text:
\section{Introduction}

Intrinsic Josephson effects (IJE's) in
highly anisotropic high temperature
superconductors (HTSC's) such as Bi$_2$Sr$_2$CaCu$_2$O$_8$
is a subject currently under intensive investigation \cite{Kleiner1}.
This is because
single crystals of these materials naturally form
a stack of many atomic-scale Josephson junctions, i.e., intrinsic Josephson
junctions (IJJ's) and therefore
strong coherence
between junctions
are expected.
Especially, if in-phase oscillation over all junctions is realized
it will show superradiant properties such as
remarkable increase of output power and decrease of
linewidth [2-7],

and its realization will
give a great impact on technological applications to
optical communications in the near future.
Therefore, in this paper, we explore such superradiant conditions in
Josephson vortex flow states in IJJ's.

In the case of the single long Josephson
junctions (SLJJ's),  fluxon dynamics coupled with transverse propagating
Josephson plasma oscillation have already been extensively
investigated \cite{Barone},\cite{Abrikosov},\cite{Zhang1}, and
SLJJ's have been employed as useful flux flow oscillators.
In SLJJ's, the fluxons are aligned like one-dimensional chain along the
junction plane and
unidirectionally driven under the bias-current.
This sliding motion of the fluxon chain excites
the transverse propagating Josepshson plasma oscillations
inside the junction, and
when their moving
speed matches the Josephson plasma mode velocity,
I-V characterisitcs
show a step like resonant structure, where the
electromagnetic (EM) wave radiation power becomes maximal
\cite{Zhang1},\cite{See1}.

On the other hand,
IJJ's have a longitudinal propagating
Josephson plasma mode
along the stacked direction
and its dispersion relation
are shown to be very different from that of
the transverse mode, i.e., the longitudinal one
is almost flat while the transverse one is very dispersive.
Thus, IJJ's can have many propagating modes with different dispersions as
mixtures between transverse
and longitudinal modes, and IJJ systems with finite
stacking height (employed in experiments) have
the standing waves
for those mixed modes along the stacked direction
\cite{Kleiner2},\cite{Sakai1}.
Accordingly, the I-V characterisitics and the
properties of EM radiation in IJJ's are clearly expected to exhibit a
rich variety in contrast to SLJJ's.
Actually, so far, the fluxon dynamics in IJJ's
have been investigated in several papers[2-7],\cite{Artemenko1} to understand their
dynamics and related EM radiation, and
complex resonant behaviors with some special modes have been reported.
However, the full understanding for the
behavior of the fluxons and Josephson plasma oscillations has not been
achieved.
Especially, the clear in-phase superradiant conditions in IJJ's
have not yet been established, and
some questions still now remain concerning the
stability of the superradiant flow state and its emergent region
with respect to experimental variables as the magnetic field and
the transport current.
Therefore, in this paper, we report results of the first direct large scale
simulations for the fluxon dyanamics in IJJ's using the
coupled Sine-Gordon equation
and clarify the superradiant conditions.
Furthermore, we pay attention to
all dynamical flux flow states observed in various current ranges in
the I-V characteristics and
reveal that the I-V characteristics show
three clear step-like structures corresponding to
flux lattice structural transitions.
Thus, we distinguish flux flow states into four
regions at these three step-like structures, and
display the typical flux flow lattice configuration
in each of the regions. The names region I $\sim$ IV
( in increasing order of the current ) will be assigned to
the four regions.
In order to identify the natures of the EM radiations in the four regions,
the electric field oscillations at the sample edge, which
characterize the properties of the emitted electromagnetic wave, are
measured and their typical power spectrum in each region is given.

Here, let us briefly describe the characters of
the flux flow states observed
in the four regions. The notable points are remarkable differences in
the flux lattice configurations and power spectra for EM field oscillations
in those four regions.
In region I, fluxons flow randomly  without forming a
clear lattice structure. This state is a steady state when the applied current
is low enough, and the electric field oscillations at the edge exhibit
a broad-band power spectrum.
In region II, wavy aligned flux flow states appear. From this
region, the vortex flow states
begin to show resonances with some of the transverse propagating modes.
The vortex alignments develop along the stacked direction, and
the power spectrum
has peak structures at a characteristic frequency and its higher harmonics.
In region III, a perfect in-phase flux flow states emerges.
The vortex alignment becomes perfect along the c-axis
and fluxons form a rectangular lattice. The line-width of the power spectrum
is very sharp and the power at the peak position is also very large, i.e.,
the superradiant state.
In region IV, triangular like lattice flux flow states
are observed. Its Josephson frequencies due to the flux flow voltages
are larger than the frequencies of any plasma modes.
Consequently, it is expected that
the transverse plasma modes does not affect
the formation of flux lattice structures and therefore
energetic favorable triantular like lattice flow states appear.
In order to understand the origin of the transitons
between these four flux flow states, we
perform an eigenmode analysis on the employed coupled Sine-Gordon equation.
As a result, we are able to identify
that the resonances between three modes and the
flux flow states leads to
three clear step-like structures in the I-V characteristics.
Thus, from this theoretical analysis, we can  predict the width of
the four regions, especially, the superradiant state (region III),
in the I-V characteristics.
Also, the analysis clarifies that
the superradiant state region enlarges with increasing
a parameter ratio, $\frac{ {\lambda_{ab}}^2 }{s D}$, where $s$ and $D$
are, respectively, superconducting and insulating layer thickness
and $\lambda_{ab}$ is  the penetration depth in the ab-plane direction.
This result clearly indicates that
IJJ's can have remarkably wide superradinat region in I-V characterisitics.

The outline of this paper is as follows.
The model equation employed
is briefly introduced in section II, and the numerical simulation results
are shown in section III. Section IV is devoted to eigen mode analysis and
discussions.

\section{Model Equation}

We first explain our model. We perform the simulations under a
configuration in which the transport current flows in the direction
perpendicular to the junctions ($\parallel$ $z$-axis) and the magnetic
field is applied along the junctions ($\parallel$ $y$-axis) as shown in Fig.1.

\begin{figure}
\centerline{\epsfxsize=9.4cm \epsfysize=7.0cm \epsfbox{Fig1.schema.eps}}
\end{figure}
FIG.1~ A schetch of the intrinsic Josephson junction. The magnetic
field and the transport current are applied along the junction plane (y-axis)
and the stacked directions (z-axis), respectively. The Josephson vortices
move in the -x direction.
\bigskip

\noindent The Josephson vortices move parallel to the $-x$-axis in this
configuration. Assuming that the superconducting layers have an
atomic-scale thickness, we neglect the variation of physical
quantities along the $z$-axis inside the superconducting layers.
Then, the vector potential is
defined only inside the insulating layers as
$A_{\ell+1,\ell}^z(x,t)(\equiv\int_{\ell}^{\ell+1} dz A_z (x,t) )$,
where $\ell$ stands for the layer index,
and the electromangtic fields $E_{\ell+1,\ell}^z(x,t)$ and
$B_{\ell+1,\ell}^y(x,t)$ are, respectively given by
$E_{\ell+1,\ell}^z(x,t)=-\frac{1}{cD}
\frac{\partial A_{\ell+1,\ell}^z }{\partial t}
-\frac{\varphi_{\ell+1} - \varphi_{\ell} }{D}$, and
$B_{\ell+1,\ell}^y(x,t) = \frac{A_{\ell+1}^x - A_{\ell}^x}{D}
- \frac{1}{D}\frac{\partial A_{\ell+1,\ell}^z }{\partial x} $.
We assume Maxwell's equations in the present system as follows,
\begin{eqnarray}
\frac{ \partial {B^y}_{\ell+1,\ell} }{ \partial x}
= \frac{4\pi}{c} {j^{z}}_{\ell+1,\ell}
+ \frac{ \epsilon_c}{c} \frac{ \partial {E^z}_{\ell+1,\ell} }{\partial t}, \\
 {E^z}_{\ell+1,\ell} - {E^z}_{\ell,\ell-1} = \frac{4 \pi s}{\epsilon_c}
\rho_{\ell},
\end{eqnarray}
where $\rho_{\ell}$ and $\epsilon_c$ are, respectively, the charge density
at $\ell$-th superconducting layer and the dielectric constant of the insulating
layers.
The current, ${j^{z}}_{\ell+1,\ell}$ in eq.(1) is given
by a sum of Josephson and quasiparticle currents as $j_c sin P_{\ell+1,\ell}
+ \sigma {E^z}_{\ell+1,\ell}$, with $j_c$ and $\sigma $
being the critical current density and conductivity of
the quasiparticles, respectively.
$P_{\ell+1,\ell}$ is the gauge invariant phase difference defined as
$P_{\ell+1,\ell}= \theta_{\ell+1} - \theta_{\ell} -
\frac{2\pi}{\phi_0} A_{\ell+1,\ell}$ with $\theta_{\ell}$ being the phase of
the superconducting order parameter of $\ell$-th layer.
The time and spatial derivatives for $P_{\ell+1,\ell}$
yield the generalized relations,

\begin{eqnarray}
\frac{\partial P_{\ell+1,\ell}}{\partial t} = -{4 \pi {\mu}^2}
\frac{2 \pi c}{\phi_0} ( \rho_{\ell+1} - \rho_{\ell} )
+ \frac{2 \pi c D}{\phi_0}{{E^z}_{\ell+1,\ell}},\\
\frac{\partial P_{\ell+1,\ell} }{ \partial x}
= \frac{4\pi {\lambda_{ab}}^2 }{c} \frac{2\pi}{\phi_0} ( {{j^x}_{\ell+1}}
- {{j^x}_{\ell}} ) + \frac{2 \pi D}{ \phi_0} {{B^y}_{\ell+1,\ell}},
\end{eqnarray}
where $\lambda_{ab}$ are the penetration depth associated with
the current ${j^x}_{\ell}$ in the ab-plane and $\mu$ is the Debye length
\cite{Tachiki1} \cite{Mac1}.
In deriving eq.(3) and (4), we employ the equation
$\rho_{\ell} = -\frac{1}{4 \pi \mu^2} (\frac{\phi_0}{2\pi c} \partial_t
\theta_{\ell} + \varphi_{\ell}) $, which is analogous to the London equation and
the London equation for the in-plane current,
${j^x}_{\ell} = -\frac{c}{4\pi{\lambda_{ab}}^2}
( \frac{\phi_0}{2\pi} \nabla_x \theta_{\ell} - {A^x}_{\ell} ) $.
In the case where $j_{\ell+1}^x-j_\ell^x \not=0$ under an external
magnetic field the first term on the right hand side of eq.(3) gives
only small contribution of $O(\mu^2/\lambda_{ab}^2)$ to the dynamics
of $P_{\ell+1,\ell}$, which means that the incomplete screening effect
for charges in the superconducting layers, namely the coupling between
junctions due to the charge neutrality breaking
effect \cite{Tachiki1},\cite{Mac1} may be neglected in the
presence of an external magnetic field. Then, in this approximation
the equation for $P_{\ell+1,\ell}$ is derived from eqs.(1)-(4) as
follows  \cite{Tachiki1}, \cite{Bulaevskii1},\cite{Shafranjuk}

\begin{eqnarray}
\frac{ {\partial}^2 P_{\ell+1,\ell}}{\partial {t'}^2 }
& = &    \frac{{\lambda_{ab}}^2}{s D}
( \frac{\partial^2 P_{\ell+2,\ell+1} }{\partial {t'}^2}
+ \frac{ \partial^2 P_{\ell,\ell-1}}{\partial {t'}^2}
-2 \frac{ \partial^2 P_{\ell+1,\ell} }{\partial {t'}^2} ) \nonumber \\
&+& \frac{ {\lambda_{ab}}^2 }{ s D } ( sin P_{\ell+2,\ell+1} +
sin P_{\ell,\ell-1}
- 2 sin P_{\ell+1,\ell} ) \nonumber \\
& + &\beta \frac{ {\lambda_{ab}}^2 }{ s D }
( \frac{ {\partial} P_{\ell+2,\ell+1}}{\partial {t'} } +
 \frac{ {\partial} P_{\ell,\ell-1}}{\partial {t'} }
-2 \frac{ {\partial} P_{\ell+1,\ell}}{\partial {t'} } ) \nonumber \\
& + &\frac{{\partial}^2 P_{\ell+1,\ell} }{ \partial {x'}^2 }
-  sin P_{\ell+1,\ell} -
\beta \frac{ {\partial} P_{\ell+1,\ell}}{\partial {t'} },
\end{eqnarray}
where $t^\prime=\omega_pt$ and $x^\prime=\lambda_cx$ with $\omega_p$
and $\lambda_c$ being, respectively, the Josephson plasma frequency
($\omega_p={c\over\sqrt{\epsilon}\lambda_c}$) and the penetration depth
in the $c$-axis direction. The parameter $\beta(\equiv {4\pi\sigma \lambda_c
\over\sqrt{\epsilon}c}$) is related the McCumber parameter $\beta_c$ as
$\beta_c=1/\beta^2$. It is noted that eq.(5) gives a flat dispersion
relation for the longitudinal mode along the $c$-axis while it leads to
the dispersive one along the junctions.

\section{Results of Numerical Experiments and Discussions}

  In this paper, we numerically solve eq.(5) for a finite size IJJ composed
of 20 junctions in which the $ac$ cross section ( the $xy$-plane in Fig.1)
has 2-dimensional (2D) rectangular shape in the presence of an applied
field ($\parallel y$-axis) and a transport current ($\parallel z$-axis).
The transport current and the magnetic field which includes the self-field
are introduced through the boundary conditions at the top and bottom layers
and the edges of all the layers. To perform the simulations we divide the
system into 400 meshes along the $x$-direction. Each mesh is assumed to be
$0.1\lambda_{ab}$ wide along the $x$-direction. Then the system used in
the simulations has the area of $10\mu m\times 20$ junctions if we assume
$\lambda_c=125\mu m$ and $\gamma=500$ for the anisotropic parameter, which
are typical parameter values in Bi$_2$Sr$_2$CaCu$_2$O$_8$. The value of
the material parameter $\beta$ is chosen as $\beta=0.1(\beta_c=100)$, which
is also a typical value in Bi$_2$Sr$_2$CaCu$_2$O$_8$. The results shown
in this paper are qualitatively size-independent. We confirmed this by
performing the simulations for system sizes up to $30\mu m\times 80$
junctions in real scale.

  Let us now present the results of numerical simulations. The applied
magnetic field used in the following calculations is fixed to a value,
$2T$. The results for lower fields ($<1T$), which are qualitatively
different, will be published elsewhere. Figure 2(a) shows the $I-V$
characteristics of IJJ. As seen in this figure, three clear steps appear
at the voltage values indicated by arrows in the $I-V$ curve. To
understand the origin of the steps, we plot the time and spatial
averages of the Poynting vector, $<P_{-x}>=<{c\over 4\pi S}
\int dx\sum_\ell E_{\ell+1,\ell}^xB_{\ell+1,\ell}^y>$, and the Josephson
current, $<J_z>=<{1\over S}\int dx\sum_\ell\sin P_{\ell+1,\ell}>$ in
Fig.2 (b) and (c), where $<>$ stands for the time average and $S$ is
the area of the computational region. Note that $<P_{-x}>$ represents
the energy flow of the transverse EM field and $<J_z>$ gives a measure
of the viscosity against the driven flux-flow. It is seen that the
anomalous structures also appear in these averages, i.e., the step-like
structure in $<P_{-x}>$ and the peaks in $<J_z>$, at the same voltage
values as in the $I-V$ characteristics. Such anomalies are commonly
observed in our simulations in the case where the magnetic field is
greater than 1T. Thus, it is found that the vortex dynamics are
directly coupled with the transverse EM field and the vortex viscosity
drastically changes at the step like structures.
Especially, it is noted that the viscosity of the Josephson vortices
takes maximum values at the steps. From this fact one may expect that
the collective vortex dynamics changes at the steps. In the following, we,
therefore, separate the voltage region into four from I to IV at the steps
as shown in Fig.2(a) and investigate the collective properties of each
flux-flow state separately.

\begin{figure}
\centerline{\epsfxsize=9.4cm \epsfysize=15.0cm \epsfbox{fig2t.eps}}
\end{figure}
FIG.2~ (a) The I-V characteristics. (b) The averaged
poynting vector in x-direction $< P_{-x} >$ vs. V. The inset of (b) gives
the enlarged view of the region indicated by the inclined arrow.
(c) The averaged Josephson current vs. V.
\bigskip

\begin{figure}
\centerline{\epsfxsize=8.4cm \epsfysize=11.0cm \epsfbox{Fig3at.eps}}
\end{figure}
\vskip -2.2cm
\begin{figure}
\centerline{\epsfxsize=8.4cm \epsfysize=11.0cm \epsfbox{Fig3bt.eps}}
\end{figure}
\vskip -1.4cm
FIG.3, The snapshot of the vortex center positions along with
$sinP_{\ell+1,\ell}$ distributions in all junction sites and the
power spectrum of the electric field at the left edge
in the regions from I to IV: (I) $I/J_c = 0.20$, (II) $I/J_c = 0.52$.
Note that the Josephson plasma frequency at the zero temperature,
$\omega_p = \frac{c}{\sqrt{\epsilon_c} \lambda_c (0) }$, corresponds to
$ \omega=130 $ in the figures for the power spectrum.
\bigskip

  Let us study the flux-flow state in region I first. In Fig.3(I) we show
a snapshot of the distribution of the Josephson current, $\sin P_{\ell+1,
\ell}$, and the centers of the
Josephson vortices ( indicated by dots ) together with
the power spectrum of the electric field at the left edge of the sample,
$S_\omega\equiv {2\pi\over T}|{1\over 2 \pi}\int_0^T\sum_\ell E_{\ell+1,
\ell}(0,t){\rm e}^{i\omega t}{\rm d}t|^2$. As seen in this figure, the
vortices are distributed almost randomly and the power spectrum shows
$\omega^{-2}$ dependence above some frequency, which indicates the
irregular motion of vortices. We confirmed this chaotic behavior of moving
vortices by monitoring directly the time development of the vortex
positions too. From these results one may conclude that the highly viscous
flux-flow state is realized in region I. The fluxons are easily pinned
by any type of imhomogeneities, e.g., crystal imperfections, sample boundary
etc. in this low driving-current regime. In the present system without
imperfections the sample boundaries including the top and bottom junctions
work as effective pinning centers, which is seen from the fact that the
number of vortices in the top and bottom junctions is much smaller than
that in other intermediate junctions. It is also noticed that the power
spectrum forms a broad band in the low frequency region. Thus, the chaotic
viscous flux motion generates a broad-band oscillating EM field in region
I. The intensity of the emitted EM field increases with increasing
voltage values in this region.

    Let us next turn to the region II. As seen in the snapshot given in
Fig.3(II), a wavy-chain-like vortex distribution is stabilized in this
region. This result indicates that a correlation between vortices is
developed in region II. Accordingly some characteristic frequency and
its higher harmonics appear inside the broad band spectrum of the EM field.
These frequencies are related to the quasi-periodicity of the moving vortex
lattice. It is also noted that the frequency of the highest peak seen in
the figure is about eight times larger than the Josephson plasma frequency
at zero temperature, $\omega_p(={c\over\sqrt{\epsilon}\lambda_c})$. This
frequency corresponds to about 4THz in the case of $\lambda_c=125\mu m$
and $\epsilon_c=25$.

When the voltage is further increased and reaches the value at the
boundary between the regions II and III, the moving vortices form a
rectangular lattice as shown in Fig.3(III). This regular distribution of the
vortices is stable and maintained throughout the region III. It is seen
that sharp peaks appear in the power spectrum of the EM field. The
frequencies giving the peaks are determined by the flux flow velocity and the
period of the lattice. Note that the phase differences of all the junctions
make perfect in-phase motion in this state, that is,
{\it the superradiant state is realized in the region III}. In this
superradiant state one may expect the strong radiation of the coherent
EM field from the junctions. The frequencies of the emitted EM field will
be tunable in a wide range by the applied magnetic field or the voltage
since the region III is broad as seen in the $I-V$ curves.

\begin{figure}
\centerline{\epsfxsize=8.4cm \epsfysize=11.0cm \epsfbox{Fig3ct.eps} }
\end{figure}
\vskip -2.2cm
\begin{figure}
\centerline{\epsfxsize=8.4cm \epsfysize=11.0cm \epsfbox{Fig3dt.ps}}
\end{figure}
\vskip -1.4cm
FIG.3 (III) $I/J_c = 1.16$, (IV) $I/J_c = 1.90$.
\bigskip

The rectangular lattice of the moving vortices becomes unstable at the boundary
between the regions III and IV. The moving vortex lattice appearing in the
region IV is a modulated triangular one as depicted in Fig.3(IV). The
power spectrum given in Fig.3(IV) indicates that the intensity of the EM
field generated in this state is greatly reduced from that in the region
III. This result is easily understood in the following way. The oscillatory
components of the tunneling current on two consecutive junctions cannot
be in-phase in a triangular-like lattice. As a result, the EM field
generated at the junction edges on consecutive junctions interfere
destructively with each other and, therefore, the intensity of the power
spectrum drastically decreases in this region.

\section{ Eigen Mode Analysis and Discussion }

To understand the origin of the transitions in the moving vortex state
we perform a linear analysis in the following. The linearized equation
obtained from eq.(5) in the case of $\beta=0$ yields the eigenvalues,
$\omega_n(k_x)=\{1+k_x^2/[1+{2\lambda_{ab}^2\over sD}
(1-\cos{n\pi\over N})]\}^{1/2}$, and the eigenfunctions,
$P_{\ell+1,\ell}(x^\prime,t^\prime)={\rm e}^{ik_xx^\prime}
{\rm e}^{i\omega_nt^\prime}f_{\ell+1,\ell}^{(n)}$ with
$f_{\ell+1,\ell}^{(n)}=g_n{\rm e}^{i\pi\ell n/N}$ for the system with $N$
junctions, where $n$ specifies the eigenmode, i.e., $n=1,\cdots, N-1$.
These eigenmodes may be interpreted to be the transverse Josephson plasma
modes in finite IJJ composed of $N$ junctions without vortices. In the inset
of Fig.4(a) we plot the spatial variation of ${\rm Re}(f_{\ell+1,\ell}^{(n)})$
for four values (n=0,1,2,and 19) of $n$ in the case of $N=20$ , which
represents the
standing waves along the $c$-axis.
In the presence of an external magnetic
field, $H$, and a DC voltage, $V$, eq.(5) has an approximate solution
corresponding to the phase-locked flux-flow state as
$P_{\ell+1,\ell}(x^\prime,t^\prime)=H^\prime x^\prime - V^\prime t^\prime
+ h_{\ell+1,\ell}(x^\prime,t^\prime)$, where $H^\prime={2\pi D\lambda_c
\over\phi_0}H$ and $V^\prime={2\pi c\over\phi_0\omega_p}V$. Here, the
function $h_{\ell+1,\ell}(x^\prime,t^\prime)$ is assumed to be an small
oscillatory component. In this case, $h_{\ell+1,\ell}(x^\prime,t^\prime)$
satisfies approximately the equation,
$[(1-{\lambda_{ab}^2\over sD}\Delta^{(2)})\partial_t^2-\partial_x^2]
h_{\ell+1,\ell}=-\sin (H^\prime x^\prime - V^\prime t^\prime)$,
where $\Delta^{(2)}$ is defined by $\Delta^{(2)}h_{\ell+1,\ell}
=  h_{\ell+2,\ell+1} +  h_{\ell,\ell-1} -2 h_{\ell+1,\ell}$
\cite{Kleiner2},\cite{Barone}.
This equation has solutions showing resonances at $\omega \sim H^\prime/
\{[1+{2\lambda_{ab}^2\over sD}(1-\cos{n\pi\over N})]\}^{1/2}$.
This resonant behavior originates as a result that the Josephson
oscillations induced by the moving flux-line lattice match the transverse
Josephson plasma frequencies.
Note that the resonant frequencies coincide
with the eigen-frequencies $\omega_n(k_x)$ for $k_x=H^\prime\gg 1$.
Figure 4(a) shows the matching voltages ($V^\prime=\omega_n(k_x=H^\prime)$)
as a function of $H$ in the case of $N=20$. In Fig.4(b), we superpose the
vertical lines indicating the matching voltages at $k_x=H(=2T)$ on the
$I-V$ curve. As seen in this figure, the voltages matching with the modes
A ($n=0$) and B ($n=1$) coincide with the 3rd and 2nd steps and the lowest
matching voltage is also located close to the 1st step in the $I-V$ curves.
These analyses indicate that the structural transitions in the moving
flux-line lattice are caused by the matching of the phase oscillations
arising from the vortex motion with that of the eigen-modes of the system.

\begin{figure}
\centerline{\epsfxsize=7.4cm \epsfysize=11.5cm \epsfbox{Fig4tr.eps}}
\end{figure}
FIG.4, (a)The magnetic field dependence of the matching voltage
between the flux flow states and all transverse eigenmodes. The inset
shows the variations along c-axis of $Re({f^{(n)}}_{\ell+1,\ell})$ of
A$(n=0)$, B$(n=1)$, C$(n=2)$ and
D$(n=19)$ modes, where ${f^{(n)}}_{\ell+1,\ell}=g_n e^{i \pi \ell n/N}$.
(b) The I-V characterisitcs same as Fig.1(a). The vertical lines indicate
the matching voltage of all eigenmodes, and A, B, C, and D correspond to
those shown in Fig.4(a), respectively

\bigskip

\noindent Here, it is noted that not all the matching voltages cause clear
step-like anomalies
in the $I-V$ characteristics. However, we have directly observed the structural
change, for example, near the voltage value at C by monitoring
the vortex configuration.
Since the $I-V$ characteristics is given by a sum of the contribution from
all the junctions, it is understood that it is not so sensitive for a
slight structural change in the moving flux-line lattice, that is, in a case
that the current distribution is not largely altered at the transition, a clear
anomalous structure will not appear in the $I-V$ characteristics.
We also notice that the matching with the modes, A and B, obtained in the
above linear analyses gives the precise phase boundaries of the region
III. This fact indicates that the above analysis is sufficiently valid in
 this region, that is, the oscillatory part $h_{\ell+1,\ell}$ is
only a small perturbation and the phase-locked in-phase
flux-flow state, which is the moving rectangular-lattice state, is very stable.
The width of the region III is given by $\Delta V=
\omega_A(H)-\omega_B(H)\sim [1-{\sqrt{sD}\over \sqrt{2}\lambda_{ab}}
{1\over\sqrt{1-\cos(\pi/N)}}]H$. Since ${\sqrt{sD}\over \sqrt{2}\lambda_{ab}}$
is very small in high-$T_c$superconductors, the superradiant state is expected
to be very wide in IJJ's.

Hechtfischer et al. observed a broad-band emission in the flux-flow state
of Bi$_2$Sr$_2$CaCu$_2$O$_8$ single crystals, whose power spectrum takes
a maximum around the voltage at which the step-like structure appears in
the $I-V$ characteristics \cite{Hechtfischer1}. They claim that
the EM waves emitted from
the junctions are generated by the Chrenkov radiation due to the moving
vortices \cite{Hechtfischer1},\cite{Hechtfischer2}.
From our simuration results, we may suggest two possibilities for the
origin of the broad-band emission. The first one is the Cherenkov-type
radiation as claimed by Hechtfisher et al. Rough estimation for the
present model indicates that the threshhold voltage for the Cherenkov
radiation lies in region II, in which we really observe the broad-band
spectrum in the low-frequency region as seen in Fig.3(II). It is noted that
this result is consistent with simulation resutls by Hechtfischer et al
\cite{Hechtfischer2}.
In this scenario, the step-like anomaly observed in the $I-V$ curve of Bi-2212
may be identified with the boundary between the regions II and III in
our simurations.
On the other hand, it is also possible to interprete that
the step coresponds to the boundary between the regions I and II, which leads to
another possibility for the origin of the observed broad-band emmission.
In this second scenario, it is understood that the observed EM field
originates from the vortex state in region I. Since no transverse propagating
Josephson plasma mode can be coupled with
such the slow vortex motions in this region, one may interprete that the
broad-band spectrum reflects chaotic EM field oscillations due to the
non-regular motion of vortices. Here, note that
step structure in IVC
at the boundary between the region I and II in simulations is
the most remarkable structure and it is similar with experimental results
\cite{Hechtfischer1}.
To clarify the mechanism of the
broad-band emission, we will need more detailed theoretical and experimental
studies.

\section{Conclusion}

In conclusion, we performe direct large scale numerical simulations on
Josephson vortex flow states in IJJ's
and find structural transitions of the moving flux-line lattice
accompanied by the step-like structures in the I-V characteristics and
changes of power spectrums of AC electric field at the sample edge.
The four typical flux flow states
and the corresponding power spectra are identified and
the in-phase
superradiant flux flow state are found to exist
stably in a wide region in the I-V characteristics.
The comparison between the simulation results and the eigenmode analysis
for the transverse propagating Josephson plasma modes
show that those step-like structures in the I-V characteristics
 are due to resonances between flux flow motions and
transverse propagating Josephson plasma modes.
Furthermore, the analysis predict that the
superradiant state region enlarges
as the superconducting and insulating layer thickness
is decreased compared to the magnetic pentration depth in the ab-plane direction.
The collective Josephson vortex flow under the presence of
many propagating modes includes very rich varieties of physics, while
the stable superradiant flux flow state
will be a key feature in making successfully
submilimeter-wave generator employing IJJ's.

The authors thank T.Yamashita, and S.Sakai for useful discussions
and one of us ( M.M. ) also thank for T.Imamura and M.Itakura
for numerical simulation
techniques and K. Asai and H. Kaburaki for
their supports on the computer simulations in JAERI.


Unleash a swarm of fetcherflies to relentlessly attack an enemy, dealing 8658 Magic Damage over 10 seconds. |When this ability ends, the fetcherflies infect up to 6 new targets near the enemy.
Morph Effect: Spreads to nearby enemies when it ends.


text:
2021-22 Team Stats (.pdf)
SEC Standings
Tigers in the WNBA
Tigers in the WNBA Draft
LSU Women's Basketball Joins Coaches Poll at No. 24
BATON ROUGE – After three weeks of receiving votes in the Coaches Poll, the LSU Women's Basketball has entered the poll at No. 24 with the SEC season set to begin on Thursday.
The Tigers will enter SEC play ranked in both polls having been in the AP Top-25 the past four weeks. LSU was up to No. 19 in Monday's latest AP Poll.
Riding an 11-game win streak (the longest since winning 14 straight in 2006-07), LSU will travel to Athens for a matchup against No. 13/12 Georgia Thursday at 6 p.m. CT in Stegeman Coliseum.
LSU will host its SEC home opener on Sunday at 2 p.m. against No. 23/17 Texas A&M.
Coaches Poll – December 28, 2021
Rank Team
4 NC State
8 Maryland
14 Iowa State
16 Georgia Tech
17 Texas A&M
19 Brigham Young
20 Kentucky
22 Duke
23 South Florida
24 Louisiana State
25 Ohio St.
Dropped Out: No. 25 Florida Gulf Coast.
Receiving Votes: Florida Gulf Coast 80; Colorado 55; Oklahoma 50; Nebraska 47; Missouri St. 8; Central Florida 6; UCLA 3; Gonzaga 3; Oregon St. 2; DePaul 2; Coastal Carolina 2; Mississippi 1.
LSU Women's Basketball Highlights vs. Vanderbilt
Gallery: Women's Basketball vs Vanderbilt
No. 12 LSU Women's Basketball Defeats Vanderbilt, 82-64

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Many to Many and HQL I got class:
@Entity
@Table(name="restaurants")
public class Restaurant {
    @Id
    @GeneratedValue
    private int id;
    private String name;
    private String street;
    (...)
    @ManyToMany
    @JoinTable(name="user_restaurant_owner",
            joinColumns={@JoinColumn(name="restaurant_id")},
            inverseJoinColumns={@JoinColumn(name="username")})
    private List<User> owner;

How to get Restaurant if I know User ("owner") username?

Query q = session.createQuery("from Restaurant as r where r.owner = :username").setString("username", username);

it doesn;t work

A: You need to join to a collection in HQL if you are selecting on properties of the element within the collection.
from Restaurant r join r.owner o where o.username = :username

A: from Restaurant as r should be from Restaurant r no as (not sure if as is optional).
Also, you do r.owner = ... this should be r.owner.username = :username

A: r.owner references the PRIMARY KEY of the Owners table.
what you want is a subselect (done in SQL here for simplicity - I'm not too confident with HQL):
select {r.*} from Restaurant as r where r.owner = ( select id from Owners as own where own = :username ).setString("username", username)

this way, you match the foreign key with the field it references, rather than the name field.

redpajama_set_name: RedPajamaStackExchange


>> > – it seems there's no other way (though I can't prove it formally).
> into a list.  No need for a `mci/read-list-contents'.
I didn't find one on the Internet.
list, and then he can "peek" at the next token without "consuming" it.
go back, so that I can't really "peek" at the next one) reasonable?
I appreciate why it's there...).
the most elegant way, probably.
learn how smarter people solved this problem?


Holualoa | The Kona Babes "Ultimate Big Island"
Some of the Kona Babes road trips (local, of course!) take them to hidden treasures along back roads and quiet villages (do I hear a macaw in the distance, Martin Denny?) that are known only to neighboring residents and friends. There are so many rundown, sometimes historical, shacks and buildings left untended, that you can almost hear the sighs of "remember when that used to be….. if only someone would fix it up!". Fortunately, someone heeded the call, purchased the old Keauhou Store, and brought her back to the original country splendor deserving of a former beauty queen.
Kurt and Thea Brown, longtime Kona residents, took the challenge and restored Keauhou Store to it's full potential. Their website ( http://keauhoustore.com/ ) contains fabulous photos and history, plus an online ordering section for those not fortunate enough to live here and visit the store in person.
A visit to the store yields treasures from the past and preserved tableaus from the former family of store owners, as well as locally grown products, Thea's savory cookies and Kurt's beautiful handmade guitars.
Time stood still as I sat outside on a bench, eating an ice cream bar and watching farm trucks saunter by with their haul of coffee cherry in burlap bags on their merry way to processing and roasting. On this day, an old Schwinn bike with streamers dangling out of the handle bars leaned against the wall, reminding me of my own carefree days of youth in Honolulu. This is one of the many reasons why I am grateful to the Brown's renovation efforts; obviously achieved with much love for their island home and community. Definitely worth a trip upcountry if you've got some time to spend reliving a bit of Kona's important history along the "Kona Heritage Corridor". Plus there is always that ice cream moment on the front porch!
From time to time, as we take our 'road trips' on island (or off), I'll update this post/page.


text:
Interview: Mark Hosler
By admin ⋅ May 17, 2018 ⋅ Post a comment
Filed Under Mark Hosler, Negativland, U2, Wobbly
Mark Hosler is one of the founding members of the experimental music collective Negativland, which has pushed the boundaries of sampling and appropriation in ways that have led to artistic triumphs and legal headaches.
Negativland's first album came out in 1980 while Hosler was still in high school, and the band broke through to college radio with the 1987 album Escape From Noise. They gained some noteriety when they claimed that one of the songs from that album inspired an axe murderer's rampage, a hoax which the band actually created to avoid having to go on tour.
Along the way, Negativland coined the term and advanced the notion of "culture jamming", an anti-consumerist movement to subvert mainstream cultural institutions. This came to a head with their 1991 release of an EP called U2, which led to four years of legal battles after they were sued by U2's record label for unauthorized sampling of "I Still Haven't Found What I'm Looking For" and misleading artwork.
This interview was for a preview article for noozhawk.com for the 5/24/18 visit by Mark Hosler and fellow Negativland conspirator Wobbly to the University of California, Santa Barbara. Sponsored by UCSB's Center for the Interdisciplinary Study of Music, this visit includes a Roundtable Workshop and a concert. The interview was done by phone on 5/11/18. (Stefan Müller photo)
Jeff Moehlis: Can you tell us a bit about what people can look forward to when you come to Santa Barbara?
Mark Hosler: Before the show, we're going to be doing an afternoon panel with a music professor named David Novak about appropriation and collage in music and art, intellectual property issues and copyright law. I'm sure that'll go in different directions.
We're in a political moment where many of Negativland's ideas of culture jamming, and trying to point out problems in the media and critique the media through our work, we are now seeing that, in a way, Trump and his crew are sort of the dark side of that. They're culture jammers, too. We never envisioned what would happen if a culture jammer came along who's a lying sociopathic malignant narcissistic Machiavellian [laughs]. You know, someone who was in it for themselves, not to help everybody else.
Going back to some of our older work, Negativland was pointing out things about what you might now call "fake news", the idea that you couldn't trust the media. We never meant to say that you can't trust all of it, because that's kind of what Trump and his friends are saying. They're just sort of painting it with this broad brush. Of course, what they call fake news is just news they don't like.
But we've been having this conversation amongst the members of Negativland about how bizarre this moment is, where a lot of these things – through our art and our performances and writing and radio shows and stuff – were sort of pointing toward a different perception, a different take on news media and information. And encouraging the listener to be more critical and thoughtful, and don't believe what you read. That goes back to work we were doing back in the late '80's, where we did that whole axe murder hoax.
So now we're in this moment where those ideas have mutated into this thing that's truly evil and terrible, and very destructive. I don't want to live in a world where we've decided that there are no facts, that truth is just whatever we want it to be. That whatever we feel we'd like to be true is therefore true, because we want it to be. That is not a world that I want to live in [laughs]. But that's the world that's being pushed now by the people in power. It's very strange.
In fact, I just saw Daniel Ellsberg – he's the guy who leaked the Pentagon Papers. Noam Chomsky was in the audience, which was kind of amazing. Daniel Ellsberg, who is in his late 80's and is still absolutely sharp – Nixon broke into his office and that's what lead to Nixon being brought down through Watergate – but even Ellsberg said, "My friend Noam and I have done a lot of work where we're trying to get people to think critically about the news and the media and information, and we're now in a moment where the guy running the country is talking about fake news." It was really kind of heartening for me to think, "Even Daniel Ellsberg is realizing how extremely bizarre and fucked up this moment is."
These tropes that we've been putting out there and trying to promote as a form of media literacy and activism around these issues, it's kind of been weirdly hijacked. As I said, we never predicted that somebody would come along and take these critiques and these ideas, but talk about it from a point of view where it's a completely selfish, self-serving power grab. It's not about trying to really help people or educate people or create a more just and peaceful world. So it's very bizarre. Sorry, that was a long tangent.
I guess I say all this because we've been dealing with these issues for a long time now. I mean, Negativland's first record came out 38 years ago this month, and at the time, I thought, "I can die now." I put out one record. I was still in high school. I didn't need to do anything more. That was fine. I was so incredibly thrilled, and never would've imagined our work would've continued to evolve and grow, and we'd explore all these other avenues and get into the trouble we got into. And so, we're watching these things continue to change and morph, and we hope to reflect that in our current creative work, that we're not stuck and frozen in 1989.
All that being said, the work that Jon [Leidecker] – or Wobbly – and I will be doing at the show in Santa Barbara, we're both going to be doing solo performances, and we'll probably do a duo at the end, as well. And of course the wonderful Irene Moon is on the bill. She's terrific, and she lives in Santa Barbara. Our solo work is going to be instrumental, all sound-based. We've been working towards a new Negativland record, and new Negativland performances, so probably the duo at the end will be us workshopping some new ideas for Negativland stuff [laughs], in kind of a loose improvisational way, where we're not worried about it being called Negativland. But both Wobbly and myself have a practice of exploring stuff solo, where you can do things that don't work in a group performance setting. So it's something that we were both interested in taking out on the road, and I was able to set up a few shows up and down the coast.
My live setup is a lot of homemade electronics, and all sorts of unstable soundmaking devices that I can sort of control, but they're always surprising me, so that it's kind of like I'm collaborating with the machines, and I'm trying to wrangle them into some shape that has a sort of musical form. A dynamic form, so that it's fun for people to listen to. But you're actually watching me try to figure this out, which is why I have lights pointed down at my gear. There's a lot of people now who do experimental music on laptops and things, and they always play in the dark, which personally drives me crazy. I always think, "I paid money to come see you. I want to watch you perform. Don't play in the dark!" But that's what a lot of people do, and I'm not doing that [laughs]. I have little clip-on lights that actually point right down at my gear, and I tilt the gear up a little bit towards the audience so everyone can see what I'm doing.
The joy of improvisation can be this exploring, this manifesting of something being created right in the moment, and there's something that can be quite electrifying about it when it's working. And of course it can also be the worst, most tedious jerk-off kinda thing [laughs]. Hopefully, because I've been doing this for 38 years, I'll be on the better side of things.
JM: I read that one of the instruments you'll be playing is called a "Booper".
MH: Yeah, designed by one of the members of Negativland, David Wills.
JM: Can you give a quick description of what the Booper is?
MH: A Booper is some amplifiers, like out of a clock radio or something, and the output feeds back into the input so they make feedback. That's the kind of thing where if you ever hear a guitarist getting too near his amp, the signal feeds back and goes, "Wooooo". Over the years people have figured out ways to control feedback in a musical way. There's a whole tradition of it in experimental music, going back to the 1940's, and in fact Wobbly has a whole lecture he does on the history of feedback in experimental music. And then you have Jimi Hendrix and people like that, who started exploring it in a rock/pop context.
So the Booper is a feedback device, but there's different capacitors and resistors that are modulating this feedback, so it actually ends up sounding like these alien insect cartoon sounds. I think it's quite funny sounding, actually. And it's really unpredictable, so it's a lot of fun to play with. It always sounds good, that's the thing. No matter what happens, it always sounds really cool. I love it. But you never know what it's going to do. It's a lot like the person who created it [laughs].
We have about 10 of them now. There's about 10 Boopers at this point. But the first one, David made it in high school, I think, in the early '70's. He used to wear it inside of a jacket. It wasn't even in a box. The wires and knobs were all attached into the jacket that he used to wear around in school with a speaker built in, and he would make booping sounds. That eventually ended up in a box.
David is one of the founding members of Negativland, so the Booper has always been a delightful little audio secret weapon that we've had ever since. About 10 years ago he started making more of them, and they're all different. They're all sort of in the ballpark of what I described, but they all have their own unique character to them.
I'd say that what I'm doing is kind of alien electronic soundscapes, but it can get pretty dramatic, too. I use beats, there's rhythms, there's things like that. It's definitely on the weird, experimental side, but I hope that it's engagingly, accessibly strange. That's what I'm aiming for.
My setup is all hardware devices all wired together. For Jon's setup for his particular performance he has a bunch of iPads and iPhones all feeding into each other, and he's using these pitch-to-MIDI converters, which hear the sound a device is making, converts it into digital note information, feeds that to another device which does the same thing, and they do it in this cascading loop. So it's like a MIDI feedback loop. And then each device has different sounds in them being triggered, and the way the interact with each other is absolutely bonkers. It's wonderful. I actually love hearing him perform. It's really fun.
He's playing his devices, and he's inputting some note values, too, you know, playing a keyboard, but he is also on a journey with you, the audience, as far as "where is this going to go, and what does it do?" He's done a lot of these performances now, so he's gotten really, really good at corralling the crazed out-of-control-ness of it into something that's really fun to listen to. It's always full of surprises. As we're touring, every night is going to be pretty darn different. We're also playing in Oakland on the 19th, San Diego on the 26th, and Los Angeles at Coaxial on the 27th.
JM: You mentioned that the first Negativland record came out 38 years ago. What was the initial vision for Negativland, when you first started?
MH: I can speak only for myself. I grew up in a very middle-class, very white suburb east of San Francisco, and I was learning about underground films, comics, and music. I was really into prog rock when I was 13 and 14, all that '70's stuff from Gentle Giant, Yes, King Crimson, Genesis, and Pink Floyd – all those groups before they became horrible. By the late 70's they were all just awful [laughs]. And I actually go back to that stuff. All that prog rock from the early to mid-70's – I still think it's great. I still just absolutely love it. I was really into Mike Oldfield, too – he's kind of a prog rock guy. I loved his stuff in the early '70's.
But I started learning about minimalists like Philip Glass and Steve Reich, and German electronic Krautrock – there was Neu! and Cluster, Kraftwerk, Harmonia, Faust, groups like that. I was getting into post-punk. Punk had happened, which I appreciated the ethic of and the spirit of it, and I feel like Negativland really tries to stick to a very punk kind of ethic and spirit, but I thought punk music was kind of boring. So post-punk – when you started having things like Gang of Four, Pere Ubu, Wire, Public Image Ltd, things like that – was of interest to me.
What else? I was listening to a lot of Firesign Theatre records, Monty Python records. I mean, if you put all that in a blender, that was what was going on in my brain. There was some record that I wanted to hear that I couldn't find. I still love all that music, but there was something I wanted to hear that was a mixture of really experimenting with strange sounds, but there was kind of a pop sensibility, some kind of a musical sensibility to experimenting.
I loved hearing things that were taken from their original context and being reused. I occasionally found things where people mixed in… I think on Pere Ubu's Dub Housing, at the end of one side there's a track called "Thriller!", and it mixes in the recording of a horror movie or something. And there would be things where found sounds were blended into the music, and it really electrified me. I just was so interested in that. So I would occasionally hear moments. I just thought, "I want a whole universe of that. I want to hear a whole record of that."
And it just dawned on me… I was working on making animated monster movies, and I was a very creative kid. I was writing screenplays adapted from novels when I was 13 or 14. But I couldn't figure out how I was going to grow up to be a big-time filmmaker, because back then how could you break into it? It was just impossible. You didn't have things like desktop video now. Nowadays you really can do professional films for very little money if you've got the talent and the will and the vision to do it. So I was getting interested in sounds, and I was very into film soundtracks, too. I was into Werner Herzog film soundtracks by Popol Vuh, Bernard Hermann, people like that. The soundtrack to Logan's Run is great. Jerry Goldsmith. He does some pieces that are supposed to sound futuristic, and they're all done with synthesizers. They're actually beautiful, great pieces.
So I thought, "I'm going to try to make this stuff." I started borrowing equipment, and I talked my music department in my school into lending me a synthesizer and some other instruments. I think one high school Christmas vacation in my little ten foot square bedroom, I crammed in a drum set, a cello, a saxophone, a bass guitar, an electric guitar, an electric piano, a String Ensemble synthesizer, a Maxi-Korg synthesizer, and a little cassette deck and a mixer. I just started messing around.
I had an after-school job where I was calling people up on the phone to ask them questions about their favorite television shows, and that's where I met Richard [Lyons] and David. Richard and David were into a lot of the same music that I was, and it was that typical thing of teens bonding over their mutual love of weird music [laughs]. They also were experimenting with sounds, and David knew how to make tape loops. David already had the Booper, which of course when I encountered that it just blew my mind. So that's kind of how that happened. We just said, "OK, we're going to make this sound together."
That was about it. The degree to which our work evolved into being more political and more activist and more of a critique of things, that came later. That came from continuing to do the work, getting older, becoming a little more enlightened and a little more politically aware, and starting to realize that you could use collage as a way to talk about our culture in a way that was very interesting to us.
I'm currently now working on a reissue of our first record, and Richard who died just two years ago was working on it with me, and I promised him before he died that I would finish it. It's been hard. We're doing a limited edition reissue, and that first record had hand-made, one-of-a-kind covers, every single one unique, and over the years we made 9000 vinyl and 6000 CDs. And every single one is different. I'm making more of the covers in the same way I did back then using pictures from old home improvement magazines, wallpaper samples, etc. They'll still be unique, and they'll all be done in the exact same style of the original issue.
We found the old master tapes. Don [Joyce], from Negativland, who died… We had three members die in the last four years. It's pretty intense. They're also, of course, my oldest friends, too. To lose your friends, and basically your family, your collaborators… But when Don died we found the original master tapes of the first Negativland record. It was buried in his stuff. We thought it was lost. So Peter [Conheim] in Negativland has done a remastering job that's really great. It sounds like about 15 coats of paint have been stripped off it. So it's going to be remastered, and it'll have cool bonus stuff. It will be a limited edition thing on vinyl.
So I've been revisiting that material, and kind of thinking, "Wow, how did a bunch of teenagers growing up in the suburbs come up with something that's this out there?" Because it's so many years away from me now and in my past, it sort of startles me [laughs] that we did it. I think the record comes off as more conceptual than we knew, because we had the wallpaper samples and the recipe insert, and there were a lot of things about it that made it seem like sort of a bit of an exploration and riff on the experience of growing up in the suburbs. It mutated into some strange soundscape. We weren't trying to make it conceptual, it was just from screwing around. But I think we kind of just intuitively were into working with what was in our world around us, our landscape, our soundscape, our earscape, which meant we were using recordings from the TV, from the radio, our parents in the kitchen cooking and baking, our pets outside barking. That stuff just made its way into the work.
JM: Your album Escape From Noise is viewed by many people as a breakthrough for the band. What are your reflections on that particular album?
MH: By the time we made our third record, A Big 10-8 Place, we were really deeply exploring tape editing. We were cutting up tape with razor blades, and we wanted to take that technique to a compositional place. We used to use tape editing to make tape loops and to cut tracks together, but there's a track on Side Two of Points called "Babac d'Babc", that was a piece where Ian [Allen], who's the other member who died, said, "Why don't we take this tape cutting up thing we're doing" – there were three pieces that we weren't totally satisfied with – "and why don't we take these three tracks and intercut them with each other. Chop them up into chunks, and compose a piece out of these other pieces." In a way, use our own sounds as found material to cut up and rearrange.
That was so exciting to us as a track that the next idea was to use that approach for an entire record. Let's explore that for a whole record. And that becomes the record called A Big 10-8 Place. That record took three and a half years to make, and it has literally thousands of tape splices. This was all pre-digital, where you cut up tape with a razor blade. So we explored that, and that's a record I still enjoy.
It led to, "OK, we've got that down. Now can we take our skills that we're developing and do something that's a little bit more conventionally musical?" Maybe make the tape loops be in 4/4 time. Cut up sounds and layer them on top of rhythms where they actually fell into place in a way that's musical in a more conventional way. So that's what Escape From Noise was at one level, exploring that. That was pushing things forward and becoming more conventionally musical. A Big 10-8 Place is a concept album that's all about the suburbs and where we grew up, very specifically that. And Escape From Noise is exploring these notions of noise, sound, how it affects us through media and pop culture.
I look back on that record now, and the one thing that I actually wish is that we were messier with how we put the noises in. We got good enough at doing one thing, but when I listen to those tracks now I wish there were more crazy sounds on top of some of those pieces. It's a little too clean and tidy.
We are in the midst of slowly creating a new Negativland album, which is probably going to be a double album because there's a lot of material. We're never going to mention Trump by name on the record, but it is very much us doing our best to respond to the dark dystopian insanity that we find ourselves in right now as a country and as a planet. It's definitely trying to use all of our different abilities, and definitely making sure to put in funny and crazy sounds on top of the more musical bits.
JM: Your legal case with U2 and Island Records is thoroughly documented, so I don't want to rehash that. But it's now 20-plus years later. What would you say is the most important thing you learned from how that whole thing played out?
MH: Personally, the value of pursuing your creative vision, and of not backing down, and doing your best to proceed in a fearless way. I credit that to the fact that I'm part of a group. This is not about that I was that strong of a person. I don't think I am. But because I was part of a collective, I think that together as a group we were able to fight the good fight, and turn that lawsuit into a giant conceptual art project which we tried to use as a way to further the conversation, which seemed at that time to really need to happen. What is property when things are digital? What is art and creativity when the world you're living in is not just clouds and the sky and flowers and trees and love songs, but it's U2 music that's playing that you don't want to hear? It's a Pepsi ad everywhere you go. It's Bank of America logos, and Wells Fargo on every corner. It's pop songs and media and information. We're just swimming in it.
So the idea that someone says, "This is all privatized and you can't touch it as an artist," to us was absurd. It was just silly. Yes, we're even going to make art using other art – that's OK. That was our argument. This ought to be allowed, because we're not counterfeiting someone's work, we're not bootlegging it. We're using bits and pieces of things to then make new work that comments on the work that we've appropriated, that uses what we're repurposing toward some actual thoughtful ends. I think the U2 record is also very funny. It was also responding to this corporate-media-saturated world that we live in. Now, all these years later, that world is only infinitely worse, because everyone's on their devices non-stop. Someone must be tracking the average number of ads that a human being was seeing in a day in 1980, 1990, 2000, 2010 [laughs]. Because that would be good to know. I bet you that number has just gone through the roof. It's sort of insane.
In the early '90's we were seen as making a radical outlaw argument, that we were even maybe crazy. But it only seemed to us to be very commonsense. This is just a very basic thing – human beings have always made art and objects and culture, and we make it in response to the world that we live in, and we make it using the tools we have available. As I was saying earlier, the world we live in, unless you're living on an island in the middle of the ocean, you are experiencing all of this different branded corporate media and popular culture all the time, often willingly and a lot of it unwillingly.
And the tools you have aren't just pulling a burnt stick out of the fire and using the burnt charcoal end to draw a mammoth that's outside your cave on the wall where you're hiding [laughs]. It's that you have capturing technology, that you have a smartphone you can point at something, you can grab something sonically or with video or an image. And you can reuse it. These digital devices make it incredibly easy to reuse things, to share things, to cut them up, collage and do stuff with it. That now, as a practice, is very mainstream. It's easy stuff to do. It's a very, very different world.
So I can see now what happened back with the U2 single, I see that we did our best to help further that cultural/legal conversation, but, as I said, I think that the biggest takeaway for me was really about sticking to your guns. If you have a good idea, do it. Don't worry about the consequences. As long as you're not actually hurting anybody [laughs].
The only thing that hurt U2 was that they tried to crush us, and the publicity around it made them look bad. Our actual project didn't hurt them. How could it? They were the largest rock band on the planet Earth. If you know that expression, it's like water off a duck's back.
But it did rankle them. The wild thing was – and this is one thing that I also learned that's amazing to me – how people in power can be the most petty, small-minded, and power-mad; I mean, it's amazing. Obviously we're seeing this in evidence daily in the news now coming out of D.C. – but it was incredible to me that they took such offense to our project, and bothered to go after us. If they had just ignored it, it really would've just vanished [laughs]. Nothing would've come of it.
But we learned years later that they took great offense. The head of business affairs for Island Records, which was U2's record label at the time, it wasn't just business. We met people and talked to people who knew them, and they said, "No, they actually were pissed off. They were mad at you. It was an insult that you dared to mess with their intellectual property, and made fun of them." I mean, you're kidding. Really? Because I thought they shut us down because they thought it was a good business move, because U2 had a new record coming out at the time, Achtung Baby. But no, it was more than that. I talked to people who talked to Chris Blackwell, who was the head of Island Records, to U2's manager Paul McGuinness, to members of U2, to people in Island Records. We had inside people, and we got information back about how personally they took it.
JM: Is it correct that Casey Kasem wasn't upset about it?
MH: That is what he said to the public. He took the high road publicly – to his credit he did. He said, "Well, I don't like what they did but it's a free speech issue, and this should be allowed to exist." And that was very enlightened and magnanimous of him, and he said that in public, in an interview that actually was done with someone I know [laughs]. But in private his lawyers sent us a letter that said that if this thing ever sees the light of day again, we will sue you.
We were also sued by our own record label, SST Records. We were sued by the founder of Black Flag, Greg Ginn. I think part of why the media found the story so interesting, there were the highfalutin issues I'm talking about about culture, intellectual property, art, activism, creativity in the modern world. But the soap opera aspect was all about private behavior versus public personas, that you had a lefty do-gooder group like U2 who's actually privately crushing to death this little tiny nothing of an underground avant garde group. You know, Casey Kasem, as I said, said one thing publicly and another thing privately. And then Greg Ginn, who was a punk rocker guy whose motto for his label was "Corporate Rock Still Sucks", he was suing us. It didn't make anybody look good. When hypocrisy comes out in how people behave, that can make for a story that the media finds interesting.
JM: What advice would you give to an aspiring musician?
MH: [laughs] Oh, wow! I'm now old enough, I'm enough of an elderly man in the experimental music world that I'm like, [mock elderly tone] "You kids…"
Well, my advice would be what I was saying earlier. I was a teenager, and I just had a crazy idea with my friends to make this record. Did we think hardly anyone would want our record? No. We thought there would be an audience for it, but that it would be very tiny. But that was fine – we were happy with that. We were happy to reach a small number of people. I would say that if you have a creative idea, something that absolutely drives you, inspires you, lights you on fire, by any means necessary make it happen. Be creative.
Another bit of advice that I would give is that we have all grown up in a culture that feeds us ideas of what it means to be successful, and those ideas are toxic, they're bullshit, and they're very destructive. But we see them all the time. We're constantly immersed in seeing celebrity culture, Reality TV culture, success culture.
I think that we all end up internalizing notions of success that are fed to us by our celebrity-obsessed pop culture and our American ideas of hyper-capitalism, that making it is by succeeding at all costs, the person with the most money wins, etc, etc. And those notions get inside of you in all kinds of subtle and not so subtle ways. They're deeply destructive, they're toxic, and I think they need to be deconstructed. And if you come up with your own notions of what it means to succeed, then you're much more likely to keep doing whatever it is you do.
The first Negativland record came out, and we consigned it to two record stores in the San Francisco Bay Area. That was all we knew. This is 1980, right? And we thought that maybe over the next five years or so that we'd sell a few hundred, and that would be fine. We only made 500 of them [laughs]. And so two weeks after it came out we get a call from a record distributor who says, "Hey, we saw your record in this store. We like it. This is really interesting." I think they also were intrigued by the fact that this was a bunch of teenagers in the suburbs who just made this thing. They said, "We'd like 100 copies", and we were just flabbergasted. "What!? 100 copies. Wow! Oh my God! Sure, OK!" Two weeks later they call and say, "Oh, well they're gone. We'll take 200 more." And what I remember – at this point I'm 18 years old – I remember saying, "Well, wait, I don't understand. Where did they go? Who bought them?" He said, "We sell to other record stores all over the place." I said, "What do you mean 'all over the place'?" He said, "Oh, they're in Amsterdam, L.A., New York, London, Berlin, Tokyo."
For me, because our notion of success was so modest, when he told me this it was like my head exploded. It was like someone telling me, "You just sold 10 million records, and you're Number One with a bullet in the Top 40." So the encouragement from that, the thrill, the excitement – obviously it's not that we were starting to make money, because we weren't – but it was just that we were reaching people. That's why you do this. You do this to reach people. It was just incredible.
So that's why we ended up making another record. There was interest. I think we had sold maybe 1000 copies by the time we put out our second record, which then sold 2000. I remember thinking, "Well, that's fantastic! We doubled our sales! We reached twice as many people! Oh my God!" Now, if I'd been buying into the idea of success from what was coming, at the time, from Rolling Stone magazine or MTV or what have you, I would've said, "We failed. We only sold a few thousand records. We should quit." But we were just absolutely thrilled to death.
As we kept going, we just incrementally did a little better, and a little better. Then, finally, with Escape From Noise, which came out in 1987, that record was actually very well received and got into heavy rotation on college radio stations all over the country, which shocked the hell out of us. I hope I've kept my sense of humbleness and sort of a childlike delight in just being thrilled that anyone is interested at all in what we're doing [laughs]. So hanging onto that, too, is very important. Not becoming jaded about it, or cynical about it.
Which, all that being said, is interesting because this new record that we're working on – it is very funny, but every track is very dark. It is dark. That's the times we're living in – it's dark. We're still having fun, though. I was talking to Jon as we were working on the Pro Tools sessions for this record, and I said, "I wonder how many groups in the world sit around and, as they're working on a record, they're laughing all day, and then every time they have an idea that makes a track even funnier, they put it in." He said, "I don't think that's how most people make music." Like, I love Philip Glass, but I don't think he's sitting around looking for the yucks as he composes [laughs]. So there's that, too.
Back in the day when I was kind of paying attention to what was happening with industrial music, and checking out records by Skinny Puppy, Revolting Cocks, Front Line Assembly, Front 242, Consolidated, all those groups, I found it to be sonically interesting, but I said, "Boy, they are not funny. These people are too serious" [laughs].
One comment for "Interview: Mark Hosler"
Hope they tour a little wider…
very excited for some NEW NEGATIVLAND material!
now, more than ever….
Posted by vince cannata | May 21, 2018, 7:40 am


text:
Benefit Corporation Certificate of Incorporation for Domestic Business Corporations
Article 17 of the Business Corporation Law ("BCL") governs the incorporation and operation of benefit corporations. Business corporations formed as benefit corporations, in addition to business purposes, are formed for the purpose of creating a "general public benefit." BCL §1702(b) provides that a "general public benefit" is a "material positive impact on society and the environment, taken as a whole, assessed against a third-party standard, from the business and operations of a benefit corporation."
Complete and file the Certificate of Incorporation with the Department of State.
To form a benefit corporation, the filer must present a certificate of incorporation pursuant to §402 of the Business Corporation Law to the Department of State. The certificate of incorporation must include all of the statements required by BCL §402 including the corporation's business purpose. Additionally, the certificate of incorporation must include a statement that "The corporation is a benefit corporation under Article 17 of the Business Corporation Law." This statement is not a statement of purposes and should be set forth in a separate paragraph of the certificate of incorporation. A benefit corporation's certificate of incorporation is not required to include a statement regarding general public benefit purpose.
The certificate of incorporation for a benefit corporation may include a statement of one or more "specific public benefit" purposes. "Specific public benefit" purposes include, but are not limited to: "(1) providing low-income or underserved individuals or communities with beneficial products or services; (2) promoting economic opportunity for individuals or communities beyond the creation of jobs in the normal course of business; (3) preserving the environment; (4) improving human health; (5) promoting the arts, sciences or advancement of knowledge; (6) increasing the flow of capital to entities with a public benefit purpose; and (7) the accomplishment of any other particular benefit for society or the environment" (BCL §1702(e)).
The name of a benefit corporation must comply with the provisions of §301 of the Business Corporation Law. Consent of the New York State Department of Financial Services is required if the benefit corporation's name includes the word "benefit."
The fee for filing the certificate of incorporation is $125.
The completed certificate of incorporation, together with the statutory filing fee of $125, should be forwarded to:
New York Department of State, Division of Corporations, One Commerce Plaza, 99 Washington Avenue, Albany, NY 12231.
Name Availability
The Division of Corporations is required by statute to reject for use any corporate, limited partnership, or limited liability company name that is not "distinguishable" from existing names on file. The only avenue to determine whether a name is available for a corporation, limited partnership or limited liability company is to make a name availability inquiry. The Corporation and Business Entity Database online search is intended for status inquiries of entities already on file with the Department of State. Customers are cautioned to avoid interpreting database search information as an indication that a name is or is not available for use.
The records of the Division of Corporations may be searched for availability of name by submitting a written request to the Department of State, Division of Corporations, One Commerce Plaza, 99 Washington Avenue, Albany, NY 12231. The written inquiry should state that you wish to determine the availability of a name and list the name or names to be searched. Although it is not required, it is recommended that a copy of the name availability response be attached to the document you are submitting for filing.
A finding that the name is available is not an approval of the name by the Department of State and is not a determination that the proposed name satisfies any particular requirement of law. No expenditure or other commitment should be made in reliance upon the availability of a name.
Pursuant to Section 96 of the New York State Executive Law, the fee for searching the records for availability of name is $5 per name submitted. Please note that the Department's determination regarding the availability of a name applies only to the date and time that the name search was completed. Requests for name availability cannot be handled by telephone.
$125 filing fee for Certificate of Incorporation
All fees must be paid by cash, check, money order, MasterCard, Visa or American Express.
To pay for a fee using your credit card or debit card, complete and sign the Credit Card/Debit Card Authorization Form and submit it to the Division of Corporations with your request for service.
Checks and money orders should be made payable to the "Department of State." Please do not send cash through the mail. All checks over $500 must be certified.
Expedited Processing
Expedited Handling Services: (optional) The NYS Department of State's Division of Corporations offers expedited processing of time-sensitive documents. For an additional fee, the Department of State will process a document within the following time frames for the additional fee indicated; $25.00 per document for processing within 24 hours, $75.00 per document for processing within the same day, or $150.00 per document for processing within 2 hours.
The additional, non-refundable fee for expedited processing service must be paid by a separate check or money order or indicated in the appropriate space on the Credit Card/Debit Card Authorization Form.
The Division of Corporations accepts MasterCard, Visa and American Express for the payment of fees. To pay for a fee using your credit card or debit card, simply complete and sign the Credit Card/Debit Card Authorization Form and submit it to the Division of Corporations with your request for service.
The Credit Card/Debit Card Authorization Form submitted with any request for services must specifically indicate the level of expedited service requested.
The envelope bearing documents for filing and other requests for expedited processing services must be marked with the notation "Expedited Processing" on the envelope.
Election of an Existing Business Corporation to become a Benefit Corporation
An existing business corporation may elect to become a benefit corporation by amending its certificate of incorporation to include a statement that "The corporation is a benefit corporation under Article 17 of the Business Corporation Law." The certificate of amendment must be authorized by the "minimum status vote" of the shareholders (BCL §§1702(d) and 1704).
Termination of Benefit Corporation Status
An existing benefit corporation may terminate its status as a benefit corporation by amending its certificate of incorporation to delete the statement that "The corporation is a benefit corporation under Article 17 of Business Corporation Law." The certificate of amendment must be authorized by the "minimum status vote" of the shareholders (BCL §§1702(d) and 1704).
Business Corporation Stock Certificates
Benefit corporation stock certificates must contain the following conspicuous language on the face of each certificate: "This entity is a benefit corporation organized under Article Seventeen of the New York Business Corporation Law" (BCL 1709)
Annual Benefit Reports
Benefit corporations are required to file an annual report pursuant to Business Corporation Law §1708 within 120 days following the end of its fiscal year with the Department of State. The completed annual benefit report, together with the statutory filing fee of $60, should be forwarded to the New York Department of State, Division of Corporations, One Commerce Plaza, 99 Washington Avenue, Albany, NY 12231.
The annual report must include a white cover sheet ("backer") that sets forth the document's title (Annual Report of (name of the benefit corporation) under Business Corporation Law section 1708) and the name and address of the individual to whom the receipt for the filing should be mailed.
The existence of the corporation begins upon the filing of the Certificate of Incorporation with the Department of State. After the corporate existence has begun, an organization meeting of the incorporator or incorporators must be held for the purpose of adopting by-laws, electing directors and transacting any other business. (See Section 404 of the Business Corporation Law.) The initial by-laws of a corporation are adopted by its incorporator or incorporators at the organization meeting. (See Section 601 of the Business Corporation Law.)
The corporation is required to keep correct and complete books and records of account and must keep minutes of the proceedings of its shareholders, board of directors and executive committee, if any. The corporation must also keep a record containing the names and addresses of all shareholders, the number and class of shares held by each and the dates when they respectively became the owners of record thereof. (See Section 624 of the Business Corporation Law.)
The NYS Department of Taxation and Finance (TAX) creates a NYS Corporation Tax Account for all newly formed corporations. The NYS Department of State (DOS) notifies TAX of the formation. TAX generates a temporary New York State identification number prefixed by the letters TF and notifies the corporation of this "TF" number by mailing Form CT-198, Corporation Tax Account Information to the address provided by DOS. The form provides the corporation with the identification number, file number, and current filing period. The corporation must complete the CT-198 form or contact TAX to provide its Federal Identification Number. It is the responsibility of the corporation to keep TAX informed of corrections to their records and must return Form CT-198 as soon as possible to ensure proper identification. For more information, contact the TAX at (518) 485-2889 or visit their website at www.tax.ny.gov.
Business corporations are required to file a Biennial Statement two years after the filing of the Certificate of Incorporation with the NYS Department of State, and every two years thereafter. The filing period is the calendar month in which the original Certificate of Incorporation was filed by the Department of State. Online filing is available on the Department of State's website. The filling fee is $9. Entities who wish to receive a notice when the Biennial Statement is due for filing must provide an email address at the Department of State's Email Address Submission/Update Service.
Corporations are required by statute to conduct business under their true legal or "real" name. If a corporation wishes to conduct business under a name other than its true legal name, a Certificate of Assumed Name must be filed with the NYS Department of State. The filing fee for a Certificate of Assumed Name is $25. Additionally, the NYS Department of State collects county clerk fees for each county in which the corporation does/transacts business. For each county outside of New York City the fee is $25. For the five counties within New York City (Bronx, Kings, New York, Queens, and Richmond), the fee is $100 per county. The total fee for a corporation to file a certificate of assumed name in all counties in New York State, including the NYS Department of State's fee, is $1,950.
The NYS Department of State recommends that legal documents be prepared under the guidance of an attorney.


text:
Plans for permanent traveller site are being revived
Plans were withdrawn after an outcry from neighbours
Stephen Topping
Alan Weston
A travellers camp on land off Sugarbrook Drive (Image: Liverpool Echo)
Sign up to the Merseyside Report, as elected officials continue to lead the city region out of lockdown
Plans for a permanent traveller transit site in Ellesmere Port are being revived - and it could be in place by the end of the year.
Cheshire West and Chester (CWAC) council worked on plans to open a transit site at the former Foxfields pub in Ellesmere Port last year.
The move would have given police greater powers to move gypsies and travellers off unauthorised sites and onto the transit site as soon as possible – but CWAC withdrew the plans following strong opposition from neighbours.
(Image: Liverpool Echo)
But now a cross-party group of councillors will urge borough chiefs to put plans for a traveller transit site back on the table next week, reports Cheshire Live.
After reviewing the way the authority handled unauthorised encampments, the councillors have called on the cabinet to put the wheels back in motion for a transit site and produce a timetable for its delivery by December.
Labour members Cllr Val Armstrong and Cllr Carol Gahan worked with Conservatives Cllr Margaret Parker and Cllr Lynn Gibbon in a task group.
In a report of their findings, the group said: "Unauthorised encampments can cause numerous issues for residents and businesses and the task group was keen to learn how the council and partner agencies respond to such encampments.
"The task group is keen to ensure that the findings and recommendations from this review contribute to improvements in how the council manages any unauthorised encampments in the future."
CWAC currently has no transit site, meaning it requires court orders to force gypsies and travellers to leave unauthorised encampments – a process which can be slow and costly.
Once a borough has a transit site, police can close unauthorised encampments immediately, and any gypsies and travellers who refuse to move would be forced to leave the borough and cannot return for three to six months.
Travellers in Southport last month
The task group considered the impact of unauthorised encampments on communities, and how they are dealt with by police, the council and the Cheshire and Warrington Traveller Team.
They visited Halton's transit site, which has been opened since February 2009, where the number of unauthorised encampments fell from 83 in 2005 to just three from January 1 to July 19, 2019.
Woman finds £930 in cash inside charity shop record she bought for £3.50.
In contrast, Cheshire West was hit by 82 unauthorised encampments last year, 76 in 2017 and 73 in 2016, while there were 25 between January 1 and July 19, 2019.
The councillors also talked to Irish Community Care – a gypsy and traveller support group – about the health and educational needs of those communities.
In a report which will be presented to CWAC's people overview and scrutiny committee next Wednesday, the task group said that one of the "key findings" of their work was discovering "the benefits of transit provision as a particularly effective way to manage unauthorised encampments."
It said: "Transit sites are permanent sites intended for temporary use by residents. The length of stay generally varies between 28 days and 13 weeks.
"A transit site would be income generating as families would pay rent to stay as well as paying for electricity.
Grandad left sleeping in his taxi
Woman's 'amazing, happy' life shatte...
Pub still closed decade after execution
49 iconic photos of 1970s Liverpool
"This would allow families to access local services including health, education and Irish Community Care."
As well as setting the wheels in motion for a transit site, the group is also calling on CWAC to raise awareness of the needs of gypsies and travellers among staff and residents, and set up an officer working group in January 2020 to respond to unauthorised encampments.
Liverpool transfer news LIVE - Fabio Carvalho pursuit, Adama Traore bid, Wembley bound


The Fair were asked to deliver the launch event for Grand Central, Birmingham City's new £150million premium retail and dining destination which sits above the transformed New Street Station. Opening its doors for the first time on 24th September, Grand Central is the home to 60 premium shops, restaurants and cafes and includes one of the largest John Lewis department stores in the country.
We worked with key Grand Central stakeholders including Birmingham City Council, Network Rail and Savills to deliver a complex, immersive experience in a busy train station.
To create launch event content to capture the attention of the global media and by bystanders.
To deliver a stand out launch event that took place during the wider Birmingham Weekender.
Launch activity included a series of entertaining live music Flash Mob performance pieces throughout the day.
We worked closely with the creative director at Aston Performing Arts Academy and choreographed each performance piece specific.
Full on site production – including AV, Performers, Videographers and Brand Ambassadors.
H&S – RA, MS, Supplier audit, EMP, table top meetings, resilience planning meetings, command and control meetings.
204,000 visitors over the launch.
6 pieces of Flash Mob activity shown on the "Media Eyes" within 45 minutes of taking place.
Hosted 52 journalists, executed 10 live outside broadcasts, 15 pre-record packages, and more than 100 pieces of launch day coverage….all over a 48 hour period.


FILE - Pink arrives at the American Music Awards at the Microsoft Theater in Los Angeles, Nov. 19, 2017.
The NFL announced Monday that the pop star will perform "The Star-Spangled Banner" before the game on Feb. 4 at U.S. Bank Stadium in Minneapolis.
Pink released her seventh studio album, "Beautiful Trauma," in October. Its lead single, "What About Us," is nominated for a Grammy this month.
The Grammy- and Emmy-winning singer's hits include "So What," "Get the Party Started" and "Just Give Me a Reason."


Contact David Dancel if you are in the process of buying, selling or renting a property. Get the help finding the right home, pricing and selling a home, contracts and negotiations and more.
David Dancel can help you estimate the value of your home and get an accurate estimate commonly used in the real estate market, known as a Comparative Market Analysis or "CMA".
David Dancel with SyngeQ Realty, LLC is a real estate professional in TX. View David Dancel bio, Listings by David Dancel, Neighborhoods where David Dancel is active and more. You can contact David Dancel by phone, email or visit the website.


I offer a variety of educational options for photographers local to Bermuda and abroad. Check out the different options below for how you can improve your photographic skills, learn new techniques, or simply get a second set of eyes on a project. Sign up for a one-on-one mentorship or take a course with a friend! Whether you're a beginner or a professional photographer, I would love to hear how I can help you push your work further. Upon completing my MFA in Fine Art with an emphasis in Photography and Video from Maine College of Art in Portland, Maine, I began teaching at the collegiate level in 2007. With over 10 years of teaching, I offer a hands on learning experience that is bound to help you improve your skills!


text:
Q: Javascript module syntax invoke contructor I want to invoke a constructor method by using a function that is attached to the window object but it doesn't work.
My code:
// Modal.js
export default class Modal {
    constructor (...) {
        ....
    }
    ....
}

/ main.js
import Modal from './modules/Modal.js';
window.createModal = ??? // I tried new Modal / Modal / Modal.constructor but none of these work

A: //modal.js
export default class Modal{
    constructor(){
        console.log("Modal constructor...")
    }
}

//main.js
import Modal from './modal.js'
window.createModal= new Modal();

A: To create an instance on every call, wrap new Modal in a function and pass all the arguments of the function to the constructor:
window.createModal = (...args) => new Modal(...args);


Our spring show for 2019 is 50 and Fabulous, a celebration of 50th anniversaries and the year 1969, produced by Mark Durrant and directed by Stephanie Durrant and Carol Petty.
It runs on Tuesday 7th, Wednesday 8th, Thursday 9th and Saturday 11th May at 7:30pm. As ever, our venue is the Christy Hall, Old Alresford.
Tickets will be on sale soon from £7.50 (opening night), with no additional booking fee for booking on line.
Please excuse the mess - we're updating the website!


text:
+ Explore Themed Sets
+ About Our Prints
Browsing: Shop / Fine Art Prints / Panel from Kyōsai's Pictures of 100 Demons: I
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Woodcut Demons Ghosts Japan 19th Century Netherlands
Panel from Kyōsai's Pictures of 100 Demons: I
Kawanabe Kyōsai, ca. 1890
Small12.0 x 7.7 in
Premium fine art paper: 100% cotton, acid-free, archival
Museum quality Giclée print
Premium fine art paper, 100% cotton, acid-free, archival
1" border
Image Size: 12" x 7.7" – Total Size: 14" x 9.7"
Panel from "Pictures of One Hundred Demons" by Kawanabe Kyōsai (1831–1889), aka "The Demon of Painting". Hyakki Yagyō (The Night Parade of One Hundred Demons) is a 1000-plus-year-old Japanese folkloric tradition, in which a series of demons parades — or explodes — into the ordinary human world. Kyōsai's contribution to the tradition was, according to the Metropolitan Museum of Art website, one of the artist's most popular volumes, offering "a spectacular visual encyclopedia of supernatural creatures of premodern Japanese folklore". (Source: The Metropolitan Museum)
The SorceressJan van de Velde (II)
Panel from Kyōsai's Pictures of 100 Demons: IIKawanabe Kyōsai


Is it Selfish to Put Your Health First?
6 am-7:30 am: Make breakfast, get kids ready for school, get ready for work.
7:30 am-8 am: Take kids to school, and head into work.
8 am-4:30 pm: Work (maybe more than 8 hours).
4:30 pm-5:30 pm: Pick kids up from school and take them to extracurricular activities.
5:30 pm-6:30 pm: Make dinner and organize the house.
6:30 pm-7:30 pm: Pick kids up from activities and eat dinner.
7:30 pm-8:30 pm. Clean up dinner, help kids with homework, get them ready for bed.
8:30 pm-10 pm: Finish whatever work you have for the day and prepare for tomorrow, then bed.
The day I just described is utter chaos, and unfortunately, this is the typical day for most of the clients I work with at the gym. When juggling the stresses of a career, a family, and everything else in your life, it is hard to find time to put your own health first.
Although it is very hard to consider your own health, when you have everything else to worry about, it is absolutely essential to focus on staying healthy.
I am not trying to downplay how busy you all are, and I feel for you 100%. However, think of it this way, we all have the same amount of time in the day, so how do other busy people find time to be healthy?
Our priorities in life will guide the actions we take through the day. Making your health a top priority will make a positive change in your life and will allow you to have time you thought you never had.
It might seem selfish to have all of these checks in your life every day, but it is essential to have the best quality of life you can. When considering the quality of life, you must maintain balance.
So, how can you be more selfish and make more time for yourself? Many of the clients I work with have a very hard time saying NO to people. When you refuse to say no, and volunteer yourself for everything you can think of, you end up stretching yourself, and if you stretch yourself too far you end up breaking. There is power in saying no, it gives you the power to take control of your life, and more importantly your health.
Another way to find more time in your day is to follow a strict schedule or find a routine. I recommend that everyone has a schedule that they make weekly and check every day. Everything should be scheduled from the second you wake up, to when you eat, when you work, and when you plan to exercise. When you lay everything out in front of you, you begin to realize how much time you really have, and you begin to see what things you can start cutting to make more time for yourself.
Taking control of your health comes down to you. You have the choice to be healthy or to sabotage yourself. Will you put everyone else before yourself, or will you sacrifice some things in your life to put health at the top of the list? Will you use time as an excuse, or find the time in the day, no matter what, to put your health first?
Remember: it comes down to you. You push yourself so hard in other areas of your life, such as work and family, so why can't it be the same for your health? You control your life, your time, your stress, and your health. If you don't like where you are at currently, change it! Make the time, learn to say no, be more selfish, and put your health first.


text:
TOFA-NY 2014 honorees announced; Bobby Lopez says 'tireless work ethic' comes from being a FilAm
Posted: October 6th, 2014 ˑ Filled under: Culture, Entertainment, Identity ˑ No Comments
From top clockwise: transgender activist Geena Rocero, chef Joel Javier, and teacher Michael Vea
By Oliver Oliveros & Cristina DC Pastor
A transgender activist, a chef who is part of a campaign to promote healthy lunches for public school children, and an educator for Teach for the Philippines lead this year's awardees of The Outstanding Filipino Americans of New York (TOFA-NY), a celebration that rounds up the month-long celebration of Filipino American History Month in New York.
Model Geena Rocero, who founded Gender Proud, wins the Courage of Conviction award. Chef de cuisine Joel Javier of Telepan Local is the Food honoree, and teacher Michael Vea, who is the U.S. director for the grassroots initiative Teach for the Philippines, topped the Education category.
Below is the complete list of winners:
Kinding Sindaw
Business & Entrepreneurship
Dennis Josue
Roger Santos
Courage of Conviction
Education, Research & Technology
Michael Vea
Jhett Tolentino
Elle Madrona
Joel Javier
Nemcy Duran
LGBT Advocacy
Jenab-i Pareja
Ritz Mazon Craves
Public Service & Politics
Ludi de Asis Hughes
Senior Welfare Advocacy
Juliet Payabyab
Team Takbo
"I congratulate The Outstanding Filipino Americans in New York (TOFA-NY) 2014 at a most fitting time this October when we celebrate Filipino American History month," said Consul General Mario de Leon Jr. in a message to TOFA-NY. "The awardees and nominees…are a testament to the excellence of the Filipinos in every field imaginable, and their significant contribution to the progress of both the U.S. and the Philippines."
Five individuals and organizations will be feted with the highest honors—The Heritage Awards—at the awards ceremony to be held at Carnegie Hall's Weill Recital Hall on October 25, at 7 p.m. They are award-winning songwriter Bobby Lopez, fashion designer and philanthropist Josie Natori; Dean of Academic Affairs at Columbia University Sheila Coronel; the people behind Fiesta In America trade and cultural expo; and the medical mission volunteers of Philippine Medical Association in America (PMAA).
Lopez, whose global hit song, "Let It Go," which he co-wrote with his wife, Kristen Anderson-Lopez, won all 4 EGOT (Emmy, Grammy, Oscar and Tony) academy awards, said, "I am so proud of my Filipino-American heritage, which comes from my father's side and from which I learned a tireless work ethic and a challenge to always do my best. I'm honored to be one of the recipients of this year's Heritage Awards."
Heritage Awardee Bobby Lopez
"With an estimated 200 spoken languages and more than 3 million residents born outside of the U.S., New York's diversity is unparalleled," said Mayor Bill De Blasio in a message to TOFA-NY. "Our large and thriving Filipino population is an invaluable thread in the fabric of our city."
To make the celebration even more momentous, Consul General Mario De Leon, Jr., CEO and philanthropist Loida Nicolas Lewis, AARP Ambassador retired Maj. Gen. Antonio Taguba, White House Initiative on Asian Americans and Pacific Islanders Senior Adviser Jason Tengco, and Miss USA First Runner-up Audra Mari will speak about what it is to means to be Filipino American and the issues they face. Journalist and Rappler founder Maria Ressa will host this year's awards night.
The VOICE Kids Philippines' Darren Espanto, multi-award winning composer-pianist Yasuhiko Fukuoka, Pilipinas Got Talent finalist Geo Ed Rebucas, Philippine Chamber Singers Los Angeles, Broadway Barkada, UST Alumni Singers of New York, Enteng Evangelista, Richard Lelis Tuozo, Elaine Ficarra, and Pilipino-American Cultural Arts Society of Washington, D.C. are among the artists set to perform.
The annual TOFA-NY Awards is an independent search for exemplary FilAms in the New York metropolitan area. Voting is conducted via social media, and the awardees are celebrated at Carnegie Hall. It is organized by multimedia professionals and entrepreneurs, with Elton Lugay as founding chair, board member Sally Nunez, Cristina DC Pastor (Nominations) and Oliver Oliveros (Publicity) comprising the board. It has been recognized by the National Association for Multi-Ethnicity in Communications, a premier organization focusing on multi-ethnic diversity in the communications industry.