowledge which is produced by millions of different sources and subjects in the course of their daily lives.
This data and information radically shapes the ways in which we have learned to work, learn, collaborate, relate, consume and perceive our environment.
If we are strolling in a park and we receive a notification of some sort on our smartphone, the natural environment could instantly transform into an ubiquitous, temporary office.
If we want to make a decision about a certain thing we would like to purchase while in a shop, a quick look online will help define our opinion in ways that can be very powerful.
If we receive a message on our smartphone, our mood could change for the rest of the day.
Situated and ubiquitous information is able to powerfully transform, in real-time, the ways in which we experience places, objects and services, by providing the wide accessibility of other people's stories, emotions, expectations and visions.
This scenario is the one we have tried to address in our research: the conceptualisation, design and implementation of a tool for urban navigation, in which the emotional, narratives expressed by people while inhabiting and using urban places, spaces and objects become instantly and radically available, accessible and usable.
We used this approach to define a novel vision on the opportunity to design new types of affordances for our cities.
We have decided to start from the idea of a Compass.
Ho sviluppato un sistema simile (ma molto meno avanzato) per aiutare i miei pazienti a tenere traccia delle emozioni che si attivano, nella giornata e durante la settimana, nei diversi contesti di vita. Il sistema (in sperimentazione), accessibile da pc, tablet e smartphone, tiene conto di 49 stati emotivi suddivisi in emozioni basiche ed emozioni non-basiche e di 9 contesti. Ad ogni traccia registrata l'utente indica il contesto di immersione, l'emozione, l'intensità dello stato emotivo (4 livelli), pensieri (255 char), azioni (255 char) – cioè cosa ne faccio del mio sentire – e alcuni commenti liberi.
Prima di ogni incontro ricostruisco il timeline degli eventi e la mappa dinamica degli stati emotivi attivati nei diversi contesti, quindi lavorariamo in terapia sui dettagli e i vissuti raccontati in prima persona.
Mi piacerebbe parlarti di un progetto open che ho in mente da tempo ma che al momento è limitato a queste sperimentazioni che provo a realizzare nel contesto terapeutico per aiutare le persone ad acquisire una metodologia di osservazione degli stati emotivi e a tenere traccia degli eventi emotivamente significativi che poi vengono articolati meglio negli incontri.
Sarebbe lungo qui ora spiegarti. In sostanza la tecnologia ha spostato parecchio il modo di sentire e di agire di tutti noi (già a partire dagli anni '50) verso una modalità che Riesman definiva "eterodiretta" (vedi The Lonely Crowd). Questa modalità di essere implica emozioni sempre meno basiche (incarnate ed immediate) e sempre più non basiche (cognitive, legate a processi di pensiero e mediate dall'alterità) con tutta una serie di conseguenze non banali a diversi livelli.
Se non ti disturba e il tema ti interessa mi piacerebbe parlarti di come sto cercando di sviluppare la ricerca e di quali altre propettive di indagine potrebbero esserci. Le mie conscenze informatiche sono limitate ma faccio quello che posso con gli strumenti che ho, soprattutto lo faccio per semplice passione.
Sarebbe interessante provare a vedere come gli stati emotivi, che orientano il nostro sentire ed agire in ogni istante, consentono l'emergenza di diverse geometrie di rilevanze (affordance) negli ambienti di immersione. Non sono solo gli eventi esterni a modificare il nostro sentire e agire, è anche il modo in cui siamo già emotivamente situati che deforma la geometria di rilevanze dell'ambiente in cui siamo immersi. L'esito dell'equilibrio tra le due forze in gioco – inward / outward – è diverso per ciascuno di noi, a seconda del versante emotivo nel quale, da sempre, siamo abituati a sentirci vivere. Diversi studi indicano che dall'inizio del secolo, con la comparsa della dario, del cinema, del treno e oggi delle nuove tecnologie, il modo di emozionarsi è cambiato parecchio spostandosi su un versante outward, con emozioni sempre più mediate da contesti e dall'alterità e una conseguente emergenza e prevalenza delle emozioni non basiche tipiche. La dipendenza dai social network e l'uso di pc, tablet e smartphone per tamponare la sensazione di vuoto che emerge quando l'alterità non ci sollecita più (oppure ci definisce eccessivamente) è una delle tante conseguenze e la driva forse più pericolosa che accompagna l'affermarsi della tecnologia nei diversi contesti di vita.


text:
[5] τὸ δὲ ἱερὸν τῆς Ἀθηνᾶς τῆς Χαλινίτιδος πρὸς τῷ θεάτρῳ σφίσιν ἐστὶν καὶ πλησίον ξόανον γυμνὸν Ἡρακλέους, Δαιδάλου δὲ αὐτό φασιν εἶναι τέχνην. Δαίδαλος δὲ ὁπόσα εἰργάσατο, ἀτοπώτερα μέν ἐστιν ἐς τὴν ὄψιν, ἐπιπρέπει δὲ ὅμως τι καὶ ἔνθεον τούτοις. ὑπὲρ δὲ τὸ θέατρόν ἐστιν ἱερὸν Διὸς Καπετωλίου φωνῇ τῇ Ῥωμαίων: κατὰ Ἑλλάδα δὲ γλῶσσαν Κορυφαῖος ὀνομάζοιτο ἄν. τοῦ θεάτρου δέ ἐστι τοῦδε οὐ πόρρω γυμνάσιον τὸ ἀρχαῖον καὶ πηγὴ καλουμένη Λέρνα: κίονες δὲ ἑστήκασι περὶ αὐτὴν καὶ καθέδραι πεποίηνται τοὺς ἐσελθόντας ἀναψύχειν ὥρᾳ θέρους. πρὸς τούτῳ τῷ γυμνασίῳ ναοὶ θεῶν εἰσιν ὁ μὲν Διός, ὁ δὲ Ἀσκληπιοῦ: τὰ δὲ ἀγάλματα Ἀσκληπιὸς μὲν καὶ Ὑγεία λευκοῦ λίθου, τὸ δὲ τοῦ Διὸς χαλκοῦν ἐστιν.
After Pausanias completes his discussion of the rulers of Corinth, he re-situates his readers by recalling the temple of Athena Chalinitis before proceeding to other important monuments on the road to the harbor. Although the location of the Capitolium is still disputed, it is an important landmark in any Roman colony, built after the model of the temple of Jupiter Optimus Maximus on the Capitoline Hill overlooking the Forum in Rome.
Pausanias also comments on the wooden statues of the artist Daedalus before turning north to the gymnasium, Lerna spring, and the sanctuary of Asclepius. The fresh water supplied by the spring would have been a wonderful resource for both the athletes who trained at the gymnasium and for the priests in charge of comforting and curing the infirm and ill who visited the sanctuary of Asclepius, whose healing cult at Epidaurus spread throughout the Greek world. The Asclepieion at Corinth has produced many votive offerings of body parts that were given to the god in thanksgiving for healing. See M. Lang, Cure and Cult in Ancient Corinth, and Ioulia Tzonou and Eleni Gizas, "Alketas of Halieis, being blind, saw a dream: Personal Stories of Sickness and Cure in the Asclepieion in Ancient Corinth"
Recently, the magnificent, Roman podium-style Temple E has been considered as a likely candidate as Corinth's Capitolium. For the bibliography, see Hutton, Describing Greece 168, n. 91. How would you reconcile this location for the Capitolium with Pausanias' description of the road to Sicyon?


GRETNA – Two men are suing a local bar for injuries they claim occurred during a robbery by unknown individuals.
William J. Barrett and Gary Fleming filed suit against Mama's Place, their insurer and three unknown men in the 24th Judicial District Court on July 26.
The plaintiffs claim they entered Mama's Place on July 26, 2011 with the intention of drinking beer and playing pool. The plaintiffs allege that the three unknown individuals committed an armed robbery on the premises when Barrett was struck in the head by one of the robbers with a firearm, which have resulted in physical and mental injuries, and Fleming was injured emotionally when one of the men held a firearm to his head. The plaintiffs assert that it was well-known within the community that football pools and an ongoing dice game, both utilizing large amounts of cash, were allowed on the premises.
The defendant is accused of not providing adequate security given the amount of money being exchanged in the "questionable" games.
An unspecified amount in damages is sought for injuries and medical expenses.
Barrett and Fleming are represented by Metairie-based attorney P.M. Donovan.


This war was one point far from our victory we had a nice game with Insanity. Good game THC!!! Good game Insanity, our victory was one point far, the war was fun they had luck that we crashed several times!!
This war tought us what means to be kind, no problem, we will have our revenge after TmT. Since we lost our first round because we were kind to restart the map after they saw that they weren't doing good, we couldn't race the other 2 maps due to players inactivity, good game team <3. We will have our revenge after TmT. Good game THC, good game Minipeace.
No comment for this one mates!
Due to missing players, THC came out of the competition!


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Q: How do I deploy a Google Cloud Function (2nd generation)? I've previously only used Cloud Functions of gen. 1 but now plan to move to 2nd generation and is just trying to deploy/test a first basic function. I'm just taking the Google sample for a storage triggered function and try to deploy it, but it keeps failing.
This is what it looks like:
> gcloud functions deploy nodejs-finalize-function --gen2 --runtime=nodejs16 --project myproject --region=europe-west3 --source=. --entry-point=handleImage --trigger-event-filters='type=google.cloud.storage.object.v1.finalized' --trigger-event-filters='bucket=se_my_images'

Preparing function...done.
X Deploying function...
  ✓ [Build] Logs are available at [https://console.cloud.google.com/cloud-build/builds;region=europe-west3/a8355043-adf0-4485-a510-1d54b7e11111?project=123445666123]
  ✓ [Service]
  ✓ [Trigger]
  - [ArtifactRegistry] Deleting function artifacts in Artifact Registry...
  . [Healthcheck]
  . [Triggercheck]
Failed.
ERROR: (gcloud.functions.deploy) OperationError: code=7, message=Creating trigger failed for projects/myproject/locations/europe-west3/triggers/nodejs-finalize-function-898863: The Cloud Storage service account for your bucket is unable to publish to Cloud Pub/Sub topics in the specified project.
To use GCS CloudEvent triggers, the GCS service account requires the Pub/Sub Publisher (roles/pubsub.publisher) IAM role in the specified project. (See https://cloud.google.com/eventarc/docs/run/quickstart-storage#before-you-begin)

The error looks easy to understand, but I have aded the Pub/Sub Publisher role to all my service accounts now (the ones listed below) and I still keep getting the same error.
>gcloud iam service-accounts list --project myproject
DISPLAY NAME                        EMAIL                                                   DISABLED
firebase-adminsdk                   firebase-adminsdk-u2x33@myproject.iam.gserviceaccount.com  False
Default compute service account     930445666575-compute@developer.gserviceaccount.com      False
backend-dev                         backend-dev@myproject.iam.gserviceaccount.com              False
App Engine default service account  myproject@appspot.gserviceaccount.com                      False

I don't know how to move forward from here so I hope someone can help.
*** EDIT ***.
I added the role to the listed service accounts in the GCP console, IAM > Permissions > View By Principal page/view where I used the Edit Principal button to assign an additional role (Pub/Sub Publisher) to the service accounts (note that I added the role to all my listed service accounts since I'm not 100% sure which one is used by GCP for cloud deployment).

A: since you are already using gcloud cli, i suggest you follow the step 2 which says:
PROJECT_ID=$(gcloud config get-value project)

PROJECT_NUMBER=$(gcloud projects list --filter="project_id:$PROJECT_ID" --format='value(project_number)')

SERVICE_ACCOUNT=$(gsutil kms serviceaccount -p $PROJECT_NUMBER)

gcloud projects add-iam-policy-binding $PROJECT_ID \
  --member serviceAccount:$SERVICE_ACCOUNT \
  --role roles/pubsub.publisher

After these 4 cmd's, you should have no problems.. I don't use gcp interface for iam purposes, since all my iam policies are uploaded by terraform/terragrunt.


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Q: NSBlockOperation and the start method In reviewing my code, I've been seeing that in many places I have been making the assumption that calling [NSBlockOperationInstance start]; will start this operation on the main thread. I don't know why I thought this, but I shouldn't have been so sure any way. I checked the documentation but couldn't find any explicit mention of the thread the block would run on. However, asserting assert([NSThread isMainThread]); in the main body of the block does pass every time using start, so I'm not sure if this is a coincidence. Any one have more solid understanding of how this would work?
I forgot to mention that [op start] is being called on the main thread.

A: The docs specifically say

Blocks added to a block operation are dispatched with default priority to an appropriate work queue. The blocks themselves should not make any assumptions about the configuration of their execution environment.

I suspect that the following will crash:
NSBlockOperation * op = [NSBlockOperation blockOperationWithBlock:^{ sleep(1); }];
[op addExecutionBlock:^{assert([NSThread isMainThread]); }];
[op start];

What's wrong with simply executing the block?

A: OK, it all depends on where you call start().  While NSBlockOperation will farm out blocks to other threads, start() is synchronous, and will not return until all the blocks that have been given to NSBlockOperation have completed.
While NSBlockOperation will concurrently execute the blocks it is given, NSBlockOperation itself is NOT concurrent (i.e., isConcurrent is false).  Thus, according to the documentation, start() will execute in its entirety in the thread of the caller to start().
Since the thread that calls start() will not return until all the blocks have executed, it makes sense to let the calling thread be involved in the thread pool that is executing the concurrent blocks.  That is why you will see some blocks executing in the thread that called start().
If you are seeing a block execute in the main thread, then you must have called it from the main thread.
On a related note, if your NSBlockOperation contains a single block, than that block will always execute in the calling thread.
Remember, if you want a NSOperation to be fully concurrent, you must implement the appropriate functionality in a subclass.
Barring that, you can give any NSOperation to a NSOperationQueue, and it will execute concurrently, because the NSOperation is given to a queue, and the thread running the operation calls start().
Personally, I do not see any advantage in using NSBlockOperation over dispatch_async() unless I need to use its features.  If you are only executing one block, just call
dispatch_async(dispatch_get_global_queue(DISPATCH_QUEUE_PRIORITY_DEFAULT, 0), ^{ });

If you want to utilize the features of NSBlockOperation, but you do not want to wait for them to complete in the current calling thread, it still makes sense to do this...
// Add lots of concurrent blocks
[op addExecutionBlock:^{ /*whatever*/ }];
// Execute the blocks asynchronously
dispatch_async(dispatch_get_global_queue(DISPATCH_QUEUE_PRIORITY_DEFAULT, 0), ^{
    [op start];
    // Now do what you want after all the concurrent blocks have completed...
    // Maybe even tell the UI
    dispatch_async(dispatch_get_main_queue(), ^{
        // Update the UI now that all my concurrent blocks have finished.
    });
});

EDIT
To address your comment to tc's answer...
If you call
op = [NSBlockOperation blockOperationWithBlock:^{assert([NSThread isMainThread])}];
[op start];

from the main thread, then there are some guarantees, and some high probabilities.
First, you are guaranteed that [op start] will run to completion in the calling thread.  That's because NSBlockOperation does not override the default behavior of NSOperation that specifies it is NOT a concurrent operation.
Next, you have a very high probability that if the NSBlockOperation only has one block, that it will run in the calling thread.  You have almost the same probability that the first block will run in the calling thread.
However, the above "probabilities" are not guarantees (only because the documentation does not say it).  I guess, some engineer may find some reason to spin that single block to one of the concurrent queues, and just have the calling thread join on the operation that is executing in another thread... but I highly doubt that.
Anyway, maybe your confusion comes from the fact that the documentation for NSBlockOperation says it executes block concurrently, which it does.  However, the operation itself is not concurrent, so the initial operation is synchronous.  It will wait for all blocks to execute, and it may (or may not) execute some of them on the calling thread.
While there is no guarantee, I find it highly unlikely that a NSBlockOperation with only one block will do anything other than execute on the calling thread.


Dogs and cats require raw meats and raw meaty bones to live long, healthy lives. Cats are "obligate carnivores" – they must have a diet that consists primarily or exclusively of raw meats and bones. Dogs are carnivores and scavengers – they need raw meats and bones to thrive — and germs that would make people sick do not bother healthy dogs.
At Kona Raw Pet Food Co-op, we aim to help pet owners learn about raw-meaty-bones (rmb) and enable them to feed an rmb diet to their pets, economically. For a one-time membership fee of $5.00, members can buy the amounts of rmb their pets need for a week or a month at wholesale prices. Feeding rmb is less expensive than feeding so-called "premium" kibble is that are primarily sugary starches.
Commercial pet foods destroy pets' teeth and gums. The American Veterinary Dental Association reports that by the age of three (3) years, 85% of dogs and 75% of cats have serious periodontal disease that requires veterinary treatment. Kibbles and canned mush coat pets' teeth with a gummy sludge that harbors bacteria. Within months of eating this stuff, puppies and kittens have foul mouths from infected gums.
Still worse outcomes from feeding commercial pet foods can be seen later in pets' lives. Gum infections pass into the blood stream and affect all major organs. Fed on commercial pet foods, our pets are plagued by every manner of modern degenerative diseases, including obesity, cancers, heart and digestive disorders.
Why the Co-op: Kona Raw Pet Food Co-op began in the summer of 2010 with 3 pet owners who bought their dogs raw-meaty-bones by meeting the Hawaii Beef Producers' delivery van in restaurant and grocery parking lots. Why not consolidate? All pet meat orders in West Hawaii would be delivered weekly to Sandra's farm. HBP agreed.
After 6 months, the co-op had 21 members; 12 months after that 111 members — all by word of mouth. After 4 years, 235 pet owners have joined the Kona Raw Pet Food Co-op, with more joining weekly. The co-op processes members' orders of 1,000 to 1,700 pounds of meats and meaty bones per week.
By now, we have heard hundreds of stories of how dogs and cats get well on rmb; how puppies started on a raw diet thrive. Members feed a lot of raw chicken with bones, as well as beef. Raw bones do not splinter; they crunch. Cooked bones splinter. Never feed a pet cooked bones of any kind.
I have finally had the opportunity to switch Kona over to a raw food diet and I cannot tell you how great it's been! He eats his raw meat and he's as happy as can be! We have struggled with allergies, yeast infections, eye infections, etc. and he has not had one problem since he's been on the diet. I find that I do not need to bathe him as frequently as his coat doesn't smell and it has a beautiful sheen! He seems so happy (not that he didn't before) but it's so great knowing that I am giving my little Love Bug the best care as he deserves it!
visit Dr. Lonsdale's web site and my blog on pet diets.


text:
Topics:Gaana, Gaana.com, Internet, Music, News, Times Internet
Gaana Claims To Have 1M Registered Users; 100M Minutes Of Use In 2012
Times Internet's online music streaming service Gaana.com has claimed that people have spent more than 100 million minutes listening to music on the portal in 2012, registering a growth of more than 500% year-on-year.
Usage Metrics: The service claims to have registered a 71% growth in the number of daily users in 2012 and witnessed a total one million registrations as of last week, with 68% of the users being 30 years or younger. However, the company didn't disclose the number of active users or the total number of unique visitors on the portal. According to the Times Internet website, Gaana had 2.3 million unique visitors and had registered 50 million pageviews as of April 2012, according to Comscore metrics.
Usage Trends: Times Internet claimed that Gaana registered 11 pageviews per visit, up from 5 pageviews per visit in 2011 and users spent 21 minutes per visit as compared to 7 minutes per visit in 2011. Browser-wise, the company claimed that Google Chrome accounted for 41.13% of Gaana users, followed by Firefox which accounted for 24.02% users, and Internet Explorer which accounted for 16.19% users. Others in the list include Safari (2.75%) and Opera (2.16%).
Top Song and Top Album: Times Internet stated that Pani Da rang song from Vicky Donor was the highest played song on Gaana, clocking over 3.57 million listens in 2012, while Cocktail was the highest played album of the year, clocking over 6.4 million listens. The company also claimed that 5 million users had tuned into Gaana Radio, since it was launched earlier in the year and 500,000 playlists were created by users in 2012.
Top Artists: Times Internet mentioned that Shreya Ghoshal was the most popular female singer in the Bollywood genre on the portal, while Dhanush was most popular singer in the Tamil music genre and Justin Bieber was the most popular singer in the International music genre. It also stated that Diwali themed music clocked the highest music listens among celebration music genre in the portal while 'Remembering Jagjit Singh' was the most popular playlist on Gaana in 2012. The company however didn't share any specific numbers for these announcements.
Facebook Open Graph App: In December 2011, Gaana had launched an open graph app on Facebook, allowing users to share their activity on the Facebook Ticker, News Feed, and Timeline as well as receive song suggestions from their Facebook friends. Times Internet stated that 85% of its registered users have connected their Facebook account to the service, although it didn't reveal any specific information on the user base or the number of Facebook impressions generated till now. As per Times Internet website, Gaana's Facebook app has around 90,000 monthly users.
– #NAMA Video: Satyan Gajwani On Times Internet As A Product Co, Mobile Operators Relationships, Competitors & More
– #NAMA: Satyan Gajwani On Times Internet's Changing Avatar
– Gaana Adds Airtel Hello Tunes Downloads As Brand Integration
In this article:Gaana, Gaana.com, Internet, Music, News, Times Internet
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Gerber Soothe Probiotic Drops ONLY $1 At Walmart! MAJOR STEAL!
Gerber Soothe Probiotic Drops – these drops were found IN STORE at Walmart for ONLY $1! Normally $30! This is a clearance deal so YMMV!
Thank you Kelly from our Walmart Clearance group for sharing!


This is a common question. It's a confusing marketplace. Social media, search engine optimisation, email marketing. We encourage you to start… at the beginning. Explain to us what it is your business does, what you're trying to achieve, and we'll help you reach that goal. If you start at the beginning, everything happens in the right order. It's no good doing SEO if your website is not converting customers, and it's no good redesigning it, if there's other fundamemntal flaws in your online process. People come to us with a crumpled road map. We'll help you flatten it all out and get back on the right road.
How much will everything cost?
Prices for our services depend mostly on the amount of time we spend on a project. We charge by the hour and will always try and estimates exactly how long a project will take.
For small websites, this is relatively easy and mostly we will be able to give an estimate which accurately reflects the time we will spend on it. If we quote you a fixed price, we will provide you with a list of tasks that we will complete.
For marketing and ongoing work we will estimate the quantity of hours required to meet your needs, based on our initial interview.
We are one of Moray's longest established web design and development businesses. Canary Dwarf was established in 2005, but owner Marc Hindley has been working in onlne and offline media for over two decades. We have over 200 customers in our portfolio, from small home-based businesses to large organisations turning over £3 million a year.
We have substantial experience in designing and developing websites, running online marketing campaigns and training businesses to use web tools to run the online side of the businesss efficiently.
I've got a website, but it's not doing anything for my business. Can you help?
Almost certainly. A lot of businesses come to us with this problem.


Rafts are a useful way of providing island habitat in areas of deep or fluctuating water levels. They can improve breeding success by providing areas safe from flooding, disturbance or predation.
This raft's design includes chick shelters, a re-entry ramp and an optional security fence.
This design is intended to overcome the problems posed by strong currents, which make it difficult for wildfowl to nest.
This design is becoming increasingly popular and has proved to be highly effective and weatherproof.
Logs from nearby felling operations are often available free and can be used to provide the basis for simple rafts.
The two models were designed for the specific needs of a particular area, and they require a great deal of skills.


text:
Thomas Willert Beale (1828 – 3 October 1894) was an English miscellaneous writer, who also wrote under the pseudonym Walter Maynard.

Life
Beale was the only son of Frederick Beale (d. 1863), of the music publishing firm of Cramer, Beale, & Addison of Regent Street. He was admitted student of Lincoln's Inn on 18 April 1860, and was called to the bar in 1863; but music claimed his interests, and, having received lessons from Edward Roeckel and others, he managed operas in London and the provinces, and toured with some of the most notable musicians of his time. As 'Walter Maynard,' he wrote an account of one of these tours, with reminiscences of Mario, Grisi, Guiglini, Lablache, and others, entitled 'The Enterprising Impresario' (London, 1867).

Beale originated the national music meetings at the Crystal Palace with the object of bringing meritorious young musicians to the front, and took a leading part in the institution of the New Philharmonic Society, at which Berlioz conducted some of his compositions by Beale's invitation. It was under his management that Thackeray came out as a lecturer. He wrote a large number of songs and pianoforte pieces, besides Instructions in the Art of Singing (London, 1853), and a series of Music Copy Books (London, 1871).

In February 1877 he produced at the Crystal Palace a farce called The Three Years' System, and a three-act drama, A Shadow on the Hearth; an operetta, An Easter Egg, was produced at Terry's Theatre in December 1893. His autobiography, The Light of other Days as seen through the wrong end of an Opera Glass, was published in 2 vols., London, 1890. He died at Gipsy Hill on 3 Oct. 1894, and was buried at Norwood Cemetery. Late in life he married the widow of John Robinson of Hong Kong ; she was a good singer and musician.

References

Attribution

19th-century English non-fiction writers
English writers about music
1828 births
1894 deaths
Burials at West Norwood Cemetery


We are pleased to announce that with effect from 1 April 2014 a new Vice President Finance has been appointed.
NL Wong, currently VP Finance, moves to the newly created position as Finance Director Asia for the Bucher Group and has therefore left Bucher Emhart Glass. His long lasting career at Bucher Emhart Glass started in 1983 as Controller of the Singapore offices followed by different promotions where in July 1999 he became VP Finance. NL Wong graduated in accountancy from the University of Singapore where he is a member of the Institute of Singapore Chartered Accountants and a Fellow of CPA Australia. His profound knowledge of Bucher Emhart Glass and the Group as well as his extensive Asian competence will be the sound basis for the new task.
Reto Semadeni is the new VP Finance of Bucher Emhart Glass. Reto Semadeni studied economics and holds a diploma as certified public accountant. After his studies he worked as auditor at PricewaterhouseCoopers as well as the Head of corporate accounting of a listed Swiss Group. He joined the Bucher Group Finance team on 1 June 2008 as Head of Group Controlling. His 5-year experience as Head of Group Controlling and as the Leader of the Internal Control combined with his business and theoretical knowledge will support him in the new challenges at Bucher Emhart Glass.


text:
ENVIRONMENT / Notes about your surroundings
Help Wanted--The Orange County Natural History Assn. is looking for volunteer docents to assist at its new museum in Aliso and Wood Canyons Regional Park. The museum is in a 24-by-60 foot trailer at 28373 Alicia Parkway, Laguna Niguel. To sign up, call (949) 487-9155. The group plans to build a nature trail, connecting the museum to the natural habitats of the park.
Kelp Wanted--Climb aboard the R/V Sea Explorer on Saturday for a cruise to Santa Catalina Island and a day of snorkeling. Orange County Marine Institute biologists will lead explorations of underwater kelp forests and reef communities. Catch-and-release fishing is also offered, or participants may opt to explore the town of Avalon. Children 9 years and older are welcome, if accompanied by an adult. The boat leaves the marine institute docks at 7 a.m. and returns at 8:30 p.m. Cost is $55 for adults and $50 for children 9 to 12. Other cruises are scheduled for July 11, July 25, Aug. 8, Aug. 22 and Aug. 29. The institute is at 24200 Dana Point Harbor Drive in Dana Point. Information: (949) 496-2274.
Game Plan--A free preview slide show of the Santa Ana Zoo's 14-day safari to Kenya will be given Thursday at 7 p.m. in the zoo's education classroom, 1801 E. Chestnut Ave. The trip, which departs from Los Angeles on Oct. 23, takes travelers through game-viewing national parks in East Africa. An optional six-day extension to Tanzania to see an elephant herd and tree-climbing lions is also available. Information: Ron Glazier, (714) 647-6598.
Back in Time--Archeologist Gary Hurd will present a program on "Native American Landscapes" from 2 to 5 p.m. June 28 at the Rancho Mission Viejo Land Conservancy. Cost is $5 for adults and $3 for children. Reservations: (949) 489-9778. The conservancy is five miles east of San Juan Capistrano.


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PRESS RELEASE: National Players Receives "Shakespeare in American Communities Grant"
Joshua Ford
jford@olneytheatre.org
NATIONAL PLAYERS AWARDED PRESTIGIOUS GRANT TO BRING SHAKESPEARE TO AMERICAN COMMUNITIES
Olney Theatre Center's touring company receives $25,000 for the Tour 72 production of A Midsummer Night's Dream
OLNEY, MD — June 29, 2020 — In an announcement released today, National Players, the educational touring troupe at Olney Theatre Center, has been awarded a 2020-21 Shakespeare in American Communities grant, a program of the National Endowment for the Arts in partnership with Arts Midwest, worth $25,000. From January to July 2021, Olney Theatre's National Players will perform A Midsummer Night's Dream, as part of the 72nd tour. The project will engage up to 20 underserved schools and arts centers across the country, inspiring students with limited access to live theater in urban, suburban, and rural communities. During the 2020-21 academic year, National Players will also conduct in-person and online discussions and workshops on Shakespeare's text, acting, stage combat, movement, and more with students.
Jason King Jones, who serves as Olney Theatre's Senior Associate Artistic Director and Artistic Director of National Players, said, "We are thrilled to receive this grant. Performing Shakespeare in communities large and small has been central to National Players' mission for 72 years. The 2021 tour will be our first to put a company comprised of mainly actors-of-color on the road with a repertoire that includes A Raisin in the Sun along with A Midsummer Night's Dream. This grant will help deepen the impact of our theatremaker-educators."
The National Endowment for the Arts in partnership with Arts Midwest presents Shakespeare in American Communities. National Players is one of 40 professional theater companies across the nation selected to perform a Shakespeare play with a professional team of actors for middle- and high schools and conduct related educational activities for students.
Established in 1949 and based at Olney Theatre Center since 1952, National Players is
America's longest-running touring company. Founded on the principle of prioritizing areas with
limited access to theatre, National Players company consists of 10 early-career theatre artists
who spend 10 months touring the United States with their two-to-three-play repertory to a variety of diverse populations and venues from performing arts centers, universities, but also public schools, rural community centers, and penitentiaries. National Players also acts as an
educational ambassador, teaching theatre-related courses to students of all ages and backgrounds. Though it travels thousands of miles and serves tens of thousands of people each
year, National Players always comes home to Olney, Maryland. www.nationalplayers.org
Follow National Players on Instagram/Twitter/Facebook @NationalPlayers
ABOUT OLNEY THEATRE CENTER
Olney Theatre Center for the Arts produces, presents and tours extraordinary performances for a diversity of audiences, and educates and inspires the next generation of theater-makers.
We strive every day to unleash the creative potential of our artists and audiences, and in so doing, become a nationally-prominent destination for the most impactful theater performance and education.
Once a summer stock retreat in rural Maryland, Olney Theatre Center is now an award-winning, year-round regional theatre surrounded in a 15-mile radius by 1.6 million people representing three of the most ethnically diverse counties in America. Since our founding in 1938, some of the biggest names in theatre have appeared on our stages: from "Golden Era" stars like Helen Hayes and Tallulah Bankhead to contemporary artists like Sir Ian McKellen, Robin De Jesús, and many others. OTC welcomed Artistic Director Jason Loewith and Managing Director Debbie Ellinghaus in 2013 and 2014, respectively, who established a new artistic strategy to broaden programming with the goal of nurturing a diversity of voices and audiences. Olney Theatre Center now produces musicals and plays under the three rubrics of Classic, Contemporary and Family programming. Since 2013 Olney Theatre Center has twice won the Helen Hayes Award for Outstanding Musical Production, the Charles MacArthur Award for Outstanding New Play and presented six world premieres. Complementing this work, OTC fulfills its mission as a teaching theater with educational programs like the Our Play program in local 5th grade classrooms, a summer camp and a year-round professional apprentice program. National Players, now in its 72nd Season, is the hallmark outreach program of OTC, a unique ensemble touring innovative theater to communities large and small across the United States.
For more information, please visit olneytheatre.org.
Follow Olney Theatre Center on Twitter and Instagram @olneytheatre and on Facebook at facebook.com/olneytheatre.
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A line around that we cannot see
a line around that we cannot see I Yvette Hamilton, Heidi Lefebvre, Karen Golland I Airspace I 2018
The Lost Plots
My Nan cut stuff out of the newspaper. She clipped out things that caught her fancy using a pair of gold-handled scissors shaped like a bird, a Kiwi I think. Nan mostly cut out the whole article, although sometimes she just cut out the image. Nan rarely just cut out the words. I never asked Nan about these clippings. Precise newspaper cutting was just something Nan did. In the last decade of her life Nan cut the paper up in rhythm to the alzheimers that slowly changed her brain. Snip. Cut. Remember. Forget. The clippings from this time present a strange and intimate record of her daily life. After Nan died no one knew what to do with the set of chocolate boxes she had methodically refilled with print. I stepped in when I feared they were to be recycled. The clippings moved with me from house to house. I read them. I packed them back up. I reread them. I packed them back up. I photographed them. I counted them. I ordered them. I mixed them up. I tried to make sense of them. I failed. I lost Nan's plot.
A small set of Nan's clippings feature in my upcoming solo exhibition Spells for Lost Things. The exhibition draws on three collections of objects that passed through the hands of three different women, before finding their way to me.
The exhibition opens at Western Plains Cultural Centre on Saturday 21 April 2018 at 2pm. Find further details here - https://www.facebook.com/events/363396024144379/
Softly wired
Softly Wired is a series of new works by Bathurst artist Karen Golland. The work features four pastel handkerchiefs threaded with wire using rows of running stitches that give the old cotton fabric new form. Dash. Space. Dash. The hankies now appear frozen in time. Each sits on its own circular mirror on the floor, making it seem larger than life.
These handkerchiefs have escaped from a much larger collection passed down through Karen's family for generations, gathering carefully ironed contributions as it went. The collected outgrew one chocolate box only to fill another and another. By the time Karen inherited the collection there were two hundred and twenty handkerchiefs.
Handkerchiefs have a past. They might have been used for waving, remembering, signalling, gifting, sneezing, protecting, mending, embellishing, nursing, messaging, crying, dabbing, collecting. When they were dropped in childhood games you had to run as fast as you could or you'd lose your place. Sometimes they were the secret language of lovers.
Softly Wired forms part of larger body of work that uses inherited collections to explore the role objects play in conjuring personal narratives and histories. The works draw on the intimate pleasure found in collecting precious and mundane things and details how the meaning of these collections slips and changes when we die. These works deliberately embellish the past, reflecting the complexities inherent in remembering those who have died.
Art in the park: Machattie Park
Come and draw, paint or just relax in the company of others at Machattie Park… every 3rd Sunday of the month. There'll be at least one demonstration and informal instruction will be available. All welcome! All art forms welcome!
We meet at the Rotunda and disperse from there.
Children under 15yo need to be accompanied by an adult. BYO pencils | paper | art materials | hat | water | sunblock | stool (Limited (free) paper, pencils, boards available to use)
*Bring a picnic lunch beforehand from 1pm...
Look forward to seeing you there!
Rachel Ellis: 0428 311 534
Linoleum works on exhibition at The Hub Bathurst
These works are currently bring exhibited at The Hub Espresso Bar and Eatery in Bathurst. If you're in town make sure you swing by and check them out. You'll find The Hub at 52 Keppel Street.
Two parts flower
Medium: Linoleum and cake tins
Size: Large piece: H40cm x W50cm Small piece: 21.5cm diametre
Price: Large piece: $1000 Small piece: $500 SOLD
You must never lose heart in your love, my love.
Medium: Linoleum
Size: Large: W110cm x H44cms Small: W60cms x 44cms
Price: Large piece: $2000 Small piece: $800
One Single Wish
One Single Wish follows on from my recent work on death and grieving. It's a site-specific installation composed of hundreds of handcrafted pom poms. These pom poms were crafted in response to my partner's illness and death. The bright colours and silliness of these quickly wound creations stood in stark contrast to the measured clinical world that surrounded us. After my partner died, communal crafting became a way for me to connect with other people's experience of grief. I became interested in the ways loss can be externalised and how this act can be used to disrupt the silence that shrouds taboo topics like death and dying. At the centre of my art practice is an intense curiosity in how making can be used to process traumatic events, particularly in those instances when we don't have the words to wrap around the experience.
'The Cupcakes' by Roundabout Theatre
Meeting 'The Cupcakes' at the opening of Artlands was an absolute hightlight of the festival. You can check out more of their household tips for a happier world here www.roundabout.net.au
'The Cupcakes' by Roundabout Theatre www.roundabout.net.au
Installing One Wish: Future/Public
Future/Public is an exhibition of propositional public artworks in parklands central to the various venues for in the ARTLANDS precinct. Instead of producing finished and lasting artworks for public spaces, Future/Public will use public space as a platform for questioning the role of art in public. The exhibition will consist of 10 installations that 'propose' potentials for artworks that stands outside of our received expectation and understanding of public art. In this way, it will challenge the genre's traditional and suggest new roles, ideas, and modes for art that inhabits the shared space of the public sphere.
Artists: Mark Booth (Hill End), Sarah McEwan (Birrego), Julie Montgarrett (Wagga), April Phillips (Coffs Harbour), Amelia Reid (Murwillumbah) Genevieve Carroll (Hill End), Karen Golland (Bathurst), Dani Marti (Cessnock) Christine McMillan (Kandos) and Rochelle Summerfield (Grafton).
Machattie Park embroidery
This is for you: Bathurst Regional Art Gallery
This interactive installation developed by artist Karen Golland invites you to explore, create and collaborate through the work of the late Bathurst artist Steve Kirby. A continuation of Kirby's Choice and Chance project, first conceived in 2006, a mosaic of the artist's paintings will line the Gallery's walls in a constantly evolving and dissolving re-imagining of his work and the interplay between choice and chance.
This is for you: Documentation and development
This is for you opened at Bathurst Regional Art Gallery on Friday 13 May 2016.
Link to Western Advocate Article
Cementa15 - a regional festival in pictures
Link to full article: Gina Farley
Loss carries across several of the artworks. Karen Golland's field of pom-poms The Nature of Things, is a response to the grief of her partner dying. Viewed from the road or stumbled across in a paddock, it is indicative of the subtlety and sensitivity of many of the works at Cementa15.
Cementa15 Kandos
Link to full article: Posted 27 April 2015: The ARI Experience: http://the-ari-experience.com/2015/04/27/cementa15-kandos/
On a grassy piece of land known as the "paddock shoulder" I found Karen Golland's work, The Nature of Things. Karen had placed hundreds, possibly thousands of small, intensely coloured pom poms in arcs of colour on the small rising hill in the vacant lot. The rows of pom poms created an effect of individuals amonst the many. Each pom pom evoked both 'someone' and the absence of 'someone'. In the bright morning light the intense colour field looked, quite simply, beautiful. Karen had begun making these pom poms as her partner was dying and she invited those close, family and friends, into the process of making the pom poms thus sharing their grief through this act of creation. The final work was inspired by a painting made by her partner. "Things come and go; it is in their nature."
Pom Pom planting: video by Tracy Sorensen
Transforming loss
Pom-poms in paddocks, men in monkey suits at Cementa festival
Full article: Lauren Stanford
A car full of pine needles, a poker machine on a bed of coal, a field full of pom-poms, and a video of three men in monkey suits playing on the monkey bars were some of the weird and wonderful exhibits on show during the 2015 Cementa Arts Festival in Kandos.
Twenty good reasons to put Cementa on your radar
GINA FAIRLEY: SUNDAY 12 APRIL, 2015
Twenty good reasons to put Cementa on your radar - a festival that happens every two years in regional NSW.
Cementa15 returned to Kandos, a small regional town in NSW, this weekend with performance, installation and interventions. ArtsHub headed out to the country to bring Cementa15 to you.
For more on Cementa15 and an interview with one of its co-founders Alex Wisser.
PRESS RELEASE: Bathurst artist Karen Golland selected to be part of Cementa 15
Bathurst artist Karen Golland has been selected to take part in the biennial contemporary art festival Cementa15. The festival will take place in the regional township of Kandos from 9 to 12 April 2015 and will feature work from more than sixty artists.
"I'm thrilled to be part of Cementa15. It's a wonderful event for regional NSW and with Kandos being so close to Bathurst it's particularly exciting for our local community," said artist Karen Golland. "Bathurst is home to a great number of people who are interested in contemporary art and think nothing of travelling four or five hours to visit art events or exhibitions. With Kandos being just over an hours drive away people can plan a day trip and bring their families and friends along on a regional art adventure."
Cementa_15 brings together urban and regional artists for a four-day celebration of contemporary art in Australia. Taking its regional situation as focus, Cementa_15 celebrates the diversity of voices that can be heard within our contemporary arts communities. The program will include video, installation, performance, sound, 2d and 3d artworks in venues and locations across the town.
"We showcase contemporary art across the spectrum of practice, from the emerging to the established, from the obscure to the prominent," said festival curator Alex Wisser. "We've got strong regional representation in this year's festival and are excited to have new work by Bathurst artist Karen Golland included in the lineup."
The Cementa_15 program also includes work by Hill End artists Genevieve Carroll and Bill Mosely, and Molong artist Heidi Lefebvre. Over the four-day festival visitors will have the opportunity to attend public programs including workshops for children, performances and forums. To find out more and view Cementa_15 artist profiles visit www.cementa.com.au
For more information contact Cementa_15's media contact Sam Paine on 0431 208 646.
Piper Street Pom Pomery
Q&A with Cementa 15 artists
Read the full article here: https://visualarts.net.au/news-opinion/2015/q-cementa15-artists/
March 12 2015, by Julie Lien
From 9 to 12 April, 2015, over 60 contemporary artists from both Sydney and regional NSW will participate in Cementa15, an arts festival that celebrates the state of contemporary art in Australia and the community of artists that generate this strange, challenging, and wonderful way of looking and thinking about the world. NAVA spoke to some of those artists about the strategies and challenges experienced when producing their work.
What role does skill play in the value or meaning of your work?
Skill is a strange thing. Honed and perfect in one moment, clumsy and unattainable the next. I trained as a printmaker so for many years skill meant practiced precision. These days skill plays a different role in my art making. My focus isn't always on the polish; I'm much more curious about what's been collected along the way. The skills that bring the most value to my practice are flexible, and support encounters with different ways of making. They are adaptable and intuitive, and occasional fumbling is part of their nature.
My work for Cementa 15 has involved making pom poms with many people from my daily life. We've all learnt this one simple skill and then used it on repeat, making many hundreds of the same thing together. Creating work like this in my own home, with those who form an important part of my everyday has required its own set of skills. This way of working is lively and sometimes unpredictable, and I was very aware of wanting those involved to enjoy the process and feel they could contribute as much or little to the development as they wished.
I've found I'm a much kinder when working with those I love. I tend to be quite critical of what I make when working alone and like that I'm more attentive to the simple pleasure of making when working with others. I'm quietly hoping these skills are transferrable. Having been through a long period of making very little I found this shared creating and the skills it generated quickly sparked many new directions for my art making. So many hands working in close proximity seems to generate ideas and skill sharing, and this in turn has intensified the meaning and value of my work
What strategies do you employ when presented with projects that you don't have the skills to complete?
There are hidden pockets of skill all about the place. The challenge is matching up need with knowledge, so that you can dip in at the moment you're floundering about. Over the years I've had to pull my brave socks up and ask for help. There are a whole bunch of skills I don't have, but that I need to get stuff done. And I guess it's not just about finding and asking. It's also about filling your pockets up so that you can be part of the exchange.
And then there's google. That's a definite strategy.
What challenges have you faced in conceiving or producing your work for Cementa15 and how did you resolve them?
My work for Cementa 15 grew quickly and finding materials to support this growth has been an ongoing challenge. I initially planned to work with only one material, nylon knitting ribbon. My art making often begins with craft materials that have failed to transform into intention and early on I enthusiastically declared that each and every roll would be sourced second hand from local op shops or garage sales… A few months in it became clear that I would have to source another material. The answer came to my door in the shape of a mattress. Having not purchased many new things I was surprised to find this one arrive in it's own enormous plastic bag. Being uncertain what to do with such a large amount of plastic, I sliced it up into ribbon sized threads and began making pom poms. It's a much more difficult material to work with than tule, and quickly multiplied making time… but with one simple phone call I had more than enough to make more than enough.
Cementa 15 site! Paddock Shoulder
Bundanon release: The Nature of Things
meroogal women's art prize 2014
Two parts flower and White on shades of your light were selected as finalists in the Meroogal Women's Art Prize.
This non-acquisitive art prize was established to celebrate the creativity of female artists of NSW. The Meroogal Women's Art Prize invites female artists to respond to the house museum's history, stories and fascinating collection and to create artworks that reflect Meroogal's rich history of house that was handed down through four generations of women from one local family.
182 entries were received with thirty-nine works by thirty-four finalists selected for exhibition in the house, garden and grounds of Meroogal from 20 September 2014 until 25 January 2015. Check out work by the finalists here.
Two Parts Flower combines quintessential features of Meroogal's domestic history, linoleum and cake tins. The floral motifs have been carefully extracted from discarded floor sheeting and set into and around two circular cake tins. These works blend the decorative and functional histories of two domestic artefacts and pay homage to the ingenuity of the Meroogal household and the women who lived there. Two Parts Flower quietly acknowledges the tradition of passing down recipes from one generation to the next and the vital role baking played in the everyday patterns of life at the home.
Two Parts Flower: Linoleum and cake tins: Part 1: 21.5cm diametre, Part 2: H40cm x W50cm
Craft forms an important part of our social history and has been used by women through time to collaborate, connect, and create community. The women of Meroogal crafted items for function and pleasure. White on Shades of your Light transforms discarded crochet placemats into a work that references these handicrafts. The crochet is starched before being cut into individual motifs, painted to reflect the colour scheme of the home and recombined. When presented as floating, almost touching shapes, the transformed motifs become reminiscent of the architectural features of Meroogal, particularly the wrought iron edged verandahs.
White on Shades of your Light: Acrylic paint on crochet: Each piece 33cm x 33cm
Pom Pom Day


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The Large Cent appeared in 1793, at nearly the same time as the Half Cent. Together, these coppers were the first coins released by the U.S. into general circulation.
The initial type, Flowing Hair Chain Cent reverse (the first coin pictured below), was not well received by the public, as typified by the comments of a Boston newspaper in March, 1793:
The American cents.... do not answer our expectations. The chain on the reverse is but a bad omen for Liberty, and Liberty herself appears to be in a fright.
Complaints such as the above led to the replacement of the "bondage" chain with a wreath within a matter of weeks. Critics continued to whine about the maniacal Liberty, however, so later in 1793, she was replaced by a calmer Liberty.
This time, she was also seen with a Liberty cap, similar to the Half Cent design, to celebrate the newfound freedom of the United States.
Large cents were just that -- large. A dollar's worth of the Large Cents of 1793-1794 weighed almost three pounds! In 1795, the weight was reduced somewhat to adjust to the price of copper, but nonetheless remained big and clunky.
While This Coin Was Minted...
This is a manually operated coining press, very similar to those employed at the Philadelphia Mint in 1793. The first United States coin minted for circulation, the Chain cent, came off a press of this type. Steam power machinery didn't arrive at the Mint until 1816, in the form of a roll machine. Up until then, all energy was supplied by human and horse muscles.
Public domain image.
The Act of February 21, 1857 specified a new type of smaller one cent coin, which marked the end of both the Large Cent and Half Cent. The public was encouraged to trade in their Large Cent coins for the smaller Flying Eagle cent. After 64 years of service to the U.S., the oversized copper coins were at last retired.
In all, there are seven design types of Large Cents: Flowing Hair Chain Reverse (shown above, 1793 only), Flowing Hair Wreath Reverse (1793 only), Liberty Cap (1793-1796), Draped Bust (1796-1807), Classic Head (1808-1814), Liberty Head (1816-1839), and Liberty Head Braided Hair (1839-1857).
Large Cents were minted every year from 1793 to 1857, with the exception of 1815, when the War of 1812 interrupted the planchet supply from England. Most Large Cents were produced in significant quantities, giving collectors of today a good supply to select from. There are a few key dates that are rare and fought for by numismatists. If past trends mean anything, and they usually do, these are the Large Cents most likely to increase in value in the years ahead:
1793 (all varieties) 1799 1804
Key date Large Cents are offered for sale below. The left hand side of each "Sales Box" is value trend data over a very long period of time for a coin of that date in Good-4 condition. The percent annual increase is computed for comparative purposes. The coin pictured for sale in the right hand side is not necessarily the same condition coin or same variety as that represented in the value trend analysis on left hand side.
Flowing Hair Chain AMERI. Large Cent
Condition: G-4
1950: $60.00
1980: $600
1995: $2250
2009: $12000
% Annual Increase Since 1950 =
Draped Bust Large Cent
Return to our U.S. Coin Types Menu
Coin Photos courtesy of Ira& Larry Goldberg Coins & Collectibles, Inc., Beverly Hills, CA
Go to U.S. Coin Types Menu


Join everybody's favourite flat boy for another magical adventure - It's Jeff Brown's Flat Stanley. The Japanese Ninja SurpriseStanley and his brother, Arthur, are such huge fans of the ninja movie star Oda Nobu that they decide to send him something even better than fan mail - Stanley himself! Soon enough, Flat Stanley is in Japan, seeing the country with his idol. But when trouble surprises them, it will take real hero to save the day., But whoever heard of a flat ninja?Jeff Brown's world-famous character Flat Stanley continues to charm half a century after he first found his way into print.
Want to know when Flat Stanley: The Japanese Ninja Surprise - nzgameshop.com drops below a certain price? Enter your email address and price below and we'll let you know when it drops below that price!