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Pennsylvania Governor Signs Medical Marijuana Bill Into Law
In a ceremony crowded with patients and supporters at the State Capital on Sunday, Gov. Tom Wolf signed a bill into law that will provide seriously ill Pennsylvanians with legal access to medical marijuana. The passage of SB 3 makes Pennsylvania the 24th state to allow medical marijuana. More than half of Americans now live in states with effective medical marijuana laws.
SB 3 would allow patients with a qualifying condition and their doctors' recommendation to use and safely access medical marijuana. Up to 25 Department of Health-permitted growers and processors would produce medical marijuana, which could be dispensed by up to 50 dispensaries, each of which could have up to three locations. The qualifying conditions include cancer, HIV/AIDS, multiple sclerosis, PTSD, seizures, autism, sickle cell anemia, and intractable pain if conventional therapies or opiates are contraindicated or ineffective.
"Finally, Pennsylvania patients who could benefit from medical marijuana will no longer have to suffer needlessly or be treated like criminals," said Latrisha Bentch of Harrisburg, whose daughter suffers from mesial temporal sclerosis, a condition marked by frequent seizures that could be treated with medical marijuana. She is a founding member of the Campaign for Compassion, a local organization of patients and families advocating for comprehensive medical marijuana legislation.
"Patients and their families throughout the state have been desperately hoping that we could get this sensible and compassionate legislation passed this year," Bentch said. "Thanks to Gov. Wolf and supportive lawmakers, our wait is finally over."
"Due to the tireless efforts of patients, families, advocates, and lawmakers, Pennsylvanians will finally have access to this safe and effective treatment option," said Becky Dansky, a legislative analyst for the Marijuana Policy Project. "Now that more than half of Americans live where medical marijuana is legal, we hope other states and the federal government will reconsider their policies."
"We applaud the Department of Health which is already taking steps to prepare for the implementation process," Dansky said. "We're confident that under the leadership of Governor Wolf and Secretary Murphy, Pennsylvania will create the strongest possible program for patients in the Commonwealth."
Source: Marijuana Policy Project e-mail press release
pennsylvaniatom wolfsb 3
Pennsylvania Medical Marijuana Bill Approved, Headed To Governor For Signature
Pennsylvania House Approves Medical Marijuana Bill
Pennsylvania House Health Committee Unanimously Approves Medical Marijuana Bill
Pennsylvania Senate Approves Medical Marijuana Bill With Revisions
Pennsylvania Senate Passes Medical Marijuana Bill, Again
Philly NORML Reacts To Governor Wolf Signing Pennsylvania's Medical Marijuana Bill
Today: Pennsylvania Medical Marijuana Patients, Families To Make Plea To Lawmakers
Pennsylvania Religious Leaders Announce Support For Medical Marijuana Legislation

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FILMGAZM PRODUCTIONS
THE FILMGAZM PODCAST
OSCAR SUNDAY
THE SNEAK PREVIEW
BEYOND THE BAD
Hall of 10's
CONNOR'S HALL
CALEB'S HALL
AUSTIN'S HALL
JOSH'S HALL
After a tragic death, a family falls apart while also
dealing with the possible arrival of a malevolent spirit.
Written and Directed by Ari Aster
Starring Toni Collette, Gabriel Byrne, Alex Wolff,
Milly Shapiro, Ann Dowd
Connor Eyzaguirre
I'm a lifelong fan of horror movies, and I make it my mission to seek out ones that will terrify me or chill me to the bone. It's tough to find films like that, since I'm so desensitized by my love for the genre. But Hereditary was on a completely different level. This was a film that screwed with my beliefs, caused me to question my mental state, and made me paranoid about any secrets my own family has kept from me. The trailers made this look like a ghost movie with a twist, which it absolutely isn't. Hereditary is equal parts tragic family drama and absolute mindf**k, and every horror fan worth his/her salt owes it to themselves to watch it.
Toni Collette turns in an Oscar-worthy performance as Annie, a mother driven to the brink by tragedy and willing to do anything to right the wrongs she's caused. When she opens her home to a dark presence, her family begins to think that she's losing her mind, which she very well may be. The film keeps you guessing about what's really going on until the very last scene, which blows open an entire film's worth of questions. Hereditary conjures up some unforgettable dark imagery that will stay with you for years to come, and it never gives you a moment to catch your breath and remember that it's just a movie, particularly in the second half. It feels way too real at times, which is the mark of genius when it comes to horror.
Hereditary is destined to be a horror classic on par with its many influences, most notably The Shining, Suspiria, and I would argue The Exorcist III (a truly horrifying cult hit). It's a film that people are going to remember, because it's an original idea in a sea of remakes, reboots, and sequels. Hereditary is unlike any ghost, demon, or monster movie I've ever seen, and I guarantee it's going to make me second guess the shadows around my home for a long time.
Filmgazm is made by movie lovers for movie lovers. We believe in the magic of film and we aim celebrate films of all genres and throughout cinema history, regardless of who's behind the camera or who financed it. We at Filmgazm believe that every film deserves to be reviewed on its own merits and that's what we are here to do. Enjoy the show!
DISCLAIMER - Filmgazm does not own nor do we pretend to own any posters, artwork, or trailers on this site. We mean only to review
and discuss movies. All trademarks are the property of the respective trademark owners.


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Can Canopy Temperature Depression Measurements Help Breeders I...
Maarten Van Ginkel, Matthew Reynolds, Richard Trethowan and Eduardo Hernandez
International Maize and Wheat Improvement Center (CIMMYT), Mexico. m.van-ginkel@ciar.org.
The effectiveness under well-watered conditions of augmenting visual selection by breeders with early generation measurements of Canopy Temperature Depression (CTD) on final yield in wheat was studied in five crosses. While results varied by cross, it was shown that indeed such early selection for cool canopies did complement visual selection. The two-pronged approach of the breeder complementing visual selection with searching for cooler canopies identified almost three times as many high yielding lines. In two crosses, the top lines were derived from the combined method, while in the remaining three crosses almost equal numbers of high-yielding lines were identified with both methods. Overall, CTD was relatively highly correlated with yield under these more optimum conditions (0.74). Clearly CTD has the potential to help breeders in early generations identify those populations that later will give the highest yielding lines.
Media summary heading
Wheat plants with cooler leaves give higher yields even under irrigated conditions. Breeders can use this simple technique to increase efficiency during selection.
Breeding, physiology, genetic gain.
Canopy temperature depression (CTD) has been shown to be correlated with yield in wheat under drought stress (Blum, 1988) and hot, irrigated conditions (Reynolds et al., 1994; Amani et al., 1996). The value of CTD under non-stressed conditions is less well established. The objective of this study was to assess whether CTD could be used to complement breeder-selection under well-watered, non-stressed conditions.
Five crosses were made among four parents in the CIMMYT bread wheat breeding program: Attila, Babax, Borlaug F95 and Lucero-M. The resulting segregating generations were selected by shuttling materials between two contrasting sites in Mexico; irrigated Cd. Obregon in north-eastern Mexico and Toluca in the central Mexican highlands, experiencing high rainfall. The modified pedigree method was followed (Rajaram et al., 2002; van Ginkel et al., 2002). The 'breeder' (first author) visually selected the best individual plants in the F2 and these were promoted to the F3 as individual plots. Again the 'breeder' visually selected among the F3 plots and bulked seed of these plots was planted in F4 plots. In the F4, CTD measurements were taken on individual plots. The breeder also selected visually the plots with desirable agronomic plant types. Thus two separate germplasm streams were created: 'Breeder-only' and 'Breeder+CTD'. Populations were then promoted to the F5 and individual heads selected based on the breeder's visual evaluation for purified seed multiplication in the F6. In addition, non-selected bulks of the crosses were maintained. In the F7 (1999-2000 crop cycle) and F8 (2000-2001 crop cycle) replicated yield trials were carried out at Cd. Obregon under fully irrigated and optimally fertilized conditions. The trials compared three selection methods: 'Breeder-only', 'Breeder+CTD', and 'bulk'. The number of entries that were finally tested in yield trials was not the same for each method (See Table 1), since the aim was to test the usefulness of CTD in an ongoing breeding program. Hence the breeder simply selected the best lines in each cross, in no way biasing the selection to arrive at equivalent numbers in the end. From the bulk populations in the F5, 10 randomly harvested spikes were harvested and multiplied in the F6, followed by randomly five each being selected for each cross, giving a total of 25. Plots 3m in length consisted of four rows in total, planted two each on two beds of 80cm in width. A latinized alpha-lattice design with two replications was employed. The entire plot was harvested and yield calculated at 12% moisture. CTD was measured on all yield trial plots. Analyses were carried out using GLM (SAS, 2002).
The overall genetic correlation of CTD with yield taken during the yield trial phase was 0.74 (P = 0.001). This is relatively high, reflecting 50% of variation in yield being explained by cooler canopies.
The breeder-only selection proved significantly superior to the 'bulk' across all crosses (Table 1). In each year, the ranking of the selection methods from low to high yield was 'bulk', 'breeder+CTD' and 'breeder-only'. However, the 'CTD' method was never significantly superior to 'bulk' across all crosses. Across crosses the 'breeder+CTD' and 'breeder-only' methods were not significantly different, but the 'breeder+CTD' did identify almost three times as many equally well yielding lines (154) as 'breeder-only' (57). That in and of itself is an interesting finding, since it also indicates that more genetic diversity may have been maintained by including CTD measurements in the selection process.
Table 1. Comparison of three selection methods as expressed in yield (kg/ha) over two years (1999-2001) across five elite crosses.
Mean Yield (kg/ha)
Tukey grouping
Breeder-only
Breeder+CTD
When crosses were compared individually, 'Breeder+CTD' was significantly superior to 'bulk' and to 'Breeder-only' in one cross, thus indicating that use of CTD in the F4 in this cross later resulted in lines that out-yielded non-selected and breeder-only selected entries.
However, breeding is not about mean performance across crosses: it aims to identify significant outliers and hopefully many of them within a cross. So more relevant than average yield either across all crosses or by cross, is whether individual lines within a cross could be identified in either the 'Breeder-only' or 'Breeder+CTD' methodology that yielded more than the best lines derived through the other methods. Indeed, in two out of five crosses, individual lines developed using 'Breeder+CTD' out-yielded the top 'Breeder-only' entry(ies). In one cross, the top 24 lines were all derived from the 'Breeder+CTD' method. Figure 1 depicts the second cross, where four lines from the 'Breeder+CTD' out-yielded the best line from 'Breeder-only'. The highest yielding 'Breeder+CTD' line yielded 5% more than the top 'Breeder-only' entry. In the remaining three crosses, almost equal numbers of lines among the top ten yielding lines were derived from either the 'Breeder+CTD' or 'Breeder-only' method.
Figure 1a, b, c. Frequency distribution for yield of lines developed with three selection methods: 'bulk', 'Breeder-only', and 'Breeder+CTD'.
The following conclusions can be drawn from this study:
1. CTD is relatively highly correlated to yield under optimum production conditions (0.74).
2. While, on average, across all crosses selection by breeder-only appeared superior to breeder selection augmented by early generation CTD measurements, studying individual crosses highlighted the clearly positive impact of the breeder complementing visual selection with CTD measurements.
3. Selection by breeder complemented by CTD measurements overall identified almost three times as many equally well yielding lines as the breeder alone. This may reflect a larger amount of genetic diversity having been sampled, a positive trend.
4. In one cross, the average yield of all lines identified with breeder selection augmented with CTD measurements was higher than that in the other methods. In two crosses the top-yielding 24 and 3 lines respectively derived from using the 'Breeder+CTD' methodology. In the other three crosses a more or less equal number of lines in the top 10 derived from each of the two methods, 'Breeder+CTD' or 'Breeder-only'
5. Clearly under well-watered, optimally fertilized conditions early generation CTD measurements were very useful in augmenting visual selection by the breeder, but results will vary by cross.
6. We recommend that this technology of identifying plants with cooler canopies with the aim to raising yield also under non-stressed conditions is further studied by others.
Amani, I., Fischer, R.A., Reynolds, M.P., 1996. Canopy temperature depression association with yield of irrigated spring wheat cultivars in a hot climate. J. Agron. Crop Sci. 176:119-129.
Blum, A. 1988. Plant Breeding for Stress Environments. CRC Press, Boca Raton, FL, p 72.
Rajaram, S., N.E. Borlaug and M. van Ginkel. 2002. CIMMYT international wheat breeding. Pp. 103-117 in: Bread Wheat Improvement and Production. B.C. Curtis, S. Rajaram, and H. Gomez Macpherson (eds.). Plant Production and Protection Series No. 30. FAO, Rome 2002.
Reynolds, M.P., Balota, M., Delgado, M.I.B., Amani, I., Fischer, R.A., 1994. Physiological and morphological traits associated with spring wheat yield under hot, irrigated conditions. Aust. J. Plant Physiol. 21:717-730.
SAS 2002, Version 8.2. SAS institute Inc., Cary, NC, USA.
Van Ginkel, M., R. Trethowan, K. Ammar, Jiankang Wang, and M. Lillemo. 2002. Guide to Bread Wheat Breeding at CIMMYT. CIMMYT Wheat Special Report No. 5. (revised edition) 52 pp. CIMMYT. Mexico, D.F.: Mexico.


As part of our School's 140th birthday celebrations this year, we are delighted to be hosting an Arts Festival week, from Wednesday 27 June to Saturday 30 June 2018.
We have a varied programme of events to show case the School's extensive array of performing and creative arts.
To find out more please click here: Arts Festival Leaflet vf3.
Please do share this invitation with families and friends. All most welcome so please come along.
We hope to welcome you into School later this month.


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HomeCar CultureFour Miles West of Nowhere: Just getting there is a 4-wheel adventure
Four Miles West of Nowhere: Just getting there is a 4-wheel adventure
Bookshelf: John Phillips entertains as he writes about retiring to remote Montana
By Larry Edsall
The rugged but scenic beauty of the Bitterroot Valley | National Forest Foundation photo
Like you, I enjoyed and learned from reading John Phillips' monthly commentaries in Car and Driver magazine. I also benefited from his knowledge one day when we happened to be occupying the same car at a press event.
After a few decades of writing about sports for daily newspapers, I was a newbie in the automotive magazine world, having recently joined the editorial staff at AutoWeek. Phillips was driving and we got to talking about vehicle dynamics.
While conducting their "road" tests, Car and Driver editors had a reputation for pushing vehicles to their braking point, actually, beyond such a point. And yet John was explaining to me that it wasn't at the limits of adhesion where you truly learn a vehicle's capabilities, but at much slower and saner speeds.
Such wisdom, he added, he had learned from spending time not with the engineers who develop cars, but with those responsible for developing tires, those four and merely palm-sized patches of rubber and the other stuff which adhere vehicles to the planet's varying surfaces — well, they do so until the stupidity of speed overcomes the physics of grip.
Fast forward several decades and I have encountered John Phillips yet again, and again have benefited from his writing, which this time has very little to do with vehicles — and when it does, those vehicles tend to be 4-wheel-drive trucks.
You see, Phillips and his wife, Julie, decided to retire from a life orbiting largely within the Detroit automotive corridor to retire to a barely reachable residence clinging to a mountainside in the remote Bitterroot Valley of western Montana, or as Phillips puts in the title of his book about the move, Four Miles West of Nowhere: A City Boy's first Year in the Montana Wilderness.
The nearest town is Darby, reported in the 2020 census to be home to 783 people, which was 63 more than were reported in 2010. For some visual perspective, Darby is just over the hill from where Kevin Costner and company shoot their television series, Yellowstone.
Although the book isn't about cars, Phillips spends a lot of words writing about the difficulty of getting to and from his new home because of its remote location and because of the likelihood of it to snow at any moment in the mountains.
The book is something of a diary of a year in the life of newcomers to such an environment, where if the snow doesn't bury you, learning to fly fish in frigid water might drown you.
The book is built in monthly chapters, May through April, and is told in 3- to 4-page essays. For those who prefer to read only about cars, there are essays about driving a 1967 Shelby GT500 Mustang and another about visiting a car collection so amazing that it impressed even someone of Phillips' experience.
There's also a hilarious tale about trying to extract a Dodge from a frozen lake, though my favorite is from mid-June, when "Julie and I did attempt Montana's Beartooth Highway," an amazing 68.7-mile stretch from which 32 lakes are visible, and which famed traveling newsman Charles Kuralt of CBS said, "beats any drive in American, flat out. When it's open."
Ah, those famous if too often overlooked words, "When it's open."
My experience with summer snow in Montana wasn't quite a treacherous as John and Julie experienced. After all, I wasn't driving; I was in grade school at the time. My family was in Montana visiting my grandparents. Grandpa had recently retired as warden of Joliet prison (made famous by the movie The Blues Brothers), and had been recruited by the governor of Montana to help establish order after an inmate revolt at the Montana State Prison at Deer Lodge.
Deer Lodge is about 70 miles northeast of Darby —= at least, as my grandfather would have put it — 70 miles "as the crow flies." Of course, cars don't fly. Google Maps suggests paved roads, so figure on 130 miles of driving.
From Deer Lodge, we had driven to the state capitol at Helena, where I think there was a brief visit with the governor, a walk through the state museum, and some shopping. The route back to Deer Lodge was via MacDonald Pass, up on the Continental Divide, and although it was summertime, it was snowing at the pass, snowing so much that the road was closed.
Fortunately, there was a place called Frontier Town, an Old West-themed tourist attraction with a restaurant where we camped out for a few hours, eating lunch while waiting for the road to be re-opened.
What I remember most about Frontier Town was its bar, where there was a statue of a cowboy, or maybe it was an old prospector. Anyway, the bartender suggested I look in the pan that was sitting on the bar between me and that statue. As I did, the bartender pushed a button, which caused the statue to spit a stream of water that ricocheted off the pan and into my face.
Everyone had a great laugh, but there was no laughing when snow fell as John and Julie attempted their Beartooth Highway drive. To find out what happened, and to share their other adventures in remote Montana, sent $19.95 to Amazon.
Larry Edsall
A former daily newspaper sports editor, Larry Edsall spent a dozen years as an editor at AutoWeek magazine before making the transition to writing for the web and becoming the author of more than 15 automotive books. In addition to being founding editor at ClassicCars.com, Larry has written for The New York Times and The Detroit News and was an adjunct honors professor at the Walter Cronkite School of Journalism and Mass Communication at Arizona State University.
Bookshelf: Adventures in Ferrari Land
Turning back the page on automotive history
Is golden age of the road trip a thing of the past?
RM Sotheby's Struts Its Stuff in Scottsdale
GMC Hummer EV Pickup: 1,000 hp and 11,500 lb-ft of combined axle torque
Jimmie Johnson, Jenson Button to pilot Garage 56 entry at Le Mans


Celebrate local authors and illustrators! You won't believe the amazing literary talents among us! Events will be located in the 1st Floor Atrium, Council Chambers, and the McCallum Room. Full details at friscolibrary.com.
Whimsical Butterflies and Fairies-A Dancer's View of Nature presented by Chamberlain Performing Arts. Explore the facts and myths of butterflies and fairies through dance. Badges earned include the CPA Fun Patch for Daisies, and the Dancer Badge for Cadettes. Juliettes are invited too! SWAPS craft included. $10 per girl. Saturday, May 11th from 2-4 pm at Chamberlain School of Ballet, 3003 W. 15th Street Plano, TX 75075. To reserve contact Karen.Davis at (214) 412-8589.
Enjoy fine classical music close to home! Music in the Chamber is February through June, every third Friday at 8 p.m. Schedule: May 17--Plano Symphony Orchestra Chamber Ensemble June 21--Marbriago Trio Each intimate concert will be held in the first-floor Council Chambers, a state-of-the-art acoustically designed space by the same architects who worked on NYC's Radio City Music Hall. Get Tickets at https://www.friscotexas.gov/1482/Tickets.
The celebrated Frisco Chorale will sing a medley of gorgeous songs that highlight how music can be a refuge and source of light amid strife and darkness.


We started, this blog's world, in petitsconsells.wordpress.com but this blog is in catalan, so there are a lot of people who don't understand it.
We love our work, and we want to share with everybody. So, we did this new blog, brother of the catalan blog. To share with you, all of our tips, advices, stories and publications, that we think you will like them.
Sorry about our english, it's not perfect, because English is not our native language. We will try to do the best.
We are your partner for life, which accompanies you every day, to help you make important decisions and not important. Objectively and with supporting manner.
Since you are not alone !!!!


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» Toxins
Vaccine Candidate Selection and Expression
Last Updated on Sun, 16 Sep 2018 | Toxins
The Revised Authoritative Guide To Vaccine Legal Exemptions
The development of recombinant vaccines against clostridial neurotoxins was pioneered by Helting and Nau52 and Fairweather and colleagues53 using tetanus toxin (TeNT) as the model. They were the first to show that a C-terminal fragment of the TeNT heavy chain, referred to as the fragment C region, was able to protect mice from active challenge with tetanus toxin.
The high sequence and structural homology between TeNT and BoNT led scientists at USAMRIID to take a similar approach for BoNT recombinant vaccines. Several overlapping domains of the DNA sequence encoding the heavy chain of BoNT/A were isolated by PCR from the C. botulinum NCTC2916 strain. Expression and purification from Escherichia coli indicated that the most promising vaccine candidate encompassed the approximately 50-kDa domain from the C-terminus of the heavy chain (Hc), crude extracts of which were able to protect mice against BoNT challenge.53 54 This suggested that the domain chosen was folding correctly, thus allowing the correct formation of protective epitopes.
Published crystal structures of intact neurotoxins and the recombinant Hc domains have indicated that in both, the Hc domain comprises an N-terminal jelly roll motif and a C-terminal P-trefoil domain (see Chapter 2). This latter domain, comprising 150 amino acid residues, shows very little sequence homology among the different serotypes, suggesting that this domain may be principally responsible for determining serotype specificity. There is some evidence, however, that both halves of the Hc domain are required to elicit neutralizing antibodies and that accurate folding of the entire domain is essential. Vaccinating mice with only the N-terminal half, of the Hc domain, only the C-terminal half, or a mixture of the two failed to produce a notable protective immune response.55
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 Developer in the Making

PROJECTS

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Thank you for visiting my website. This is a place for firsts, first project, first blog, first tweet, all firsts, but made from scratch with the best of intentions.

I invite you to take the journey with me. This is the place where I'll be adding my projects and blogging about what I've learned and about my experience at DEVbootcamp.

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We left Egypt today, boarding a flight which turned out to be a complete nightmare. As I put it: hell on wings, British Airways flight.
The plane sitting on the ground (without air or ventilation) was so hot that Tessa passed out. Very bad. We also got rerouted: instead of flying Cairo->London->SFO we were informed at the airport that we would be going Cairo->Marseiles->London->LA->SFO, which, after losing cabin pressure midair became Cairo->Rome->London(overnite in London)->Chicago (change airlines)->SFO. And, yes, they lost our baggage.
After our final goodbyes at the Library we hopped on our train for Cairo to leave the next morning. The train ride was again very beautiful and Cairo was, again, very hot, noisy and smoggy. After some dinner near the American University in Cairo we made our way through one of the crazy Cairo bazaars and headed back to the Mayfair hotel to get some rest.
Photo Below: Ashley (middle) Saying Goodby to Khalid (to his left) and Youssef (on his right).
We met a bit later today (10am) since it is still the weekend and wanted to let the IT Team (Khalid, Youssef, and Mohammed to get some rest over their break.
We expected a relatively slow day--which it turned out to be-- of printing books and ironing out bugs. We found out a bit later the almost-mythical Director of the Library-- Dr. Seregaldine would be coming to take a look at the station. The Director was a former higher-up in the World Bank, speaks more languages than there are days of the week, and has earned Ph.D.s in more than one field, in addition to the honorary Ph.D.'s that universities around the world have given him.
We kept hearing that he was on his way down (the library's office space is a conceptual pyramid of heirarchy, with the most important and most modern departments (eg Information & Computing Technology on the 3rd of 4 floors) on the top, working down to the most traditional departments (eg rare manuscripts in one of the 'basements').
After about 4 hours of waiting the Director swept into the room with a couple assistants, the head librarian, and the director of ICT in tow. He was really thrilled with the setup and promised to find money for the mobile unit's vehicle. He described the setup as "fabulous" and commented that "the dream [of printing books from digital copies which Brewster had spoken about at the Library in October] has become a reality".
Today, being the beginning of the Egyptian weekend, we all took the day off.
The filmmakers arrived back in Alex last nite and we warbled around the city getting some great footage of people in the streets shopping, eating, smoking shisha and getting married (the poorer people in the city throw great wedding parties in the street, everyone dancing and singing and no one getting blindly drunk -- which is really refreshing to see).
We were all feeling a little ill so we ended up sitting on the Corniche (the seafront) eating sandwiches at one of the fancy hotels called the Windsor Hotel.
Today was relatviely uneventful. I worked with the library's Graphics department to design the signage for the printing station in the library.
Given the station's assembly line which goes from the huge printer on the left side (when facing the setup) to the smaller equipment to the right, I designed a signage layout that includes a large portrait-oriented poster on the very right of the setup (behind it in front of the plate windows) followed by 3 smaller square posters to the left with a picture of a girl doing each of the bookmaking steps.
We got the library's professional photographer to take photographs of the girl (a student who was reading in the Children's Library (...sorry for the interuption) printing, cutting, and binding an imaginary book.
Day 7 - Ashley The Suspected Counterfeiter!
I returned on my own to Alexandria today. We finally got clearance from the Library's security department who had concerns that the color printing equipment could be used to counterfeit money, if it were to fall into the wrong hands (always wanted to use that phrase).
The library's extensive security team is a nearly-autonomous entity in the library and works fulltime to keep the library premises safe. Before I left, I spoke with the security chief, General Sharif, who assured me that there wouldn't be trouble with the equipment.
Photo Below: Of course in Cairo we had to see the pyramids (which are basically in the middle of the city and visible from the highway) and had to do the quintessential pyramid activity--camel riding.
Photo Below: Filmmaker Mark in one of the Pyramids. The 30 degree incline leads to a chamber that's empty except for a cracked, empty tomb. The sense of history inside this chamber is immense.
Photo Below: Here the Mark, Jenny, and Tess setup their equipment in front of the pyramids and Sphynx for a day of shooting.
Tess, Jenny, Mark (the filmmakers) and I hopped on an afternoon train headed for Cairo from Alexandria in order to meet with an Egyptian-American who runs a human rights internet group called Virtual Activism (see www.virtualactivism.org). The train ride from Alex to Cairo is surprisingly beautiful: along the Nile and Nile tributaries the rough sand of the Egyptian desert becomes lush farmland and greenery.
The meeting with the human rights activist (I'll leave her name out of this) went great--she was thrilled with the Bookmobile concept and thinks that it's an important way to solve the crisis of the digital divide in Egypt. It turns out that the Egyptian government has built the infrastructure for country-wide internet access--for FREE-- but the hardware is "prohibitively expensive" for Egpytians, in addition to the daunting knowledge gap that exists amongst the literate/semi-literate and illiterate Egyptian population. However, she also commented that showing people how computers and the internet--which is an opaque concept for some people in Egypt-- can produce a physical, tangible and familiar thing like a book, would help to drive investment in information technologies.
Photo Below: BibAlex dusk: pic from the Library of the sun setting over the Meditaranean, the night before our train to Cairo.
Day 5: First Book Printed!
We checked out some vans today and saw these little Suzuki vehicles that would work really well for an Egypt Bookie. They're pretty cheap too-- abuot $8,000 new. All we need now is a willing, benevolent, wealthy person to put up the cash. We also snuck in a little sightseeing since our driver, Mohammed, who's actually a higher-up in the admin. department wanted us to eat Egyptian ice cream (*really* good) at the Citadel-- the Western-most point of the city). Fun.
Tomorrow's off to Cairo for a meeting with the director of an NGO and some pyramidal sightseeing (I hope). Then back to Alex to make some more books and hopefully get rolling with the mobile unit.
Sorry for no pics today, I've got to run to a dinner appt.
Photo Below: This is Mohammed and me at Alexandria's Citadel--the point where the Lighthouse of Pharos (one of the ancient wonders of the world) used to stand. This was after a day of scoping out vehicles for the Library's Bookmobile.
Day 4: Printing Station Set Up!
Day...4! Still making steady progress with the Library's stationary printing and binding unit. Unfortunately, the laserjet has been causing yet more troubles (in addition to the concerns that it might be used for counterfeiting money) since it came as 110v instead of 220v. Nothing a transformer can't take care of though.
We worked on getting signage for the station today, and, after my weak attempts at taking pitcures of it in use, had a pro. photographer and designer from the lib. do the work for the signs.
Tomorrow we go van shopping and then Tuesday off to Cairo to meet with a Human Rights activist who's based here and in the States.
Hopefully tonight we can find some of Alexandria's famous seafood, since we've been mainly eating when there has been time (and, yes, I actually ate at McDonald's once...pathetic).
Here's some more pics. Enjoy.
You might want to go check out Day 2 again, because I just added photos there too.
This is day three and things are still moving pretty fast, especially by Egyptian standards. Shockingly, all the equipment arrived, and the arrival coincided with our arrival, so we're really stoked about that.
We're going to buy some PCs tomorrow (which is a bit complicated here-- it's not going to CompUSA and whipping out the credit cards) and then we'll be ready to roll out books on demand.
We've been exploring Alexandria more and more, and get more and more enchanted by it. We smoked hookah (flavored tobacco) last night and drank Turkish coffee after a 10hour work day.
We hope to head to Cairo on Tuesday to meet with a human rights activism group that's also based in the States and focuses on digital divide issues as well.
This just in from Ashley the Bookmobilist in Egypt on day 2.
Hello everyone! Day 2 has gone really smoothly here. We've managed to get all the equipment (printers, cutters, scorers) out of the tighter-than-tight Egyptian customs and have had the Library's engineering dept. construct some tables. We hope to have things up and running soon.
On Monday the filmmakers (who are making a documentary about these goings on) and I will be travelling around, shopping for some sort of vehicle to create the BibAlex Bookie.
We've also begun to think about a catalog system where users will be able to see if a text in the Library is available in digital form, and then, if they want, go upstairs (or downstairs, there are 11 floors) and print and bind it.
Things are looking good: the setup is housed in its own space right next to the Children's Library at an entrance to the building.
Warning: the photo below is linked to a really big file that may crash your browser if you're on an older system or a system with lousy memory! So don't click on it if that may be a problem.
Hello all! So I'm here with 3 filmmakers in Alexandria Egypt. This place is really incredible. We were given the VIP tour of the Library of Alexandria (BibAlex), which is one of the most beautiful contemporary structures I've seen.
I'm working with BibAlex's IT Team to build these Bookmobile units. They've dedicated almost an entire hall to this unit, which is at the entrance of ISIS-- the International School for Information Science.
Things are going great. I'm in the middle of a meeting with the IT Team, so I've got to go for now. Will write soon.
The Library of Alexandria ("BibAlex.") (sorry, "eg" url doesn't seem to work right now) in Egypt is working with the Internet Archive to build its own bookmobile.
Here is a little movie of Ashley Rindsberg, Internet Archive Bookmobilist, about his upcoming voyage to Egypt to build a "Library of Alexandria Bookmobile."
Ashley will be blogging in this category from Egypt starting this Wednesday on (after he gets situated in Egypt) and going for the next two weeks while he sets things up over there.


Ken Greene, president and CEO, Delta Hotels and Resorts, with Sara Holyoke, GM of Delta Fredericton.
Fredericton, NB—The Delta Fredericton Hotel won "Hotel of the Year" (Managed) for 2013 during the annual Delta Hotels and Resorts company award ceremony in late spring. In addition, the hotel won the "Most Improved" award in the categories of Employee Engagement and Guest Satisfaction.
Each year, Delta Hotels and Resorts presents 10 awards to properties across the country. Categories include "Most Improved" and "Best in Class" for Employee Engagement, Guest Satisfaction, Financials and Food and Beverage. "Hotel of the Year" awards are given annually to two properties, one each for managed and franchised hotels.
Given annually to two properties across Canada, the "Hotel of the Year" award is given to a Delta property that exceeds the expectations of employees, guests and owners. Hotel of the Year recipients must also meet or exceed their financial targets.
The Delta Fredericton's commitment to continuous improvement in the Employee Engagement category led to its "Most Improved" award, with a 17 per cent increase in engagement year-over-year.


text:
Cindie () era una colonia greca della Caria.

Storia

Erodoto la cita nel libro V della sua Historia come la patria di Pissodaro, uno Cario che, in assemblea, propose di combattere i Persiani in modo che si venissero a trovare con il fiume Meandro alle loro spalle, e quindi nell'impossibilità di fuggire, costringendoli così a combattere con più coraggio rispetto al solito. Tuttavia, la sua proposta venne respinta.

Cindie partecipò alla lega delio-attica visto che viene menzionata nell'elenco delle città tributarie di Atene tra il 453 e il 440 a.C.

Strabone dice semplicemente che era vicina a Bargylia e aveva un tempio dedicato a Artemide Cindiade ma ai suoi tempi Cindie non esisteva più. Anche Polibio menziona questo tempio di Artemide dicendo che, nonostante l'immagine della dea era all'aperto, c'era la convinzione tra alcuni che non si fosse mai bagnata neanche quando pioveva o nevicava.

Note

Colonie greche della Caria

redpajama_set_name: RedPajamaWikipedia


This is a guy who, after all, uses almost exclusively analogue equipment, has an almost unparalleled penchant for covers, and whose brand of melancholic disco pop can't be referenced without its 80s origins. Far more in character, then, would be to announce the release of seven different covers of one of the 80's most recognisable songs, worryingly switch the word 'fun' with 'dub' in one version, and then flip the sound of the original so entirely as to blur the authenticity of the cover.
Most in character, though, would be to pull it off completely – and show again that, try as he might, the flame of nostalgia burns as brightly for Jewel as it does for the rest of us.
Black Coffee Red Bull can revealed!


Stand out as one of the best-dressed! The Star Wars Darth Vader and Stormtrooper Gray Mens Silk Tie features an amazing pattern with Darth Vader and a Stormtrooper. The tie is a must have for Star Wars fans. The tie measures approximately 59-inches long x 3-inches wide. Ages 15 and up.


text:
Pogogyne clareana is a rare species of flowering plant in the mint family known by the common name Santa Lucia mint. It is endemic to Monterey, California, where it is known only from about fifty occurrences all located within the bounds of Fort Hunter Liggett, a US Army training facility. The local habitat is made up of chaparral and oak woodland with occasional vernal pools and summer-dry creek beds.

This is a small, aromatic annual herb producing slender, erect stems 15 to 25 centimeters tall. Stems are topped with small but showy inflorescences containing hairy sepals and lipped, funnel-shaped flowers in shades of pinkish-purple with purple-spotted white throats. They have a strong mint scent. The plants flower for about two weeks in June, and each produces a single seed.

The plant has a very limited range and faces threats there that include erosion, vehicles and military activity, and dust from dirt roads.

References

External links
Jepson Manual Treatment
USDA Plants Profile
California Native Plant Society Rare Plant Profile
Photo gallery

clareana
Endemic flora of California
Santa Lucia Range
Natural history of the California chaparral and woodlands
Natural history of the California Coast Ranges
Natural history of Monterey County, California
Critically endangered flora of California
Plants described in 1973


text:
Tech Giants Competition Heats-up: Google to Launch Fashion Site; Yahoo to Hire 400,000 Contributors, Expanding Crowdsourced Content; Facebook to Launch"Non-Email" Email
Ryley Bane
We're launching into a week of major announcements from the tech giants of the world which could lead to major changes for tech-savvy youth culture.
First, the rumors have been mounting among fashionistas and fashion websites that Google will be launching an enormous fashion site on Wednesday, November 17, 2010. The idea of the Google fashion site is that it will enable people to get designer/runway/celeb looks fast within a series of virtual boutiques. Reports say that users will be able to create personalized online stores at Boutiques.com and other boutiques that Google has created from high profile fashion bloggers (thus all of the leaks on this news). You won't be able to buy the product directly from Boutiques.com, but it will provide you with a link of an online store that does carry the item.
It is rumored that the new site will be launched during the "Tech Fuses with High Fashion" party that Google is holding on Wednesday in New York.
Next, is that Yahoo is moving into crowdsourced content bigtime -similar to AOL's Seed plan of action. A recent job ad on Yahoo calls for 400,000 writers, photographers, and videographers to contribute in areas of sports, news, finance, and other categories with the possibility of getting paid depending on the amount of traffic your work attracts. It's tapping into its Associated Content online community publishing platform that they bought last May for $100 million.
Like AOL, Yahoo has been also hiring some big guns in various media to help shape the crowdsourced content editorial. With readers now contributing, Yahoo will be able to deliver hyper-local news and it will assist editors in making sure the most wanted content is delivered to readers.
Taking place live, right now in San Francisco is the announcement from Facebook's Mark Zuckerberg that they are launching a messaging technology. Zuckerberg is saying that "email is too slow" (which it is and is no longer the main source of electronic communication among youth culture, as we've tracked in our Youth Culture Studies).
According to Zuckerman, 350 million people use Facebook's messaging amounting to 4 billion messages per day.
The 3 main features of the new messaging product include seamless messaging, conversation history, and social inbox. Again, Zuckerman is saying "it's not email" but it does handle email, IM, SMS, and other forms of communication.
"It is not an email killer."
More on this soon as the conference continues.
« Breakdancing to Classical Music -New-School Ballet Raises the Bar on How Dance, Music, Sports, and Urban Culture Continue to Evolve in Beautiful Ways	Sneaker Street Report–Fresh Look at Trends from "The Kids Are Alright–300 Fashion Portraits" Report »
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Park City, Utah to Close? Lawsuit Against Talisker Land Holdings Among Massive Dispute in Messy Battle for One of America's Top Resorts
Concept Stores for Premium Denim Called Industrie Denim by Levi's X American Rag Founder Hope to Excite Buyers
Kelly Slater Wins Historic 11th ASP World Title at Rip Curl Pro Search in San Francisco


The call me mellow yellow… or melon…either way Avon True Color Nourishing Lipstick in Mellow Melon is my crush for the week. Avon recently launched their new Avon True Color Nourishing Lipstick line to replace Ultra Color Absolute (my favorite) so I decided to pick one up. I got the Mellow Melon shade to replace my melon shade in the Ultra Color Absolute line.
Word On Mellow Melon: At first I thought my winter skin could not pull this shade off and was thinking I had to save it for summer, however with the right blouse and some good blush I proved myself wrong. I've been wearing this shade pretty much all week and I don't see it stopping when the week ends. I think it will be even better when I have a tan. It's an excellent melon color replacement for my old melon shade. As far as the formula it is extremely nourishing like a balm, not as shiny as the Ultra Color Absolute Line, more of a creamy finish. These are only $5.99 so I ABSOLUTELY will be buying more shades, next on my list Berry Sangria!
Introducing Avon True Color Nourishing Lipstick…Full coverage, lasting color and conditioning care in one nourishing lipstick. Infused with jojoba oil, vitamin E, collagen and lanolin. Keeps lips feeling conditioned & moisturized even after you take it off!
You can shop the Avon True Color Nourishing Lipsticks at http://www.youravon.com/aliciahessinger along with the entire True Color beauty line!
Somedays all you need is lipstick, today is one of those days. It's been a rough week in addition to being dark and stormy so I decided I needed a bright raspberry-esq lip, enter in Avon Perfectly Matte in Ravishing Rose.
Not only is it a matte formula that is actually comfortable to wear but the staying power on these perfectly matte formulas is pretty legit. I re-applied once after lunch and I really didn't need to I just wanted to. I needed the pick me up 🙂 and sometimes just the act of putting on lipstick can change your frown upside-down!
Obiv I've personally been on a matte lipstick kick… as seen here and here. The matte lip has been here for a hot minute and isn't going anywhere so might as well join the party. One of my FAVORITE formulas is the mark. Lipclick Matte. It's a little more luxurious than the Avon ones I've been swooning over, however it's only available in 3 shades. Pretty much your must have of shades, a red, a bright pink and this deep purple, Vixen.
We've had a change in weather here, grey dark rainy and in the low 60's so a deep purple lipstick seems appropriate. Plus it also looks really chic with spring pastels too! Plus it's the shade Lucy Hale has been wearing for like the last 6 months on all her press junkets.
Word On Vixen: Get this shade. The formula is moisturizing not drying. The vampy shade isn't so vampy it's unwearable, it's a good deep plum shade that will work with most skin tones. The cap design is awesome with a magnetic closure, a click closure if you will! And for only $11 it's still cheaper than a lot of designer brands with designer brand quality. You can shop Vixen at http://www.youravon.com/aliciahessinger AND get FREE shipping!
'Cuz that uptown funk gonna give it to ya. Well, if the funk isn't then this Avon Beyond Color Lipstick in Uptown Pink is.
Today is National Lipstick Day and in honor I thought I'd share my lip favorites lately and a FREE Lipstick offer!
Summer Time Go-To: Avon Ultra Color Absolute Lipstick in Creamy Melon (NOW ONLY $4.99). This formula wears more like a glossy balm and has a bit of shine and extremely nourishing and I love it. The easy melon coral shade is super flattering for an every day shade during the summer.
Basic Neutral: Avon Ultra Color Absolute Lipstick in Tender Mauve (NOW ONLY $4.99) This is one of those matches your natural lip color shades so it's good for a wear to work day shade.
Spicy Shade: Avon Ultra Color Indulgence Lip Color in Chocolate Rose (NOW ONLY $4.99!) Brown shades are super on trend right now but this one is a little spicy with some red undertones. This kind of shade is a great way to wear a bold shade without being to loud.
Red Hot Lip Color – mark. All Butter Now in Fired Up ($11). This red is the perfect summer red. Because the formula is more a nourishing balm you wouldn't expect the color pay off to be so much but it's amazing.
These are what I've been wearing lately but if you just look through the archives (like here and here) you can see I totally love mark. and Avon lip colors! Even better is that most of these are on mega sale at http://www.youravon.com/aliciahessinger BUT TODAY ONLY get a FREE Lipstick and Lipgloss with a $50 purchase! (if you missed my week of sales post from yesterday that's today's promo!) In addition comment below on your favorite lip shade and type (lipstick, gloss, etc) and I'll send you a free lip sample!
July 29 – One Day Only!
FREE Lip Gloss & Lipstick with any $50+ order.


text:
Gaming/
Valve will give away a free Steam Deck every minute during The Game Awards
You might have as many as 180 chances to win on December 8th.
By Sean Hollister
Photo by Vjeran Pavic / The Verge
One more reason to watch The Game Awards this year: Valve has announced it'll give away a Steam Deck handheld gaming PC every single minute on December 8th. With a likely runtime of 2.5 hours — last year's ran three — the company's probably going to be giving away at least 150 Steam Decks.
It's the highest-end model with 512GB of solid state storage and the anti-glare screen, and all you have to do to win is sign into Steam here on December 8th and watch the show at Steam.TV or at Steam's 2022 The Game Awards page.
Well, you do also have to be living in the US, UK, Canada, or the EU, specifically these countries:
Austria, Belgium, Bulgaria, Canada, Croatia, Cyprus, Czechia, Germany, Denmark, Estonia, Finland, France, Greece, Hungary, Ireland, Italy, Latvia, Lithuania, Luxembourg, Malta, Netherlands, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden, United Kingdom, and the United States
The system will also be out in Japan, South Korea, Hong Kong, and Taiwan in late December, but not in time for the giveaway.
And, you have to have made a purchase on Steam between 12:00am GMT on Nov 14, 2021 and 11:59 pm GMT on Nov 14, 2022 to qualify.
The Steam Deck keeps getting better all the time, and I haven't hesitated to recommend it for months, despite some lingering annoyances (like how you have to keep the system on, with a lit-up screen, to download games). I love mine, and if you win one, please let me know!
More from this stream Valve's Steam Deck: all the news about the new gaming handheld
Debunk: Game developers did NOT just say they're "unsure" about the Steam Deck.
Jan 25, 2023, 6:07 PM UTC
My favorite new Steam Deck mod is this $30 see-through heatsink backplate
Dbrand Nintendoes what Valve Nintenwon't
The Steam Deck wasn't born ready, but it's ready now
Jan 19, 2023, 12:00 PM UTC


Proudly serving Bakersfield, Klein DeNatale Goldner represents Californians in need of experienced, capable, and aggressive representation. KDG offers legal services in a wide variety of practice areas, from bankruptcy and business law to personal injury and estate planning. With a team of over 30 attorneys and dozens of paralegals and legal staff members, KDG is prepared to handle your case with poise and professionalism. They go the extra mile to find a favorable resolution for every client. The firm is committed to remaining accessible and responsive – their attorneys are available after hours and on the weekends for your convenience. You will be kept updated on the status of your case every step of the way when you work with KDG. Experience matters, so choose Klein DeNatale Goldner to represent you.


text:
A Knowledge System Approach to the Multinational Company: Conceptual Grounding and Implications for Research
Yves Dos, Nicolai J. Foss, José Santos
Research output: Working paper › Research
The role of knowledge, organizational learning, and innovation as levers of competitive advantage is now a commonly acknowledged insight in research in international management. However, while the agglomeration of insights of described as the "knowledge-based view" is a promising theoretical lens, insights are not organized into a unifying framework and there are significant holes in the understanding of how knowledge may be turned into a source of competitive advantage for MNCs. In order to advance the knowledge-based theory of the MNC, we develop the notion of the MNC as a global knowledge system linking local knowledge structures and combining local knowledge elements that are complementary to confer strategic advantage, and relate this to the theory of complex systems deriving from the work of Herbert Simon. These ideas are used to frame the changing environments, strategic intents, and learning stances that characterize MNCs, and to derive a set of research challenges for MNC research.
Center for Strategic Management and Globalization
SMG Working Paper
Knowledge-based view of the MNC
Knowledge structure
Complementarities
smg wp 2008-20Final published version, 269 KBLicence: CC BY-NC-ND
Dos, Y., Foss, N. J., & Santos, J. (2008). A Knowledge System Approach to the Multinational Company: Conceptual Grounding and Implications for Research. Center for Strategic Management and Globalization. SMG Working Paper No. 20/2008
Dos, Yves ; Foss, Nicolai J. ; Santos, José. / A Knowledge System Approach to the Multinational Company : Conceptual Grounding and Implications for Research. Frederiksberg : Center for Strategic Management and Globalization, 2008. (SMG Working Paper; No. 20/2008).
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text:
Boston's Online Arts Magazine: Dance, Film, Literature, Music, Theater, and more
You are here: Home / Music / Classical Music / Opera / Opera Review: Beyond the "Barber of Seville" — New Recordings of Two First-Rate Forgotten Operas by Rossini
Opera Review: Beyond the "Barber of Seville" — New Recordings of Two First-Rate Forgotten Operas by Rossini
By Ralph P. Locke
Beethoven reportedly told Rossini to stick to writing comic operas. But new recordings of two of Rossini's major serious operas bring great pleasure to the listener—and let us hear some splendid young singers.
Rossini: Adelaide di Borgogna
Ekaterina Sadovnikova (Adelaide), Margarita Gritskova (Ottone), Gheorghe Vlad (Adelberto), Baurzhan Anderzhanov (Berengario), Miriam Zubieta (Eurice), Yasushi Watanabe (Iroldo), Cornelius Lewenberg (Ernesto)
Rossini: Sigismondo
Maria Aleida (Aldimira), Margarita Gritskova (Sigismondo), Kenneth Tarver (Ladislao), Marcell Bakonyi (Zenovito and Ulderico), Paula Sanchez-Valverde (Anagilda), César Arrieta (Radoski)
Virtuosi Brunensis, Camerata Bach Choir Poznan, conducted by Luciano Acocella (for Adelaide di Borgogna) and Antonino Fogliani (for Sigismondo)
Adelaide: Naxos 8.660401 [2CD] 123 minutes.
Sigismondo: Naxos 8.660403 [2CD] 149 minutes.
Here are two largely unknown serious operas by Rossini, each recorded at a set of performances at the annual Rossini summer festival in Bad Wildbad, a town located in the Black Forest region of southwestern Germany. Adelaide di Borgogna was recorded in 2014; Sigismondo, in 2016. Both works were rarely performed in Rossini's own day. I had not encountered either one before listening, but I am delighted now to have gotten to know them.
Adelaide di Borgogna (1817) takes some basic facts from medieval history and adapts them to the norms of early nineteenth-century Italian serious opera. The main soprano role is Adelaide, the widowed queen of Burgundy, whose husband had gained control of much of Italy and then got murdered for it. Two men struggle over her: the virtuous—which is to say, in more sober historical terms, politically and militarily effective—Ottone (i.e., Otto, the Holy Roman Emperor), played by a mezzo-soprano, and the villainous Adalberto (Adalbert, son of the rebellious Italian nobleman Berengar, the latter here called Berenagario), played by a tenor.
Thanks to some determined scholars, Adelaide di Borgogna has been revived at three major festivals devoted to forgotten Italian operas of the eighteenth and/or nineteenth centuries. Desmond Arthur (in American Record Guide, January/February 1994) praised Adelaide when reviewing the CD release of a recording from the first revival, which had taken place ten years earlier, at the 1984 Valle d'Itria Festival: "Rossini's musical inventiveness even under [time] pressure was inexhaustible, and there are highly effective solo scenes and duets and a couple of grand ensembles and finales." He found, though, that only one singer was fully capable: Martine Dupuy, in the trouser role of Ottone. Charles H. Parsons, reviewing the Arthaus DVD of a more recent performance—from the Rossini Festival in Pesaro—said the music "is prime Rossini. Yes, it sounds rather appropriate for a comic opera, but what a wealth of tunes." He declared that the Ottone (Daniela Barcellona) "sings like a goddess," and he appreciated the rest of the performers, notably Jennifer Pratt (in the title role) and the conductor, Dmitri Jurowski (September/October 2014). He described the production as interestingly updated and "a video extravaganza." (There is also a CD recording from a concert performance in Great Britain: see below.)
The present CD recording, from the aforementioned "Rossini in Wildbad" festival, is also available as a Blu-ray DVD, which I have not seen. As the notes carefully explain, three short arias for secondary characters in the opera may not have been written by Rossini himself, and one of them is omitted here (presumably no great loss).
The Haydnesque overture will be familiar to many listeners from its use in Rossini's very first opera, the delightful one-act La cambiale di matrimonio. Adelaide's final aria includes a chunk of an aria, "Cessa di più resistere," that Rossini had composed for Count Almaviva to sing toward the end of The Barber of Seville (February 1816). "Cessa," extremely virtuosic, was quickly suppressed in most performances of Barber, so Rossini felt free to place materials from it in other works. (The cabaletta went into La cenerentola, for the title character's final aria.) But numerous delightful numbers here will be quite new to most listeners, including duets for the three main characters in their three possible permutations, and an elaborate quartet for the same three plus the rebellious Berengario.
The performers have the style under their belts: tempos are fleet, if somewhat inflexible, and voices in most of the major roles are young and firm. One exception: the Berengario, from Kazakhstan, possesses a voice that is too thick for this repertory, and his sense of pitch is not clear enough.
This was my first time encountering Ekaterina Sadovnikova (soprano) and Margarita Gritskova (mezzo), both from Russia, Miriam Zubieta (from Spain), and Gheorghe Vlad (tenor), from Romania. Gritskova, in particular, manages to toss off the florid writing with precision and grace, and also to seize moments in which to vary the tone (e.g., by a momentary swelling or pulling-back). Sadovnikova and Zubieta likewise bring lift and light to Rossini's lines. Vlad is a mixed blessing here. His voice's basic quality is lyrical and sweet, but the low register is weak and coloratura is often smeared. Vlad does, though, pull off a lovely soft trill in his aria.
The chamber orchestra from the Moravian city of Brno (in the Czech Republic), sounds alert under Acocella, with just an occasional moment of imprecise tuning. The chorus, from Poland, is small but responsive. The sound is clear, never overloaded. In the final minutes of Act 1, I wished the tempo were just a shade slower, so the voices could allow each note to "sound" a bit more fully. Instead, we get a welter of consonants articulated rhythmically. But, other than that, I think the opera is well represented here.
I was feeling quite enthusiastic about this recording until I learned of another CD recording that is available (Opera Rara 32), from a 2005 concert performance in Edinburgh, conducted by Giuliano Carella. This is on 2 discs, full-price. A newspaper review of the concert itself specifically mentions Bruce Ford's Adelberto as "compelling," which one cannot say about Vlad's for Naxos. And it describes Jennifer Larmore (as Ottone) and Marjella Cullagh (Adelaide) as "flinging out their music with a combination of thrilling abandon, perfect control and dramatic exactitude." I've sampled the Opera Rara recording and find it superior to the otherwise very capable Naxos-at-Wildbad recording in most respects: more vividly recorded, with a better tenor (as mentioned), and with welcome tempo adjustments to suit the words and the musical sense. And, if you are looking for a video version, the Arthaus DVD mentioned earlier, starring Barcellona, Pratt, and tenor Bogdan Mihai, is most likely preferable to the DVD version of this Naxos CD set. Still, on CD, the Naxos recording remains a reliable and inexpensive way to get a sense of the riches that Adelaide di Borgogna has to offer. It also makes me eager to hear the three main female singers again in other roles.
Sigismondo was first performed in 1814, and thus precedes most of the operas mentioned above by two or three years. Still, it is no early work: it was Rossini's 14th (out of 39). The libretto is full of complicated machinations that, in the opinion of opera historian Richard Osborne (in Grove/OxfordMusicOnline), make it Rossini's "most unrevivable serious opera."
Well, that's a challenge if I've ever heard one, especially given that some of the music is so good that Rossini decided to use it again in works that became much more successful, such as Elisabetta, regina d'Inghilterra, La cenerentola, and, yes, The Barber of Seville (passages in the opening scene for men's chorus and in Basilio's crowd-pleasing "calumny" aria).
The opera's lack of performances is often attributed to what at first seems like a libretto filled with implausibilities. In truth, though, the libretto was at once forward-looking and deeply rooted in literary tradition. Briefly, Sigismondo, a king in medieval Poland, has allowed himself to believe accusations made by the courtier Ladislao about Sigismondo's wife, Aldimira. He has ordered her killed, but instead she—without his knowing—is set up in a modest woodlands cottage. (I will not report here the full extent of the various characters' devious doings, switches of loyalty, and doubts about their next course of action.)
Sigismondo's frequent baffled outcries make him a highly specific, almost anti-heroic figure, and in that sense typical of the nascent Romantic movement (with Goethe's Werther and Büchner's Woyzeck). But Charles Jernigan, in the booklet-essay, rightly notes that the plot bears a resemblance to certain ancient Scandinavian ballads and to an episode in Ariosto's sixteenth-century epic poem Orlando furioso. I would add that there are some parallels in plays of Shakespeare, too: the all-too-credulous title figure in Othello and the harsh Leontes in A Winter's Tale, both of whom condemn, in different ways, a devoted and innocent wife. And, of course, the libretto also systematically inserts arias, duets, and larger ensemble-scenes whose shape and expressive content will feel very familiar to listeners who know other Italian serious operas of the day.
Sigismondo has had one previous and very notable recording: a performance with extremely capable singers—including mezzo Sonia Ganassi, a thrilling presence at age 19—and a student orchestra (in Rovigo, Italy). The performers are all clearly energized by the conductor, the highly experienced Richard Bonynge. After listening to that recording, Charles Parsons (in, again, American Record Guide) was smitten: "I have completely fallen in love with this opera. Such a wealth and variety of beautiful melodies! Original, imaginative, even startling touches abound . . . [and a] delicate interweaving of the voice parts" (March/April 1995).
The novel features of Sigismondo are worth stressing. The title figure's frequent attacks of semi-madness make him resemble in various ways Assur in Rossini's Semiramide (written nine years later), Elvira in Bellini's I puritani (a full twenty-one years later), and (since he thinks he sees Aldimira's ghost) Donizetti's Lucia and Verdi's Nabucco and Macbeth. At such moments his musical phrases are often highly fragmentary and irregularly phrased, and are commented upon by onlookers. The second musical number (not counting the overture) is entitled, by the librettist, "Cavatina di Sigismondo con interruzioni": "Entrance Aria for Sigismondo, with Interruptions"! As the opera goes on, one can empathize with Sigismondo's bafflement, given that Aldimira returns to court in disguise as Egelinda, the (very similar-looking) daughter of Sigismondo's faithful Polish courtier Zenovito.
Sigismondo contains several tuneful, florid duets. The splendid Act 1 finale contains a moment of simultaneous reflection for all the main Polish characters, reacting in part to news of the imminent invasion by the Bohemian army. In the wonderful Act 2 quartet, the fourth character is the King of Bohemia, who has invaded Poland (and who is Aldimira's father, hoping that the woman named "Egelinda," whom is now encountering, is, as he suspects, his daughter). At the opera's end, Sigismondo is brought back to his senses, in part by the threat of military invasion, he mercifully condemns the evil Ladislao to prison rather than death, and father and daughter—Ulderico and Aldimira—are happily reunited.
A scene from a German production of "Sigismondo." Photo: picture alliance / dpa / Patrick Pfeiffer.
Aside from Sigismondo's often disturbed soliloquizing, there is much that is typical for its day. The three main roles are, once again, a soprano, a mezzo (singing the main male role), and a tenor villain (the rumor-monger Ladislao). Some of the numbers are utterly exquisite, such as Aldimira's cavatina (i.e., entrance-aria) in Act 1, which shows attractively varied writing for wind instruments. Refreshingly, offstage hunting horns interrupt Aldimira's subsequent conversation (in secco recitative) with Zenovito, who is sympathetic to her plight. The evil Ladislao also gets several chances (gratifying for singer and audience) to rue, briefly, having spread his calumnies and to consider his options. And Zenovito's short aria has a rather amazing solo passage for double-bass. My favorite number is the Act 2 duet for Sigismondo and the disguised Aldimira, in which they express astonishment and a number of other sudden emotions through quick spurts of coloratura, in alternation and simultaneously.
The performance uses the critical edition prepared by the Fondazione Rossini in Pesaro and seems, if anything, more consistently excellent than the Adelaide of two years earlier, from the same Wildbad festival. This time the singers are uniformly accomplished. There is not an Italian among them—they come from places as varied as Cuba, Hungary, Russia, Spain, the USA, and Venezuela—but they all sing in perfect Rossinian style, with a command of coloratura that ranges from capable to supernatural. The tenor is the veteran Kenneth Tarver, a tenore di grazia well known from many recordings (including numerous works by Mozart and Berlioz, and, twenty years ago, Bernstein's A White House Cantata) and as the title character in a remarkable DVD of Handel's Belshazzar conducted by René Jacobs. His voice has gained depth and thrust but can still negotiate coloratura with some ease. The Sigismondo is Margarita Gritskova (who was the Ottone in Adelaide in Borgogna), here showing her dramatic range, not just her fabulous singing skills. An excessive wobble appears in the opening minutes of the first-act finale; it becomes less prominent later on, as (presumably) the voice warms up more.
The put-upon soprano is here Maria Aleida, radiating goodness in every note and singing some extremely high notes without strain. Marcell Bakonyi takes two roles very effectively—Zenovito and the King of Bohemia (Ulderico)—though his low notes are weak. Paula Sanchez-Valverde and César Arrieta are a delight to the ear in the smaller roles of Ladislao's sister Anagilda and his confidant Radoski.
The orchestra and chorus sound even more involved in the proceedings than they did two years earlier (in the Adelaide recording). The conductor is Antonino Fogliani, who has been music director of the Wildbad festival since 2013. Despite the change in conductors, there is once again, as in the Adelaide, a moment (here the climax of no. 16, the 9-minute Quartet for the three main characters plus the Bohemian king) when everyone is getting excited and the music is zipping along, the voices emphasize consonants, and we lose a sense of a steady stream of vowel-carried tone. I suppose that this is an almost-inevitable downside of recording during performances rather than under calmer studio conditions. If so, the disadvantage is small, compared to the advantages of the excitement and vividness that mark the set as a whole. The sound quality is always clear, never either harshly close or—somewhat the opposite—echo-ridden. Occasionally a singer will be too far from the microphone for a few measures (Tarver in the Act 1 finale, no. 9).
Margarita Gritskova as Ottone in a 2014 production of "Adelaide Di Borgogna."
I strongly recommend Sigismondo to listeners, either in the present recording or the Bonynge, apparently still available from Bongiovanni as CDs or download. I have sampled the Bonynge (on YouTube), and it is indeed as fine as the Naxos: the singing in all the excerpts that I heard is smooth, and Bonynge is readier to slow down and caress a phrase than is Fogliani. Either recording may be preferable to the (more expensive, of course) DVD of a 2012 production at the Rossini Opera Festival in Pesaro, featuring Daniela Barcellona and Olga Peretyatko, in which, according to Robert J. Farr's detailed review at MusicWeb-international.com, the highly conceptual staging confuses and annoys, the Ladislao (Antonino Siragusa) has an unpleasant edge, and Michele Mariotti conducts stodgily.
However one chooses to encounter Sigismondo, the news is that the work is eminently revivable. Take that, Grove!
Let me add a special word of appreciation for fortepianist Michele d'Ella, who, in both recordings under review here, supports the recitatives superbly, sometimes choosing to reintroduce, briefly, a phrase from a preceding musical number and thereby gently reminding us of that the musical element largely predominates over the dramatic in these works. Schopenhauer said something of the sort about Rossini's operas: that the music often has its own coherence, independent of the plot and sung the words, and that this can be a good thing. After listening to these two operas, I am inclined to agree. Sigismondo, especially, seems a major find. And maybe I'd be saying the same about Adelaide di Borgogna if I were reviewing the Opera Rara recording with Larmore, Cullagh, and Ford.
For both operas, a libretto can be easily downloaded at the Naxos site. It includes track numbers and, very helpfully, gives the text of some recitative passages that we do not hear: presumably any that have been trimmed in the performance, plus the many in Adelaide that Rossini chose not to set. The Sigismondo libretto even gives the text of an alternate duet for the title character and Aldimira that is (sensibly enough) not performed. Alas, both libretti are given in Italian only. Still, the introductory essays and the detailed synopses (with helpful track numbers) may be enough for most listeners.
(The present article is a lightly revised version of a record review that first appeared in American Record Guide and is used here by kind permission.)
Ralph P. Locke is emeritus professor of musicology at the University of Rochester's Eastman School of Music. Six of his articles have won the ASCAP-Deems Taylor Award for excellence in writing about music. His most recent two books are Musical Exoticism: Images and Reflections and Music and the Exotic from the Renaissance to Mozart (both Cambridge University Press). Both are now available in paperback, and the second is also available as an e-book.
By: Ralph P. Locke Filed Under: Classical Music, Featured, Music, Opera, Review Tagged: Adelaide di Borgogna, Ralph P. Locke, Rossini, Sigismondo
JacobsL.G.M. says
As a great lover of traditional opera I must say that the music stays great and unbelievably beautiful but… new and modern performance practices on stage are ridiculous !!!!!! How is it possible to reset a medieval play in a modern mise en scene? The music loses its beauty and signification. The mix-and-match does not fit together. Rossini had no intention that this should be done. He wrote the music for a story in the medieval period — no time else.
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Posted on January 18, 2016 by Delaware Gazette
Tom Burns: Live fast, die young and leave a beautiful supernova
Tom Burns - Stargazing
This week's column is about an armpit.
We're not talking about some ordinary armpit here. We're talking the underarm of a giant.
Go out after dark and take a look at the giant. His name is Orion. To the ancient Greeks and Romans, he represented a mighty hunter.
He consists of a large rectangle of stars with the three stars of his belt cutting him nearly in half.
The upper left star of the rectangle is a red-orange star called Betelgeuse, commonly pronounced "beetle juice." (Yes, that's where the old movie got its name.)
To be fair, the association of the star with an armpit is somewhat suspect. It dates back to a magnificent 1899 study of star names called "Star Names and Their Meanings" by American naturalist Richard Allen. He believed that the modern name is a corruption of a longer Arabic phrase that means "armpit of the giant one."
The argument makes good sense. While western astronomy languished during the medieval period, the Arabs were doing some fine astronomical work. They named many of the naked-eye stars that western astronomers had never named.
However, Paul Kunitzsch, professor of Arabic studies at the University of Munich, took a look at the original Arabic phrase and concluded that it referred to Orion's hand and not his underarm.
However, Allen's appellation is the one that stuck, and that makes sense. The star does indeed seem to mark Orion's right shoulder.
Betelgeuse is a type of star called a red supergiant. Our home star, the sun, is about 900,000 miles in diameter, below average size as stars go. At 640 million miles in diameter, Betelgeuse is so large that it would swallow up our Earth and extend out to the orbit of the next planet, Mars.
Betelgeuse's motto is "live fast, die young and leave a beautiful supernova." It is only 100 million years old, yet it already has reached the end of its life cycle.
By comparison, our own sun may last up to 10 billion years by slowly and steadily converting hydrogen to helium in a thermonuclear reaction. The sun has been around for 5 billion years and it is just reaching a stable middle age.
How did Betelgeuse reach its sorry state?
Like all stars, it started its life as a loose globe of hydrogen gas and dust. Gravity brought this "star stuff" closer together, with a subsequent increase in heat. When it reached 10 million degrees or so, it began to convert its hydrogen into helium in a hydrogen-bomb reaction that makes our own attempts at such weapons look pathetic by comparison.
At that stage it was a massive blue-white giant, like Rigel, the bottom right star in Orion's rectangle. It consumed its hydrogen 10,000 times faster than our more conservative sun.
Great size and brightness translate into a short life span for stars. After only 2 million years or so, its center was composed almost entirely of helium. Over the next 10,000 years, it contracted even more and released incredible amounts of energy.
The outer layers of gas surrounding the core became much larger, causing Betelgeuse to turn red, probably from embarrassment. The helium at its core was burned into carbon, and heavier elements like calcium and iron were formed.
But that's not the worst of it. In less than one million years, Orion's underarm will be destroyed in a spectacular way.
Fairly soon, Betelgeuse's center will be made up of almost entirely of gaseous iron, causing it to contract further. Its gravitational force will become so great that its outer envelope of gases will be forced down upon it, causing a massive explosion, called a supernova.
When we see such explosions in other galaxies besides our Milky Way, the outburst is so great that a single star can briefly outshine an entire galaxy of 300 billion stars.
Because Betelgeuse is so close to us (640 light years, or a mere 3,600 trillion miles), such an explosion may, for a period of weeks or days, turn night into day.
Afterward, Betelgeuse will probably disappear from the night sky, leaving Orion without a crucial part of his anatomy. Future generations may look at the night sky that humans have looked at since the inception of our species, but they will see a different sky.
In fact, Betelgeuse may already be gone. Such red supergiants, as they are called, could pop at any time. Betelgeuse is relatively close to us at about 640 light years away. That means the light from the star you see now has been in transit for 640 years. If Betelgeuse exploded any time in the interim, it is now gone, but we won't find out until the information in the form of light reaches us.
Then again, probably not. We humans occupy a thin slice of cosmic history. The chance that anything really interesting will happen in our cosmic neighborhood during our individual lifetimes is, well, astronomically small.
Still, every clear night, I glance up at Orion. You never know.
http://aimmedianetwork.com/wp-content/uploads/sites/40/2016/01/web1_tom_burns2.jpg
Tom Burns
Tom Burns is director of the Perkins Observatory in Delaware.
Hi! A visitor to our site felt the following article might be of interest to you: Tom Burns: Live fast, die young and leave a beautiful supernova. Here is a link to that story: https://www.delgazette.com/opinion/columns/5433/tom-burns-live-fast-die-young-and-leave-a-beautiful-supernova


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Q: Why Clifford algebras do not have basis vectors squaring to i? Clifford's algebras have basis elements squaring either to $1$, $0$ or $-1$. Why not $i$?
Is that already covered by $1$, $0$ or $-1$?
If there is an algebra squaring to $i$, what is his name? I have interest on the geometric interpretation of the geometric product of basis vectors squaring to $i$.
I mean something like $Cl_{p,q,r,s}$ where s is the number of basis vectors $e_j$ such that $e_j*e_j=i$

A: The situation of real Clifford algebras having bases which "square" to $\pm 1$ or $0$ is just a consequence of Sylvester's law of inertia: every quadratic form on a real vector space can be diagonalized, by a change of basis, with diagonal entries $\pm 1$ or $0$, with a uniquely-determined number of each.
But there is no compulsion to choose such a basis. So we could have a vector space basis whose "squares" were $\pi$, $\sqrt{2}$, and lots of other things.
For real vector spaces, no, we can't get $i$ as a "square", because it's not a real number. But, for complex vector spaces, with quadratic (not hermition) forms, we can certainly have "square" values $i$, or $\sqrt{-19}$, and so on.
Likewise, to make a Clifford algebra with "exotic" values, we just need to have vector spaces over a field that contains those exotic values. :)

redpajama_set_name: RedPajamaStackExchange


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ACCEPTED

#### According to
Index Fungorum

#### Published in
An. Jard. bot. Madr. 5: 130 (1945)

#### Original name
Microdiplodia erinaceae Unamuno

### Remarks
null