text:
The Biblical Repertory and Theological Review, Volumen4
are sorry to see the negative errors, the defects, of the original, left in statu quo. We are sorry, not because the few omissions sensibly detract from the practical utility of this little volume, or render it pernicious; but because it sets the author's sentiments on some important points in a questionable light, or rather darkness. We shall not go into a discussion of the principles involved, nor inquire how far Professor Gibbs's views are variant from our own. We need scarcely state it as our doctrine, that if Christianity is the religion of both Testaments, there must be Hebrew words and phrases which imply their identity in this respect; that if the testimony of Jesus is indeed the spirit of prophecy, if Moses and the Psalmists did indeed write of him, it is inconceivable that every word in the Old Testament can be fully explained without á syllable of reference to him, or what he taught. This we maintain upon "philological principle." Lexicographers acknowledge themselves bound to resort to every method of eliciting the true sense and the full sense of the language. Hence ihe appeal to analogy, to contexts, to the usus loquendi, and to critical authority. Now in carrying out this principle, we think it not unreasonable to allow the Saviour and inspired apostles, at least as high a place, among interpreters of Scripture, as the Talmudists and Rabbins. Maintaining, as we do, upon divine authority, that Christ was not unknown to the believing "elders," but that all who of old were justified, were justified by faith, we cannot suppose that he is never mentioned in the very record upon which their faith was founded, or only mentioned év å vigyuatı. We do not say that Professor Gibbs maintains this, but we do say that he has not made the contrary apparent, and has let slip opportunities of stating his dissent upon this point from Gesenius. We have as yet seen nothing in his Manual to which that
learned infidel' might not subscribe. The most conscientious Jew might use it without scruple. Now this is what we stumble at. It is not because Professor Gibbs thinks thus or thus, that we are startled, but because he thinks precisely as Gesenius does, so far as we can discover what he ihinks at all. We do not mean, of course, that he goes as far, but that he goes no further. He has nothing to add, though he finds much to reject. Now it is so very rare for two accomplished critics to agree in all points of interpretation, even when in doctrine they are only not unanimous, that we cannot but marvel at this coincidence of judgment between a Trinitarian and a German
Deist. Be it remembered, that we now refer simply to what appears upon the face of the record. It may be, that Professor Gibbs has reached the same conclusions by legitimate deduction. It may be, that he believes on philological principle, that SPIRIT OF God was never meant to convey to the pious Jew the remotest intimation of any thing more than "the lifegiving breath or power of God in men and animals, which moved over the chaos at the creation, and operates through the universe, and produces whatever is noble and good in man, by making him wise, and leading him to virtue, and by guiding him generally; but that it is especially applied to extraordinary powers and gifts." (Manual, p. 200.) ) It may be that his own researches have convinced him that Son Of God is only applied to angels or inferior gods," or "to servants and worshippers of God," "to kings and magistrates," as such, (p. 12) for this is no new doctrine. It may be, that, aside from all example and authority, he thinks it proper to explain the word Messiah without even hinting at the coincidence between that term and Christ, and indeed to exclude from his volume all allusions to the existence of a later and a better dispensation. All this, we say, may be the fair result of personal inquiry, and as such it calls for refutation, not for censure or complaint. But what surprises us is the appearance of uniform agreement with Gesenius, and the fact that some of the definitions upon these important points are taken unaltered from articles, the object of which is to explain away the inspiration of the Scriptures and the truths of revelation. Can the detached parts of a rotten system be so uniformly sound? We have not forgotten, in the course of our remarks, that sentence of the preface, which informs the reader, that "the plan of this work excludes all supposititious meanings resting only on inference and analogy." This explanation might have satisfied us, had we not perceived that some meanings are excluded as "supposititious," which to us seem direct and as clear as noon-day, while others are inserted which are not even founded upon inference and analogy, but rest on mere conjecture. The only reason that we can assign for the distinction is, that Gesenius rejects the former and admits the latter. His inconsistency can be explained on other principles than those of mere philology: Of the omission, we have already given specimens. of the unauthorized insertions (unauthorized, we mean, by the rule laid down in the preface) an instance may be found upon the last page of the book. SHIPS of Tarshish, literally means ships either bound or belonging to Tarshish. We are told, however, that the phrase denotes large merchant ships bound on long voyages (perhaps distinguished by their construction from the common Phænician ships) even though they were sent to other countries than Tarshish." Is this self-evident? It is worth while just to trace the operation of the principle in this case, and the more as it has no bearing upon controverted doctrines. Professor Gibbs's definition we have given above, and are entitled to conclude, on the strength of his assertion in the preface, that it rests on other grounds than those of inference and analogy. On turning to Gesenius, we find this significant expression in a parenthesis, "wie Indienfahrer oder Grönlandsfahrer in der heutigen Schiffersprache." What is this but analogy, remote analogy? We also read that this interpretation, so familiar to Gesenius, was wholly unknown to the author of the Chronicles! What is this but conjecture, sheer conjecture? Is the conjecture of Gesenius to outweigh the authority of Christ and his apostles? Is the analogy of modern sea-slang a safer guide than the ANALOGY OF FAITH? We do not dispute the ingenuity or truth of this interpretation, nor object to the means by which it has been reached. But if there may be deflexions from a philological principle, why not deflect upon the side of truth as well as that of falsehood? Why should Gesenius and Professor Gibbs, at variance as they are in theological opinion, break their own rules in perpetual unison?
These things are individually slight, but they have a tendency-remote it may be, yet direct-iowards the fatal error of believing, not because a thing is true, but because it is asserted, and of suffering the acknowledged merits of a school or system to protect its vices. All that we ask is, that this hackneyed charge against the use of creeds and articles, may be applied, with even-handed justice, to philological principles and modes of exegesis. Let every Christian scholar ask and answer for himself, whether the Synod of Dort and the Westminster Assembly were not quite as trustworthy as the Ordo Theologicus of Goettingen or Halle; whether Augustine and Calvin ought not to have as fair play as Eichhorn and Gesenius; and whether, if after abjuring all idolatrous dependence upon fathers and reformers, we should fill their empty niches with the rationalists, and pyrrhonists, and pantheists,
of Germany, our last state might not possibly be worse than the first.
We need scarcely add, that our remarks derive whatever weight they may possess, from their applicability to future works, of which we look for more than one from the same authoritative quarter. There is one thing which we wish to see Professor Gibbs at work upon-an original and independent lexicon, upon the larger scale. Original, we mean, in reference to matters, upon which he is as competent to legislate as Gesenius himself; independent, as to form, plan, manner, and disputed points. The public would be glad to hear such scholars speaking in their own voice, and uniting firm consistency of doctrinal belief with a becoming deference for critical authority. We do neither say nor think that these are not united in Professor Gibbs; but we do say that the fact is not apparent in his writings. We are therefore the more impatient for a work which shall distinctly tell us what so competent a judge does, or does not, himself believe. We wish it for the sake of his testimony in behalf of truth, and for the sake of those whose first impressions, as to some important principles of biblical philology, may be derived from him.
The work before us we can honestly commend, both to students and to scholars. To the former it is almost indispensable; to the latter it must needs be very welcome. Aside from the faults which we have shown it to have in common with its celebrated model, the one merely formal, the other merely negative, and affecting scarcely half a dozen articles, the plan is a good one and admirably executed. This, we believe, is the first specimen of Hebrew printing from the New Haven press. May the streams of this fountain be perennial, copious, and, above all, pure!
Art. X.-THE NEW DIVINITY TRIED.
Review of " The New Divinity Tried;" or, An Examina
tion of the Rev. Mr. Rand's Strictures on a Sermon delivered by the Rev. C. J. Finney, on making a new Heart. Boston. Pierce & Butler, 1832. pp. 44.
We learn from this pamphlet, that the Rev. Mr. Finney delivered, sometime last autumn, a sermon on making a new heart, founded on Ezek. xviii. 13. The Rev. Mr. Rand, being one of his auditors, took notes of the discourse, which he published, attended with a series of strictures, in a periodi. cal work of which he is the editor. As these notes, in the judgment of Mr. Finney's friends, presented an imperfect view of his sermon, one of their number obtained the outline used by the preacher himself, and sent the requisite corrections to Mr. Rand, who availed himself of the aid thus afforded. The notes and strictures were afterwards published in a pamphlet form under the title, "The New Divinity Tried." It is the review of this pamphlet, by an anonymous writer, of which we propose to give a short notice.
We are not prepared to justify the course pursued by Mr. Rand, in thus bringing Mr. Finney before the public without his knowledge or consent. The considerations which evince the general impropriety of such a step are obvious, and are forcibly stated in the Review. That there may be cases in which the evil produced by a popular preacher constantly presenting erroneous views in his discourses, is so serious, that the usual etiquette of literary proceedings should be sacrificed in order to counteract its influence, we do not doubt. Nor do we question that Mr. Rand felt the present to be such a case. As the publication has not only been made, but noticed by the friends and advocates of Mr. Finney, there can be no impropriety in our calling the attention of our readers, for a few moments, to the contents of this Review. It is an elaborate production, distinguished both by acuteness and research, and pervaded by a tone of moderation. These are its favourable characteristics. On the other hand, it is lamentably deficient in open, manly discussion. Instead of a clear and bold statement of the distinguishing principles of the New Divinity, and a frank avowal of dissent from the Old Divinity of New Eng


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its charge will be to ensure that it does so effectively over time.
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I had belonged a band before two years ago, but it was disbanded.
I couldn't play any instruments and have never made tracks. So I have nothing in my hand, but only have a passion and hope.
I started to make songs on my feelings. Sure,today is too. It is so exited, my world spread out!!!
My principle is "Without Rules".
I think this mind refers to all things. Don't be influenced by the atmosphere.
I would love to make a stage in Europe!!!
Because it is my newest song. My late opinion is written.
many kisses from my small room in Tokyo,Japan!


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text:
Focus Community Table Tennis Club Launches!
On Monday 21st November, Focus Table Tennis successfully launched the Focus Lambeth Community Table Tennis Club at Bishop Thomas Grant School in Streatham!
The club aims to build on the huge enthusiasm from the school's pupils for the sport, which is taking part in the Satellite Club programme supported by Table Tennis England. The launch had over 50 students from local schools taking part, in addition to parents that couldn't resist picking up a bat!
Focus' experienced coaches will provide both group and individual coaching for all levels of player at the club, at just £3 for adults and £1 for juniors. The club will run every Monday evening from 5:30pm – 7:30pm during school term time. The club is open to all, whether that will be mothers, fathers, sons, daughters, grandpa's, grandma's and friends!
The school has a great sports facilities with 2 gyms, a large sports hall and 25 tables, meaning that there is plenty of space for everyone to come down and enjoy table tennis!
For more information please contact Mark Smith – [email protected] and take a look at the Focus Table Tennis Facebook page here – https://www.facebook.com/FocusLambethCommunityTT
London & South-East

redpajama_set_name: RedPajamaCommonCrawl


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text:
Lockhartia lunifera är en orkidéart som först beskrevs av John Lindley, och fick sitt nu gällande namn av Heinrich Gustav Reichenbach. Lockhartia lunifera ingår i släktet Lockhartia och familjen orkidéer. Inga underarter finns listade i Catalogue of Life.

Bildgalleri

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Orkidéer
lunifera

redpajama_set_name: RedPajamaWikipedia


text:
AMS Neve 8801 Channel Strip
I've tried my fair share of mic pres over the years, amassing a veritable arsenal of vintage Neve strips (and more than a few clones) in the process. In my opinion, the clones have always lacked in delivering that unique Neve sonic signature, but what they failed to deliver in terms of sound they've made up for in reliability.
Jay Matheson
I don't really want to choose sound quality over reliability, or vice versa, so I picked up one of these new 8801 channel strips, hoping that it could solve some of my problems . . . yet I remained skeptical about AMS Neve's claims that a new product could offer the same magical sounds as the originals. Here's what I found out.
The 8801 has a whopping 26 switches and 22 knobs on the front panel—a design feat achieved by having most of the controls double as switches (i.e., when the gain pot is pushed in it acts as an input selector; all eight knobs in the dynamics section double as switches for functions such as attack time and auto release; and most of the pots in the EQ section switch functions between bandwidths, including shelving and bell curve presets).
Scared? Don't be. The 8801's basic features are easily understandable (these include a mic pre with variable gain pad, phase invert, and 48V phantom power; a line mic/DI switch, front/rear panel connectors, high and low pass filters, digital output option, an output control with meter, and the ability to recall all settings stored by the user). The compressor and expander sections are full-featured with control over threshold, ratio, attack, release, makeup gain, separate gain reduction meters, and the ability to side-chain the filters or the EQ section. Note that this is a very useful feature, as side-chaining allows using EQ or filters to affect the signal that triggers the compression. For example, side-chaining a high pass filter can keep lows from pumping too much, and by boosting selected highs when an EQ is side-chained, the compressor can act more as a de-esser.
The EQ has four bands, with the middle two being fully parametric. Conversely, the top and bottom bands are sweepable, with switches to select bandwidth and shelving. This is a serious upgrade from earlier units—such as the 1073—where all the values were fixed, and thus offered less flexibility in terms of creative and/or corrective use of the EQ section.
APPLYING THE 8801
For testing, I patched the mics into the 8801's rear panel input and ran the preamp's analog output into the analog input of my Digidesign 192 I/O. From there, I tackled a variety of sources, starting with a 22" '70s Ludwig kick that was miked with an Electro-Voice N/D 868, just inside the opening of the outside head. The pre on the 8801 sounded clean and accurate—not as colorful as some of my Daking or Neve clone pres that I tend to prefer for kicks. The EQ, however, added some incredible top end snap that some of my vintage pieces (and retro clones) couldn't touch. Not too shabby a performance, I must say.
Up next was a distorted electric guitar sent through an old Marshall cabinet, miked with both a Shure SM57 and an SM7 running through the 8801. The flexibility of the EQ section was simply a godsend. I used the high pass filters around 100Hz, boosted some of the low mids, and added about 3dB of compression on the SM57 for some added thickening. The result: a track that needed no fixing in the mix. The 8801 could quickly become my go-to pre for recording guitar cabs, as it's one of the few pres that still comes equipped with high and low pass filters—features I find especially useful in ridding guitar tracks of unruly subsonics and overly-airy highs.
Next in line was a loud male rock vocalist who had settled on a Blue Bottle mic to scream into. Generally I would use a more colorful pre for rock vocals, but, again, the 8801s exceptional EQ gave me all I needed to ensure the tracks sounded energetic, with plenty of body and presence to boot. The compressor section sounded good on this source, though I must say that when we got into 4–5dB of reduction the 8801 seemed to take the edge off the top end. I would recommend inserting a Universal Audio 1176 or maybe an optical compressor into the signal chain as well when using the 8801 on vocals of this type, as I'm into the habit of using a pair of compressors on loud vocals; I feel that the 8801 works best when paired with another compressor in an application that needs heavy compression to make the track work.
With all the hype I'm generating as to the EQ section of the 8801, I should add that the unit's recall feature is probably its most valuable asset. The recall is easy to set up, and accurate. Just remember that it's essential to store your settings before powering down the 8801. Trust me on this: When I switched the power off to my racks after a session, the soft switches reset and I had to manually reset the pad, phase, and a few other electronically switched features. Save yourself that hassle and just store your settings before calling it a day.
The 8801 is a flexible, feature-rich unit with tons of welcome additions and upgrades (especially the total recall feature) to some of their previous products. Thoughtfully designed and sturdily built, this strip is great for anyone looking for an all-in-one front end solution for tracking . . . and it doubles as a nice little tool for out-of-the-box mixing as well. The EQ imparts a distinctive Neve sound quality to sources, yet is precise enough to carve and clean problematic tracks. The high and low pass filters are top notch, the pre is very clean, the expander functions smoothly and reliably, and the compressor worked especially well on guitar tracks.
My only wish is that I had two of these units, as they would be unstoppable if paired together on the mix bus. Entry-level recordists may need to spend some time climbing the learning curve—this is no one-knob processor. But the time spent is well worth it to make use of the 8801's powerful feature set.
PRODUCT TYPE: Full featured, top-shelf analog channel strip.
TARGET MARKET: Any recordist needing a single piece front-end unit.
STRENGTHS: Total recall capability. Incredible EQ. Feature-heavy. Solidly built.
LIMITATIONS: When power is shut off to unit, soft switches reset, necessitating use of store and recall function for accurate recall of the unit's settings.
CONTACT: www.ams-neve.com
Channel Strip Surfing
By MARKKUS ROVITO
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10 Best Weddings Ads That Touched Our Soul!
We usually dismiss advertisements as they promote products. But some ads touch your heart and you instantly laud the advertizer. We came across some amazing wedding advertisements that tugged our heart strings. Some made our eyes moist, some made us laugh heartily. Scroll down and judge for yourself!
This advertisement by Tanishq, Rivaah had to be on the top. It gave us just the right amount of warm fuzzy feelings and made us reach for a tissue box instantly! Tanishq has beautifully captured the essence of a father-daughter relationship.
2. Named as Slurp, this advertisement by Nazrana Jewellery is super cute. You'll enjoy the simplicity of this ad and of course, the innocence of the grandma!
3. Snapdeal's wedding ad revolves around a mother in law and her bid to make her new daughter in law comfortable. She is MIL goals!
4. Biba's Change The Convention advertisement is so refreshing. It depicts a meeting between two families finalising a rishta. The father of the bride finds the groom to be incompetent. Watch to see how it unfolds!
5. Siblings share a crazy bond that cannot be measured in words. Marathe Jewellers depicted a brother and sister in their advertisement- showing just the right amount of love, friendship and sass!
6. A beautiful wedding jewellery advertisement by P.C Chandra shows a Bengali bride marrying a foreigner. We love how she prefers to keep her surname!
7. Everyone loves this ad by Manyavar where we see Anushka Sharma and Virat Kohli recite their own version of the saat vachan.
8. Shaadi by Marriott is a beautiful ad that shows a father and daughter's journey from the day she was born to the day she is getting married.
9. Yet again Tanishq takes the cake by showing us a super cute brother- sister ad.
10. Lastly, have a look at this light hearted ad by Disney India.
We melted like an icecream on a hot sunny day after watching these ads! Did you?


Brothers Frank and Kurt Konigseder hadn't even started elementary school when their parents put the finishing touches on the first Liberty Coach back in 1968. Today, they are the company's managing partners and standard bearers of a family legacy that represents the "gold standard" in Prevost conversions – past, present and future.
While it's been years since they ceded day-to-day operations to their boys, retirement is not in the cards for the couple who built Liberty Coach from backyard dream to the biggest and best company in the business. Frank Sr. remains active in running his first family business, the F.K. Pattern and Foundry in North Chicago, while Jeanne continues to work for Liberty, directing rally registration and planning. They split time between homes in Libertyville and Stuart, and still spend a good portion of the year on the road enjoying the coaching lifestyle they helped create. Wouldn't you?
Don't let the "Jr." mislead you. The fact is, no one has had a greater impact on the evolution of the motorcoach field than Frank. On the technical side, he earned his mechanical engineering degree from Montana State University in 1984 and has been directly responsible for many of the most important developments in coach design ever since. And on the marketing end, Frank has headed up company sales since the mid-1990s and opened Liberty Coach of Florida in 2001. Today he shares responsibility for day-to-day operations with brother Kurt, and remains as passionate about the family business as ever.
While his brother Frank functions as the public face of Liberty Coach, Kurt is the critical "man behind the scenes" responsible for all aspects of coach manufacturing and production. It is a role for which he is uniquely qualified; with a business degree from Montana State University, Kurt has overseen the production of well over 500 coaches from start to finish. Along the way, he has developed an unsurpassed working knowledge of the space behind the walls of the coach – an asset that has proven indispensable to Liberty Coach's continued technical leadership in motorcoach design.


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If you love aromatherapy sessions, go for Essential Oil Labs' Lavender Oil. It is a perfect choice for psoriasis because it fights stress—which is one of the triggers of the condition.
Bergamot Essential Oil by Plant Guru is another product that offers value for money. The oil can be used for a lot of purposes, and has a warm, citrusy smell to it that you'll truly love.
For something that holds the USDA organic certification, go for Gio Naturals' Pure Certified Organic Tamanu Oil. This certification serves as assurance that what you're getting is absolutely pure.
It is also very versatile, which means you're really getting your money's worth.
A carrier oil, this product still makes it on our list of the best essential oils for psoriasis because it is an excellent moisturizer and emollient—a reason why it is highly recommended by medical practitioners.
The good thing about this oil is that it has been fractionated. Unlike other coconut oils, it has been heated in order to separate essential fatty acids into various components.
This results in a more deodorized, clarified, and refined end product.
It also stays liquid, making it a perfect addition to your lotions, creams, and other cosmetic products. It also does not clog pores, or leave a greasy feeling on the skin.
Full of natural vitamins, coconut oil is great for psoriasis because of its anti-inflammatory and antiseptic properties. These help in soothing inflammation and in alleviating itching.
Coconut oil is also great for avoiding psoriasis flare-ups as it helps in destroying free-radicals that stimulate inflammation of the skin.
This oil makes it on our list of the best essential oils for psoriasis because aside from being great against various skin conditions, it is also a perfect antidepressant.
Now you can have aromatherapy sessions at the comfort of your own home.
against wrinkles for a youthful glow.
This oil is also extremely versatile. Because of its scent and healing properties, it is a favorite addition to deodorants, repellants, lip balms, etc.
Stress is one of the triggers of psoriasis. Lavender oil is known for relieving stress.
This oil should be used for psoriasis because of its ability to heal lesions. It works by hydrating the dry patches and by stopping bacteria from spreading.
Aside from its antimicrobial properties, its anti-inflammatory agents help in the healing process and replaces old skin cells with new ones.
Lastly, it creates a new layer of skin due to its rejuvenating activities.
From Italy, this product is one of the best essential oils for psoriasis because it can also be used to treat other skin infections. We also love its citrusy scent—very fruity but not too overpowering.
The company also promises to deliver only superior products. No bases have been added, which we think is a plus for quality and credibility.
Bergamot oil helps in replacing dead skin cells by stimulating the growth of new, healthy cells. For a great psoriasis relief, apply the oil to the affected area and shine a long-wave UV light on the spot.
It also has the potency of an insecticide to protect us against parasites, and its antiseptic properties help in reducing the growth of bacteria on the skin.
This is one of the best oils for psoriasis for its anti-inflammatory and antifungal properties. Manuka trees from New Zealand are highly potent and have been used as a multi-purpose medical aid for centuries.
Additionally, some Psoriasis sufferers have reported that the symptoms were reduced after continuous use of the product.
soaps, shampoos, body washes, and creams to increase its healing properties.
Native to New Zealand, Manuka Oil is extracted from the branches and leaves of the Manuka tree. Manuka Oil is known effective against psoriasis because of its antimicrobial properties.
This is the reason the said oil is a popular choice for treating various skin conditions. Manuka Oil also has anti-inflammatory and analgesic properties, making it perfect for the discomfort caused by psoriasis.
One essential piece of advice: if using Manuka Essential Oil, dilute it in water or almond oil first before using. Undiluted essential oils can be irritating to the skin because they are highly concentrated.
This product is perhaps one of the most versatile ones in this group. Aside from psoriasis, it can also be used to treat stretch marks, toenail fungus, and sun damage.
It is generally used as a skin conditioner, for a more glowing, vibrant, and youthful appearance.
Another great thing is that it comes with an USDA organic certification. Products should keep up with strict standards including it shouldn't contain any fillers and other ingredients.
Most products fail to meet this requirement, which means that you're only getting the best from this company.
Because it contains calophyllic acid, this oil can eliminate flaky or scaly patches on the skin by regenerating new skin cells.
It can also penetrate into the layers of the skin, making it an ideal way of locking in moisture.
How Can I Use Essential Oils for Psoriasis?
The most common method is by applying it topically.
But because essential oils are potent and can cause skin irritation, it is recommended to mix it with a carrier oil before use.
Though this process is completely optional, it should still be considered so as not to worsen any symptom brought by the condition.
The best choices for a carrier oil include tamanu oil, jojoba oil, and coconut oil. To retain the scent of the essential oil, stay away from carrier oils that have a strong scent.
Cold-pressed and organic essential oils are the best options for psoriasis treatment.
Another option is by applying it in cream/lotion form. Aloe Vera is a popular choice, and once applied on the affected area, symptoms such as itching and redness were reduced.
In one placebo-controlled trial, research suggests that when 0.025% of capsaicin cream is applied 4 times a day for 6 weeks, itching caused by psoriasis was also reduced.
The cream however cannot be used on the face or on open skin, as it may cause a burning sensation.
Are There Some Points to Remember When Using Essential Oils?
Never take them internally. Some can be very toxic, and taking in even just a couple of drops can be dangerous.
Always use a carrier oil to prevent further irritation, especially if you're dealing with a highly concentrated oil.
As for prolonging their shelf life, use cobalt or amber-colored glass jars in storing essential oils and store them in a dark, dry, and cool place. Essential oils can last a maximum of 3 years when stored properly.
Ease of application: Determine whether or not they are practical for daily use.
Properties: How effective is it in dealing with psoriasis?
Versatility: Can it also be used to treat other skin conditions aside from psoriasis?
Value for money: Am I getting my money's worth with this, or should I go for the cheaper-yet-as-effective one?
Living with psoriasis can be difficult. You have to deal with sudden flare-ups from time to time, and the amount of self-control it takes to resist the urge of scratching yourself.
It's like living with an itch you can't scratch.
We have chosen Plant Therapy's Fractionated Coconut Oil as the winner of this roundup. Yes, it is a carrier oil, but it has made it to the top for good reasons.
First is its versatility. It can be applied directly on the skin, or it can be mixed with your favorite beauty products to enhance its effects.
The fun part is that it is ridiculously cheap. Where can you find a product that's highly-recommended and offers the most value for money at the same time?
Now that we have chosen the best essential oil for psoriasis, all you have to do is give it a try. We're confident it'll work for you and that you'll be glad you gave it a go.


Wedgwood Trumpet vases in a powder blue with gold Celestial dragon.
A matching pair of powder blue vases, each decorated with a gold celestial dragon encircling the outside of the vase with flaming pearls. The outside rim and foot are decorated with a gold Greek key design, the inside rim with a gold leaf design.
Size: 221.5 cm high x 15 cm diameter.
Condition is excellent, there are no chips, hairline cracks or repairs.


In any case, feel free to suggest new helpful features since we're very open and implement a lot of the things users request of us.
Currently the app is built around sales only, i.e. images without sales do not show up.
Would it be possible to retrieve all accepted images from the agencies (and let us assign them to collections)?
I have to say I do like it a lot.
I downloaded and checked it out. Impressive graphics and well structured BUT... With time I have built and refined a very elaborate EXCEL sheet covering all my needs, I guess the same stands for all professional Microstockers. I keep my statistics manually spending no more than half an hour per week and it is far more accurate. The reason being that I contribute to agencies that are not provided in the app and that I include commissions and other sources of income in my excel. This means that as an income or even a statistics tool this app (or any other for that matter) is inadequate for me.
On the other hand, having a portfolio of 800+ illustrations, it is impossible to keep track of how individual images or series do in their total capacity. I do have a general idea of what works best or worst but I loose it in the middle tiers. Some sites like SS give you some options but the overall picture is lacking.
I see that you have done a pretty good job in this area. Although some features like folders/lightboxes don't work in the version I downloaded I expect there will be improvements and debugging in the future.
I would suggest you emphasize this part of the app with some more options and more graphics (trends, selling curves, etc.). If this is done I would definitely be a customer. Even if no more agencies are added having these statistics will be an invaluable tool for planning and asses that is impossible to custom-make and manually track.
Did you get a chance to use the Collections? We implemented them to be the equivalent of Folders/Lightboxes on agency sites. The only difference is the app does not automatically take them from an agency site, but rather you have to create them on your own and add pictures manually. You only have to do it once though and you can add pictures from different agencies too.
Also, did you try the Match All feature which automatically groups the same image on different agencies? It makes life a lot easier.
I tried to use the collections but it doesn't give me any images to put in (I guess this is a bug).
- Option to select & compare Images/collection in some graph with different colors and different options like income, RPI, views etc.
- You can also add "blank fields" of manually adjusted inputs that would be named (like "Commissions", "Day Job", "Trust Fund" etc.) and filled by the user on a weekly/monthly basis and that would be integrated into the overall statistics.
- Pie charts showing what percentage of your income comes from which agency and/or other income sources.
All this would convert your app into a very powerful income tool and would allow the user to assess where to emphasize their business and adjust accordingly.
I know that what I suggested means a hell of a lot more work but you can compensate by offering your app into a basic/professional/premium subscriptions (or something like that) with different options. You will also have the basis to expand to a much wider audience than mickrostockers. Musicians, print/t-shirt artist, audio/web book writers, YouTubers and other professionals that combine internet (meaning automatically retrieved) income and real world (manually filled) income would love to have a tool like this.
If you do this right and with a little luck in a couple of years of hard work GOOGLE will buy you out to an early retirement!!!!
Yes, it would be possible to retrieve all images, even the ones without sales. We haven't done that already since it generates a lot of traffic on the agency servers and takes a lot of time. Think about it this way, if for regular sales we could get that information from the sales page, excel files or agency APIs for files that haven't sold we need to individually parse every image page in the portfolio. This will also put a strain on their servers if everyone is doing it. That's why we haven't done it so far. We occasionally receive emails from agency warning of traffic spikes and restrictions imposed.
Eventually we want to add a lot more filters to the Collections pop-up. We want to match all the filters currently found in the Downloads/Best Sellers tabs. That means sorting by Earnings/Downloads/RPD/RPI, choosing custom time intervals, filtering by agency, media, etc. So, this will solve your points about 'possibility to sort images..' and 'more statistics..'.
Keyword search is something that's been on our list for a while now and we want it to replace the current title search we currently have. After that we also plan to introduce keyword stats and add some way to display which keywords perform better.
Further additions will be agency performance comparisons where you can directly compare which agency sells better for a given interval and a couple more ideas.
All this will get added probably after we launch in a couple of months.
I love using the app but I've just noticed some figures are wrong. Tallies for some images from iStock are way out... at first I thought it would be iStock's fault but I've just noticed Bigstock has a wrong balance also. Just one particular image I went back and counted the number of downloads on the site (9), the app says only 2.
Has anyone else noticed wrong figures for downloads?
Is there any plan to support Adobe Stock anytime soon please? I don't have a Fotolia account since I only signed up recently and they switched over everything to Adobe.
we are currently finishing up our product and preparing it for launch. After that we'll resume adding new agencies and Adobe Stock is at the top of that list.
Excellent, thanks & keep up the great work!
I really like Mircostockr Pro. One request though: Could you allow multiple accounts per agency? This is important for iStock/Getty now that my iStock account and my Getty account use different logins on the same system.
Forgot to mention.,... I can see the process in the task manager.
Sounds like a direct competitor for microstock analytics. Would be interesting to see how the finished version compares. I suggest the developer takes a look at that and cover all those bases at a minimum if they want to compete.
The newly launched subscription prices are way too high for hobbyists. I'm out.
If you earn so little that $5/month is too much, then you probably don't even need the app. I don't mean that in an offensive way.
IMO the price they chose is fine.
too expensive for me at the moment. I'm sorry, I liked the program.
So you are ready to pay this application the same price as Photoshop?
Very nice software but also for me it's to expensive.
Same here, too expensive for me. Just compare what you pay for PS/LR.
Also it did have bugs until the end (not showing all sales).
I'm out too, as it's a bit overpriced for hobbyists. A still Alamy login issue not resolved btw.


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Home / About Us / School News / Ninth Graders receive Alex Grace Award
Ninth Graders receive Alex Grace Award
Posted in - School News - Awards Archive
9th grade graduates Leanna Miller and Michael Corazza receive Maharishi School's Alex Grace Award for displaying the school's highest ideals: kindness, courage, integrity, and wisdom. The award is named for former Maharishi School student Alex Grace, who embodied all these qualities and brightened the lives of those around him up through the last day of his noble fight against cancer.
Who Was Alex Grace?
John Armstrong, a friend of Alex and Dean of the Boys' School answers in a letter to 2011 Alex Grace Award recipients:
Dear Michael and Leanna,
I had brief conversations with each of you about the award the other night, and I've been feeling that I would really like to expand on what we talked about and hopefully help put things in context a little more.
Alex was a classmate of mine from 3rd grade until he passed away at the beginning of our 8th grade year, and I've just been thinking it would be nice to share some more things about him and some memories I have. The first really strong memory I have of him was in 3rd grade.
Our teacher, Mrs. Lynch, had a routine in her class that featured a "student of the week," and that kid got to tell his story about who he was and bring in pictures and items that were important to him. Usually a parent would come in as a part of this.
I remember when it was Alex's turn I was really impressed. He had moved from Vancouver Island, and his mom came in with a compound hunting bow and some sage and other plants that she proceeded to burn in our classroom. They also told a story about how he and his brother had been walking in the woods one time and realized that they were being stalked by a cougar. I don't remember how the story ended, but I do remember thinking that this was one seriously cool kid.
One of the most obviously noticeable things about Alex was that he was really, really small. He was by far the shortest kid in the class, which is a pretty big deal to elementary school boys. But he was strong and very confident. Not in a cocky way, but he just carried himself well. He wasn't afraid to be who he was. There are a couple examples of this that I always remember.
One was that he always did his meditation when we did our program together as a class. This may not seem particularly impressive, but if you're familiar with Maharishi School lower school boys, you'll know that many of them at one point or another won't want to sit still during meditation. I think that was true of every boy in my class except for Alex. He just always kept his eyes closed and meditated. It may seem like a trivial thing, but it's actually really impressive for an 11 year old. And I don't think there was a lot of thought to it – lots of us enjoyed meditating, but he had the integrity to do his own thing in a class full of clowns.
Another thing that really set Alex apart was his passion for dance. At some point, I don't remember exactly when, he really fell in love with dance. I think he did several kinds, but I mainly remember him doing ballet. Not surprisingly, there weren't any other boys our age who danced. Also unsurprisingly, his friends gave him a pretty hard time for it. I mean, what 6th grader wouldn't kid his classmate for doing ballet? At some point, though, I think most of us had the realization that he was the only guy who actually got to spend time with all the girls in the school, and that silenced the jokes.
Because Alex lived right across the street from school, he was usually easy to find, and had the best backyard of anyone. This led to some great adventures (and some mischief).
We also played capture the flag around campus, and played in the enormous puddle that forms by the bus stop in front of school (yes, it was there back then too).
Alex found out he had a brain tumor sometime in 7th grade. I don't remember exactly which month it was, but I do remember it was a day or two after he asked out the prettiest girl in the grade above us. For some reason my 7th grade mind drew the logical conclusion that the tumor was waiting to show itself until he had passed this ultimate test of manliness.
He was absent for a few days then came back, and then was absent again for a much longer period. When he came back the second time, he'd had surgery and was doing chemotherapy, so all his hair was gone. There was a huge scar and stitches where they had operated – they literally needed to cut open his skull to get in where the tumor was. We had a great time feeling the soft spot on the top of his head.
I don't remember how long he was back in school, but after some time he had to leave again to return to the hospital. I went with a couple friends to visit him in the hospital in Iowa City, and he was really happy to see us since he had been bedridden for a while in a room to himself and had been terribly bored. His mom had been by his side the whole time, but there's still nothing like seeing friends. He was also amazingly positive. It's mainly remarkable in retrospect, because at the time I don't think we really had any idea how severe the cancer was, but he was just his normal upbeat, positive self.
I have other memories too, some of which are disappearing, but I hope that this helps give more of a feeling about who Alex was. He was a very real but genuinely wonderful kid. And it's not just in looking back that I can say that. Even as 7th graders, we all really admired Alex for being who he was, which is unusual for boys of that age.
Personally, I consider the Alex Grace award to be a greater honor than the Pioneer Award (the 12th grade equivalent) because it honors a real person who had great kindness, compassion, integrity, and wisdom. The other great thing about this award is that it is a nice reminder to the recipients, and hopefully the whole class, to take some time to think about how to treat other people and live life. So I want to congratulate both of you again for having the wonderful qualities represented by this award, encourage you to continue to develop them, and thank you for honoring a very special person.
Take care, and I hope you have wonderful summers.
Mr. Armstrong
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I am a firm believer in the maxim that history is stranger than fiction. There are countless times when I have come across a character or incident that has been so hard to believe that I have had to search out other sources for confirmation. Thomas Cochrane who features in my first book is one of those, his real life adventures seem ridiculously far fetched for a fictional character. The Begum of Samru from my second book is another: a fifteen year old nautch dancer who gained the confidence of an army, had a man literally kill himself over her and who led her soldiers with skill and courage, before becoming something of a catholic saint. History is full of amazing stories and in my books I try to do my bit to tell some of them. When I thought of a vehicle to do so, the Flashman series from George MacDonald Fraser came to mind. Most of what I know of the Victorian era was prompted by his books. The concept of a fictional character witnessing and participating in real historical events, while not unique, has rarely been done better. George MacDonald Fraser was an exceptional writer and he developed a character that he took from Tom Brown's School Days into a truly legendary figure. While Harry Flashman might not have been a typical Victorian, he certainly brought the period to life. For me the Regency/Napoleonic era was one of even greater colour and extremes and so I have created a new earlier member of the family: Thomas Flashman. There are similarities between the generations in that they both have the uncanny knack of finding themselves in the hotspots of their time, often while endeavouring to avoid them. Thomas though is not exactly the same character as Harry Flashman, this is partly accidental and partly deliberate. For example Harry Flashman makes prolific use of the 'n' word which will never appear in my work. This is not just political correctness but reflects the different times the two fictional characters occupy. While Harry Flashman in India thrashed and abused the natives; in Thomas' time many British were in business with Indian partners or had Indian wives. The British Resident of Delhi went so far as to marry a harem of thirteen Indian women who used to parade around the city every evening on elephants. As several reviewers have pointed out Thomas is not quite the vicious villainous rogue his nephew became, at least in the first book. I think the character develops more in the second book and this trend will hopefully continue. The genius of George MacDonald Fraser was to create a spiteful bully that the reader could still relate to. I have tried to convey a character that lived in his time and who balanced cowardice, pride, lust etc with the need to bring the reader with him.


I have to say a massive thank you to the support yesterday from Guru Scot, believe me he is an absolute Guru. So patient and helpful, nothing was too much trouble to him.
In the past I have always found staff to be helpful, it annoys me when customers leave unhelpful and often rude comments. I have nothing but praise !
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Gimbal Expansion Joints are designed to allow angular movement in any plane by the use of two pairs of hinges affixed to a common floating gimbal ring. The gimbal ring, hinged and pins are designed to restrain the pressure thrust due to internal pressure and shear forces.
A gimbal ring is either round or square. For round gimbals the torsional moment shall be considered and for square gimbals the instability due to the bending shall be considered.
MWC Gimbal expansion joint with welding ends.
MFC Gimbal expansion joint with flanges.
The capacit y of the Gimbal Expansion Joints to absorb angular movements in any plane is usually applied by using two Gimbal Expansion Joints as shown in the diagram. Only two intermediate fixed points are requiered owing to the fact that the Gimbal system absorbs the thrust produced by the internal pressure. This system of two Gimbal Expansion Joints means that any vertical expansion of the pipes is absorbed by the bend in the horizontal sections of piping and it may therefore be necessary to install spring hangers in both sections.
When it is either impossible or undesirable for the horizontal sections of piping to absorb the expansion of the vertical section, a system composed of two Gimbal Expansion Joints plus one Hinged Expansion Joint must be used as shown in the diagram. The use of a Hinged Expansion Joint is justified by the fact that movement in the vertical section only occurs in one plane.


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Archive for the 'Orwell George' Category
Keep the Aspidistra Flying by George Orwell – Gordon and his pride and prejudices
Keep the Aspidistra Flying by George Orwell (1936) French title: Et Vive l'aspidistra!
The aspidistra became a sort of symbol for Gordon after that. The aspidistra, flower of England! It ought to be on our coat of arms instead of the lion and the unicorn. There will be no revolution in England while there are aspidistras in the windows.
Keep the Aspidistra Flying by George Orwell is my second read for the #1936Club co-hosted by Karen at Kaggsy's Bookish Ramblings and Simon at Stuck in a Book.
Gordon Comstock lives in a boarding house in London. He's almost thirty, works at a bookshop for two pounds a week and has declared war to the money-god. He barely survives on his wages.
He earns enough to support himself but has no money left after he pays for his essentials. He's very proud and doesn't accept any help from his friends. For example, his good friend Ravelston is rich and he'd rather not go to the pub than let Ravelston pay for a pint.
Gordon has a girlfriend, Rosemary, who also lives in a boarding house. Neither of them can invite someone of the other sex in their room. They are condemned to meet outside and stay outside since Gordon doesn't have any money to invite Rosemary even to a tea-shop and of course, he won't let her pay for them. As Orwell sarcastically points out:
It is not easy to make love in a cold climate when you have no money. The 'never the time and the place' motif is not made enough of in novels.
So, Gordon is sexually frustrated and Orwell has a go at the Nancy Mitfords of the world. It's not easy to be in a relationship when you can't invite your partner to your home or go anywhere.
Gordon used to have a 'good job' in an ad agency where he showed some talent as a copywriter. But he despises capitalism and doesn't want anything to do with money making. He fancies himself as a poet, has published some pieces in several newspaper. He's rather live off literature but when did poetry ever paid off?
The pretence was still kept up that Gordon was a struggling poet – the conventional poet-in-garret.
It also means a hungry poet. With principles. Strong enough to hate his 'good job', quit and take a lesser-paid but nobler job in a bookstore.
Gordon doesn't want to succeed. At all. It would mean that the money-god won and he's pig-headed to the point of stupidity. He's prideful and won't accept help. He's prejudiced against the middle-class, represented by their aspidistras. He loathes the middle-class and doesn't want to partake in their way-of-living.
The types he saw all round him, especially the older men, made him squirm. That was what it meant to worship the money-god! To settle down, to Make Good, to sell your soul for a villa and an aspidistra! To turn into the typical little bowler-hatted sneak – Strube's 'little man' – the little docile cit who slips home by the six-fifteen to a supper of cottage pie and stewed tinned pears, half an hour's listening-in to the B.B.C. Symphony Concert, and then perhaps a spot of licit sexual intercourse if his wife 'feels in the mood'! What a fate!
He's almost thirty and still thinks as a rebelling teenager, when you think you won't have the same life as your parents and then reality catches up on you. Gordon has some growing up to do and I found him exasperating and immature.
It is true that Gordon has a point about capitalism and money as the goal for life.
What he realized, and more clearly as time went on, was that money-worship has been elevated into a religion. Perhaps it is the only real religion – the only really felt religion – that is left to us. Money is what God used to be. Good and evil have no meaning any longer except failure and success.
So, he sticks to his principles even if they make him sink further into poverty. Orwell has a very graphic way to make the reader understand what it means to be poor, to count every penny. Soon, Gordon understands that he cut his income himself in order not to yield to the money-god only to be tied up to it by poverty.
Money again, always money! Lack of money means discomfort, means squalid worries, means shortage of tobacco, means ever-present consciousness of failure – above all, it means loneliness. How can you be anything but lonely on two quid a week?
Orwell shows how worrying about money takes all one's mental space and Gordon realises that fighting the money-god is not as freeing as he thought it would be.
The devil of it is that the glow of renunciation never lasts. Life on two quid a week ceases to be a heroic gesture and becomes a dingy habit. Failure is as great a swindle as success.
Orwell portrays a Gordon who wants to be noble but his going against the flow is counterproductive. He loves Rosemary (a saint, IMO, to be able to put up with him) but their relationship is in a dead-end because they can't afford to get married. Well, at least, according to middle-class standards. Orwell hints that if they were working-class, they'd get married and see afterwards how they'd get by.
Gordon enjoys Ravelston's company but he can never get past their difference of income and social class. Ravelston doesn't mind but Gordon lets it become a barrier between them.
Gordon thinks he's over the middle-class way of thinking but it's hard to escape the mental frame in which you were raised into. He struggles to set free but the ties are strong and his refusal to go Dutch on meals with Rosemary or to let Ravelston pay his beer show that he's not free from the middle-class minset.
It's exactly the same for Ravelston who comes from the upper-classes and claims that he's a socialist while he secretly dislikes poor people.
The truth was that in every moment of his life he was apologizing, tacitly, for the largeness of his income. You could make him uncomfortable as easily by reminding him that he was rich as you could make Gordon by reminding him that he was poor.
He tries to play down his wealth but his social origin speaks up as soon as he's caught off guard.
Keep the Aspidistra Flying mocks the English class system and its stultifying codes. It shows that it's hard to change of social class, to shed one's education and become someone else.
From the beginning to the end, Gordon got on my nerves. I was amazed at Rosemary's patience with him and at Ravelston's steady friendship. They don't give up on him and he should be grateful for them. Disliking the main character doesn't mean that I didn't enjoy the book. Orwell gets his point through and shows the mechanism that changed the 1968 revolutionary students in what we call in France the "caviar left-wing".
Something else. Each time I read a British book, I come across singularities that remind how not-British I am. In Barbara Pym, you've got all the subtle differences between churches and who goes to which. In several books, I noticed derogatory remarks against Welsh people and digs at Scotchmen.
'Gordon', 'Colin', 'Malcolm', 'Donald' – these are the gifts of Scotland to the world, along with golf, whisky, porridge, and the works of Barrie and Stevenson.
And somewhere else.
Mr McKechnie wasn't a bad old stick. He was a Scotchman, of course, but Scottish is as Scottish does. At any rate he was reasonably free from avarice – his most distinctive trait seemed to be laziness.
I find this pretty harsh but what do I know, right?
Keep the Aspidistra Flying is well-worth reading, Orwell's prose is witty, cutting sometimes but always excellent.
PS: Here's Karen's review.
Categories: 1930, 20th Century, British Literature, Classics, Novel, Orwell George Tags: 1930s, 20th century Literature, British Literature, Classic, Novel
The #1936Club starts tomorrow – some reading suggestions
Tomorrow starts the #1936 Club co-hosted by Karen at Kaggsy's Bookish Ramblings and Simon at Stuck in a Book. It lasts a week, from April 12th to April 18th.
I'm in with two books, Cards on the Table by Agatha Christie with clever Hercule Poirot and Keep the Aspidistra Flying by George Orwell with stupid Gordon. I should be able to post my billets about these two books in the upcoming week.
Incidentally, I've read two other books published in 1936 in the last four months.
In December, our Book Club had chosen War With the Newts by Karel Čapek, a stunning dystopian fiction. It's an odd book, a strange patchwork of narration, board minutes, newspaper articles and other sources. It takes us to a fictional world where a population of working newts colonizes the world. It's a humorous but serious declaration against the pitfalls of wild capitalism. If you haven't read it, the #1936 Club might be the perfect time to do it.
In March, for Southern Cross Crime Month hosted by Kim at Reading Matters, I read Death in Ecstasy by Nagaio Marsh, a clever and entertaining investigation by Chief Detective-Inspector Roderick Alleyn and his journalist friend Nigel Bathgate. It's a perfect read to spend an evening with a book and forget about the world. Readers of classic crime will have a great time with it.
I also would like to draw your attention to Return to Coolami by Eleanor Dark. According to its blurb, it is an emotional novel that explores the psychological impact of four people thrown closely together during the course of a (…) two-day motor car trip from Sydney, across the Blue Mountains to the country property, Coolami. I heard of it in January, when Bill at The Australian Legend hosted his Australian Women Writer Generation 3 Week. I haven't read it yet (I might read it in the summer when Lisa organizes her Eleanor Dark Week) but I've read her Lantana Lane and really enjoyed her writing.
I realize that this billet reveals one thing: how dynamic is our corner of the bookish bloggosphere. Events are numerous, varied and remain a wonderful and friendly opportunity to discover new books or eventually read ones lying on the TBR. Many thanks to all the bloggers who take the time to host such events.
Happy #1936 Club!
Categories: Challenges, Christie Agatha, Dark Eleanor, Marsh Ngaio, Orwell George, Čapek Karel Tags: Challenges
Homage to Catalonia by George Orwell
Homage to Catalonia by George Orwell. (April 1938) French title: Hommage à la Catalogne.
It is very difficult to write accurately about the Spanish war, because of the lack of non-propagandist documents. I warn everyone against my bias, and I warn everyone against my mistakes. Still, I have done my best to be honest.
I started to read Homage to Catalonia when I was in Barcelona in July, so before the terrorist attack on the Ramblas and before the current conflict between Catalonia and Madrid. I was just curious about the Spanish Civil War and after my disastrous attempt at reading Georges Bernanos's pamphlet about it, I turned to another George, one I knew would be a better writer.
George Orwell arrived in Barcelona in December 1936 and upon recommendation of the ILP (Indepedant Labour Party), enrolled in the POUM, the revolutionary militia from Catalonia who had joined forces with the PSUC (Partit Socialista Unificat de Catalunya), a party linked to the Spanish Communist Party and the government from Catalonia to fight against Franco's coup d'état. Orwell fled from Spain in June 1937 and went back to England through France.
Homage to Catalonia relates his time in Spain and aims at setting the record straight about events in Catalonia. It's a short book but it covers a lot of things, from Orwell's personal experience on the front and on leave to a clear summary of the political situation and analysis of the events.
On the personal side of the book, I enjoyed Orwell's candid tone. He never tries to turn himself into a hero. He describes how cold it was on the front during the winter, how bored he was, how frightened he was when he had to fight.
It was the first time that I had been properly speaking under fire, and to my humiliation I found that I was horribly frightened. You always, I notice, feel the same when you are under heavy fire – not so much afraid of being hit as afraid because you don't know where you will be hit. You are wondering all the while just where the bullet will nip you, and it gives your whole body a most unpleasant sensitiveness.
He got wounded and shows how weak it made him. He doesn't picture himself as a great warrior but mostly as a humble soldier who had boots problems, was covered with lice and mud and who had to live with poor food supplies. He tries to make light of the harassing moments of the most important battle he was in:
Now that we had finished wrestling with those beastly sandbags it was not bad fun in a way; the noise, the darkness, the flashes approaching, our own men blazing back at the flashes. One even had time to think a little.
You almost expect him come out with a portable tea set and take a four o'clock break for a cup of tea and crumpets. His wife could even have provided for them as he reminds us By this time my wife was in Barcelona and used to send me tea, chocolate, and even cigars when such things were procurable.
He talks about her regularly but never says her name. She's always "my wife" as if she was nothing else than a spouse and had no existence as a person. I'm a bit upset on her behalf, so I'll say that her name was Eileen O'Shaughnessy and she must have been more than a homemaker. Otherwise, she wouldn't have followed him to a war zone and I can't imagine him married to a wallflower. I think she deserves more than this treatment in his work; he sounds like Maigret with his blanquette-cooking wife.
Along the way, Orwell also makes observation about Spain and he describes a country backward compared to France and England. We need to remember that the Republic who was fighting against Franco was only 5 years old when the Civil War started. An agrarian reform was in full swing. Catalonia was very modern but Orwell explains that very few Andalusian soldiers could read. I was shocked by this as we're in 1936 and in France, school had been mandatory since 1882. He writes a bit about Spanish ways and customs, the use of goat skin bottles, the olive oil cooking and the streets of Barcelona.
On the war side, he exposes how ill prepared the POUM militia was. They were amateur soldiers, with no real uniforms and weapons were scarce.
Obviously if you have only a few days in which to train a soldier, you must teach him the things he will most need; how to take cover, how to advance across open ground, how to mount guards and build a parapet – above all, how to use his weapons. Yet this mob of eager children, who were going to be thrown into the front line in a few days' time, were not even taught how to fire a rifle or pull the pin out of a bomb. At the time I did not grasp that this was because there were no weapons to be had. In the POUM militia the shortage of rifles was so desperate that fresh troops reaching the front always had to take their rifles from the troops they relieved in the line.
He writes about the lack of organization and knowledge of the art of war. Foreign soldiers were welcome for their military experience. As the army of a Marxist party, the militia had flattened the usual military hierarchy and Orwell was quite enthusiastic at this disappearance of class distinction.
Incidentally, Orwell was in Spain during a major shift on the Republican side of the war. Upheavals occurred in Barcelona in May 1937 and the POUM was declared illegal. The PSUC and the government of Catalonia got rid of the POUM because they didn't share the same political view.
In Catalonia, for the first few months, most of the actual power was in the hands of the Anarcho-Syndicalists, who controlled most of the key industries. The thing that had happened in Spain was, in fact, not merely a civil war, but the beginning of a revolution. It is this fact that the anti-Fascist press outside Spain has made it its special business to obscure. The issue has been narrowed down to 'Fascism versus democracy' and the revolutionary aspect concealed as much as possible.
Orwell explains that the POUM aimed at a Marxist revolution while the PSUC aimed at a bourgeois democracy and were backed up by Moscow, as strange as it seems. I will let you read Homage to Catalonia yourself if you want to explore this side of the book. I found it fascinating on several accounts. I knew there had been internal fights among the Republican front and that it did them a disservice to fight against Franco. Orwell put things in perspective with simple words. It struck me that the Republican front was a swarm of political parties and ideas and that they lost time fighting against each other. Orwell argues:
As for the kaleidoscope of political parties and trade unions, with their tiresome names – PSUC, POUM, FAI, CNT, UGT, JCI, JSU, AIT – they merely exasperated me. It looked at first sight as though Spain were suffering from a plague of initials. (…) I did not realize that there were serious differences between the political parties.
While the Republican front is divided and fails at delivering a simple and efficient message to our brains, the Fascist side bulldozes everything with simple ideas aimed at our basest instincts. Doesn't that remind you of something?
Orwell is partial to Socialism and he was quite enthralled by the atmosphere in Barcelona in December 1936.
I had dropped more or less by chance into the only community of any size in Western Europe where political consciousness and disbelief in capitalism were more normal than their opposites.
One had been in a community where hope was more normal than apathy or cynicism, where the word 'comrade' stood for comradeship and not, as in most countries, for humbug. One had breathed the air of equality.
After the POUM was declared illegal, a witch hunt was organized to imprison POUM members and soldiers of the militia. Orwell and Eileen had to flee the country and Orwell deplores:
No one who was in Barcelona then, or for months later, will forget the horrible atmosphere produced by fear, suspicion, hatred, censored newspapers, crammed jails, enormous food queues and prowling gangs of armed men.
This episode made him lose faith in the future of democracy in Spain but he still thinks that beating Franco is possible.
No one in his senses supposed that there was any hope of democracy, even as we understand it in England or France, in a country so divided and exhausted as Spain would be when the war was over. It would have to be a dictatorship, and it was clear that the chance of a working-class dictatorship had passed. That meant that the general movement would be in the direction of some kind of Fascism. Fascism called, no doubt, by some politer name, and – because this was Spain – more human and less efficient than the German or Italian varieties. The only alternatives were an infinitely worse dictatorship by Franco, or (always a possibility) that the war would end with Spain divided up, either by actual frontiers or into economic zones.
Homage to Catalonia was written in April 1938 and the Spanish Civil War ended on April 1st, 1939. The poignant part of reading Orwell's thoughts is that he doesn't know that Franco will win but we do. We know that this will end up in a long-lasting dictatorship. And reading Orwell's lucid recollection of the events, we can only wish that short-term political battles had been put on the back burner for a greater good.
Highly recommended reading, as are all reads about the 1930s in these desolate times. Orwell is a writer I would have loved to meet. His Down and Out in Paris and London is well worth reading too.
Categories: 1930, 20th Century, British Literature, Classics, Highly Recommended, History of Spain, Non Fiction, Orwell George Tags: 1930s, 20th century Literature, British Literature, Non Fiction, Spain


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Exploring Vienna: Art Museums to Visit
My favorite part of Vienna, Austria, is the Museumsquartier, or Museums Quarter. True to its name, it houses many museums, and I was able to enter the Leopold's Museum, the Museum of Modern Art or Mumok. A few minutes down, one will reach the Albertina Museum, the Kunsthistorisches (Art History) Museum, and the Naturhistorisches (Natural History) Museum. I entered the first two.
Vienna's collection of art is astounding. At Leopold's, I was treated to the view of many of Egon Schiele's works. Mumok has some of Gustav Klimt's, too, along with other contemporary works, and I got acquainted to the Actionist movement in art. But if you have limited time to spend in Vienna, I'd say you can skip these two and head to Albertina and Kunsthistorisches instead.
Albertina used to be a palace built by Emperor Franz II for Duke Albert of Saxe-Teschen, an 18th century monarch, for whom it was also named. It has a fountain in front, and the recently renovated facade was built in Neoclassical style. I felt truly fortunate to view Albrecht Durer's famed drawings, the paintings of Russian avant-garde painters Mark Chagall and Kazimir Malevich and their followers, the giant woodcuts of Anselm Kiefer, and the abstract art of Erwin Bohatsch. All of these were compelling pieces that definitely made their mark in art history.
But the highlight of my visit was a viewing of the "From Monet to Picasso" permanent exhibit, featuring works in the Batliner Collection. According to the museum website, this collection features about 500 works covering 130 years of art history, from French impressionism to the present. I saw pieces by Joan Miro, Rene Magritte, Max Ernst, Franz Sedlacek, Oskar Kokoschka, Henri Matisse, Maurice De Vlaminck, Edvard Munch, and Pablo Picasso, representing the movements Fauvism, Impressionism, and Surrealism, all the way to Expressionism and Cubism. The even better part: The lighting throughout the museum is perfect (later I'll tell you about the sad lighting at the Van Gogh Museum in Amsterdam).
Meanwhile, the Kunsthistorisches is Museum is home to a breathtaking collection of pieces from seven millennia. I highly recommend a visit, because many of the items here were crafted by master artisans as gifts for the Habsburg royalty. There were truly exquisite masterpieces such as desk astronomical clocks, porcelain dishes, and tabletop sculptures, vessels inlaid with precious stones. There were many paintings by masters, too, and the museum interiors are jaw-dropping as well.
It is impossible to oversell these two places, and I can only hope you enjoy it as much as I obviously did.
Author's Note: Richard Kimball Jr. is a travel junkie. He enjoys adventures all over the world. He is also a blogger. To read more about him, check out Richard Kimball Jr's Travel Blog.
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POSTED ON JAN 20, 2012 TO Culture
Meet a Facebook Engineer: Vijaye Raji
Vijaye Raji
At Facebook, our engineers collaborate to create an open environment where ideas win and are executed quickly. Each week, our engineers will give you a look into what it's like to ideate and build at Facebook in our new "Meet a Facebook Engineer" Q&A series. Check back weekly to hear from different engineers about what problems they're passionate about solving right now, what they're up to at Facebook and what advice they have for you.
Q: What problem are you most passionate about solving right now?
A: I work on the Facebook Messenger team in Seattle, where we create ways for people to reach their friends and families instantly. While each of these components by itself isn't new, when you put the Facebook social graph behind them, they become a powerful tool for connecting people in realtime. Facebook has taken on the role of being the platform that connects people across the world and all the problems I've worked on so far are aligned precisely behind that one goal. Truly, it's the social connectedness that I'm most proud of working on here.
Q: What does a typical day look like for you?
A: What's interesting is what my day is not like. I have less than two hours of pre-scheduled meetings for a full week, which gives me solid blocks of time to focus on coding. That said, we do have informal impromptu meetings around desks when necessary and a lot of quality conversation happens in Facebook Groups (which, by the way, are an excellent collaboration tool).
I get in to work before 10 a.m. and jump right in, usually with my headphones on. Lunch is at noon, and here at Facebook Seattle we get our meals catered from a different restaurant every day. After lunch, I get back into the groove of things again. At about 3:30 p.m., a bunch of us gather to go out for coffee, which is a great bonding ritual. Dinner comes in at 6 p.m. and after another solid chunk of work, I leave for home around 8 p.m.
Q: Why do you come to work in the morning?
A: When I joined Facebook in early 2011 and started poking around the codebase, I was struck at how much work has gone into the infrastructure for running a service at such a large scale. Data is available at an snap and reconfigurations happen in real-time. New features and bug fixes ship every day. You can literally wake up with a new idea in your mind, code it up in the morning, schedule it to ship in the afternoon and by evening, 800+ million people are using the feature you just built. That power is exhilarating.
Also, work is just a heck a lot of fun in Facebook. I work with people that are smarter than me and while it's humbling, I learn from them. Everyone is aligned behind the company's goals and where there's such a focused alignment, puzzle pieces just fall into place. The energy here is invigorating and addictive. That's the reason I look forward to coming into work every day.
Q: What advice do you have for other engineers?
A: As companies grow and one generation replaces another, it's easy forget the principles of the company that made it successful in the first place. My advice for engineers is this—to continue being awesome and providing value to the people who use our services and products, each one of us needs to take responsibility for cherishing the culture we have now and handing it down to future generations. Ensuring that your entire company is always aligned behind a single common goal with a consistent culture is very important and will help you continue kicking butt.
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