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Jack Daniel Miles currently resides in Gainesville, Florida, with his wife and daughter. Jack is a writer, multi-instrumentalist, and volunteer educator. Some of Jack's most recent work is forthcoming in the spring 2016 issue of Down in the Dirt magazine. You can also check out him and his sporadically updated blog at jackdanielmiles.com.
"No deep and strong feeling, such as we may come across here and there in the world, is unmixed with compassion. The more we love, the more the object of our love seems to us to be a victim."
—Borris Pasternak
Jane Chapman was the youngest of three children; she had two older brothers, Christian, and Benjamin. Jane's mother, Anna, died while giving birth to her, and Jane's father, Robert, was devastated. This was the time of the Dust Bowl and the Great Depression. Times were challenging in many areas of the country, but Jane and her family managed to live a relatively plentiful, if not fairly reclusive, existence on their farm in the Midwestern U.S.
Overall, the Chapman farm was not vast, but they had a fair sized chicken coop, some cows, pigs, and the like. The family also maintained an ample garden; they grew asparagus, Carolina cucumbers for pickling, potatoes, and a variety of other produce to sell and consume.
Jane's brothers rarely left the family farm, except when they needed to fetch a few supplies and could not wait on Mr. Camdon to make his regular delivery from town.
Mr. Chapman never left the farm, and he rarely helped with the chores. Instead, Mr. Chapman elected to spend most of his time sitting on the front porch silently smoking his pipe, or on a recurrent basis, laid up in the house all day after a night of too much shine and ruminating on Anna.
When these instances occurred, Jane could usually be found sleeping up in the hayloft in the barn. Understandably, young Jane wished to avoid the ire of her father, which her brothers did little to waylay. Not that they did not want to, but over the years Mr. Chapman had devolved into a bit of a ferine creature; he was not easily handled once he was set—either physically or emotionally.
Jane, come what may, still had love in her heart for her father, though, and did what she needed to in order to take care of him. Sadly, her love was only equaled, and more often than not surpassed, by her fear of him, especially when he was overcome.
Foolishly, Robert Chapman had grown to blame Jane for Anna's death. Over Jane's sixteen years, her father's wound had festered and burrowed horribly deep into his soul. He never quite viewed Jane in the way that most fathers view their young daughters, but instead he increasingly beheld her as one of the primary sources of his inner turmoil, anger, and sadness.
After the birth of their second child, Benjamin, Anna was not supposed to be able to have any more children—there had been complications—so Anna's pregnancy with Jane had been quite a surprise. The occurrence was celebrated as a blessing.
As Jane grew older, her father's despondency increased in proportion to his drinking, and the drinking had increased a great deal year over year. If it had not been for her brothers taking up the lion's share of the work on the farm, and hiring on a couple of hands who had migrated from North Dakota, Jane was sure that her father would have eventually let the farm go to seed, and drowned in shine while it happened.
Jane was expected to perform the duties of a wife and a daughter on the farm. This meant that Jane was, on a daily basis: cooking, cleaning, tending the garden, collecting eggs from the coop, and sometimes even mucking out the stalls. Jane's duties also included going into town to make deliveries and sell eggs and produce. This was her favorite activity, especially when she got to visit Mr. Camdon's store.
Everyone in town knew Jane's story, and about her father, but most of the time folks just kept their mouths shut concerning the whole affair. One exception to this disregard was Mr. Camdon's son, Joseph Camdon Jr.—all and sundry just called him Junior.
Junior worried a great deal about Jane, and he had in mind that he was going to marry Jane and take her far away from that farm. Mr. Camdon had gotten wind of this, he warned Junior, "Now, boy, you best stay away from Jane and anything to do with that Chapman family. I don't need no trouble from Bobby or his boys. You hear me, son?" Then he finished the lecture with an open-handed blow across Junior's face. In truth, Mr. Camdon was more worried that he would lose his only son and cheapest source of labor.
Junior was a year older than Jane, wanted to make his own way, and had no desire to take up the running of his father's store. Over the course of six or seven visits after the spring harvest that year, Junior not only declared his love for Jane but also began trying to convince her to run away with him. Jane, who liked Junior a great deal, dismissed the suggestion, still feeling a strong obligation, almost a debt, to her father and brothers.
After a time, Jane took less joy in her visits into town and even began avoiding the Camdon's store, when she could. In a vain effort to avoid detection, Jane would wear her bonnet and keep her head down when passing nearby. Then, during one particular visit into town, one in which Jane kept her head a little lower and her bonnet pulled a little further forward in order to hide a still healing bruise, Junior, in his diligence, spotted her and hurriedly went out to speak with her.
Jane was embarrassed and tried to look away when Junior spoke, but he would not allow it. It was in that embarrassment and distress that Jane began to yield, "Darn it, Junior, if we get caught this bruise under my eye won't be nothin' compared to what else he'll do to me, or you!"
"Look, Jane," Junior said, "I was too young to really know your momma, but I know lots of folks who did, an' any time mention of your daddy comes up they just shake their heads and talk about what a sweet, kind, an' God fearin' woman your momma was. If that's all true, do you think she would've been happy that she gave her life just so you could be treated worse than a slave out on that ol' farm? Tonight, Jane, this is our chance, I been settin' it up an' just waitin' to see you again. I'm gonna swipe the Model AA from my pop's store and park it on the road in front of your farm, then I can sneak up the meadow to your front lawn and meet you outside your house and take you down to the truck. After that, we can drive it down south a few hours to the river, hire a ferry, an' cross over to Louisville."
"What about your father's truck?"
"I'll make sure I leave a note on the front counter at the store so he knows where to find it, but by the time he sees it, we'll be long gone and on our way to get married and start a new life, Jane," Junior said convincingly. "I've got plenty of money I been savin' up for this!"
Junior made a good argument, and everything seemed well enough planned out to Jane. With the still tender bruise under Jane's eye, and with what Junior had said about her mother, Jane finally acquiesced. Yet, just as with so many events since Jane's birth, not all would go according to plan.
That night, after Jane believed that everyone was asleep, she packed a small rucksack with some clothes and a few dollars that she had been hoarding. Jane quietly exited the house and crept to the edge of the porch stairs; she stopped and stood for a moment. Jane looked out, for what she believed would be one last time, over the moonlit lawn and the meadow just beyond.
Unexpectedly, Jane heard a noise from the far side of the porch in the shadows, and grasped that she was not alone. "Where you think you're goin', girl," Christian said in a light whisper, as he sat hidden from the moonlight on the porch swing.
Jane was in shock and did not know what to say, "I, umm, I just wanted to get some air."
"You always take your rucksack when you go outside to get some air?" Christian question halfheartedly, still trying to maintain a whisper. "Look, I know what you're doin', I was in town today, we was runnin' outta balm for the cows and I had to fetch some. I saw you with Camdon's boy, and it don't take no genius to see what was goin' on."
"Christian, please."
"Look girl, just calm down, I ain't here to stop ya, although I probably should, just gonna mean more work for the rest of us, but I am here 'case anyone else tries to stop ya, you know what I'm sayin'? This ain't the life ma woulda wanted for you," echoing the words that Junior had used earlier in the day. "I'm sorry I didn't help a long time ago, but, well, let's just say I was awful apprehensive. You know, 'cause of pop and all."
"Daddy'll tear you up if he finds out you knew about this."
"Don't you worry 'bout that, Jane, I'm currently fit to handle pop," Christian whispered with more confidence than he felt. It was around that time that Junior had made his way up the front lawn and had heard the tail end of Jane and Christian's conversation. "Now, y'all get outta here 'fore pop hears us out here whispern' like old women gossipin' over afternoon tea. He ain't much of a heavy sleeper, even when he's on a drunk."
Of course, as the saying goes: Speak of the wolf and the wolf is at the door.
"What in the hell's goin' on out here, sound like a buncha mice havin' church!" Mr. Chapman said, his words a touch slurred, flinging open the door and stumbling halfway out onto the porch.
"Nothin' pop, go back to bed," Christian said boldly.
"Da hell you think you talkin' to, boy," Mr. Chapman responded to Christian, simultaneously taking in the scene before him of his daughter carrying a rucksack and Junior standing at the bottom of the stairs. "Get the hell inside the house right now girl, I got some words to have with Junior there, and then I'ma deal with Christian."
"No, pop," Christian quickly countered, rising from the porch swing. "Now, Jane you go down there to Junior and y'all go on and get," Christian continued in a surprisingly calm voice. Mr. Chapman reached out and tried in vain to grab Jane by the shoulder as she was rushing down the porch stairs to Junior. With her back still to her father and brother, Jane heard the cocking of a shotgun, and then her brother's voice again, a bit shakier this time, "Pop, I'm warnin' ya."
Christian then addressed Jane and Junior, "Now y'all run, and don't stop."
Jane did not even glance back before snatching Junior's hand and taking off toward the road. "Come on!" Jane yelled.
Christian, withdrawing from the shadows, leveled the gun and slowly began to approach his father. Mr. Chapman, now at the edge of the stairs, seemed fixated on the image of his daughter making her way from the house with Junior. Christian continued to advance, but in his inexperience he drew too near, and in an instant his father had turned and lunged for the gun, a struggle began.
As Jane and Junior were running hand in hand, less than fifty or so yards from the house, Jane heard the 12 gauge go off once, and then twice. On the second shot, she was violently pulled backward as if suddenly anchored to the ground.
As Jane gained her senses and rolled over, she saw Junior lying chest down in the grass, head to the side, his eyes glazed, and his jaw slack. She looked up to the porch and saw the giant silhouette of her father alone in the moonlight with the shotgun. Jane then saw a great flash, heard the 520 tear through the night one last time, and saw her father's figure crumble and spill down the porch stairs.
Jane, a scream caught in her throat, in a delirium, tried to run back to the house, making it just over halfway before collapsing. At that moment, Benjamin was fearfully creeping outside to see what the hellish ruckus was about. Eyes wide, he looked out upon Jane, and they stared in silence as Benjamin tried to fathom the calamity before him. Jane soon broke the connection and turned away from the farmhouse. For what seemed like an eternity, Jane stood in the moonlight and gazed absently out beyond the endless meadow to where she imagined the truck was sitting, waiting to take its passengers to their new life.
~Jack Daniel Miles


SHAREit 2017 for iOS - Thinking about that individuals use multiple tools nowadays, primarily mobile ones they should have a method which information can be transferred between tools quickly and securely, without a web connection or using up mobile data. Among the fastest methods which you could share data is by using SHAREit. Out of all information sharing apps that we've examined, SHAREit appears to be the fastest and also most instinctive of them all.
The one point you'll notice after introducing Lenovo's application is that it's quite possibly developed and sporting activities a really good style. It opens up with a guide revealing new users how to browse inside the app as well as access all its features.
New individuals must give an e-mail address to register online as well as create a profile by picking a photo and also a username. They must additionally install SHAREit on their PC in order to combine the two gadgets.
Tablets could also be combined so you may share info from one tool to an additional. The COMPUTER version also has instructions and pointers.
Once you've finished the setup, you can begin sharing data between both tools All you need to do is attach your phone to the PC and validate the link.
You could send out files from any kind of tool, the application doesn't utilize your net network, mobile data or Bluetooth to send details. Actually, it's rather faster than Bluetooth, transfers are carried out in an issue of secs but the speed isn't shown on the display. It does however, keep a background of the amount of data were moved along with their size. The application support system sharing which means it allows you connect up to 5 tools simultaneously.
Share files between your gadgets.
The application allows you send out all type of data in between tools, share several documents including contacts, applications, pictures, music and videos. You could also play documents from your phone on the COMPUTER without moving or utilize PPT control for a discussion.
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Requires iOS 7.0 or later. with iPhone, iPad, and iPod touch.
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QUARANTINE CORNER
Off the Marquee | Film Picks for December 2018
Jorge Farah December 4, 2018
Typing the word "December" into the above post title line was a thrill ride all of its own. I found myself rapidly and haphazardly scattering through all the stages of the Kübler-Ross model. First, refusal to believe that it was even possible that we'd arrived at the final month of the year. Then, anger at the fact that all my plans for 2018 have turned out various shades of "incomplete." Then, a general bummed-out feeling at this realization. Eventually, I circled around to acceptance, came to the conclusion that dates are arbitrary and ultimately meaningless, and came to peace with the fact that this ultimate mixed-bag of a year is coming to an end.
I also remembered that, even though the year's almost over, there's still a lot of wonderful stuff to watch in cinemas this month. So let's take a look off the marquee and see what we find.
Buenos Aires Rojo Sangre Film Festival
The 19th installment of the Buenos Aires Rojo Sangre film festival — a festival that's dedicated to celebrating the macabre and the fantastical and all manner of blood-splattered weirdness— rolls into town. And for a festival that purports to be genre-specific, it actually features a pretty broad variety of films; everything from silly horror-comedies to incredibly dark, disturbing fare, as well as additional activities. Be sure to check the BARS official site for a look at their full schedule and more information.
Academy Award-winning director Alfonso Cuarón goes from the balletic grandiosity of his smash hit Gravity to a smaller, more personal piece. A period piece, ROMA follows the story of a housemaid working for a middle-class family in the midst of the political turmoil of 1970s Mexico. A quiet, contemplative piece, Cuarón refers to it as a love letter to the women in his life. Screening and showtime information
The Man Who Bought the Moon
We go from a quiet, contemplative Cuarón film to a wacky, absurdist Italian comedy. Thus is the magic of Off the Marquee. This romp by director Paolo Zucca tells the story of a man in an isolated town who claims to own the moon and the government agencies that take his claim surprisingly seriously.
Screening and showtime information
Yo Niña
Natural Arpajou's debut film Yo Niña is a bit of a miracle. It's a film that centers its attention squarely on a six-year-old protagonist, and tells the story from her point of view, without coming off as saccharine, maudlin, or false. The gorgeously shot film follows Armonía, a little girl who lives off the grid with her hippie parents in the Argentine south, completely cut off from the rest of society. When they're suddenly forced to spend time in the city and confront their families, it causes a disturbance in the family dynamic that will change them forever. A very charming, poignant story, with an incredible performance by its child star.
Sin Dejar Huellas
A gripping thriller from France tells the story of Solange, whose oldest son Dany goes mysteriously missing. She must join forces with a jaded, world-weary, alcoholic detective to solve the mystery behind Dany's disappearance.
Impuros
This is a heady and tragic documentary about a dark period in Argentine history; at the beginning of the 20th century, hundreds of European immigrants would disembark in Buenos Aires, and a group of procurers (or "pimps") set up shop under the guise of a human rights organization, to deal in the trafficking of Polish women. A heartbreaking, but fascinating look at a story that isn't as far removed from our current reality as you might think.
Vendrán Lluvias Suaves
Half social commentary, half magical realism, director Ivan Fund's new film Vendrás Lluvias Suaves tells the story of a group of provincia kids who have to fend for themselves after all the adults in their community are mysteriously unable to wake from their slumber.
Cannes Week – Special screening of Reservoir Dogs with Tim Roth
The Gaumont theater is hosting a week-long celebration of the films of the Cannes Film Festival. For a measly 30 pesos, and you'll be able to watch a legendary film on the big screen. And on December 11th, English actor Tim Roth will be dropping in for a screening of Quentin Tarantino's seminal Reservoir Dogs.
Portuguese Film Week
Meanwhile, MALBA is hosting a festival dedicated to Portuguese cinema, running from Thursday Dec. 6th to Sunday Dec. 9th, and featuring films by directors such as João Pedro Rodrigues, João Viana, and a couple other directors not named João.
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Jorge Farah
Features Editor & Media Pundit
Jorge Farah was born in Barranquilla, Colombia and has spent the last decade falling out of taxis in Buenos Aires. He is a writer, media producer, podcaster, film enthusiast, obsessive playlist maker, and purveyor of vexing takes on a wide array of subjects.
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redpajama_set_name: RedPajamaCommonCrawl


Tiller MIND BODY, Inc. has continually manufactured systems in accordance set by the United States Food and Drug Administration (FDA), International Regulations (ISO:13485:2003), European Union (CE0459), Health Canada, Australia (ARTG), Mexico and others.
Designed for Centers / Medical Spas / Anti-aging / Nursing Care / Gastroenterologists / Hospitals / Resorts, or use in homes.
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Aerodynamically Rounded Corners for Comfort!
Seamless design, so no bacteria can hide!
Therapist has full access to provide Reflexology, etc.


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Q: NESTED GROUP BY QUERY I have below relation:
C(id, n)
I(id,g)
IB(I_id, c_id, r)
I want to list all "n" from relation "C" in which their r equals 'H' and maximum "g" equals 't'
Sample data will be as below:

C:
  C_ID , N
  c1  ,  N1
  c2  ,  N2
  c3  ,  N3

IB:
  C_ID    , I_ID  , R
  c1    ,  i1   ,  H
  c1    ,  i2    , H
  c1    ,  i3   ,  N max H for c1 is t and m
  c2    ,  i1   ,  N
  c2    ,  i2   ,  H
  c2    ,  i3   ,  N max H for C2 is m
  c3    ,  i1   ,  H
  c3    ,  i2   ,  H
  c3     , i3   ,  H max H for c3 is t

I:
  I_ID     , G
  i1   ,   t
  i2   ,   m
  i3   ,   t

For this sample data c1 and c3 have maximum 'H' for 't'

Below query is one answer but seem it is not optimized and very heavy:
SELECT c1.n
FROM I ib1, C c1, I i1
WHERE i1.I_ID = ib1.I_ID
AND i1.g IN
(SELECT i.g
FROM IB ib, C c, I i
WHERE i.id = ib.I_id
AND c.id = ib.C_id
AND ib.r = 'H'
AND i.g = 't'
AND c.id = c1.id
GROUP BY i.g, c.id
HAVING COUNT(*)=(
SELECT max(COUNT(*))
FROM IB ib, C c, I i
WHERE i.id = ib.I_id
AND c.ID = ib.C_id
AND ib.r = 'H'
AND c.id = c1.id
GROUP BY i.g, c.id))
GROUP BY c1.id, c1.name;

It is appreciated to let me know what are other possible solutions and how I can optimize my query. Also it is worth to help me with my table design as well.
Thanks

A: If I understand correctly, with the group by we get the count per c.id,i.g, then we 'number' the rows in descending order by count and we get only the first rows with i.g='t'
SELECT DISTINCT c1.n
  FROM C c1
 WHERE c1.c_id IN (SELECT DISTINCT x.c_id
                   FROM (SELECT c_id, g, RANK () OVER (PARTITION BY c_id ORDER BY cnt DESC) rnmbr
                           FROM (  SELECT c.c_id, i.g, COUNT (*) cnt
                                     FROM IB ib, C c, I i
                                    WHERE i.i_id = ib.I_id AND c.c_ID = ib.C_id AND ib.r = 'H'
                                 GROUP BY i.g, c.c_id)) x
                  WHERE g = 't' AND rnmbr = 1)

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text:
Abstract Title of Research: Violin education in middle childhood. Research Question: How can an optimal musical and violinistic development be achieved in the teaching of children in middle childhood? Summary of Results: In middle childhood (7-11/12 years) enter a new phase in the development of their cognitive functions, their motor skills and social behaviour. In this research I investigate how these developments should be understood from the perspective of violin teaching to children in this age group and how these developments can be used by the teacher to the benefit of their education to become all-round violinists and musicians. For this research I studied the relevant literature in the field of development psychology and the training of young talents and I compared the scholarly theories and insights with my personal experience as a violin and violin methodology teacher of more than 20 years. In this thesis I describe the great potential that violin teaching to children in middle childhood offers, provided that the teacher has a good understanding of the learning process of the child, a clear vision and long-term strategy for the teaching and tremendous patience. Central elements of this vision should be a clear overview and balanced approach of all the different elements that make an expert violinist and all-round musician, the flexibility to respond and adapt to the specific abilities and needs of each individual pupil and an approach that fully involves the child in his/her own learning process.
Chapter 2. Development in middle childhood in theory
Chapter 3. The Practice of Violin Teaching in Middle Childhood
Chapter 4. Conclusions
Koosje van Haeringen
Koosje van Haeringen - Violin education in middle childhood - 2017
Chapter 2: Development in Middle Childhood in Theory
2.1 The Age of Reason
Since the 19th century, which saw the birth of psychology as an independent scientific discipline, the study of human development has attracted the attention of scholars. Important developmentalists like Sigmund Freud, Jean Piaget and Lev Vygotsky laid the foundations of several theories that have become dominant in this domain and that have contributed much to our understanding of how children develop into adults. Since these early days of the pioneers of development studies much research has been done on the motor, cognitive, social and emotional development of children. This offers the interested music teachers a wealth of knowledge and insights that can help them to understand their profession from a theoretical perspective and thus can strengthen and enrich their own skills as a music teacher.
Childhood is commonly divided into five periods (here I follow the definitions used by Lightfoot, Cole & Cole (2013), 'The Development of Children').
Prenatal period: from the 9th week (fetal period) the child is subject to environmental influences originating from outside.
Infancy (0-3 years): rapid physical growth, beginning of motor and cognitive development, including attention and memory; language acquisition.
Early childhood (3-6 years): impressive gains in both gross and fine motor skills, development of information-processing approaches, of identity and self-regulation.
Middle childhood (7-11/12 years): improved strength, agility and balance; more complex mental operations, logically combining, separating and transforming information; a new sense of self through social comparison.
Adolescence (12-18 years): rapid growth; increased decision-making skills and scientific reasoning; increased ability to regulate emotions; development of a more stable sense of identity.
Below I will cover in particular the development of children in middle childhood, since this was the scope of my research. Middle childhood can be seen as a transition into a new phase, the beginning of the 'age of reason' (White, 1996). Children start to become independent human beings and start to explore the world on their own. Generally, they are ready for school and able to learn to read, write and count by the age of about 6 years.
Throughout the world parents tend to have new expectations of their children as they approach the age of 6 years. At this age children begin to be treated differently by both their parents and their environments, being expected to show the ability to acquire certain skills, to behave according to social norms and to demonstrate compassion for others.
In this chapter I will treat the motor development (2.2), cognitive development (2.3) and social development (2.4) during middle childhood from a theoretical perspective, focusing on those issues I find most relevant for understanding the profession of music teaching. In addition, I dedicate special paragraphs to the intriguing question of talent (2.5), the important issue of deliberate practice (2.6) and – last but not least – the primary role of motivation (2.7).
2.2 Motor Development
In early childhood children have an enormous motor drive. They never tire of jumping, dancing and repeatedly making the same movements and playing the same games. This motor development increases during middle childhood. Children become stronger and more agile, and their balance continues to improve. Their continuous physical activity is essential for the development of their motor skills, whether it concerns writing, gymnastics, ball games, riding a bike or playing the violin. These skills are a form of experience-dependent learning: the child is ready to learn these skills, but depends on the environment to get offered the chance to develop them. And it takes a lot of practice to master such complex skills.
In recent years it has become clear that in brain development next to the growth of 'gray matter' (for information transmission and storage) the growth of myelin ('white matter') is equally important. Myelin is insulating material that grows around the neural axons and enables to transmit signals from 10 to 100 times faster than unmyelinated axons (Lenroot et al. 2009). Thus, in physical terms the repetitive practice of skills entails the development of myelin in the brains that strengthens the neural circuits and thus speeds the transmission of nerve impulses. This explains why practice is so important for the acquisition of skills.
In her article 'Are There Critical Periods for Musical Development' Trainor (2005, p. 266) refers to anatomical studies (Amunts et al. 1997) in which the size of a certain area of the motor cortex in a group of keyboard players was correlated with the age of onset of the musical lessons. In her view, this is "consistent with the existence of a sensitive period for the development of motor skills associated with keyboard playing."
Boys and girls differ in the development of their physical skills. Generally, boys tend to be slightly more advanced in motor abilities that require force and power while girls tend to be more advanced where it concerns fine motor skills and balance (Cameron, 2002). This explains why girls tend to work more effectively and often move and dance somewhat better to music while boys have the tendency to be more careless. Nevertheless, both boys and girls enjoy the physical exercise of routine practice, and this is very helpful in developing technical skills. In middle childhood children are very receptive to the development of complex motor skills and this offers great chances for laying the foundation of their technical skills at a later age.
2.3 Cognitive development
In middle childhood, the brain is still growing, although not in the same tempo as seen in infancy and early childhood. Particularly in the early years of middle childhood, between the ages of 6 and 8, growth and further development of specific parts of the brain that are important for changes in cognitive skills take place. At this age, the frontal and prefrontal cortices are developing further and the connections between the frontal lobes and the rest of the brain become stronger.
In 'The Talent Code' (2009, p. 30ff) Coyle stresses the importance of myelination (cf. chapter 2.2). "Myelin is the insulation that wraps nerve fibres and increases signal strength, speed and accuracy. The more we fire a particular circuit, the more myelin optimizes that particular circuit, and the stronger, faster and more fluent our movements and thoughts become". In his words "skill is myelin that (...) grows according to certain signals."
Another important aspect of brain development during middle childhood is the synchronization of electrical activity in different areas of the brain (called EEG coherence) (Lightfoot et al. 2013, 'The Development of Children' p. 398). Different parts of the brain function more effectively as co-ordinated systems. It goes without saying that a strengthened co-ordination of the different brain functions is indispensable for young violinists who have to learn to co-ordinate movements (motor skills), listening and reading (sensory perception) and understanding of what they are doing (cognitive skills).
In addition to the normal, biological growth and maturation of the brain, the environment also affects the development of certain brain structures. Developmentalists distinguish two major classes of brain development: 'experience-expectant' and 'experience-dependent' learning (Lighfoot p. 128). In experience-expectant learning the brain is 'pre-wired' for certain experiences that are expected such as seeing patterns or borders between light and dark, hearing sound and using language. In normal circumstances the brain of every infant will develop this. However when children are born blind or deaf or if they are severely deprived of human contact in the critical period of development, the brain will fail to develop normally.
The developing brain is also open to experience-dependent learning: a child takes advantage of specific information from the environment, and can easily acquire certain skills and knowledge which can be much more difficult to acquire at a higher age. In this case there is not a critical period, within which the skills should be acquired. However, middle childhood can be defined as a sensitive period. The growth spurt of the brain at the beginning of middle childhood and therefore the sensitivity of the brain for experience-dependent learning gives a huge opportunity to make use of the plasticity of the brain.
According to Jean Piaget, middle childhood is a period of 'concrete operational development'. This is a period in which egocentrism declines and children learn to listen to others and to work together. The emergence of mental operations allows sorting, classification and experimentation with variables. They learn to analyse and they become capable of solvingproblems, with the proviso that these problems must be concrete. At this age, children have not yet acquired the capacity of abstract reasoning.
In this period also metacognition develops. There is an increase in the abilities of attention and focus; the child's capacity for self-regulation and planning of activities starts to develop. They get a more objective sense of their identity, their emotions, their capacities and goals. Their memory increases in speed and capacity, they gain more knowledge and are therefore more capable of trying out new and effective strategies. Research has shown that children can be taught memory strategies, the "deliberate use of actions to enhance remembering" (Lightfoot 2013, p. 411).
Translated to the practice of violin teaching, this means that children in this age group can be taught to practice independently, provided that the given tasks are clear and concrete. It is essential that a homework assignment is completely understood and already attempted during the lesson. The task should be a challenge for a child to improve by practicing, but not so difficult to present a risk of failure. Repetition is absolutely essential. This does not mean that a study or a piece of music should be repeated endlessly, but that the same issue should return in various pieces and exercises until the child is fully capable of recognizing, practicing and internalising this issue.
In the context of music teaching it is interesting that Trainor (2005) distinguishes two major aspects of perception and cognition of music: temporal (or rhythmic) structure and spectral (or pitch) structure. In the development of pitch structure, she sketches a sequence of three phases: (1) the distinction between consonance and dissonance; research has shown that infants have a preference for consonance as young as 2 months of age; (2) scale structure; this dimension is dependent of the type of scale used in the child's culture; by the age of 5 years children begin to recognize which notes do not fit in the tonality they are used to; and finally (3) harmony; a complex harmonic syntax is special to Western music; research shows that children learn to recognise out-of-harmony notes by the age of 7. It is important to be aware how much children have to learn what seems to be 'natural' to adults.
It is also worthwhile to take note of McPherson's article 'From child to musician: skill development during the beginning stages of learning an instrument' (2005). He did research on children's ability to perform in five different ways:
Performing rehearsed music;
Sight-reading;
Playing from memory (i.e. after reading an unknown melody for 30 seconds);
Playing by ear (i.e. after listening to an unknown melody);
Improvising.
The general picture from this research is that children perform best at rehearsed music and that after several years of teaching and practising this has improved most, suggesting that this might show a bias with teachers (and Western musical culture in general) for reproducing repertoire from notation (Mc Pherson 2005, p. 30). He rightfully underlines that it is important for young musicians to develop all these dimensions of music making and to learn to "think in sound". They should be "exposed to a range of visual, aural and creative performance skills to help extend and challenge them in different ways, so that they learn how to co-ordinate their ears, eyes and hands (...): proceed from sound to symbol, not from symbol to sound" (p. 6-7).
2.4 Social development
In middle childhood children spend relatively less time with their parents and more with their age-mates in school and elsewhere. Gradually peers assume a more prominent place in their lives and exert more influence on their behaviour and development (Lightfoot 2013, p. 465). Children become more interested in each other and the first real friendships arise. They start to compare themselves with others and quickly discover that they have more or less potential in certain areas than other children. They develop a sense of themselves in relationship to others ('social comparison').
Lightfoot (p. 466) quotes E. Erikson's theory that the main challenge of middle childhood is to establish a sense of competence. In Erikson's words the challenge is that of "industry versus inferiority. Children who emerge from middle childhood with a sense of industry believe that they are competent and effective at activities valued by adults and peers. Those who emerge with a sense of inferiority feel inadequate, believing themselves incapable of mastering the tasks expected of them". Children learn to see themselves in terms of both their 'actual self' and their 'ideal self', the kind of person they would like to be. The difference between these two can be a source of motivation, as long as they do not consider the discrepancy too large to overcome.
The confrontation with their peers challenges children to choose between competitive and co-operational behaviour. Initially they tend to say explicitly that they can do something faster or better than other children. This can easily turn into a worrisome competition, the more so because parents also tend to compare their children to other children, be it at school, in sports or music education, and in this way quietly participate in the silent battle. In order to prevent this kind of negative competition it is essential to make use of this natural tendency for comparison in a positive way.
Music teaching in group lessons as soon as possible is an effective way of achieving this. Eachchild has his/her own work rate and his/her own strengths and weaknesses. Developing a sense of self-worth and self-confidence on the basis of ones strengths and achievement on certain tasks is important. However, the ability to show appreciation for the accomplishments of other students is equally if not more important. It is important to teach children to give positive feedback and constructive criticism to each other. Learning to appreciate the abilities of others and at the same time helping someone to improve his/her playing by giving suggestions of how to accomplish this may very well help the students to listen more critically to their own playing.
A very relevant contribution to the understanding of the importance of the social group for the development of children has been offered by Lev Vygotsky's sociocultural theory. He introduced the concept of the 'zone of proximal development': "the gap between what children can accomplish independently and what they can accomplish when they are interacting with others who are more competent. The term 'proximal' (nearby) indicates that the assistance provided goes just slightly beyond the child's current competence, complementing and building on the child's existing abilities" (Lightfoot 2013, p. 22).
In her article 'Training the Talented' (2016) Burland describes how helpful the group can be for a young music student. It offers the student the companionship of some one of his/her own ability. The progress of one stimulates the progress of the other. Moreover, the younger child can identify with role models close in age and expertise, 'idols within touching distance', "simply because they are aware that they are not alone in the amount of work they have to dedicate in the pursuit of excellence" (p. 122).
During middle childhood, the influence of friends and peers increases steadily, until adolescence, when the peer group often has become the main point of reference for the teenager. Belonging to the peer group can become the most important focus of the child or adolescents. Nothing is more demotivating than being excluded from the group because a child is the only one who plays the violin. On the other hand the encouragement of supportive friends can motivate every child to keep playing an instrument with pleasure. It is therefore essential for young violinists to play together with other children, whether this takes place in a youth orchestra, a small ensemble or in a group lesson. Children tend to seek friends among like-minded children. Friendships become increasingly important in middle childhood. They contribute to a proper self-confidence and a desired social behaviour.
2.5 Talent
The name of the 'School voor Jong Talent' suggests that there is such a thing as talent. But what does it mean, having talent? For the common layman someone with talent has obviously more capabilities than others, and usually these capabilities are presumed to be innate, genetically inherited. However, in the course of the 20th century, there has been a lot of research on the issue of talent and development psychologists have developed new views and new theories in this so-called nature-nurture debate.
One of the leading scholars in this field is Ericsson, who in a famous article 'The Role of Deliberate Practice in the Acquisition of Expert Performance' (Ericsson et al. 1993) stated that "expert performance is the result of an extended process of skill acquisition mediated by large, but not excessive daily amounts of deliberate practice" (p. 387). His claim, often quoted by others, is that irrespective of the domain (sports, music etc.) a period of 10 years (with accumulated deliberate practice of about 10,000 hours) is needed for the acquisition of the skills needed for expert performance. This seems to suggest that, given enough time for deliberate practice, any one could learn to be an expert in any field. Indeed, Ericsson writes: "We reject any important role for innate ability". But he continues: "It is quite plausible, however, that heritable individual differences might influence processes related to motivation and the original enjoyment of the activities in the domain and, even more important, affect the inevitable differences in the capacity to engage in hard work (deliberate practice)" (p. 399).
Some scholars took this argument even further. Howe concludes in his article 'Innate Talents: Reality or Myth?' (Howe et al. 1998, p. 147): "The evidence we have surveyed in this target article does not support the talent account, according to which excelling is a consequence of possessing innate gifts. This conclusion has practical implications, because categorising some children as innately talented is discriminatory. The evidence suggests that such categorisation is unfair and wasteful, preventing young children from pursuing a goal because of the unjustified conviction of teachers or parents that certain children would not benefit from the superior opportunities given to those who are deemed to be talented".
Lehmann refers in his article "Persons in the Shadow" Brough to Light: Parents, Teachers and Mentors: How Guidance Works in the Acquisition of Musical Skills' (Lehmann 2014, p. 65) to an earlier study (Lehmann et al. 2002) of Wolfgang Amadeus Mozart and 21 contemporary composers, and seems to suggest that his reputation as a child prodigy can be explained exclusively on the basis of his early started rigorous training by his professional father.
Other scholars, however, have expressed opposite views. Hambrick quotes in his article 'Deliberate practice: Is this all it takes to become an expert?' (Hambrick et al. 2014) several scholars that heavily criticized Ericsson's views and he concludes "that deliberate practice is necessary but not sufficient to account for individual differences in performance" (p. 36). According to Hambrick's research deliberate practice could account for only 29.9% of variance in music performance (ibid. p. 40).
Sloboda intends to prove in his article 'The role of practice in the development of performing musicians' (Sloboda et al. 1996) that in the comparison of different groups of young musicians, performing at different levels, the higher level of one group can be explained by the fact that they have accumulated the required hours of practice at a faster rate – and thus at a younger age – than the other groups (p. 300). The fact that within the compared groups there were individuals who did less than 20% of the mean amount of practice for a certain grade and others who did over four times as much practice compared to average, is regarded by Sloboda as not relevant for his conclusions (p. 301). In my view this might raise doubts about the validity of his conclusions.
Trainor concludes in her above-mentioned article (Trainor 2005, p. 274) that "not all students who practice a lot become masters, so there also may be a contribution of innate talent". However, she adds, "it is also somewhat difficult to predict musical genius from early childhood promise". As a final quote from the vast literature in this field, I refer to McPherson (2005, p. 27), who states to have found "ample evidence that better players possessed more sophisticated strategies for playing their instrument very early in their development and that these players were the ones who went on to achieve at the highest level".
As you may have concluded, the nature-nurture debate in the domain of talents and the acquisition of expert skills, is very dynamic and shows rather opposite views, some of which even tend to be ideologically motivated (cf. Howe quoted above). What does all this mean for me in my practice as a violin teacher working with 'young talents'?
My work can be seen on the 'nurture side'. However, when I start with young children, they have already experienced years of influence from their environment – how much music making and listening was there in their families? - and are no longer 'tabula rasa'. So the question whether these children have talents that are innate, is not of primary importance. More important is, what the capacities ('talents') of these children are when they start their violin lessons with me and how these develop in the course of their education process. Here I adhere to the view that there is no such thing as a one-dimensional talent for playing the violin. I refer to Gardner's theory of "multiple intelligences, each of which coincides with a different cognitive module and follows its own developmental path" (quote from Lightfoot et al. 2013, p. 421).
For becoming a performing violin expert, you need to develop skills in rather different – though interrelated – domains. In broad lines, I would distinguish these four domains:
musical skills
performance skills
And within these domains, you can distinguish many different aspects (appreciation of tone quality, good hearing of intonation, pitch memory, phrasing, etc. etc.), all of which may be easier for one child to master than for an other child at a certain moment in their development, but which may also change and develop over time.
Each child has his/her own balance of strengths and weaknesses. It is the teacher's challenge to get the most out ofeach student. For this reason it is essential that each student is guided individually. It is essentially incorrect to approach all students in the same way. On the contrary, it is important, that all skills required to become a good musician are developed in each student individually. Using one single method for all students is therefore undesirable as too many specific issues may get underexposed for a certain number of students.
The truth is that children who pass their entrance exam for the SvJT show better skills and have a higher motivation than their peers. However, at this young age it is very difficult to decide who is really 'talented' enough to develop into a professional violinist. The main criteria applied at the entrance exam have to do with attitude, motivation and learning skills. And in those cases that I had to decide to stop teaching one of my students, this was for the same reasons: lack of discipline (attitude) or lack of learning skills.
In my work, I feel inspired by Coyle (2009), who describes his search for the secret code of 'talent hotbeds' in the world. He describes this code in three elements: ignition; deep practice; and master coaching. In short you might say: the secret code lies in the combination of strong motivation, focused practice and good guidance.
My point of departure is that everybody has certain musical skills, since we all have language skills, which includes a sense of phrasing, rhythm and intonation. For me it is the challenge to enable all my students to develop their skills, departing from the skills they already have and building upon that, step by step, each child in his/her own way, at his/her own speed and if necessary in his/her own order. I have experienced the malleability of talent in my class for some decades now. For me as a teacher it is very rewarding to see how far you can get with such an approach.
These ideas of talent will be my starting point in this research. It makes the question even more interesting why some children show motivation, interest and perseverance and obtain the title of 'talented people' while others do not.
2.6 Deliberate practice
In his above-mentioned article Ericsson describes expert performance in terms of "acquired characteristics resulting from extended deliberate practice" (Ericsson 1993, p. 363). Ericsson coined the term 'deliberate practice', which in his view is the major distinctive factor between professionals and amateurs. Also those who do not believe that an accumulation of 10 years of deliberate practice gives in itself a guarantee for a successful career as an expert, e.g. as a concert violinist, will agree that a sufficient amount of deliberate practice is indispensable if you have the ambition to be a performing musician.
Unlike the acquisition of language, which is a form of experience-expectant learning, a child is not pre-wired for training to play the violin; this is a form of experience-dependent learning. Young children will not learn to play by practising alone, unless they are guided in this process and are taught the metacognitive skills for analysing what they are doing. They have to learn how the movements they make with their arms and fingers relate to the sound they make on their instrument, and how this is translated into the visual information of the music notation. You do not want them to develop into music performing robots, whose movements are guided by visual information, with an audible result as a more or less accidental consequence. On the contrary, they have to learn to start from imagining sound, then performing on their instrument and listening to the result. Then they must learn to judge their own results, identify shortcomings or technical problems and try to overcome them.
All this is easier said than done. Young children take years to assimilate strategies for deliberate practice. Deliberate practice is about trying to exceed one's previous limits (Lehmann 2014, p. 58). Through concentrated efforts you try to move just beyond your current abilities. Coyle – who uses the term 'deep practice' – speaks of a paradox: "struggling in certain targeted ways – operating at the edges of your ability, where you make mistakes – makes you smarter" (Coyle 2009, p. 18).
Children can be taught to use strategies for their practice: slowing down the speed, isolating difficult spots, looking at the notes before they start playing and imagining the sound before they play, etc. Most important, however, is developing an attitude for deliberate practice. They must learn to listen to what they are doing, feel what they are doing, think about what they are doing. This is stimulated when they see and recognise the reward for their efforts. It is the task of the teacher to help the student forward one step at a time, by identifying the right moment for the next step to be made. Every child understands the image of the staircase: you can't jump upwards in one leap, but doing it step by step gives self-confidence.
Coyle (2009, p. 79ff) mentions the example of the Meadowmount School of Music (NY), founded by the famous violin teacher Galamian, for a strategy he calls chunking: divide a task into its smallest possible parts (chunks), practise these in different speeds, rhythms, etc. and build it up from there. This school, renowned for violinists such as Joshua Bell and Itzhak Perlman, takes the idea of chunking to the extreme, and its track record speaks for itself.
Deliberate practice is demanding. It takes effort to concentrate on your work and the child must learn that the quality of practice is more important than the quantity. In the beginning practising for about 20 minutes with full concentration is sufficient. In the course of the years they will gradually lengthen their practising time, as the tasks become more complex.
According to Ericsson (1993, p. 368) "deliberate practice requires effort and is not inherently enjoyable". This notion is regularly quoted with approval by other scholars. However, I believe this to be incorrect. In my experience, children can really enjoy deliberate practice, working on scales, technical studies etc., once they really understand what they are doing and experience the results for themselves. As long as they feel fit to take the challenge of the task: one step at a time, so that they know on what they have to concentrate in the specific task they are performing.
Ericsson makes a clear distinction between deliberate practice, "a highly structured activity", and more informal musical activities, such as playing well-known pieces for fun or fooling around on the instrument. According to him "this state of diffused attention is almost antithetical to focused attention required by deliberate practice to maximize feedback and information about corrective action". However. Lehmann (2014, p. 63) describes that "those who practised most were also engaged more in informal playing activities (self-guided activities unrelated to teacher-set goals)". In my view, informal playing is a very welcome form of practice, in addition to deliberate practice, because it strengthens the child's motivation, but, moreover, is an effective way of making the child feel really free and at ease on the instrument. And isn't that what 'playing an instrument' is about?
2.7 Motivation
There is broad consensus that motivation is one of the primary factors contributing to the success of musical education. Given the long way it takes to become a professional musician, it is almost unthinkable that a child would succeed without the will to learn to play, the belief that he/she is capable of learning so, and without the capability to enjoy the many things on the long way of musical training.
Coyle (2009, p. 97) speaks in terms of "motivational fuel" that is required for the growing of skills through deep practice: energy, passion and commitment. In his view motivation is created and sustained through a process he calls "ignition". He describes inspiring examples of how young people in 'talent hotbeds' (in the field of sports or music) experienced their moment of ignition, and have been able to maintain that in their groups. It often starts with an exceptional performance they witness, which then inspires thoughts like "I can do this too!" of "This is who I want to be!" Once started their training, it is important that the conditions of their training keep the fire burning; but it starts with the ignition.
You can distinguish between extrinsic and intrinsic motivation. McPherson and Renwick describe a research based on interviews with young children before they started taking music lessons and an evaluation 9 months later (McPherson et al. 2016, p. 172). They noted that "children who made the least progress tended to express more extrinsic reasons for learning, such as being part of the school band because their friends were also involved. In contrast, children who made rapid progress were more likely to express intrinsic reasons, such as always having liked music or wanting to play particular pieces for their own personal enjoyment".
Nevertheless, there is nothing wrong with extrinsic motivation in itself. Most children starting music lessons will be inspired by an example: their parents, elder brothers or sisters, or one of their friends or age-mates. It may be difficult to judge if this is a case of intrinsic or extrinsic motivation: the fascination with music or with an instrument, or the wish to belong to the group of people making music. Perhaps, it does not make so much difference, because in both cases the child gets the chance to become acquainted with music and with playing an instrument.
Probably, in the long run intrinsic motivation is more sustainable than extrinsic motivation. So it is important that the child is stimulated to develop a personal interest in music and in playing an instrument. A strong signal of intrinsic motivation is when children see music as a part of their identity. Burland states that "music as a major determinant of self-concept is vital" in the training process of a professional musician (Burland et al. 2016, p. 133).
Left: 2 years old Dette playing the violin after the example of her elder sisters, 'reading' from music and regularly turning the pages (video).
Lehmann (2014, p. 64) speaks of 'volition': "the cognitive process by which a person makes a conscious decision and subsequently follows a corresponding course of action". This is not that easy for young children. Even though they may be seriously motivated and may enjoy their practice, most children have to overcome motivational problems before they start practising. Here is a role for the parents to play: to build a daily routine, preferably a fixed time and a quiet place for the child for his/her daily practice, making the threshold for starting as low as possible.
It goes without saying that a supportive environment - teachers, family, friends - is very important for the child's motivation. Lehmann (2014, p. 63) states that "the friendliness of the first teacher" is an indicator of the chance that the child will continue with violin lessons. A warm teacher helps the child to appreciate music making and believe in his/her own abilities. Moore stresses in his article 'The social context of musical success: A developmental account' (2003, p. 531) how important it is to have fun in the early stages of learning: "the teachers of more able children were remembered both as being enthusiastic and also as generous; rewarding any small interest or involvement".
The role of the parents is crucial for the child's successful development, but also for maintaining motivation. Parents need to be motivated themselves as well. Ericsson (1993, p. 370) speaks of "extraordinary commitments by parents [which] are probably based on the belief that their children are somehow special and particularly likely to succeed". Clearly, there is also the risk of parents having unrealistically high expectations, which may put a heavy burden on the child. Therefore, it is desirable that the young student develops a personal view of the own ambitions and abilities, and thus an autonomous intrinsic motivation.
Coyle (2009, p. 106) describes the high motivation of the young people he observed as "a slightly irrational state. One forgoes comfort now in order to work toward some bigger prospective benefit later on". I would add that for keeping up the child's motivation it is important to show them that there are not only these far-away benefits, but also results within reach today. The teacher can help the student to recognize the steps forward he/she makes, how small they may be, by making compliments related to these steps. In Coyle's words: "At all the places I visited [i.e. talent hotbeds], praise was not constant, but was given only when it was earned" (Coyle 2009, p. 137).
Lightfoot (2013, p. 447) distinguishes two different forms of motivation: a mastery orientation and a performance orientation. Some children adopt a mastery orientation in which they are motivated to learn, to try and to improve. Other children have a performance orientation in which they are motivated by their own level of performance, their capability and incentives for trying. Children adopting a mastery orientation appear to be more successful in the long term. If they do not immediately or quickly succeed they remain optimistic and try harder or try to reach their goal in a different way. They are convinced that each goal can be reached by effort. They are not afraid of problems but they try to find solutions. On the contrary children with a performance orientation have the tendency to believe that they are not capable if they do not succeed immediately. They often give up in an earlier phase and tend to avoid difficult tasks in the future.
Related to this is the distinction that can be made between different models of intelligence: "Some children adopt an entity model of intelligence; that is, they see intelligence as quantitatively fixed in each individual. Other children, by contrast, adopt an incremental model of intelligence; they see intelligence as something that can grow as one learns and has new experiences " (Lightfoot 2013, p. 448). One can imagine that children having an incremental view of their own abilities, are much more easily motivated (see also Hallam et al. 'Changes in motivation as expertise develops: Relationships with musical aspirations' 2016, p. 3).
As a result of social comparison, children start to develop an image of how they want to be themselves, how they want to be seen by others and how they want to perform on the violin. Children understand increasingly better that their performances do not yet match their desires and goals. As a consequence the self-confidence of children declines until a nadir is reached at the age of 11 or 12 years. Often children give up at or around this age. It is a challenge to nurture pupils' motivation from this age and through adolescence.
These two attitudes of a mastery versus a performance orientation as described above are not directly related to intelligence or perceived talent. This may explainwhy some very bright students quit and achieve very little while seemingly less gifted students can sometimes achieve an unexpectedly high level of mastery. Therefore it is a challenge for teachers, parents and the environment to foster a mastery orientation already during middle childhood. Essential hereto is to train children to attribute failure to a lack of effort instead of a lack of ability.
chapter 3 : the practice of violin teaching in middle childhood


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South-east's start-up surge to be boosted by €2.5m ArcLabs expansion
by John Kennedy
7 Apr 20162.32k Views
The €2.5m expansion of Arclabs in Waterford will boost efforts to increase the number of south-east start-ups by 30pc in the next few years
Enterprise Ireland has invested €2.5m in ArcLabs at Waterford Institute of Technology in a move that will double the capacity of the incubation hub.
Specifically, the investment will support a 1,000sqm extension to the Waterford Institute of Technology (WIT) campus at Carriganore.
ArcLabs was established 10 years ago and more than 60 companies, including FeedHenry and NearForm, have passed through the incubator since then.
Currently, 27 companies are based in ArcLabs Waterford and Kilkenny, employing more than 190 staff.
"Through this €2.5m expansion, we are doubling our capacity to attract entrepreneurs and start-ups to Waterford and the south-east," said Kathryn Kiely, manager of Industry Services at WIT.
"At ArcLabs, we support and develop the transformation of ideas and early-stage technology into scalable, sustainable businesses.
"Over the past decade we have created an ideas, innovation and technology hub that offers an environment in which entrepreneurs, businesses and researchers can collaborate."
30pc projected increase in south-east start-ups
Pictured: Paul Quirke, Capital Projects, WIT; WIT Governing Body Chairman Mr Dick Langford; Brian Fives, South East Regional Development Executive, Enterprise Ireland; Kathryn Kiely, Manager of Industry Services at WIT and a member of the ArcLabs Advisory Board; Prof Willie Donnelly, President of WIT
The expansion of ArcLabs' incubation facilities will significantly contribute to achieving the target of the 30pc increase in the number of start-ups in the south-east, said Declan Lyons, manager of Technology Infrastructure Programmes at Enterprise Ireland.
The hub benefits from the close-knit community of entrepreneurs and its close proximity to the Telecommunications Software & Systems Group (TSSG) where more than 250 scientists, engineers and tech professionals work on one site.
"Globally the emergence of the internet of things as a platform for the next generation of ICT companies provides a major opportunity for the south-east," explained Prof Willie Donnelly, president of WIT.
Through the expansion of ArcLabs in Waterford and its presence in Kilkenny, the region will be better positioned to build on the existing mobile services cluster and to exploit new growth opportunities in areas such as agritech.
"This success is an important next step in the Institute's plans for establishing an entrepreneurial platform which will accelerate the regional economic development as a global leader in the digital economy," concluded Donnelly.
Related: TSSG, Accelerators, Enterprise Ireland, Waterford Institute of Technology
John Kennedy is an award-winning technology journalist who served as editor of Siliconrepublic.com for 17 years.
WIT's ArcLabs doubles after new €2.5m extension
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Regtech start-up Miura wins €25,000 at ArcLabs Investor Showcase
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The Barclays Accelerator: 'Ireland punches well above its weight'
Dublin AR start-up UtilityAR raises €600,000 in seed round


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Find out more about Paralympic athlete Helen Freeman, wheelchair basketball.
Hometown: Watford
Sport: Wheelchair Basketball
Event: Women's team
Games: Beijing 2008, London 2012, Rio 2016
After contracting a virus, Helen Freeman's muscles degenerated, leaving her disabled. She began to play Wheelchair Basketball when she was just 12 years old. Helen was a key member of the GB Juniors before progressing to the senior team.
In 2007, Helen's team achieved a Bronze at the European Championships in the Netherlands, a Bronze in the FSB European Championships in 2009 and a Bronze in the 2011 European Championships in Israel. They also finished sixth at the 2010 World Championships, their highest ranking for several years.
At the age of 18, Helen was the youngest athlete to be selected for the Women's Wheelchair Basketball team at the Beijing 2008 Paralympic Games. The team came eighth.
Helen is an integral part of the Women's Wheelchair Basketball team, and is frequently the top scorer. At the London 2012 Paralympic Games, the team got to the quarter-finals, finishing seventh overall. At Rio 2016 the team improved their ranking again, finishing fourth and just missing out on a space on the podium.
Although Helen is originally from Watford, she is studied at the University of Illinois in the USA, and used to train there between September and April. Her team at university included members of the USA Wheelchair Basketball squad, so she played with many of the opponents she faces when representing Great Britain! She graduated with a degree in Kinesiology in May 2014 with High Honors and then went on to completed a Master of Science degree in Business Administration the following year, graduating in August 2015. She was an Athletic All-American all five years as well as an Academic All-American for three years.
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A survey conducted on 1,500 people in Switzerland
As part of the reforms announced in 2018, the SRG launched the 'Public Value' project and initiated a consultation process to determine how its public service contribution is perceived by the population. Interviews, workshops and a survey of 1,500 people in Switzerland have made it possible for the enterprise to identify various priorities.
Jean-Michel Cina, Chairman of the Board of Directors, and Irène Challand, Project Manager.
Irène Challand, what are your thoughts after this initial phase of consultation?
The various meetings we have organised have provided a wealth of valuable and relevant information. The SRG is highly valued and expectations reflect that perceived value. This was also demonstrated clearly through the 74 face-to-face interviews and in the 28 group workshops in house or with the population. The set of 30 questions asked was the same in all cases and the quality of the comments and complaints was high across all linguistic regions. In two months, we have gathered more than 5,000 comments about people's perceptions and expectations in relation to the SRG, and the Altermondo agency has consolidated these with the results of the representative survey conducted by the LINK Institut. I invite everyone to read the report, which reflects the richness and diversity of the complaints collected in the four regions of Switzerland. It was a fantastic sociological experiment.
What can we take from the results in the report?
The SRG has a positive image in terms of its public service values, even if one third of individuals consulted believe that the SRG is not listening enough to the needs of society. We need to act on a range of issues, seven of which have been defined as priorities by the SRG Executive Board. The legitimate role of the SRG is recognised, and the significant challenges facing the enterprise in the current context of evolving media have often also been mentioned.
The Association is taking up the cause, and each regional company will organise discussions in their region to explore these seven issues in more detail, prioritise them and mobilise collective intelligence. The principal take-aways will be included in a national report to be submitted to the SRG in June 2020. In the meantime, within the enterprise, we will be reviewing our diagnosis of this first consultation and working to identify the differences between internal and external perceptions. We must be ready to identify areas for development in the coming year.
"The concept of 'Public Value' is intended to measure contribution of a public service to society".
Irène Challand, Project Manager
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National Museum of Dentistry
George Washington's dentures and Queen Victoria's dental instruments are in the nation's official museum of the dental profession.
Washington's Dentures voteprime/Flickr (Creative Commons)
Ironjaw performer National Museum of Dentistry
voteprime/Flickr (Creative Commons)
brewbooks/Flickr (Creative Commons)
tooth video teddrake (Atlas Obscura User)
strong teeth teddrake (Atlas Obscura User)
Is Baltimore America's Most Eccentric City?
Atlas Obscura February 9, 2016
Top Places in Baltimore
The National Great Blacks in Wax Museum
Geppi's Entertainment Museum
Edgar Allan Poe's Grave
Opened in 1996 on the campus of the University of Maryland, home to the world's first dental school, the National Museum of Dentistry aims to show the world the history of dentistry. An affiliate of the Smithsonian Institution, the National Museum of Dentistry is designated by Congress as the nation's official museum of the dental profession.
Highlights of the collection include amazing teeth feats, George Washington's not-so-wooden dentures (they were actually made from gold, ivory, lead, and human, horse and donkey teeth), Queen Victoria's dental instruments, vintage toothpaste commercials, cartoon character toothbrushes, and the world's only tooth jukebox.
We explored the National Museum of Dentistry on Obscura Day - March 20th, 2010. Photos, stories and more here
A short walk from Baltimore's Inner Harbor, the Museum is located at the corner of Greene and Lombard Streets on the campus of the University of Maryland Baltimore, home of the world's first dental school.
Atlas Obscura Experiences
dental museums medical museums museums and collections museums
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31 S Greene St
Baltimore, Maryland, 21201
Davidge Hall
Bromo-Seltzer Arts Tower
One of the oldest anatomical theaters in the U.S. still in use was once the site of an infamous cadaver riot.
The trials and tribulations of marking Poe's grave.
Baltimore's classic clock tower was once topped by a rotating, 20-ton medicine bottle.
Babe Ruth Birthplace Museum
The childhood home of the Sultan of Swat is just a line drive away from Oriole Park at Camden Yards.
Sindecuse Museum of Dentistry
This museum explores the history and development of dentistry and dental technology in Michigan.
British Dental Museum
The collection contains over 25,000 items and details the painful dental practices of the past.
Museo de Anatomopatología (Museum of Pathological Anatomy)
Located in a veterinary school, this macabre exhibit displays the effects of animal diseases.
Clarence, New York
Greatbatch Barn
This exhibit pays tribute to the "humble tinkerer" who invented the implantable pacemaker.


Home > Butchering & Boning Knives > Classic Boning Knife 4"
Great for de-boning chicken, ham and other meats, trimming fat and sinew, the tapered pointed blade of this Classic 4" boning knife is a must for working closely around joints. Available in 4" and 5" lengths.
Curved Chinese Cleaver Walnut 8"
Four Seasons Breaking Knife 10"
Four Seasons Boning Knife 6"


A nice profile of George Low, as we approach the half-century anniversary of Apollo 8, when the race was won.
As a kid, it was all about the astronauts for me. Now I really enjoy hearing about the people on the ground. What they did was not sustainable, but what an incredible achievement.


This comprehensive and illustrated source book of performing groups, professionals and resources brings all of senior theatre into one volume. Discover performing groups, professionals as well as scripts, books, articles, and ideas to create theatre magic with older performers. Featured in TIME Magazine! A must have for your library! For more information click here.


Available works for "The Song of the Birds"
Cactus Gallery is pleased to present THE SONG OF THE BIRDS, our 6th annual bird themed group show. People have always been fascinated by animals. Birds, in particular, seem to have sacred and secular meanings, which can be positive and negative, and their use is evident in religion, music, mythological tales, and visual art. These feathered creatures can convey emotion or even comment on society. Please join us to celebrate their powerful symbolism as seen through the eyes of 40+ artists.
This show features an eclectic collection of media: oil and acrylic on canvas and wood, mixed media on canvas and wood, textile, paper mache, ceramic, linocut prints, pencil, pen, and ink on paper, prismacolor, chalk pastel and colored pencil on paper and mylar, polymer clay and paper clay sculptures, hand stitched felt and mixed media sculpture.
Acrylic on canvas, 8" x 16"
Acrylic, prismacolor on matboard, 2" x 3.5"
Paper, oil on canvas, 4" x 4"
Paper, oil on canvas, 5" x 5"
Ink on paper, 7" x 10", framed to 12" x 16"
Mixed media on canvas, 8" x 10"
Oil on panel, framed to 12" x 12"
Mixed media on paper, 12" x 12"
Acrylic on birch board, 6" x 12"
Acrylic on birch board, 5" x 7"
Ink on paper, 23" X 23 1/2"
Acrylic, Watercolor, Pen & Ink on Paper, 9" x 12"
Acrylic on canvas, 16" x 20"
Collage, ink, acrylic and oil on canvas, 30" x 40"
Acrylics, oils on canvas board, 11"x14"
Polymer clay, Paperclay, Acrylic, 7" x 11" x 9"
Polymer clay, Paperclay, Acrylic, 4" x 6" x 5"
Acrylic on birch, image 9" x 11"
Oil on canvas, 8" x 4"
Oil on canvas, 10" x 8"
Paper mache, wood, acrylics, felt, embroidery floss, 6 1/4" x 4" x 2"
Paper mache, wood, acrylics, 16 1/2" x 9"
Paper mache, wood, acrylics, 13" x 15" x 2"
Sculpey, wire, acrylic, 41" x 16"
Sculpey, wire, acrylic, 41" x 18"
Acrylic on wood, 11" x 11"
Mixed media on wood, 16" x 24"
Mixed media on wood, 24" x24"
Mixed media on canvas, 6 1/2" x 9"
Acrylic on canvas, 11" x14"
Acrylic and ink on wood, 11" x 20"
Acrylic and ink on wood, 11" x 22"
Linocut print, 15" x 15"
Linocut print, 17" x 11"
Mixed media on wood, 12" x 20"
Mixed media on wood, 30" x 40"
The sun bows respectfully as night arrives to take it's place.
The Duchess is off playing croquet with the Queen.
The footmen are tending to the pig.
Of a large green bird.


Disable Startup is a free startup manager and monitoring program, it can scan all Windows Startups on your computer, and monitor all new startup items, helps you control, manage and optimize Windows Startup configuration. It can work with fine Windows XP and Vista, is one protecting tool for Windows Startup from changes. This software can help you save system memory and resources by disable unnecessary programs, because windows launches many unnecessary programs and services at boot up. Disable Startup also monitor the start page of Internet Explorer; stop any change that you don't know.
Why Windows Users Need Disable Startup?
Windows startup becomes more unsafe and unstable than before, much software add itself into Windows startup one-sided love, and boot up together with Windows system. In these startup software, some software is no bad, but sentimental mawkish, like MSN, AOL, Skype, ICQ, RealPlayer, usually these programs runs at the background without user's knowledge, thus using up RAM and processing power in turn causing our computer to be sluggish, let your PC system slower and slower, waste memory and resources of your computer, why not disable it from your startups, run it just when you need, this will make your PC be significantly quicker than before. (Program don't control the windows services on the PC).
Besides these good software, some harmful programs like spyware, virus, dialers, reminders, monitors, key recorder, hidden itself on startups, these make your system healthier, and the whole system is unsafe, It is the time that you must remove these unnecessary programs, improve your system performance now, Disable Startup can help you to do all these jobs, and it is one FREE utility.
What is Disable Startup can help you?
Not only as one startup manager, that is not enough, Disable Startup can be both startup manager and monitoring software, the most important features of this software is that it can lock your Windows Startups from changes, stop all unwanted application add itself into Windows Startups. In this program, you can choice either show one warning or directly refuse it when one new startup rise. Disable Startup can run with windows startup and monitor in the background; it need a little money and can help you much.
Disable Startup monitor Internet Explorer start pages also, stop some websites or program change to it under your nose. You can choice lock and disable any changes of Internet Explorer start pages, include for local machine (all users) or current user of your computer. (Please notice: program only monitor the start page, and not monitor the IE Secondary Start Pages, the secondary start pages can have many webpages url one time).
Disable Startup help you disable unwanted startup applications quickly and easy, keep a constant eye on your system's startup entries and IE start pages, When ever a change is made, you will be notified and given a choice to either allow the change or not to change. Program only need a little memory to run, it is one smart and small utility, and free.
This software is designed for Windows XP, Windows Vista and Windows 8/7 (both 32-bit and 64-bit).
From user feedbacks, this program is a good solution for the problem "rid your IE of about:blank", this program can enable you to set any desired Start Up page for IE, stop IE program from starting up with (about:blank) as the default Start Up page. Hope this tip can also help you.


An executor or "personal representative" is a person designated in the will by the deceased person (decedent) to distribute the decedent's estate to heirs and beneficiaries. It is the executor of the estate who generally initiates the probate legal process. Probate involves a number of legal proceedings in the state probate court to determine whether the will is valid and to oversee distribution of estate.
What Are Some of the Executor's Responsibilities?
First, the executor must locate the will and death certificate. Then she notifies all employers, government agencies, and financial organizations of the death. Next, the executor usually contacts an attorney to help her deal with the probate court and determine whether probate is even necessary.
Who Else Can Initiate Probate Process?
While it is the executor's duty to initiate probate, any person with an interest in the estate can initiate probate if the executor has failed to do so. For example, with debtor estates, beneficiaries may have little incentive to start probate, and so the creditors will have to step in to start the process in order to get what little assets remain.
What Documents May Probate Court Require?
If the estate is valued over a certain amount, the attorney, in the name of the executor, will file the correct forms with the probate court. Some states require that the executor hire an attorney. Documents filed include the will, a "petition for administration," "notice of appointment and pendency of probate," etc., along with applicable court fees.
How to Address Conflicts of Interests?
In addition, possible beneficiaries may start probate if a named executor delays in filing (e.g., is suspected of stealing assets in the estate). If a possible beneficiary does not have the will in hand, she may file for probate under the state laws of intestacy, meaning how the estate is to be distributed if there is no will. The probate court will consider the circumstances and may appoint any other person as executor if the executor named in the will has not fulfilled her duties.
Why Seek an Attorney's Help?
If you are involved in probate proceedings, a qualified probate lawyer may help you deal with potential and actual conflicts while ensuring that your interests, rights, and remedies are adequately addressed. On the other hand, a probate lawyer can help you avoid probate proceedings by developing appropriate estate planning strategies, which may drafting of a will or trust. An estate planning attorney can address your unique estate situation to develop a clear estate plan.


Partnering with Kenyon College in Gambier, Ohio this summer, we were excited to continue work on their beautiful campus. 2017 marks the 2nd year that we have taken on the challenge of renovating Kenyon College's Higley Hall. As a part of Kenyon College's Science Quad, Higley Hall houses the Department of Biology, The Biochemistry & Molecular Biology Program, various labs, classrooms and a large auditorium. Our team managed a schedule and crew that completed not only the renovation of three laboratories, but also the additional request from the college for three faculty offices. Timeframe for the work was restricted by the spring and fall class schedules and, as promised, the project was delivered on time. Work included new cabinetry, flooring, doors, plumbing, heating and cooling, AV upgrades and whole building upgrades to the fire alarm systems.


Check out our alpine ginger hobbit house. I hate to brag, but I think it's the best attempt at a first-time gingerbread house ever. It's even got a front deck with a yellow pee stain in the snow, and a snow man made of yogurt covered raisins with chewed up bits of jujubes for eyes.


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Dioctria vulpicola är en tvåvingeart som beskrevs av Richter 1973. Dioctria vulpicola ingår i släktet Dioctria och familjen rovflugor. Inga underarter finns listade i Catalogue of Life.

Källor

Rovflugor
vulpicola

redpajama_set_name: RedPajamaWikipedia


So, why does failure carry such a stigma?
Does anyone like to fail?
Ouch. That hurt. Harsh words. Does anything hurt so much?
What's that one single word. It's that "YOU". The inflection on it. The accusation behind it. It's not a simple second person pronoun. It's pain. It is the demon inside. It is the flesh. The self-condemnation.
The word taunts me. It raises my pressure. It makes my neck hairs rise in defence. Ready to fight back.
I know I am already guilty as soon as someone shouts "YOU!" even when I am not. I immediately look. Knowing that it is a call for me. I am found out. I am the target of the call. My ego demands it.
It just has to be about me for I am the most important person here.
My ego demands attention. Oh and a bit of a stroke.
As kids, we quickly learn the real pain of failure. We attempt to stand and fall. We learn to avoid failure, because to fail is pain.
As we grow and attend school, we learn that to pass is good and to fail is bad.
When we go to work, we learn that failure is not an option, and we dread the daily stress of avoiding failure.
Before long, our days are filled with the avoidance of failure.
We lose the beauty of failing. We learn less because learning and failure walk hand in hand.
Our ego won't allow us to fail, for failure is bad, painful, and not an option.
Your most profound learning in life comes from a failure. You walk because you failed many times to do so.
You make sense from a complex series of sounds after just 18 months since you first heard anything.
By three years old, you are the world's best negotiator. Using failures to enhance your skills and techniques. In just 3 years you have learned how to move and achieve specific objectives. You can communicate with grumpy old people and easily get them to smile and hand over candy.
And then, someone begins to take away the failure option.
Each test and question asked is a challenge to pass rather than fail.
Passing is rewarded, and failure frowned upon.
When I attended my first school, my teacher, Miss Hill, smiled kindly as I entered the forbidding room.
I cried as my mother disappeared from view – possibly for the first time in my life. I had obviously embraced failure too hard. For now, I had failed to keep my mother with me.
The kind Miss Hill, told me to stop snivelling. That "big boys don't cry".
I began to learn that failure was wrong, and passing was the only thing that mattered.
I was scared to try something out in case I failed because failure was punished. I took my time. I wanted to be sure I had passed before I dared to respond.
Instead of avoiding failure. We should embrace it as a necessary and superior learning point.
Instead we want to fail fast and fail often!
When we embrace failure we can unfail faster and find solutions.
When failure was encouraged, we learned the most, and learned most easily discovering quick solutions to seemingly impossible problems. We accepted failure for what it is, a necessary part of learning. The more we fail, the closer we get to unfailing.
When we encourage ourselves to fail we will unfail faster. The more we encourage ourselves to fail, the more often we will unfail.
That shouldn't encourage anyone to take unnecessary risks. After all, we unfailed to know the consequences of gravity ignored as a baby. We unfailed to know that fire hurts before our 4th birthday.
We don't want to pass; we want to fail fast and fail often. Then we'll unfail faster and more.
It has become trite to reframe failure as a learning opportunity. Whether we dismiss such idea from a personal perspective, or an organization perspective.
The issue with failure is not really about the failing itself; it's about fault. Who is to blame? The reality in organizations that less than 5% of failures are truly blameworthy, yet 80% of them are treated as blameworthy!
This is ridiculous, and you know it. So let's embrace failure. Not fault, but failing.
You too have someone like Miss Hill in your early schooling. The teacher who began to encourage you to accept fault rather than learning from those many experiences.
And this week, encourage someone in your workplace or homelife to embrace unfailing.
And if you want some ideas on how to go about this systematically, Dr. Guy Winch wrote a piece on "The 4 keys to learning from failure" for the Huffington Post back in 2013. It's a good place to start.


Retro Man Blog: Introducing: The Romleys "We Love Everyone"
Introducing: The Romleys "We Love Everyone"
Here's the Liverpool based trio The Romleys with an excellent video for their debut single "We Love Everyone", which is as fine an example of catchy modern-day Mersey Beat as you are going to find. The band are Gary Eager on guitar and vocals, James Walsh on bass and vocals and John Currie on drums and vocals and they will be playing at The Lock Tavern in Camden London on September 01st. The Romley's will be releasing their second single "Hey Diddle Diddle (It's Alright)" on Heavy Soul Records sometime in September and the B-Side includes a cover of one of my favourite French singer's Jacques Dutronc's brilliant "Et Moi, Et Moi, Et Moi", so I'm looking forward to hearing that.
For more info on the band's upcoming shows and the release date of the next single, please head on over to their official Facebook page for news and updates.
French Boutik "Ici Paris" new E.P. out now!
The Jetsonics "EP Four" Out Now!


Patients of the first group received in a complex treatment -pramistar, patients of the second group - piracetam. Patients of both groups noted considerable improvement during a complex treatment (disappearance of headache, dizziness and nausea) and at the same time patients receiving pramistar had better restoration of orientation and feeling. Pramistar was also more effective in patients with amnesia.
Pramiracetam reportedly improved cognitive deficits associated with traumatic brain injuries. Although piracetam exhibited no long-term benefits for the treatment of mild cognitive impairments, recent studies demonstrated its neuroprotective effect when used during coronary bypass surgery.
The effect of pramiracetam (CI-879) on the acquisition of a radial arm maze task.
This procedure permitted a distinction between working memory (short-term) and reference memory (long-term). Both doses of pramiracetam significantly improved performance in the reference memory component of the task, but did not significantly affect the working memory component.
Placebo-controlled study of pramiracetam in young males with memory and cognitive problems resulting from head injury and anoxia.
The results of the study indicate that subject performance in measures of memory, especially delayed recall, evidenced clinically significant improvements after the administration of pramiracetam sulphate as compared to placebo. This improvement was maintained during an 18-month open-trial period on the medication as well as during a 1-month follow-up period after the pramiracetam was discontinued.
Amnesia-reversal activity of a series of N-[(disubstituted-amino)alkyl] -2-oxo-1-pyrrolidineacetamides, including pramiracetam.
Pramiracetam demonstrated a wide margin of safety in animals and was well tolerated in normal human volunteers. It has shown encouraging activity in an open label trial in patients with primary degenerative dementia (PDD or senile dementia of the Alzheimer's type).
Kynurenic acid and 5,7-dichlorokynurenic acids improve social and object recognition in male rats.
On choice one, animals treated with KYNA or DCKA (0.6 and 30 mg/kg in both cases) and PRAM (30 mg/kg) spent more time in exploring a new object than the familiar one as compared to controls. This suggests that the drugged animals were able to remember the familiar object.
Memory training and drug therapy act differently on memory and metamemory functioning: evidence from a pilot study.
Results showed that objective memory gains of the two groups receiving pramiracetam were significantly larger than that of the MT and CTR groups.
Pharmacokinetics of oral pramiracetam in normal volunteers.
The pharmacokinetics of pramiracetam, a new, investigational, cognition activator, were assessed in normal male volunteers as part of a clinical tolerance study. In a double-blind, randomized design, two groups of six subjects each received alternating placebo and single 400, 800, 1,200, and 1,600 mg oral doses of pramiracetam after an overnight fast.
No significant side effects were observed at any dose level.


A new student-led initiative aims to reduce the amount of organic waste on campus.
From November 12 to 30, the Bring Your Own Container (BYOC) pilot is happening in La Piazza, the main food court in McMaster University Student Centre.
Anyone ordering from Creation X or the Hammertown Deli will have the option for food to be placed in their own container-to-go. And this option not only helps reduce waste, but also reduces your cost at the cashier: a 25-cent discount will be applied to your purchase.
Civil engineering students Stefania Abbatangelo and Natalie Ciancone are behind the initiative. If the pilot project is successful, Hospitality Services hopes it will lead to a permanent solution.
Help raise awareness about the initiative by sharing your purchase on social media, using the #BYOC hashtag, and tagging the Academic Sustainability Programs Office @MacSustain.
Fill out this short interest survey for a chance to win a $25 Hospitality gift card!


END Ran In The Pocket Grand Open Event! Ran In The Pocket Grand Open Event! Ran In The Pocket Grand Open Event!
Limited sales packages only available during the event period~!
There are 3 types of packages purchasable at very low prices!
Please check the condition of each package before buying. Purchase condition can be seen at the bottom of the package~! There is also information above the contents there, please take your time to view our offers!


Today we are taking a big step towards our goal of making deployment and management of open source software easier. We are announcing Cloud 66 EasyDeploy.
What is Cloud 66 EasyDeploy?
Cloud 66 EasyDeploy is a simple way of deploying a project from Github to your own servers in less than 15 minutes on your own servers.
To deploy an open source project, create a Cloud 66 account and use the git repository to deploy it on any server you like.
waiting for the project to be deployed to your own cloud servers.
configuration choices to the stack.
Which Projects are EasyDeploy friendly?
code repository to your own servers.
We have also written instructions for how you can deploy these projects both on Cloud 66 or on your own.
In most cases we just added a .cloud66 folder to the projects we love. This folder contains our deploy hooks and manifest files. This folder is small and we don't make changes to the source code directly.
We made these changes in our forked repositories but are hoping to push those changes to the main repositories over time as they are non intrusive.