At the outset of the twentieth century humankind witnessed radical changes in almost every realm of human endeavor. As long-time New York Times music critic Harold C. Schonberg observed, the first two decades of the twentieth century brought us Sigmund Freud and his revelations of the subconscious, Max Planck and his theory of quantum physics, Albert Einstein and his theory of relativity, the inventions of Thomas Edison and the Wright brothers, painters Pablo Picasso and Wassily Kandinsky, and composers Igor Stravinsky, Arnold Schoenberg, and Claude Debussy. New ideas, new values, new techniques, new rationales, and new modes of expression were the rage. Though it was Stravinsky who set the music world on its ear with his score Le Sacre du Printemps, it was to be Schoenberg and his acolytes Anton Webern and Alban Berg, along with French composer Edgard Varèse, who would exert the greatest influence on composers in the decades immediately following World War II. These influences would have lasting effects well into the new millennium. Nevertheless, as the American painter Jack Beal (b. 1931) remarks (above), they have left a troubling hole in the art and music of the post World War II era.
The human experience is, and has always been, predicated largely on the desire for spiritual fulfillment, love and beauty—defining aspects of Romanticism. Art that expresses or embodies these attributes will always find appreciative audiences and willing participants. In this regard, Romanticism is not dead. During the past three decades there has been a renaissance of sorts taking place in the realm of art music, as many composers have embraced the idea that tonal and quasi-tonal idioms remain highly effective in their expressive abilities and are far from being "exhausted." Music composed according to tonal principles continues to provide spiritual and aesthetic satisfaction to significant degrees.
The source of much 'originality' in modern art has not been in creation, but in destruction: a process of taking away what has been given not only by tradition, but by Nature itself. Of course, the principal premise of modern ideology is that wholesale destruction is the necessary ground for the truly new. True freedom [and] real creation demands the abolition of the past. Then one can create in the same way as God was once thought to have created—ex nihilo.
The philosophical evisceration of Romanticism and the tonal idiom by hard-core modernists continued unabated for much of the late twentieth century. After Max Stirner declared that God was dead in 1845, Nietzsche, Wagner and other radicals of the era promulgated that idea with revolutionary zeal. Regarding the assault on religious virtue, contemporary philosopher and composer Roger Scruton avers, "The death of God really means the death of an old form of human community—a community founded on holiness." Nietzsche, Freud and Karl Marx are considered the three leading exponents of "the school of suspicion," which asserted that any ruling class—religious or political—was suffering from a "false consciousness" that was inherently unjust and anathema to "natural law," and as such it had to be discredited.
By embracing the attitudes of Nietzsche's uber-mensch, intelligentsia's abnegation of religion—with its concomitant predilection for all things scientific—inevitably led to the creation of music that prioritized formulaic intellection over just about everything else. In the realm of art music, Schoenberg and his disciples held the belief that prioritizing intellectual processes and formulaic methodologies was a historical inevitability; the next lineal step in the evolution of music theory and composition. Schoenberg believed that emancipating dissonance from the "constraints" of common-practice pitch relations would give free reign to one's musical imagination.
Richard Taruskin, Richard Norton and other present-day musicologists suggest that this attitude was the result of a political and not-so-benign determinist mindset rather than a natural, organic evolution of musical style. Taruskin contends that the "emancipation of dissonance… owes its political vibes to the liberatory rhetoric of the dialectic," and had more to do with emancipating composers than musical style. Schoenberg went as far as to declare that emancipating dissonance made it possible for anyone to be a composer. Dissonance treatment, for so long the measure of skilled compositional abilities by composers working in the tonal idiom, was no longer a factor in the dissonance-laden utterances of atonal music. The post-World War II era saw an explosion of what might be termed "left-brain music" as the compositional de rigueur of atonal serialism became the dominant rationale, almost tyrannically so. "Process" trumped aesthetics at nearly every turn, resulting in a complex and indeterminate musical idiom laced with heavy doses of acerbic melodies (tone rows) and discordant harmonies. Music became arcane and specialized to such a degree that it possessed little in the way of ingratiating aesthetics or communicative ability.
Starting back in the early sixties, I felt I was fleeing from a cultural funeral. People didn't see the caskets yet, but I saw them. The only honest thing was not to be a part of it - to resist it…. Once you brought the cultural bolshevism of the time, you were down the mindless trail of the avant-garde. Twenty-five years down the line I suspect that one will look back with mystification as to how people took the fifties to the seventies seriously except as some kind of sociological aberration.
With history affording us the coruscating clarity of hindsight, we are now faced with irony that in a very real way the "straightjacket of the tempered system" had been replaced by the straightjacket of the formulaic methodologies espoused by the mid-century modernists. If, as Schoenberg suggested, greater exposure to atonality would eventually lead to its greater acceptance, the atonal, modernist idioms should be more widely accepted by now. Yet in reality they continue to be viewed as being arcane and increasingly subsidiary.
Our age is one of persistent, relentless, almost unbearable inquiry. In its exaltation it cuts off all retreats and bans all sanctuaries; its passion is contagious, its thirst for the unknown projects us forcefully, violently into the future; it compels us to redefine ourselves, no longer in relation to our individual functions, but to our collective necessity. Despite the skillful ruses we have cultivated in our desperate effort to make the world of the past serve our present-day needs, we can no longer elude the essential trial: that of becoming an absolute part of the present, of forsaking all memory to forge a perception without precedent, of renouncing the legacies of the past to discover undreamed of territories.
Here we have the inveterate champion of contemporary art music basically saying that past traditions have little or no value in contemporary life. In fact, it is a "ruse" to attempt making the past seem important in any meaningful way, and "forsaking all memory" is a desired condition for humankind. The result of Boulez's assertion has contributed to the inexor¬able marginalizing of art music. As the art of musical composition became steeped in hyper-intellectualization, music born out of past traditions and its attendant rationales was considered unimportant, even unnecessary. This dismissal is much to our collective loss. Is there nothing to be learned from the past? Does the music of Beethoven or Mahler have nothing to offer modern man?
The cosmology of the ancients and the primitives, expressed in magic, rites and rituals, which invested the world around them with signs and symbols of the unknown, paradoxically insured the survival of these peoples; for through their seemingly unsophisticated notions they preserved the sense of awe and mystery in the face of a cosmos into which man had seemingly stumbled. And we? Because we have lost that precious sense of the magic and mystery of existence, we have no cosmology—physics and astronomy are poor substitutes. Because we have no cosmology, we are faced with the problem of whether man can survive his own thoughtlessness and arrogance, his collective hubris. Mahler was the last composer to intuit that music belongs to cosmology and is supported by it.
Of course, these various inspirations are the allegorical stuff of the myths and fables of every culture. For the Romantic composer they were a trove of inspirational source materials which, when expressed through one's craft and technique in original ways, resulted in music representing a sublime balance of heart and emotion (subject) with form (object.) Speaking to this ethos, Rochberg avers, "There can be no justification for music ultimately if it does not convey eloquently and elegantly the passions of the human heart. Who would care to remember the quartets of Beethoven or Bartok if they were merely demonstrations of empty formalisms?" Citing the spurious claims of presentism (or futurism) regarding the prioritization of intellectualism in music as articulated by Boulez and all those epigones of the academy, Rochberg opines, "Like mushrooms in the night, there has sprung up a profusion of false, half-baked theories of perception, of intellection, of composition itself. The mind grows sterile and the heart small and pathetic." The mid-twentieth century emphasis on the "research model" of composition, as opposed to the "communicative model" of the past, demonstrates the disinterestedness of many modernists in what heretofore had been the dominant and perhaps most humane aspect of music-making.
The denigration of beauty in the late twentieth century seems decidedly inhumane and callous. In many ways the coarsening of contemporary culture can be attributed to the mindset that approaches beauty in such a cynical fashion. Is the desire for aesthetic beauty merely a vestige of a past age that has no meaning, purpose or benefit to modern man, as Boulez suggests? Do the tenets of religious belief have absolutely nothing to offer to a world rife with conflict, wanton selfishness and self-absorption?
Kant's Critique of Judgment (1790) proposed that the intelligible order found in nature pointed to the idea of a "supreme intelligence" and "divine purpose," something that was transcendent and beyond rational explana¬tion. For Kant, that which was sublime and beyond explanation, be it in God's creation (nature) or man's (art), possessed transcendent properties, and the experience of transcendence could be a factor in the process of becoming more humane—individually and collectively. Although beauty and the pleasure derived from nature and art were beyond "pure reason," one's emotional response was nevertheless valid and universal. Kant posited that there exist three ways in which one could experience pleasure: though that which was agreeable, good and beautiful. He also acknow¬ledged that the union of objective (truth) and subjective (imagination) realities is what allows us to make aesthetic judgments with regard to art and music in the most efficacious way.
When the body responds to the mind's emotion, intellect and will, its actions pursue the values of beauty, truth and goodness respectively. God is the subject partner to the human mind; hence He is the subject partner to human emotions, intellect and will. Desiring to realize his original value, a person responds to the perfect emotion, perfect intellect and perfect will of God through his mind, and acts accordingly through his body. Thus, he manifests the values of original beauty, original truth and original goodness.
In this context it can be easily concluded that truth and intellect (knowing) should be harmonized with beauty and emotion (feeling) in such a way that goodness and will (doing) becomes the foundation for a moral and ethical society. Science, art and religion thus become interconnected, and in so doing provide the basis for building a culture of peace as well as artistic expressions that reflect and/or embrace that vision—"three branches of the same tree," as Einstein asserted.
Music is related not only to speculation but to morality as well, for nothing is more consistent with human nature than to be soothed by sweet modes and disturbed by their opposites…Thus we can begin to understand that apt doctrine of Plato, which holds that the soul of the universe is united by a musical concord (Plato, Timaeus 37A). For when we compare that which is coherently and harmoniously joined together in sound, that is, that which gives us pleasure, so we come to recognize that we ourselves are united according to this same principle of similarity. For similarity is pleasing, whereas dissimilarity is unpleasant and contrary.
Boëthius' perspective is in accord with Unification Thought's Theory of Original Image and the importance of morality and ethics as it pertains to art and those who create it. According to The Essentials of Unification Thought, art is considered a way of attaining "dominion over creation" and being a "co-creator" with God. As such, artists who have grown to perfection through the three stages of growth and resemble God in matters of heart as defined in the Divine Principle, would then use their talent to promote and foster conditions conducive to the realization of true love.
You will find that from the beginning of the world [music] has been instilled and implanted in all creatures, individually and collectively. For nothing is without sound or harmony…Music is a gift and largesse of God, not a human gift. Praise through word and music is a sermon in sound.
Augustine's timorous distrust of music and its emotional effect on one's psyche and behavior was not without merit. Confucius, Plato and Aristotle shared similar concerns about the moral and ethical power of music. Eventually Augustine would concede that the spiritual power of music could raise one's consciousness and allow for a more devotional worship experience, thereby facilitating one's efforts towards becoming more "godly" in everyday life. In this context, the process of achieving mind and body unity centering on God—a central tenet of Divine Principle—would be expedited by having the proper attitude about music and its effects on the soul.
Like most deeply held views that claim certitude regarding a particular moral stance, the idea of music having moral and ethical power is viewed as inherently suspect in our post-modern age. Post-structuralists such as Michel Foucault and Jacques Derrida are basically progeny of Nietzsche. They have strenuously rejected the idea that there are absolute truths on which to base a moral and ethical vision. Truth for Nietzsche was an illusion based on an "a mobile army of metaphors, metonymies, anthropo¬morphisms." Yet as we understand, the moral and ethical view of art has been a common contention from antiquity into the late nineteenth century. Roger Scruton argues that the idea of art's possessing moral and ethical aspects remains a significant aspect of our collective cultural psyche. As Nietzsche's laudation of the prelude to Wagner's opera Parsifal illustrates, the power of music to affect one's consciousness is without question. It is hard to imagine that post-structuralists would deny the premise that art affects our consciousness and behavior, but rather than attribute that phenomenon to a particular set of objective principles—tonal theories, for instance—they relegate that power to the relativity of one subjective response to the music—our personal perspectives and interpretations. Absolutes are not part of the equation.
who flatly deny the ethic power of music, nor do they admit any moral obligation on the part of those writing. For them, music is essentially a play with tones, and although they spend a considerable amount of intelligence and craftsmanship to make it look important, their composition can be of no greater value, as a sociological factor, than bowling or skating.
Everyone has an innate tendency and desire to invent new things, develop new ideas, and live a creative life. This is a refection of God's own character and ability to create new things, which is called Creativity. It was this character of God that enabled Him to create human beings and all things… God has given us His Creativity. In order to understand the purpose and nature of our creativity, we need to understand God's own Creativity.
Acceding to this understanding may be seen by some as an attempt to anthropomorphize God, but rather it is an attempt to discover (or recover) our own divinity with regard to our ability to be co-creators with God. According to Divine Principle God possesses both masculine and feminine elements, thus by bestowing the attribute of creativity to His/Her children, the objects of His/Her love, God was acting as a supremely loving parent by sharing an intrinsic attribute of His/Her being with the ones He/She loved. By acting as co-creators with our Heavenly Parent, the principle of "creation in likeness" is realized in accord with the Theory of Original Image.
God's creativity, with which He made the world, was given to man as a potentiality… God's creativity is based on Heart, whereas fallen man's usually is not… fallen man usually sets it up based primarily on reason. Consequently, his creativity has given rise to ill effects.
Our potential as creative beings is then realized in the most godly and noble fashion when we create according to the ethical premise of living for the sake of a higher purpose. Understanding the "ethic power" of music vis-à-vis the axiological tenets of Unification Thought and Divine Principle allows the artistic person to become a responsive object to the prime source of creative energy—God.
Many composers of the Romantic era, Beethoven, Brahms, Liszt, Strauss and Puccini to name but a few, alluded to the experience of being an object or vessel of divine inspiration and guidance in their creative endeavors. Brahms would go as far to say that when he felt connected to God in his creative moments he would hear distinct themes, harmonic progressions and forms. Hindemith too was echoing the attitudes of antiquity regarding the importance of the "ethic power" of music and the "moral responsibility" of artists.
The bodily shape belongs to the world of space, and everything special has a sound. The sound arises out of harmony. Harmony arises out of relatedness. Harmony and relatedness are the roots from which music, established by the ancient kings, arose… Perfected music has a cause.
Justice arises from the true purpose of the world. Therefore one can speak of music only with one who has recognized the true purpose of the world.
This enlightened perspective points to a plethora of important tenets of Divine Principle: give-and-take action, polarity, Origin-Division-Union, the Three Object Purpose, the relationship between the incorporeal and corporeal worlds, unity, subject-object relationships, spherical motion, the three stages of growth, freedom, the Purpose of Creation, and ultimately the manifestation of Individual Embodiments of Truth—individuals who attain their divinity by living for the sake of others.
These are the effects of music: It awakes the remote counsel, brings closer the stray thought, and strengthens the tired mind. Music, therefore, causes the return (to the soul) of that which was lost; it makes us pay attention to that which was neglected, and that which is turbid becomes clear. He who has been exposed to this beneficial influence participates in every counsel and opinion, and finds the right one without error. He will fulfill his promise without delay.
Ears as the gateway to the mind and heart as well as to a higher knowledge of "the true image of the world"; how utterly sublime!
The reference to "two poles" in Lu Buwei's philosophical text is especially pertinent in the understanding of sound as it pertains to music, which is the practice of ordering sound—consonant and dissonant pitch relations (intervals) that are present in the overtone series as discovered by Pythagoras—in a meaningful and aesthetically pleasing (harmonious) fashion. Tonality as a musical syntax evolved from the monophonic music of the early Christian church in Europe. Although this type of tonal centricity can also be found in the folk music of Asia and the Middle East, it was in the Christianized West that the tonal idiom advanced to its richest and most fully developed expression.
As composers in Europe during the Middle Ages and the Renaissance began to write polyphonic music—music with greater linear complexity in which multiple melodies would be intertwined in a harmonious fashion—the natural by-product of this technique was a vertical alignment of tones that yielded shifting but definite harmonic modalities. The evolution of harmonic syntax though the fifteenth and sixteenth centuries, along with the experiments in tuning and interval modification (temperament) led to the development of theories which in turn gave rise to a codified system of major and minor scales and key centers. Similar to the development of natural languages, the rules and "grammar" of tonality were abstracted after usage, not before. It is the intrinsic, subconscious desire for communication, beauty and love that lies at the heart of the tonal syntax.
This is perhaps the most significant aspect of the tonal syntax, for ontologically, tonality (like natural language) is predicated on harmonious relationships of polar opposites, which in turn allows for cognition and communication. As Leonard Bernstein reminded us, that to the degree that music is a language, it is a metaphorical language, yet the similarities are striking. Whereas natural languages consist of polar opposites such as consonants and vowels (phonology/sound), nouns and verbs (syntax/order) and semantics and grammar (meaning and representation), the tonal idiom consists of its own corresponding polarities—consonance and dissonance (phonology), major modes and minor modes (syntax) and primary and secondary chord relations (semantics) which contribute to the communicative power of tonal music. Polar relations in tonality are not arbitrary but have distinct syntactical significance.
It is in the transmoral dimension of aesthetic experience that beauty approaches God. All the laws from and within God—give and take, polarity, harmony—connect beauty from all cultures. And to the extent that they clearly amplify and substantiate God's nature they evoke a response of love and appreciation from man. Since God represents absolute love and freedom, beauty is never confined.
If we take Kim's erudite view at face value, we then we have the basic framework to assess the metaphysical properties of tonal music as it pertains to aesthetics and values (axiology).
Natural (Divine) law is manifested in the tonal syntax in a number of significant ways. Interestingly, Schoenberg did not dispute this. He conceded that the harmonic "ebb and flow" of polar opposites is that which gave tonality its "strong effect of cohesion" and emotive power. He considered the concept of polarity to be natural and readily acknowledged that the lack of harmonic cohesion, especially with regard to the pitch sets and chord construction in atonal music, made it difficult to comprehend and derive pleasure from it. He believed that this was due in large part to the lack of "the external rounding-off and self-containedness that this simple and natural principle [polarity] of composition brought about better than did any of the others used alongside it." He noted that the indeterminate harmonic and thematic characteristics of atonality do not easily supplant the natural implications and the resultant emotional impact of the tonal idiom.
The irony, of course, that in Schoenberg's attempts to avoid consonances and "simpler dissonances (diminished triads and seventh chords)—in fact, almost everything that used to make up the "ebb and flow of harmony," he was rejecting several fundamental principles of nature and the cosmos; namely polarity and correlation. In 1961 Theodore Adorno, a disciple of the neo-Marxist Frankfurt School and a staunch advocate of atonal serialism, acknowledged that the indeterminate musical utterances that were the result of Schoenbergian aesthetics created cognitive constraints and a condition where "it was difficult to avoid the sense of a certain monotony, of an excessive similarity in the numerous works composed from pitch particles and discrete individual sounds," music that "frequently seemed all too mechanical and lacking in tension." The tension (and subsequent resolution of tension) that Adorno longed for is precisely that which gives tonality its cohesiveness and emotional richness—its aesthetic raison d'être. Beauty and meaning in tonal music is a direct result of the aforementioned phonology, syntax and semantics that is highly predicated on polarity and relational circumstances—consonance/ dissonance, major/minor, for instance.
This scenario begs several questions: If tonality really was the best manifestation of nature in music, why try to supplant it with something that was unnatural? If the tonal idiom was the best we had, why the attempts to get rid of it?
The functional relationship of tonic and dominant chords demonstrates and manifests the polar principle of opposites, in this case consonant and dissonant intervals, acting in a harmonious fashion—the "ebb and flow" that Schoenberg alluded to. Tonality is thus hierarchical and relational in that the aural center of a particular modality can be determined only when two or more pitches or triads exist in a subject-object relationship.
In the tonal syntax, a C-major triad, for instance, can serve several functions depending on the aural context (aesthetics) and theoretical function (law) in which it occurs. This is a manifestation of the Triple Objective Purpose as noted in Divine Principle. In the key of C major, the C-major triad functions as the tonic (I) chord. In the key of F-major that same triad functions as the dominant (V) chord. In the key of G-major the C major triad functions as the sub-dominant (IV) chord, and in the key of E-minor the same triad functions as the sub-mediant (VI) chord. One triad has four functions, in alternating modes of subjectivity and objectivity depending on the key center.
Musical architecture and form was influenced by the evolution of the tonal syntax as well. Sonata form, a musical structure that was prominent in the eighteenth and nineteenth centuries, encompasses a dual-key tonal framework and has three distinct sections: the exposition, the development and the recapitulation. This tripartite musical structure is a manifestation of the Three Stages of Growth (formation, growth, completion) as well as the Principle of Polarity (subject-object) and Origin-Division-Union as articulated in the Divine Principle's Principle of Creation.
In the sonata form, the primary theme is stated in the exposition in the tonic (or home) key and a second contrasting theme is then presented in a contrasting key center, usually based on the dominant key (G major in the key of C major, for example.) These themes then undergo various permutations in the middle development section, often appearing in different keys centers or going through different harmonic sequences. In the recapitulation the original themes are restated in the "home" key. The two themes presented in the exposition have been referred to as masculine and feminine due to their contrasting characters, with the first theme usually strong, energetic and possessing high degrees of rhythmic intensity, while the second theme possessing greater lyricism but with more rapid harmonic progressions.
In addition to the polarity paradigm, Biblical numerology plays into the idiom of tonality, specifically the numbers 3 (representing heaven) and 4 (representing earth), and their multiples. There are two basic modalities: major and minor. The octave in Western music is divided into 12 equal parts (semitones). There are 7 pitches in the diatonic scale, with the 8th pitch being the start of a new octave—a new beginning. There are 7 "flat" major keys and 7 "sharp" major keys, each having a "relative minor" key counterpart. The basis of Western harmony is the triad, a vertical organization of 3 pitches consisting of major and/or minor thirds. The number 7 is also evident in the overtone series, as the 3-octave span based on any "fundamental" tone, consists of 7 intervals (known as partials) which results in a dominant 7th chord in tonal theory. These associations may seem to be superficial and somewhat arbitrary, but to those who believe in a supreme design and supreme Designer, they indicate that the idea of cosmic order is not the result of mere accident, luck, capriciousness or determinism.
What we need to consider is not nature, but human nature… the universality of music depends on the basic characteristics of the human mind; especially upon the need to impose order upon our experience... musical systems are ways of ordering sounds. What is universal is the human propensity to create order out of chaos.
Mr. Storr gets no argument from me on the "human propensity for order" aspect of his assumption. However, this is only a part of the equation, for it does not take into account that God played a role in creating the natural elements such as the overtone series, air, ears, the cerebral cortex, central nervous systems, etc., (the grand design.) These elements are required for the production, ordering and reception of sound that results in what we perceive as music. Schopenhauer believed that we are "pre-programmed" and that we are compelled to experience the world in space and time, with an understanding that there exists a "causal" dimension that governs our perceptive capabilities. When sound is ordered according to tonal gram¬mar, it affects our psyche in profound ways. As Divine Principle asserts, the fulfillment of God's ideal in any endeavor is accomplished only when God and humankind exist in a co-creational mode of subject and object. A theory of music that is based, even tangentially, on the natural laws and principles that govern sound production can be considered to have "godly" attributes. Humans organize sound based on man-made methodologies, but humankind did not create the laws of acoustics nor the material concerns required for production, hearing and cognition.
Though consonance is once again fashionable, it is the polar relation¬ship of consonant and dissonant intervals, or tonic and dominant triads, which yields the cathartic experience that is highly evident in tonality. Compositional practices that avoid either consonance or dissonance, or that contain a preponderance of one over the other, often result in music that is soulless, unexciting and decidedly non-Romantic.
Creation and appreciation are not entirely different. Creation is closely related to will, and appreciation to intellect, but both activities are performed centering on emotion… An appreciator creatively adds his own way of thinking, individuality, ideas… to the work of art in order to establish a closer resemblance between the work and himself.
Many composers who continued to work in tonal, pan-tonal and extended-tonal syntaxes in the wake of the Schoenbergian revolution in the first half of the twentieth century—Britten, Shostakovich, Hindemith, Bartok, Prokofiev, Vaughan-Williams, Copland and Janacek, to name but a few—actually looked to Jazz and folk music for source material far more than to the concepts of Schoenberg or Varèse. Their rationale for doing so indicated an understanding that aesthetic beauty and emotional communication still mattered, and that tonal syntax remained an efficacious way to realize both.
When Pulitzer Prize-winning composer Jennifer Higdon (b. 1962) received a commission to compose a new work for the seventy-fifth anniversary of Philadelphia's Curtis Institute of Music, her thoughts regarding her work revealed a decidedly Romantic notion: "Curtis is a house of knowledge—a place to reach towards that beautiful expression of the soul which comes through music." Her resulting composition, Blue Cathedral, is a reflection of that notion. Stylistically it is not the Romanticism of Mahler or Strauss, but in spirit and syntax it clearly possesses a Romantic soul, for it is music of tenderness, passion and warmth—music that speaks to the totality of our humanity. Like other Curtis Institute alumni who composed in the spirit of Romanticism, most notably Samuel Barber (1910-1981) and Lee Hoiby (1926-2011), Higdon seemingly understands that expressive communication is most readily activated by a musical idiom that is aesthetically ingratiating.
T.S. Eliot's view of "tradition," and all that it implies aesthetically and socially, is now seen as being objectionable due to its pleading that one function of art is to impose order on the human condition. This is seen as a non-egalitarian and non-progressive—restrictive, in fact. Yet this Eliotic concept is one that the ancients easily ascribed to. As the music of Hoiby, Higdon, Whitacre, Pärt, and other composers who revere music's ability to elicit the "beautiful expression of the soul" demonstrates, there now exists a more humane and "traditional" rationale evident among many post-modern composers. This should be seen as being a positive and necessary condition if art music is to make its way out of the margins of our contemporary culture and once again provide a way for humanity to engage in what Schiller called the "aesthetic education" of the soul. If music isn't aesthetically ingratiating, any rationale for it to be socially relevant is unconvincing.
Romanticism is alive and well in the human condition. In fact, it could be said that it never really died, Nietzsche's Zarathustrian obituary not withstanding. The artistic provocations of Andy Warhol's soup cans or John Cage's sitting at a piano with a stopwatch, no matter how novel, can never supplant our fundamental desire and need for beauty. As Schiller, Schopenhauer and Kant remind us, beauty possesses a transcendent facet that allows us to be in touch with our inner selves and thus can be seen as being essentially a necessity for developing altruistic and humane perspectives to guide us in our quest for fulfillment and joy—the purpose of life according to Divine Principle.
 Jack Beal, Artist to Artist: Inspiration and Advise from Visual Artists Past & Present, compiled by Clint Brown (Corvallis, OR: Jackson Creek Press, 1998).
 Harold C. Schonberg, The Lives of the Great Composers (New York: W. W. Norton, 1981), p. 595.
 Allan Bloom, Love and Friendship (New York: Simon and Schuster, 1993), p. 260.
 Robert C. Reilly, "Reaching the Transcendent," World & I Magazine 5/1 (January 1990). Online edition, article #17368.
 Roger Scruton, Philosophy: Principles and Problems New York: Continuum, 1996), p. 95.
 Robert Morse Crunden, Body and Soul: The Making of American Modernism (New York: Basic Books, 2000), p. 49.
 Richard Taruskin, The Danger of Music and Other Anti-Utopian Essays (Berkeley: University of California Press, 2009), p. 317.
 IRCAM: U.S. Tour Program Notes, IRCAM editions, Paris, 1986, p. 10.
 George Rochberg, The Aesthetics of Survival, On the Renewal of Music (Ann Arbor, MI: University of Michigan Press, 1984), p. 237.
 Roger Scruton, Understanding Music: Philosophy and Interpretation (London-New York: Continuum, 2009), p. 125.
 Deryck Cooke, Gustav Mahler: An Introduction to His Music (London: Cambridge University Press, 1980), p. 12.
 Rochberg, Aesthetics of Survival, p. 236.
Exposition of the Divine Principle (New York: H.S.A.-U.W.C, 1996), p. 37.
 Patrick Kavanaugh, Spiritual Lives of the Great Composers (Grand Rapids, MI: Zondervan, 1992), p. 19.
 Calvin Martin Bower, Boethius' The Principles of Music, an Introduction, Translation, and Commentary, Ph.D. Dissertation, George Peabody College for Teachers, 1967, pp. 31-44.
 Augustine, Confessions, translation by Henry Chadwick (Oxford: Oxford University Press, 1991), p. 208.
 James R. Gaines, An Evening in the Palace of Reason (New York: Harper-Collins, 2005), p. 45.
 Paul Hindemith, A Composer's World-Horizons and Limitations (Cambridge, MA: Harvard University Press, 1951), p. 64.
 Sang Hun Lee, Explaining Unification Thought (Barrytown, NY: Unification Thought Institute, 1981), p. 36.
Explaining Unification Thought, p. 107.
 David Tame, The Secret Power of Music (Northamptonshire, England: Turnstone Press, 1984), pp. 34-35.
Joscelyn Godwin: The Harmony of the Spheres (Rochester, VT: Inner Traditions International, 1993), p. 95.
 Johannes Kepler: Harmonices Mundi, trans. C.G. Wallis (Chicago: University of Chicago Press, 1952), p. 295.
 Fred Lerdahl, "Cognitive Constraints on Compositional Systems," in Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition, ed. John Sloboda, (Oxford: Oxford University Press, 1988), pp. 231-59. Reprinted in Contemporary Music Review 6/2 (1992): 97-121.
 Young Oon Kim: Unification Theology and Christian Thought (New York: Golden Gate Publishing, 1975), p. 181.
 Arnold Schoenberg, Style and Idea: Composition with Twelve Tones, ed. by Leonard Stein, (Berkeley: University of California Press, 1975), p. 209.
 Theodore Adorno, Quasi Una Fantasia: Essays on Modern Music (London–New York: Verso Classics, 1998), p. 179.
 Thomas Christiansen, The Cambridge History of Western Music Theory (Cambridge: Cambridge University Press, 2002), p. 75.
 Anthony Storr, Music and the Mind (New York: Ballantine Books, 1993), p. 63.
Exposition of the Divine Principle, pp. 32-36.
 John Adams, Harmonium, Telarc CD-80365 liner notes, 1995.
 Vivien Scheitzer, "Voices Raised to Echo Higher Worlds," New York Times, November 9, 2010, p. C5.
Explaining Unification Thought, p. 271.
 Jennifer Higdon, Blue Cathedral, Telarc CD-80596, liner notes, 2002.
 Taruskin, The Danger of Music, p. 201.
Exposition of the Divine Principle, p. 1.


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This could be the secret Eurovision winner behind Slovenia's 2021 entry
Elvir Pelešević / 6th February 2021 at 10:20 / Eurovision Song Contest, National Selection / Slovenia
Ana Soklič at Slovenian selection EMA 2020.
Yesterday, Slovenia's national broadcaster revealed that they already have selected their entry for Rotterdam this May. In addition, the broadcaster also announced that the song has been written by a Eurovision winner. We got curious to find out, who this secret person could be.
In our attempt to come closer to, who has written the song that Ana Soklič will perform at 2021 Eurovision Song Contest, we had two clues to follow. The first one is that the secret songwriter previously has collaborated with Miley Cyrus, and the second one is that he or she wrote a winning Eurovision entry from the past decade. Our research led us to the name of Charlie Mason. Back in 2010 he co-wrote Miley Cyrus' song Kiss It Goodbye. At that time, she was better known as Hannah Montana. And then in 2014, Mason co-wrote the winning song of Eurovision Song Contest, Rise Like A Pheonix, which Conchita Wurst performed in Copenhagen.
Who is Charlie Mason?
Charlie Mason is an American lyricist who previously had collaborated with the artists such a Miley Cyrus, Girl's Generation, Eric Saade, Robin Beck, Sergey Lazarev, Sarah Connor, Monrose, Sanna Nielsen and Danny Saucedo. Mason got his start as a lyricist working with German vocalist-musician Dirk Homuth on songs for an alt-pop group which Homuth named Almost Charlie so that, although his friend is unable to play any instrument more complicated than a toaster, he could still be represented in some way. To date, the act has released three albums, Loving Counterclockwise (2006), The Plural of Yes ( 2009) and Tomorrow's Yesterday (2012).
In his career, Charlie Mason has delivered several Eurovision entries. Here is the list:
L'amore è Femmina by Nina Zilli , Italy, (Eurovision Song Contest 2012), 9th place
Rise Like a Phoenix by Conchita Wurst , Austria, (Eurovision Song Contest 2014), 1st place
Beauty Never Lies by Bojana Stamenov , Serbia, (Eurovision Song Contest 2015), 10th place
Here for You by Maraaya , Slovenia, (Eurovision Song Contest 2015), 14th place
The Slovenian connection
It is an interesting fact, that Charlie Mason has collaborated with a number of Slovenian artist before, which could be a legitimate explanation how his collaboration with Ana Soklič was established. Beside Slovenian Eurovision entry Here For You, Mason also wrote two other songs for the duet Maraaya: Lovin' Me (2014) and It's Complicated feat. BQL (2017). In 2018, he co-wrote the song Promise for another Slovenian duet BQL which took part in Slovenian national selection EMA. In 2019, Mason collaborated with Ula Ložar, who performed the song Fridays at EMA that year. Back in 2012 he penned the song for the world-famous Slovenian alpine ski racer Tina Maze titled My Way Is My Decision.
In the video embedded, you can watch the video for Miley Cyrus' (Hannah Montana) song Kiss It Goodbye
6th February 2021 in Eurovision Song Contest, National Selection. Tags: Ana Soklič -, Charlie Mason Countries: Slovenia
Maraaya sings about the eternal love on new single "1000 Let"
25th June 2021 at 20:12 Elvir Pelešević
Ana Soklič's 'Naj Muzika Igra' in focus – discover other music from Eurovision 2021 acts
19th June 2021 at 20:10 Gunec Gulun Yazıcıtunc
Eurovision 2022: Second semi-final Jury show (with predictions)
← Eurovision 2022: Semi-final 1 result – these are the lucky qualifiers
Eurovision 2022: What to expect from Semi-Final 2 →

redpajama_set_name: RedPajamaCommonCrawl


Quick question related to .Net Core and EF Core. Let's say I need to create a new web application with .Net Core. Is it a requirement to use EF Core to perform data access in .Net Core? Can I still use the SqlClient.SqlConnection and create the SQL Commands in a .Net Core application?


Grocery stores may still be stocked with food and most Americans are still able to keep their family's fed, but with 50 million Americans requiring government assistance to do so and prices on a seemingly never ending rise, how long will it be before the situation becomes unmanageable?
The global food crisis you need to prepare for is now imminent.
For the past six years the world has consumed more food than it has produced. As a result, global food reserves are at the lowest level since 1974, when the world had 4 billion people. Today we have 7 billion.
Like a person living paycheck-to-paycheck, the world is now living year-to-year when it comes to food supplies.
According to the U.N., world grain reserves are so dangerously low that severe weather in the U.S. or other food exporting countries could trigger a major hunger crisis next year. The U.N. also warns that supplies are so tight and reserves are so low that we literally have no room for an unexpected event in 2013.


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The Budget McLaren SLR? 2006 Mercedes SL55 AMG Review
Video Upload JayEmm on Cars | Search JayEmm on Cars
This week is mighty engine week, and so I'm featuring one of Mercedes' most famous powerplants. Before the epic 6.2L V8 M156, or the thunderous 4L twin turbo, there was this - the 5.4L M113, which powered a whole host of cars including the mighty Mercedes McLaren SLR. But for far less money you can get it in the SL55, and how does that sound for under £20k?
Looking for a new car or commercial vehicle?
Pendle Lease can supply any make or model of car and van with a leasing package tailored to your needs, whether it be a business or personal lease. Head over to the Pendle Lease website, where you will find all of the latest leasing special offers. Once you've found something you like, give them a call on 01277 549500 or email [email protected] and one of the Pendle Team will be happy to help!
LANCASTER INSURANCE CLASSIC MOTOR SHOW, WITH DISCOVERY, 2019 SPECIAL OFFER
Sign up using our link for the 2019 Classic Motor Show and you could win a £50 Meguiars gift set. Just follow the instructions here: https://www.necclassicmotorshow.com/jayemm-cars-competition
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LOVE MY CRAZY SHIRTS?
Get your own from CLAUDIO LUGLI! Check out their site - http://www.claudioluglishirts.com and enter JAYEMM15 at the checkout for a discount on us!
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Enter "jayemm10" in your basket at Opie Oils for 10% off your next oil order!
2006 BMW M5 Review - Bavaria's V10 Masterpiece
JayEmm on Cars
Over a decade ago BMW replaced their own legendary super saloon, the E39 M5. Packing a 400bhp 5L V8 and classic styling, how could BMW improve upon that? A 500bhp 5L V10 was a good start, but paired to a seven speed SMG, fifteen years later is this four door masterpiece still brilliant, or just old hat? Looking for a new car or commercial vehicle? Pendle Lease can supply any make or model of car and van with a leasing package tailored to your needs, whether it be a business or personal lease. Head over to the Pendle Lease website, where you will find all of the latest leasing special offers. Once you've found something you like, give them a call on 01277 549500 or email [email protected] and one of the Pendle Team will be happy to help! LANCASTER INSURANCE CLASSIC MOTOR SHOW, WITH DISCOVERY, 2019 SPECIAL OFFER Sign up using our link for the 2019 Classic Motor Show and you could win a £50 Meguiars gift set. Just follow the instructions here: https://www.necclassicmotorshow.com/jayemm-cars-competition Follow us on Social Media: http://www.instagram.com/JayEmmonCars/ http://www.facebook.com/JayEmmonCars/ http://www.twitter.com/JayEmmonCars Support us on Patreon here: https://www.patreon.com/JayEmmOnCars If you're a car fan looking for local car meets, also check out the new site CARHUDDLE: https://carhuddle.com/ LOVE MY CRAZY SHIRTS? Get your own from CLAUDIO LUGLI! Check out their site - http://www.claudioluglishirts.com and enter JAYEMM15 at the checkout for a discount on us! Need oil for your car? Enter "jayemm10" in your basket at Opie Oils for 10% off your next oil order! ------------------------------------------------------------------------------------------------------------
Audi's Craziest SUV - The £155,000 Q7 V12 DIESEL Exclusive Concept!
Ten years ago, to celebrate their success at Le Mans with the diesel powered R10 V12, Audi decided to create a V12 diesel powered road car. Only one car ever received the engine, the already luxurious Q7. At almost £100,000 the Q7 V12 was £40,000 more expensive than the next cheapest model, and more even than a Cayenne Turbo. Not content with that, Audi also introduced their Exclusive Concept, which may or may not ever have sold - but they made one, and today they've let me loose in it! Looking for a new car or commercial vehicle? Pendle Lease can supply any make or model of car and van with a leasing package tailored to your needs, whether it be a business or personal lease. Head over to the Pendle Lease website, where you will find all of the latest leasing special offers. Once you've found something you like, give them a call on 01277 549500 or email [email protected] and one of the Pendle Team will be happy to help! LANCASTER INSURANCE CLASSIC MOTOR SHOW, WITH DISCOVERY, 2019 SPECIAL OFFER Sign up using our link for the 2019 Classic Motor Show and you could win a £50 Meguiars gift set. Just follow the instructions here: https://www.necclassicmotorshow.com/jayemm-cars-competition Follow us on Social Media: http://www.instagram.com/JayEmmonCars/ http://www.facebook.com/JayEmmonCars/ http://www.twitter.com/JayEmmonCars Support us on Patreon here: https://www.patreon.com/JayEmmOnCars If you're a car fan looking for local car meets, also check out the new site CARHUDDLE: https://carhuddle.com/ LOVE MY CRAZY SHIRTS? Get your own from CLAUDIO LUGLI! Check out their site - http://www.claudioluglishirts.com and enter JAYEMM15 at the checkout for a discount on us! Need oil for your car? Enter "jayemm10" in your basket at Opie Oils for 10% off your next oil order! ------------------------------------------------------------------------------------------------------------
How expensive was it to own a Mercedes SL 55 AMG?
SwissReviews
Before selling it, I review my 2002 Mercedes-Benz SL 55 AMG and I list and add up all the costs I've had to buy and maintain the car. If you only want to know the costs, go directly to 18:25. Spoiler: It's CHF 22'370.- in 794 days and 23'571km of ownership. CHF 10'284.-/year CHF 856.97/month CHF 197.76/week, CHF 28.17/day CHF 0.89/km At the time of filming CHF 1.- ~ USD 1.- Expensive? Yes, but considering I got to drive a gorgeous 500hp roadster for two years it's not too bad.
Why This Stage 2 Modified Saab 9-3 Made Me Feel Something Very Unusual...
Follow us on Social Media: http://www.instagram.com/JayEmmonCars/ http://www.facebook.com/JayEmmonCars/ http://www.twitter.com/JayEmmonCars Support us on Patreon here: https://www.patreon.com/JayEmmOnCars If you're a car fan looking for local car meets, also check out the new site CARHUDDLE: https://carhuddle.com/ LOVE MY CRAZY SHIRTS? Get your own from CLAUDIO LUGLI! Check out their site - http://www.claudioluglishirts.com and enter JAYEMM15 at the checkout for a discount on us! Need oil for your car? Enter "jayemm10" in your basket at Opie Oils for 10% off your next oil order! ------------------------------------------------------------------------------------------------------------
Mercedes S-Klasse W140 - TOPGEAR '91
12 г. назад
The 1991 Topgear's S-Klasse review. A real classic
I Bought the Cheapest Teal GMC TYPHOON in the USA, and It's Faster than a FERRARI!
Hoovies Garage
Thanks Extreme Automotive Addiction for selling me the Typhoon! Check out his video here: https://www.youtube.com/watch?v=bP5IYPsdE18 Read my column on Autotrader here: https://www.autotrader.com/oversteer Buy Hoovie's Garage T-Shirts here: https://hooviesgarage.com/collections... Follow me on Twitter! https://twitter.com Follow me on Facebook! https://www.facebook.com/hooviesgarage/
This Little Box Made My Cheap SL55 AMG STUPID FAST! - Project SL55 Pt 8
Tavarish
Get the best AMG power mods at VRP►http://bit.ly/2Bp45sK Coupon Code►TAVARISH Click to Subscribe! ►http://bit.ly/2xZGtYN Tavarish Shirts and Merch! ►http://bit.ly/2yYFNRU I give my car the power upgrade it so sorely needed. OK, maybe it didn't need it, but who can say no to horsepower? Pulley and Tune provided by Victory Road Performance (VRPSpeed.com) Parts used: VRP 76mm Pulley and Tune►http://bit.ly/2yQpGIf Gates K080505HD Belt►http://amzn.to/2kcJ9tO Questions? Comments? Business inquiries? Email me at [email protected] Tavarish on Social: Wheelwell ►http://bit.ly/2vyWdhL Facebook ►https://www.facebook.com/asktavarish Twitter ►https://www.twitter.com/theRealTavarish Instagram ►https://www.instagram/therealtavarish Intro music: NIVIRO - You [NCS Release]►https://www.youtube.com/watch?v=2Nv5juZKhKo Music by Joakim Karud► http://youtube.com/joakimkarud Chris Rae - Liquid Latin►https://www.youtube.com/watch?v=NnNhx_esj0A Outro Music: Malik Bash - Ghosts [NCS Release]►https://www.youtube.com/watch?v=-9Z5Nhsm7GA
What Makes A Great Engine? The Honda S2000 & Its Legendary F20C
This week I'm looking at three cars known for their engines. We start with the smallest and least powerful - but in many ways the most impressive. Honda's S2000 launched in 1999 and 20 years later the bonkers F20C at the heart of the car still sets car guys imaginations on fire. I ponder why that might be. Looking for a new car or commercial vehicle? Pendle Lease can supply any make or model of car and van with a leasing package tailored to your needs, whether it be a business or personal lease. Head over to the Pendle Lease website, where you will find all of the latest leasing special offers. Once you've found something you like, give them a call on 01277 549500 or email [email protected] and one of the Pendle Team will be happy to help! LANCASTER INSURANCE CLASSIC MOTOR SHOW, WITH DISCOVERY, 2019 SPECIAL OFFER Sign up using our link for the 2019 Classic Motor Show and you could win a £50 Meguiars gift set. Just follow the instructions here: https://bit.ly/33sfUcB Follow us on Social Media: http://www.instagram.com/JayEmmonCars/ http://www.facebook.com/JayEmmonCars/ http://www.twitter.com/JayEmmonCars Support us on Patreon here: https://www.patreon.com/JayEmmOnCars If you're a car fan looking for local car meets, also check out the new site CARHUDDLE: https://carhuddle.com/ LOVE MY CRAZY SHIRTS? Get your own from CLAUDIO LUGLI! Check out their site - http://www.claudioluglishirts.com and enter JAYEMM15 at the checkout for a discount on us! Need oil for your car? Enter "jayemm10" in your basket at Opie Oils for 10% off your next oil order! ------------------------------------------------------------------------------------------------------------
What The Hell Is A Venturi Atlantique 300?
I'm back at John Ashley Cars in Rotherham and today I am filming something incredibly special - the hyper rare Venturi Atlantique 300. One of only a handful ever officially imported into the UK, how does this mythical beast drive? Follow us on Social Media: http://www.instagram.com/JayEmmonCars/ http://www.facebook.com/JayEmmonCars/ http://www.twitter.com/JayEmmonCars LANCASTER CLASSIC MOTOR SHOW 2019 SPECIAL OFFER Sign up using our link for the 2019 Classic Motor Show and you could win a £50 Meguiars gift set. Just follow the instructions here: https://www.necclassicmotorshow.com/jayemm-cars-competition Support us on Patreon here: https://www.patreon.com/JayEmmOnCars If you're a car fan looking for local car meets, also check out the new site CARHUDDLE: https://carhuddle.com/ LOVE MY CRAZY SHIRTS? Get your own from CLAUDIO LUGLI! Check out their site - http://www.claudioluglishirts.com and enter JAYEMM15 at the checkout for a discount on us! Need oil for your car? Enter "jayemm10" in your basket at Opie Oils for 10% off your next oil order! ------------------------------------------------------------------------------------------------------------
The Mercedes SL65 AMG Black Series Was a $300,000 Monster
GO READ MY COLUMN! https://www.autotrader.com/research/article/car-news/281474979847785/video-mercedes-benz-sl65-black-series-was-ultimate.jsp The Mercedes-Benz SL65 AMG Black Series was the ultimate Mercedes SL. Today, I'm reviewing an SL65 Black Series to show you why the Mercedes SL65 Black Series was so cool. FOLLOW ME! Facebook - http://www.facebook.com/ddemuro Twitter - http://www.twitter.com/dougdemuro Instagram - http://www.instagram.com/dougdemuro DOUGSCORE CHART: https://docs.google.com/spreadsheets/d/1KTArYwDWrn52fnc7B12KvjRb6nmcEaU6gXYehWfsZSo
Banned my best friend from buying cars... so he bought this instead!
If you follow my channel, you may have seen the exploits of my best friend and cameraman Lawrie - he dragged me to Cornwall to buy a fire engine, and to Wales to buy a clapped out MR2. When I noticed he had filled all of his storage space and some of mine with his purchases, I told him he wasn't to buy any more cars. And now he's bought something. But it's not a car. If you've enjoyed this video, please follow my Instagram, Twitter and Facebook feeds for unique behind-the-scenes features not seen on YouTube! http://www.instagram.com/JayEmmonCars/ http://www.facebook.com/JayEmmonCars/ http://www.twitter.com/JayEmmonCars And if you LOVE driving, and are based in Europe, I am now running an events and track day company called Magnitude - sign up for their newsletter here! http://eepurl.com/bTMtcf
Here's How Much It Costs To Fix My $8900 Mercedes SL55 AMG At The Dealer
SUBSCRIBE! ► http://bit.ly/1KJFoSE I took my cheap SL55 to the dealer to see how much it would cost to fix everything broken on my car. I think I'm gonna be sick. Watch my other SL55 AMG videos ► https://www.youtube.com/playlist?list=PLrvMJaD0-PucdxDJmaWvaUsi9C78NB7Sg Questions? Comments? Business inquiries? Email me at [email protected] Tavarish on Social: Facebook ►www.facebook.com/asktavarish Twitter ►www.twitter.com/theRealTavarish Instagram ►www.instagram/therealtavarish Music used in this episode: youtube.com/CHUKIbeats
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Following the US, France and UK strikes on Syria and the possibility of Russian and Syrian retaliation, Syrian Christians see this as a critical moment for them. They are concerned for all their fellow-citizens, and especially because further missile attacks are thought likely to target Damascus and other regions where Christians form a substantial part of the population. Mothers are in distress each day as they send their children off to school, wondering if they will see their little ones again, longing to be with them if a missile strikes.
Syrian Christian leaders have called believers around the world to prayer and fasting for their nation. A Christian leader has spoken to Barnabas Fund of the Syrian Christians' conviction that God is with them at this time, as He has been during the last seven years of war.
Despite losing so many killed and wounded, despite the fact that so many have fled to seek refuge both internally and externally, the Christians continue to believe and to express their confidence in God that He will be their Helper and their Protector, that He is sovereign, and above all else that He is with them at this time of great trial.
Syrian Christians call upon the international community to find ways of peace, and for Christians around the world to pray with them and for them. They fear that an international war in their beloved homeland will not only devastate the whole Syrian population but could be a catastrophe for the Syrian Christian community and for all Christians in the Middle East.
Indeed, the damage to Christians in Islamic contexts could go still further. A Pakistani Christian leader said last month that a war in the Middle East could trigger attacks on Christians in Pakistan. For whenever the West attacks Muslim people, Muslim extremists retaliate by attacking vulnerable Christian minorities.
Will you pray with and for our Christian brothers and sisters? Make this Friday a special time of intercession as you join Syrian believers to call upon the Lord.
With the economic situation so dire in Syria and hundreds of thousands displaced from their homes, our Christian brothers and sisters desperately need your help. A gift to Barnabas Fund could provide food, medical care or other humanitarian aid, and help them to rebuild their lives. Show your faith by praying. Show your love by giving.


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Tent World's New Sun Shelter Now Available in the Market
Tent World has launched yet another outdoor shelter
September 27, 2017 (FPRC) -- Tent World today launched the Sun, a canopy shaped, extra-large tent meant for outdoor use. This is about the sixth product that the firm has launched over the last 12 months, as it seeks to establish itself as the go-to provider of high quality beach and outdoor tents in the market. Over the last few months, the company has also established a market presence in the UK, Germany, Italy, France, and other European powerhouses.
Tent World is one of the fastest-growing distributors of outdoor tents in the global market. The firm has made tremendous progress ever since it was first launched back in 2015. The company's first ever product was a family-sized outdoor tent named Mercury. This was a premium quality tent with a protective coating to shield occupants from the sun's harmful UV radiation. It also had a padded bottom that made it kids-friendly, and other amenities that were just not available in the competition's products. The success that this particular tent got in the market helped Tent World establish itself as a major player in this burgeoning niche.
Today, the company has furnished the market with a comprehensive range of at least a dozen beach and outdoor tents. These are named after planets and other objects in the solar system, in correspondence to their size. The Sun is now the largest product in the firm's lineup (just like the sun is the largest body in the solar system). On the opposite end, the smallest product in the firm's lineup is Pluto.
In addition to beach and outdoor tents, Tent World also manufactures beach chairs, beach beds, and other products that are meant to service the needs of the beach-going audience. The company is also in the business of making beach-themed t-shirts, and other fun accessories for the beach.
The Sun tent is a significantly large outdoor shelter that can house a group of up to 12 people. This tent features open sides for easy entry, but also offers protection from the sun's harmful UV radiation – which can cause skin cancer. According to Tent World, this is a must-have tent for those outdoor family events. Individuals who suffer from sunburns and other sun-related skin problems are particularly advised to leverage this particular tent.
Ann Spencer, a top brand manager at Tent World, has said that she hopes this particular product will be a game-changer. Ms. Spencer has said that her company has priced this product affordably, and that it features an instant popup assembly that is easy to use for everyone. The tent is currently available to users via Amazon.com.
Kenya's First Business Directory for Service Providers, Nisort, Launches (Wed 8th Nov 17)
Mentalizer.com Introduces 'How to Become a Mentalist' Program (Sat 14th Oct 17)


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UWF archaeology program discovers third shipwreck from Luna fleet
The University of West Florida archaeology program announced today the discovery of a third shipwreck from the Spanish fleet linked to Tristán de Luna y Arellano's 16th century expedition to modern-day Pensacola. The discovery comes less than one year after UWF archaeologists identified the terrestrial site of Luna's colony in a developed neighborhood in Pensacola, marking the earliest multi-year European settlement in the U.S.
The University of West Florida archaeology program announced today the discovery of a third shipwreck from the Spanish fleet linked to Tristán de Luna y Arellano's 16th century expedition to modern-day Pensacola. The discovery comes less than one year after UWF archaeologists identified the terrestrial site of Luna's colony in a developed neighborhood in Pensacola, marking the earliest multi-year European settlement in the U.S.
The third shipwreck was found in Pensacola Bay near Emanuel Point I and II, the first two shipwrecks linked to the Luna expedition. Emanuel Point I was found by archaeologists from the Florida Bureau of Archaeological Research in 1992 and was later investigated by BAR and UWF. Emanuel Point II was discovered by UWF during a summer field school in 2006.
The third ship, Emanuel Point III, was discovered by UWF archaeologists and students during the Combined Archaeological Field Methods course on June 20, 2016. After identifying the land settlement in 2015, the UWF team was able to narrow the field of search for the remaining shipwrecks during the summer field school in 2016.
"We chose a shallow spot with a sandy bottom to dive to give the students a break after we'd been in another part of the bay where it was deeper and darker," said Dr. Greg Cook, assistant professor of anthropology and principal investigator of the Emanuel Point II shipwreck. "We thought there probably wasn't anything there, but had found an anomaly when we surveyed and decided to let the students have fun investigating it. Within two minutes, the divers came up and said they felt stones with their probes. Later that afternoon, the first artifacts were found. I said that day, 'You know, it shouldn't be this easy.'"
The UWF team has discovered ballast stones, iron concretions and articulated hull of the ship, including frames and hull planking, as well as remnants of ceramics once carried on it. They received a joint permit from the Florida Department of Environmental Protection and the U.S. Army Corps of Engineers to conduct test excavations through March 2017 to determine the extent of the shipwreck and the type of wood used to make the ship, which will indicate if it was among the earliest ships to be built in the New World.
"We stand a good chance that this is a different type of ship from Emanuel Point I and Emanuel Point II," said Dr. John Bratten, chair and associate professor of anthropology and co-principal investigator of Emanuel Point II. "Because it was found in shallower water than the others, it might be smaller, possibly what they called a barca. This discovery is significant in understanding 16th century ship construction."
The UWF archaeology program's exploration of the Luna fleet has been funded in part by a Special Category Grant totaling more than $290,000 from the Florida Division of Historical Resources. The matching grant, awarded to UWF in 2014, provided funding for faculty, staff and students from UWF to conduct fieldwork, laboratory analysis, artifact conservation and curation, archival research in Spain and public outreach in all seasons for two years.
"This is an extremely exciting and timely discovery following the recent investigations at the nearby terrestrial Luna site," said Dr. Timothy Parsons, director of the Florida Division of Historical Resources. "I'm very pleased that the Division can support this work through our Special Category Grants Program."
Maritime field investigations by UWF, including continuing survey and excavations, have mainly focused on the six ships that were lost during a hurricane that hit Pensacola Bay in September 1559. The Luna expedition included 1,500 soldiers, colonists, slaves and Aztec Indians who traveled in 11 ships from Veracruz, Mexico, to Pensacola to begin the Spanish colonization of the northern Gulf Coast. The hurricane hit Pensacola one month after they arrived, sinking many of their ships and devastating their food supplies. After two years, the remnants of the colony were rescued by Spanish ships and returned to Mexico.
The Luna settlement in Pensacola lasted from 1559 to 1561, which predates the Spanish settlement in St. Augustine, Florida, by six years, and the English settlement in Jamestown, Virginia, by 48 years.
"Finding the third ship is highly significant because it confirms we have the whole fleet in Pensacola Bay," added Dr. John Worth, associate professor of anthropology and principal investigator of the Luna land settlement. "The historical documents say that two ships were loaded, ready to go back to Spain. As long as we had just two shipwrecks, it could mean that the rest of the fleet was somewhere else. Now we know we really do have the fleet, not just two ships that happened to be from the fleet."
Emanuel Point I was found in 1992, and UWF archaeologists continued investigations through 1998 under the direction of Dr. Roger Smith, Florida State Underwater Archaeologist. In 2006, UWF archaeologists and students located Emanuel Point II. UWF continued to examine the second shipwreck with its summer field schools until grant funding was received in 2014. The funding has allowed UWF archaeologists to work continuously at the site and search for additional shipwrecks for two years.
The Luna land settlement was identified in October 2015 when Pensacola native Tom Garner discovered Spanish colonial and Native American artifacts at a privately owned residential lot within view of the two uncovered shipwrecks in Pensacola Bay. UWF has continued investigations at the settlement site since it discovery, including offering a land-based field school during Summer 2016. Together, the shipwrecks and land settlement provide a unique insight into the earliest multi-year European colonial settlement to be archaeologically identified in the United States.
"They found the third ship closer to land while we were working on a lower part of the settlement site," said Dr. Elizabeth Benchley, director of the Division of Anthropology and Archaeology and the Archaeology Institute. "Watching the survey boat over Emanuel Point III, seeing how close it was to land and imagining this was where the people came and stepped ashore; it gives me goosebumps. It's very powerful to put yourself in a location where you can envision what the landscape was like in 1559."
UWF's research related to the Luna expedition is sponsored in part by the Department of State, Division of Historical Resources, and the State of Florida. Other sponsors include the UWF Archaeology Institute and the Florida Public Archaeology Network.
To learn more about the Emanuel Point shipwrecks and the Luna land settlement, visit uwf.edu/luna.
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text:
Jonquerets-de-Livet (), also Les Jonquerets-de-Livet (), is a former commune in the Eure department in Normandy, France. On 1 January 2016, it was merged into the new commune of Mesnil-en-Ouche. It incorporates the village of Livet-en-Ouche, once known simply as Livet.

Etymology
Mentioned as Lived in the 11th century.

For "L'ivet" with article agglutination. (Northern) French if (Yew-tree) and suffixe -etu(m) > -ey / -oy /-ay > -aie, used to mean "collection of trees", so that Livet means "yew grove" (l'ivaie in modern French).

The qualificative of the former name -en-Ouche, means "in the Pays d'Ouche", a traditional region of Normandy, to make the difference with other Livets, like Livet-sur-Authou.

In 1845, the commune was incorporated in a new one, together with Les Jonquerets (Les Junchereiz 1209 "The brooms place"), called Les Jonquerets de Livet.

History
The de Livet family, feudal under-tenants of the barony of the de Ferrières family (centered on that family's seat at Ferrières-Saint-Hilaire, located a scant four miles from Jonquerets-de-Livet), originated in Livet-en-Ouche. Descendants of one branch of this family became the Marquises of Barville in France (de Livet de Barville).

The Norman French branch of the de Livet family counts among its members early knights (chevaliers), church officials (including Guillaume de Livet, a judge at the trial of Joan of Arc), Canon of Rouen Robert de Livet (who excommunicated King Henry V of England during his siege of Rouen, after which de Livet was imprisoned for five years in England)  chevalier banneret Jean de Livet (standard bearer to King Philip II of France in 1215) and early Crusaders. Many de Livet family members were associated with the Knights Hospitallers, a medieval chivalric order founded to protect pilgrims to the Holy Land.

The de Livets were among the ancient noble families (noblesse ancienne, or Noblesse d'épée) of France. The family's name appears in the earliest records of Normandy. One branch of the family later became the Marquis de Livet de Barville. Another branch was named the hereditary controllers of the rivers and waterways of Normandy in the 13th century, reflected in the use of an anchor on that branch of the family's French coat of arms. The family traditionally bore as their coat of arms three molettes d'or (gold) on a blue (azure) background.

Another branch of the family settled at Arentot in Ourville (now Arantot, hamlet at Ourville-en-Caux). Georges de Livet, a member of this branch of the de Livet family, was killed at the battle of Agincourt in 1415. The last member of this branch of the family, who died without descendants, was comte Constantin Augustin Robert de Lyvet, mayor of Ourville, who died in 1924.

During the Norman Conquest of England, a branch of the de Livet family followed the de Ferrers (later the Earls of Derby) to England, along with the Curzons (Notre-Dame-de-Courson) and the Baskervilles (Basqueville, now Bacqueville-en-Caux), who were also under-tenants of the old Ferrieres fiefdom in Normandy. The name of this branch of the de Livet family was anglicized into the name Levett, Levet, Lyvet, Livett, Leavett and its variants.

Population

Sights

Thousand year old yew-tree in the former Churchyard, near the destroyed Saint-Martin church in the hamlet Livet. Statue of Saint Martin near the old yew. The church was demolished around 1835.
16th-century Gothic Notre-Dame church in Les Jonquerets. Chancel rebuilt in the 19th century
Half-timbered manor, 16th and 18th centuries.
Presshouse 17th century (see above).

See also
Communes of the Eure department
de Livet de Barville, en francais

References

External links

Jean de Livet, Chevalier, Banneret to King Philip II of France c. 1216, Dictionnaire de la Noblesse, Francois Alexandre Aubert de la Chesnaye-Desbois, 1775

Former communes of Eure

redpajama_set_name: RedPajamaWikipedia


text:
← 6/12 Peace & Economic Justice with Mike Prokosch (Rebroadcast)
6/26/13 The Idea of Democracy with Prof. Gerald Friedman →
Posted on June 14, 2013	by dknuttunen
This year, interspersed with new shows, the Free School University Program will be replaying most of the shows from last year, roughly in chronological order. (The only shows we'll skip will be those for which there is no recording, and maybe a few that were so topical that they are no longer of great interest.) Most of these shows are also available on our Archive and Podcast pages.
This week, we'll rebroadcast Race & Economic Inequality: Building a multi-racial movement for justice with Camilo Viveiros, which originally broadcast on 6/6/2012.
We Are the 99%
The Occupy movement has always been much about economic inequality and economic injustice, but the racialization of inequality has not always been emphasized. The mainstream media loves to highlight stories of middle class families losing their jobs or their homes, but people in racial minority or immigrant communities bear a disproportional burden: first fired, last hired, hugely targeted by predatory mortgage lenders in good times, their communities decimated by foreclosures during the crisis. How can we educate ourselves about the racialized aspects of economic inequality? How are working class people of color organizing themselves to fight injustice? And how can we learn from them, and work with them to build a truly global, multi-racial movement for economic justice? Community organizer Camilo Vivieros will help us explore and answer these questions.
Camilo Viveiros has worked on immigrant worker issues and multi-ethnic/multi-racial economic and environmental justice organizing with students, youth and seniors in New England. He has worked for the Massachusetts Alliance of HUD Tenants, and the Massachusetts Senior Action Council. For two years, he was Executive Director of Rhode Island Jobs with Justice. He is currently lead organizer for the George Wiley Center in Rhode Island, along with providing direct action, organizing and campaign development trainings for diverse grassroots groups around the country. Born to immigrant parents, Camilo was raised in the working class immigrant community of Fall River. He has been involved in work for social justice for virtually his whole life. Over the years he has organized for unions of the homeless, welfare rights unions, against the prison industrial complex and many different issues. He has a background in tenant, youth and congregation-based organizing and gained national media exposure in 2000 when he was arrested during demonstrations at the Republican National Convention in Philadelphia, Pennsylvania. Four years later, after a national campaign, http://www.friendsofcamilo.org, he was acquitted of all charges.
Race & Economic Inequality with Camilo Viveiros
(Rebroadcast of a show that aired 6/6/12)
with rebroadcasts the following Monday 10:00 am
and Wednesday 7:00 am
Occupy Boston Radio is not-for-profit, volunteer-based, community radio, currently available by internet only.
This entry was posted in Programs and tagged class, economic justice, economy, immigration, inequality, Occupy Movement, organizing, race, racism. Bookmark the permalink.
1 Response to Wed 6/19 Race & Economic Inequality: Building a multi-racial movement for justice (Rebroadcast)


About 13 million people purchase their own health insurance through the individual marketplaces. About 5 million of them don't quality for any financial assistance, such as tax credits or subsidies, to help cover the cost of that health insurance.
Those 5 million Americans earn more than 400 percent of federal poverty level, and they fall into a gap, said America's Health Insurance Plans, earning too much to qualify for financial support, but still struggling to pay their monthly premiums.
AHIP released a white paper with 12 recommendations that that federal or state leaders can implement to drive down premiums, increase participation in the marketplace, and offer savings to consumers.
The cost of health care services and prescription drugs.
Families making more than 400 percent of the federal poverty level are the only segment of the American population that doesn't receive some help with their insurance premiums.
Too few healthy people participate in the individual market to balance out the risk.
Although the white paper focuses on improving premium affordability for those who don't qualify for federal support, AHIP said many of the recommendations will drive down premiums for everyone, reducing the total cost of subsidies and the financial burden they place on taxpayers.
Individual market premiums are becoming more stable, AHIP said. Nonetheless, in some regions, premiums are too high for many Americans. When families can't afford premiums for comprehensive coverage, some decide to purchase leaner coverage– or even go without coverage at all. That can put their health and financial security at risk.
AHIP's recommendations address three basic goals.
Address rising health care services costs and drug prices.
AHIP recommended reducing surprise billing, curbing inappropriate third-party premium payments, increasing drug competition, expanding the use of telehealth, and increasing flexibility for reference pricing.
2. Offer premium savings to families making over 400 percent of the federal poverty level.
AHIP made recommendations aimed at bringing financial parity to the individual market. The organization advocated for amending the Internal Revenue Code to allow individual market health insurance premium costs to be deductible for federal income tax purposes for those who do not qualify for premium tax credits.
In addition, AHIP recommended expanding health savings account options, creating reinsurance programs, creating state premium discount programs and repealing the health insurance tax.
3. Increase the number of consumers buying coverage, which will balance the individual market risk pool to bring costs down for everyone.


text:
AKA Mya Marie Harrison
Born: 10-Oct-1978
Birthplace: Washington, DC
Race or Ethnicity: Multiracial
Occupation: Musician, Dancer
Executive summary: My Love Is Like...Wo
The daughter of an R&B singer, Mya displayed an early talent for dance and was enrolled in classes by the age of two. A detour towards music in the form of violin lessons took place around the age of eight, but in 1992 she was back on the dance floor as a member of T.W.A. (Tappers With Attitude). Eventually, she travelled to New York to study at the Dance Theater of Harlem under Savion Glover, who would give her a solo showcase during the group's Kennedy Center performance. By the age of 15 her abilities as a vocalist had become evident to her father, who encouraged his daughter to develop these skills and distributed her demo tapes in an attempt to generate interest. Due to his efforts, a contract with University Music was secured the following year.
A two-year development period preceeded the release of her eponymous debut on the Interscope label in 1998. With help from Kenneth "Babyface" Edmonds, Missy Elliott and Dru Hill, the album attained platinum status and featured three top 10 singles; her popularity was further supplemented by contributions that same year to the soundtracks of Bulworth and The Rugrats Movie. In 1999 she would make the inevitable graduation from appearances on soundtracks to appearances in the films themselves with a minor role in the crime thriller In Too Deep.
With her sophomore release Fear of Flying, Mya made a move towards a more adult style of music, bringing her own songwriting efforts to the fore. Extensive touring was undertaken to support the album, which -- repeating the pattern established with her first album -- would eventually give rise to three popular singles, including the top 5 song Case Of The Ex (Whatcha Gonna Do). Her 2001 participation in the remake of Lady Marmalade for the Moulin Rouge soundtrack (alongside fellow sirens Pink and Christina Aguilera, as well as former collaborator Missy Elliot) would bring her visibility up another several notches, earning her both a number one single and a Grammy award.
After Fear of Flying Mya spent a period focusing on her film career, displaying both her acting and dancing skills in the Academy Award-winning musical Chicago(2002). Moodring, her third album, surfaced in 2003, featuring appearances by two of her Lady Marmalade cohorts Missy Elliot and Pink, and input from Timbaland and Sean Paul, amongst numerous others. In addition to her own headlining tours, the album was supported by a featured spot in the female-centered Lilith Fair festival. Another dance-oriented film role was undertaken for the 2004 sequel to Dirty Dancing, Havana Nights.
Grammy Best Pop Performance by a Duo or Group (2002)
FILMOGRAPHY AS ACTOR
Bermuda Tentacles (4-Apr-2014)
Sunset Strip (16-Mar-2012) · Herself
The Penthouse (2-Mar-2010) · Mitra
Cover (Oct-2007)
The Heart Specialist (13-Sep-2006) · Valerie
Cursed (7-Nov-2004) · Jenny
Shall We Dance? (15-Oct-2004)
Dirty Dancing: Havana Nights (27-Feb-2004)
Chicago (10-Dec-2002) · Mona
Volcano High (5-Dec-2001)
In Too Deep (25-Aug-1999) · Loretta
http://www.myamya.com/
Awesome People Knowing Awesome People
Possible Cohorts
Helix Fossil


Repaying Income - Can You Deduct This?
There may come a time when you receive income only to find out later that you have to repay it. This can happen for any number of reasons, and often the repayment is made in a later tax year. For example, when this happens, a deduction or credit for the repayment may be allowed in the year of repayment. The deduction is taken as an itemized deduction on Schedule A. A credit will result in a dollar-for-dollar reduction of your tax liability.
If the repayment was $3,000 or less, you are out of luck. Prior to 2018, this amount was generally deducted as a miscellaneous itemized deduction on Schedule A. However, recent tax law changes suspended all miscellaneous itemized deductions subject to 2% of your total adjusted gross income until after 2025.
If the repayment was more than $3,000, you have two choices. You can either deduct the total amount you repaid as an itemized deduction, or you may choose a tax credit for the year of repayment equal to the difference in the tax you paid on the income and the amount you would have paid if the income were not included on your tax return in the prior year.


Discussion in 'Political Opinions & Beliefs' started by OldManOnFire, Mar 22, 2018.
Sandy Shanks, Lee Atwater, MissingMayor and 2 others like this.
It's past time. I hope Mueller can get something going before April 9th. If Bolton takes over we'll be at war with North Korea.
Bluebird, Lesh, PT78 and 1 other person like this.
It's about time. President Clinton should've destroyed the North Korean regime in the early 1990s instead of letting that fool Carter get in the way.
Lucifer, Bluebird, Bowerbird and 1 other person like this.
It certainly makes it much more likely.
I understand he may not replace his Chief of Staff when he fires Kelly soon. I don't agree with Kelly on most everything, but at least he was reasonably level headed. Something Bolton isn't.
But while he may not be level headed he's a pretty damn smart (we know this because he doesn't tell us so) war hawk. One that knows how to lead a man who receives his daily briefing from watching a one sided view of the news.
Lucifer, btthegreat, Bowerbird and 1 other person like this.
I wrote McCain and Flake and simply said: For god's sake get that village idiot out of there.
Bluebird, Bowerbird and PT78 like this.
u gonna enlist or just laugh as people die?
Lucifer and Bowerbird like this.
Neither. Far too old to enlist anyway as you well know.
It might be too late. Trump is replacing every cabinet member with a spine. The new appointees will never vote him out I am afraid.
Would be nice if the Republicans would at least allow a vote for censure for any one of the dozen things he has done that is completely inappropriate for the office.
Good luck with that prior to any evidence from Mueller.
Actually, Clinton had the beginnings of a possible solution with N. Korea worked out (the Agreed Framework) but Dubya blew it up after he was appointed prez by the Supreme Court.
OldGuy?wise, Bluebird and Bowerbird like this.
Chester_Murphy and Sanskrit like this.
He had crap and the only thing Bush did was figure out we were being played...Given Carter that was a forgone conclusion.
Disappointed hillary voters want the corrupt swamp rats in washington to mount a bloodless coup against trump?
So Bolton is in charge now?
You guys change your story so often its hard to keep up.
Chester_Murphy, JakeJ, RodB and 1 other person like this.
So when Americans get old and sick they have no right to have their opinion heard about when and where our military fights?
Talk about undemocratic beliefs on your part.
Chester_Murphy, JakeJ and Sanskrit like this.
It sure looks like we "need" to invoke the 25th ( i mean we may end up in a war...possibly my mistake).
Go play in your sand box. This is grown up talk.
It requires a 2/3 vote from both Houses just like impeachment. In addition, you need to get the VPOTUS and majority of the Cabinet to agree. It is faster than impeachment, but probably harder to achieve, unless the President is much more loony than Trump. I guess you want Mike Pence for President. I, for one, will be happy.
I wouldn't support a 25th Amendment implementation unless President Trump starts summoning the military officer who carries the "nuclear football" and starts looking at targeting options.
How is it you show incompetance? A president doing things you don't like? Seems like a low low lower convenient bar.
That may well happen and rather soon.
You actually want to start a war with North Korea?
Within days Seoul will be a cemetery. If things look bad for Sum Fat Kim...he'll launch a nuke or three at Japan and possibly the US Mainland.
if we attack North Korea in the absense of an attack from them or an impending attack, China will defend North Korea.
frankly I hope China tells Trump that if the USA attacks NK without a prior attack by NK or a clearly impending attack by NK, China will attack South Korea, Tokyo and Hawaii.


text:
Testing the gravitational field generated by a quantum superposition
M. Carlesso, A. Bassi, M. Paternostro, H. Ulbricht
Centre for Theoretical Atomic, Molecular and Optical Physics (CTAMOP)
School of Mathematics and Physics
What gravitational field is generated by a massive quantum system in a spatial superposition? Despite decades of intensive theoretical and experimental research, we still do not know the answer. On the experimental side, the difficulty lies in the fact that gravity is weak and requires large masses to be detectable. However, it becomes increasingly difficult to generate spatial quantum superpositions for increasingly large masses, in light of the stronger environmental effects on such systems. Clearly, a delicate balance between the need for strong gravitational effects and weak decoherence should be found. We show that such a trade off could be achieved in an optomechanics scenario that allows to witness whether the gravitational field generated by a quantum system in a spatial superposition is in a coherent superposition or not. We estimate the magnitude of the effect and show that it offers perspectives for observability.
https://doi.org/10.1088/1367-2630/ab41c1
Published - 24 Sep 2019
© 2019 The Author(s). Published by IOP Publishing Ltd on behalf of the Institute of Physics and Deutsche Physikalische Gesellschaft.
Quantum gravity
10.1088/1367-2630/ab41c1Licence: CC BY
Copyright 2021 the authors. This is an open access article published under a Creative Commons Attribution License (https://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium, provided the author and source are cited.
Final published version, 617 KBLicence: CC BY
Dive into the research topics of 'Testing the gravitational field generated by a quantum superposition'. Together they form a unique fingerprint.
gravitational fields Physics & Astronomy 100%
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Carlesso, M., Bassi, A., Paternostro, M., & Ulbricht, H. (2019). Testing the gravitational field generated by a quantum superposition. New Journal of Physics, 21(9), [093052]. https://doi.org/10.1088/1367-2630/ab41c1
Carlesso, M. ; Bassi, A. ; Paternostro, M. ; Ulbricht, H. / Testing the gravitational field generated by a quantum superposition. In: New Journal of Physics. 2019 ; Vol. 21, No. 9.
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Carlesso, M, Bassi, A, Paternostro, M & Ulbricht, H 2019, 'Testing the gravitational field generated by a quantum superposition', New Journal of Physics, vol. 21, no. 9, 093052. https://doi.org/10.1088/1367-2630/ab41c1
Testing the gravitational field generated by a quantum superposition. / Carlesso, M.; Bassi, A.; Paternostro, M.; Ulbricht, H.
In: New Journal of Physics, Vol. 21, No. 9, 093052, 24.09.2019.
T1 - Testing the gravitational field generated by a quantum superposition
AU - Carlesso, M.
AU - Bassi, A.
AU - Paternostro, M.
AU - Ulbricht, H.
N1 - Publisher Copyright: © 2019 The Author(s). Published by IOP Publishing Ltd on behalf of the Institute of Physics and Deutsche Physikalische Gesellschaft.
N2 - What gravitational field is generated by a massive quantum system in a spatial superposition? Despite decades of intensive theoretical and experimental research, we still do not know the answer. On the experimental side, the difficulty lies in the fact that gravity is weak and requires large masses to be detectable. However, it becomes increasingly difficult to generate spatial quantum superpositions for increasingly large masses, in light of the stronger environmental effects on such systems. Clearly, a delicate balance between the need for strong gravitational effects and weak decoherence should be found. We show that such a trade off could be achieved in an optomechanics scenario that allows to witness whether the gravitational field generated by a quantum system in a spatial superposition is in a coherent superposition or not. We estimate the magnitude of the effect and show that it offers perspectives for observability.
AB - What gravitational field is generated by a massive quantum system in a spatial superposition? Despite decades of intensive theoretical and experimental research, we still do not know the answer. On the experimental side, the difficulty lies in the fact that gravity is weak and requires large masses to be detectable. However, it becomes increasingly difficult to generate spatial quantum superpositions for increasingly large masses, in light of the stronger environmental effects on such systems. Clearly, a delicate balance between the need for strong gravitational effects and weak decoherence should be found. We show that such a trade off could be achieved in an optomechanics scenario that allows to witness whether the gravitational field generated by a quantum system in a spatial superposition is in a coherent superposition or not. We estimate the magnitude of the effect and show that it offers perspectives for observability.
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Carlesso M, Bassi A, Paternostro M, Ulbricht H. Testing the gravitational field generated by a quantum superposition. New Journal of Physics. 2019 Sep 24;21(9). 093052. https://doi.org/10.1088/1367-2630/ab41c1