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Q: How is using encoders so much faster than java serialization? How is using encoders so much faster than java and kryo serialization?

A: *

*Because Encoders sacrifice generality for performance. The idea is not new. Why Kryo is faster than Java serialization? For the same reason. Consider this transcript:
scala> val spark = SparkSession.builder.config("spark.serializer", "org.apache.spark.serializer.JavaSerializer").getOrCreate()
spark: org.apache.spark.sql.SparkSession = org.apache.spark.sql.SparkSession@1ed28f57

scala> val map = Map[String, Int]("foo" -> 1).withDefaultValue(0)
map: scala.collection.immutable.Map[String,Int] = Map(foo -> 1)

scala> map("bar")
res1: Int = 0

scala> val mapSerDe = spark.sparkContext.parallelize(Seq(map)).first
mapSerDe: scala.collection.immutable.Map[String,Int] = Map(foo -> 1)

scala> mapSerDe("bar")
res2: Int = 0

compared to
scala> val spark = SparkSession.builder.config("spark.serializer", "org.apache.spark.serializer.KryoSerializer").getOrCreate()
spark: org.apache.spark.sql.SparkSession = org.apache.spark.sql.SparkSession@5cef3456

scala>  val map = Map[String, Int]("foo" -> 1).withDefaultValue(0)
map: scala.collection.immutable.Map[String,Int] = Map(foo -> 1)

scala> map("bar")
res7: Int = 0

scala>  val mapSerDe = spark.sparkContext.parallelize(Seq(map)).first
mapSerDe: scala.collection.immutable.Map[String,Int] = Map(foo -> 1)

scala> mapSerDe("bar")
java.util.NoSuchElementException: key not found: bar
  at scala.collection.MapLike$class.default(MapLike.scala:228)
  at scala.collection.AbstractMap.default(Map.scala:59)
  at scala.collection.MapLike$class.apply(MapLike.scala:141)
  at scala.collection.AbstractMap.apply(Map.scala:59)
  ... 48 elided

(I couldn't find the exact post, but the idea of this example comes from Developers list).
As you can see, Kryo, although faster, doesn't handle all possible cases. It focuses on the most common ones, and does it right.
Spark Encoders do the same, but are even less general. If you support only 16 types or so, and don't care about interoperability (must have with real serialization libraries), you have a lot of opportunity to optimize.

*No need for interoperability allows you to move even further. Encoders for atomic types are just identity. There is no need for any transformations at all.

*Knowing the schema, as explained by himanshuIIITian is another factor.
Why does it matter? Because having well defined shape, allows you to optimize serialization and storage. If you know that your data is structured you can switch dimensions - instead of having heterogeneous rows which are expensive to store and access you can use columnar storage.
Once data is stored in columns you open a whole new set of optimization opportunities:

*

*Data access on fixed size fields is extremely fast because you can directly access specific address (remember all the excitement about off-heap / native memory / Tungsten?).

*You can use a wide range of compression and encoding techniques to minimize the size of the data.

This ideas are not new either. Columnar databases, storage formats (like Parquet) or modern serialization formats designed for analytics (like Arrow) use the same ideas and often pushed these even further (zero copy data sharing).

*Unfortunately Encoders are not a silver bullet. Storing non-standard object is a mess, collection Encoders can be very inefficient.

A: Simple - Encoders know the schema of the records. This is how they offer significantly faster serialization and deserialization (comparing to the default Java or Kryo serializers).
For reference - https://jaceklaskowski.gitbooks.io/mastering-spark-sql/spark-sql-Encoder.html

redpajama_set_name: RedPajamaStackExchange


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Sebastian Brameshuber on Movements of a Nearby Mountain
Andrea Picard/Cinema Scope Online
By Andréa Picard
Movements of a Nearby Mountain screens at TIFF Bell Lightbox on Thursday, December 12 as part of MDFF Selects: Presented by Cinema Scope and TIFF.
Winner of this year's Grand Prix at Cinéma du Réel as well as a clutch of other international prizes, the third feature by Austrian filmmaker Sebastian Brameshuber is a rare gift. Movements of a Nearby Mountain is, on the surface, a portrait of Cliff, a 35-year-old self-taught mechanic who spends most of his time alone refurbishing and disassembling cars in order to sell the parts in his native Nigeria. Cliff's outsized garage lies at the foot of the Alps near the famous Erzberg mine, where, as the famous "Waterman" legend has it, iron ore would reign eternal—that is, pre-Industrial Revolution.
But Brameshuber's film is no ordinary portrait, nor is it an expository documentary about globalized exchange, migratory movement, or the labyrinthine hierarchies of clandestine and systemic economies. Rather, it is a mysterious and entrancing look at a life in motion in a dreamlike and surreal space, one marked by solitude, the gestures of work, and a plethora of tools and tires. Absence permeates the proceedings, whether it be the eponymous (and anthropomorphized) mountain, or traces from the past—such as Cliff's former colleague Magnus, who reappears from a previous time, or the paintball field which used to face the workshop, in a dichotomy of work and leisure that was not lost on Brameshuber, who explores the surroundings with compositional exactitude, wonder, and consideration for deeper implications ranging from the materialist to the mythic.
Movements of a Nearby Mountain has a graceful pace and remarkable elegance, ensuring that we look closer at the details of Cliff's life: his movements, his words as much as his silence, the theatricality of his setting, and, above all, his tenaciousness and drive (pun intended). The film's complex layers (which are belied in part by the deceptively simple structure) are both implicit and explicit to the frame of the film, with time eliding any notion of "fixity."
Cinema Scope: "What's your production date?" Just kidding! I like how Cliff confronts a potential buyer with this question, which says so much: about his sense of humour, his deft negotiating skills, how time leaves its marks, how we ascribe value. I wonder just how solitary Cliff is, given the ease with which he interacts with others? He's clearly charming and thoughtful, which obviously helps him in his business…
Sebastian Brameshuber: Cliff has been doing business since he was a kid. He takes great pride in his business acumen and negotiating skills, and rightfully so. I'd say he is a solitary character, someone who had to learn to be on his own, to trust first and foremost in himself. He does spend most of the day alone in his workshop and literally calls this place "home," because that's what it feels like to him. But he is not lonely or socially isolated in Austria (anymore), and of course you can feel it and, even more so, hear it, most obviously when he speaks German in the regional Styrian dialect which he couldn't have learned in solitude.
But I wasn't interested in doing a well-rounded biographical film about him: rather, I wanted to explore the intimacy which unfolds in portraying him exclusively in an environment which one could call his "professional environment," but which ultimately turns out to be so much more than that. The choice of which aspects of a life to show and which ones to leave out is maybe similar to choosing the right distance of the camera to the person you are filming: it is not by simply moving closer to, or using close-up shots of a person that you actually get closer to this person, but by remaining at a certain (respectful) distance which makes you feel that you want to get closer to someone. You get to see a fragment of someone's life, but then again, when can a film ever show you more than a fragment? Every human being is a mystery, and I don't want to pretend the opposite. At the same time, I feel that by going deep rather than wide, the film reaches beyond a particular life, thereby touching on questions of human existence. If at the end of this film you feel like wanting to know more about Cliff, I think it has achieved more than I could wish for.
Scope: How did you first meet Cliff? What drew you to make a film about him and his activities?
Brameshuber: We first met back in 2012 during the shooting of my previous feature, And There We Are, in the Middle. Andi, one of the teenagers in that film, went to play paintball on the site, and that's how I got to know Cliff, but also Magnus and a few other guys who were working there at the time. The barbecue which Cliff uses in this film for cooking and for warming his hands on cold mornings is the same that Andi and his friends use in my previous film for warming up after their paintball game. One thing that immediately intrigued me, even before getting to know Cliff better, was the juxtaposition of a game world and a working world, of leisure and necessity. I studied stage design, and I felt that this was a "scenography" emerging from the everyday, which could be interpreted with the tools of cinema in order to reveal the narratives and metaphors inscribed in this space, somehow in a reverse attempt relative to the process I was initially trained for. I exchanged numbers with Cliff and returned about a year later to shoot a short film as part of my studies at Le Fresnoy in France, Of Stains, Scrap and Tires. But Cliff and his colleagues weren't as present for the shooting of the short film as they initially said they would be; there was a certain mistrust on their part in my filmic endeavor, and not enough time to overcome it. Cliff and his colleagues are present in the film, but I wasn't able to carve out much of Cliff's and the other two guys' individuality. Thus, for the short film I focused more on the above-mentioned "scenography."
But one thing that became apparent in the exchange with Cliff and his colleagues was the hardship of the business and the increasing difficulty to make profits, to earn a living. At the end of the shooting, Magnus painted over and thus erased his phone number at the entrance to the garage, a gesture he performed with a casualness that struck me: for one, because it meant that he was ending a many-years-long chapter of his life; but also, because it marked a new chapter in the history of this garage. By the time the short film was finished, Cliff was the only one still working there. I guess this was a decisive moment to do another film with him. It impressed me that he had the guts and nerves to continue with this business, against all odds. A few months later, the paintball field closed down as well. It became quite silent in and around the garage. I frequently came back to hang out with Cliff, he liked the short film when he saw it at the cinema, his initial skepticism had therefore passed and he was up for collaborating on a film that would centre around him.
Apart from Cliff being a charming and thoughtful person, what impressed me as a filmmaker was his solitary presence in this space which obtained an almost theatrical, performative quality. This is due to the dimensions of the space, a single person working in it, and the relative silence. But it is also the very particular and steady pace at which Cliff moves and performs his work. I felt that time and space in this garage obtained an almost tangible quality in his presence, as if there was a slight shift in the space-time continuum. It made me receptive to the sometimes surreal moments and details that emerge from everyday life and routine in this garage, even if at first glance it is defined by its materialistic qualities. Working out this dimension in the film, it becomes a universe in its own right: more real than reality, yet stranger than fiction.
Scope: His garage looks like a ruin of sorts. What was it in its previous incarnation, and how did Cliff come to appropriate it?
Brameshuber: It used to be a factory for the production of cables, but it was abandoned many years ago. The region of Upper Styria is Austria's "rust belt." The mining of the nearby iconic and legendary Erzberg ("ore mountain") and the attached metalworking industry have been defining this region for centuries, providing relative wealth and secure jobs. But with the shifting to a post-industrial society, with other countries producing the same raw materials and products cheaper, with machines and algorithms replacing human labour, many of the factories had to close down or, in the case of this particular enterprise which actually still exists, build a new factory to increase productivity to be able to compete on the world market. So while the mining workers from Erzberg have disappeared, and along with them the blue-collar workers in the adjoining industries, Cliff has appropriated one of the ruins of this past era and with what he does, he interestingly remains in a line of business that is not foreign to this site and region. When Cliff takes apart a car with rudimentary tools and physical force in order to extract something precious, it also evokes images of mining work. Or, to put it another way, it is a space where the echoes of the past resonate exceptionally loudly since Cliff has appropriated it. He came to this region as part of a distribution plan for asylum seekers, and he decided to stay.
Scope: The film consciously, elegantly, and intelligently plays with time, ellipses, and a-linearity as if geological and mythic time are all-abiding, and yet, the changes in the landscape are physical markers of those transitions. What was the timeframe in which you shot, and can you discuss your approach to representing a period of time that is both specific but also open? Or did this structure emerge during editing?
Brameshuber: The film was shot within six months, starting in summer and ending in winter, but there are a few shots and sounds that I recorded earlier, during the shooting of the two previous films I mentioned before, and which I recycled for this film. On the one hand, there was the myth of the discovery of Erzberg which alluded to an eternity, the promise of everlasting iron, but at the same time the site where I shot is full of traces, permeated by a strong feeling of transience. Along with the actual changes—Magnus quitting the business, the paintball field closing down, Cliff being alone now, the changing seasons—the different layers of time weere omnipresent, so to speak, almost imposing themselves onto this film. In particular, I wanted Magnus to reappear, since in a way he triggered the making of the film when he painted over his phone number. I thought of him as a sort of memory for Cliff, someone who isn't there any longer physically, but who is still part of the history of this place, also very concretely, as traces of light on celluloid strips which I had shot there a few years earlier. Just like the weather-induced outlines of the tires that were once stacked on the paintball field as cover for the players.
I tried to break down the different time levels in one particular scene and more or less obviously point out that this could be anything from the past, the present to the future—or perhaps everything at once, an uncertain time in times of uncertainty. We see Cliff and Magnus, who apparently observe and comment in Igbo, their mother tongue, on a paintball game which we can only hear from offscreen; they're daydreaming of expanding their business if the paintball field closed down. When Cliff receives a phone call, the popping of the paintball game stops abruptly, it turns very silent and the camera slowly starts moving of its own volition towards where Magnus was standing, but he isn't there any longer; nor is there anyone on the abandoned paintball field, and when the camera has turned a full 360 degrees and reaches Cliff again, he is still negotiating the buying of a car in broad Styrian dialect, his figure getting smaller and smaller as he walks into the cathedral-like garage.
The paintball sound of this scene originates from the past: it was recorded for my previous film. It is a detail, and, of course, the sound does not reveal this fact. Nevertheless, I think that such decisions radiate into the film and are constitutive to its inner cohesion. But it was important to me that the "ghostly" dimension doesn't turn into something too obvious or pretentious, to maintain an equilibrium between the material and the immaterial dimension. A jury has coined the term "magical materialism" with regard to my film; I quite like it. In the treatment which I initially presented to the funding bodies, I talked of "magical pragmatism"; I guess at that point I was thinking more about my attitude when shooting the film and not yet about the result.
For the editing, which was equally important, I had the privilege to work with Dane Komljen, a Berlin-based filmmaker from former Yugoslavia, with whom I studied at Le Fresnoy in France. Dane, who I guess needs little introduction as a filmmaker (All the Cities of the North, 2016), is also a very gifted, sensitive, and precise film editor. Many of the structural decisions and strategies on how to further deconstruct the linearity of the everyday perception of time emerged during our editing process. The more the overall structure of the film emerged, the more it was possible to add more layers and to increase the complexity of the composition. Dane had a very sober look at all the existing footage; unlike me, he neither felt attached to nor detached from any scenes or shots. For example, he encouraged the use of the material, which I shot myself in summer, before I continued to work with my longtime collaborator behind the camera, Klemens Hufnagl. Even if I wanted to, I had a hard time embracing this footage because I felt my camerawork wasn't good enough. But Dane kept insisting that it was okay, and that the three different sensibilites of camerawork in this film would ultimately yield something interesting, since the part in Nigeria was shot by German DOP Jenny Lou Ziegel, who also did a great job. I also knew that I would use fragments of the Super 16mm footage which was shot a few years earlier for my short film, but I didn't find the right place for it until a very late point during the editing, when the overall structure was pretty much there and when those shots could actually gain a function beyond aesthetic reasons and add something to the "story" of Magnus' reappearance—and thus reached a function and beyond aesthetic reasons.
Scope: The sound design is equally compelling and complicit in this approach, when, for instance, the summer cicadas reappear in winter as a soft snow falls. The blurring of time is also sonic.
Brameshuber: It's beautiful how you point to the analogy between a sonic and a visual texture. At the same time, this sound also works as a counterpoint relative to the image. The question of how to work with the sound arose first from the night shots and Cliff's voiceover telling the legend of the Waterman. Later it extended to the use of the Super 16mm shots, which should stand out [from] the rest of the film and for which we wanted to leave the synchronization between image and sound behind for a moment. We tried a few different sonic strategies during editing, but the most simple proved to be the most efficient and elegant, which was to extend the original sound from the previous scene over the Super 16mm shots. Similar to the use of the recycled Super 16mm images, I felt that the use of sound other than the original sound needs to be more than merely a sound effect, rooted in a function relative to the overall functioning of the film: [it needs] to further indicate the deconstruction of the linear passage of time. One very early morning, the film's sound recordist and sound designer Johannes Schmelzer Ziringer recorded the distant sound of one of the large steel factories in the region, which lay behind our motel: a very gentle and even noise which became the sonic base layer for several shots and scenes. We also worked with a foley artist in order to increase the acoustic presence of Cliff and everyone but Magnus, for whom we used the exact opposite strategy and kept only his voice in order to emphasize his ghostly (non-)presence.
Scope: Why was it important to go to Nigeria with Cliff instead of leaving the place of origin (his) and final destination (for the car parts) unseen? How many times did you go, and what was it like with him as your guide?
Brameshuber: It was in fact one of the questions I wasn't able to answer for myself until the point when we had actually shot there and tried it out in editing. My fear was that it could feel like a homecoming for Cliff, and I wanted to avoid that at any cost. So it was clear to me that there won't be any scenes with his family or friends, and that the film couldn't change its overall tone in Nigeria. Before we went there, Cliff told me on several occasions that he no longer felt like he belonged there. When we were there, his feeling also reflected in his changed body language and the way he dealt with other people. In the scene where he arrives at the spare-parts market he is not driving himself, like in the rest of the film, but someone is driving him, he gets out of the car from the passenger seat. I found that very interesting and revealing: it added a layer of complexity to his character in this film, and I considered it worth introducing.
In a way, this sequence in Nigeria, particularly its beginning at the spare-parts market, breaks the spell of the film for a moment, and I think that's important. Cliff may be operating on the periphery of the capitalist system and global trade, but the modes of operation and imbalances are pretty much the same there as well. There may be another form of necessity or urgency, but there is nothing innocent about what he does, and I think you could forget that if the film had stayed exclusively in the garage in Austria. I also think the sequence in Nigeria adds something with regard to the question where one feels at home, and that home isn't necessarily linked to the place of one's origin, but is, as one great contemporary filmmaker has recently put it, a space in time.
We were in Nigeria for about two weeks with Cliff for the shooting. All in all, it was a good experience to be there with him, and to get to know the places and some of the people he had previously mentioned to me. But for him every trip to Nigeria is also stressful, because many people there, not just his family members, have high expectations of someone who lives in Europe. Our presence sometimes amplified this effect, so we had to take it into consideration when scheduling our shooting. It was important not to strain Cliff's patience, nor the patience of the other people around us. Two and a half years prior to the shooting, I went there for two weeks together with the production manager for Nigeria, Chukwudi Anyanwu, a friend of mine who also lives in Vienna and works here for the UN. I had never been to Nigeria nor any other country in Africa before, so I wanted to get an idea of what it is like and what was waiting for us, see the places where we could shoot, etc. Since the financing of production took a while, there was quite a large time gap between the preparation and the actual shooting. But this didn't actually effect our shooting.
Scope: The "wheeling and dealing" that takes place in Cliff's garage is met by somewhat (charmingly) blasé banter by his clients, yet one senses so much of the politics of the region is conveyed through these brief exchanges. Were these a result of long-term observation, or were they more spontaneous?
Brameshuber: With a few exceptions, I knew the clients coming to Cliff's garage, because most of them are more or less regular customers who I had met before. The scenes and dialogues and what they convey developed spontaneously, so to say, but I had heard all of it before. It repeats itself almost every time and with almost all of Cliff's clients, because "wheeling and dealing" is also a game: it follows certain rules, and one strategy is to bring into play your own unstable economic situation or that of your country. Those arguments and counterarguments obviously refer to a (sometimes harsh) reality, too, but there is a playful pattern and rhythm to it. One thing which I found interesting about all that's going on in Cliff's garage is that it does not only relate to the economic North-South divide, but also to the West-East divide within Europe, respective to the European Union. The border with Hungary is not even 100 kilometres away: an economy that is very underprivileged in relation to Western Europe begins there, and many people in Hungary depend on the discarded goods from across the border. It is sometimes too easy for Austria [and] Western Europe to look to Africa and to outsource the attention on economic inequality to a distant continent, as if that were no longer the case in Europe. My point is not to weigh one against the other, but it makes a difference if an audience has to relate to something nearby as well.
Scope: The European Union is an increasingly complicated and fractured territory, and Austria has not been as open with its borders as some other countries. It's also not as multicultural as many other major centres in the EU. While your film avoids all didacticism (and judgments) and resonates on both a more mysterious and humanist level, surely you must have had trepidations going into the project? You've mentioned finding the right respectful distance. How did you find it, above spending time with and gaining Cliff's trust?
Brameshuber: The European Union is a very complex construct; I think it would be beyond the scope of this conversation to go in more detail into this subject. Austria is definitely a less multicultural society than France, the UK, the Netherlands, Belgium… What these countries have in common though is that they, unlike Austria, were colonial empires with colonies in Africa and elsewhere. It is a paradox of history that these countries today have a more open and visibly more multicultural society—at least on the surface, in the urban centres. Immigration from Sub-Saharan Africa is a comparatively recent phenomenon for Austria. In all of the country, but particularly in the rural regions, and thus also where Cliff lives, there are very few people of colour, and he has experienced a lot of racism. I got to know Cliff as someone who can take a lot and who, despite everything, has kept an amazing and admirable openness. I didn't approach the gaining of his trust as a project, though. After we jumped in the deep end with the short film, it was a relatively slow and steady process to getting to know each other. That being said, we were also "business partners," since Cliff was paid as an "actor" on both the short film and the feature. But I think he would agree, too, that our personal relationship outgrew our business relationship over the years.
Scope: I like how you describe Cliff's everyday space as a "scenography." The garage is very much a microcosm—one of work, but also the comforts of daily rituals around food and grooming set against both a dusty workshop and pastoral bliss—amidst car parts that double as furniture. With the plastic wrap that renders certain parts strange and surreal and Cliff's solitary and resourceful existence, it is hard to resist a certain "last man on earth" fantasy trope, which lends itself to the extremes of our times. Were you influenced by any works of literature or films as you were working on the film?
Brameshuber: There is certainly a dystopian dimension inherent in the film, but there was no particular reference in literature or film that I had in mind. I think the entire set-up of the film, respectively the real situation to which the film refers, communicates from the beginning with layers of our cultural memory that evoke associations of that kind. I have often wondered how myths or epic stories arise, about the true events or people that underlie them. For me there was an epic potential in terms of Cliff's story and the work he does in that place. Using the legend of the discovery of Erzberg in the film was a way to emphasize this aspect. In terms of reference, I appreciate a lot the photographs of Helen Levitt, her eye for the casually surreal and theatric that emerges from everyday street life. One of her photos, "New York (Boy Bending Over)," has for me a particularly interesting relationship.
Scope: There are many ways to interpret the film's lyrical title, Movements of a Nearby Mountain. What does it mean for you?
Brameshuber: I guess I like it because it opens up a range of possible perspectives on the film. Setting a mountain in motion is almost a contradiction in itself, yet the literal movement of the nearby Erzberg in the form of the refined raw materials that have been extracted from it and that now move through the world, e.g., as cars, would be one way to think about it. But the title also alludes to the deterritorialization of raw materials, goods and men alike, to the dilemma of the Anthropocene, to geological and mythological time relative to human time scale, etc. The view of a mountain can be a reminder of our ephemeral existence on this planet. Perhaps geological time is too difficult for humans to grasp, perhaps we quickly attribute an eternity to something because it gives us the feeling that our existence would also last longer. Maybe the same feeling can also apply in the opposite direction, and we destroy what's eternal in less than a human lifespan, because neither a mountain nor geological time shall humiliate us. Erzberg has become a victim of the Promethean energy of humankind, and millions of years will be razed to the ground in a few decades of industrial exploitation. And yet the mountain which is so present in the title is hardly visibly in the film. For me, the title also reflects one of the general strategies of the film, namely to work with omissions as something that is as constitutive of the film as what is shown. I recently learned that it is impossible to photograph a black hole, but it is possible to photograph the dust and gases attracted by it and describing its contours. It made me think about my film. The mountain in the title provides a certain metaphorical centre of gravity, but one which is only defined by what surrounds it.
Posted in Cinema Scope Online

redpajama_set_name: RedPajamaCommonCrawl


Mabel Tun spent Monday working her phone nonstop. When she wasn't trying to reach her family in Rangoon, she was dialing her Burmese friends in the Bay Area and coordinating a collection of funds to send home for cyclone relief.
KIDS OF BURMA - NEED OUR HELP!
A BOON FOR THE RUIN OF THE GOONS IN RANGOON?
Hammered by Cyclone Nargis, many superstitious Burmese cannot help but believe that nature has finally intervened and punished Burma. But it's is not fair, they say. The cyclone didn't hit Naypyidaw where all the top brass live.
Traditionally, Buddhist Burmese consider that if the country is ruled by a bad king, it is doomed to face natural disasters—floods, storms and fire. It's a sign that the tyrant or inept ruler needs to be removed.
And there is reason to believe. The regime unleashed its wrath through brute force on peaceful gatherings of Buddhist monks and their supporters in September, killing dozens of innocent people. Killing monks is an unthinkable crime in a predominantly Buddhist country. Since then, many Burmese people have been warning that bad karma was coming and the generals would be punished.
In 2005, many ordinary Burmese believed Than Shwe relocated the capital from Rangoon to Naypyidaw in central Burma due to advice from his astrologer. Millions of dollars were spent to build the new capital from scratch. Rumor has it that Than Shwe's trustworthy astrologer reportedly told him that the former capital Rangoon would face a natural disaster and social unrest and he was strongly advised to move to a new location.
How ironic then that the catastrophe hit Rangoon and the delta and not the new capital and its high-ranking local elite. Yet again, the innocent people of the country were punished instead of the perfidious oligarchy.
Thanda, who arrived in Thailand on Monday as soon as flights resumed between Bangkok and Rangoon, said, "Sure, Burmese people are angry at the military leaders because the assistance is too slow. However," she added, "they are also angry at Cyclone Nargis because it did not hit Naypyidaw."


One of the greatest challenges Stepdads face is mastering the art of diplomacy. It's important to be able to work with the biological father. When the parent groups don't work together, the kids suffer. When things aren't working and they seem to be getting worse it's usually hard to remember where it first started going wrong.
Most relationships end badly, and many couples have left over animosity that doesn't fade away. Many Stepdads walk into a situation that's already toxic. If she and her ex are at odds it's especially challenging to develop a working relationship with him.
It's easier to work on it early. The longer you wait the bigger the communication gap becomes. If the relationship with her ex doesn't improve it will probably continue to erode. It can easily become a cold war, where people start making their point through passive-aggressive behavior or worse. In the end, you're left with a situation where you have to decide what's important enough to fight over. Ultimately the parent groups are grumpy with each other and the kids pay the price.
These situations are tough –but they can be fixed. Feelings are hurt on both sides. Each parent group has slowly backed away from constructive communication. Now someone has to step forward. Who's going to make the first move? If nothing changes the biological father will continue working against you and your wife –alienating the child against you.
Parental alienation can have terrible effects on a kid. It will also make it much harder for you, as a Stepdad to improve your relationship with the child –and bond as a family unit. One birthday party isn't worth burning what's left of the bride over. It's important to take the high road. Don't speak badly about her father. You don't need to. If you take the high road and the father is bitter and angry, she will see the big picture eventually. If her dad deprives her of a birthday party she'll know it was wrong. Most importantly -thing need to change.
Someone's got to step up. Someone's got to try to change the tone of the adults. You can let this one incident further damage your communication with the father or you can use it as an opportunity to reach out. Let him know you understand he must have his reasons for wanting to have his daughter at his place, but you'd like to build a better working relationship with him. Let him know you feel the fighting among the adults is making it hard on his little girl. Ask him if he can recommend ways you can all work better together.
Leaving it open like this will give him a reason to let his guard down and open up. He's vulnerable too. His emotions are also tested. You need to find a better way to handle the situation. But nothing will happen until someone has the strength to reach out and make a gesture of good faith. You don't have to like him, but for your little girl's sake, you need to learn to work with him.
You can read more about building a bridge here.
Watch this video to learn more about working with the bio-dad.


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Ро́мби (Ро́мви, ), также Толо́н — необитаемый остров в Греции. Расположен в 1,5 километрах к юго-востоку от Толона в бухте Толон в восточной части залива Арголикос Эгейского моря. Площадь 1,6 квадратного километра. В Средние века на острове было поселение, обитаемое с классического периода. В западной части сохранились руины венецианской крепости. Относится к общине (диму) Нафплиону в периферийной единице Арголиде в периферии Пелопоннес. Рядом находятся небольшие острова Даскальо и Корониси.

Примечания

Острова Греции
Арголида

redpajama_set_name: RedPajamaWikipedia


Enjoy high-quality sound and less of the noise around you with the Sennheiser HD 4.40 BT over-ear wireless headphones. The sound-isolating design helps minimize ambient noise, so you can enjoy your chosen music, movie, podcast, or audio book. Bluetooth 4.0 technology with aptX audio deliver true hi-fi sound.
Not very "fun" to listen to, but not very bad either.
Bought these on sale a bout a year ago. The headphones sound very flat, but that's the thing. For a lot of people, these headphones will sound pretty boring due to nothing in the sound really standing out. The Highs and the Mids kind of blend together, and the bass, while a bit punchy and not very muddy, isn't the most satisfying thing in the world. It doesn't help that these headphones don't seem to sound very clear to me, and that's when running it in wireless on the aptX codec, not SBC. When running these cans wired, they sound pretty good. The sound is a lot clearer, the bass and the vocals being the most obvious, and the Highs and Mids are easier to distinguish from each other. That being said, no one's gonna be buying these to use them wired. These headphones would probably be a boon to people that want a fairly balanced sound, however. For the average consumer, there are tons of other options out there that provide a more satisfying listening experience for the price. TLDR; If you like a "flat" signature with a bit of low end, these will be for you. for everyone else, get outta here.
I really like the simplicity of this headset. It feels durable as well. It has really clear sound quality for it's price point. Music sounds more "open" compared to other bluetooth headsets I've tried! What's really nice: Sound Quality, Microphone, Aptx (great for watching Youtube without lag), Comfy earpads (for me, some people think they're too small though), replaceable parts, sleek & low profile (easy to wear a hood over), Wired Option, Battery Life. You can tell this was designed in Germany. Ridiculous value!
Headphones are very durable and comfortable. The Battery lasts a very long time as advertised. My only complaint is that the max volume isn't very high when connected to my phone. The volume raises when I am connected to my laptop.


AntoTS SammyJones livejasmin. okyhotxy. CrazzyChriss. xTreaToHeAveNx.
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I do not know quite where to start. I was very nervous about the day of Ray's funeral, however I had no need to worry because the day went very well and according to plan. His casket was beautiful and just exactly what Ray had wanted, the flowers, order of service, pew cards and donation box were just what I had asked for. The service at St Giles Church was lovely, as was the service at the graveside. Ray and I had been together 45 years and his funeral was the very last thing I could do for him, and with the whole staff at Marsh & Son I carried out all of his wishes. It is with sincere thanks and gratitude that all of you made it such a perfect day for myself, family and friends and I thank you with all my heart for the kindness shown to me.


I've never modeled professionally, though I've been taking self photo's since I was 11. I always enjoyed dressing up and taking pictures of myself. I also enjoy taking pictures, but I also like being in front of the camera. I'm interesting in finding out if I have what it takes to make it somewhere. Even if it's making a few hundred dollars on photos. My main goal is to enjoy what I'm doing and to also profit from it.


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CRIPPLED BLACK PHOENIX reveal album details of 'Ellengæst'
by NorthWar 07/21/2020 19:21 07/21/2020 19:21 0108
CRIPPLED BLACK PHOENIX are now unveiling the title and the release date of their forthcoming new album! The new offering will carry the name 'Ellengæst', and is set for world wide release on October 9, 2020. New music and the pre-order kick off will be shared on July 28.
Mastermind Justin Greaves comments: "This album was recorded at the end of last year so we're super excited to finally let it go free into the world, it feels like it's a new age for CBP, we're embracing the change. The songs are a collection of thoughts and feelings which all relate to how we exist in the world but also it's about crossing into the other dimensions, how we all have spirits and demons, how we can be strong and also weak. How we miss loved ones and also lament the human race. The artwork by Thana really expresses the theme of the album, it visualises the spiritual aspect of Ellengæst perfectly. There's an atmosphere about it which draws you in."
CRIPPLED BLACK PHOENIX are furthermore revealing the artwork and track-list of 'Ellengæst'. Both can be viewed below. More news soon!
Track-list
1. House Of Fools (7:52)
2. Lost (8:11)
3. In The Night (8:38)
4. Cry Of Love (5:46)
5. Everything I Say (7:21)
6. (-) (1:51)
7. The Invisible Past (11:26)
8. She's In Parties (3:51)
"One thing we'll never do is stick to the rules and stay within the box."
Such are the words from Crippled Black Phoenix founder, songwriter and guitarist Justin Greaves, who has guided this progressive, thought-provoking, shape-shifting musical collective since their 2004 formation. Their new effort, Ellengæst, follows a recent pattern of the band in releasing a mini-album in between studio LPs. It is the direct result of their ceaseless creativity — when Greaves has songs, Crippled Black Phoenix records them. Ellengæst has the difficult task of following 2018's profound and moving Great Escape. Ellengæst, though, does not make any attempts in pairing with or succeeding Great Escape. Circumstances largely prevented it anyway.
On the day tracking started for Ellengæst, Crippled Black Phoenix — completed by vocalist Belinda Kordic, guitarist Andy Taylor and multi-instrumentalist Helen Stanley —suddenly, unexpectedly found themselves without a male lead vocalist and keyboardist. Whereas events of a similar thread would spell doom for most bands, Greaves took it as an opportunity to tap into his deep network of musician friends. Before he knew it, several prominent guest vocalists were secured, ready and able to lend their considerable talents to Ellengæst which, in Olde English translates to "mischievous demon," but in Scandinavian as "strong spirit," represents Crippled Black Phoenix's duality. "It comes from the same place, but with different connotations," says Greaves. "That's this band in a nutshell. We've had to stay strong because of all the BS we've encountered, yet we're still going and subversive. It's like we're giving kids candy with razor blades in them."
Crippled Black Phoenix are no strangers to adversity, making the events surrounding the creation of Ellengæst yet another roadblock for a band whose very existence has been threatened on more than a few occasions. Their unique setup and stubborn refusal to bow to musical norms may confuse the casual music consumer. However, the core of Crippled Black Phoenix — Greaves, Kordic, Taylor and Stanley — thrives on the unconventional, remaining steadfastly singular and undefinable. Accordingly, Greaves believes this incarnation of Crippled Black Phoenix is the strongest to date. All it took was another dramatic sea-change to prove it.
"This was the best thing that could have happened to us," he says. "Before, there was this horrible cloud of drama following us. There was always something going on. Once that had gone and the people who were on the outside of the band who were a part of that, once they had gone and the drama had gone, me and Helen found ourselves tracking in the studio in the first session. We just got on with it; we didn't think twice. In the second session, we just felt liberated. We just knew, 'This is going to be great.' We're all so excited about the possibilities. It feels like we're rejuvenated."
www.facebook.com/CBP444
CRIPPLED BLACK PHOENIX stream entire new album 'Ellengæst'
CRIPPLED BLACK PHOENIX premiere second new track
CRIPPLED BLACK PHOENIX premiere first new track
Aenimus Interview
Obscura Interview


[untitled]. Trained Nurse and Hospital Review Dec. 1901 v27n6: p. 336.
McKinley memorialization (Philadelphia, PA); McKinley Memorial Hospital (Philadelphia, PA).
William N. Ashman; George M. Gould; John V. Shoemaker; John Madison Taylor; James Tyson; James C. Wilson; Wu Ting-Fang.
The Meschianza in aid of the proposed McKinley Memorial Hospital for Philadelphia, Pa., was formally opened in the Academy of Music, November 11. The first of the series of entertainments was devoted to a portrayal of some phases of life in China. This was given under the patronage of the Chinese Minister, Wu Ting-Fang, LL.D.
Entertainments were continued throughout the week.


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The project is an homage to the Brothers Grimm tale, "Six Swans," which tells the story of six brothers who became swans after their wicked stepmother cast a spell on them. I focused on the metamorphosis theme in the story – the transformation of a human into a swan – and imagined it as a self-portrait, depicting the changeable situations of death and rebirth.
The depiction of the artist's vibrating, agonizing body conjures the works of Francis Bacon, which portray the human body as a mass of matter distorted in pain. However, in contrast to Bacon's work, which is immersed in despair and destruction, Dinar's illustration of pain is more subtle and includes a glimmer of hope, as a phase before rebirth. The ritualistic context is reminiscent of the work of Cuban-American artist Ana Mendieta, who in many of her works wished to directly unite with nature, through her body, to illustrate a process of inner reconciliation. However, compared to Mendieta, who depicts her rebirth with rigid and static body images of death, Dinar focuses on the intermediate phases of the metamorphosis that entail struggle and pain.
– Einat Ofir, Curator of contemporary art (text from exhibition at Galerie Glass, Berlin 2010)
View full text >>
Einat Ofir on Eyal Dinar's series Six Swans
This series of photographs is based on the fairy tale "The Six Swans," published by the Brothers Grimm, which tells the story of six brothers whose stepmother cast a spell on them and turned them into swans. Eyal Dinar takes this theme of metamorphosis and uses it as a metaphor for the human who wishes to recreate himself and rid himself of his burdensome distress. Unlike in the fairy tale, in which the metamorphosis is forced as a punishment, here it emanates from the depths of his soul.
In this series the figure of the artist is seen as a blurred, vibrating object – in partial or full nudity. It seems that his body is convulsing and hurting, thus reflecting the painful phases of shedding his old identity. An affinity to the soil is present in the series and many photographs capture an abandoned thicket, which is a stage for seclusion. This context evokes the biblical verse, "Dust thou art, and unto dust shalt thou return." However, Dinar presents death, the return to dust, as a metaphorical process, after which rebirth occurs.
The depictions of the transformation display a ritualistic aspect, in which the artist turns to higher powers and asks to destroy his old life in return for a new one. In one of the photographs, Dinar is seen squatting, his body gathered in a fetus position, which illustrates the process of rebirth. The artist is in an ancient cave, a kind of womb. Lit candles stand in the entrance, accentuating the ritualistic mood and charging it with the ancient symbolism of the transience of life.
In some of the photographs, Dinar stands close to a wall and turns his back to the viewer, or stands by a fence. In one of them he is seen from his back, squatting on the ground, gazing beyond the fence. His body leans toward the radiant sun and plants, expressing a plea for freedom. On the ground behind him is a pile of twigs in the shape of a bird's nest. This nest is emphasized in another photograph, where the artist's legs become a swan couple.
Dinar's rebirth is presented in a triptych, which references the tradition of depicting the dead body of Jesus. Dinar, in full nude, lies completely serene. It seems that this is where the painful struggle ends. His location is an undefined, gleaming, illuminated space, and it seems that the light also bursts forth from his body. The dominant bright, pale light is reminiscent of the white of the swan. The metamorphosis has been completed.


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Raiders 2020 Schedule
2020 Depth Chart
Greg Olson tasked with getting Derek Carr untracked
Jon Gruden confident Olson can do for Carr what he did for Jared Goff this season
by Steve Corkran
in Raiders
By the time Greg Olson was swept out of Oakland after the 2014 season, along with most every other coach, he had been credited with the rapid development of rookie quarterback Derek Carr and criticized for the Raiders poor offensive performance overall.
New head coach Jon Gruden cited Olson's work with Carr that season as part of the reason he hired Olson to be his offensive coordinator next season, if not for years to come. Gruden also liked what he saw from Olson when he was the quarterbacks coach in Tampa Bay for the 2008 season, Gruden's last.
Olson most recently worked with the Los Angeles Rams as their quarterbacks coach. He received widespread praise for helping transform quarterback Jared Goff from a dazed-and-confused rookie last season into one of the game's rising stars this season.
Gruden is confident that Olson can weave the same kind of magic with Carr next season. Carr regressed from a league MVP candidate last season to an unsteady performer for most of this season, even before he broke three bones in his back in Oakland's fourth game.
Given Carr was a rookie in 2014 and the Raiders still were in full-on rebuild mode, not much was expected of them, especially on offense when Carr was thrust into a starting role from the outset. Hence, it wasn't surprising that the Raiders struggled offensively.
In fact, the Raiders struggled as much as any team in the league. They were 32nd in yards per game at an average of 282.2 and 31st in scoring at 15.8. By comparison, in 2013 the Raiders were 23rd in yards per game at 333.8 and 24th in scoring at 20.1 in Olson's first year. Terrelle Pryor, Matt McGloin and Matt Flynn started at quarterback that season.
Not much can be gleaned from Olson's three years as the Buccaneers offensive coordinator, from 2009-11. He learned of his promotion to that role the day before the Buccaneers final exhibition game. To boot, he was tasked with turning rookie quarterback Josh Freeman into the starter right away.
Therefore, it's not surprising that the Buccaneers offense went from 14th in yards in Gruden's final season to 28th the next season and slid from 18th in scoring to 29th.
It is clear that Olson isn't afraid to employ a pass-heavy attack, though part of that can be attributed to his teams playing from behind so often in 2009, 2013 and '14. The Buccaneers passed on 56.4 percent of their offensive plays in '09, while the Raiders did so 54.3 percent of the time in '13 and 65.1 in '14.
However, Olson is going to earn his money this time for how well he succeeds in helping Carr rebound from a disappointing season. Gruden made it clear that he intends to do the play-calling on offense. That will free up Olson to concentrate on getting Carr back on track.
From afar, it appears as if Carr became a tad gun shy as the season progressed. He was quick to get rid of the ball well before defenders had a chance to get near him and also had a penchant for throwing the ball up for grabs.
The good news is, those are things that will be addressed by Olson and they are issues that can be fixed with little difficulty, as long as Carr isn't afraid of taking more hits than he did this season.
There is a belief that Carr is hesitant to stand in the face of pressure on the heels of the broken leg he suffered late last season, that he would just as soon hit the deck, dump off the ball or throw it up for grabs. If that's the case, Olson's job will be more difficult than he imagines.
Tags: Derek CarrGreg OlsonJon GrudenRaiders
Steve Corkran
Steve has covered the Raiders in some capacity since their return to Oakland in 1995. He was the full-time beat writer from 1997-2010. for the Contra Costa Times, Oakland Tribune and San Jose Mercury News and covered more than 400 NFL games, including four Super Bowls. He also is the co-author of a recently released book titled "Al Davis: Behind the Raiders Shield."
Jon Gruden, Raiders can take heart in fact four remaining playoff teams lack dominant defenses
Jon Gruden certain to be intrigued by QB Deshaun Watson, but not as likely to make push to trade for disgruntled Texans star
Milus, Smith perfect combo to help Gus Bradley give Raiders defense an identity
Davis steadfast in support of Gruden, Mayock; owner wants better results in Year 4
Bradley's scheme relies heavily upon stout front four
Raiders defensive coordinator Gus Bradley intent upon building formidable line
thankaveteran says:
Its never good to continually change OC's or any coaches (or all) for that matter.
Many of the top QBs in the league have consistency and experience in the offense they are running and with those calling the plays.
That also makes it difficult to judge Carr. He seemed well on his way to possible MVP talk with Musgrave calling the plays and being in the same system for 2 years.
Now it starts again, even with the familiarity of Olson, because it is not his O, its Grudens O.
OldCharon says:
Couldn't agree more. I'm not expecting much next year, maybe the year after will be better. Of course, the O line will be getting old by then so who knows.
Bill Williamson says:


text:
Q: alibaba cloud, how to get usage details including price through api alibaba cloud, how to get usage details including price through api.
Through console, under billing Management > spending summary > instance spending details, able to see the all details.

A: Try using BSS OpenAPI
cli:
aliyun bssopenapi QueryInstanceBill --BillingCycle 2020-09

python:
from aliyunsdkcore.client import AcsClient
from aliyunsdkbssopenapi.request.v20171214.QueryInstanceBillRequest import QueryInstanceBillRequest

client = AcsClient("accesskey", "secretkey", "eu-central-1")

request = QueryInstanceBillRequest()
request.add_query_param('BillingCycle','2020-09')
request.set_accept_format('json')

response = client.do_action_with_exception(request)

Here is the doc for this API:
https://www.alibabacloud.com/help/doc-detail/100400.html?spm=a2c5t.11065259.1996646101.searchclickresult.6e427e0cOsJjA0

A: In your console ,you could via billing management-spending summary---details to check.
but I also recommend you to use the cost management function. you would analysis your current usage and get some report suggestions, even you would send the expense budget and alarm alert. it is very useful.


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La iglesia de Jesús de Nazareno está situada fuera del recinto denominado La Quinta en el Pito (Piñera), en el concejo asturiano de Cudillero.

Se trata de una iglesia-panteón promovida por Fortunato de Selgas y construida a finales del  y principios del , siendo inaugurada en 1914 por la infanta y princesa de Asturias doña Isabel de Borbón y Borbón.

La iglesia se construyó dentro del estilo románico del  y posee unas imágenes y vidrieras de cierta importancia, pero lo más importante de la iglesia es la cripta y una estatua de mármol, Virgen con el Niño, de Michelangelo Naccherino, que preside la fachada.

Cripta

La cripta es el emplazamiento del panteón familiar, pero lo más significativo es la existencia del altar religioso más antiguo de España.

El altar está fechado en el  siendo erigido por el rey Silo como altar de la iglesia de Santianes de Pravia. El altar fue comprado por Fortunato de Selgas en una taberna de Pravia por 25 pesetas en 1905 en dónde servía de mesa.

A los laterales se conservan también dos canceles prerrománicos, también de Santianes de Pravia

A principios de 2008 el altar y los canceles fueron traslados a una sala del palacio.

Referencias

 Sitio web oficial de la Fundación Selgas

Jesus de Nazareno (Cudillero)
Iglesia de Jesus de Nazareno (Cudillero)
Iglesia de Jesus de Nazareno (Cudillero)
Iglesias de España de los años 1910
Jesus de Nazareno (Cudillero)
Arquitectura de España de 1914
Nazareno Cudillero


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Tag Archives: Indian Food
Butter Chicken In Berlin
I'm listening to the Gayatri mantra, being sung by a German in a laundromat in Berlin. Between showing me how to start the washing machine and work the clothes-dryer, he tells me about his fascination for India. It would be surreal, if it wasn't so familiar. I have heard so many similar versions of the story over the course of the one month I've been in Berlin. At my neighbourhood bar, I bump into an aging pony-tailed hippy who tearily talks of falling in love with a Indian drifter in Mumbai, and then returning to India 14 times to find her. An edgy street artist tells me he plays Shah Rukh Khan's bodyguard in the upcoming "Don 2", set in Berlin. And every neighbourhood flaunts bustling Indian restaurants — all crammed with locals wallowing in butter chicken, vindaloo and palak paneer.
Berlin's favourite fast food is the curry-wurst, a startling combination of sliced sausages and a dark, viscous tomato sauce, deepened with paprika and flavoured with curry powder. At the sun-filled Sgaminegg café, my Berliner friend regularly orders frothy cinnamon-dusted 'Chai lattes' with apple pie. I snootily dismiss them as inauthentic, but as time goes by I'm gradually captivated by their sweet, vanilla-scented lushness.
The Germans I meet ask about my opinion of the Indian restaurants in Berlin. They tell me the food's unapologetically inauthentic. However, inauthentic is not always a bad thing. Look at what we've done to Chinese food in India, creating a fiery, oily but delicious new cuisine by blending the most obvious, populist elements of Chinese cooking, and reinterpreting them for a mass desi audience. A cuisine should be strong enough to be adapted in many ways and tailored to suit different tastes without losing its soul. This way it transcends borders.
Yet, I'm decidedly less forgiving when a friend takes me to Ashoka, a trendy Indian restaurant in chic Charlottenburg, West Berlin. It looks promising, crammed with German customers happily spooning up their 'lentil dal' and 'saag aloo'.
The meal starts promisingly with steaming samosas, liberally dusted with chaat masala. Then comes a sugary raita, butter chicken that tastes like a cross between cranberry juice and tomato sauce and finally a black dal that's chewy with husk. It's all washed down with refreshing mango lassi, a German-Indian restaurant staple, made from canned mangos.
Is this Indian food? Across Berlin, Indian restaurants serve the same fare. They use paprika instead of chilli powder, parsley instead of coriander and pour prodigious amounts of cream into every curry. Sometimes you'll find sugar in a dish, sometime cheese floating on top of a curry. Yet, in a city with very few Indians, it works. From 'Yogi-Haus' to 'Maharadscha' to 'Namaskar', on Saturday night, every Indian restaurant is full. So who decides what's traditional?
Personally, I prefer the W-Imbiss approach. Instead of hankering for authenticity it calls itself Indian-Californian fusion. The steamy little kitchen specialises in naan pizzas.
We stagger in late at night, exhausted and starving, and are quickly served a Jewish naan, slathered with sour cream, capers, sliced onions and generous slices of salmon.
Despite being tempted by the Dirty Naan — ghee, garlic, fenugreek and chillies — we settle for a Indian red lentil soup, which tastes like sambar and is served with a salad. The vibe's relaxed and friendly. So friendly we get into an intense political discussion with the guy eating a quesadilla at the next table, and end up polishing off his bowl of super-hot sauce.
However, since I'm on a mission to find at least one authentic Indian restaurant in Berlin for this story, the pressure is on.
Finally, through a network of Indian friends, I hear about a tiny place called Agni in Alt-Moabit, a quiet part of Berlin. As soon as we enter, the smell of tandoori and presence of Indian customers convinces me that we've finally hit gold. 'Uncle Sanjay' who runs the kitchen with his wife, is from Delhi where he studied catering with ITDC Ashok group. He moved to Germany as a cook 21 years ago, worked with a series of restaurants and finally decided to start his own.
In classic Indian style, he cooks us a massive meal of kebabs, stuffed parathas and dal, and then brings out a complimentary tray of rich, milk sweets as he pulls his chair up to our table and settles down for a gossip. He eats his own lunch as we chat — dal-roti.
"In the end," he chuckles, "this is what I like best." It seems appropriate. To cross continents and end up feeling the most at home with a plate of dal-roti in a small room shiny with plastic lights and alive with the sound of Kishore Kumar."
Posted by shocase in The Reluctant Gourmet
Tags: Agni, Berlin, Curry, Europe, Indian Food, W Imbiss


text:
Online Test | Blog | Result | ALC-JCA| Press Room
Admission Open for Batch 2019B.A.LL.B/LL.B
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Asian LAW College / Programme / LL.B (3 Years) – General
This programme is designed in view of spreading legal knowledge among professionals from other disciplines in the society. Its objective is to impart legal education to the students from various backgrounds and equip them to perform various roles of a professional lawyer beyond the traditional role of litigation. The students will gain knowledge and develop advocacy skills which will help them in achieving their goals and objective and serve the society.
To be eligible in LL.B. Three Years Degree Program
A student shall be eligible for admission into the semester I of the LL.B. (3 year) Degree Course in Law if he/she has graduated in any discipline of knowledge from a University established by an Act of Parliament or by State Legislature or an equivalent national Institute recognized as a deemed University or a foreign University recognized as equivalent to the status of an Indian University by an authority competent to declare equivalent provided that:
Such student must have obtained minimum 45% marks in the aggregate in the qualifying 3 year bachelor degree examinations; persons belonging to scheduled caste, scheduled tribe or other backward classes shall be eligible to apply if they secure at least 40 % marks in the said qualifying examination.
The age of the applicant shall not be above 30 years in case of candidates belonging to general category and shall not be above 35 years in case of applicants belonging to scheduled caste, scheduled tribe or other backward category as on 1st July of the same academic year in which he/she may be seeking admission.
The Afore-mentioned rules are subject to the guidelines issued by CCS University and Bar Council of India.
The College reserves the right to cancel the admission of any student in accordance with the rules.
The course of LL.B. shall be for a period of three academic years. Each year is divided into two semesters. The sessional terms will be announced in advance every year for each semester.
Additional Diploma / Certification
Diploma in Corporate & Legal Communication
This diploma provides a powerful insight into the way communication works in the legal world. In today's competitive legal world and developing economy, effective communication skills is more essential than ever before. It is the basis on which legal companies and careers of law students are built and it is also an important component of lasting success.
Whether it is a direct conversation with a client or presenting yourself as a lawyer in court, communication leaves a powerful impression.
This diploma would acquaint the law student tremendous opportunities in legal affairs, public relations, company secretariat, administration and many more.
Diploma in Media & Entertainment Laws
From AAFT
Diploma in Media and Entertainment Laws offers an engagement with legal aspects of media and entertainment regulations. Through this course, students gain insight into how the media laws are practiced in media houses to take better decisions in daily working.
Students are required to undertake inquisitive assignments to develop their ability to apply complex ideas and procedures to a set of fact situations. Familiarizing students with the fundamental areas of laws and the various rights and subject matters that comprise this broad legal category is the core objective of this elective. The course explores the theoretical premises, principles and polices that underpin the media and entertainment industry in select legal systems. Issues relating to music publishing, motion picture production laws to technology agreements and information privacy laws shall be dealt with, with a special focus on the lawyering process involved in those activities.
Diploma in Cyber Law (affiliated by Asian School of Cyber Laws)
Cyber law is an area of law which represents all the legal issues relating to internet, and governs all the aspects of the internet and cyberspace, along with dealing in legal cases regarding software patents, net banking, cyber security, social media and legal problems and many more.
Cyber law in India is gaining immense popularity due to drastic increase in the number of cyber-crimes committed in the country over the recent times.
This field of law is witnessing significant advancement with the rapid increase in the information and communication technology.
The diploma would acquaint the students with the knowledge of laws protecting the crimes due to digital technology, and also prepares them to handle digital evidence and cyber trails.
Diploma in Intellectual Property Right (affiliated by Enhelion)
Intellectual property protection is critical in encouraging innovation. Without protection of the intellectual property, the individuals and businesses would not receive full benefits of their inventions and would focus less on research and development.
In today's time, intellectual property has become very important for individuals to understand the subtlety of intellectual property and how it can be used as an asset for the organisation.
This diploma course aims to provide an introduction to the law and management of Intellectual Property (IP) and innovation for those whose future career may involve the management of IP and innovation. In the programme, students would be getting a deep insight of not only into the fundamentals of Intellectual Property, but also an insight on how major companies around the world maintain their valuable IP assets. There are separate modules of Intellectual Property Strategies, Enforcement of IP, IP Valuation, Royalty and Licensing.
Certification Program in Foreign Language- French & German
Diploma in Foreign Language- French & German
In this present era of liberalization and globalization, learning of foreign languages is an additional boost to an individual's career perspective. With an increase and overwhelmed interaction in terms of business, globalization provides international legal opportunities to expand geographically by entering into new markets. This open market approach in turn has created a huge demand for the foreign language training to survive and give competitive edge to an individual's over all knowledge components.
The current scenario unbolts entries into corporate houses in developing countries that demands for best fitted legal professionals with exposure in foreign language that will lead toward smooth operations. Towards this aim, Asian Law College (ALC) caters its students with diploma in foreign language specifically in French and German (any one), two widely accepted foreign languages.
Fields of law such as International Arbitration and Mediation require lawyers well‐versed in various foreign languages. Learning of foreign languages increases the ability of a person to widen his/her horizon in the legal profession at a global level.
ALC@ SOCIAL MEDIA
Asian LAW College
Plot A2, Block C, Sector 125 Noida - 201303 Delhi NCR , India
Email: info@alc.edu.in
Copyright © 2018 Asian Law College. All Rights reserved.


text:
Worker classification rule moves forward
Mark Schremmer
The U.S. Department of Labor is moving forward with a final rule aimed at clarifying whether a worker is an employee or an independent contractor under the Fair Labor Standards Act.
The final rule is scheduled to be published in the Federal Register on Thursday, Jan. 7, and is set to go into effect in two months.
A focus of the rule would be the adoption of an "economic reality" test to determine a worker's status.
"The final rule explains that independent contractors are workers who, as a matter of economic reality, are in business for themselves as opposed to being economically dependent on the potential employer for work," the notice stated. "The final rule also explains that the inquiry into economic dependence is conducted by applying several factors, with no one factor being dispositive, and that actual practices are entitled to greater weight than what may be contractually or theoretically possible."
The notice of proposed rulemaking received more than 1,800 comments in one month. The Department of Labor noted that among the commenters about 230 identified themselves as independent contractors (not counting the more than 900 comments from Uber drivers).
"Of those, the overwhelming majority expressed support for the notice of proposed rulemaking," the notice stated.
In formal comments from OOIDA, the Association advised the DOL to consider the long history of the trucking industry's owner-operator model before finalizing any rules regarding worker classification.
As of Wednesday afternoon, OOIDA was still reviewing the 261-page final rule.
However, the future of the worker classification rule is murky.
With a new administration about to take over, it is unclear if the rule will ever become a reality. Jen Psaki, the incoming White House press secretary for President-elect Joe Biden, told reporters at a news conference last week that the administration planned to halt or delay several "midnight" (or last-minute) regulations brought forth by the Trump administration.
Psaki said the Biden-Harris administration will issue a memo on Inauguration Day (Jan. 20) to impede such regulations. An expected worker classification rule from the Department of Labor was singled out.
"If it takes effect, that rule will make it easier to misclassify employees as independent contractors, costing workers more than $3.7 billion annually," Psaki said in a Reuters article. "The memo would potentially freeze this rule and not allow it to be implemented."
The U.S. Department of Labor announced in September that it was proposing a worker classification rule to address a hot-button issue that has had ramifications on a variety of workers from truckers to gig economy drivers and freelance writers.
"The department's proposal aims to bring clarity and consistency to the determination of who's an independent contractor under the Fair Labor Standards Act," Labor Secretary Eugene Scalia said in a September news release. "Once finalized, it will make it easier to identify employees covered by the Act, while respecting the decision other workers make to pursue the freedom and entrepreneurialism associated with being an independent contractor."
California's AB5
While the Department of Labor proposal might not have any effect on the California law, the state's Assembly Bill 5 has placed a spotlight on worker classification.
Signed into law in 2019, AB5 codifies a 2018 California Supreme Court decision that established the ABC test to determine a worker's status.
Under the ABC test, all workers are considered employees unless the hiring business demonstrates that three factors are established:
A. That the worker is free from the control and direction of the hirer in connection with the performance of the work, both under the contract for the performance of the work and in fact.
B. That the worker performs work that is outside the usual course of the hiring entity's business.
C. That the worker is customarily engaged in an independently established trade, occupation, or business of the same nature as that involved in the work performed.
The controversial law affects a variety of industries, including trucking. Opponents say the B prong of the test makes it impossible to hire independent contractors.
Shortly after the law went into effect in January, the California Trucking Association received a preliminary injunction that blocked California from enforcing it against motor carriers. In March, the U.S. Court of Appeals for the Ninth Circuit denied a motion to halt the preliminary injunction.
On Sept. 1, the U.S. Court of Appeals for the Ninth Circuit heard oral arguments in the case to decide whether the injunction should remain in effect.
The California Trucking Association claims the law is preempted by the Federal Aviation Administration Authorization Act of 1994, which prevents states from enforcing a law or regulation related to a price, route or service of motor carriers.
The state of California and the International Brotherhood of Teamsters contend that AB5 is a law of general applicability that doesn't reference motor carriers and can't be preempted by the F4A.
Once the Ninth Circuit decides whether the preliminary injunction should stand, the case will likely be brought back to the U.S. District Court in Southern California to decide whether or not the injunction will be made permanent. LL
Mark Schremmer, senior editor, joined Land Line in 2015. An award-winning journalist and former assistant news editor at The Topeka Capital-Journal, he brings fresh ideas, solid reporting skills, and more than two decades of journalism experience to our staff.
OIG releases audit of National Registry for medical examiners
An OIG audit says FMCSA hasn't "fully met" its oversight requirements with its National Registry of Certified Medical Examiners.
By Greg Grisolano | January 15
FMCSA announces members of new commercial motor vehicle driver panel
The Federal Motor Carrier Safety Administration has named the 25 people who will serve on a commercial motor vehicle driver panel.
By Mark Schremmer | January 15
NHTSA announces final rule to remove 'barriers' blocking AV innovation
NHTSA announced on Jan. 14 a final rule to update its safety standards for vehicles equipped with automated driving systems.
FMCSA wants to analyze additional split sleeper options
The Federal Motor Carrier Safety Administration is proposing a pilot program that will evaluate split sleeper options of 6/4 and 5/5.


text:
package com.pragmaticobjects.oo.atom.codegen.cp;

import io.vavr.collection.List;

import java.nio.file.Path;

/**
 * Class path, consisting of the single explicit path.
 *
 * @author Kapralov Sergey
 */
public class CpExplicit implements ClassPath {
    private final Path path;

    /**
     * Ctor.
     * @param path Path.
     */
    public CpExplicit(final Path path) {
        this.path = path;
    }

    @Override
    public final List<Path> paths() {
        return List.of(path);
    }
}

redpajama_set_name: RedPajamaGithub


text:
Q: What does 'Gangnam Style' mean? Does PSY attribute his fashion to his district Gangnam? I've been hearing people nowadays going 'I have the Gangnam Style'. Are they meaning they have adopted the cultures of Korea, Gangnam?

A: "Gangnam" is an area in South Korea, specifically a small area in Seoul, South Korea, home to about 1% of the population of Seoul and is about the size of Manhattan.  It is known for its wealthy, "new money", inhabitants.  (The region has only very recently become extremely upscale, with a gradual upswing in the last half century or so. Before that, there really wasn't much there but farmland.)
How wealthy do you have to be to live in Gangnam?  The average price of an apartment there costs around 3/4 of a million dollars per year.  For reference, the average South Korean household's annual income is about $40,000.
So "Gangnam Style" simply is referencing this sort of elite, "new money", wealthy culture and lifestyle that has sprung up around the region.  As pop critic Kim Zakka, who lives in Seoul, said "Gangnam inspires both envy and distaste.  Gangnam residents are South Korea's upper class, but South Koreans consider them self-interested, with no sense of nobility."
Or, as Park Jae-sang (PSY, who himself was from a wealthy family and grew up close to Gangnam) said, Gangnam residents are seen as "good-looking because of plastic surgery, stylish because they can splurge on luxury goods, and slim thanks to yoga and personal trainers."  Sounds a bit like wealthy people from Los Angeles…
Read more about Gangnam Style here.
Cited: (http://www.todayifoundout.com/index.php/2012/12/what-does-gangnam-style-mean/#VkIY1vQidgXoFUHd.99)


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Archer's Hill Gate was built in 1744 for William Wentworth and marks the place where the old public road left the Wentworth Castle Estate. The three arches frame the views across the parkland.
The name probably commemorates Thomas Archer, the architect who designed the Baroque front of the mansion in the early 18th century.
It was rebuilt in 2007.
The Corinthian Temple was built in 1766 for the Earl of Strafford. John Platt, of Rotherham, was commissioned to carve four Corinthian columns to match those on the house.
In 1744, a Corinthian column surmounted with a statue of Minerva was erected near the original driveway to Wentworth Castle. It was built by Joseph Bower for the 2nd Earl in memory of his father-in-law.
In 1727, Thomas Wentworth, the 1st Earl of Strafford, had a gatehouse and 220 yard long wall with four square towers built on the sit of a hill fort. The four round towers of the gatehouse were named after his children, Anne, Harriet, Lucy and William. When Sir Thomas Robinson visited it in 1734, it was said to be 'just finished'. Horace Walpole said it was built 'in the true style'.
By 1775, John Platt of Rotherham was required to rebuild part of the gatehouse.
In two eastern towers collapsed during the 1962 gale.
The Pillared Barn was built in about 1775 for the 2nd Earl of Strafford.
Work on the Rotunda was started by Joseph Bower, the estate mason, for the 1st Earl of Strafford who died in 1739. It was built between 1742 and 1746 for the 2nd Earl.
The Ionic peristyle is inspired by the Temple of Sybil at Tivoli near Rome.
It was badly damaged by fire in the 1980s.
The Rotunda was recently restored.
The Serpentine Bridge spans the contour canal and was built for the 2nd Earl of Strafford in 1758.
The stone steps were added later.
Straffod Gate was erected for William Wentworth in 1768.
Unfortunately, the gateway has been recently moved about 20 yards to allow access to the visitor car park.
Steeple Lodge is a sham church erected in 1775 at the northern entrance to Wentworth Castle. There is a copy of the sham church at Broughton, Northamptonshire, built for the Earl of Strafford.
Steeple Lodge was for sale in 1991 for £120.000 and reduced to £105,000 in 1993.
William Wentworth had an obelisk erected and dedicated it to Mary Montagu, wife of the British Ambassador to Turkey.
The bronze disk could be seen from their home at Wortley Hall.


text:
The Coming Race (1871)/Chapter IV
< The Coming Race (1871)
The Coming Race
2193885The Coming Race — Chapter IV
CHAPTER IV.
I now came in full sight of the building. Yes, it had been made by hands, and hollowed partly out of a great rock. I should have supposed it at the first glance to have been of the earliest form of Egyptian architecture. It was fronted by huge columns, tapering upward from massive plinths, and with capitals that, as I came nearer, I perceived to be more ornamental and more fantastically graceful than Egyptian architecture allows. As the Corinthian capital mimics the leaf of the acanthus, so the capitals of these columns imitated the foliage of the vegetation neighbouring them, some aloe-like, some fern-like. And now there came out of this building a form—human;—was it human? It stood on the broad way and looked around, beheld me and approached. It came within a few yards of me, and at the sight and presence of it an indescribable awe and tremor seized me, rooting my feet to the ground. It reminded me of symbolical images of Genius or Demon that are seen on Etruscan vases or limned on the walls of Eastern sepulchres—images that borrow the outlines of man, and are yet of another race. It was tall, not gigantic, but tall as the tallest men below the height of giants.
Its chief covering seemed to me to be composed of large wings folded over its breast and reaching to its knees; the rest of its attire was composed of an under tunic and leggings of some thin fibrous material. It wore on its head a kind of tiara that shone with jewels, and carried in its right hand a slender staff of bright metal like polished steel. But the face! it was that which inspired my awe and my terror. It was the face of man, but yet of a type of man distinct from our known extant races. The nearest approach to it in outline and expression is the face of the sculptured sphinx—so regular in its calm, intellectual, mysterious beauty. Its colour was peculiar, more like that of the red man than any other variety of our species, and yet different from it—a richer and a softer hue, with large black eyes, deep and brilliant, and brows arched as a semicircle. The face was beardless; but a nameless something in the aspect, tranquil though the expression, and beauteous though the features, roused that instinct of danger which the sight of a tiger or serpent arouses. I felt that this manlike image was endowed with forces inimical to man. As it drew near, a cold shudder came over me. I fell on my knees and covered my face with my hands.
Retrieved from "https://en.wikisource.org/w/index.php?title=The_Coming_Race_(1871)/Chapter_IV&oldid=6586870"


text:
Gabrielle 'Coco' Chanel revolutionized the contemporary women's clothing. Her bold fashion designs freed women from the constrained, time limited trends. Chanel suits have become style icons, as well as her Chanel bags. It was 'Coco' who has created the innovative concept of "little black dress", without which it can not do any one woman. There is no doubt that Coco Chanel is one of the top fashion designers of clothing of all time!
Yves Saint Laurent became popular in fashion circles due to his creativity in redesigning the clothes considered to be masculine into beautiful, feminine wardrobe for women. Perhaps, one of the most famous fashion designers in France, Yves was the first one to introduce power dressing for women in the form of "power suits" in the year 1966. He is also credited with designing the men's smoking jacket. The most important fashion legacy which he has left behind is the "ready-to-wear" fashion clothing.
One of the most acclaimed fashion designers in the world, Karl Lagerfeld was born in Hamburg, Germany. As a teenager, Lagerfeld worked at Balmain for four years before moving to Jean Patou where he became artistic director at 21. His prolific portfolio now encompasses Chanel and Fendi along with his own house. Known for his bold designs and constant reinvention, he's been hailed Vogue magazine as the "unparalleled interpreter of the mood of the moment." King Karl, the one-man multinational fashion phenomenon.
Klein received his education at the renowned Fashion Institute of Technology in NYC. His Calvin Klein underwear line, as well as his array of successful perfumes, helped him to build his empire. His ability to choose the sexiest, hippest stars for his ad campaigns also revealed his tremendous savvy and perceptiveness: celebs such as musician/actor Mark Wahlberg and supermodel Kate Moss also benefited from his uncanny ability to read the zeitgeist.
Most fashion houses in the United States are based in New York City, with a high concentration centered in the Garment District neighborhood. On the US west coast, there is also a significant number of fashion houses in Los Angeles, where a substantial percentage of high fashion clothing manufactured in the United States is actually made. Beverly Hills, particularly on Rodeo Drive, is globally renowned for its fashion design and prestigious shopping. Burgeoning industries in Miami, Chicago, Dallas, and especially San Francisco have developed as well. A semi-annual event held every February and September, New York Fashion Week, is the oldest of the four major fashion weeks held throughout the world. Parsons The New School for Design, located in the Greenwich Village neighborhood of Lower Manhattan in New York City, is considered one of the top fashion schools in the world. There are numerous fashion magazines published in the United States and distributed around the world for global readership. Examples include Vogue, Harper's Bazaar, and Cosmopolitan.
Fashion design services provide services like trend and color forecasting, market analysis, design concepts and design documentation for manufacturers. This way the manufacturer can contract out the design requirements rather than maintaining an in-house design team. Fashion design services providers can either sell the designs outright or license them out on a royalty basis.
This sleek blend of an advanced robe, a conventional kimono and a legitimate coat has been a shockingly in vogue and all around acknowledged pattern since the previous summer. A fancier, single-shaded adaptation of a year ago's midriff length elegant gowns absolutely worth bringing down from the runways that it is administering this. They are slouchy, ample and lightweight. In spite of the fact that tossed in with these late spring trench coats, only for it, belts, particularly a medium-estimate obi belt, with a bunch in the side, can finish the look.
The bohemian fashion style- always referred to commonly as the 'boho' look- can easily be described as a style that focuses mainly on wild and intricate patterns and exotic textures. They get most of their inspiration from gypsys and hippies, creating a standout finish with plenty of tie dye, geometrics, chains, fringes, and other eye-catching designs.


TIP! Religion is possibly the most influential aspect of any wedding ceremony. Talking to your partner about his or her religion is important, but talking to the in-laws about their religion is essential, as well.
A wedding planning session can take quite a bit out of most people. There are many choices, such as the perfect dress, the invitations, who to invite, and so much more. The following information will help you plan the details of your wedding so that is is a successful and memorable day.
Buying your wedding dress may be expensive. When you are shopping, try getting a dress that might not be traditionally thought of as one made for a wedding. You might find a great bridesmaid dress or simply a classy outfit that you like. Even if you factor in the cost of style alterations, the overall cost could be less.
TIP! While it may seem obvious, remember that who you plan to marry should be the biggest consideration of all! This choice will affect you forever, so take your time and don't rush. Take the time to make sure you are ready to make a lifetime commitment to your fiance and consider the things that you love about them, as well as the things that drive you crazy.
Look at samples of past work before hiring a makeup artist. Do you like how they do their work? Make sure that the style matches your vision. You don't need to be around an hour before the wedding stuck with a makeup artist that did a poor job.
TIP! A colorful and unique cake can be placed on a tablecloth of complimentary fabric to turn it into a work of art that becomes a focal point. You can use solids, patters, silk, velvet or satin to tie the elements all together.
TIP! If you have the budget, consider a cruise as the venue for your wedding and just invite those who are dearest to you. This will allow you to enjoy your honeymoon as soon as the festivities are over.
Don't postpone the reception while you have photographs taken. Pictures of the bride, groom, bridesmaids and groomsmen can be snapped in advance. Pictures with the couples respective parents should also be taken in advance to cut down on wait time for the guests arriving at the reception.
TIP! Multiple course receptions should have treats on the table for guests to consume between servings. Opt for sugar roses that match your wedding color palette, edible, sugared petals, or thin, flavorful crackers to whet the appetite.
Check to make sure that you can alter the lighting of the venue where the wedding reception will take place. This might seem a tad bit trivial, but the option should be there if you prefer to have low lighting for your first dance, as opposed to brighter lighting for the other activities. Check out the lighting available at different venues before picking one.
TIP! Your wedding vibe can be translated to each different decorative element. If it is a vintage theme, you will want a colorful palate of flowers that hit on the nostalgia of the theme.
TIP! Before you start planning your wedding, sit with your fiance and make a list of the things that are most important to you. After doing this, you may realize that the flowers, or the venue, are more critical to you than the number of guests, or the type of cake you choose.
TIP! Why not use an alternative to wedding flowers if you are on a strict budget? For the flower girl, you can use ribbons instead of a floral wreath; it looks simple and elegant. Use silk flowers, not live ones.
Regardless of size your wedding needs to be precisely what you want it to be. Whether this is your first or second time getting married, it takes a lot of planning to make sure things go well. In this article, the tips that we have shared with you will save you time and hassles as you plan your wedding.


text:
Q: C# webform calendar Have a webform that I'm looking to have a calendar that a user can choose the date from the calendar and it then displays the selected date in a textbox. When I choose a calendar from the toolbox how do i minimize the calendar on the generated webpage so it doesn't display the calendar all the time, like only when a drop down is chosen (it takes up alot of space and looks awful).
tried to dispaly the selected date like this but it doesn't work:
TextBox10.Text = "Date" +  Calendar1.SelectedDate;

A: From the sound of what you are trying to do I would recommend either using the AJAX Control Toolkits Calendar Extender or using jQuery UI Datepicker functionality


Up for a Boho look? Black Blue Full Rim Round Small-Medium (Size-50) Vincent Chase LE CIRQUE VC 6992- Sunglasses will help you achieve this look by becoming that last bit which completes this wild and intricate fashion style. Pop on these sunnies, step out and start a new craze everyday.


text:
search filter All ContentGeoScienceWorld BooksThis Book
American Association of Petroleum Geologists
Clay Minerals Society
Geological Society of London
Mineralogical Society of Great Britain and Ireland
SEPM Society for Sedimentary Geology
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NRC Research Press
Ordovician to Silurian magmatism on the Utsira High, North Sea: implications for correlations between the onshore and offshore Caledonides
A. M. Lundmark
Department of Geosciences, PO Box 1047, University of Oslo, Blindern, N-0316 Oslo, Norway
T. Sæther
Depotgata 37A, 2000 Lillestrøm, Norway
R. Sørlie
Lundin Norway AS, Strandveien 50 D, 1366 Lysaker, Norway
https://doi.org/10.1144/SP390.21
A. M. Lundmark, T. Sæther, R. Sørlie, 2014. "Ordovician to Silurian magmatism on the Utsira High, North Sea: implications for correlations between the onshore and offshore Caledonides", New Perspectives on the Caledonides of Scandinavia and Related Areas, F. Corfu, D. Gasser, D. M. Chew
The age and tectonic significance of two basement granitoids cored on the Utsira High, Viking Graben, North Sea, are constrained by zircon LA-ICPMS data. Syenite in well 25/10-2R is dated to 482±2 Ma, with ɛHf(482) values from −4.4 to −5.8, and granite in well 16/1-12 yields an age of 436±3 Ma with ɛHf(436) values from +3.7 to −0.5. The evolved Hf-signature of the syenite demonstrates 482 Ma reworking of Palaeoproterozoic–Archaean crust, interpreted to reflect Taconian–Grampian orogenesis. New and recently published data from the offshore Caledonides allow a first-order correlation of the Utsira High basement with the surrounding on- and offshore Caledonides. The Utsira High occupies a similar position with respect to Dalradian rocks as the Scottish Midland Valley terrane. Geophysical data indicate a volcanic arc beneath the East Shetland Basin, forming a northwards continuation of the Utsira High basement. We propose that the offshore volcanic arc segments represent the northeastern continuation of the Scottish Grampian orogen across the Mesozoic North Sea rift. A north-striking terrane boundary fault is proposed to separate the volcanic arc from the East Shetland Platform and merge northwards with the offshore extension of the Great Glen Fault–Møre Trøndelag Fault Complex.
Supplementary material:
U–Pb and Lu–Hf isotopic data are available at http://www.geolsoc.org.uk/SUP18705.
You do not currently have access to this chapter.
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figures&tables
Geological Society, London, Special Publications
New Perspectives on the Caledonides of Scandinavia and Related Areas
F. Corfu
University of Oslo, Norway
D. Gasser
Geological Survey of Norway, Norway
D. M. Chew
Trinity College Dublin, Ireland
https://doi.org/10.1144/SP390
Gold Open Access: This article is published under the terms of the CC-BY 3.0 license
The Caledonides are a major orogenic belt that stretches from the Arctic, through Scandinavia, East Greenland, Britain and Ireland into the Atlantic coast of North America. Following the break-up of Rodinia, the Caledonides formed in the Palaeozoic by the drifting of various continents and their eventual aggregation in the Silurian and Devonian. The orogen subsequently fragmented during the opening of the Atlantic Ocean. This volume brings together 25 papers presenting the results of modern research that investigates the orogenic processes and the provenance of specific components of the belt. The contributions reflect different lines of research, linking traditional field studies with modern analytical techniques. In addition three overview papers summarize the main features of the belts in Scandinavia, Svalbard, East Greenland, Britain and Ireland, highlighting the advances made since the last major synthesis of the Scandinavian Caledonides 30 years ago, and discussing important open questions.
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