text:
TGHOF Announces Class Of 2017
Texas Golf Hall of Fame reveals next chapter in state's rich golf history, announcing Class of 2017: Kelli Kuehne, Steve Elkington, James E. "Buddy" Cook, Montford T. Johnson Jr., and Lions Municipal earn inductions.
Kelli Kuehne, one the most dominant female amateurs in golf history, 10-time PGA Tour winner Steve Elkington, and renowned PGA Golf Professional James E. "Buddy" Cook highlight the Texas Golf Hall of Fame Class of 2017.
Montford T. Johnson Jr., who helped shape policy for amateur golf through his roles with the U.S. Golf Association executive committee, will be honored for lifetime achievement, and Lions Municipal, Austin's first public facility, will be added to the Texas Registry of Historic Golf Courses.
The Texas Golf Hall of Fame Board conducted the statewide nomination and voting process.
The 2017 inductees will be honored at the "The Gathering of Eagles" golf tournament and induction dinner on October 9th at Brackenridge Park Golf Course and San Antonio Country Club, respectively. Sponsorship opportunities are available; for information, please visit www.texasgolfhof.com.
The Texas Golf Hall of Fame is located at the Brackenridge Park Golf Course.
Kuehne, honored in the amateur player category, developed her competitiveness playing with her two brothers who also went on to remarkable golf careers that included national amateur titles. The Dallas native dominated junior and amateur events, capturing four consecutive 4A individual state titles (1992-95) while at Highland Park High School.
On the national stage, she claimed the 1994 U.S. Girls' Junior, the U.S. Women's Amateur in 1995 and 1996, and the British Ladies Amateur in 1996. An All-America at the University of Texas, she played on the 1996 Curtis Cup team before embarking on an LPGA Tour career highlighted by her 1999 Corning Classic victory and two Solheim Cup appearances. A diabetic since age 10, she has been a strong advocate for diabetes research. Her brother, Hank, won the 1998 U.S. Amateur before turning pro, and her brother, Trip, runner-up to Tiger Woods at the 1994 U.S. Amateur, won the 2007 U.S. Mid-Amateur. He was inducted into the Texas Golf Hall of Fame in 2015.
"It's so exciting for me to be honored by the Texas Golf Hall of Fame," Kuehne said. "I'm very humbled and grateful for the opportunities I was given. My parents always said there was no reason I couldn't compete against my brothers, whether it was tackling in football or playing golf. That competitive environment was the key. My brothers were my ace in the hole."
Elkington, honored in the professional player category, quickly established his Texas ties at the University of Houston.
The first prominent Australian to play college golf in the United States, Elkington helped the Cougars win national titles in 1982, 1984 and 1985. Settling in Houston after turning pro, Elkington went on the claim 17 titles, including 10 on the PGA Tour.
He posted 10 top-10 finishes in major championships, highlighted by his 1995 PGA Championship victory. He also captured the Vardon Trophy for lowest scoring average that year. Elkington is a two-time winner of The Players Championship, the PGA Tour's signature event, and played in the first four Presidents Cups for the International Team.
During his 40-year career, Cook has impacted virtually every phase of the golf industry in Texas and beyond. He left his mark as instructor on such luminaries as legendary Dallas Cowboys coach Tom Landry and country western star George Strait.
Cook's influence can be measured in the achievements of the 24 professional apprentices he mentored, including Randy Smith, Warren Chancellor and Bill Harmon. Cook's accomplishments can also be traced through the renowned courses he has served as PGA director of golf and/or head professional, including the Dominion CC, La Cantera GC, and Briggs Ranch GC in San Antonio.
Cook, the 1999 Southern Texas PGA Golf Professional of the Year, also served as tournament director of San Antonio's Champions Tour event, and as chairman of the Texas Golf Hall of Fame (2009-15).
The late Johnson, a 1945 graduate of the U.S. Naval Academy, served as president of the Amarillo Country Club and the Panhandle Golf Association (1989-94). As president of the of the Trans-Mississippi Golf Association board in 1967, he helped bring the prestigious Trans-Miss event to the San Antonio Country Club. He chaired three committees during his tenure on the U.S. Golf Association's Executive Committee, and served on the R&A's rules committee.
His dedication to the game brought numerous honors including the 1987 Byron Nelson Award from the Northern Texas PGA and enshrinement to the Texas Panhandle Sports Hall of Fame in 1986. His grandson is PGA Tour professional Johnson Wagner.
Lions Municipal, operated by the city since 1936, was Austin's first public course. Its rich history includes the 1950 exhibition match involving Ben Hogan, Harvey Penick, Morris Williams Jr. and Ed Hopkins. Upon arriving at the current No. 16 tee, Hogan left a lasting footnote calling the difficult par-4 "the only hole I've ever seen without a fairway."
The course impacted national history the next year when it became the first municipal facility in the South to racially integrate. The USGA formally recognized the desegregation as a milestone for the game.


The Tulip: The Story of a Flower that has Made Men Mad – By Anna Pavord, 1999.
The allure of the tulip is well known. One of the earliest and the most impressive of the Spring bulbs, tulips have been planted the world over in home gardens, palaces, and magnificent public parks. Tulips are beloved for their varied colors, intricate designs, wonderful smell, and long-lasting blooms as cut flowers. However, outside of vague knowledge of "Tulipmania", few are knowledgeable about the flower's fascinating and complicated history as an object of obsessive human desire.
The Tulip: The Story of a Flower that has Made Men Mad by Anna Pavord, a gardening writer for the UK newspaper The Independent, is an excellent and accessible history of this most prized of flowers. While the book is a history and contains little gardening advice, even the most experienced gardener is sure to find new ideas and appreciation for the tulips they long to see every Spring.
Though the tulip has became heavily associated with The Netherlands, it originated in the dry regions of the eastern Mediterranean, Anatolia, and central Asia. To thrive, wild tulips need the cold winters and dry summer provided by these regions. There are still wild ancestors scattered throughout the region, but many of them are in retreat, and are less showy than their cultivated descendants. The author's first encounter with a wild tulip was on the Greek island of Crete, where she found the Tulipa Bakeri growing in an abandoned olive grove. At this moment she felt as entranced by the tulip as anyone. As the author points out, this is not an aberration: humans love tulips.
"Tulipa Bakeri" in the wild.
Pavord closely details how the tulip was brought in from the wild. To put it simply: the Ottoman Sultans got tulip fever. Starting with Sultan Mehmed II in the late 15th century, the Sultans planted vast tulip gardens. As the empire expanded, new kinds of tulips were brought back to Istanbul and fueled the fervor for this beautiful flower. This reached it's peak under the famed Ottoman leader Suleyman the Magnificent. Suleyman greatly expanded the empire and displayed power by building fabulous palaces and gardens- filled with tulips- all over the empire.
The tulip fever of the Ottoman royal family may have reached its peak with Sultan Selim II, who once ordered 50,000 tulip bulbs from Syria and 300,000 from Ukraine. This massive undertaking of wild flower harvesting ensured that the plant would remain in domestication and have the ability to cross-breed. By this point tulips had became a major part of Ottoman culture. The flowers were frequently seen on pottery, frescoes, embroidery, and many other forms of art. Tulips were also prized by private gardeners, leading to the development rudimentary tulip markets and speculation. Much like in Europe after it, the Ottomans decided these practices were dangerous and sought to stabilize markets and implement price controls.
Tulips became a widespread obsession when they were introduced as an exotic flower in Europe. For a botanist with an interest in the flower industry, this is the strongest part of the book. Pavord shows example after example of men and women seduced by this wonderful flower. At the time, Europe was undergoing rapid economic expansion with a drastic increase in global trade. This led to many new fortunes and new products. And of course, the newly rich wanted the newest, rarest products as a status symbol. This included flowers. Not only was the tulip prized, but other flowers like hyacinths and anemones became objects of obsession and speculation. Markets rose and fell, not just in the Netherlands, but also in France and other Western European countries.
Most prized of all were the rare tulips. There was not yet an understanding of the mysterious process that would cause a tulip to "break", or develop intricate multi-colored patterns. Tulips could be bred to be multi-colored, but not in the same way. Further, broken tulips are hesitant to reproduce and often weaken with age. This creates a major limiting factor in supply.
Fancy broken tulips became valuable to the point that it was cheaper to commission a portrait of a tulip from one of the finest painters in the country than it was to buy the tulip itself. At the peak of tulipmania, the famed Semper Augustus tulip became so valuable it was briefly worth as much as a three story house in a nice neighborhood in Amsterdam. The flowers became such a status symbol that the wealthiest women would go out wearing bundles of rare tulips- a perishable decoration sometimes worth more than their fine jewelry.
Tulipmania thrived in an opulent time of unprecedented prosperity, brought about by free trade. The problem was ultimately no one was willing to pay that much to have the tulips themselves. This is what the public misunderstands about tulipmania, thinking people were willing to pay that much to enjoy a tulip like we do today. The tulip markets became a speculative bubble brought about by increased access to credit and the advent of complicated financial markets. The tulip market collapsed when it became clear no one actually wanted tulips that much.
Even after tulipmania tulips were a valuable commodity, and rare broken tulips maintained high values. At best, around 1% of tulips will break in a year- if exposed to the virus. Many men devoted their lives to breeding new tulips- a timely process as they take seven years to develop from seed. While there were many fine English breeders, producing what are known as English Florists' Tulips, it was the Netherlands that would develop dominance in the bulb industry.
People imagine that the Netherlands is an ideal tulip climate because of the strong association of tulips with The Netherlands. This is not true, as the Netherlands does not have the heat or dryness that tulips crave. However, the industrious Dutch meticulously expanded the tulip trade and carefully dug bulbs every year so they do not experience summer moisture. [Interestingly, the only reason Skagit Valley in Washington took off as a tulip growing reason is because the Dutch already knew how to grow tulips in that similar climate.] The Dutch did, however, have one unknown advantage in terms of breaking tulips. The Dutch grew many peach trees near their tulips, and it would be discovered in the early 20th century that peach aphids spread the Tulip Breaking Virus.
So far I have purchased only one broken tulip bulb, an "Insulinde" from Old House Gardens. I can't wait to see it in the Spring!
For my other book reviews check out my books page.


Soldiers with the 49th Movement Control Battalion out of Fort Hood, Texas, and the 1st Infantry Division out of Fort Riley, Kansas, pose for a photo after renovating the Mission Command Element chapel in Poznan, Poland, Jan. 13, 2019.
The two units spent more than 70 hours over the span of four months helping clean, sand off old wallpaper, and painting the walls to improve the sanctuary.
The newly renovated chapel was revealed during a candlelight vigil service on Christmas Eve.
Since the chapel's renovation, to maximize the space, the room has also been utilized to facilitate other events, such as briefings and command training.
This work, Chapel renovations create a respite for Soldiers deployed to Poland [Image 2 of 2], by SPC Christina Westover, identified by DVIDS, must comply with the restrictions shown on https://www.dvidshub.net/about/copyright.


24 pages, saddle-stitched, with retro-style detached cover and maps on the cover interior.
Or ask for it at your local game store.
For other purchasing inquiries, feel free to contact Guy Fullerton via the email address listed in the profile to the right.
See previews and additional info.
I'm impressed that this module does not shy away from explicitly calling itself an Advanced Dungeons & Dragons module. Does it use the Open Game License (OGL)?
Nope, it doesn't use the OGL. There's plenty of precedent in the industry for me to feel comfortable releasing a non-licensed product that says what it really is: An AD&D module.
I would heartily recommend this to everyone!
Hey Guy. Send one my way and I will read and review for LOTGD blog. Good show!
It's (finally) available again! Click the "Buy it" link in this post, and it will take you to FRP Games, which has it in stock again!


MBR Dental are currently assisting a dental practice located in Whitby, North Yorkshire to recruit a Locum Dentist to join their team.
Independent practice.Full or part time opportunity.£350 - £400 per day.50/50 Labs / Private.Fully computerised practice.Digital X-Rays. All dentists must be registered with the GDC and have an active performer number.


In this 2 Off the 1st, Ryan Ballengee looks at how Bernhard Langer was somehow denied the Charles Schwab Cup on PGA Tour Champions. Are playoffs in golf not working? Also, Ryan looks at how Justin Rose has a chance to overtake Tommy Fleetwood in the final European Tour event of the year to win the Race to Dubai, as well as new world No. 1 in Shanshan Feng.


text:
Incontinence & Overactive Bladder Home
Incontinence in Men
Incontinence in Women
Causes & Types
WebMDRx Savings Card
Related to Incontinence & Overactive Bladder
Incontinence & Overactive Bladder
Incontinence Surgery Helps Cut Patient Costs
Study Shows Patients Are Able to Reduce Spending on Products That Manage Symptoms
By Kathleen Doheny
From the WebMD Archives
Sept. 30, 2010 (Long Beach, Calif.) -- After having incontinence surgery, women report spending much less money on products and services to manage their symptoms than they did before surgery, a study shows.
They save more than $500 a year, researchers found.
The cost savings are not unexpected, says researcher Leslee Subak, MD, a professor at the University of California, San Francisco who presented her findings at the annual meeting of the American Urogynecologic Society in Long Beach, Calif.
"It makes sense," Subak tells WebMD, as women with fewer incontinence episodes don't have to buy products used for symptom management, such as pads, as often. "As your incontinence improves, you spend less money on incontinence care."
Aside from her study, she doesn't think anyone has put a number on the savings everyone suspected would occur. And the number may be higher than anyone thought, she says.
"The amount they saved was $560 per woman, per year," she says, citing the average savings. "I thought that was a lot of money. Incontinence is really expensive."
Incontinence Costs
For the study, Subak and her colleagues polled 491 women, average age 53, who were participating in a study called the Stress Incontinence Surgical Treatment Efficacy Trial (SISTEr).
More than 13 million Americans have urinary incontinence. Stress urinary incontinence, one type, describes a loss of urine that occurs with activities that increase pressure on the abdomen, such as exercising, sneezing, or laughing.
The women in the study reported their out-of-pocket expenses for managing incontinence symptoms -- at the start of the study and then 24 months after surgery.
They reported on costs of supplies such as pads and adult diapers, as well as fees for additional laundry and dry cleaning needed each week due to incontinence episodes.
The more their episodes of incontinence declined, the more their costs declined, says Subak, a professor of obstetrics and gynecology, reproductive sciences, epidemiology, and urology at University of California, San Francisco.
At the study start, women spent an average of about $750 a year. Two years after surgery they spent an average of $190, or $560 less, Subak says. Before incontinence surgery, the average number of incontinence episodes a week was 23, but that declined by 86% two years later, to about three episodes.
Cost savings were similar whether they had Burch or sling surgery, two commonly-used procedures when the study began about seven years ago.
Subak says her patients often tell her, after surgery, "I'm really happy I'm not spending $20 a month on pads." About 37% of the women in the study reported household incomes below $40,000 a year.
"In this country, these items are rarely reimbursed [by insurance plans]," says Subak, referring to hygiene products in addition to laundry and dry cleaning costs.
The expense of products and services related to incontinence symptoms "is a big issue for patients," says Rebecca Rogers, MD, professor of obstetrics and gynecology and director of the division of urogynecology, University of Mexico Health Sciences Center, Albuquerque, who reviewed the study findings for WebMD. "This [finding about cost savings] verifies something doctors have suspected."
For patients on fixed incomes, she says, managing the costs can be even more difficult. Suppose a patient must choose between buying her blood pressure medication or pads, she says. If the medication wins out, "you can't do anything [socially]."
WebMD Health News Reviewed by Laura J. Martin, MD on September 30, 2010
Leslee Subak, MD, professor of obstetrics and gynecology, reproductive sciences, epidemiology and urology, University of California, San Francisco School of Medicine.
Rebecca Rogers, MD, professor of obstetrics and gynecology; director, division of urogynecology, University of New Mexico Health Sciences Center, Albuquerque.
Annual meeting, American Urogynecologic Society, Long Beach, Calif., Sept. 30-Oct. 2, 2010.
Managing Male Urinary Incontinence
8 Bladder Control Tips for MS
Quiz: Is My Pee Normal?
Herbal Remedies for OAB
Symptoms of Incontinence in Women
Foods That Make You Gotta Go
8 Questions to Ask Your Doctor About Endoscopic Surgery
How to Know Your Surgical Cut Is Healing Right
Reducing the Risk of Bleeding After Surgery
How to Plan for Recovery at Home After Surgery
What to Ask Your Surgeon Before an Operation
7 Tips to Help Decide if Surgery Is Right for You
Preparing for Surgery Topics
Female Urinary Incontinence
Symptoms, causes, and treatments.
Is My Pee Normal?
Test your urine knowledge.
Bladder Myths and Facts
Is it true that men can do kegels?
Could It Be Overactive Bladder?
Assess your symptoms.
Men and Urinary Incontinence
Social Challenges of OAB
OAB and Your Sex Life
Avoid Embarrassing Bladder Moments
Drug Treatments for OAB
How to Do Kegel Exercises
Living With & Treating OAB
What Are Kegels?

redpajama_set_name: RedPajamaCommonCrawl


text:
Stand Up for Jesus Sheet Music
Buy Sheet Music to Stand Up for Jesus. It is a beautiful piano-based instrumental with vocal SATB Chorus with a medium disco beat. Stand Up for Jesus, words written by George Duffield (1858), inspired by his friend Dudley Tyng, a dynamic preacher known for making strong stands against evil, not matter what the cost. Tung lost his arm, then his life in a corn thrasher. Melody written by George Webb.
Leaning on the Everlasting Arms, chorus written by Anthony Showalter (1887), principal of a Musical Institute in Dalton, Georgia, when writing to two former pupils who had each lost their wife. Anthony published over 130 music books with combined sales of over two million copies. Verses written by his friend, hymnist Elisha Hoffman.
Stand Up for Jesus/Leaning on the Everlasting Arms piano-based and SATB Vocal Chorus with a medium disco beat. The chorus mainly sings oohs and ahs for color and style as the piano is the solo instrument. Intermediate difficulty, mainly because of the rhythmic feel and can be performed with or without vocals.
From My Father's Favorite Hymns Album. You can buy sheet music to In the Garden as a single download at Sheetmusicplus.net (you can also hear the song here!) or in My Father's Favorite Hymns Piano/Vocal Book.


NEW YORK (AP) — His party in turmoil, the Senate's top Republican on Wednesday condemned the "messages of hate and bigotry" carried by the KKK and white supremacists. But like other top GOP officials, Majority Leader Mitch McConnell did not criticize President Donald Trump, who said a day earlier the white supremacists don't bear all the blame for last weekend's violence in Charlottesville, Virginia.
"Their messages of hate and bigotry are not welcome in Kentucky and should not be welcome anywhere in America," he said.
McConnell's statement comes as the Republican Party grapples with the latest political crisis created by its leader. This one follows a violent weekend clash between white supremacists and counter-protesters that left one person dead and many more injured.
The comments sparked a fierce backlash across the political spectrum. Few Republican officeholders defended the president for what some critics described as a defining moment in his young presidency, yet few called him out by name either.
One who did, South Carolina Republican Sen. Lindsey Graham, said Wednesday that the president "took a step backward by again suggesting there is moral equivalency between the white supremacist neo-Nazis and KKK members who attended the Charlottesville rally" and the people demonstrating against them.
"Many Republicans do not agree with and will fight back against the idea that the Party of Lincoln has a welcome mat out for the David Dukes of the world," Graham added.
Former Republican Presidents George H.W. and George W. Bush responded as well, releasing a joint statement that stopped short of criticizing Trump's comments directly. "America must always reject racial bigotry, anti-Semitism, and hatred in all forms," the Bushes said.
The statement was in line with comments the day before from House Speaker Paul Ryan, who said "white supremacy is repulsive," but ignored the president's comments.


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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" "http://www.w3.org/TR/html4/loose.dtd">

<TITLE>
org.apache.poi.hssf.record.chart (POI API Documentation)
</TITLE>

<META NAME="date" CONTENT="2009-12-14">

<LINK REL ="stylesheet" TYPE="text/css" HREF="../../../../../../stylesheet.css" TITLE="Style">

      Overview
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Package org.apache.poi.hssf.record.chart

Class Summary

AreaFormatRecord
The area format record is used to define the colours and patterns for an area.

AreaRecord
The area record is used to define a area chart.

AxisLineFormatRecord
The axis line format record defines the axis type details.

AxisOptionsRecord
The axis options record provides unit information and other various tidbits about the axis.

AxisParentRecord
The axis size and location

AxisRecord
The axis record defines the type of an axis.

AxisUsedRecord
The number of axes used on a chart.

BarRecord
The bar record is used to define a bar chart.

BeginRecord
The begin record defines the start of a block of records for a (grpahing
 data object.

CategorySeriesAxisRecord
This record refers to a category or series axis and is used to specify label/tickmark frequency.

CatLabRecord
CATLAB - Category Labels (0x0856)

ChartEndBlockRecord
ENDBLOCK - Chart Future Record Type End Block (0x0853)

ChartEndObjectRecord
ENDOBJECT - Chart Future Record Type End Object (0x0855)

ChartFormatRecord
Class ChartFormatRecord (0x1014)

 (As with all chart related records, documentation is lacking.

ChartFRTInfoRecord
CHARTFRTINFO - Chart Future Record Type Info (0x0850)

ChartRecord
CHART (0x1002)

 The chart record is used to define the location and size of a chart.

 Chart related records don't seem to be covered in either the
 OOO
  or the
 MS
  documentation.

ChartStartBlockRecord
STARTBLOCK - Chart Future Record Type Start Block (0x0852)

ChartStartObjectRecord
STARTOBJECT - Chart Future Record Type Start Object (0x0854)

ChartTitleFormatRecord
CHARTTITLEFORMAT (0x1050)

 Describes the formatting runs associated with a chart title.

DataFormatRecord
The data format record is used to index into a series.

DataLabelExtensionRecord
DATALABEXT - Chart Data Label Extension (0x086A)

DatRecord
The dat record is used to store options for the chart.

DefaultDataLabelTextPropertiesRecord
The default data label text properties record identifies the text characteristics of the preceding text record.

EndRecord
The end record defines the end of a block of records for a (Graphing)
 data object.

FontBasisRecord
The font basis record stores various font metrics.

FontIndexRecord
The font index record indexes into the font table for the text record.

FrameRecord
The frame record indicates whether there is a border around the displayed text of a chart.

LegendRecord
Defines a legend for a chart.

LineFormatRecord
Describes a line format record.

LinkedDataRecord
Describes a linked data record.

NumberFormatIndexRecord
The number format index record indexes format table.

ObjectLinkRecord
Links text to an object on the chart or identifies it as the title.

PlotAreaRecord
preceeds and identifies a frame as belonging to the plot area.

PlotGrowthRecord
The plot growth record specifies the scaling factors used when a font is scaled.

SeriesChartGroupIndexRecord
The series chart group index record stores the index to the CHARTFORMAT record (0 based).

SeriesIndexRecord
links a series to its position in the series list.

SeriesLabelsRecord
The series label record defines the type of label associated with the data format record.

SeriesListRecord
SERIESLIST (0x1016)

 The series list record defines the series displayed as an overlay to the main chart record.

 (As with all chart related records, documentation is lacking.

SeriesRecord
The series record describes the overall data for a series.

SeriesTextRecord
SERIESTEXT (0x100D)

SeriesToChartGroupRecord
Indicates the chart-group index for a series.

SheetPropertiesRecord
Describes a chart sheet properties record.

TextRecord
The text record is used to define text stored on a chart.

TickRecord
The Tick record defines how tick marks and label positioning/formatting

UnitsRecord
The units record describes units.

ValueRangeRecord
The value range record defines the range of the value axis.

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                Copyright 2009 The Apache Software Foundation or
        its licensors, as applicable.

redpajama_set_name: RedPajamaGithub


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Emerson Bran Management Announces New Jazz Artist on Roster: BET Jazz Calls Him the Latest Cuban Wunderking, Aruán Ortiz, Exalts in the American Jazz Scene.
Widely respected and known in the New York scene & across the world – Aruán Ortíz, is exhilarating, fresh, classically gifted and trained: a colorful and transparent musician.
Jazz fans applaud, and novices mark your calendars. Aruán Ortiz, critically acclaimed Cuban pianist is a must see.
Past News Releases
Mongorama's CD Release Party...
Master Saxophonist, Justo Almario...
Pianist Daniel Amat is Special...
Los Angeles, CA (PRWEB) February 17, 2012
Emerson Bran Management (EBM) is pleased to announce the latest addition to their all-star Latin & Jazz roster: Cuban Pianist, Aruán Ortiz! Look out for the artist who BET Jazz calls, the latest "Cuban Wunderkind." Known in the New York scene and across the world – EBM is excited to share Aruán Ortiz with you. This colorful and transparent musician will be releasing two new albums in March and April 2012. Aruán Ortiz, is fresh, grounded and offers a beautiful and entertaining Latin Rhythms.
In 2008 Aruán Ortiz arrived in New York creating ripples and curiosity in the American jazz scene. "I've had the opportunity to be near my biggest idols and share how they apply their wisdom, ideas, and philosophies to music in a creative and enlightened way," said Cuban Pianist Aruán Ortiz. A classically trained pianist, this Santiago de Cuba native's sound is as marked by the influence of the contemporary classical composers such as Schoenberg, Ravel, and Copland. He's also been touched by Afro Cuban sounds and jazz greats Bud Powell, Art Tatum, and Thelonious Monks.
Today his talent continues to delight and entertain within this musical genre – as he exposes the root of his music path shedding light on personal and professional experiences. Critics have nothing but wonderful things to say about him. "Original music that revealed an impressive approach to improvising and composing, giving positive meaning to the term intelligent design" (All About Jazz, New York). "Jazz fans applaud, and novices mark your calendars. Aruán Ortiz, critically acclaimed Cuban pianist is a 'must see'" (New York Post).
2012 is an exciting year in the jazz scene – Aruán will be releasing two albums and is scheduled for back to back performances in the U.S. and abroad. From his own quartet, Orbiting (Fresh Sound records) will be released on March 1st. Shortly after, Santiaracan Blues Suite (Sunnyside Records), commissioned by the Jose Mateo Ballet for its 25th anniversary which provides the essence of cultural developments in Cuba will be released in April. The entanglement and brilliance of modernistic classical and Afro-Cuban jazz rhythms in these albums is truly evident.
Don't miss this critically acclaimed pianist, as he will be promoting gems from his newest album compilations. Aruán Ortiz is scheduled to perform at his CD Release party February 16th at the Cornelia Street Café in New York, February 24th – 25th at Samurai Studios in New York, March 1st – 11th in Italy, and March 12th -17th in Spain, and March 31st at John Hopkins University in Maryland. For a more performance details, visit Aruán Ortiz's website at: http://www.aruanortíz.net
About Aruán Ortiz,
Aruán Ortiz was born and raised in Santiago de Cuba, Cuba. His classical studies marked his predilection for twentieth century composers like Maurice Ravel, Olivier Messiaen, Arnold Schoënberg, Gustav Mahler, and Paul Hindemith. After being awarded a scholarship by the Generalitat de Catalunya and a grant from SGAE to develop his jazz studies abroad, he moved to Boston to study at Berklee College of Music. Soon afterward he was asked to teach several workshops and clinics on Cuban music at Berklee College of Music, Longy Conservatory of Music, and Tanglewood Music Camp for gifted students sponsored by Boston University and the Boston Symphony. During this period he toured in U.S. promoting his modern jazz effort Aruán Ortiz Trio, Vol. 1, (Ayva Musica/Universal, 2004) as well as a sideman with such distinguished jazz performers as Greg Osby, Wallace Roney and Ralph Peterson.
In 2005, he founded the Aruán Ortiz Quartet and composed and produced a CD called Alameda, (Fresh Sound New Talent), where he combined jazz, classical, and essences of Afro‐Cuban rhythms. The album received 4 stars in Jazzwise Magazine and was named one of the Top Ten Jazz CDs of the year. Aruán as a composer has collaborated with the Jose Mateo Ballet Theater on the occasion of it's 25th anniversary on a new score for ballet titled Pagano o No (Pagan or not). Ortíz has also composed and arranged an upcoming album of traditional Cuban music titled "ElCumbanchero" (JazzHeads) for flutist Mark Weinstein. Ortíz has performed, toured, or recorded with artists such as Horacio "El negro Hernandez", Giovanni Hidalgo, Rasheed Ali, Joe Lovano, Wallace Roney, Greg Osby, Paquito d'Rivera, Mark Weinstein, Cindy Blackman, Esperanza Spalding, Terry Lyne Carrington, Scott Colley, Gary Thomas, and David Gilmore, among many others. To learn more about Aruán Ortiz, please visit: http://www.aruanortíz.net
About Emerson Bran Management
Emerson Bran Management is a full-service booking and management agency established in 1999 exclusively in the Latin & Jazz industry. Our commitment is to bring you the best performers in Jazz, Fusion Jazz, Latin Jazz, Afro-Cuban music and more. EBM artists are some of the finest performers, clinicians and educators in the world. EBM represents, books, and has produced events with Grammy Award winners, national and international recording artists as well as emerging talent. From celebratory international and national headlining performances, to unforgettable collaborations and special presentations, EBM's artists offer a diversity of world genres and rhythms for any size engagement. For a complete roster of EBM artists, please go to http://www.emersonbranmanagement.com
Emerson Bran
Emerson Bran Management
Aruan Ortiz at the Piano Aruan Ortiz


Igneous Rocks are not exactly volcanic, molten Magma seeps to the surface, slowly cooling, giving it time to crystallize. Granite (photo #1) is a very strong, hard Igneous rock formed of Mica, Feldspar, and Quartz. In photo #2 you can see the different minerals. Obsidian is another well-known Igneous Rock.
Sedimentary Rocks are made of Minerals compacted firmly together to form rocks such as Limestone (photo 3) and sandstone.
This entry was posted in Uncategorized on July 27, 2011 by Captain Belaq.


text:
Mineralriket (stenriket), latin Regnum Lapideum, var en indelning gjord av Carl von Linné som i äldre naturvetenskap innebar en klassifikation av mineral och bergarter. Mineralriket ansågs vara jämbördigt med växtriket och djurriket.

I och med geologins, kemins och biologins utveckling har begreppet förlorat sin betydelse.

Se även
Rike (biologi)

Förlegade vetenskapliga begrepp

redpajama_set_name: RedPajamaWikipedia


Aftermarket components and products are produced and sold to consumers in various different markets. It is very common in the consumer technology industry as well as in the automotive industry. Aftermarket products and components / replacement parts usually are an indicator that a certain product is very popular. It is also associated to money savings to the consumer. In the pharmaceutics industry, the term 'generic' is often used. Perhaps the latter is not really an aftermarket component in the sense this article is referring to.
Blendtec®, Waring™ MX series of blenders, as well as Vita Mix® blenders are just three blenders from among a few other high performance smoothie blenders, of which a whole ton of are presently in use globally. It is estimated some 100 million of these particular powerful blenders roam the Earth in peoples' kitchens and restaurants. About 60% of them, according to a study, are not in use. Why they are not in use is not really known. It could be in part a reluctance of user-interest and/or that and being broken down and just never having gotten to it to make a 'replacement' attempt of a broken blender blade or jar.
Most people are not very technically inclined. When their jar breaks, or the blade bearing of blade assembly in the jar seizes up, they interpret it as a broken down blender. The blender gets put aside until time and effort is made to make the warranty call, or if the warranty is expired, a new jar is purchased. If the blender is misdiagnosed as dead and broken, not being sure what is bad, time may tell that these high percentage consumers have their 'broken down' blender collect dust in storage.
In the case of these blenders, aftermarket components, such as replacement blade assembly cutting units (the knife, or in other words the blades) will be a money saver and a convenient solution, if only the consumer in possession of the broken down Blendtec or Vitamix blender (or Waring and others – non one brand in particular) would dig into finding out more about alternative replacement parts.
It is however not just about replacing a broken part, in the aftermarket industry. Additional jars offer opportunities to have spare parts for just in case, and an additional container for the purpose of alternating blender jars. The Kosher blending enthusiasts of course always use 2 jars. There are certain advantages to the number 2, two jars in possession rather than just one, especially when they are different. Blending is often better in one jar than in another depending on what one blends up.
The Alterna™ Jar, the aftermarket jar reported on in this article, brings several advantages to the table. Current users have reported an increase in finer blending, smoother concoctions, more thorough emulsification. The actual blending capacity is 80 ounces of ingredients. The jar is also, like the OEM factory containers, a BPA-Free copolyester material, with stainless steel removable blade assembly, and tamper stick accelerator tool available.
The advantages are certainly not always enticing to everyone, for example money savings. Some people may find a Blendtec Fourside replacement container for $60 plus shipping. Why would one purchase an aftermarket non-factory container for $80 including shipping? Those that do, are not buying it for immediate savings, or not for money savings reasons at all. The reason for that is that the old type Blendtec jar is always the same, no improvement with a blade that is just going to break again eventually and a new complete whole jar has to bought again, even if the price is only $60 instead of $80. If that same scenario happens with the Alterna Jar, one would have to simply just purchase a replacement jar for $35, instead of $60 for a new jar by Blendtec. Of course, Alterna has a package deal available for real blender enthusiasts, which is the jar with a blade already installed, plus an extra replacement blade for $99, including shipping.
Let's assume the Alterna blade goes out at the same time the Blendtec blade would seize up, in the Blendtec jar. At that point the OEM factory enthusiast would have spent $120 while the aftermarket consumer fan spent only $99. But, again, not everybody may be interested in the cost factor issue. The Alterna jar blends better, blends bigger volumes, and is a heavier duty jar overall.
Waring MX series blenders, those that are truly 3.5 horsepower monsters, come with rather inferior blade and jar design. The OEM Waring container has a poor warranty, to one hand. On the other hand, the vertical jar wall goes into the bottom of the jar without curvature straight in a straight 90 degrees. There are numerous reports of poor performance and warranty issues and poor customer service. Plus a 2 Liter replacement jar from Waring costs anywhere from $120 to $160. The Alterna aftermarket container configured for the Waring MX series blenders performs better, hold up better and costs less as well.
In conclusion, aftermarket is not for everyone. OEM has its advantages especially when the blender is still under warranty. In Europe or in Asia, Australia and South America, Blendtec and Vitamix warranties are general between 2 to 4 years maximum. Waring already has a 2 in 1 year warranty in the USA which means 2 year parts and 1 year labor. Costs of replacement jars in non-USA markets are mostly prohibitively expensive. In Brazil a Blendtec Fourside jar is $150 USD and $200 has to be coughed up for a Wildside jar. The same in Europe, the UK, in Australia and all over the Asian Rim.
Those consumers that consider the advantage of aftermarket recognize that aftermarket means that the OEM brands are going to stick around more likely longer, aftermarket components will bring the prices down everywhere, and aftermarket blender containers offer a convenience, a choice, a versatility, especially when this one blender jar actually fits on all, Vitamix, Waring, JTC Omni, Klarstein, Optimum, Omega blenders, and the Blendtec blenders.
Note, how the Alterna Jar sits on the various blenders, straight on Blendtec, and diagonally by 45 degrees on Vita Mix, Waring, and JTC Omni blenders. This is a little different than with any other blender jars, but it works, and is actually mostly designed that way so the same container can be used namely on different blender bases, such as the Blendtec and the Waring kinds.
Pros and Cons, if a blender were still under warranty, and consumer wanted to use the aftermarket Alterna jar, it is most likely assumed that the given factory might tell the consumer that such application is not authorized and will likely void the warranty. If the Blender motor might break, such use opens up the question of whether the jar and the aftermarket blade bearing may have contributed to, or perhaps was the cause of premature motor failure. However, there are several issues to that.
If the blade seizes up on any blender jar, it is the consumer's responsibility to stop using it, replacing the whole jar or the blade assembly from the Alterna jar with removable replaceable blade assembly unit. Plus, who is to say that a given consumer has not already over exerted their blender motor when running the blender motor with a seized up blade unit in their jar for far too long of a time and have not noticed it. Sure, if it can be proven that there is a relationship between the Alterna jar aftermarket container and a broken motor, it would only be fair that warranty is assumed, if there is a warranty. However, in every possible scenario, it should be taken into account, that it just cannot be proven. There are too many variables from abuse to a defect from the blender factory to begin with or simply just heavy normal use and therefore wear and tear having lead to an early natural death of said blender motor. It is simple, anyway, it should be considered to always pay close attention to the condition of the blade assembly and bearing, no matter if the user operates an OEM factory brand blender container or an aftermarket blender jar.
In any case, OEM brand factories should be exited about aftermarket blender jar availability. It is a sign that the market has reached a certain saturation and the brand is here to stay. The consumer views more choices and availability as convenient and as a great advantage, actually and eventually bringing down prices and helping to improve quality.


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Home Technology Gaming
Pro Gamer Fired After Saying Men Under 5 Ft 6 In 'Don't Have Human Rights' [Update] – Kotaku
Tanukana showing off her gaming skills for the press.
Screenshot: 神戸新聞社/YouTube/Kotaku
Professional Tekken player Tanukana has been booted from Osaka-based esports team Cyclops Athlete Gaming for remarks she made about men's heights during a livestream.
Cyclops Athlete Gaming competes in first-person shooters like PUBG, Call of Duty, and Rainbow Six Siege as well as fighting games like Tekken. She has been featured in the mainstream Japanese press, including this clip from newspaper Kobe Shimbun. She was, as Kotaku's Ian Walker previously wrote, a rising star.
In a February 15 stream, Tanukana said, "Men who are under 170 cm (5 ft 6.9 in) don't have human rights." She added they should look into getting bone-lengthening surgery. (According to Healthline, the average height for men in Japan is 170.8 cm or 5 ft 7.2 in.) As of writing, Kotaku wasn't able to confirm the content of the entire stream. However, in this clip, Tanukana also said people with A-cup sized breasts also didn't have human rights. She certainly has seems to have a record of saying terrible things. Blog My Game News Flash has dug up earlier comments Tanukana made in a livestream in 2020 in which she apparently told someone during a stream to "kill themselves" and that they were "the trashiest trash of society."
The height remark set off a firestorm online in Japan, with people calling it discriminatory. In a now-deleted tweet, which can be seen here, Tanukana wrote, "It was pointed out to my that my stream contained hate speech." She added that this was not her intention and that she poorly expressed her love of tall people. She did apologize, but it was hardly the kind of formal apology that's become expected in Japan. This made people online even more upset.
In Japanese, the word for human rights is jinken (人権). But in gaming parlance, jinken refers to an item or character that all players need to have. On Twitter, a debate has ensued over whether the slang led to Tanukana's remark. However, the slang use of the term "human rights" isn't widely known in Japan, and numerous mainstream outlets led with Tanukana's height comment.
When J-Cast News covered the story on Yahoo! News, the popular news site titled its article, "'Men Under 170 cm Don't Have Human Rights' Popular Woman Pro Gamer Says 'Sorry' For Abusive Language.'" (Note that J-Cast provided a transcript from the stream, and only the height comment is mentioned.) Japan's most popular game sites like My Game News Flash picked up the story, also leading with her comment on men's height—as would the coverage that followed from mainstream sites like Nikkan Gendai, Tokyo Sports, Daily Sports, Nico Nico, and more.
Cyclops also issued an apology, writing, "We've confirmed that on February 15, Tanukana, who is a member of Cyclops Athlete Gaming, made an improper remark on a stream. Regarding this matter, we would like to offer a deep apology to the fans, sponsors, and everyone else who supports us."
And Tanukana apologized once again with a more formal tweet that addressed fans and the team's sponsor, Red Bull. "I have deep remorse for this statement, which is unbecoming of a pro esports athlete and a member of society," wrote Tanukana.
What's more, all this happened against a backdrop in which "pro gamer" has been officially defined in Japan, and where there are licenses to game professionally. According to the Japan Esports Union, one of the main points that defines a pro gamer is "self-awareness of being a professional." This stipulation seems to have been added so that esports pros are taken seriously in Japan.
Tanukana's Cyclops page had a laundry list of sponsors that included Alienware and Red Bull. In the wake of the controversy, all the sponsors were scrubbed from her page. Sponsors don't want controversy, even if things seem blown out of proportion. Teams need sponsors. It appears that something—or someone—had to give, and that's exactly what happened. Cyclops later announced it had terminated Tanukana's contract.
Since this article was originally published, Tanukana's firing has truly gone nationwide. ANN News, one of the country's biggest news stations, broadcasted the incident, reporting that Tanukana got fired after making a comment about men under 170 cm not having human rights.
YouTube and pro wrestler Shibatar did a good job of explaining why this comment has caused such an uproar in Japan and why Tanukana was ultimately fired.
"The issue isn't the sponsor Red Bull, but rather, what's before that, which is the customers," said Shibatar, who added that the vast majority of Tekken players were men. Since Tanukana is playing Tekken, those customers are her customers. He added that if, say, Tanukana were a fashion model and had made the same 170 cm comment on TikTok, it would not have been an issue. The reason why, Shibatar explained, is that in that scenario, her customers would be all, if not mostly, women viewers. "So, the issue becomes, who are Tanukana's customers?"
This explanation does a good job of also explaining why Toshihiro Nagoshi ran into problems at Sega for mocking Puyo Puyo pro players. Nagoshi, then a Sega exec, made a wisecrack during a Sega livestream in front of a Puyo Puyo producer, thereby insulting not only a colleague, but those who play the sport and even those watching the stream. Nagoshi has since left Sega.
Update, 2/18/22, 4:00 a.m. ET: Further information added, including more Japanese news coverage about the incident.


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September 19, 2018 October 5, 2018 Evan Dossey
The House with a Clock in Its Walls is the latest soon-to-be-forgotten adaptation of a classic YA book featuring big-name adult actors hamming it up. Remember The Sorcerer's Apprentice (Nic Cage), Seventh Son (Jeff Bridges) or Lemony Snicket's A Series of Unfortunate Events (Jim Carrey)? Probably not. Box Office Mojo has a whole list.
This year already saw an epic flop in A Wrinkle in Time, one of the year's most-anticipated and apparently most disappointing (although something of a black horse favorite here at the MFJ). But nobody can argue Time had a coherent creative direction and emotional core, even if neither were clearly conveyed. Nothing in Clock is nearly as earnest and little about it lands — not the setting, the visual direction, the pacing, or even the "famous actor hamming it" performances. It's a bore. Worse, it is not even an engaging one.
Torture-horror maestro Eli Roth (who also made this year's Death Wish) reveals not even his talent for endless tension translates into a movie with a script this belabored and straightforward. Not one character or concept is introduced with grace or wit. Lewis Barnavelt (Owen Vaccaro) is an orphan sent to live with his uncle Jonathan (Jack Black) and Jonathan's roommate, Florence (Cate Blanchett). Lewis quickly learns the two are a warlock and a witch, respectively. A bit of a nerd, Lewis has trouble at school with bullies but makes friends with a kid named Tarby (Sunny Suljic) who ends up rejecting him, causing Lewis to raise the spirit of dead warlock Isaac Izard (Kyle MacLachlan) to impress Tarby, which naturally causes problems. There is also a clock inside the walls of Jonathan's house that relates to Izard's evil doom plan and the only person that can stop it, in the end, is Lewis.
One sequence in Clock has any energy, and that's the climactic moment where Lewis has to rely on his own instincts for unique spellcasting to find the location of the titular clock. It's goofy and feels genuine. My fellow critics were harsh on Vaccaro's performance as Lewis, but you can hardly blame a kid for constantly being told to act "sullen and desperate." When directed to act like an excitable, emotional kid, it works. Vaccaro is miscast, but it's more that the movie just doesn't write Lewis with any real consistency.
And Vaccaro is not half as detrimental to the film as Jack Black. I'm a fan of Black in general and think he can turn it out when his role really requires his range. Here, his character is always on. It never feels like he's speaking to another human being. In a better script, that might be a subtextual character trait, as his backstory involves running away from home and joining the circus. But in this version of Clocks, Black is grating. Blanchett has the opposite problem. Florence is Blanchett's fallback type — a sharp, chin-held-high expert who doesn't suffer fools. Her character is given some emotional work toward the end — shocker: it boils down to motherhood — but the movie itself relies almost entirely on her character's cold-as-ice aspects as she and Black trade barbs. Her underplaying and his overplaying make for two characters who lack any chemistry.
The performances are particularly notable because everything surrounding them is artificial and lifeless. Monster pumpkins? CGI. A flatulent topiary? CGI. An old chair that behaves like the family dog? CGI. Temperamental stained glass windows. Practical. Just kidding. Most movies in 2018 use CGI to convey even the most mundane environments. It's the way of the world. It isn't always ineffective or noticeable. Here, it is. There is nothing visually tactile about The House with a Clock in Its Walls save for one scene near the end that pushes the PG and feels like Roth's single "get" for this go-round. It's a flashback in which we see Isaac Izard meet a demon personified with physical makeup. When its forked tongue flecks over Izard's bleeding palm, it's creepy, gross and somewhat jarring after a film with little otherwise in the way of horror.
Clock is out about a month before October, despite feeling like it is targeted as a Halloween release for kids. There's nothing scary here. Nothing interesting. Nothing notable. Unless you need a nap, skip it.
Fahrenheit 11/9


text:
The library has become more popular than ever…
The Simpsons, 20th Century Fox
From Metropolis Mag:
Sometime last year, the New York Public Library (NYPL) retired its pneumatic-tube system, which had been used to request books for more than a century. This change was made without ceremony or fanfare; I learned of it unexpectedly, when I walked into the catalog room prepared to deliver a call slip to a clerk behind a large wooden desk, only to find a notice directing me elsewhere. For a few moments, I stood there, unmoored, before moving along as instructed. That pneumatic call system had changed little since the library's opening in 1911. You still filled out a slip, and you still turned that slip over to a clerk, who would load it into a metal cartridge. With a slurpy shoomp, the cartridge would be driven by air pressure to a station down in the stacks, where another clerk would retrieve your book, which was then sent back up to the call desk by a dumbwaiter. In recent years, this procedure would take about 20 minutes. In decades past, I'm told, it was closer to five.
The passing of a steampunk relic might occasion a fit of nostalgia and no more—in New York, the cycle of life is accelerated, which is perhaps why we are so attentive to our history—but in this case, something greater seemed to be at stake. One could hardly contrive a more blatant metaphor for the uneasy shift, in the world of letters, from the physical to the digital. The very future of the book, and the printed word in general, is uncertain. We're at a moment of profound change in the way we consume information, and that change is shaping the kinds of information we value. It is also shaping the spaces in which we consume information. How does one even begin to think about designing libraries in a time of rapidly developing technologies and shifting programs?
"A lot of basic assumptions about what a library is and should be are on the table in a way that they haven't been since the industrialization of printing," says Jeffrey T. Schnapp, faculty director of metaLAB at Harvard and a professor of romance languages at the university's Graduate School of Design. "There's a shift of their core identity, away from places where documents are housed, to physical structures that can serve as nodes that add value to the act of consultation."
To put things a bit more simply, the book—the object that, for so long, defined the library—is no longer its primary focus. Indeed, as content is increasingly digitized, one might ask whether the library is even a viable building type for the future. "My guess is that most libraries will cease to exist," says David Bell, a professor at Princeton's Department of History who writes on the subject. "People who love the physical book will see this as one of the great moments of barbarism in history." Most susceptible are smaller libraries—in high schools, for example—that might easily be replaced by electronic workstations. Library space may be hard to justify when the content of a quarter of a million books fits onto a chip that you can slip into your pocket.
But for all their supposed obsolescence, libraries remain vital places, and many of them are more crowded than ever.
"Still Here", Mark Lamster, Metropolis Mag
Libraries, New York, New York Public Library
Good for business, not so much for scholarship
"To walk into a library is like listening to an orchestra tuning its instruments"
When I pick up a new novel, I will start in the middle. I will read ten pages in the middle, and if get interested in the sound of the writer's voice I will go back and start at the beginning.
Every time you click a link, you pass through another door of the Borgesian library…
Imagine the internet as a nearly infinite, Borgesian library. Each article, widget, slide, game level and landing page forms a room in the library. Every time you use a link to go to a new page, you pass through a door.
"The library crowd"


text:
Evidence for x -dependent proton color fluctuations in pA collisions at the CERN Large Hadron Collider
M. Alvioli, B. A. Cole, L. Frankfurt, D. V. Perepelitsa, M. Strikman
Institute for Gravitation & the Cosmos
Center for Particle and Gravitational Astrophysics
The centrality dependence of forward jet production in pA collisions at the Large Hadron Collider (LHC) has been found to grossly violate the Glauber model prediction in a way that depends on the x in the proton. We argue that this modification pattern provides the first experimental evidence for x-dependent proton color fluctuation effects. On average, parton configurations in the projectile proton containing a parton with large x interact with a nuclear target with a significantly smaller than average cross section and have smaller than average size. We implement the effects of fluctuations of the interaction strength and, using the ATLAS analysis of how hadron production at backward rapidities depends on the number of wounded nucleons, make quantitative predictions for the centrality dependence of the jet production rate as a function of the x-dependent interaction strength σ(x). We find that σ(x)∼0.6σ gives a good description of the data at x=0.6. These findings support an explanation of the European Muon Collaboration effect as arising from the suppression of small-size nucleon configurations in the nucleus.
Physical Review C
Published - Jan 21 2016
10.1103/PhysRevC.93.011902
Dive into the research topics of 'Evidence for x -dependent proton color fluctuations in pA collisions at the CERN Large Hadron Collider'. Together they form a unique fingerprint.
color Physics & Astronomy 83%
partons Physics & Astronomy 80%
protons Physics & Astronomy 77%
collisions Physics & Astronomy 76%
nucleons Physics & Astronomy 64%
configurations Physics & Astronomy 42%
Alvioli, M., Cole, B. A., Frankfurt, L., Perepelitsa, D. V., & Strikman, M. (2016). Evidence for x -dependent proton color fluctuations in pA collisions at the CERN Large Hadron Collider. Physical Review C, 93(1), [011902]. https://doi.org/10.1103/PhysRevC.93.011902
Alvioli, M. ; Cole, B. A. ; Frankfurt, L. ; Perepelitsa, D. V. ; Strikman, M. / Evidence for x -dependent proton color fluctuations in pA collisions at the CERN Large Hadron Collider. In: Physical Review C. 2016 ; Vol. 93, No. 1.
@article{6c388724581741dc9ad60103673162b3,
title = "Evidence for x -dependent proton color fluctuations in pA collisions at the CERN Large Hadron Collider",
abstract = "The centrality dependence of forward jet production in pA collisions at the Large Hadron Collider (LHC) has been found to grossly violate the Glauber model prediction in a way that depends on the x in the proton. We argue that this modification pattern provides the first experimental evidence for x-dependent proton color fluctuation effects. On average, parton configurations in the projectile proton containing a parton with large x interact with a nuclear target with a significantly smaller than average cross section and have smaller than average size. We implement the effects of fluctuations of the interaction strength and, using the ATLAS analysis of how hadron production at backward rapidities depends on the number of wounded nucleons, make quantitative predictions for the centrality dependence of the jet production rate as a function of the x-dependent interaction strength σ(x). We find that σ(x)∼0.6σ gives a good description of the data at x=0.6. These findings support an explanation of the European Muon Collaboration effect as arising from the suppression of small-size nucleon configurations in the nucleus.",
author = "M. Alvioli and Cole, {B. A.} and L. Frankfurt and Perepelitsa, {D. V.} and M. Strikman",
note = "Funding Information: M.A.'s research was supported by grants provided by the Regione Umbria, under Contract POR-FESR Umbria 20072013, asse ii, attivita a1, azione 5, and by the Dipartimento della Protezione Civile, Italy. B.A.C.'s research was supported by the US Department of Energy Office of Science, Office of Nuclear Physics, under Award No. DE-FG02-86ER40281. L.F.'s research was supported by the Binational Scientific Foundation Grant No. 0603216203. D.V.P.'s research was supported by the US Department of Energy under Contract No. DE-AC02-98CH10886. M.S.'s research was supported by the US Department of Energy Office of Science, Office of Nuclear Physics, under Award No. DE-FG02-93ER40771. Publisher Copyright: {\textcopyright} 2016 American Physical Society.",
doi = "10.1103/PhysRevC.93.011902",
Alvioli, M, Cole, BA, Frankfurt, L, Perepelitsa, DV & Strikman, M 2016, 'Evidence for x -dependent proton color fluctuations in pA collisions at the CERN Large Hadron Collider', Physical Review C, vol. 93, no. 1, 011902. https://doi.org/10.1103/PhysRevC.93.011902
Evidence for x -dependent proton color fluctuations in pA collisions at the CERN Large Hadron Collider. / Alvioli, M.; Cole, B. A.; Frankfurt, L.; Perepelitsa, D. V.; Strikman, M.
In: Physical Review C, Vol. 93, No. 1, 011902, 21.01.2016.
T1 - Evidence for x -dependent proton color fluctuations in pA collisions at the CERN Large Hadron Collider
AU - Alvioli, M.
AU - Cole, B. A.
AU - Frankfurt, L.
AU - Perepelitsa, D. V.
AU - Strikman, M.
N1 - Funding Information: M.A.'s research was supported by grants provided by the Regione Umbria, under Contract POR-FESR Umbria 20072013, asse ii, attivita a1, azione 5, and by the Dipartimento della Protezione Civile, Italy. B.A.C.'s research was supported by the US Department of Energy Office of Science, Office of Nuclear Physics, under Award No. DE-FG02-86ER40281. L.F.'s research was supported by the Binational Scientific Foundation Grant No. 0603216203. D.V.P.'s research was supported by the US Department of Energy under Contract No. DE-AC02-98CH10886. M.S.'s research was supported by the US Department of Energy Office of Science, Office of Nuclear Physics, under Award No. DE-FG02-93ER40771. Publisher Copyright: © 2016 American Physical Society.
N2 - The centrality dependence of forward jet production in pA collisions at the Large Hadron Collider (LHC) has been found to grossly violate the Glauber model prediction in a way that depends on the x in the proton. We argue that this modification pattern provides the first experimental evidence for x-dependent proton color fluctuation effects. On average, parton configurations in the projectile proton containing a parton with large x interact with a nuclear target with a significantly smaller than average cross section and have smaller than average size. We implement the effects of fluctuations of the interaction strength and, using the ATLAS analysis of how hadron production at backward rapidities depends on the number of wounded nucleons, make quantitative predictions for the centrality dependence of the jet production rate as a function of the x-dependent interaction strength σ(x). We find that σ(x)∼0.6σ gives a good description of the data at x=0.6. These findings support an explanation of the European Muon Collaboration effect as arising from the suppression of small-size nucleon configurations in the nucleus.
AB - The centrality dependence of forward jet production in pA collisions at the Large Hadron Collider (LHC) has been found to grossly violate the Glauber model prediction in a way that depends on the x in the proton. We argue that this modification pattern provides the first experimental evidence for x-dependent proton color fluctuation effects. On average, parton configurations in the projectile proton containing a parton with large x interact with a nuclear target with a significantly smaller than average cross section and have smaller than average size. We implement the effects of fluctuations of the interaction strength and, using the ATLAS analysis of how hadron production at backward rapidities depends on the number of wounded nucleons, make quantitative predictions for the centrality dependence of the jet production rate as a function of the x-dependent interaction strength σ(x). We find that σ(x)∼0.6σ gives a good description of the data at x=0.6. These findings support an explanation of the European Muon Collaboration effect as arising from the suppression of small-size nucleon configurations in the nucleus.
U2 - 10.1103/PhysRevC.93.011902
DO - 10.1103/PhysRevC.93.011902
JO - Physical Review C
JF - Physical Review C
Alvioli M, Cole BA, Frankfurt L, Perepelitsa DV, Strikman M. Evidence for x -dependent proton color fluctuations in pA collisions at the CERN Large Hadron Collider. Physical Review C. 2016 Jan 21;93(1). 011902. https://doi.org/10.1103/PhysRevC.93.011902


text:
Q: Fragment to Fragment communication (pager adapter) Let me start by saying this I have tried every way to send data from a fragment to another and each time ive failed somehow.
I have a main activity with pager adapter and tabs and i have 5 fragments and I need to send data from fragment 5 to rest of them, I have tried interface and 3 other ways and I end up crashing or getting error on Start.
I used interface and it works only sometimes and in order to find why it doesnt work in some cases I have come here but haven't got any answers
Thank You in advance.
Main Activity:
   package com.redot.puzzle3;

   import android.os.Bundle;
   import android.support.design.widget.FloatingActionButton;
   import android.support.design.widget.Snackbar;
   import android.support.design.widget.TabLayout;
   import android.support.v4.app.Fragment;
   import android.support.v4.app.FragmentManager;
   import android.support.v4.app.FragmentPagerAdapter;
   import android.support.v4.view.ViewPager;
   import android.support.v7.app.AppCompatActivity;
   import android.view.View;
   import android.view.WindowManager;

    public class MainActivity extends AppCompatActivity  {

    private SectionsPagerAdapter mSectionsPagerAdapter;
    private ViewPager mViewPager;

    @Override
    protected void onCreate(Bundle savedInstanceState) {
    super.onCreate(savedInstanceState);
    setContentView(R.layout.activity_main);
    //Remove title bar
    //  this.requestWindowFeature(Window.FEATURE_NO_TITLE);
    this.getWindow().setFlags(WindowManager.LayoutParams.FLAG_FULLSCREEN,
    WindowManager.LayoutParams.FLAG_FULLSCREEN);
    this.setContentView(R.layout.activity_main);

    mSectionsPagerAdapter = new
    SectionsPagerAdapter(getSupportFragmentManager());

    mViewPager = (ViewPager) findViewById(R.id.container);
    mViewPager.setAdapter(mSectionsPagerAdapter);
    mViewPager.setCurrentItem(3);

    TabLayout tabLayout = (TabLayout) findViewById(R.id.tabs);
    tabLayout.setupWithViewPager(mViewPager);

    FloatingActionButton fab = (FloatingActionButton)
     findViewById(R.id.fab);
    fab.setOnClickListener(new View.OnClickListener() {
        @Override
        public void onClick(View view) {
            Snackbar.make(view, "Replace with your own action",
  Snackbar.LENGTH_LONG)
                    .setAction("Action", null).show();
        }
    });

}

    public class SectionsPagerAdapter extends FragmentPagerAdapter {

    public SectionsPagerAdapter(FragmentManager fm) {
        super(fm);
    }
        @Override
        public int getCount() {
            return 5;
        }

        @Override
    public Fragment getItem(int arg0) {
        switch (arg0) {
            case 0:
                return new Frag1();
            case 1:
                return new Frag2();
            case 2:
                return new Frag3();
            case 3:
                return new Frag4();
            case 4:
                return new Frag5();
            case 5:

            default:
            return null;
        }

    }

    @Override
    public CharSequence getPageTitle(int position) {
        switch (position) {
            case 0:
                return "Inventory";
            case 1:
                return "3Men";
            case 2:
                return "Test";
            case 3:
                return "TheMan";
            case 4:
                return "King";

        }
        return null;
    }
}

}
Main Activity Layout:
   <?xml version="1.0" encoding="utf-8"?>
  <android.support.design.widget.CoordinatorLayout
xmlns:android="http://schemas.android.com/apk/res/android"
xmlns:app="http://schemas.android.com/apk/res-auto"
xmlns:tools="http://schemas.android.com/tools"
android:id="@+id/main_content"
android:layout_width="match_parent"
android:layout_height="match_parent"
android:fitsSystemWindows="true"
tools:context="com.redot.puzzle3.MainActivity">

   <android.support.design.widget.AppBarLayout
    android:id="@+id/appbar"
    android:layout_width="match_parent"
    android:layout_height="wrap_content"
    android:paddingTop="@dimen/appbar_padding_top"
    android:theme="@style/AppTheme.AppBarOverlay">

    <android.support.design.widget.TabLayout
        android:id="@+id/tabs"
        android:layout_width="match_parent"
        android:layout_height="wrap_content" />

   </android.support.design.widget.AppBarLayout>

   <android.support.v4.view.ViewPager
    android:id="@+id/container"
    android:layout_width="match_parent"
    android:layout_height="match_parent"
    app:layout_behavior="@string/appbar_scrolling_view_behavior" />

   <android.support.design.widget.FloatingActionButton
    android:id="@+id/fab"
    android:layout_width="wrap_content"
    android:layout_height="wrap_content"
    android:layout_gravity="end|bottom"
    android:layout_margin="@dimen/fab_margin"
    app:srcCompat="@android:drawable/ic_dialog_email" />

  </android.support.design.widget.CoordinatorLayout>

Fragments' builds are similar
Fragments:
  public  class Frag1 extends Fragment  {

   @Override
   public View onCreateView(LayoutInflater inflater, ViewGroup container,
                         Bundle savedInstanceState) {
    // TODO Auto-generated method stub
          View myInflatedView = inflater.inflate(R.layout.fragment_frag1,
    container, false);

    return myInflatedView;

  }

UPDATE:
I used shared preferences utils and everything worked except i got this error when i go to the page where the data is sent
10-11 04:49:13.040 6734-6734/com.redot.puzzle3 E/AndroidRuntime: FATAL EXCEPTION: main
                                                             Process: com.redot.puzzle3, PID: 6734
                                                             java.lang.NullPointerException: Attempt to invoke virtual method 'android.content.SharedPreferences android.content.Context.getSharedPreferences(java.lang.String, int)' on a null object reference
                                                                 at com.redot.puzzle3.SharedPreferenceUtils.getData1(SharedPreferenceUtils.java:30)
                                                                 at com.redot.puzzle3.Frag1.<init>(Frag1.java:19)
                                                                 at com.redot.puzzle3.MainActivity$SectionsPagerAdapter.getItem(MainActivity.java:71)
                                                                 at android.support.v4.app.FragmentPagerAdapter.instantiateItem(FragmentPagerAdapter.java:101)
                                                                 at android.support.v4.view.ViewPager.addNewItem(ViewPager.java:1005)
                                                                 at android.support.v4.view.ViewPager.populate(ViewPager.java:1153)
                                                                 at android.support.v4.view.ViewPager.setCurrentItemInternal(ViewPager.java:665)
                                                                 at android.support.v4.view.ViewPager.setCurrentItemInternal(ViewPager.java:627)
                                                                 at android.support.v4.view.ViewPager.setCurrentItem(ViewPager.java:608)
                                                                 at android.support.design.widget.TabLayout$ViewPagerOnTabSelectedListener.onTabSelected(TabLayout.java:2169)
                                                                 at android.support.design.widget.TabLayout.dispatchTabSelected(TabLayout.java:1164)
                                                                 at android.support.design.widget.TabLayout.selectTab(TabLayout.java:1157)
                                                                 at android.support.design.widget.TabLayout.selectTab(TabLayout.java:1127)
                                                                 at android.support.design.widget.TabLayout$Tab.select(TabLayout.java:1426)
                                                                 at android.support.design.widget.TabLayout$TabView.performClick(TabLayout.java:1536)
                                                                 at android.view.View$PerformClick.run(View.java:21179)
                                                                 at android.os.Handler.handleCallback(Handler.java:739)
                                                                 at android.os.Handler.dispatchMessage(Handler.java:95)
                                                                 at android.os.Looper.loop(Looper.java:145)
                                                                 at android.app.ActivityThread.main(ActivityThread.java:6873)
                                                                 at java.lang.reflect.Method.invoke(Native Method)
                                                                 at java.lang.reflect.Method.invoke(Method.java:372)
                                                                 at com.android.internal.os.ZygoteInit$MethodAndArgsCaller.run(ZygoteInit.java:1404)
                                                                 at com.android.internal.os.ZygoteInit.main(ZygoteInit.java:1199)

which refers to this method:
 public static int getData1(Context context) {
    SharedPreferences sp = context.getSharedPreferences(SP_NAME,
    Context.MODE_PRIVATE);
    return sp.getInt(DATA1, x);
}

Fragment 1 where i get the data :
         int Riddle=  SharedPreferenceUtils.getData1(getActivity());
I have only 1 data and thats int and I was searching for sharedprefences and i found alot of good stuff.
So this is what I am doing and it works  :
Fragment 5( the fragment that sends the data):
  Context context = getActivity();
    SharedPreferences SU = context.getSharedPreferences(
            "Riddle", Context.MODE_PRIVATE);
    SharedPreferences.Editor editor= SU.edit();
    editor.putString("riddle",""+riddle);
    editor.commit();

Fragment 1( gets the data):
     Context context = getActivity();
         SharedPreferences SU = context.getSharedPreferences(
            "Riddle", Context.MODE_PRIVATE);
            Riddle=  Integer.parseInt(SU.getString("riddle",""));

I had some problems with sending ints so i sent string and converted to int

A: You can use SharedPreferences in your code .
Try this .
public class SharedPreferenceUtils {

    private static final String SP_NAME = "sp";
    public static final String DATA1 = "data1";
    public static final String DATA2 = "data2";

    // create
    public static boolean createSP(Context context, String data1, String data2) {
        SharedPreferences.Editor editor = context.getSharedPreferences(SP_NAME, Context.MODE_PRIVATE).edit();
        editor.putString(DATA1, data1);
        editor.putString(DATA2, data2);
        return editor.commit();
    }

    // clear
    public static void clearSP(Context context) {
        SharedPreferences sharedPreferences = context.getSharedPreferences(SP_NAME, Context.MODE_PRIVATE);
        SharedPreferences.Editor editor = sharedPreferences.edit();
        editor.clear().apply();
    }

    // get access info
    public static String getData1(Context context) {
        SharedPreferences sp = context.getSharedPreferences(SP_NAME, Context.MODE_PRIVATE);
        return sp.getString(DATA1, "");
    }
    // get branch info
    public static String getData2(Context context) {
        SharedPreferences sp = context.getSharedPreferences(SP_NAME, Context.MODE_PRIVATE);
        return sp.getString(DATA2, "");
    }
}

Use in Frag5
SharedPreferenceUtils.createSP(getActivity(),data1,data2);

And use in other Fragment
String data1 = SharedPreferenceUtils.getData1(getActivity());
String data2 = SharedPreferenceUtils.getData2(getActivity());

Note

*

*change data1 and data2 to the value you want

*change getData1 and getData2 to the method you want

A: Actually you have a lot of options to communicate with fragments. I want to suggest you CachePot - Android Simple Data Cache for caching data.
First of all, push the data that you want to pass.
CachePot.getInstance().push(data);

Second pop your data from CachePot.
public class MainFragment extends Fragment{
    @Override
    public void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);

        Data data = CachePot.getInstance().pop(Data.class);
    }

redpajama_set_name: RedPajamaStackExchange


text:
Q: How can I fix my program, it always show TypeError no matter how I change the type of the object? I recently wrote a piece of code (an decryptor) to convert the result to a specific number (I took inspiration from Shamir's Secret Scheme, which uses Lagrange Polynomials as core). I previously wrote another program, which changes the secret into 'pieces', and now I stuck at converting 'pieces' into the secret again.
This is what I wrote:
x_values = []

y_values = []

while -1 not in x_values:

    adder = int(input('Enter x value (Enter "-1" to end): '))

    x_values.append(adder)

else:

    x_values.pop()

while len(y_values) != len(x_values):

    adder = input('Enter y value: ')

    adder = int(adder, 16)

    y_values.append(adder)

S = 0

for i in range(len(x_values)):

    x_other = x_values

    x_current = x_other.pop(i)

    y_other = y_values

    y_current = y_other.pop(i)

    num = y_values[i]

    for a in x_current:

        num *= -a

    den = 1

    for a in x_current:

        den *= (x_values[i] - x_current[a])

    S += (num / den)

print('Secret: ', S)

input()

When I run it, it shows:
File "C:\Python Code\Decryptor.py", line 37, in <module>
    for a in x_current:
TypeError: 'int' object is not iterable

I have read many articles about this problem but I couldn't fix it. Could you help me with this? Thanks in advance!
EDIT: Thank you everyone for helping me with my problem. I've finally managed to fix this and the program worked like a charm.

A: When you call pop method on a python list, it removes the entered index element from the list and then returns that element.
So x_current variable in first iteration is an integer with value equal to 1(In the example list: x_values = [1, 2, 3, 4]).
So the second for loop is incorrect, Because you trying to loop in an integer that is not possible. So If you want to iterate in a list that contains every elements except that has been poped, you should replace second loop with following:
for a in x_other:

Otherwise you should loop in range of x_current.
If you still have problems, you can leave a comment to notice me.


text:
Silkroad Ensemble brings musical spin to lecture on listening across differences
by Maggie Prosser	on August 6, 2018 949 views
The Silk Road Ensemble joins Steven Seidel, Harvard University's director of Arts in Education program, in a discussion and musical performance focused on 'listening across differences,' on Monday, August 6, 2018, in the Amp. ABIGAIL DOLLINS/STAFF PHOTOGRAPHER
Percussionist Joseph Gramley makes his way down the Amp during a musical performance with the Silk Road Ensemble . ABIGAIL DOLLINS/STAFF PHOTOGRAPHER
Cristina Pato, Galician bagpipe player, introduces her fellow musicians in the Silk Road Ensemble. ABIGAIL DOLLINS/STAFF PHOTOGRAPHER
Steven Seidel discusses 'listening across differences,' alongside Cristina Pato. ABIGAIL DOLLINS/STAFF PHOTOGRAPHER
ABIGAIL DOLLINS/STAFF PHOTOGRAPHER
Cellist Mike Block plays in the crowd during a musical performance based on "Seasons," a piece by composer Toru Takemitsu. ABIGAIL DOLLINS/STAFF PHOTOGRAPHER
Amy Fielder participates in a song lead by the Silk Road Ensemble based on "Seasons," a piece by composer Toru Takemitsu. ABIGAIL DOLLINS/STAFF PHOTOGRAPHER
Members of the Silkroad Ensemble perform on the Amphitheater stage at the conclusion of their lecture. DAVE MUNCH/PHOTO EDITOR
The Silkroad Ensemble embraces difference.
Ten of its members brought that philosophy to the Amphitheater stage Monday, Aug. 6, as a twist on the traditional 10:45 a.m. morning lecture, opening Week Seven's theme, "The Arts and Global Understanding."
Following the morning announcements, the Amp filled with the nasal sounds of Galician bagpipes, accompanied by percussionists Joseph Gramley, playing a rattle, and Shane Shanahan, playing a melody on a conch, as they ambled through the aisles. As they reached the stage, a cacophony of strings and percussion instruments erupted.
The piece, John Zorn's "Book of Angels," featured folksy Jewish harmonies equipped with undertones of lute-like instruments and drums. As the piece ended, Galician bagpiper Cristina Pato stepped forward to address the packed audience.
"Twenty years ago, curiosity brought Yo-Yo Ma to gather musicians from all around the world, … the curiosity about learning about other cultures, the curiosity about learning about other instruments," Pato said. "And he had one very simple question in mind: What happens when new social groups meet?"
The famed cellist Ma established Silkroad in 1998 as a way to engage differences through music, and as a metaphor for the benefits of a globalized, connected world through musical innovation. Evidence of this is in its members, who Pato turned to introduce.
Wu Man, a pipa virtuoso and original Silkroad member, plays her traditional Chinese instrument around the world in contemporary and classical settings while bringing age and experience to the ensemble; Mike Block, a cellist, brings innovation through his rigged cello, which allows him to play his instrument — which traditionally requires the musician to be seated — while standing.
Education is another pillar of Silkroad Ensemble, Pato said. Pato herself is a teacher; percussionist Gramley is a professor at the University of Michigan and Martine Thomas is a Harvard University alumna who participated in Harvard's collaboration with Silkroad Ensemble as part of "The Silk Road Project."
The lecture was led by Steve Seidel, director of the Arts in Education Program at Harvard Graduate School of Education, who frequently works with the group. When he met Silkroad 10 years ago, he was struck by its members' dedication to learning — both about themselves and those around them. Seidel introduced the theme for the morning: listening as art.
Listening is best expressed during rehearsal, he said.
"You go into rehearsal with your instrument or, if you're working as an actor, with your text, and fully expect to make sound, to make noise, to express," Seidel said. "But from a learning perspective, a rehearsal does not have to be a learning environment — and without listening, it rarely is. Listening is the turning point … that takes the making of noise into the making of meaningful sound."
Seidel called on percussionist Shanahan and violinist and erhu player Shaw Pong Liu to discuss the rehearsal process for "Book of Angels," which Liu previously only performed twice compared with Shanahan's 50 times. Shanahan described the necessity to understand body language as a form of listening, both on and off stage.
For Japanese percussionist Haruka Fujii, her culture inspires her music. "Ma," — yes, like Yo-Yo Ma, she said — is the Japanese concept of negative space. "Ma," in the physical sense, can be the distance between two people; it can be the emotional distance; or in the musical sense, it can be "the space between sound and sound," a concept Japanese composer Tōru Takemitsu explored in his piece "Seasons."
Fujii looked to replicate this concept at Chautauqua Institution. The musicians scattered; some took their instruments to the top of the bowl, others went empty-handed to various points along the stairs, ramps and throughout the orchestra pit. After the clang of the gong, the musicians began improvising noises. After a few minutes, Seidel gestured for the audience to join.
Eventually, the Amp over-flowed with noises, rattles and claps. Attendees whistled, rolled and sloshed water bottles, rustled clothing and paper, clinked jewelry against seats, stomped and drummed rhythms into railings. The clamour began to resemble a jungle or noisy summer evening, coincidently equipped with a metronome of a truck's back-up beeper.
After a few more moments, Seidel gestured a decrescendo. He paused, and asked the audience to pause as well, because "silence is a space in which we can collect our thoughts." Then he asked the audience to discuss with those around them.
The Amp burst into chatter.
"While you were talking, I was listening, and that was a fantastic sound," Seidel said.
Seidel turned back to the concept of listening, a topic percussionist Sandeep Das knows well. Das lived with Guru Pandit Kishan Maharaj for 12 years, studying the traditional Indian instrument, the tabla. During this time, Das learned to practice space, similar to the Japanese concept of "ma," and listening — listening to his instrument.
Das and Shanahan played together to demonstrate the relationship between sounds and musicians. Das began with slower rhythms on the tabla, which Shanahan accented with strikes to a singing bowl. The rhythms progressively increased in intricacy and speed. By the end, the two men's melodies meshed seamlessly as they finished in sync.
Pato closed this portion of the lecture, explaining Silkroad and Ma's core principle.
"In ecology, the point in which two ecosystems meet, such as the forest and the savanna, that point is called the edge effect, and apparently in that point is where more new life forms are created. And somehow Silkroad is (Ma's) own recreation of the edge effect."
-Cristina Pato, Galician bagpiper, Silkroad Ensemble
Institution President Michael E. Hill opened the Q-and-A by asking what lessons can be drawn from listening and incorporated into discourse.
"There's often the experience when you can't hear someone — whether that's based on how loud they are speaking or you can't understand or agree with what they are saying — (and) you might feel a sense of frustration or fear," said Jeffrey Beecher, bassist and co-artistic director of Silkroad. "… I think what this experience has taught us … is rather than shout … I trust that by actually going somewhat quieter, by lowering my energy in some way, (is effective) instead of trying to forcefully get something across."
Hill then turned to the audience for questions; an attendee asked if silence had its own sound.
"Silence is the moment of interaction," Block said.
With that, the ensemble closed the lecture with a song. The piece featured a snakey beat, enhanced by the erhu, a two-stringed predecessor to the violin, played by Liu, a strong beat and intense bowing from the strings section. The audience clapped along as the ensemble finished con gusto.
Tags : The Arts and Global UnderstandingThe Silkroad EnsembleWeek SevenYo-Yo Ma
University of San Diego Professor of Law Steven Smith to identify prevalence of free speech in debate over religious liberty
Old First Night: A happy 144th birthday to Chautauqua
The author Maggie Prosser
Maggie Prosser will be covering the dance programs, Institution administration, the board of trustees and the CPOA for her second summer at the Daily. Hailing from Columbus, Ohio, she is a rising junior studying journalism at Ohio University's Honors Tutorial College. Outside of her studies, she serves as the editor-in-chief of The New Political, an award-winning political publication at OU, and loves eating gluten-free bread.
Paul Taylor Dance Company Residency Celebrates Choreographer's Legacy
Roshi Bodhin Kjolhede Discusses Years of Experience with Zen Buddhism
Katherine Ozment's Lecture on Grace Illuminates Secular Journey for Answers
President Michael E. Hill and Krista Tippett Close Week's Theme with Discussion Reflecting on Grace
Instrumental Students to Play in Final Open Recitals of the Season
« Jul Jun »


text:
Home / Academics / Services and Programs / Summer Courses / Winds Percussion Camp
The 2022 Capital Winds & Percussion Camp
Thank you all for your interest in the 2022 Winds & Percussion Camp at Capital University. It is our hope to offer this enriching opportunity June 6-10, 2022. Camp registration will open March 1.
Continue to check our website for additional information and updates.
In this section..
Camp Cost 1 2 3
The camp fee of $275 includes instruction, lunch and a camp T-shirt. There is a discount for multiple children from the same immediate family. Cost is $200 per child. Please note: Discounted registration for multiple children cannot be completed online. Please contact bandcampassistant@gmail.com to register more than one child from the same immediate family.
Scholarships are not available.
Registration Info 1 2 3
Registration in Two Steps
APPLICATION FORM and PAYMENT submitted by parent/guardian
Registration will be available March 1, 2021.
You will need the following information to complete the form:
Current Director's name
School name and Address
Shirt size of student (adult size)
- Parent/guardian, Physician name, phone and date of your child's last tetanus, medical issues
Immediately after you submit the form, you will be directed on how to make your payment. Remember, your application is not complete without finishing the payment.
VERIFICATION OF INSTRUMENT AVAILABILITY by Capital University
Once your application and payment have been received, Capital University will begin the process of verifying instrument availability in the camp.
As we near fulfillment of an instrument category, the number of applications may exceed the number of available spots. At that point, placement in the camp will be determined by the time stamp on your application form. If we are showing that there is no availability in your section, please complete the registration process and you will be added to a waitlist.
If we are able to accept your child from the waitlist, you will be contacted by a staff member from Capital University via email with instructions on how to complete your payment.
Once it has been determined that your instrument is still available, you will receive notification via email that your child has been officially registered in the camp.
Meet the Staff 1 2 3
Meet the Conducting Staff
James Dowdy
Capital University Department of Music Education
James Dowdy has retired after having taught for nine years in the community of Canal Winchester and 21 years as a teacher of middle and elementary bands in the Worthington School System. He holds a Bachelor of Music Education degree from the Conservatory of Music at Capital University and has earned his master's degree from The Ohio State University. He is the former director of the Capital University Junior Winds and is past president of OMEA. He is also a member of ASBDA and Phi Beta Mu.
Angela Davoll
Hilliard Weaver Middle School Band Director
Angela Davoll, in her 26th year of teaching, currently is the band director at Hilliard Weaver Middle School. Along with her duties at Weaver, she instructs music at two additional schools in the district. She also provides private clarinet instruction for area students. She received her bachelor's degree in music from the Conservatory of Music at Capital and her master's degree in music education from The Ohio State University. She is a member of ASBDA.
Ryan Alexis
Worthington Kilbourne Middle School Band Director
Ryan Alexis has been teaching in the Worthington City School District since 2006, where he is the Director of Bands at Kilbourne Middle School. He also teaches 6th grade band at Kilbourne Middle School, Colonial Hills, and Wilson Hill Elementary Schools. In addition, he also assists with the Thomas Worthington High School Marching Band, directs the TWHS Cardinal Jazz Band, and conducts the TWHS Pit Orchestra. Ryan is currently the Director of Junior Winds, and has an active studio, teaching saxophone lessons, and coaching saxophone ensembles. He received a BME from The Ohio State University School of Music, and an MMME from The Conservatory of Music at Capital University. Ryan is a member of OMEA and ASBDA, and has served as a treasurer for the OMEA South-Central Region.
Susan O'Rourke
Columbus Academy Band Director
Susan O'Rourke has taught in central Ohio for 28 years, having served in the Columbus Catholic Diocese, the Worthington City Schools, Polaris Christian Academy and Mt. Vernon Nazarene University in addition to her current tenure at Columbus Academy, co-teaching middle and high school bands. Susan is currently the Director of Capital's Cadet Band. She is a member of the Metropolitan Chamber Orchestra and the Westerville Community Concert Band and has an active private studio. A long-time member of OMEA, Susan is an adjudicator and past clinician. She received her bachelor's degree in music education and a master's in woodwind pedagogy from The Ohio State University.
For further information, contact Jim Dowdy at JiMuzik@aol.com or Charlotte Brown at bandcampassistant@gmail.com
Sponsored by Capital University's Conservatory of Music.


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Comments from you and Kelly on the same day? I'm spoiled. I love it. Thank you.
And yes, I love this photo. I wonder how many thousands of dollars of shoes Sarah P. went through while Barack was wearing through the soles of his sole pair.


text:
Focuses on Dante and Aristotle's writings about the cosmos, love, and the good. Readings will include Dante's Commedia, Aristotle's Nicomachean Ethics and De caelo, Aquinas's Summa theologiae, and Richard of St. Victor's Benjamin Minor. All readings will be in English.
Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ER | Grading: Letter (ABCD/NP)
PHIL 193D | 5 units | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ER | Class # 29161 | Section 01 | Grading: Letter (ABCD/NP) | SEM | Students enrolled: 6
09/22/2014 - 12/05/2014 Mon, Wed 10:00 AM - 11:50 AM at Lathrop 292 with Duarte, S. (PI); Karnes, M. (PI)
PHIL 194L | 4 units | UG Reqs: GER:DB-Hum, WAY-A-II | Class # 30873 | Section 01 | Grading: Letter (ABCD/NP) | SEM | Students enrolled: 16 / 30
03/30/2015 - 06/03/2015 Mon, Wed 3:15 PM - 5:05 PM at 300-303 with Anderson, R. (PI)
PHIL 41Q: Truth
Preference to sophomores. Central issues animating current work in the philosophy of truth. What is truth? What is it about a statement or judgment that makes it true rather than false? Are there any propositions that are neither true nor false? Could truth be relative to individuals or communities? Do people have different notions of truth for different enterprises such as mathematics and ethics? Might truth be a matter of degree? Sources include the instructor's book manuscript and other contemporary writers.
PHIL 42: Philosophy through Theater: Choice and Chance
Dramatic literature as a window into philosophical work on freedom of the will and indeterminism. Students participate in the production of original one-act plays.
PHIL 61: Science, Religion, and the Birth of Modern Philosophy (HPS 61)
PHIL 103: 19th-Century Philosophy
Focus is on ethics and the philosophy of history. Works include Mill's Utilitarianism, Hegel's The Philosophy of World History, Marx's Economic and Philosophic Manuscripts, Kierkegaard's The Sickness Unto Death, and Nietzsche's On the Genealogy of Morals.
PHIL 104: Philosophy of Religion
Key issues in the philosophy of religion. Topics include the relationship between faith and reason, the concept of God, proofs of God's existence, the meaning of religious language, arguments for and against divine command theory in ethics and the role of religious belief in a liberal society.
PHIL 106: Ancient Skepticism (PHIL 206)
The ancient Pyrrhonian skeptics who think that for any claim there is no more reason to assert it than deny it and that a life without any beliefs is the best route to happiness. Some ancient opponents of the Pyrrhonian skeptics and some relations between ancient and modern skepticism.


text:
Home UK English in character
Meaning of in character in English:
In keeping with someone's usual pattern of behaviour and motives.
'his outburst was entirely in character'
'The judge said she could have gone to prison if anybody had been hurt but her job was of value to the community and her behaviour had been out of character.'
'This isn't the most flattering anecdote, but the behaviour is in character.'
'He claims to be mercenary, yet often acts out of character, especially in the third act.'
'An outburst would be out of character for such a languid, easy-going figure.'
'Rachel's disappearance was totally out of character and police yesterday launched a huge appeal for help to trace her.'
'It was an act so completely out of character that it caused instant unease to his mother who reported his disappearance to the police.'
'Their families say the disappearance is completely out of character.'
'He said emotions could run high at such a traumatic time and cause people to do things that were out of character.'
'I have known him for seven years and he's never done anything like it before, it's totally out of character.'
'He had an exemplary work record and the attacks were out of character.'
typical, usual, normal, predictable, habitual, in character