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Home > Policy Laws > Taboo
I. Prohibited and Limited Article of Entry/Exit by Customs of The People's Republic of China
1. Arms, imitation arms, ammunition and explosives of all kinds;
2. Counterfeit currencies and counterfeit valuable securities;
3. Publications, films, photographs, gramophone records, movies, audio and video tapes, laser discs, computer storage media and other articles that are detrimental to the political, economic, cultural and moral interests of the People's Republic of China.
4. Deadly poison of all kinds;
5. Opium, morphine, heroin, marijuana and other addictive kef and psychotropic substance;
6. Animals, plants and products thereof infected with or carrying pathogenic germs, insect pests and other harmful organisms;
7. Unsanitary foodstuff, medicines and other articles coming from epidemic stricken areas and those harmful to man and livestock or those capable of spreading diseases;
II. Prohibited Article by State Postal Bureau of The People's Republic of China
1. Arms and ammunition of all kinds, such as guns, ammunition, bullets, landmine, booms, etc.
2. Explosive items of all kinds, such as detonator, explosive, gunpowder, firecrackers, etc.
3. Inflammable items of all kinds, including liquid, gas and solid, such as gasoline, kerosene, tung oil, alcohol, raw lacquer, diesel, aerosol, gas lighters, mashgas cylinder, phosphorus, sulfur, matches, etc.
4 Corrosive items of all kinds, such as sulfuric acid, hydrochloric acid, nitric acid, organic solvent, pesticide, hydrogen peroxide and other kinds of dangerous chemicals.
5. Radioactive elements and their containers, such as uranium, cobalt, radium, plutonium, etc.
6. Deadly poison of all kinds, such as thallium, cyanide, arsenic, etc.
7. Narcotic drugs of all kinds, such as opium (including poppy capsule, flower, bloom and leaves), morphine, heroin, marijuana, philopon, ephedrine and other addictive kef and psychotropic substance;
8. Biochemical products and infectious items of all kinds, such as anthrax, pathogenic germs, biohazard wastes, etc.
9. Publications, printed matter, propaganda material, etc., which could do political, economical, or safety harm to the People's Republic of China.
10. Perishable infectious biological substances of all kinds that would harm the public health, such as remains, animal organs, limbs, animal skin that has not been dressed, animal bones that has not been preserved.
11. Articles prohibited circulating, entry or exit by national laws, regulations, administrative laws for circulation, entry or exit, such as national secret documents and materials, national currency, counterfeit currencies and counterfeit valuable securities, imitation arms, controlled knife, precious cultural relics, endangered wild species and their products.
12. Articles in hermetically sealed, that may harm people's safety, contaminate or damage other parcels or equipments;
13. Prohibited entry articles by each recipient countries (regions).
14. All other articles prohibited from mailing.
III. Articles Prohibited from Mailing as EMS Shipments
1. Articles prohibited from mailing or circulation by national laws and regulations;
2. Explosive, inflammable, corrosive, radioactive, poisonous articles and other dangerous articles.
3. The reactionary newspapers, books, window or pornographic materials;
4. Currencies of all kinds;
5. Articles of all kinds that would harm the public health
6. Articles that are easily rotten;
7. Living animals (excluding properly packed bees, silkworms, and leeches that can ensure the safety of the staffs and the mailing).
8.Articles in hermetically sealed, that may harm people's safety, contaminate or damage other parcels or equipments,
9. All other articles not suitable for mailing.
IV. Aviation prohibited articles
1.	Threat items namely something will endanger personal health and safety or damage property. The mainly types are as follow. A.	The explosive: such as fireworks, fire crackers, detonators, etc. B.	Gases: such as compressed gases, dry ice, fire extinguishers, storage pump (non-emission device), lifesaving devices (automatic expansion), etc. C. Flammable liquid: such as paint, gasoline, alcohol, machine oil, camphor oil, engine starting liquid, oil of turpentine, thinner, glue, perfume, etc. D.	Inflammable solid: such as spontaneous combustion materials, and articles which are easy to fire in water, such as activated carbon, titanium powder, copra, castor products, rubber debris, safety matches(rub by box or paper ), dry white phosphorus, dry yellow phosphorus,magnesium powder,etc. E.	Antioxidants and organic peroxide: such as potassium permanganate. F.	Toxic and infectious items: such as pesticides, lithium batteries, tear bombs, etc. G.	Radioactive substances. H.	Corrosion products: such as batteries, alkaline battery liquid. I.	Products are made of magnetic without demagnetization packages.
2. Medicines of all kinds
3. Other aviation prohibited articles: such as powder-like articles(regardless of color),liquid(regardless of package),items marked with danger labels, audio-visual products without original countries(including CD,VCD),cutters, durian, gas lighters, any goods imitated weapons and firearms(including toys), etc.
The express company's disposal method of prohibited articles
1. If the company discovers inflammable or explosive articles of any kinds during pickup, it will not be accepted for pickup; and if the article is discovered during delivery, it will not be delivered. The dangerous goods must be packed and stored separately, in which the dangerous goods that are easy to become harmful will be reported to the police and meanwhile to the national security authorities.
2.If any radioactive, biohazard, Narcotic, infectious and deadly venom articles is discovered by the company, they will be reported to the chemical defense authority and police and then processes according to emergency plans. Meanwhile they will be reported to the national security authorities.
3. If the company discovers inflammable or explosive articles of any kinds during pickup, it will not be accepted for pickup; if the article is discovered during transit, it will be stopped in transit; and if the article is discovered during delivery, it will not be delivered. The dangerous goods must be packed and stored separately, in which the dangerous goods that are easy to become harmful will be reported to the police and meanwhile to the national security authorities, to adopt necessary method to dispose it. If contamination is caused, it will be reported to the health and epidemic prevention departments. For other kinds of dangerous goods, the sender may be informed to take back the article. For the non-dangerous goods inside the same parcel, they will be repacked and send to the recipient with a verification notice or ask the recipient to receive the parcel at the delivery section.
4. Publications, printed matter, propaganda material, etc., which could do political, economical, or safety harm to The People's Republic of China, and pornographic articles will be reported to the police, the national security authorities and the news publication department.
5. For articles that would harm the public health or articles that are easily rotten, the sender will be informed to take back the article within a limited duration; and when the sender cannot be informed, the article will be disposed on the spot.
6. For articles in hermetically sealed, that may harm people's safety, contaminate or damage other parcels or equipments, if they are discovered during pickup, the sender will be informed to take the articles back within a limited duration. And if they are discovered during transit or delivery, they will be processed according to the detailed situation.
7. If any prohibited entry/exit articles are discovered, they will be sent to the customs for further handling.
8. For other situations, relevant government department may be informed to take charge in the handling.


Has The Biggest Loser lost a little too much?
IT'S one of the biggest US shows, and it's creating an ever bigger media storm following it's shocking finale.
Of course, it's The Biggest Loser. The TV show which sees individuals with the desire to lose weight battle for weeks on end; learning more about exercise, food and health than they've probably ever known. It spurs contestants on to work as hard as they can, lose the biggest body weight percentage and stay in the running, so to say, in the build-up to the final weigh-in.
And why is it causing utter uproar recently? Most recent winner, Rachel Frederickson, has stunned audiences with her colossal weight loss of more than 70kg throughout this season's duration. The 5'4″ ex-athlete weighed in at 260lbs at the inset of the show and left weighing a mere 105lbs. Her transformation did, I admit, shock me. She does look extremely thin, especially in comparison with how she looked previously.
The internet is going crazy with a love-hate reaction to her new look.
On the one hand, Rachel has made what is likely to be the biggest change to her life EVER, and seems happy with her new look and how it makes her feel. She has obviously worked hard throughout the entire time, and why should she see ridicule online for her hard work.
On the other hand, however, this shock result coming from a show which is supposedly the pinnacle of weight-loss trials and tribulations. Many people are criticising the show's producers NBC for allowing Rachel to be trained and supervised for her to drop to this weight.
For her height, her Body Mass Index rating (BMI) – although I think it's flawed as doesn't take muscle into account – Rachel is underweight. She measures in at 17.7, whereas healthy is considered from 18.5 onwards.
She, and NBC claim that she was advised by doctors and professionals, however in my opinion, if that is true, that these 'professionals' may need to reevaluate their advice. Underweight is never ideal, particularly on a show which advocates for a healthy lifestyle and weight loss.
So, should people give Rachel a break and appreciate how hard she has inevitably had to work? Personally, I believe someone who is a contestant is obviously is susceptible to being led through their weight loss. I mean, of course they are, they are on the show because they are desperate to lose weight. And so if her 'professional' advisors are telling her this and that, encouraging her to lose this weight, then perhaps they are the ones to blame. I think Rachel would have done whatever she was told to lose the most weight.
She went above and beyond the premise of the show-to be the one who loses he most weight. I was disturbed at the reaction her weight loss received, as she only did what she signed up yo do.
Is she thin? Yes, she is. I think that if she had always been that way, she would be seen as strong. But because she was heavy and shrank down to a wisp she is being vilified. After all, if she can be so thin, why did she ever gain so much weight?
That is the hypocrisy built into images and women.
I agree, as a woman who feels these pressures, if I got the bad response she has to such a weight loss transformation which she obviously worked hard for I would be devastated.
You're right, she did what the show aims to do. Just seems a bit hypocritical that she is now underweight; not a healthy place to be for any individual.


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Q: Add user in mongodb on debian without storing password in clear text I have a mongodb server installed on my debian linux machine. Now to secure it before allowing remote login I'm trying to add an admin user, with the command:

db.addUser( { user: "admin",pwd: "MY_PASSWORD",roles: [ "userAdminAnyDatabase" ] } )

I must be doing something terribly wrong since my password ends up unencrypted in the database along with a md5 hashed version of it. I tried hashing it manually using md5 before running the command but still no luck...
This is what I get in the DB:

{ "_id" : ObjectId("5260fc9f51f87eba8d937701"), "user" : { "user" : "admin", "pwd" : "MY_PASSOWRD", "roles" : [ "userAdminAnyDatabase" ] }, "readOnly" : false, "pwd" : "HASHED_VERSION_OF_MY_PASSWORD" }

How do I add a user without ending up with cleartext passwords in the database?

A: You are probably using an older version which expected different syntax.  The addUser function in 2.2 expected a string as username, another string as password.  It seems you added a user whose entire full username is '{ "user" : "admin", "pwd" : "MY_PASSOWRD", "roles" : [ "userAdminAnyDatabase" ] }' - probably the shell should give an error, but it does not.
Try instead the expected 2.2 syntax:
> db.addUser( "admin",  "MY_PASSWORD")

You can confirm the server version by running:
> db.version()

redpajama_set_name: RedPajamaStackExchange


Always have a reason to smile! Dainty rose gold and sterling silver flowers, sparkling with white sapphire centers, snuggle alongside a radiant teardrop larimar gemstone in our Plumeria necklace. You're one of a kind!
Product Details: 10x14mm larimar gemstone with white sapphire, sterling silver, and white- and gold-plated sterling silver with sand finish. Comes with an adjustable 21" sterling silver chain with an easy, sliding mechanism and lobster clasp that you can set to the perfect length for your look!


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Post Categories Featured Podcasts
033 – Koo (The West Side, NoFilmSchool.com)
Post date September 5, 2011 Post last updated dateUpdated September 23, 2017 Post read time1 min read Post author
Home > Featured > 033 – Koo (The West Side, NoFilmSchool.com)
Want to shoot a showcase film? Web series? Crowd fund a project? This week Gray talks to Koo — a Webby Award winner, DIY filmmaker, and the creator of NoFilmSchool.com and its excellent free DSLR Cinematography Guide.
Koo co-wrote, directed, shot, and edited the "urban western" webseries The West Side, which won the Webby Award for Best Drama Series. Filmmaker Magazine heralded the series as "ingenious low-budget independent filmmaking that just happens to be viewable only on the web," and named him one of their 25 New Faces of Film.
Koo has shot for Focus Features, The Workbook Project, and Ralph Lauren; he has written for Filmmaker Magazine and Weblogs, Inc.; and he has served as Senior Designer for Rhapsody and MTV. His films have been official selections at several film festivals nationwide, and he was the recipient of a grant from the National Endowment for the Arts.
His website NoFilmSchool.com focuses on DIY filmmaking and independent creativity, and won Total Film's Best Creative Blog award. He is in pre-pre-production on his first feature film, Man-Child, which is being funded through a crowd funding Kickstarter campaign.
Follow Koo on Twitter: @ryanbkoo
Visit Koo's web site: NoFilmSchool.com
Buy Gray's book for only $4.99! Look for it on Amazon – How To Break In To TV Writing: Insider Interviews.
Didn't get your questions asked? Make sure you follow Gray on Twitter (@GrayJones) so you can get the scoop on who is being interviewed and how to get your questions in. Also check out our TV Writer Twitter Database to find Twitter addresses for over 1,000 TV writers. Find our previous episodes and other resources at www.tvwriterpodcast.com or on Gray's YouTube channel.
Post tagscrowd-funding, crowdfunding, Kickstarter, Koo, Man-Child, NoFilmSchool.com, Ryan Koo, The West Side, web series, Webby Award, webisodes, Writer Share this post on:
Author: Gray Jones
Graham "Gray" Jones is a seasoned TV editor/writer located in Valencia, California (on the northern outskirts of LA). He has an honors Screenwriting BFA from York University, where he graduated with distinction in 1994.
He hosted one of the world's leading TV-themed podcasts, "Chuck vs. the Podcast," about NBC's Chuck, and currently hosts the "TV Writer Podcast," in partnership with Script Magazine.
He runs several companies, including http://archive2digital.com, http://avgearguy.com, and http://drivingfootage.com. Check them out!
View all posts by Gray Jones
< 032 – Rob Thomas (Veronica Mars, Party Down)
034 – Sheri Elwood (Call Me Fitz, Defying Gravity) >
137 – Mickey Fisher (Creator of Extant, Reverie)
136 – Kira Snyder (The Handmaid's Tale, Pacific Rim: Uprising, The 100, Eureka)
J. Holtham (Handmaid's Tale, Supergirl, Jessica Jones, Cloak & Dagger)

redpajama_set_name: RedPajamaCommonCrawl


Last saturday I was doing live painting and speaking about digital art at PGC Workshops in Warsaw. We were painting from live cosplay models (Weronika Biruta Kamola, Grzegorz Łysy Uberman) on Wacom and Eizo hardware. Superfun event, tons of awesome people and creative mood in the air.


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Jim and Nancy Forest
Site of Jim and Nancy Forest
Jim's Books
Jim's Essays
Nancy's Essays
Forest-Flier Editorial Services
Photos: Unexpected Sightings
Peace, Reconciliation and the Radical Outsider: Sergei Hackel Memorial Lecture
Archbishop's Chapel, Lambeth Palace, London, 4 May 2006
The Fr Sergei Hackel Memorial Lecture
by Jim Forest
Fr Sergei Hackel on the day of the canonization of St Maria Skobtsova and her co-workers at the Cathedral of St Alexander Nevski in Paris. Photo: Jim Forest
Given that we meet in time of war, it is not surprising that the speaker should be asked to address the topic of peace and reconciliation in the light of his religious tradition, but perhaps it is surprising that the role of the radical outsider is included. On the other hand, this is a memorial lecture in honor of Fr Sergei Hackel, a radical outsider if ever there was one — not only a black sheep among white sheep, but a black sheep among black sheep. Fr Sergei was the outsider par excellence: His Russian family was forced into outsiderhood by the Stalin regime. In the late 1920s, they fled St Petersburg for Berlin, where Sergei was born in 1931. With Hitler's election as chancellor in 1933, dangers similar to those posed by Stalin led the family to move to the Netherlands. Again not many years passed before another move was imposed by the expanding borders of the Third Reich. With his mother, he escaped to Britain as the German Army overran Holland in May 1940, but his father remained behind. Sergei never saw him again.
From an early age Sergei Hackel was an expert outsider, a vocation he retained until his death.
He was not only an outsider, but a man out of step. In Britain, a society that many regard as exceptionally civil, complete with stiff upper lip, Sergei was a man who could easily ignite; anyone who knew him will have a memory or two of Sergei's volcanic temper. Ignoring the rules of polite society regarding appropriate male attire, he did without ties, a small but telling gesture; ties were useful, he remarked, only if your trousers were falling down and you had misplaced your belt or braces. (For this event, I am wearing the Sergei Hackel Memorial Non-Tie.) In a largely Anglican country, a religious culture with a remarkable ability to adapt, he was Orthodox, a tradition remarkable for its refusal to change with the times. Yet, even in his own church, he was by no means a perfect fit. He was outspoken regarding the failings he perceived in the church he served as priest. In a church in which one can, without great effort, find anti-Semites, he was deeply engaged in campaigning against anti-Semitism, most notably through his active engagement with the Council of Christian and Jews. Also notable was his distress with Christians, Orthodox and otherwise, for their reluctance to see Christ in the poor. This resulted in his close association over many years with St Gregory's Foundation and other missions reaching out to the hungry, the homeless, the displaced, the abandoned, the poor. Via the Russian Service of the BBC, he was a familiar and trusted voice to countless Russians during and after the Soviet era, carefully avoiding propaganda and the incitement of enmity.
For all his outspokenness, Fr Sergei Hackel, the radical outsider, could be a man of patience and diplomacy. His gentle, reconciling skills, when brought into play, were renowned.
It is no bad thing to be an outsider. The Greek word is xenos, which is part of the Greek word for hospitality is filoxenia, literally, love of the outsider. Cultures still exist in which the outsider, the stranger, the foreigner, the pilgrim is — by divine election — an instant guest. In such places there is no need of a hotel. Hospitality is not only a generic duty but a blessing, and a shared one at that. One can speak of the sacrament, or mystery, of hospitality. The guest is seen potentially as an angel in disguise, like those heaven-sent guests who were welcomed by Abraham and Sarah under the oak of Mamre. There are still societies in which one can experience filoxenia . Russian friends tell me that if you go to the village that lies adjacent to the Monastery of the Caves near the city of Pskov, all you need do to find shelter is knock on any door and say, "Gospodipoi miloi — Lord have mercy." You will be the well-cared for guest of that household. I can personally vouch for the existence of a similar quality of hospitality in Palestinian villages. Sometimes it even happens in Britain and America, though one must be more cautious in these countries about arriving unannounced and unexpected.
One learns a great deal about a person by taking note of his library. Blok, Akhmatova and Dostoevsky were among the most important authors for Sergei Hackel. Another was Albert Camus. It is Camus' writings that I want to focus on. In his novels and plays the theme of the outsider, the stranger, the exile is always prominent. Camus' first novel, published in France during the time of Nazi occupation, had the title (depending on which translation you prefer) The Stranger or The Outsider.
It's a tale of two murders, with the narrator of the book guilty of the first killing. As we read the book, we soon become aware that the narrator is so minimally socialized as to be nearly autistic. His act of deadly violence is committed on impulse while in a dazed condition brought on by the fierce heat of the Algerian day. He shoots a man who is unknown to him, a stranger who was threatening him with a knife. As is always the case with murder, it's an ugly crime, yet the killer can never comprehend why society reacts as it does to this event; he was under threat, and, after all, the victim was "only an Arab". Had a more skillful defense been offered, he would have escaped a guilty verdict on the grounds that he had acted in self-defense. But he is badly defended and unfairly prosecuted. In the trial, the crime is of less consequence than the defendant's social failings. The accused is condemned to death less for shooting a man than for smoking a cigarette and drinking coffee while on nighttime vigil at the side of his mother's coffin. He has also failed to have a religious faith or to exhibit regret. Clearly, the prosecutor argues, this man is a criminal type. Even while awaiting his execution, with seemingly endless days to reflect on what he has done, our narrator remains a two-dimensional man, unable to empathize, love, or repent. His chief virtue, one that has cost him dearly, is that he is a man who seems incapable of lying or pretending. A few tears might have saved his life.
It is, as I mentioned, a book about two murders. The second is worse than the first. It is a murder prepared with the utmost premeditation, a judicially-sanctioned murder, a murder that is carried out for "the good of society" and in the name of society. It is cold-blooded murder done cleanly and by the clock, a well-ordered murder with doctor and priest in attendance, a murder arranged by people who, in their domestic lives, may be the soul of kindness. A man's head is cut off in what is regarded as a socially therapeutic action.
The Outsider was published in 1942. Five years later, Camus' next novel appeared, The Plague. In it, the reader discovers that Camus was far from finished with the question of the outsider, the exile, the stranger — and not only the stranger from afar; Camus reminds us that it is quite possible to be a stranger even when living in the place where one was born. We also find Camus still wrestling with the issue of capital punishment, and not only when it is carried out by the state, but when committed by revolutionary organizations whose manifestoes call for the creation of a more humane, less murderous society.
Among those we meet in The Plague is Jean Tarrou. He enters the pages very quietly as a man of private means who is newly arrived in the Algerian port city of Oran. He enjoys life's pleasures without being their slave. His diary, often quoted in The Plague, is striking for its acute insights and observations and also for the author's compassion. As the people of Oran fall victim to the plague and are forced to isolate themselves from the surrounding world. It is Tarrou, stranger though he is, who organizes a corps of volunteers, the Hygiene Squad, to assist the afflicted and to attend to all the unpleasant, often dangerous, chores imposed by the plague. Each volunteer, of course, stands a good chance of falling victim to the plague himself.
Another key figure in the novel is Bernard Rieux, one of the city's physicians. He and Tarrou set the highest standard for selfless response to the plague. For the reader, both men are heroes, and all the more impressive for their profound modesty. Yet neither man for a moment regards himself as a hero. In their own eyes, and in Camus' view, they are simply being decent human beings. Their response to the plague is no more remarkable than that of a teacher before the blackboard explaining that two plus two equals four. They do not regard themselves as exceptional. Neither do they harbor any resentment for those who respond less bravely, try to escape, who make money on the black market, who do little or nothing for those around them. But the two of them give nearly every waking hour in fighting what seems an utterly futile and endless battle. When at last, after many months, the plague lets go of its grip of Oran, they take no credit for having speeded the day when the city gates are re-opened. Though they have been warriors along the lines of St George, they still see the dragon as undefeated. The beast has only gone into temporary retirement. He has not even been scratched by his opponents' lances.
Many of those who battled the plague are outsiders in one way or another. Tarrou is a recent arrival in the city with no obvious reason to risk his life for his newly acquired neighbors. He seems to have come to Oran more for the sun and beach than the people. Though Dr Rieux is a native of Oran, he seems by temperament to be a man who stands at a slight distance from others. He even takes distance from the book he is writing — only in the final pages does the reader discover that Rieux is the book's narrator. He has written it in the third person, with himself just one of diary's participants.
Both Rieux and Tarrou are outsiders in another sense: neither professes the religious faith of their neighbors in Oran. In a town in which most people, however atheistic in their day-to-day behavior, profess belief in God and call themselves Catholic, neither Rieux nor Tarrou is able to make a similar confession. Neither calls himself an atheist, yet they are not believers. When a local Jesuit, Fr Paneloux, preaches that the people of Oran deserve the plague and describes it as harsh but needed medicine, both Rieux and Tarrou find his views deeply repellent. If the God Christians worship is the organizer of plagues, they want nothing to do with Him. They refuse to worship a deity who arranges the agonizing death of even one child. (Eventually the priest throws himself selflessly into work against the plague. Not Camus's least significant trait is that he doesn't see his villains as conversion-proof.)
Late in the book we discover that at the core of Tarrou's life is a Christian word: saint. In his most intimate conversation with Rieux, Tarrou confesses that he aspires to be "a saint without God." [p 219]
Tarrou tells Rieux about a pivotal experience in his life when he was seventeen, a story that echoes Camus' first novel. Tarrou's father was a prosecutor. Tarrou attended court one day to witness his father in action on the closing day of a murder trial. His father, an entirely decent and caring man at home, becomes, in his blood-red robes, a passionate advocate of the death penalty. Calling on the jury to send the accused to the guillotine, it seems to Tarrou that snakes are gushing from his father's mouth.
Meanwhile, the man in the dock makes no effort to justify his crime. He is resigned to his grim fate. "The little man of about thirty," says Tarrou, "with sparse, sandy hair, seemed so eager to confess everything, so genuinely horrified at what he had done and what was going to be done with him, that after a few minutes I had eyes for nothing and nobody else. He looked like a yellow owl scared blind by too much light. His tie was slightly awry, he kept biting his nails, those of one hand only, his right… I needn't go on, need I? You've understood — he was a living human being."
For Tarrou, until that moment such a person had only been the accused, the defendant, a criminal. He had been a blurry man of inky dots in a newspaper photo, not a human being. Now a revolution occurs in his perceptions. It's a change of heart which will help shape the remainder of his life. "I can't say I quite forgot my father," Tarrou tells Rieux, "but something seemed to grip my vitals at that moment and riveted all my attention on the little man in the dock. I hardly heard what was being said: I only knew that they were set on killing that living man and an uprush of some elemental instinct, like a wave, had swept me to his side."
Tarrou's bond with his father, now seen as a man swimming in blood, is irreparably damaged. Not many months pass before Tarrou leaves home, an event that coincides with the day of the condemned man's execution. A head is separated from a body and a boy is separated from his family.
Tarrou's struggle with executions has one more crisis. After he leaves home, he is drawn into radical political associations. Not wanting to be part of a social order based on the death sentence, he becomes an agitator, active in movements which, though left unlabeled in The Plague, appear to be some form of socialism or communism. Here too he is faced with the problem of killing, for revolutionaries also pass death sentences. "But I was told," says Tarrou, "these few deaths were inevitable for the building up of a new world in which murder would cease to be." Tarrou attempted to embrace such sloganistic thinking but ultimately failed, in part because he was still haunted by "that miserable 'owl' in the dock."
What finally exiles him from revolutionary movements is witnessing an execution.
"Have you ever seen a man shot by a firing squad?" Tarrou asks. "No, of course not. The spectators are hand-picked and it's like a private party. You need an invitation. The result is that you've gleaned your ideas about it from books and pictures. A post, a blindfolded man, some soldiers in the offing. But the real thing isn't a bit like that. Do you know that the firing squad stands only a yard and a half from the condemned man? Do you know that if the victim took two steps forward his chest would touch the rifles? Do you know that, at this short range, the soldiers concentrate their fire on the region of the heart and their big bullets make a hole into which you could thrust your fist? No, you didn't know all that. These are things that are never spoken of."
Camus' description was not second hand. He had witnessed the execution of Gabriel Peri, the radical journalist, by the Germans in December 1941. The event not only hardened his anti-Nazi convictions but galvanized his horror with the intentional killing of any human being. Until his death, Camus sought a way of life in which one is neither a victim nor an executioner.
It need hardly be said that Fr Sergei Hackel had a similar sensibility. He not only opposed not only capital punishment but the use of murderous methods to advance any social goal. For him a Christian lacking this sensibility had not yet encountered Christ's Gospel.
I have no idea if Fr Sergei would have identified himself as a pacifist — it's a question I never asked him. Probably he saw the war against Hitler and the Third Reich as a tragic necessity, yet nonetheless a war in which not all the war crimes were committed by the Nazis. Fr Sergei was a person who could not regard war, even in situations in which it was purely defensive, as anything less than a catastrophe for all involved. It was not only his private view. One notes that the Orthodox Church has never developed a "just war" theory. Fr Sergei was a person who took Christ's Sermon on the Mount as a baseline for daily life. He saw terms like "just war" and "good war" as oxymorons, having no place in a Christian's vocabulary. This was part of Sergei's otherness.
Would that such otherness were less rare. The war-resisting, life-protecting witness given by Christians in the first centuries seems today incomprehensibly remote. Among contemporary Christians, there are not many who, in those moments when one has to choose between the Gospel and what might be described as patriotic duty, will opt for the Gospel. Better to find some way to explain the Gospel in such a way that it aligns Christ's teaching with the demands of one's nation. Time and again the cross is made into a flag pole. In every country and culture one finds pastors and theologians who exhibit a great talent for adjusting the Bible to fit the politics and ideologies of the moment. South Africa had its theologians of Apartheid, the United States has had theologians of Manifest Destiny, Nazi Germany had theologians who were rabidly anti-Semitic, and in any country in which slavery existed or thrived as a business, there were theologians who could demonstrate that slavery was God's will. From the fourth or fifth centuries, there has never been a shortage of bishops and theologians willing to sing the praises of whatever war was underway.
Fr Sergei always sought to align himself with the Gospel rather than to adjust the Gospel to the nearest flag, or any flag.
The person trying to live according to the unabridged Gospel is sailing by to a different compass than the great majority of his neighbors. That compass is one's faith-shaped conscience. Under no circumstances can a Christian just "go with the flow." One is forced to live as a stranger and an exile. As St Paul said in his letter to the Hebrews: "These all died in faith, not having received the promises, but having seen them afar off, and were persuaded of them, and embraced them, and confessed that they were strangers and pilgrims on the earth."
It must have been the theme of strangerhood, pilgrimage and exile which drew Sergei so intensely to Camus' novels. It also reinforced his aversion to any form of religion which was essentially tribal or nationalistic.
Returning to Camus' novel, The Plague , it would be a dull reader who failed to see that the plague Camus was writing about was less about an epidemic of fatal illness than a parable about life in the modern world.
Camus' notebooks indicate that the idea for The Plague began to form in 1941, while France was under occupation. Camus spent the war as part of the French Resistance, one of the editors of the underground journal Combat . During those testing years, he witnessed the countless ways that the great majority of French people made their peace with the occupation, many actively collaborating, some reluctantly, others with enthusiasm. Through most of the war, the Resistance was small. Not until the approaching collapse of the Third Reich was obvious did the ranks of the Resistance suddenly swell — but by then such a step was less an act of courage than of prudence. It would be in one's interest, after the war, to have been part of the Resistance.
Plague stands for a social order based on killing. In Camus' novel, it is Tarrou who says, "And thus I came to understand that I … had had plague" — meaning the plague of bloodshed — "through all those long years in which, paradoxically enough, I'd believed with all my soul that I was fighting it. I learned that I had had an indirect hand in the deaths of thousands of people; that I'd even brought about their deaths by approving of acts and principles which could only end that way." [p 217]
The writings of Thomas Merton in the sixties often address the state of plague we are facing and do so in a way that reveal how much Merton, like Sergei Hackel, had in common with Camus. As Merton wrote in one essay:
The awful problem of our times is not so much the dreams, the monsters, which may take shape and consume us, but the moral paralysis in our own souls which leaves us immobile, inert, passive, tongue-tied, ready and even willing to succumb. The real tragedy is in the cold, silent waters of moral death, which climb imperceptibly within us, blinding conscience, drowning compassion, suffocating faith and extinguishing the Spirit. A progressive deadening of conscience, of judgment and of compassion is the inexorable work of the Cold War [or any social matrix driven by fear and enmity]. [Passion for Peace, p 81]
One might also describe the plague we face as the condition of individualism, separateness, isolation and loneliness that we experience in the quasi-religious, quasi-agnostic modern world.
An obvious contrast between Camus and both Sergei Hackel and Thomas Merton was that one had rejected Christianity while the latter two embraced it, but the difference is less substantial than it appears at first glance. What Camus rejected was a pseudo-Christianity that had become a mechanism for blessing the established order, a religion of accommodation that provides chaplains to witness executions without raising a word of protest. Far from blessing the guillotine or the hangman's rope, Sergei Hackel represented the Christianity of the early centuries, when one could not be baptized without renouncing bloodshed, whether in war or as a means of punishment, a Christianity of care for the poor, a Christianity of hospitality, mercy and forgiveness. He labored for a Christianity in which sanctity is normal.
"What interests me is how to be a saint," Tarrou said to Dr. Rieux. "But can one be a saint without God? — that's the problem, in fact the only problem, I'm up against today." [p 219]
In Camus' writings, the question of the post-Christian saint is left unresolved, though we see in his notebooks and correspondence that it remained a burning question. One notes the ongoing dialogue Camus had with various Christians beginning with his encounter with a community of Dominican Friars not long after the war, in which he said "the world of today needs Christians who remain Christians."
What Camus hoped to find in Christians was the kind of radical social witness that had been so notable in the early Church. At the very least, he hoped that Christians would, if not reduce evil, then not add to it. But he wished for more than that: "Perhaps we cannot prevent this world from being a world in which children are tortured. But we can reduce the number of tortured children. And if you don't help us, who else in the world can help us do this?" [Resistance, Rebellion and Death, p.73]
It would be impossible to devote a lecture to Sergei Hackel without speaking of a woman whose life and writings he studied carefully and introduced to many others. I am referring, of course, to Mother Maria Skobtsova. We see in her an example of a heroic yet modest Christian response to a world under attack by various ideological and political plagues. She provides a vivid example of what peacemaking, reconciliation and care for the outsider look like.
Born in Russia, she had arrived in Paris as a refugee in 1923. Earlier in her life she had been deeply engaged in the left, never a Marxist, but a dedicated socialist. Regarded with hostility by both the revolutionary Bolsheviks and the counter-revolutionary Whites, she narrowly escaped execution first from one side and then from the other. She decided at last that the only hope of survival for herself and her children was to seek asylum in the west.
Once in Paris, she became active with the Russian Student Christian Movement, an Orthodox association serving Russians living in desperate poverty. Later on, following the death by influenza of one of her children, her life took a deeper turn. The experience of her daughter's suffering made her "aware of a new and special, broad and all-embracing motherhood." She felt it as an absolute necessity to seek "a more authentic and purified life." She saw a "new road" before her, "a new meaning in life, to be a mother for all, for all who need maternal care, assistance, or protection."
She was fortunate to have a sympathetic bishop. Aware of her determination, he suggested she might become a nun who devoted herself to diaconal service among the very poor. This would be a new form of monastic life, not of seclusion but of immersion in the urban desert. Vested as a nun, Mother Maria opened a house of hospitality for the homeless. Within two years, she was forced by the scale of the need to obtain a larger building at 77 rue de Lourmel in the fifteenth arrondisement . While at the first address she could feed only 25, here she could feed a hundred.
"The way to God lies through love of people," she wrote in a passage that sums up much of her theology. "At the Last Judgment I shall not be asked whether I was successful in my ascetic exercises, nor how many bows and prostrations I made. Instead I shall be asked, Did I feed the hungry, clothe the naked, visit the sick and the prisoners. That is all I shall be asked. About every poor, hungry and imprisoned person the Savior says 'I': 'I was hungry and thirsty, I was sick and in prison.' To think that he puts an equal sign between himself and anyone in need…. I always knew it, but now it has somehow penetrated to my sinews. It fills me with awe."
She put her vision of the Christian vocation even more briefly in this passage: "Each person is the very icon of God incarnate in the world. We must venerate the image of God in each person."
When the Nazi occupation began in June 1940, Mother Maria had no illusions about what they faced. Never a person to look at the world through rose-colored glasses, she saw the Nazi movement as a "new paganism" bringing in its wake disasters, upheavals, persecutions and wars. It was evil unveiled, the "contaminator of all springs and wells." As for Hitler, he was "a madman who needs a straight jacket and should be placed in a cork-lined room so that his bestial wailing will not disturb the world at large."
She and her co-workers soon found that hospitality now meant rescuing Jews. How many they saved only God knows, but it is not a small number.
Jews began to knock on the door asking Father Dimitri Klépinin, the priest who assisted Mother Maria, if he would provide them with baptismal certificates. The answer was always yes. The names of those "baptized" were also duly recorded in his parish register in case there was any cross-checking by the police or Gestapo. In March 1942, the order came from Berlin that the yellow star must be worn by Jews in all the occupied countries.
There were, of course, many Christians who said that such anti-Jewish laws had nothing to do with Christians and that therefore this was not a Christian problem. "There is not only a Jewish question, but a Christian question," Mother Maria replied. "Don't you realize that the battle is being waged against Christianity? If we were true Christians we would all wear the Star. The age of confessors has arrived."
The house at rue de Lourmel was soon bursting with people, many of them Jews. "It is amazing," Mother Maria remarked, "that the Germans haven't pounced on us yet." In the same period, she said if anyone came looking for Jews, she would show them an icon of the Mother of God.
In July 1942 came the mass arrest of 12,884 Jews in Paris. The majority were brought to a sports stadium not far from Rue de Lourmel. Mother Maria had often thought her monastic robes a God-send in aiding her work. Now her nun's clothing opened the way for her to enter the stadium. Here she worked for three days trying to comfort the prisoners, distributing what food she could bring in, even managing to rescue some of the children by enlisting the aid of garbage collectors and smuggling them out in trash bins.
In February 1943, the long-awaited arrests occurred. Mother Maria was sent to the notorious Ravensbrück concentration camp. Her son, Yuri, and Father Dimitri were sent to a camp named Dora, where they died in 1944.
On the 30th of March 1945, after two years of captivity, Mother Maria was selected for the gas chambers. As it happened, it was Good Friday. She entered eternal life the following day. The shellfire of the approaching Red Army could be heard in the distance.
Controversial in life, Mother Maria remains a subject of contention to this day, a fact which may explain how slow the Orthodox Church was in adding her to the calendar of saints. While clearly she lived a life of heroic virtue and is among the martyrs of the twentieth century, her verbal assaults on nationalistic and self-satisfied forms of religious life still raise the blood pressure of many Orthodox Christians. Mother Maria remains an indictment of any form of Christianity that seeks Christ chiefly inside church buildings.
Unfortunately, Camus and Mother Maria never met, yet Sergei Hackel serves as a link between them. On the one hand Camus' writings contributed significantly to Sergei's spiritual and intellectual development. On the other hand, Fr Sergei was among the first in the English-speaking world to become aware of Mother Maria and to see in her one of the most significant models of sanctity to emerge not only in the Orthodox Church but in Christianity as a whole in many a year. He wrote what remains the most complete English-language biography of Mother Maria, Pearl of Great Price . Without doubt, his writings played a significant part in the process that at last resulted in her canonization in Paris in 2004. On the same day, Fr Dimitri Klépinin, Yuri Skobtsov, and another martyred co-worker, Elie Fondaminsky, were also added to the church calendar.
Several bishops and many priests were involved in the canonization service at Vespers that Saturday evening, but visually the most striking was Fr Sergei. Among all the glittering vestments, he was wearing a hand-embroidered vestment of coarse fabric. There's a story here, I said to myself. After the Sunday morning service, when Nancy and I met him outside the church, he explained that this was a vestment Mother Maria herself had made for Father Dimitri. (Nancy recalled that Mother Maria had on occasion written with disdain about nuns who embroider vestments for the clergy. So much for saintly consistency!)
I asked Fr Sergei if I might take a picture of the vestment. He was only too happy to oblige. You see the photo — the last one I took of Fr Sergei. Then we asked if we could touch the vestment, for it had now dawned on us that this was a relic both of Mother Maria and her martyred co-worker, Fr Dimitri Klépinin.
We asked how he came to have this vestment. He told us how, in 1967, a German film crew had come to Paris to do a film based on his biography of Mother Maria. He had been asked to serve as advisor. At the house on Rue de Lourmel, in a room that once served as the chapel vestry, Fr Sergei discovered some of the vestments Mother Maria had made. Because of moth damage, they were soon to be burned. Instead, at his request, they were entrusted to his care and were subsequently repaired.
It's a pity Mother Maria never met Camus or read his novels. Had she lived longer, she would have appreciated The Plague, recognizing that at the heart of the story are two people whose response to disaster is an act of self-giving love in which no distinction is made between the worthy and the unworthy, for each and every life is worth saving.
In the lives of Mother Maria and Fr Dimitri, we see the same — unarmed warriors who battled the plague by saving lives, leaders of a community which never locked the door to anyone.
In Fr Sergei Hackel, we find yet another plague fighter. He was a man who broke all the molds: a religious bridge-builder, a broadcaster, a pastor, a missionary, a scholar, a friend, a father, a disturber of the complacent, an ally of the poor, a journalist with an eye for plague-battling saints. He was a polymath whose interests seemed to have no border. He was a man of laughter whose heroes of comedy included Jacques Tati, otherwise known as M. Hulot. He was a linguist equally at home in several languages. A lover of music, he was especially drawn to jazz — among those represented in his musical library were Bessie Smith, Jellyroll Morton, Paul Robeson and Louis Armstrong. He possessed the ability to marry the instinctive, emotional, personal response to an icon, or a Kandinsky, with acute intellectual analysis.
In such a man, we catch a glimpse of Christ's resurrection.
Author jhforestPosted on July 16, 2010 December 4, 2020 Categories Jimsessays
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Eyes of Compassion: Learning from Thich Nhat Hanh by Jim Forest
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When America Met Thich Nhat Hanh December 23, 2021
. by Jim Forest I first met Thich Nhat Hanh in May 1966. At the time Lyndon Johnson was America's president. The steadily rising level of US troops in Vietnam reached 384,300 that year and within the next eighteen months would expand to half a million. But support for the war was shrinking. The nation […]
Eyes of Compassion: Learning from Thich Nhat Hanh March 25, 2021
"This appreciative portrait of a humble, devout leader should hold appeal across spiritual denominations." — Publishers Weekly Thich Nhat Hanh is one of the world's most influential and revered spiritual teachers, but when Jim Forest met him in the mid-1960s, he was a little-known Vietnamese Zen monk touring the United States on behalf of the cause of […]
Peter Maurin: Prophet of The Green Revolution March 23, 2021
The Forgotten Radical Peter Maurin: Easy Essays from the Catholic Worker By Peter Maurin, edited by Lincoln Rice / Fordham University Press, 2020 Review by Jim Forest In bringing out the complete writings of Peter Maurin, editor Lincoln Rice has put Peter Maurin back on the map of people who deserve widespread attention. The timing […]
The Duty of Hope February 16, 2021
By Jim Forest The theme of this retreat is "Hope in Turbulent Times" but, as I think about it, for a great many people the times we're living in are worse than turbulent — for many they engender hopelessness. Right now we are surrounded by a ring of crises. For starters, we're meeting together on-line […]
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The PWN was founded in 2007 by Pamela S Gockley. Her vision is to provide an opportunity for all women to build a healthy support network and mentor systems.
Our Events: Get involved because it's different!! And how is it different?
PWN is about empowerment through opportunity, education, and economic awareness. Our events are opportunities to build a new relationship with a new group of people. The "how" you nurture these new relationships is in your hands. We found that standing up and walking around engaging people in conversation is a very effective way to have a successful event. Since most people will not engage first or approach a table.
PWN is the ultimate in networking for women. No breakout sessions, just inspirational speakers like businesswomen and civic leaders sharing their experiences; as well as women experienced in networking, sharing their knowledge and helping other women develop the support system that they will need to succeed in whatever they choose to do.
PWN knows from experience that women don't always know the value of their work because they are not paid by its value. Even today women still earn only seventy cents on the dollar or less compared to men doing the same work. We know that whether a woman makes a conscious choice to leave the job market, for whatever reason, or is forced to leave through downsizing, etc., that that woman will suffer economically in the future with lower earnings and lower retirement funds. And if she is the head of her household then the family suffers, too.
PWN also knows that the longer a woman stays out of the job market, the harder it is to re-enter, to recoup earnings lost, to get ahead in her career especially if she does not have a support network in place. One goal of PWN is to empower women to make their destiny through opportunity, education, and economic awareness.
PWN is glad that you will decide to be an active participant in this process and hopes that you find the events enlightening and empowering. Thanks for sharing your time and talents with each other.


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Zeiss Tessar ( — четыре) — торговое название оптической конструкции фотообъективов.

Разработана доктором Паулем Рудольфом для немецкой оптической компании «Carl Zeiss» и запатентована 25 апреля 1902 года. Имеет конструкцию из 4 элементов в трёх группах, где 3-я и 4-я линза склеены. Лепестки диафрагмы размещаются перед задним компонентом.

Вопреки распространённому мнению, «Тессар» не был усовершенствованием Триплета Кука, хотя и может рассматриваться как его логическое продолжение. «Тессар» разработан независимо как развитие схемы объектива Zeiss Protar (4 линзы в 2 группах), авторство разработки которого также принадлежит Паулю Рудольфу.

Особенности
«Тессар» имеет несколько бо́льшую светосилу, чем классический Триплет Кука, и лучшую коррекцию аберраций, в том числе термооптических. Дает резкое и контрастное изображение, за что и получил прозвище «Орлиный глаз».

Исходная схема объектива позволяет достичь светосилы f/3,5—4,0, а при использовании сортов стекла класса тяжёлых кронов достижимо значение f/2,8.

Выпускался по лицензии такими фирмами, как Bausch&Lomb Optical CO. в США, F. Koristka в Италии, E. Krauss во Франции и Ross Ltd в Англии. По истечении срока действия патента в 1920 году, оптическая схема «Тессара» была воспроизведена многими оптическими фирмами в объективах: «Индустар» (СССР), «Роккор» (Минолта), «Mamiya/Sekor» (Мамия/Секор), «Nikkor» (Nikon). Вопреки частому заблуждению, немецкий «Эльмар» для «Лейки» не является ещё одной копией «Тессара», а основан на Триплете Кука. При этом диафрагма «Эльмара» расположена в первом воздушном промежутке, а не во втором, как у «Тессара».

Количество объективов данного типа, выпущенных с 1902 года до настоящего времени, превысило 100 миллионов.

Pro-Tessar
Передний элемент «Тессара» может быть заменён для получения длиннофокусного или широкоугольного объектива. В 1957 году «Карл Цейс» выпустил длиннофокусные Pro-Tessar 85/4, 115/4 и широкоугольный Pro-Tessar 35/4 для использования в зеркальных камерах Zeiss Ikon Contaflex моделей III, IV, Rapid, Super, Super (new), Super B, Super BC и S.

См. также
 Индустар

Примечания

Источники

Литература

Патент истёк
Запатентовано в 1902 году
Оптическая схема Тессар

redpajama_set_name: RedPajamaWikipedia


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Why do we all love bears so much? They're grizzly, greedy, grumpy and occasionally pretty ferocious, yet we can't get enough of reading about them. But did you know that every time you open up a book about a bear, one poor hairy sod has to jump up and perform the story for you? That's right, even if they were in the middle of something really awesome like sleeping, snoozing or napping. And I'm afraid to say, the bears have had enough! My third book tells the tale of one especially grizzly bear who is sick of being the hardest working creature in the kingdom and is on the hunt for a new leading animal. Watch out star-nosed moles, it might be your time to shine!
Another book about bears is illustrated by Philip Bunting and published by Scholastic Australia.


Lexington Ballet's artistic director, Luis Dominguez, says the ballet, one of three pieces to be performed Saturday, is just as powerful a century after its riotous debut.
"Even 100 years later, it is still relevant, still strong, still revolutionary," says Dominguez, who choreographed the Stravinsky segment of the concert, to be performed with live accompaniment by the Lexington-based chamber ensemble EnVaGe, or Ensemble of Varying Geometry.
"It was difficult to choreograph because it is so serious," Dominguez says of The Rite of Spring. "You cannot listen to this music without a powerful emotional response."
The Paris debut was choreographed by Vasley Nijinsky, who went on to dance for the Paris-based Ballets Russes, one of the most influential ballet organizations of the 20th century.
In addition to commemorating the centennial of The Rite of Spring, Tribute to Ballets Russes features segments of two other signature pieces.
Dominguez preserved Ballets Russes' original choreography by Michel Fokine for Les Sylphides, a non-narrative ballet set to the music of Chopin that features a poet and white-clad mythological air spirits called sylphs dancing in the moonlight.
"I insisted we keep the original choreography for this piece," says Dominguez, describing Fokine's importance as a choreographer who, among other things, freed ballet dancers of their pointe shoes in some pieces.
Afternoon of a Faun by Debussy rounds out the evening of historically commemorative ballets, but with an interpretive twist. In Dominguez's vision, the struggles of a group of homeless men and women are interrupted by one man's captivation with a beautiful woman. He dreams he is transformed into a faun, and the two dance together until the woman disappears.
Dominguez hopes that paying homage to the companies, dancers, composers and choreographers who helped to shape ballet into the 21st-century art form will captivate and inform audiences about ballet's history.
"To be able to do that is an honor," he says.
What: Dance group's performance of three signature pieces of the early 20th-century Paris-based troupe: The Rite of Spring, Les Sylphides and Afternoon of a Faun.
Tickets: $30.75 general admission, $20.75 students. Available at (859) 233-3535, Lexingtonoperahouse.com or Ticketmaster, 1-800-745-3000 or Ticketmaster.com.


Join us at Springfield Country Club for a special Mother's Day Brunch followed by a delicious dinner buffet. Reservations for both special events are required by calling (610) 543-2100.
Join us at Springfield Country Club for a special brunch with the Easter Bunny followed by a delicious dinner buffet. Reservations for both special events are required by calling (610) 543-2100.
For a limited time only, book a Friday evening wedding reception and receive 10% off entree pricing, $500 Tavola gift card, and waived ceremony fees.


First video of the Dragon approaching the International Space Station.
Falcon 9 launches! Solar arrays deployed!
SpaceX successfully launched the Falcon 9 this morning. Dragon is in orbit and both solar arrays have deployed! Congratulations to SpaceX!


Should You Negotiate Your Price/Value?
If you are a business owner or freelancer, that is a question you probably toy with often. How much should you charge? Is the amount you are charging going to provide enough of a return on investment for your client? Can you prove the return on investment? Will your fee cover all of your costs? Are you leaving money on the table by charging too little? How does your price affect how you are valued? Should you allow your client to negotiate a lower price?
Those last two questions are the questions that I would like to start with.
I started my career as an IT recruiter and part of my job was to negotiate the salary and benefits for the new hire. I knew what the going market rate was and I knew what the budget constraints of the company were. I also knew the value, financial and otherwise, of the company making the right hire. Hiring the wrong person is costly. It can lead to an increased cost in training, or loss of productivity, or even loss of clients. When/if, the job does not work out there is the added cost of letting the employee go and going through the recruitment process to replace that employee. So even when there are budget constraints, it makes sense to find the right compensation package for the employee.
When a company is hiring an agency or a freelancer, they are facing many of the same scenarios. They should want a partner who can get the job done correctly the first time, who can educate your company on best practices, who will meet deadlines and contribute to the overall success of their company. If they hire based on the lowest bid they will oftentimes hire a freelancer who is skilled at burning money by running through tactics without an overall strategy that is aligned with the project goals.
If your skills, experience, and professionalism increasing the value that you bring to the table, should you negotiate your price/value?
Before you even quote a price for a project you should go through the exercise of setting rates for all of the offerings carefully considering what is a competitive price point, be able to provide your clients with a clear ROI, and make sure that all your expenses for the project including time spent on sales, operations, and account management are covered.
If the client cannot afford the rate for the project as quoted, you can be flexible by adjusting the scope of work to focus on what is a priority to get a quick result or build a foundation that they can continue to build on. This is where your expertise and consultative approach comes in.
If you choose to reduce your fees, be sure you have a really good reason. Sometimes I reduce my fees because I really want to contribute to a nonprofit or startup that I believe in and I know they cannot afford me, but I want to help. What I don't do anymore is reduce my fees for a company who can afford my services but they want to negotiate a deal.
Not long ago I was advised that I should quote a higher price and then when the client began the negotiation process I could tell them I would lower the price "just for them" and I would ultimately win the price I wanted in the first place.
I will admit, I pondered that advice, for about an hour. What I concluded was I would not want anyone doing that to me. It is why we all hate the car buying process, right?
Also, what kind of client relationship is that setting? You are telling your client that yes, I charge more than I need to for my services or that yeah, my services are not as valuable. If you have gone through the process to show that you are the expert in your field and you have gone through the training and trials to become an expert, a good client will value your service, but only if you do so yourself.
Also, if you allow a client to "get a deal" your relationship will be similar to when you are buying a car, the relationship becomes all about the money and most likely the client is still wondering if they are paying too much and may continue to look for a better deal from another person.
So, should you negotiate your price? There are always levels you can pull such as I will reduce it for a long-term agreement or if you pay in full up-front. But never, ever, negotiate your value.


What do you + your business value most? Where is your business headed? Where do you want your attention to be in the next 30 days? 90 days?
Are you engaging with your customers in a way that's aligned with your values + priorities? If not, what would you like to shift?
You might be wondering why I'm asking these questions + what they have to do with your project or needs.
Here's why it's important: Without knowing, inside and out, what your values are it's near impossible to identify strategic priorities you can believe in + work towards. Without having strong, aligned strategic priorities you believe in, the next shiny object crossing your path will always tempt you + your attention will be spread thin.
In order for your project to succeed, for me to give your project the care + attention is deserves, we have to start with a few Foundational Concepts Read more in the Foundational Concepts worksheet found on the Resource page.
I tap into my strength as a learner. One of the things I love most is research, finding information, sourcing possibilities then distilling down to a solution for right now, which also takes into consideration where you want your business to grow.
I liked nothing better than to dive into a complex problem + identified individual tasks so we can collaborate on how to craft the best solution. Working behind the scenes, coordinating + leading other team members to bringing all the pieces of the project together is where I shine. When the behind the scenes run smoothly, you shine.
I tap into my achiever strength to organize the way we'll get your project completed. Curation is the process of bringing together the most important, most relevant elements of your project. Clarity, a core value in my business, shows up in how I curate the information to achieve our goals. I use thorough, clear + concise workflows, task lists, project scopes + timelines to move us forward while always keeping you informed of project progress.
When we work together we'll revisit the Foundational Concepts from time to time + make sure we're headed the direction you want to go.


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Jeff Bezos Just Launched a $5 Billion Bidding War
Is Donald Trump as Sane as Kim Jong Un?
T.A. Frank
Donald Trump Finally Says Something Honest About the Debt
Trump's Art of the Deal Diplomacy Risks War With Iran
Eric Lutz
Even North Korea's Top Trump Analyst Can't Understand His Tweets
"If he's not driving toward a point, then what is he doing? That is our big question."
By Josh Haner/The New York Times/Redux.
There has never been a public diary quite like Donald Trump's Twitter feed, where the president's shambolic mind is laid bare in nearly 36,000 micro-posts. Eight years' worth of jumbled thoughts, feuds, boasts, insults, and psychic injuries are documented for all the world to see: his musings about Robert Pattinson and Mika Brzezinski, a Democratic senator who slighted him, whatever "covfefe" turned out to be. It is, to quote Chinese state media, a safe space for his "emotional venting." It is also, as I wrote last year, in the wake of Trump's election, a national security and diplomatic nightmare, offering an unprecedented (and unfiltered) psychological profile of America's commander in chief. Experts have warned it could be invaluable material for foreign intelligence agencies—and a goldmine for adversaries seeking leverage.
Or it would be, anyway, if diplomats could make heads or tails of what Trump is talking about. That's the unenviable job of Pak Song Il, a North Korean official who has been tasked with interpreting and analyzing U.S. politics and news reports, including Trump's statements and tweets, for Kim Jong Un. In a remarkable dispatch from the Hermit Kingdom, The New Yorker's Evan Osnos spoke with Pak, among others, about the terrifying possibilities of the nuclear standoff between Trump and Kim. As my colleague T.A. Frank writes this week, any hope of resolving the grudge match between the two comes down to their ability to act rationally, which for Trump would mean recognizing that Kim won't give up his one deterrent against invasion without some serious reassurances (just ask Muammar Qaddafi and Saddam Hussein how disarmament worked out for them). Unfortunately, as Pak explains, Trump's unpredictability has made Pak's own life rather difficult in the months since the 2016 presidential election, which would probably please Trump to hear. "When he speaks, I have to figure out what he means, and what his next move will be," Pak said, explaining that even he can't understand Trump's statements. "This is very difficult. . . . He might be irrational—or too smart. We don't know."
Of particular concern to Pak were the improvised comments Trump made from his Bedminster, New Jersey, golf club last month, a "Madman Theory" (or just mad) performance in which the president said any acts of aggression from North Korea would be met "with fire and fury like the world has never seen." Pak is convinced Trump is playing 12th-dimensional chess, likening the president's strategy to Sun Tzu's The Art of War. "If he's not driving toward a point, then what is he doing? That is our big question." Pak said. "Is the American public ready for war? Does the Congress want a war? Does the American military want a war? Because, if they want a war, then we must prepare for that."
John Bolton Left in Mongolia While Trump Schmoozed in North Korea


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SILEZ (Structured) & Alvaro Arcusa at Killing Time Rentrée
KILLING TIME [RUZAFA VALENCIA]
Carrer del Doctor Sumsi 21 RUZAFA VALENCIA
FRIDAY 6.9.19. Rentrée with STRUCTURED records
We start a new season again at Killing Time, the tenth already in the sanctuary / club of Ruzafa.
This rentrée is presented with the official party of Structured, our friends label of Industrial Techno with which we maintain an excellent relationship in concepts, work and music.
One of its members Pau Singla a.k.a. Silez will be the guest representing the label based in Barcelona and from Malaga but with its members residing in different European avant-garde cities. With the support of Luisa, the activist member of the platform, we will enjoy their proposal marked by a techno of clear industrial cut in split rhythms and triple bass drums seasoned with factory maces and irons sounds.
SILEZ (STRUCTURED / GRAN CANARIA) bio
Pau Singla, born in Gran Canaria, currently resides in Amsterdam, the Netherlands. In 2015, she was part of the creation of Structured as a techno and promoting collective in Malaga. Years later, the work and effort of the members of this group have made possible the birth of a record label, which signed its first reference in March with the name "Matter and Mind", by Irrational Language.
The sound of Silez, alias with which we name this DJ, is characterized by industrialism and experimentation; the noise, the metallic synthesis and the factory environment carried with a "broad" spectrum of musical styles within the electronics, with a Techno base. You will find, in their sessions, from broken rhythms to Electro sounds, mixed with dynamism and sound progression.
https://soundcloud.com/pausilez
https://soundcloud.com/technorad_io/technoradio-podcast-002-silez-structured-afterparty-with-khidi-residents-barcelona-16092018
https://www.facebook.com/pauslz/
The opening will be carried out by the Hypnotica Colectiva member and Dj Alvaro Arcusa.
Carrer del Doctor Sumsi 21
RUZAFA
Hours from 18:00 to 03:30
Set times at this party 23:00 / 03:30
*Free entrance.


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The Sunrise Umbrella 10' x 20' Wedding Party Tent is perfect for weddings, birthday parties, BBQs, carnivals, and any other outdoor event. Each tent comes with detachable walls, including vintage-style window accents, so you can customize your tent to your needs. This medium-sized tent is perfect for guest tables or a commercial display - you and your guests will be protected from the elements by the waterproof and UV-resistant PE lining. Each tent is easy to assemble - stakes and ropes are included with every tent and no additional tools are required! Keep your next party going no matter the weather with this sturdy outdoor tent.


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Sports franchises 2020 dallas cowboys NFL
We havent had a chance to do that yet.LeBron James $88 million $28 million $60 million NBA 6.Clayton Kershaw, Los Angeles Dodgers 10.
None the less, that 4% growth drove the NFL's total sponsorship revenue to a record $1 billion.Boston Red Sox MLB $3B 17.No Purchase or Contribution Entry: There is a maximum of one free Ticket Number per eligible person per Entry Period.'With baseball in World Series mode, MLB has named the 14 finalists for the Hank Aaron Award and the MLB Players Assn.Los Angeles Rams NFL $3B 12.
27 Tennessee Titans at Green Bay Packers 'Jan.22 Kansas City Chiefs at Las Vegas Raiders 'Thursday Nov.Manchester United soccer $3B 11.
Chicago Bulls NBA $3B 17.They are doing a disservice to the game and the fans.Full story here.Mike Trout, Los Angeles Angels 15.'According to the National Insurance Crime Bureau's new Hot Wheels report, which includes crime data from across the country, Ford Full Size Pick-Ups were the most stolen vehicle in 2019.
Upper Deck has shared details regarding its first golf release since 2014, Artifacts Golf.It also attracts countless fans who seek to participate in pre-Draft events and festivities overseen by the league and its marketing partners.Jose Altuve, Houston Astros 19.Lionel Messi $104 million $72 million 432 million Soccer 4.Washington Football Team NFL $3B 16.
Anthony Rizzo, Chicago Cubs 14.Lionel Messi $104 million $72 million 432 million Soccer 4.We are excited to partner with CDW and Lenovo to bring compelling eSports stories to life for our growing fan base.Chicago Cubs MLB $3B 17.
Max Scherzer, Washington Nationals 8.An Achilles injury is one of the worst injuries you can suffer in basketball.Louis Cardinals 18.Chicago Bulls NBA $3B 17.
Clayton Kershaw, Los Angeles Dodgers 10.27 Tennessee Titans at Green Bay Packers 'Jan.It happens every Sunday.'AP: Short-video app Quibi said it is shutting down just six months after its early April launch, having struggled to find customers.Juan Soto, Washington Nationals 6.Clayton Kershaw, Los Angeles Dodgers 10.
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The General Tenancy Agreement is a legal binding contract between you as the lessor and the tenant. We as your managing agent act on your behalf and complete and sign all necessary paperwork.
The Tenancy Agreement mentioned above has 44 standard terms which are the law, non-negotiable and must form part of every tenancy agreement in Queensland. Special terms are terms that are not standard terms, however can be added to an agreement if they are lawful and do not contract outside legislation.
Under the Legal Professional Act of Queensland, we as a property agent cannot write or draft special terms to a tenancy agreement; only a lawyer or the lessor as a party to the agreement can. In saying that, we use special terms from our forms provider that have been prepared by an Australian legal practitioner. If you require additional special terms, we will require your written instruction. An example of contracting outside legislation is a request to insert a special term that an inclusion such as a dishwasher will not be maintained or replaced if it breaks down. This cannot be inserted due to the legislative provision of Section 185 of the Residential Tenancies and Rooming Accommodation Act 2008.


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The Anita top - just a little something that'll let you go effortlessly from your 9 to 5 to wine night. Made of breathable linen to make sure you can wear it all year long.
Bust 34 in. 36 in. 38 in.
Sleeve Length 9 in. 10 in. 10.5 in.
Total Length 20 in. 21 in. 22 in.


For a rationale see the comments on #1300.
fixed: Kid 0.9.6 and TurboKid? 1.0.2 with this feature are now available.
fixed: Duplicate of ticket 1284, fix applied in r3214 (1.0) and r3215 (1.1).
fixed: Fixed in . Thanks!.
Still doesn't look like it is applied in my trunk checkout.
tg-admin quickstart breaks, after patch model.py_tmpl it works.
duplicate: Duplicate of bug #960. Any chance of getting this fixed soon?
Keep SQLObject and Kid, but migrate the 20 min wiki to TG2.
fixed: OK then you have it in r3230 (1.0dev) and r3231 (1.1dev) Cheers! Florent.
fixed: Done in r3216 (1.0) and r3217 (1.1) thanks!
fixed: Applied at r3214 (1.0) and r3215 (1.1) Thanks.


text:
Project acronym AlterMateria
Project Designer Quantum Materials Out of Equilibrium
Researcher (PI) Andrea Caviglia
Host Institution (HI) TECHNISCHE UNIVERSITEIT DELFT
Summary Recently, 'designer' quantum materials, synthesised layer by layer, have been realised, sparking ground-breaking new scientific insights. These artificial materials, such as oxide heterostructures, are interesting building blocks for a new generation of technologies, provided that one is able to access, study and ultimately control their quantum phases in practical conditions such as at room temperature and high speeds. On the other hand, an independent research area is emerging that uses ultra-short bursts of light to stimulate changes in the macroscopic electronic properties of solids at unprecedented speeds. Here I propose to bridge the gap between material design and ultrafast control of solids. This new synergy will allow us to explore fundamental research questions on the non-equilibrium dynamics of quantum materials with competing ground states. Specifically, I will utilize intense THz and mid-infrared electromagnetic fields to manipulate the electronic properties of artificial quantum materials on pico- to femto-second time scales. Beyond the development of novel techniques to generate THz electric fields of unprecedented intensity, I will investigate metal-insulator and magnetic transitions in oxide heterostructures as they unfold in time. This research programme takes oxide electronics in a new direction and establishes a new methodology for the control of quantum phases at high temperature and high speed.
Recently, 'designer' quantum materials, synthesised layer by layer, have been realised, sparking ground-breaking new scientific insights. These artificial materials, such as oxide heterostructures, are interesting building blocks for a new generation of technologies, provided that one is able to access, study and ultimately control their quantum phases in practical conditions such as at room temperature and high speeds. On the other hand, an independent research area is emerging that uses ultra-short bursts of light to stimulate changes in the macroscopic electronic properties of solids at unprecedented speeds. Here I propose to bridge the gap between material design and ultrafast control of solids. This new synergy will allow us to explore fundamental research questions on the non-equilibrium dynamics of quantum materials with competing ground states. Specifically, I will utilize intense THz and mid-infrared electromagnetic fields to manipulate the electronic properties of artificial quantum materials on pico- to femto-second time scales. Beyond the development of novel techniques to generate THz electric fields of unprecedented intensity, I will investigate metal-insulator and magnetic transitions in oxide heterostructures as they unfold in time. This research programme takes oxide electronics in a new direction and establishes a new methodology for the control of quantum phases at high temperature and high speed.
Project acronym SPINCAD
Project Spin correlations by atomic design
Researcher (PI) Alexander F. Otte
Summary Unexpected physical phenomena occurring in materials often result from the complex interplay between spins on the atomic scale. The field of quantum magnetism aims to capture the rich emergent physics that arises when multiple spins interact. While experimental techniques are available to probe the global quantum magnetic properties of materials, they fail to reveal the role of local features such as individual defects or phase boundaries. I propose to use custom-designed spin lattices created by low-temperature scanning tunnelling microscopy (STM) to probe spin correlations locally at the atomic scale, providing the ultimate tool to trace particle-like excitations (spinons) as they propagate. Since these excitations exist on timescales that are much too short to be accessed directly in real time, I will introduce 'spinon traps': atom-built detector bits that record the presence of a spinon and store this information immediately on the atomic scale, to be read out at a later time. This approach opens the possibility to study emergent material properties as a function of system size and test theories for quantum magnetism that were previously experimentally inaccessible. Based on preliminary experiments in my group that indicate the feasibility of SPINCAD, I will realize and demonstrate the spinon trapping technique by employing it to the study of attractive interactions between spinons, which may be forged independently through atom manipulation. In addition, I will observe the motion of spinons through two-dimensional frustrated spin lattices. Being the first technique to perform local injection and readout of excitations in custom-designed spin structures, SPINCAD will generate a long-lasting synergy between the fields of theoretical quantum magnetism and experimental surface science.
Unexpected physical phenomena occurring in materials often result from the complex interplay between spins on the atomic scale. The field of quantum magnetism aims to capture the rich emergent physics that arises when multiple spins interact. While experimental techniques are available to probe the global quantum magnetic properties of materials, they fail to reveal the role of local features such as individual defects or phase boundaries. I propose to use custom-designed spin lattices created by low-temperature scanning tunnelling microscopy (STM) to probe spin correlations locally at the atomic scale, providing the ultimate tool to trace particle-like excitations (spinons) as they propagate. Since these excitations exist on timescales that are much too short to be accessed directly in real time, I will introduce 'spinon traps': atom-built detector bits that record the presence of a spinon and store this information immediately on the atomic scale, to be read out at a later time. This approach opens the possibility to study emergent material properties as a function of system size and test theories for quantum magnetism that were previously experimentally inaccessible. Based on preliminary experiments in my group that indicate the feasibility of SPINCAD, I will realize and demonstrate the spinon trapping technique by employing it to the study of attractive interactions between spinons, which may be forged independently through atom manipulation. In addition, I will observe the motion of spinons through two-dimensional frustrated spin lattices. Being the first technique to perform local injection and readout of excitations in custom-designed spin structures, SPINCAD will generate a long-lasting synergy between the fields of theoretical quantum magnetism and experimental surface science.


Great flat(ish) route through stunning Edwardian Parkland and the Ockment Valley, by streams, on pathways – Suit all level of runners and the chance to set a good time.
Who it's aimed at: Run or walk for adults of all ages, families, young people & children. Under 11 YEARS have to be accompanied by an adult.
Cost: £1 per ADULT, CHILDREN run for FREE!


When I found out that Heide Museum of Modern Art was not only exhibiting the works of Charles Blackman but also hosting a drawing workshop in his style I booked myself in pronto!
The cost of the workshop was around $50 for a 3 hour workshop including materials, a visit to the exhibition and a day pass to the rest of Heide MOMA. The Faciliators were wonderful and I enjoyed the creative focus that is usually interrupted at home by work and family. My only regret is not booking into the subsequent workshops as they sold out quickly.
I also enjoyed seeing the Blackman exhibition for a second time to absorb all the detail of the colour, the linework and the expression. Love.
If you're in Melbourne and interested in getting some inspiration…the Blackman Schoolgirls Exhibition is on show at Heide until the 18th of June and is well worth the visit. You can learn more about their upcoming events here.