This project examines the communal process of music learning as it occurs in a Byzantine chant learning group at a Greek Orthodox Church. The goal of this project was to investigate the act of music making, as situated in a particular sociocultural context, in order to address the question: Through what processes do individuals share music knowledge and learn together in an informal learning group? These learning practices and this music community allowed me to question and explore how the phenomena of echo (imitation or reflection) and embodiment (internalization) manifest. By contextualizing learning processes socioculturally in a case study, I offer alternative educational theories through examining and understanding music learning as a communal process of knowing and doing, rather than one centered on individual performance and output.
Whether described as "life-long, life-wide, and life-deep" by Banks et al. (2007), or as occurring in "multiple contexts" by Weiss (2005), I see learning as a process which cannot be confined to nor separated from institutions (such as universities, schools, museums, societies, communities, and families). And, since all learning is social, it is both culturally constructed, and constructing.
Learning through music making, for example, most often occurs in social contexts, is not abstracted (meaning that it involves little rehearsal beforehand), and is mainly focused on moving forward a social, cultural, or ritual practice (a communal experience). Such communal music making practices often involve repetitive and cyclical music, and the main musical patterns are a part of cultural knowledge. This allows learners (and experts) to continually internalize these patterns and processes: the basic knowledge comprising how to make and create their own community's music. Such processes produce (and reproduce) musical knowledge through ongoing praxis, within what Lave and Wenger (1991) call the social context of "everyday life." Thus, learning is centered in a dialogue between its particular environment (cultural world or learning space), the experts at various levels who possess parts the knowledge, and learners' continual self-evaluations and re-evaluations based on life experiences and daily practices. An individual can also move back-and-forth between the roles of expert and learner fluidly within this lived process of learning. In these processes of knowing, involving, as Jean Lave (1988) termed it, "how and what people know" and can do, as a learner begins to acquire knowledge, each new musical practice that is learned becomes internalized, then subsequent musical practices learned become situated on their predecessors.
As each new step becomes habitualized, it is assimilated through the smooth, imperceptible, cumulative process of cultural knowledge acquisition (see Bourdieu's (1997) concept of habitus). Through these processes, the act of knowing and learning through participating comes to mediate between individuals and the sociocultural environment, and is evaluated by 'doing.' Much as music can be perceived of as floating through the air, music learning seems to float through the space between individuals engaged in the act of learning and sharing musical knowledge and practice.
Because there are multiple meanings for learning, it is fruitful to look at how acts of learning take place contextually within a sociocultural domain. Through examining an informal learning group, engaged in a sociocultural practice of communal music learning, I invite a discussion of co-existing multiple learning processes. I consider both the context in which the learning process occurs and the intra-social interactions between the individuals who come to embody the knowledge of the musical practice and will come to continually create and recreate it within their cultural community.
Within the religious context of a Greek Orthodox Church, the process of learning music takes place within sociocultural activities such as church services and community events. And, learning is informally passed between community members during these activities, rather than resulting from explicit instruction. Many community members at Holy Spirit Greek Orthodox Church in upstate New York where I conducted this study, are focused on and interested in music, specifically the Byzantine chant of the Orthodox Church tradition. Therefore, many community members of various backgrounds and ability levels meet weekly in an informal learning group, in order to learn how to read and chant Byzantine music. Within these meetings, a communal learning environment has developed in which learning is worked out together, with multiple individuals, in a socioculturally situated process.
In this case of study, I sought to examine these informal learning processes through those acts of music making in which individuals share music knowledge and learn together in an informal learning group setting. I asked: how does this group of people go about learning to chant Byzantine music in an informal setting within a Greek Orthodox Church in America? Through what processes do individuals share music knowledge and learn together in this informal learning group? And, I later was led to question how the phenomena of echo and embodiment occur within this informal learning setting? Thus, by looking at ways of learning music outside of traditional academic institutions and without the use of Western music notation, this project, concerning spaces and methods for music learning in social context, draws from the theoretical approaches to learning, teaching and the sharing of knowledge within the fields of music education, education, and ethnomusicology.
The term informal learning has a varied and contested meaning in extant literature. For instance, the terms nonformal and informal are considered different in nature by some authors (see Folkestad 2006), but used as synonyms by other scholars in the field (see Colley et al. 2003, and Hodkinson 2010). But, as Hodkinson (2010) and Folkestad (2006) point out, rather than distinct categories of formal and informal learning, in most situated learning practices a continuum exists in which there is a mixture of formal and informal learning practices. For the purposes of this paper, I will pull from the work of Colley et al. (2003), to define learning as more or less formal or informal by looking at the location, purposes, processes, and content in multiple combinations. In this case, learning is occurring outside of a learning institution, for the purpose of participant interest, and through a shared process without a proscribed course of learning. Therefore, though the content being learned could be considered formal in another situation, the mixture of the four attributes together leads me to define the learning activities I describe here as lying very far towards the informal end of the formal-informal learning spectrum.
"To hear is always to participate, to be corporeally involved, engaged, positioned" (Bowman 2004, 38). Practiced, enacted learning is more internalized than memorized facts, and often remembered for a lifetime (such as, you never forget how to ride a bicycle). Through contextually enacted practices, individuals learn as they work towards becoming experts or full participants in a practice, acquiring skills and taking on identity associated with the practice. In contrast, the more easily quantifiable (and measured), abstracted structures used currently in the majority of traditional education models tend to exclude culturally practiced, situated learning such as Lave and Wenger (1991) describe.
One difficulty encountered while examining learning processes is that learning is a complex social phenomenon, affected by a multiplicity of variables (ranging from sociocultural practices and ideologies, to technologies and cosmologies). And, the weight and effect of one or more of these variables' dominance affects how each individual, and the larger community, is going to (variably) address their own concepts of learning. So, contextualizing our understanding of learning processes socioculturally enables an examination and understanding of learning as a communal process of knowing and doing, rather than one centered on individual performance and output.
The learning process has long been discussed by scholars in terms of both biological and sociocultural elements, and tied to the use of imitation and movement and relationships to material artifacts, showing how learning is a historical, sequential process. On a biological level, the neural and motor systems are involved in taking in information, and shaping the body for a particular skill, knowledge, or ability demanded while learning. As such, sociocultural learning is the result of practice, emerging, as Downey (2010) describes, from the imitation of actions, mimicry, observation, and listening, situated interpersonally, socially, culturally and historically. Therefore, to learn involves attempting to replicate that which is observed, touched, heard, smelled, or tasted while individuals are physically moving through the processes and spaces in which skills are captured. As Trevor Marchand (2010) states, "arguably more effective than vision for learning skill and acquiring practice is to have one's positions, postures, and movements physically manipulated and guided by another person" (112). In the performance process, or in the praxis of making music, the body becomes a medium for the transfer of musical knowledge.
Because the body connects to the mind, facilitates a relationship with the social and natural environment, and allows for internal (tacit) and external (explicit) perception, in terms of "everyday" music learning, the body allows for people to show "how and what [they] know under ordinary circumstances." And, learning has the ability to highlight the ways that musical knowing occurs in the "lived-in world" when it is situated in the body, to use some of the terminology of Jean Lave (1988).
Phenomenology studies, such as the work of Maurice Merleau-Ponty (1945), have long discussed the perception of the "body-subject" as central to "lived experience" as it relates to the surrounding world, and Jean Lave also proposes that knowing is simultaneously "creative and reproductive participation at the same time." To use Tia DeNora's (2000) words, in terms of music experiences, "normally imperceptible micromovements such as how one holds one's eyebrows, cheekbones or shoulders, [and] the tension of one's muscles" have been used to indicate the subconscious "alignment, between music and the body" (78). From this perspective, the body and sensory system have been positioned as both receptor (learner) and emitter (expert) of knowledge and skills, and can be seen to shape our senses in terms of both biological and cultural construction. Thus, the auditory, tactile, and visual senses interact simultaneously to inform thinking and transfer information back and forth between the student and the teacher, such as is noted in Tomie Hahn's (2007) study of Japanese dance. From this viewpoint, the body, through the senses, becomes a site of learning and sharing music knowledge (see Bresler 2004).
When the mind and body are considered separately, then what the body experiences (phenomenologically), knows (cognitively), and can do becomes relegated to secondary importance and has been referred to using terms such as "intuition" or "feeling," in effect "othering" musical knowing, as Bowman (2004, 29) puts it. However, when mind-and-body are considered a single unit, knowing through the body (embodied knowledge) cannot be considered inferior to the knowing of the mind (reason). Many cultural communities employ body metaphors to not only describe their thinking about the mind-and-body as one, but can even can be seen to extend this physical structure to their musical practices, using allegories to the body. These body metaphors in music learning are evidenced by countless ethnomusicological studies, including Stephen Feld's (1984) work with the Kaluli of Papua New Guinea, Ted Levin's research in Mongolia (2006), Ellen Koskoff's (2001) work with Jewish Lubavitcher musicians in Brooklyn, Jane Sugarman's (1997) research among Prespa Albanians, and Richard Widdess' (2006) research in India, to cite only a few studies.
In such cultural music making practices, as people learn to know, they constantly reconstruct themselves through their ongoing doing, creating what Tim Ingold (2011) calls a "meshwork of lines of living" (39), or to quote Clifford Geertz (1973) they come to be "suspend[ed in] webs of significance [they themselves have] spun" (5), through the process of learning and knowing. In addition to the studies I have listed here, many other cross-cultural examples of scholarship exist which connect music, nature-and-society, body-and-mind, and illustrate the relationship of individual explicit knowledge (historically thought of as occurring in the "mind") to collective tacit knowledge (considered to be centered in in the body) (see Cook and Brown 1999). Taken together, these elements extend the full spectrum through which the process of music knowing appears.
If, then, the body and mind are "inseparable," and all cognition is materially based, as Bowman (2004) suggests, then the experience of the body is, "indispensable to all human knowledge" (31). In this way, knowing through the body (or embodied knowledge) cannot be considered inferior (to reason) in cognitive terms, and, as he puts it, "the bodily-constituted knowledge [of music] is not different from intellectual kinds of knowing." In their well-known musical ethnographies, both Tia Denora (2000), using the descriptor of the body "latching" onto music, and Stephen Feld (1984) speaking of "feeling" and "groove" employ these terms for a deep sort of musical knowledge, because they are attempting to find language to represent the relationship of the body (and identity) to music knowing. Such embodied learning reaches, as James Banks et al. (2007) describe it, "life-long, life-wide, and life-deep." As such, the knowing is owned, important, and lasting.
In my case of study, for example, Byzantine chant is learned and taught in a generative way (additive layers of knowing are obtained through cycles of repetitions learned over a lifetime within cultural context) by various chanters simultaneously, as hymns are sung in church. Various actors (people/musicians) function as both experts and learners during the practice of chanting, and are able to gain further knowledge about what musical elements are aesthetically valuable and therefore should be replicated by the learners. Knowing how to chant is worked out in and through the process of chanting via physical movement, and sensed by the body mainly as aural, tactile, or kinesthetic information. It is in the praxis of chant itself that this music replicates, which means, a chanter learns to chant by chanting—through engaging the voice, the senses, and the body in a situated sociocultural context. Taking this theoretical background into consideration, this project extended these ideas to focus on the patterns and perceptions that group members connect to this music, while learning more about how community members interpret and understand music and learning to chant on their own terms.
In order begin answering my initial research questions (How does this group of people learn to chant Byzantine music together in an informal setting within a Greek Orthodox Church in America?; How is the act of music making situated in this particular sociocultural context?; And, through what processes is music knowledge shared and learned collectively by individuals within this community of practice?), I considered how community music experts and learners structure their own conceptualization of chant, and how they go about learning and teaching it, while creating community of practice.
I employed the method of participant-observation, focusing my fieldwork on the informal Byzantine chant learning group at Holy Spirit Greek Orthodox Church over the course of two liturgical years, engaging group members in informal discussions and conducting both informal and formal interviews. In addition to participating as a member of the group, I also conducted formal, audio-recorded interviews with the group leader and three other members of the group separately. I was then able to produce descriptive, ethnographic fieldnotes of my observations and the informal interviews, transcripts of the formal interviews, and a series of researcher memos, all of which were line-by-line (open) coded, then focus coded, and finally axially coded for themes. In addition, I was able to collect and selectively code multiple artifacts from the site including emails exchanged between all participants, photocopies and digital files of printed hymn notation, some with the addition of various learners' handwritten notation, and digital audio/video recordings of various hymns that were circulated among members via email, as well as primary documents including a copy of a published paper in English on Byzantine music that the class shared and used for learning. As I am a trained Greek Orthodox chanter and church member, there were benefits and drawbacks to approaching this study from an insider's perspective, but my rapport with community members allowed me access to multiple informants within the community, and facilitated successfully conducting this project in an in-depth and timely manner.
My work with this group offered some insight into the individual and collective actions of the participants within the space through the multiple processes of learning which co-exist during the group's meetings. While some new members were added to the Byzantine chant learning group throughout the year, others who were new during my initial visit came to embody the musical knowledge being shared and were now simultaneously functioning both as learners and experts, variably. I would like to share an excerpt from my field notes, in order to illustrate many of the learning processes I witnessed during this study. In order to illustrate a few of the musical patterns being learned, I have included musical incipits. They appear in the Byzantine notation the class is learning (to the left side), but I have transcribed them very roughly into Western notation (seen on the right) for clarity.
Both Chris and one of the more longstanding group members chant back a more fluttered 'ke…' for her to hear how it should be sung. She repeats the pattern again, adding the new fixed flutter, and by then all the seats are filled but one, so the focus in the room shifts to the whole group.
The group first reviews the Doxology in both the First Mode and the Second Mode, the Brief Versions. The group has sung through the Doxology (a hymn of praise that occurs before every Divine Liturgy service on Sundays) in each of the eight Byzantine tones. Each Doxology has the same words, but each version has its own unique prototypical melody and shows off the main characteristics of its tone. These rotate through an eight week cycle in the church calendar, so each is heard once every eight weeks. Each person has either printed the music from the email, and now lays out all six pages in front of them, pencil ready in hand, or has their tablet or laptop set up in front of them.
They sing through the hymn until they come to an abrupt stop at the bottom of the page. As the group comes to a pitch marking that is used considerably infrequently, there is some confusion about which paralagi syllable (and pitch) to sing. Four notes are heard at once, after which the chanting stops and many participants are seen to shake their heads or make faces that signify they are confused or unhappy with the result. Chris says, "I missed that one, too, it was supposed to be a 'dthi' (5th scale degree). Everyone pencils that note into their music, while he continues, "lets back up to the last martyria (the goal markers in the music that show the chanter that they are on the right paralagi at that point in the music) and we'll try it again.
After two more attempts, all the members can sing it and they continue to sing through the whole tune as a group. However, there is a great silence at the end, while Chris finishes the final bit of the melody in a great flourish. He grins and asks, "Why did I just have a solo?" "Um," stammers another member of the group who has not spoken yet, "at the end of the hymns the neumes (pitch markings) all kind of stack up on top of each other, and I can't figure out what to do with them all." "Ahh," he replies, "let me break it down for you." After a quick and complicated explanation filled with some technical chant jargon, the faces of the group members appear as if they are more confused, but Chris cannot see this, because his vision has recently become impaired. So, the same group member who spoke before interjects into the silence to let him know, "I think we're even more lost now, sorry." "It's okay," says Chris, "just try not to worry about it and get what you can…it will come with time." He continues, "just echo me for now." He sings the passage, and when everyone echoes him, he nods, "close enough…good for you!" The group repeats the whole hymn on words without stopping. One person leans over and writes on a newer member's music when she stops singing briefly, and points on her paper to indicate which note is being sung currently. The group decides to move on to chanting the Katavasiae of Christmas in First Tone (the two canons of eight odes each that have distinct melodies for each ode).
Music learning and language learning share enacted practices of doing wherein people participate within a sociocultural community. Music learning shares Vygotsky's linguistic concept of internalization, and what has been described as imitation (see Lantolf 2000).
Seen through the lens of situated practice, in the process of internalization, which Winegar (1997) terms "a negotiated process that reorganizes the relationship of the individual to her or his social environment" (31), the learning space becomes a context which both changes individuals and is changed by them as communal learning occurs. Embodiment allows for what Yaroshevsky (1989) calls "social communication and mental activity" (230). In his law of development, Lev Vygotsky (1987) asserted that learning can begin to occur on the intrapsychological plane, that is, within the individual, only after it has first occurred on the interpsychological plane, or between people. In other words, learning first occurs in the space between individuals in a community, and then is taken in individually, that is, embodied.
Based on my fieldwork observations with the Byzantine Chant learning group, I suggest another term to describe a variation on Vygotsky's concept of imitation. When music, or language, is imitated it involves not just simple copying of someone thought they heard (see Tomasello, 2003), but can "occur with a delay of a day or more" (21) according to Meltzoff (2002). During music learning, learners are commonly asked to "echo" a model from someone who knows the musical pattern being learned. Much like an echo in nature, in a sociocultural environment during music learning, the model is repeated, often at a delay and somewhat subtly changed. This process changes the context of the community's music over time, and means that the community as a whole affects an individual's learning. When music, or language, is echoed, it must first be done after another person (through shifting expert/novice relationships). Only then, can it be internalized (on the intrapsychological frame). As Vygotsky (1978) explained concerning his concept the "Zone of Proximal Development," it is these "social relations or relationships among people" which "underlie all higher functions and their relationships" (86). In the process of learning, communal learning intersects cyclically with, and reciprocally shapes, individual learning.
In this current view, the body, through the senses, becomes a site of learning and sharing cultural music knowledge (see the work of educational theorists Alerby and Ferm 2005; Bowman 2004; and Bresler 2004), as is alluded to by various, culturally specific references connecting the body and music, (as can be seen in the ethnomusicological work of Seeger 1987, Koskoff 2001, Levin 2006, Solís 2004, and Turino 2008). For example, members of the chant group often expressed the idea of feeling the note "right here" while variably tapping the chest, chin, stomach, or head. Through the body, the members of the Byzantine chanting group are learning the ways in which chanters should sound, move, behave, and act. This is because the process of learning, regardless of the model, teaches new knowledge by way of teaching how to be a part of a community.
For example, the members of the group are allowed to make mistakes, so when the group stops because the result is no good and the leader commiserates that he missed it as well, everyone can try again and continue to learn together. Thus, there is no clear teacher, just a model to follow, though that individual makes mistakes along with the group. Also, because this is not formalized instruction, there is no vocabulary that is known by the members. While Byzantine music has a vocabulary, this is not known to most of the group, and learning it is not the aim of this gathering. Rather, they pick what hymns to work on as a group, and aim to create together a working vocabulary of their own making. For example, in order to explain what the "elephron" symbol does, Chris describes what it looks like ("the crooked eyebrow mark") and explains what it makes the singer's voice to do ("jump down two notes"). It is the music making together which is important and the focus, not learning a specific notational vocabulary.
In addition, the group shows many times how it is through repetition, not explanation or direct instruction that a particular hymn is internalized, as seen in the above fieldnotes when "after three more similar stops and corrections," the group was finally able to chant to the end of the particular hymn they were trying to learn. By repeating so many times, members of the group were able to self-correct their mistakes, or help correct their neighbor's mistakes, and to memorize how the tune should go. Some could sing the tune by the end, though they were still not clear what was on the page. They were improving combining the skills of rote, communal learning with an every growing idea of the symbols or tools on the page, even those that had not been explained to them.
In such an informal learning setting, every individual fluctuates fluidly between the roles of teacher and learner, variably as each person increases their skills and set of tools, and as new members join the group. For example, when the group finally made it through the hymn on words and the younger members thought it was "easier," the more experienced members pointed out that if you take the easy way and do not "work through it on paralaghi" (like solféfge), that you will "get lazy" and "start to miss some of the flavor." This is because it is necessary to gain some confidence to be successful in the group, but not to gain too much that you become complacent. This is a prime example of Vygotsky's (1978) "Zone of Proximal Development" (86), wherein individuals must always be somewhat safe and somewhat on the alert (and pushed to the edge of their own abilities) at the same time, in order to facilitate progress and learning.
Patting another's shoulder, pointing at another's page, or leaning in to sing the correct words in another's ear emphasize the importance of that chanters place on using the body. Not only is it important to sing together as a unit or like one body, but the body is also used as a sign to signify timing and to indicate directions while chanting. Since the leader of the group is visually impaired, one might think this could cause a problem for him to lead the group in services. However, this is not the case, was is important is that they can see his body, such as when he tells them that since he cannot see them, to "just watch me, and I'll try to gesture the timing big enough so you can see it. Just keep going, stay together, and sing OUT." Chanting Byzantine music is not about getting it right or wrong in this setting, it's about embodying it together and echoing one another.
What the body feels while chanting is personal (on the intrapsychological plane) it is first and foremost experienced during the process of chanting with others as a shared common feeling (on the interpsychological plane). Such holistic and informed learning is situated in the context of everyday life, and is more cyclical than linear in nature.
In contrast, one common American model of teaching and learning, referred to as the "assembly line model" by Rogoff (2014, 76), developed in school settings as a response to a past influx of immigrants into the society around the turn of the century, and was an attempt to teach a group of children how to be a part of the whole. However, this model did not consider the other parts of those children's lives, particularly the sociocultural contexts in which they lived. This system came to be thought of as how to 'do school,' or how to 'be' a learner. But, this system which historically marginalized many individuals and communities, remains a common model used often today. In order for learning models to be equitable, learning must be seen as communal and social, and less linear (120-126), or the learning process will be fraught with "barriers and bridges" (137) for certain groups and for individual people who often become marginalized (Bevan et al. 2012). Even more tragically, such compartmentalized learning may even marginalize parts of persons (who will eventually find ways to separate the parts of their learning to appear in ways that will make them successful, or contest this division and become unsuccessful).
Conversely, when variable expert-novice models of learning, as seen in the Byzantine chanting group, are considered, reciprocity becomes a key factor of the learning process (see Moll et al. 1992, 134). Multiple processes of learning are occurring simultaneously within a sociocultural community of practice. As newcomers or novice learners, whom Lave and Wenger (1991) would call "legitimate peripheral participants" (29), continually echo those in the community who know more than they do, that is, the experts or "full participants" (29), they continually become more a part of the community as they learn, generatively, and in turn help other individuals in the community to learn, and affect change in the space and the practice itself. While individuals soon begin to take in and embody what they are learning, they also reciprocally challenge the relative experts, through their own music making and new questions or concerns. Through these processes, each individual in the community continues to perpetually learn and grow in the practice. This reciprocity can bring the parts of the learners together into whole knowers, and form individuals into a community of practice. Perhaps this model could come to inform or question some of the methods of teaching and learning we use commonly in our schools, thereby improving instruction.
In conclusion, the aim of this project was to explore the process of learning through the act of music making within the informal setting of a community, taking as a case of study the Byzantine chant learning group which meets at Holy Spirit Greek Orthodox Church. By examining the process through which individuals share music knowledge and learn together in an informal group in order to question how the process of learning within sociocultural communities is practiced, I was able to explore the phenomena of echo and embodiment as they occur during music learning within an informal, sociocultural context. These two recurring themes are perceived by group members as crucial to the process of learning to chant Byzantine music, though individuals describe them in different ways. Teaching chant in this setting is not to learn how to chant from a method book or other formal text, but rather a process of individuals learning by gathering together a series of tools and skills that when used together allow them to comprehend and perform the act of chanting Byzantine music. It is a way of feeling and living the chant, because each person chants by echoing, repeating a sound and making it their own, and learning by approaching the music through the senses, making mistakes, performing many repetitions, and via camaraderie.
I hope to extend my study in the future, looking at these concepts in other music making groups (both within Greek Orthodox communities as well as within other institutions of music learning including a collegiate music studio) in order to look more specifically at how in informal processes of learning music, knowledge seems to float within the situated learning space, as does music, between individuals who function variably as both experts and learners within situated communities of practice. Perhaps with ongoing research, the process of learning within sociocultural contexts, situated in communities of practice could come to provide theoretical learning alternatives which could empower more and different approaches to music learning. In this way, music education classrooms can truly become a spaces which are inclusive of ever more individuals and bridge many more different communities. If music teachers come to approach teaching and learning music from a place of socially situated embodiment, students' social lives, understandings, and bodies will not be discounted, but come to be seen as a place of knowing integral to the learning process. And, by considering the concept of echo as equally relevant to the place of reading and performing notation in the music classroom, music comes to be taught as a living, oral, and changing practice.
Rachel Brashier is a PhD student in music education at the Eastman School of Music, University of Rochester, NY. She holds master's degrees in ethnomusicology (Eastman, 2014) and music history (Southern Illinois University, 2012), as well as a bachelor of music, with a double major in vocal performance and music education (Eastern Illinois University, 1999). In addition to being a full-time K-12 music teacher in the Chicagoland area for over a decade, and performing as a choral contralto, Rachel also is a trained Byzantine chanter in the Greek Orthodox Church of America. She currently serves as a teaching assistant for choral and general music methods classes and supervises student teachers at Eastman, and teaches music in the Webster, NY public schools. Her research interests center on movement and embodied music making in communities of practice and informal learning groups, both inside and outside of learning institutions.
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Rogoff, Barbara. 2014. Learning by observing and pitchin' to family and community endeavors: An orientation. Human Development 57 (2–3): 69–81.
Seeger, Anthony. 1987. Why Suyá sing? New York: Cambridge University Press.
Sugarman, Jane. 1997. Engendering song: Singing and subjectivity at Prespa Albanian weddings. Chicago: University of Chicago Press.
Tomasello, Michael. 2003. Constructing language: A usage-based theory of language acquisition. Cambridge: Harvard University Press.
Turino, Thomas. 2008. Music as social life. Chicago: University of Chicago Press.
Vygotsky, Lev. 1978. Mind in society: The development of higher psychological processes. edited by Michael Cole, Vera John-Steiner, Sylvia Scribner, and Ellen Souberman. Cambridge: Harvard University Press.
———. 1987. The collected works of L. S. Vygotsky, Volume 1: Problems of general psychology, edited by Robert Reiber and Aaron Carton. New York: Plenum Press.
Weiss, Heather. 2005. Beyond the classroom: Complementary learning to improve achievement outcomes. The evaluation exchange: A periodical on emerging strategies in evaluating child and family services, Volume XI.
Widdess, Richard. 2006. Musical structure, performance and meaning. Ethnomusicology Forum 15 (2): 179–213.
Winegar, Lucien. 1997. Can internalization be more than a magical phrase?: Notes toward the constructive negotiation of this process. In Sociogenetic perspectives on internalization, edited by Cindy Lightfoot and Brian Cox. Mahwah, NJ: Lawrence Erlbaum Associates.
Yaroshevsky, Mikhail. 1989. Lev Vygotsky. Moscow: Progress Publishers.


text:
Kyrgyzstan Legal Aid News ••• Topics • Kyrgyzstan Media Directory • Events
Kyrgyzstan Legal Aid News Monitoring Service
Kyrgyzstan completes decade of free legal aid to population
Bishkek, Nov.28, 2019. /Kabar/. A decade of free legal aid to the population has been completed in Kyrgyzstan, Director of the Center for Coordination of State-Guaranteed Legal Aid under the Ministry of Justice Akzhol Kalbekov said during the press …
Source: Kabar
Residents of new settlements in Bishkek receive free legal aid
Bishkek, Oct.31, 2019. /Kabar/. Bus of Solidarity campaign took place in Bishkek on Oct. 24-26 within the framework of the Promotion of Social and Gender Equality to Prevent Conflicts in New Settlements project, Director of the Center for …
CIS CMJ familiarize with work of Kyrgyz Justice Ministry on switching of public services into e-format
Bishkek, Nov.28, 2019 /Kabar/. State Secretary of the Ministry of Justice of Kyrgyzstan Ulugbek Kalenderov on Nov. 26- 27, 2019 took part in the 14th meeting of the Council of Ministers of Justice of the Commonwealth of Independent States( CIS CMJ …
Group of lawyers to render free legal assistance to Kyrgyzstanis throughout the country
Bishkek, June 25, 2019. /Kabar/. A group of lawyers will render free legal assistance to Kyrgyzstanis throughout the country, Jyldyz Ryskulova, the Deputy Director of the Centre for Coordination of State Guaranteed Legal Aid (SGLA) under the …
Finland's Foreign Ministry falls for €400K email scam. Money was intended for Kyrgyzstan
Scammers are suspected of duping the Finnish Foreign Ministry into handing over some 400,000 euros in development funds last February, according to the National Bureau of Investigation,Yle reported. Detective Chief Inspector Antti Perälä said the agency is …
Justice minister gives keynote at Int'l Forum on Legal Services in SCO area in China
Bishkek, Sept.27, 2019. /Kabar/. On Sept. 25-26 Kyrgyzstan's Minister of Justice Marat Dzhamankulov took part in the International Forum on Legal Services in SCO area, held in Shanghai, China, the press service of the Justice Ministry reported. The …
Decade of Legal Assistance takes place in Kyrgyzstan
Bishkek, Dec. 11, 2018. /Kabar/. A Decade of Legal Assistance to the Population, held by the Center for the Coordination of State-Guaranteed Legal Assistance under the Ministry of Justice of the Kyrgyz Republic, took place in Kyrgyzstan from …
Minister of Justice of Kyrgyzstan and director of USAID mission discuss ongoing projects in Kyrgyzstan
Bishkek, Nov. 21, 2018. / Kabar /. Minister of Justice of the Kyrgyz Republic Marat Zhamankulov met with representatives of the USAID mission in the Kyrgyz Republic headed by its director Gary Linden. The press service of the Ministry of Justice of …
Lawyers on wheels: 'Solidarity bus' represents Kyrgyzstan's landless women
Ainura Ibraimjanova, a state lawyer, poses for a portrait in front of her office at Free Legal Aid Centre in Gul'cha City, Alai Region, South-western Kyrgyzstan October 15, 2018. — Pictures by Thomson Reuters FoundationKARA-KULJA (Kyrgyzstan), Dec 10 — In …
Source: Malay Mail
FEATURE-Lawyers on wheels: 'solidarity bus' represents Kyrgyzstan's landless women
KARA-KULJA, Kyrgyzstan, Dec 10 (Thomson Reuters Foundation) - In a cold, sparsely lit Soviet-era room, sitting close to the heater, Ainura Ibraimjanova taps at her computer. In this rural district in southern Kyrgyzstan, she is the only lawyer providing …
Human rights: video materials created for deaf and hearing impaired in Kyrgyzstan
Bishkek, Sept. 24, 2018. /Kabar/. For the first time in Kyrgyzstan, educational videos for the deaf and hearing impaired have been created under the title "Azbuka prava" (Russian: Азбука права, lit.: the ABC of Law). Texts of laws and codes …
EU and UNICEF unify efforts to protect children affected by migration in Kyrgyzstan
Bishkek, July 5, 2018. / Kabar /. The European Union and UNICEF launch a new programme to protect children affected by migration in countries across Southeast, South and Central Asia, including Kyrgyzstan. Over the next three years, the …
EU and UNICEF to jointly protect children affected by migration in Kyrgyzstan
BISHKEK (TCA) — The European Union and UNICEF launch a new programme to protect children affected by migration in countries across Southeast, South and Central Asia, including Kyrgyzstan, the Delegation of the European Union to the Kyrgyz Republic said on …
Source: Times of Central Asia
Child-friendly courtrooms opened in Kyrgyzstan
Bishkek, Dec. 5, 2017 / Kabar /. Today the City Department of Internal Affairs and the City Court in Karakol opened child-friendly facilities for children in contact with the law implementing the State Programme on Justice for Children (2014-2018). …
Upgraded interactive map of legal services now available for Kyrgyzstan citizens
BISHKEK (TCA) — The Ministry of Justice of the Kyrgyz Republic, with the support of the USAID Collaborative Governance Program, has completed the upgrade of the interactive map of legal service providers at www.legalmap.gov.kg and is officially announcing …
HRW Letter to President of Kyrgyzstan Sooronbai Jeenbekov
December 20, 2017 Sooronbai Jeenbekov President Kyrgyzstan Dear President Sooronbai Jeenbekov, On behalf of Human Rights Watch, please accept my regards. As you may know, Human Rights Watch is an international nongovernmental organization working in …
Source: Human Rights Watch
'We Were Treated Like Dirt': A Visa Program Exploits Student Workers
Students in the State Department's Summer Work Travel program protest the conditions at a Hershey packing plant in Pennsylvania in 2011. (AP Photo / John C. Whitehead) Thank you for signing up. For more from The Nation, check out our latest issue. …
Source: The Nation
Myanmar: Trafficked: Three survivors of human trafficking share their stories
This story was originally published on Medium.com/@UN_Women Across the world, millions of women and girls live in the long shadows of human trafficking. Whether ensnared by force, coercion, or deception, they live in limbo, in fear, in pain. Because …
Source: Relief Web
Kyrgyzstan: New Domestic Violence Law
President Almazbek Atambayev of Kyrgyzstan took an important step toward curbing violence against women when he signed a new domestic violence law and accompanying legislation on April 27, 2017, Human Rights Watch said today. The law, which replaces a 2003 …
Kyrgyzstan Legal Aid News Topics
Kyrgyzstan Media Directory
Search within "Kyrgyzstan Legal Aid News" only Search all articles

redpajama_set_name: RedPajamaCommonCrawl


This report provides an overview of the potential for IWM in cities from the big-picture framework down to examples of tools used by cities on the ground.
Cities should include local food as part of their economic development efforts, and this paper will help them do that.
Local governments have the opportunity to create healthy futures by divesting their funds – general, retirement, utility, pension, etc. – from fossil fuel companies.
This report's goal is to arm progressive local elected leaders and advocates with a range of effective policies that, if adopted, would make a significant difference in getting on that high road. They will be able to use better democratic organization to add value, reduce waste, and capture and share locally the great benefits of doing both.
This report offers guidance in balancing stakeholder interests and implementing rational approaches to parking policy.
In one of the best english-language explorations on Quebec's incredible Social Economy movement, Nancy Neamtan, President-Executive Director of the Chantier de l'économie sociale, provides the keynote address to the assembly of participants of the 2014 Manitoba CD/CED Gathering in Winnipeg and answers the question: 'What have we learned and what can we build on in advancing the social economy across Canada?' In this address Nancy covers the history of the social economy in Québec, it's challenges and successes, and what we can learn from this experience.
In this New Economy Week 2015 article, leaders from the New Economy Project share the origins and strategies of the New York City Community Land Initiative, a powerful coalition using every tactic at their disposal (including board games!) to expand affordable housing in NYC through community land trusts.


text:
News Monday, JANUARY 18th, 1999
Hello and welcome to Radio Prague. I'm Vladimir Tax and here's the news. First the headlines.
These are the main points and now the news in more detail.
Havel meets Klaus to talk about masonry
President Vaclav Havel is having lunch with lower house speaker Vaclav Klaus at Prague Castle to discuss the current problems of the country. The meeting was initiated by Vaclav Klaus as a reaction to president Havel's New Year's message in which he called for the breaking down of the barriers and walls between ordinary people, ethnic groups and politicians.
Shadow finmin expects budget deficit to double
Shadow finance minister Vlastimil Tlusty for the Civic Democratic Party has sharply criticized the freshly-passed state budget for this year. In his opinion, the budget is very bad and he predicts that it will end with a deficit of as much as 50 billion crowns, as compared to 31 billion planed by the cabinet. Deputy speaker of the lower house, Social Democrat Stanislav Gross reacted by saying that a deficit budget was the only option in the current economic situation. He stressed that the government will do its best to keep the budget deficit within the set limits.
Maticni residents ask govt to buy out their houses
Residents of Maticni Street in the town of Usti nad Labem have asked the Czech government to buy out their houses. The local council intended to build a wall encompassing several blocks of flats in Maticni street inhabited mainly by Romanies. The council claimed the Roma residents were untidy and noisy, which extremely annoyed the other citizens. The plan was stronly attacked by both Czech and foreign authorities and human rigths organizations. Government decided last Monday to prevent the erection of such a wall. The owners of the houses on the other side of the street argue that they have the right to live in a clean and safe neighbourhood, and insist that if the government is not willing to do anything about the situation in their street, it should buy their houses to enable them to move to another location.
Telecom contract to be disclosed?
Representatives of the Czech transport ministry and Czech Telecom's strategic partner, the TelSource consortium, have expressed their willingness to disclose the details of a contract concluded by the former cabinet of premier Klaus and TelSource. The Dutch-Swiss consortuim owns a 27-percent stake in Czech telecommunications monopoly SPT Telecom. TelSource representative Bessel Kok said it would be desirable to make the contract public if this could stop the wide-spread speculations about corruption connected with the selection of a strategic partner for Telecom. Czech transport minister Antonin Peltram said he was for disclosing the contract as soon as possible, but without the addenda which contain Telecom's strategic plans.
Loprais wins Granada-Dakar rally
Czech Karel Loprais, driving a Tatra truck, has won the Granada- Dakar rally. This is his 5th victory of the prestigious rally in his carrier.
Cyprus foreign minister in Prague
Cyprian foreign minister Yannakis Kasoulidis has arrived in the Czech Republic for a four-day official visit. Kasoulidis is the first Cypriot government official to visit the Czech Republic. His agenda includes talks on mutual relations between the two countries, and the enlargement of the European Union. He will also inform his Czech counterparts about the latest developments in Cyprus which has been divided into two parts since 1974. The Cypriot minister is expected to meet with Czech President Vaclav Havel, Foreign Minister Jan Kavan and the chairmen of both houses of parliament.
BBC denies plans to cut Czech service
The British Broadcasting Corporation (BBC) denied on Sunday it was planning to make large cuts in the World Service and said it was still in discussion with the government about its future format. The denial followed a lengthy report in The Observer newspaper that the BBC had finalised plans for major cutbacks in the broadcast service, including the closure of its Czech and German operations.
Czech weather report
And finally, the weather. We are expecting a mostly clear day with afternoon highs ranging from 3 to 7 degrees Celsius.
And that's the end of the news.


One of the best new features that were introduced on the Galaxy Note 7 was a new power saving mode that let the user change to a lower screen resolution in order to increase battery life. This feature is now available on Nougat on the Galaxy S7 and Galaxy S7 edge, but as we found out after manually updating one of our devices, the screen resolution could default to Full HD on its own after the update has been installed.
There's nothing to worry about: you can switch back to Quad HD resolution from the Settings » Display menu. The setting sticks after a reboot, so it's more like a minor annoyance than a permanent bug. Of course, some folks might not even notice the resolution has been lowered as the screen remains plenty sharp even at Full HD, but there's no point in using such a beautiful display at a lower-than-intended resolution, right?
Does anyone know the date of when at&t will be pushing out the update in the US???
Hola. Tengo una pregunta, si quiero instalar otra ROM a una S7 Edge, pierdo la señal LTE de mi teléfono? Mi teléfono seguirá funcionando en LTE así sea que la ROM sea de Reino Unido? Podré navegar en LTE por el después de cambiar a la ROM de Reino Unido?
When will uk network provided phones get the update? I spoke to 3 this morning and they said they've got nothing to do with it as comes straight from Samsung?? Any ideas?
Nope! And if you bought your s5 at a carrier, good luck finding a ROM to install. I wish Samsung and other Android manufacturers would provide more updates.
When will the update arrive in the middle east?
A little patient. Next week or weekend will start many countrys roll out.
When in middle east saidi arabia?
When will arrive 7.0 in romania?
They already did battery tests on the Note7 for the difference between a 1080p resolution and a Quad HD resolution and the difference in battery life is minimal, barely a few minutes between them, if you really are in need of power saving, just use Ultra, or if you do not need data connection just turn WiFi and cellular data off along with GPS and Bluetooth.
What battery test? If it's a video playback test, then it doesn't count… Because video decoding is done through hardware fixed-function blocks on the SoC, not the CPU or GPU.
You'll see tremendous battery improvements in almost all day to day tasks, especially browsing, when you lower the resolution. I know because I've been trying this since Android 6.0.1 using Samsung's Game Tuner app. Now it's system wide, which is MUCH better.
Most tech channels on YouTube did battery tests comparing screen resolutions in day to day usage and the screen on time was minimal differences. yeah, its better, but not by a great deal. Hopefully in the S8 they'll have an adaptive mode that will use a lower resolution when browsing the internet and interface but automatically boost up to a higher resolution when gaming or consuming media content. I can imagine it being tedious constantly changing resolution to get the optimal quality for whatever it is you are doing on your phone.
Glad nougat is finally here for s7. Yahoo!


text:
Anti-Semitic Vandalism in Brooklyn Sparks Community Outrage
$56,000 Reward Offered for Information Leading to Arrest & Conviction of Arsonists
On Sunday, over 100 residents of the Midwood section of Brooklyn, NY, along with elected officials, staged a peaceful protest march on Ocean Parkway past the four public benches from which 16 swastikas had been removed after a pre-dawn anti-Semitic attack Friday.
Carrying an Israeli flag, the marchers were led by Mr. Hikind, State Senator Eric Adams, Rabbi Chaim Gruber, New York City Public Advocate Bill de Blasio, civil rights lawyer Norman Siegel and other community leaders.
"There was a time when vandals used magic markers to express hate; now they're using gasoline," Adams said.
He was referring to the incident that occurred n the early morning hours of Friday November 11, when vandals set fire to several parked cars and scrawled anti-Semitic graffiti on nearby benches in the predominantly a heavily Jewish neighborhood of Midwood in what the police said was a hate crime.
The arson took place along Ocean Parkway between Avenue I and Avenue J in what is commonly referred to as the Flatbush section where three cars; a BMW, a Lexus and a Jaguar, were set ablaze. In addition, the epithet "KKK" was scrawled on the side of a red van and swastikas and anti-Semitic slurs were found on benches. This area of Brooklyn, including Midwood and Borough Park, contains one of the largest concentrations of Holocaust survivors outside of Israel.
"The violence – I'm calling it violence when you blow up three cars – adds a sickening dimension to this type of anti-Semitism," said Assemblyman Dov Hikind, who lives two blocks away and represents the 48th assembly district. He said he regularly walked past the benches with his 90-year-old mother to Sabbath services. "We walk down Ocean Parkway every single week," Hikind said. "All I could think about was my mother sitting on a bench with a swastika. She survived Auschwitz."
"This kind of hateful act has no place in the freest city in the freest country in the world," NY Mayor Michael R. Bloomberg said in a statement in response to the incident.
Soon after the incident, Assemblyman David Greenfield offered an award of $1,000 for "credible information leading to the arrest and conviction" of the Ocean Parkway arsonist(s). Since then, the reward has skyrocketed, with various community leaders wishing to aid in the apprehension of the Jew-hating miscreants behind last Friday's mayhem. New York State Senator Marty Golden has offered a thousand dollars. The ADL has chipped in $4,000. An anonymous donor in Brooklyn's Jewish community has, through the Jewish Voice, offered an additional $25,000 of his own money. And the Chairman of the New York Republican State Committee, Ed Cox, has announced through the office of Assemblyman Hikind that yet another anonymous donor has offered an additional $25,000, bringing the total to $56,000 as of the time this article is being published.
"Somebody had to have seen something," remarked Hikind. "Even the tiniest detail that may seem irrelevant could prove to be a vital piece of information to the investigation."
As of Tuesday night, the NYPD Hate Crimes Task Force, which is investigating, had made no arrests. Brooklyn District Attorney Charles Hynes said dozens of empty beer bottles were found at the scene. He said they would be tested for fingerprints and DNA samples. Police in the 66th Precinct bolstered patrols in the neighborhood; especially near the scene of the attack.
In other news, the police said Friday that they had arrested Franco Rodriguez, 40, suspected of scrawling swastikas in on the doors of several local libraries and a Catholic church last week in Jackson Heights, Queens.
U.S. Senator Charles Schumer condemned the vandalism. "It's disgraceful and they should throw the book at the people who did it," Schumer said. "Sometimes vandals think they're pranks, sometimes they're more malicious than that. Either way they cause great harm."
Protesters noted the attack occurred one day after the 73rd anniversary of Kristallnacht in Nazi Germany on Nov. 9-10, 1938, when synagogues were set on fire and the windows of Jewish-owned shops were broken.
Sunday's march also included about 25 people from the Occupy Wall Street movement in Manhattan, which put out a statement condemning the vandalism. The mix of people who showed up for the march "shows that we stand together against hatred. And it makes residents here feel better," Hikind said.
The NYPD has established special hotlines for tips. Anyone with information concerning Friday's incident is urged to call 718-265-7327 or 718-265-7387. All calls will be kept confidential.


I reviewed an article and submitted my review along with a short letter to the editor. As a service the journal permits to see the decision letter and the other review. However, I am also able to see the other reviewers' letter to the editor, which is signed with a name. My own short letter to the editor I did not sign with my name.
Is this supposed to be? If not, should I do anything in particular if I do find out by accident?
Knowing the other reviewers' identity during the reviewing process.
Knowing the other reviewers' identity after the reviewing process.
Edit: I might add that the policy of the journal is not a double-blind: the full list of authors and affiliations of the manuscript were purposefully disclosed to the reviewers.
No, its not normal to know who the other reviewers are if the journal has a double-blind review policy ( my background is Engineering disciplines, might be different in other fields).
Knowing the other reviewers' identity during the reviewing process? NO, not normal.
Knowing the other reviewers' identity after the reviewing process? NO, not normal.
Knowing whether the editor accepted or reject the paper? NO (a very good practice as I have learned).
Generally, reviewers are not supposed to learn the identity of other reviewers for the same submission. As mentioned in the comment by David Ketcheson, this looks like an error from the journal's side. It could also be the other reviewer's error, if he typed his letter to the editor into the wrong field - but the journal should have checked this before letting other reviewers see it.
In general, I never heard of reviewer names or their letters to the editor being revealed to another reviewer for the same submission. In my field, the letter to the editor is often described as "Confidential comments to the editor", and I always interpreted this as only the editor being allowed to see these comments. It is common though in many publication venues that as a reviewer, you get to see the other reviews for the same submission - but always after you submit your review and surely without the reviewers' names being shown.
There is no good answer to that, and that's once again an example where the answer is discipline-specific. Many disciplines insist on double-blind review: the reviewer does not know who the author is, and the author does not know who the referees are. (Of course, in most specific enough topics, you hit a circle of about ten people who understand a given topic, and you kinda figure out whose paper it is even without googling it; likewise, you can often figure out the reviewers from their suggestion to cite their work.) Some disciplines, or some journals, just send you the original submission with the author's name on it. Some journals disclose the names of the referees after the paper is accepted, but they would warn you of that. Most journals would publish a thank-you list of all the referees in the past year in the last issue of the year.
Now, some interesting twists. I had a referee from a math department contact me directly with his opinion on my paper that was submitted to a psychology journal. Now, psychology is very tight-lipped, and it was on a boundary of a scandal for the journal. But this seemed to be the standard and natural practice in the home field of the referee. Moreover, on some mathematicians CVs, I have seen not only the papers authored, but also the papers reviewed, so it's the opposite of double-blind.
There is normally no process to inform reviewers of their respective reports. Some journals may relate back the editor verdict based on the reviewers comments to the reviewers but not even that is commonplace. In journals with an open discussion format (see e.g. Copernicus' journals), reviewers may become aware of each other and certainly raed each others reviews after they have been posted. But, as long as reviewers are allowed to be anonymous, it is unlikely that journals will adopt such an exchange. It does not appear as if electronic submission systems have such structures built in (not the ones I have been involved with). To keep reviewers unknown to each other and keep their review reports "sectret" until the review is done is of course sound since it ensures independent reviews.
Are reviewers allowed to discuss their review with each other?
Does the second round of reviewing process typically take a longer time than first round?
Who assigns paper to reviewers for a conference and what are the challenges?


text:
Buy Nike Air Force 1 High
Home Forums Share Share Leads & Referrals Buy Nike Air Force 1 High
fanpee
Tisci's latest work with Nike consists of two colorways of the Nike Air Force 1 High for Men and Women as he infuses his signature style in the large star embroidery with sporty detailing in the ribboned ankle strap. What exemplifies his love for hoops is the custom logo at the toe-box inspired by the iconic NBA logo. The two AF1s are part of a larger collection inspired by a fictional basketball team called the Minotaurs; Tisci went ahead and created custom logos and emblems for this imaginary squad, who he describes as a reflection of today's superhuman basketball stars.
Always overshadowed by the Nike Air Force 1 High Sneakers, the Nike Vandal is a sneaker that can be accurately described as a "cult-classic". Underrated by the masses—and perhaps a bit neglected by Nike themselves—its fans are always happy to see its rare appearances back on the market.
Nike continues their flow of sneakers with official NBA logos with a pair of colorways for the Purchase Nike Air Force 1 High that also add another basketball-related detail: terry cloth material on the ankle straps to mimic the look of headbands. Similar to the pack of Air Force 1 Lows in team colorways from around the NBA, the Air Force 1 High receives a full-grain leather upper with NBA logo tabs on the heels. The straps then feature semi-fuzzy Nike logos wrapping around the ankle.
Those who stayed home this weekend and watched Complex Con unfold through Instagram Stories are feeling a heavy case of FOMO right about now. Nike Air Force 1 High on Sale Among all the incredible shoe releases that occurred throughout the weekend, this Air Force 1 High revival by Stash and Nike Sportswear might've been one of the biggest prizes of the event. These were exclusively dropped at Complex Con through Nike SNKRS Stash (a likely planned coincidence).
Originally releasing in 2003 in limited quantities, the Stash x Buy Nike Air Force 1 High feature the iconic print on the toe and heel panels of the shoe. Nike release a slightly altered version of these in 2007 as pair of the Air Force 1 25th Anniversary celebration. This third overall re-release of the Nozzle Cap Air Force 1 shifts aways from the grey/white colorway and opts for a full white, while the signature blue hue on Stash's tag appears on the sole.
http://www.reactsnkr.com


text:
Q: Joystick Android Client Control Arduino In my Android Client App I'm trying to send virtual joystick coordinates over socket from client(Android) to a server(Arduino).I'm Tray Codding a thread 't' in main activity containing a socket 's', to send x,y Coordinate to  arduino Server.
the JoystickView Class give me 'x' and 'y' when I move the joystick.
this will be done after user Click  Connect button,
'x' is from 0 to 255, also 'y' but to be able to know witch value is 'x' and witch is 'y' in arduino side, I added 255 to y so y will be from 255 to 510.
virtual joy stick provide me with 'x','y' Coordinate Stored in public variables 'xxx' and 'yyy'.
Linked a Connect Button with thread 't, Created I socket 's' to send 'x','y' to server.
**my Question: can my Code works with the Arduino and Can I get x,y in Arduino Side ?, also I couldn't put thread 't' in "public void onClick(View v)" function. its the second problem :( **
package com.ravensoft.daniel.joysticktest;
import java.io.IOException;
import java.net.InetSocketAddress;
import java.net.Socket;
import java.net.UnknownHostException;
import android.app.Activity;
import android.os.AsyncTask;
import android.os.Bundle;
import android.view.View;
import android.widget.Button;
import android.support.v7.app.AppCompatActivity;
import android.os.Bundle;
import android.util.Log;
import android.view.View;
import android.widget.Button;
import android.widget.EditText;
import android.widget.TextView;

import java.io.DataOutputStream;

public class MainActivity extends AppCompatActivity implements
JoystickView.JoystickListener{
TextView x;
TextView y;

 public float xxx=0;//bublic var will Contain x value from virtual
 joystick
 public float yyy=0;//bublic var  will Contain x value from virtual
 joystick
    EditText txt_IP;//arduino ip
    EditText txt_PORT;//arduino port
    private volatile Socket socket = null;
    private boolean connectionOk = false;
    private Button buttonDisconnect; //button for disconnect connection
    private Button buttonConnect;

    @Override
    protected void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);
        JoystickView joystick = new JoystickView(this);
        setContentView(R.layout.activity_main);
        buttonConnect = findViewById(R.id.buttonConnect);
        buttonDisconnect = findViewById(R.id.buttonDisconnect);
        JoystickView joystic =findViewById(R.id.joystick);
        txt_IP=(EditText)findViewById(R.id.editText_IP);
        txt_PORT=(EditText)findViewById(R.id.editText_PORT);

        buttonConnect.setOnClickListener(new Button.OnClickListener() {

            @Override
            public void onClick(View v) {

            }
        });

        buttonDisconnect.setEnabled(false);
        buttonConnect.setEnabled(true);
    }
        Thread t=new Thread(new Runnable() {
             @Override
             public void run() {
                 try {
                     Socket s = new Socket(txt_IP.getText().toString(),Integer.parseInt(txt_PORT.getText().toString() ));
                     s.connect(new InetSocketAddress(txt_IP.getText().toString(), Integer.parseInt(txt_PORT.getText().toString() )), 50);
                     if(s == null)System.out.println("SOCKET NULL");
                     DataOutputStream DataOut = new DataOutputStream(s.getOutputStream());

                     String message=  Float.toString(xxx+256);
                     byte[] msgBuffer=message.getBytes();
                     String message2=  Float.toString(yyy);
                     byte[] msgBuffer2=message2.getBytes();

                    try {
                        DataOut.write(msgBuffer);

                        DataOut.write(msgBuffer2);
                    }catch (IOException e){

                    }
                      DataOut.flush();

                     s.close();

                 } catch (IOException e) {
                     e.printStackTrace();
                 }

             }
         });

    @Override
    public void onJoystickMoved( float xPercent, float yPercent) {

        x = (TextView) findViewById(R.id.x_value);
        x.setText(Float.toString(xPercent));

        y = (TextView) findViewById(R.id.y);
        y.setText(Float.toString(-yPercent));

        xxx=xPercent;
        yyy=yPercent;
            Log.d("Right Joystick", "X percent: " + xPercent + " Y percent: " + yPercent);

    }}

redpajama_set_name: RedPajamaStackExchange


text:
Evans v. United States - Oral Argument - December 09, 1991
Evans v. United States
Media for Evans v. United States
Opinion Announcement - May 26, 1992
Oral Argument - December 09, 1991
Audio Transcription for Opinion Announcement - May 26, 1992 in Evans v. United States
Audio Transcription for Oral Argument - December 09, 1991 in Evans v. United States
We'll hear argument now in No. 90-6105, John H. Evans, Jr. v. United States.
Mr. Abbott.
C. Michael Abbott:
Mr. Chief Justice, and may it please the Court:
The two issues presented in the case of Evans v. the United States have to do with first, under the Hobbs Act, title 18, United States Code, section 1951 (b)(2), whether an affirmative act of inducement by a public official such as a demand or threat has to be shown by the Government in an extortion case under color of official right.
The second issue presented is whether, in the absence of that Hobbs Act conviction, should we be successful here, the petitioner was properly convicted for making a false statement on his income tax return when he failed to report a $7,000 payment given by an FBI undercover agent.
Byron R. White:
What about if the conviction is valid?
Then we are out of luck on count two, Your Honor.
The petitioner was convicted on one count of extortion, one count of false statement that was affirmed by the Eleventh Circuit Court of Appeals in September of 1990.
Briefly, in summarizing the facts, in March of 1985 the FBI began an undercover investigation of John Evans that was to continue for approximately 31 months.
They were investigating allegations that there was public corruption in zoning matters.
The agent, the FBI agent, posed as a land developer who was new to the Atlanta area.
They first met with Evans in March of 1985.
That meeting essentially was one in which they indicated they would be meeting with governmental bodies.
Evans indicated that he would be glad to assist them if he were able to, and he made no attempt to recontact them after that meeting.
They met again in August of 1985 and the scenario is much the same except that that particular meeting was videotaped.
The focus of the investigation began or it began to heat up in May of 1986, because at that time Evans was running for reelection as a commissioner of DeKalb County, Georgia.
And if elected, it would be his second term.
There were two contributions made during the course of the investigation.
In May of 1986, in a meeting with the undercover agent and some associates, Evans was asked if in fact he needed any expenses.
There had been previous talk of campaign... of his reelection campaign, and he took the reference to mean campaign expenses.
He indicated that he needed expenses... or a campaign contribution for a precinct mailing.
They gave him $300.
He reported the contribution.
He sent a thank-you note.
He made no attempt to recontact the agents, and in fact, he spent approximately $300 that month for his precinct mailing.
He was not charged for that particular event.
The focus of this particular case concerns the events of July 23rd, 24th, and 25th, 1986.
There was another meeting on July 8th prior to that in which a specific parcel of land was identified by the undercover agent as one they were interested in rezoning.
← United States v. Felix
Immigration and Naturalization Service v. Elias-Zacarias →


text:
No crackdown on mining
Despite years of alleged abuses by Canadian mining companies operating abroad, Trade Minister Stockwell Day says there's no need to compel multinationals to live up to high environmental and human rights standards.
By Les WhittingtonOttawa Bureau
OTTAWA–Despite years of alleged abuses by Canadian mining companies operating abroad, Trade Minister Stockwell Day says there's no need to compel multinationals to live up to high environmental and human rights standards.
At a news conference, Day brushed aside the long litany of allegations of wrongdoing against Canadian extractive firms in the developing world, saying most multinational mining operations help foreign communities where they do business.
Partly as a result of a series of articles recently published in the Toronto Star, the federal government is under mounting pressure to take action to deal with alleged abuses by mining firms in the developing world.
But Prime Minister Stephen Harper's government hopes to accomplish this through voluntary guidelines and assistance programs for the industry.
On Wednesday, Day announced the latest of these initiatives.
Under the umbrella of promoting corporate social responsibility, the government set up a $20 million fund to help companies develop economically and socially acceptable projects abroad and launched a website with information on the topic.
But critics say the voluntary programs are half-measures that do little to ensure mining companies operating overseas are held accountable for their activities.
"It's a useful effort but it's wholly insufficient to deal with the scope of the problem," said Jamie Kneen, communications coordinator for MiningWatch Canada, which has been pressing for tighter controls on the extractive industry.
"We've seen, over and over again, that even when there are rules in place, there are companies that are willing to break the rules."
Liberal MP John McKay, who has brought forward private member's legislation to clamp down on mining abroad, said Day's announcement proves what industry critics have been saying all along – that "Canada has a serious corporate social responsibility problem.
"If we didn't have this problem," he said, "then we wouldn't need" the new website, which McKay called "Facebook for miners."
If passed, McKay's legislation, Bill C-300, would empower the government to investigate allegations against Canadian mining operations in the developing world.
While opposition parties generally support C-300, the Conservatives are adamantly opposed. The mining industry is fighting the legislation.
Day also said Canadian diplomats are helping Mexican authorities investigate the latest high-profile mining incident.
Anti-mining activist Mariano Abarca Roblero was shot and killed in November near the Guatemalan border.
Three people, all of whom had worked at one time for Calgary-based Blackfire Exploration Ltd., were arrested.
Blackfire has denied being connected with the death.


text:
Q: Zipping contents of a list file using DotNetZip library I have a .lst file that has the paths of various data that has to be zipped. The path may be a direct path to an executable or a path to a log file or may contain a wildcard like - c:\abc*.exe. How do I zip all of them into a single zip file? Thanks
DotNetZip Library is @:http://dotnetzip.codeplex.com/wikipage?title=CS-examples&referringTitle=Examples
Contents of .lst file :
c:\log\abc.log
c:\log\def.log
c:\ping*.bat
c:\ping*.exe
This is what I tried:
using (ZipFile zip = new ZipFile())
{
   StreamReader file = File.OpenText("C:\\pingman\\pingzipA.lst");
   string read = String.Empty;

   while ((read = file.ReadLine()) != null)
   {
      zip.AddSelectedFiles(read, true);
      zip.Save("c:\\update.zip");
   }

   file.Close();
}

A: Here is a link that has a TON of Examples take a look as use the examples to work for what you are trying to do.. there is even an example that uses Wild-Cards
DontNetZip Library Site with Examples

A: Try something like:
 while ((read = file.ReadLine()) != null)
 {
   if (read.Contains("*"))
   {
       zip.AddSelectedFiles(read, true);
   }
   else
   {
       zip.AddFile(read);
   }
 }
 zip.Save("c:\\update.zip");

A: Got it to work.
if (read.Contains("*"))
                    {
                        int i = read.IndexOf("*");
                        string path = read.Substring(0, i--);
                        string doc = read.Substring(i+1);
                        zip.AddSelectedFiles(doc, @path, true);
                    }
                    else
                    {
                        zip.AddFile(read);
                    }


Were I Godde I would live in despair and in hope.
I would be the possibility of  each new moment.
that I could never be caught.
and hate the name "God"
but I would dwell in every human groan.
by theology, religion or even prayer.
or contain Me-- my incomprehensible awful immensities.
far more verb than noun.
and the ecstasy of surrender.
in the bruised and lonely heart.
more in questioning than in righteousness.
to elevate itself by judging others.
Me to divide the human race, for every sectarian purpose.
I would luv (sic) transforming futility.


Mira Jewellery of Toronto uses the finest quality precious metals in order to assure that the appearance and longevity of pieces sold by us last a lifetime. The two major types of metals used in fine gemstone and diamond jewelry are platinum and gold. The precious metal settings, in our jewelry, are the equivalent to a beautiful frame or backdrop that is used to house a piece of art. In the case of jewellery, art is the design patterns and gemstone combinations that form the jewellery we carry. Below, we will give you a brief overview of each metal and its use in jewellery, especially as it pertains to Mira Jewellery of Toronto.
PLATINUM Platinum is an extremely rare metal that is characterized for being very strong and dense, yet supple enough to be reworked into any number of jewellery designs. This valuable metal's place in jewellery making traces back to ancient Egyptian times, and has experienced a noticeable resurgence in popularity of late, especially when it comes to engagement rings. Platinum is naturally white in color, and its natural luster acts as a beautiful setting for the brilliance and sparkle of diamonds.
In comparison to its white gold counterpart, platinum holds several advantages as a choice for jewellery, especially in the diamond engagement ring category. Platinum is a denser, stronger metal than white gold, which gives it a more substantial, weightier feel, while making it much more resilient to scratching. Also, because it is white in nature, platinum rings do not have to be rhodium plated to maintain its color. Lastly, platinum jewellery is made at least 80% pure, while gold jewellery can be as low as 58% pure gold- as is found in 14 karat gold. All the benefits of platinum also contribute to its one negative which is the high cost of this metal. Because platinum possesses many desirable characteristics from a jewellery standpoint, and is especially rare- found in only certain regions of the world- it is substantially more expensive than gold, making it impractical from an economic standpoint for some jewellery creations.
At Mira Jewellery of Toronto, platinum is regularly used in engagement ring settings and diamond wedding and eternity bands. We offer our clients the option to choose which precious metal they desire for their custom, hand-made, engagement ring settings. They can also opt for one of our many pre-set platinum engagement rings here or platinum engagement ring mountings.
At Mira Jewellery, our extensive fine fashion jewellery collection only has a handful of products that are set in platinum. In fact, our platinum jewellery collection consists of this diamond halo platinum stud earrings (far left) along with these dangling cushion cut diamond earrings (left) and this diamond necklace and diamond earring set (right), along with these two exquisite brooches (pictured to the bottom right). As a general rule of thumb, platinum is far more common in engagement and bridal jewellery, than with any other type of jewellery.
There is no right or wrong answer when it comes to selecting which precious metal to use for your diamond engagement ring or fine fashion jewellery. However, it is impossible to deny the exquisiteness and lifelong enjoyment that platinum jewellery brings its wearer.
GOLD Gold is a rare metal that is commonly used in fine jewellery creations for its attractive, bright finish. Its aversion to rusting or breaking down unlike other, less durable metals, makes it popular choice amongst fine jewellery retailers such as Mira Jewellery of Toronto. Gold is naturally soft and very malleable, meaning that it can be shaped into most any jewellery design. All these attributes contribute to the enduring, and seemingly always increasing, value of pure gold and gold jewellery. In terms of jewellery, gold is generally characterized according to its level of purity, and its color.
As a measure of purity, karat (abbreviated as "K") is used to measure how much actual gold content is in the metal of the jewelry.
24 karat gold is 100% pure gold meaning that it is 24 out of 24 parts gold. However, it is too soft to be used for most jewelry and is not practical for everyday wear. Therefore, gold is mixed with other alloys to make it more durable and secure for gemstone settings, while at the same time making it more cost effective.
18 karat gold is 75% pure gold (18 out of 24 parts) and is mixed with other alloys such as palladium, copper, zinc, nickel and silver in order to make it more stable especially when it comes to settings created for holding different types of gemstones in place. At Mira Jewellery, a majority of our fine fashion jewelry collection is formed out of 18 karat gold because of the richer, more golden appearance it gives off than lower karat gold. Because it is a softer surface than lower karat gold, it also polishes much easier.
14 karat gold is 58.3% pure gold (14 out of 24 parts gold) and contains a higher content of other metals than 18 karat gold, making it a stronger, less malleable metal. Mira Jewellery carries a line of 14 karat gold jewellery, which serves as a less expensive and close substitute to 18 karat gold.
Yellow is the natural color of this metal, and is often thought of as the most classic color for fine jewellery making. Yellow gold helps fuse the colors together in beautifully crafted gemstone jewelry such as this sapphire and diamond 18k yellow gold ring (pictured above right). Yellow gold can also act as a beautiful, contrasting setting for white diamonds as in this delicately crafted 18k yellow gold and diamond link bracelet. For our more exclusive designs, Lauren B Jewelry only uses 18 karat yellow gold because it undoubtedly richer, shinier tone than 14 karat yellow gold.
This metal has arguably become the most popular in the world of contemporary fashion jewelry. To create its white appearance, gold is alloyed with lesser white metals such as silver and palladium, and then coated with another white metal called Rhodium. The Rhodium is very similar to platinum in that it is extremely white and strong, however it needs to be maintained ("re-rhodiumed") every so often in order for the white gold to retain its appearance. Despite this need for constant care and being lighter in weight, white gold can be a very acceptable alternative to the far more expensive platinum. To the untrained eye, it is nearly impossible to detect any difference between white gold and platinum when it is used in jewelry. At Mira Jewellery, white gold is widely used in our diamond and engagement jewellery. White gold acts a stylish setting for bringing out the fire and brilliance of high quality diamonds found in our fine fashion jewelry collection and diamond engagement rings. Visit our Toronto showroom or conveniently shop our online collection of white gold jewelry.
This precious metal used for jewelry purposes is created by adding larger portions of copper (a reddish-orange metal) to the alloy mixture. Rose gold is a relatively new phenomenon in the jewelry industry, with its beginnings tracing back to just over a century ago. This metal has seen a noticeable spike in popularity of late because of its exotic yet elegant appeal to jewelry shoppers. At Mira Jewellery, we carry a full collection of rose gold rings, earrings, necklaces and bracelets adorned with an assortment of diamonds, pearls, precious and semi-precious gemstones (image: rose gold 1, rose gold 2). You can shop our online collection of rose gold jewelry here or we invite you to visit our Toronto store located in the world famous Diamond District.
This color metal is created by adding black Rhodium plating to the gold alloy. Blackened gold can create a beautiful setting for all gemstones- especially black and brown diamonds, colored semi-precious stones, and pearls. Mira Jewellery carries fine fashion jewellery mounted in blackened gold- such as this pearl, diamond and sapphire 18k blackened gold ring (image GSR-5399) and this stunning 18k blackened gold and semi-precious gemstone bangle bracelet. Black rhodium gold is also a popular choice in our engagement ring collection such as this marquise shaped ring and this sapphire and diamond combination.
Different combinations of rose, white, yellow and blackened gold in the same jewellery piece creates a bold yet fashionably elegant statement when done properly. The different shades of these gold metals when used together can be very alluring. This 18 karat rose, yellow and white gold diamond bracelet and 18 karat rose and white gold ring is one of many multi colored gold jewelry items sold at Mira Jewellery of Toronto City.
At Mira Jewellery, we pride ourselves on offering our customers a wide array of categories, styles, and colors of jewelry to choose from. Our salespeople are on hand to guide you through the buying process to ensure that you will end up with the type of jewelry that you will be satisfied with for years to come.


text:
Statistiche

Presenze e reti nei club
Statistiche aggiornate al 16 maggio 2021.

Cronologia presenze e reti in nazionale

Palmarès

Club

Competizioni nazionali

Vasco da Gama: 2009

Porto: 2010-2011

Porto: 2010-2011

Porto: 2010, 2011

Beşiktaş: 2020-2021

Beşiktaş: 2020-2021

Beşiktaş: 2021

Competizioni internazionali

Porto: 2010-2011

Note

Altri progetti

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


Harish Shankar Gets Emotional About Megastar Chiranjeevi At Tej I Love U Audio Launch....!
Subramanyam for Sale Audio Launch Live, Starring Sai Dharam Tej, Regina Cassandra in lead roles, Music composed by Mickey J Meyer. Stay tuned to Aditya Music for Subramanyam for Sale Songs, Subramanyam for Sale Trailers and More Videos, which also starring Rao Ramesh, Naga Babu, Kota Srinivasa Rao among others, Subramanyam for Sale Movie Directed By Harish Shankar, Produced By Dil Raju under the Banner Sri Venkateswara Creations. --------------------------------------------------------------------------------------------------------- Star Cast: Sai Dharam Tej, Regina Cassandra Director: Harish Shankar Music Director: Mickey J Meyer Producer: Dil Raju Banner: Sri Venkateswara Creations --------------------------------------------------------------------------------------------------------- Enjoy and stay connected with us!! ►Subscribe us on Youtube: http://bit.ly/adityamusic ►Like us: http://www.facebook.com/adityamusic ►Follow us: http://www.twitter.com/adityamusic ►Circle us: https://plus.google.com/+adityamusic SUBSCRIBE Aditya Music Channels for unlimited entertainment: ►For New Movies in HD: http://www.youtube.com/Adityamovies ►For Songs with Lyrics: https://www.youtube.com/AdityaMusicNM... ►For Devotional Songs: http://www.youtube.com/AdityaDevotional ►For Kids Educational: http://www.youtube.com/AdityaKids →"మా పాట మీ నోట" Telugu Lyrical Songs - http://bit.ly/1B2EcJG →Latest Tollywood Lyric Video Songs - http://bit.ly/1Km97mg →Ever Green Classics - https://goo.gl/1fZEDy →Popular Jukeboxes - https://goo.gl/LNvAIo →Telugu Songs with Lyrics - https://goo.gl/7ZmgWT © 2015 Aditya Music India Pvt. Ltd.


2017 Earth Day "Throw Down"
Make this your best Fundraiser while helping your Community and the Environment.
The 2017 Earth Day Event begins Monday April 17, 2017 and goes through Friday April 22, 2017.
The school can hold the event on one day or they can collect the clothing for the entire week. Our trucks will come to your location and pick up the items collected. Once the competition is completed we will tally up all the weights by school or organization. Each school or organization will receive a donation of $ .15/per pound for the clothing and shoes collected.
Everyone wins - Every school will receive money for the competition, the landfill has less textiles to process and the Charities of Hope Domestic Abuse and Homeless programs will benefit from the clothes collected.
The school or organization that collects the most will win an additional $ 150 prize.