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"Creativity is contagious. Pass it on."
You may be familiar with farm CSAs, but how about a CSA for art? Subscribe to local art. Only 20 shares left!Buy NowCSA Judges Jason Webley, Jonathan Keith and Brittney Williams mull over writing submissions.ShareTweetForward to Friend+1A special thank you to CSA's early supporters:
Brian & Linda Williams
Alex & Emily West
Risa Wolfe
Doug SorinCLICK HERE to see a short video of work by CSA's Featured Artists.
Dear CSA Supporters,As founder of Community Supported Arts, I see a deep need for a better support system for kick-starting creativity. It's my dream, passion and honor to empower creativity in others.
Buying a CSA Art Share is a fun way to sample carefully curated local artwork and support your local economy. It's also a lot more: CSA is a community of people supporting each other in passionately exploring their own unique styles of creative expression.
Why is empowering creativity important? Because good ideas change the world, and creativity drives good ideas. The more people who are supported in their creativity, the better the world will be.
As Picasso said, "Every child is an artist, the problem is staying an artist when you grow up." My mission is to support others in nurturing the creative spark that resides in us all so we remain artists and feel empowered to let our spark shine.
I invite and encourage you to join our creative community and support local emerging artists by becoming a founding supporter of CSA, by purchasing an Art Share, joining us for an Art Party or following us.
HeARTfully yours,
Brittney Williams, Director
Follow CSA on FacebookFollow CSA on TwitterHow Did We Choose Our Artists?
Last fall, we gathered together some of Seattle's most creative minds to review all the wonderful submissions. Our Judge Panel was comprised of several highly qualified local creatives. Read more...
A big thanks to our CSA Judges:
Alissa Mortenson of Nebunele Theatre
Jason Webley, Musician & Purveyor of Strange Whimsey
Jonathan Keith, Lawyer, Elections Administrator & Freelance Writer
Kate Vrijmoet, Seattle-Based Painter & Conceptual Artist
Tiberio Simone & Matt Freedman of La Figa Project
Susan Holland"The cycle of birth, growth, maturation, decline, death, and return to the soil as a source for new life is integral...
...to not only my art, but to my whole life. Life is an adventure, and each piece of art reflects that same phenomenon."
Susan is creating hand-carved shallow dishes shaped from the roots of a logged off area of Chinese Fir trees for CSA shareholders. Each one is a unique, handcrafted, functional work of art. Read more...
Shin Yu Pai"My new full-length poetry collection features new poems alongside over 15 photographic images."
Shin Yu Pai is the author of several books of poetry, including Adamantine, Works on Paper, Sightings: Selected Works, and Equivalence. Her work has appeared in publications throughout the U.S., Japan, China, Taiwan, The United Kingdom, and Canada. A former Writer in Residence for the Seattle Art Museum... Read more...Neva Welton"You'll find my images whimsical interpretations of life with an emphasis on color and composition."
All Neva's works begin with a photograph taken with a smartphone and transformed through several mobile editing apps, allowing for a marriage of intention, vision, and happy accidents. Read more...Siolo Thompson"It is my hope that these small works will bring joy to their recipients and remind them that the world is full of magic and that we are just one tiny part of it." Siolo recently co-authored The Better Bombshell, a book that draws from a creative and intellectual community to fill a glaring void in modern media: the lack of positive, multidimensional female role models.. In this brand-new anthology, writers and visual artists were asked a simple question: "Who is the better bombshell?" Read more...
Alycia Scott Zollinger"Performance is an offering. A ritual embodiment and empowered surrender...
...it is a place where I find aspects of raw humanity and venture to share the awe of these findings"
Alycia offers CSA shareholders Ovum Si'ahl, a site specific performance and photographic print capturing my physical birthing of the project in a selected environment within Seattle's reach. Read more...
Daniel Cautrell"My interest in the CSA is influenced by my own experiences with farmers markets, organic farmers, and local Tilth organizations in my own community."
Daniel's CSA project is a series of four individual woodblock images on the theme of Growth: Sow, Tend, Harvest, and Provide… Read More...Rae Diamond"The natural world is a huge source of musical inspiration for me......so I try to get out as much as possible. I've recently been working as a volunteer with Seward Park Audobon, planting a zillion native plants and removing blackberries."
Rae has also been busy in the recording studio, making a new album for Community Supported Arts. Check out one of her new songs here!
Jave Gakumei Yoshimoto"My work focuses on socially conscious and relevant issues of today......as well as talking about the state of the American culture through my lens of being a multi-ethnic Asian American."
As a Chinese-Japanese immigrant, Jave moved to California at the age of ten. He received his BA in Studio art at University of California Santa Barbara. After working with adolescents with developmental disabilities, Jave received his Masters in Art Therapy at the School of the Art Institute of Chicago... Read More...Michael B. Maine"I use photography, video, and audio to empower people to find, develop, and share their stories."
Michael recently put on two Pop-Up Art events for local artists to showcase and sell their work and talk with the community about their inspirations. His work for CSA features a limited edition social justice photography book. Read more... Click Here To Buy Your Art Share!"Art unifies."
-Susan Holland, CSA
Copyright © 2013 Community Supported Arts, All rights reserved.
www.communitysupportedarts.com


What's the trend this year? Simplicity. Bracelet bands- available in a wide variety of styles and colors and honestly, more comfortable than the elastic bands of the past. Dendrobium orchids as a boutonniere tend to lay more flat on the lapel than roses.


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← Book Review: The Ideas That Conquered the World
Riley v. California (with a Primer on Reading Supreme Court Decisions) →
Book Review: Love and Math
Love and Math
By Edward Frenkel
Basic Books, New York, NY, 2013
You've probably seen those late night TV ads for Zumba or P90X or a dozen other fitness programs. Ever notice how everyone in those ads already looks slim, sculpted & sexy? And you think, "As if!" As if any of these people would ever need this or that program.
Well Love and Math: The Heart of Hidden Reality is a little like Zumba for math. The author, Edward Frenkel, tries to convey the breadth and beauty of modern mathematics to a general audience, even people who just plain hate math. It's a valiant attempt, but if you don't already love math, and haven't already studied some pretty advanced math, this book is unlikely to win your heart.
I do have an undergraduate background in math and so some of the material in the early chapters was familiar to me. I could build on that knowledge to follow the story through the middle chapters. But I got lost around the halfway point and just started skimming through the technical details.
It's not a bad book; it's just that Frenkel is trying to explain some really advanced, abstract concepts and in order to understand them you need to build up a foundation of knowledge.
Think of it this way: Pretty much all the math you learned in school, up to about 10th grade, was known to the ancient Greeks 2,500 years ago. If you studied calculus in high school or university your mathematical knowledge took a giant leap forward to the late 1600's. The math used to describe Einstein's theory of relativity was actually developed back in the mid-1800s. Well, Frenkel tries to bring you right up to date, exploring mathematical developments into the last decades of the 20th Century.
The mathematical heart of the book focuses around the Langlands program, which some call the Grand Unified Theory of mathematics. This program is a coordinated research effort started by Robert Langlands at Princeton University involving several generations of mathematicians around the world. They are seeking the underlying connections between seemingly disparate areas of mathematics.
I won't attempt to describe the math in detail because I really didn't understand a lot of it, but here's a small example. Take a look at this equation which Frenkel uses throughout the book:
We're trying to solve the equation. For example, the integers x = 1 and y = -1 are a solution. Plug in those numbers and the equality holds true. So is x = 0 and y = 0. If you plotted the integer solutions to this equation on a graph they would form a set of disconnected points, like mountain peaks poking up through the clouds.
Not all the solutions are integers. The equation also has solutions that are fractions, or what mathematicians call real numbers. If you plot all the real number solutions they might form a curve like a ridge line running along mountain tops.
Taking this example just one more step, the equation also has solutions in the complex number field. Complex numbers involve the square root of -1. Plotting all the complex number solutions yields a surface, like the contour map of a mountain range.
They look different, yet these integers, real numbers and complex numbers are all solutions to the same equation, just like the peaks, ridges, and slopes are all part of the same mountain range.
OK, that's a really simplified example of what the Langlands program and much of Frenkel's career are all about. They're trying to find the underlying structures which unify entire branches of mathematics.
Love and Math is actually a two-part journey, part mathematical, part autobiographical. The autobiographical journey is much easier to follow.
Edward Frenkel was born in Russia in 1968 and grew up in a small town about 70 miles from Moscow. He was denied entrance to the Soviet Union's pre-eminent mathematics program at Moscow State University because he is Jewish. So he attended a second tier university whose admission policies were less discriminatory. Nonetheless he attracted the attention of some of the leading mathematicians of the day and managed to publish a couple of noteworthy papers.
In early 1989, at the age of 21, he was awarded a Harvard fellowship. He has lived in the US ever since and today he's a professor of mathematics at UC Berkeley.
Had he been allowed to develop as a mathematician in the Soviet Union, and later Russia, allowed to study and teach and research, he would have brought knowledge, leadership and prestige to his university and country. Instead, Berkeley and the United States have been the main beneficiaries.
Frenkel faced discrimination because of his religion. In other places, people are discriminated against because of their race, gender, sexual orientation or whatever difference the local majority finds objectionable. The result is always the same. Not only does the discriminated minority suffer, but the majority, denying themselves the full participation and contribution of the minority, is worse off too.
While the mathematics may be difficult to follow, what does come through loud and clear in Love and Math is the utter self-defeating stupidity of discrimination.
This entry was posted in Books and tagged mathematics. Bookmark the permalink.
2 Responses to Book Review: Love and Math
Euglossine Bee says:
Nice review. Love the intro! I've several of these books that attempt to express the author's enthusiasm for math to those not into math and they are all either flops or preaching to the choir. This one sounds good as it might push me well beyond my comfort level.
Harry Katz says:
Thanks, Robert. Glad you enjoyed it!

redpajama_set_name: RedPajamaCommonCrawl


Family history research is done out of necessity and at some point in your lifetime, there's a good chance that you may be bitten by the genealogy bug, and feel compelled to trace your family history.
It may be a school project, your first baby, or a memorial to a family member that will prompt you to consider how important it is to trace family tree, not just for your own gratification, but as a gift to those family members who are a part of your family.
Sometimes all it takes is finding a wedding certificate, a photograph, or a birth announcement tucked away in a drawer, or yellowing between the pages of a scrapbook to pique your interest and spur you to trace family history – even it is just to satisfy your curiosity.
What ever happened to Aunt Alice? What side did my ancestor fight for in the Civil War? Who are those people in the picture? Do I have a Patriot Ancestor who fought in the American Revolution?
For whatever reason you want to trace family history, your interest and curiosity is normal. Researching your family tree can help explain to a great extent who you are, as well as, why you are the way you are. Whether it is explaining a family trait, or a genetic or medical predisposition, your family tree may very well hold answers, not only for you but for your descendants.
Who had red hair in the family? Did any of my ancestral family excel in music? Does cancer run in my genes?
So, when you trace family tree, it's far from a selfish act; it's also a legacy to the rest of the family. Whether you are a close-knit family or even estranged, if your relatives live in close proximity or are spread out around the globe, once you start to research, this action can trigger interest among other members of your family, and draw everyone closer together – whether it be physically or cyber closeness.
Once you make that decision to trace your family, you then have a number of creative outlets to present and share the family tree. You may decide to create an actual scrapbook for your descendants, choose to go the electronic route and scan photographs for online access, or have a professional family archive firm secure your family memorabilia in perpetuity. Because a movie can be so powerful, you may also choose to have a professional production company create a video tribute to your family that tells the story of your family history tree, and can be viewed and enjoyed for years to come.
There are many possibilities when it comes to doing a genealogy trace, and creating your family tree. No matter what your journey, it begins with that desire to trace your family history back in time. Whether you decide to trace your ancestors' lives via the Internet, or trace through hard-copy records, you are stepping back in history and developing a relationship with those family members who have gone before you. You may start to trace your family history by interviewing living members of your family to get dates and locations, so that you can continue to trace your lineage in other ways.
You are providing your descendants with their family tree, for which they will likely be very appreciative. In turn, your descendants may continue to trace family history, even after you are gone. This gift to your family can give you a feeling that you have provided an extraordinary foundation on which your descendants may continue to nurture your family history tree forever.
Each journey to trace history is different. You will take the path destined for you. However, if you do hit a proverbial genealogy brickwall in your search, consider calling Record Click. Everyone needs a little help now and again to trace family history. We're here for you.
We can customizes your family search for the genealogical research you need, for your time frame, and for your budget. Contact us today to get started.


Schurter, who lives just 20 minutes away from Lenzerheide, admitted to feeling a bit more stress at his "home" World Cup than other events, stating that the extra pre-race appearances and the added number of friends, family and sponsors adds some pressure. Though you never would have known it from the performance he laid down on Sunday afternoon.
The Swiss superstar is enjoying a stellar season. Incredibly, though, he's feeling less pressure overall — despite the weight of an Olympic Gold medal, and the World Championship jersey on his back.
Nino's Scott is equipped with a SRAM XX1 Eagle™ drivetrain, Level Ultimate brakes and a RockShox Sid World Cup fork.
Take a quick look at the Elite Women's results, and one of the columns reads like this: 1990, 1973, 1992, 1993, 1992. Those are the birth years of the top five finishers. That's right, 2nd place finisher Gunn-Rita Dahle-Flesjaa is 20 years older than many of the other top competitors, but the two decades of added experience can pay off at the World Cup level. Gunn-Rita battled in and out of the top spots for the entire race, and finished just 13 seconds short of the win.
Her Merida was equipped with a SRAM XX1 Eagle™ drivetrain, Level Ultimate brakes and a RockShox Sid World Cup fork. Her race bike is also equipped with a bell. Yes, a bell.
Confidence is everything for an athlete. Just a few short weeks ago, Myriam "Pompon" Nicole took top honors in the downhill at Crankworx Les Gets. She followed it up last weekend with a premier podium spot at the UCI Mountain Bike World Cup Downhill at Vallnord, Andorra. And she repeated this past weekend with another World Cup win in Lenzerheide, Switzerland.
Suffice to say, Pompon is on a roll. The French rider has found the mythical "form" that the ancient Tour de France riders talked about — still talk about. And her current form has taken her all the way to the UCI World Cup leader's jersey — a first for the 27-year-old.
Given the race weekend's intermittent rain, racers were challenged to change their lines throughout practice, qualifying and race runs — and Nicole was no exception.
Pompon's winning Commencal was equipped with a RockShox BoXXer World Cup fork, Super Deluxe Coil RC World Cup shock, SRAM Guide Ultimate brakes and a SRAM X01 DH drivetrain.
World Cup downhill, with few exceptions, is an extremely dynamic and exciting sport. The time gap that separates the winner from, say, 10th place is never much more than a few scant seconds, and fans are typically pinned to the edges of their seats until the final rider crosses the finish line. And the Elite Men's race at Lenzerheide delivered another great show.
Troy Brosnan, fresh off his first World Cup win in a few years, bobbled a bit in practice, but still laid down a qualifying run that was good enough for second quickest. When he crossed the line in Lenzerheide, the Aussie was good for another 2nd — just 0.162 of a second away from the win.
Brosnan's Canyon was equipped with a RockShox BoXXer World Cup fork, Vivid RC2 shock, SRAM Code brakes and X01 DH drivetrain.


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Q: Adding dynamic content to a webpage: using a table, divs, or lists? When adding dynamic content to a webpage, is it better to add this by just adding a new row to a table, by adding a new div element, or adding a list element?
For example, if I wanted a posting of content to be added to a page when a user submits it, kind of like an ebay listing, or like reddit. When a user submits an "offer", the offer will be shown on the page, under all previous offers. What element would make the most sense to stick this information in?

A: It depends on the information. It doesn't matter if you are adding the content dynamically or writing static HTML - it's the same question.
You can get the answer by probing the type of the data:

*

*for list data (ordered or unordered) - use a list

*for tabular data - use table

*for other data - consider div (or other tags like section, footer, article etc.)

redpajama_set_name: RedPajamaStackExchange


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Q: Solving Laplace PDE in mathematica I'm trying to get the general solution for the Laplace equation: $\frac{\partial^2 V}{\partial x^2} + \frac{\partial^2 V}{\partial y^2} = 0$ on the domain $\mathbb{R_0}\times\mathbb{R^+}\backslash\{(0,0)\}$ with the following boundary conditions: $V(x,0) = 0$ if $x>0$ and $V(x,0) = \pi$ if $x<0$.
Here is my code:
pde = D[V[x,y],{x,2}] + D[V[x,y],{y,2}] == 0
ic = {V[x > 0,0] == 0, V[x < 0,0] == Pi}
sol = Refine[DSolve[{pde,ic}, {V[x, y]}, {x, y}],{x,y} != {0,0} && y >= 0]

But I am not getting anything (the output is just showing the input with no solving whatsoever). Also, if I try to plot it I get the following error message: "... is neither a list of replacement rules nor a valid dispatch table and so cannot be used for replacing. "
What am I doing wrong ?
(I am very new to mathematica so I apologize if the answer is obvious)

A: Clear["Global`*"]

pde = D[V[x, y], {x, 2}] + D[V[x, y], {y, 2}] == 0;
ic = V[x, 0] == Piecewise[{{Pi, x < 0}}];
sol = Assuming[y >= 0,
  DSolve[{pde, ic}, V[x, y], {x, y}][[1]] // Simplify]

Activate[
  Inactive[D][V[x, y], {x, 2}] + Inactive[D][V[x, y], {y, 2}] == 0 /.
   sol] // Simplify

(* True *)

Plot3D[V[x, y] /. sol, {x, -1, 2}, {y, 0, 2},
 AxesLabel -> (Style[#, 14] & /@ {x, y}),
 PlotPoints -> 100]


A full video lesson tutorial for Prelude No. 4 by Heitor Villa-Lobos (1887-1959) for classical guitar. I go through the four main sections, discussing the piece and demonstrating. This is a great piece for both pros and students. In particular, I like using this piece to transition students from the intermediate stage to a more mature and advanced level of repertoire.
Sheet Music: I recommend this edition: Villa-Lobos Preludes (Zigante). Or you can get the old version (some differences and errors) but has the complete solo works including the preludes, suite, and etudes: Villa-Lobos complete works for solo guitar.
Also check out this great performance by Isaac Bustos playing the same Prelude No. 4 in E Minor.


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Spotlight on Scotland
By: Graham Lack
In: Choral World News
Graham Lack, composer and ICB Consultant Editor
As far as I know, the ICB has not yet focussed on the music of Scotland. There is a wealth of music to be discovered and I hope this brief spotlight on the country will prove useful to choral directors wishing to programme works from 'North of the Border', as we English are wont to put it. We are grateful to Alan Tavener, Katy Cooper and Meg Monteith for such helpful contributions and general information. Thanks also go to Christopher Glasgow at the Scottish Music Centre for his generous help, advice and contacts.
The first article looks at Robert Carver, a Scottish monk working at Scone Abbey in the early sixteenth century. His motets and masses represent a rare link to the repertoire of the Eton Choir Book, that spectacular repository of early Renaissance English music. Carver's O bone Jesu, written around 1546, is in no fewer than nineteen voice-parts, evidence then, of an extraordinary virtuosic style, even if many works in possibly a recusant tradition would seem no longer to be extant.
For complex historical reasons and problems with music reception, there is little good music that the British Isles have to offer in the eighteenth and nineteenth centuries. The centre of music-making had certainly long since moved to continental Europe. There is, then, a dearth of valuable choral works by Scottish composers, the same holding true for Wales, England – the exception being Henry Purcell (1659-1695) – and the Emerald Isle.
Thus, in the second article, arrangements for choir of Scottish folk songs are examined. For much of the twentieth century such pieces proved popular with many choirs the length and breadth of Britain. Two prominent figures who worked in the field were Hugh S. Roberton and Cedric Thorpe Davie.
The issue of choral music and the avant-garde did not go unnoticed in post-war Scotland, and mention must be made of Peter Maxwell Davies, one of the founders of the Manchester New Music Group, and whose St Magnus Festival on the island of Orkney has been going strong since the late 1970s.
Finally, the third contribution looks at the choral music of the contemporary Scottish composer Judith Weir. By now a truly established figure, she has added many valuable works to the a cappella repertoire (Two Human Hymns for chorus and organ should be singled out here), and composed a number of choral works with instruments. Her major works remain perhaps operatic, including A Night at the Chinese Opera and more recently Miss Fortune.
Robert Carver: Scotland's Master of Polyphony
Alan Tavener, conductor and organist
The small but tantalising repertoire of Scottish renaissance music that survived the Reformation is headed by the exuberant and decorated music of Robert Carver in late medieval style. Little is known about the man himself, and the inscriptions on the surviving authenticated manuscript of his music caused more debate than conclusion on the part of musicologists Kenneth Elliott (whose work on Carver's music dates back to the 1950s) and subsequently, in the 1980s, Isobel Woods Preece. More recently, D. James Ross has located Carver's name, complete with the title 'Canon of Scone', in the Aberdeen Council Records of 1505 in the context of his maternal uncle Sir Andrew Gray (who, in 1484, had been identified in the Records as chaplain of St Nicholas Church, and is subsequently recorded as granting money for the celebration of a Mass of the Name of Jesus), and makes a persuasive case for Carver's birth and musical education occurring in that city. Taken together, and coupled with Roger Bowers' observations regarding old style and new style dating, we can be reasonably confident that Carver's dates were 1487/8–ca.1568.
Under the Stewart Kings, the upper echelons of Scottish society enjoyed a true and richly supported cultural renaissance during the fifteenth and sixteenth centuries, despite it being an era chequered by military catastrophes at the hands of the English. James IV continued to lavish resources on their Chapel Royal at Stirling Castle, and contemporary accounts record that the Chapel boasted a virtuoso choral group and three organs, as well as a magnificent music library which, in 1505, included four choirbooks with gilt lettering. But not one of the music books or manuscripts survived the sacking of the Chapel Royal in 1559 by Protestant mobs and the ensuing decades of neglect brought about by the banning of the celebration of the Mass. It was against this background that Carver lived and worked.
Carver Choirbook Adv.MS.5.1.15, fol.28 recto
Carver Choirbook Adv.MS.5.1.15, fol.135 recto Acknowledgement is made to the Trustees of the National Library of Scotland
We are fortunate, however, that one choirbook, probably added to the library shortly after the 1505 inventory was taken, miraculously escaped – almost unscathed – the clutches of the anti-catholic fanatics, surviving the neglect of subsequent centuries and, remarkably, 'turning up' in the Advocates' Library in Edinburgh. It contains the complete known authenticated works of Carver, self-styled as 'Canon of Scone' (the Augustinian Abbey some 30 miles north-east of Stirling), although the elaborate quality of the music suggests that he was writing for the Chapel Royal, where he possibly even took extended periods of leave. Originally known as the Scone Antiphonary, it is now housed at the National Library of Scotland Edinburgh as The Carver Choirbook in acknowledgement of the composer who provided most of its contents: five settings of the Mass and two motets therein are signed by Carver, and a Mass setting for three treble voices may also be attributed to him. As well as containing unattributed Masses, Magnificats and motets, there is music by the Franco-Flemish master Guillaume Dufay (supporting the view that Carver might have studied in the Low Countries) and motets that can be attributed to William Cornysh and Robert Fayrfax (on account of their presence also in the roughly contemporary Eton Choirbook, the rich source of English late Medieval and early Renaissance polyphony) which probably appeared in Scotland when James IV cemented the 1502 Treaty of Perpetual Peace with England by marrying Margaret Tudor, sister of the future Henry VIII. An additional attributed Mass setting for six voices may be found alongside material from England, France and the Low Countries in the Douglas-Fisher Partbooks in Edinburgh University Library
The earliest of Carver's works, the Mass setting Dum sacrum Mysterium, has conflicting dates of composition (1506/1508/1511/1513), perhaps referring to a date of inception and dates of subsequent performances. Scored for ten voices (in modern terms SSAATTBarBarBB) in common with three of the other Mass settings it is a cantus firmus composition, the pre-existing melody being the Magnificat antiphon for the Feast of St Michael the Archangel. This chant is laid out by Carver in long notes, leading to a very slow rate of chordal change, and also causing adjacent chords to occur in regular and equal alternation, a possible debt to the very same phenomenon surviving in much Scottish folk music in the form of a so-called 'double tonic'. Overall, the Mass setting is conceived according to the well-established practice of alternating sections freed from the cantus firmus for small groups of voices with sections for the full choir constructed upon the cantus firmus. Isobel Woods Preece has pointed to the possibility that large-scale vocal improvisation in as many as ten voices at once may have been standard practice in Scotland: it is certainly an appealing explanation for Carver's penchant for music in many parts (one of the two motets being scored for nineteen voices), and it would also explain Carver's remarkable tolerance of passing dissonance. The latest date assigned to this setting of the Mass might have been due to it being re-used for the coronation of the infant King James V, taking place at short notice (in the wake of the catastrophic defeat of his father at the Battle of Flodden) on 29 September 1513, the Feast of St Michael the Archangel (the Royal House of Scotland was dedicated to St Michael as its patron saint): the sumptuous nature of the Mass setting together with aptness of the cantus firmus do enhance the plausibility of this line of thinking.
Carver was already writing in a mature style and this hints at important, unknown influences. Whilst it is evident (if nothing else, from the contents of The Carver Choirbook) that he was in touch with contemporary musical developments in England and mainland Europe, we can only speculate about the local legacy of his music: on the one hand on the strength of his own work and, on the other hand, of any surviving music that pre-dates it. But we have only scant evidence of what Scottish tradition of church music Carver was born into: a thirteenth century MS of two-part polyphony associated with the Cathedral of St Andrews has survived (catalogued as Wolfenbüttel 2), distinguished by extraordinary virtuosity, vast vocal ranges and considerable demands on vocal flexibility: possibly an attempt to reconcile the latest French compositional techniques as exemplified by Leonin and Perotin with a native strand of highly embellished vocal improvisation. It offers a possible clue to the decorative character of Carver's music some three centuries later, as does the improvised music of the Celtic minstrels who are recorded as attending the Scottish court under the patronage of James IV, who himself played the Celtic harp, or clarsach, (in contrast to his son James V who, like most of his European royal contemporaries, played the lute). This is particularly significant in the light of subsequent events, which not only had the effect of destroying the written musical legacy but, soon in its wake, also the practical musical legacy.
What is distinctive about Carver's music? Opinions are widely contrasted, ranging from those anxious to identify a native Scottish style to those viewing it as essentially European. I detect similarities of decorative detail particularly with Antoine Brumel's work, whilst Carver appears to be embracing the smooth imitative technique of Josquin des Pres in his Mass setting for five voices, a later work. The high treble writing so distinctive of the Eton Choirbook repertoire is evident in Carver's earlier, larger-scale pieces, whilst elsewhere the treble line is of relatively modest scope. The extended treatment of the words 'in nomine Domine' (in the name of the Lord) in the Benedictus movements of his Mass settings is distinctive and could reflect an affection for his uncle's devotion to the Name of Jesus, which is surely borne out by the vast 19-voice 'pillars' resounding to 'Jesu' throughout the motet O bone Jesu.
And what of Carver's music today? It was originally intended for a highly skilled professional choir, and it is a credit to competent chamber choirs specialising in early music that they have been able to surmount many of the challenges of the music. However, there is no escaping that the reduced textures are complex and intricate, suggesting soloistic treatment requiring not only the intense musicianship of instrumentalists but also a cast-iron vocal technique. Examples of inspiration to today's artists include James MacMillan's 3-movement Tenebrae Responsories with its clear debt to Carver's virtuoso style (a possible tribute to Cappella Nova, its commissioner), whilst Ronald Stevenson has set to music for 12-part choir James Reid-Baxter's poem In Memoriam Robert Carver.
The textbooks have tended to focus on Robert Carver as the only known British composer to adopt the mediaeval French crusader song L'Homme arme as the cantus firmus for a Mass setting. Undoubtedly inspired by Dufay's treatment of this melody, which was copied into The Carver Choirbook around 1506, it is a tribute to the international outlook enjoyed by Scotland at this time. As an exercise in musical technique, it is Carver's most assured, and we find the cantus firmus cast in triple-time with the other duple-time voices; in duple-time with but a half-pulse ahead of the other duple-time voices; in a triple-time cross-rhythm with the other duple-time voices; and finally turned into another triple-time cross-rhythm against the other voices. This staggering example of technical, compositional prowess can only leave us wondering what else Carver the composer achieved – a question that we can always hope might be answered one day by the rediscovery of more of his work.
Carver's music is published by Musica Scotica (Volume I: 'The Complete Works of Robert Carver & Two Anonymous Masses' edited by Kenneth Elliott, ISBN 0 9528212 0 6), and has been recorded by Cappella Nova: www.cappella-nova.com.
Alan Tavener is co-founder and Conductor of the Scottish-based professional vocal ensemble Cappella Nova, which performs internationally and has made 12 CD recordings. He has specialised in conducting the work of Robert Carver, as well as over 60 world premieres of choral works, ranging from three-minute a cappella items to major works, including John Tavener's Resurrection with the Scottish Chamber Orchestra, subsequently broadcast on BBC Radio 3, and James MacMillan's Seven Last Words from the Cross with the BT Scottish Ensemble, broadcast as of seven films on BBC2. Recent projects have included a Masterclass for Student Choral Directors at the Moscow Conservatoire, and the presentation of Sessions at the 2010 Convention of the Association of British Choral Directors as well as a Paper Health and Wellbeing through Song at the 2011 Making Music Conference. Glasgow-based since 1980, he is also Organist and Choirmaster of Jordanhill Parish Church and Conductor of Strathclyde University Chamber Choir (for which James MacMillan composed 11 of his 14 Strathclyde Motets).
Email: alan.cappella-nova@strath.ac.uk
The Use of Folksong in Scottish Choral Music
Katy Cooper, conductor, arranger and musicologist
Scottish traditional music has long attracted interest from around the world. In this article I hope to highlight some of the arrangements and folksong-influenced works by Scottish, or Scotland-based composers beginning with the early enthusiasts of the first folk revival.
Folk music in Britain is said to be going through something of a revival at present. Folk-influenced bands and artists like Mumford and Sons regularly feature in the charts and the establishment of undergraduate courses in traditional music is giving musicians in the UK the chance to focus on the genre at this level. The popularity of choral arrangements of folksongs was cemented in an earlier folk-revival, when composers like Vaughan Williams not only arranged songs (including music from Scotland), but also collected material as active members of the Folk Song Society (founded in 1898).
In his 1948 article for the journal of what eventually became known as the English Folk Dance and Song Society, Frederick Keel points out that this organisation initially "resisted all attempts to narrow its field or to apply the name 'English' or 'British'." Rather, it was founded as "a Folk Song Society situated in England, not one confined to the preservation of English Folk Song." In fact, Sir Alexander MacKenzie, a prominent and influential Scottish composer, was one of the first members of the organisation. MacKenzie produced several collections of traditional Scottish songs arranged for piano, but his works for choir do not apparently include Scottish song settings. Similarly the choral works of Hamish MacCunn, famous for his evocative Land of the Mountain and the Flood, include Four Scottish Traditional Border Ballads for choir and orchestra, but few smaller scale arrangements. Much Scottish choral music of this period is now out of print and little known by modern choirs, but libraries and archives such as the Scottish Music Centre, as well as several online repositories are well worth exploring.
Mackenzie was not the only Scottish musician involved with the work of the Folk Song Society. In subsequent decades, Scottish enthusiasts George Barnet Gardiner and Francis Collinson collected traditional material in Scotland and England. Francis Collinson, later the first musical research fellow at the School of Scottish Studies in Edinburgh, made many arrangements of Scottish songs including settings of The Flowers of the Forest, Bonny Dundee and The Bonnie Lass of Albany. A few of these were published but many of them remain in autograph manuscript only.
Collinson also collected and made choral arrangements of Gaelic songs, reflecting the rise in popularity of Gaelic choirs, which were to be found all over Scotland by the 1930s. The first of these was Glasgow's St Columba Choir, founded in 1874. The movement was encouraged by the foundation (in 1891) and on-going popularity of the 'National Mod', modelled on the chorally-rich Eistedfodd in Wales. The subsequent century has produced a rich and varied repertoire of Gaelic choral music, little known outside of Gaelic choirs. Links to resources including sheet music can be found on the website Comunn nan Còisirean Gàidhlig (Gaelic Choirs' Association: www.gaelicchoirs.org.uk).
The early twentieth century not only saw success for Gaelic choirs – the world famous Glasgow Orpheus Choir under the leadership of its founder Hugh S. Roberton introduced millions of people throughout the world to Scottish folk song, many such songs (or indeed most) arranged by Roberton himself. International touring and recording played an important role too. Roberton also wrote the texts to such famous songs as Westering Home and the English version of Mhairi's Wedding, based on the original Gaelic. The stylised and (now) nostalgic sound of the choir, together with the simple, declamatory arrangements of Roberton are eminently singable, and evocative of their time.
Folksong arrangements continued to be a popular choice for choirs throughout the twentieth century, with composers producing both settings of songs, and new compositions based, or influenced by traditional material. Cedric Thorpe Davie's 'cheerful tonality' produced many popular arrangements including competition pieces for the National Mod, and larger scale choral works incorporating folksong. The next generation of Scotland-based composers, including Ronald Stevenson, Thomas Wilson and later Peter Maxwell Davies were all heavily influenced by Scottish material and produced – and continue to produce – some exceptional choral pieces, albeit relatively few that are simply arrangements. Stevenson's choral music, for example, includes a motet in memory of Scottish Renaissance composer Robert Carver, the angular A Medieval Scottish Triptych and the folksong-inspired, large-scale piece for orchestra and chorus In praise of Ben Dorain.
Just as the choirs of the past prompted many choral arrangements, so today Scotland's choirs and choral organisations continue to commission and produce new settings, perhaps the most prominent example being the publishing wing of the National Youth Choirs of Scotland. Their publications for young singers, include the SingSilver and SingGold volumes featuring arrangements and new choral works by composers including Sally Beamish, William Sweeney, Eddie McGuire, John Maxwell Geddes and Ken Johnston. Johnston's close association with NYCOS has also produced popular arrangements including spirited versions of Roberton's Westering Home and Air Falalalo.
Possibly the most prominent Scottish composer writing for choir today is James MacMillan, whose distinctive choral style is suffused with influences from his Scottish heritage. This influence is seen in So Deep, an unusual setting of Robert Burns' My Love is like a red, red rose, and The Gallant Weaver.
As a folk music enthusiast, and a choral singer, I find myself drawn to two worlds. Harmony singing, unordered and spontaneous, is my favourite characteristic of traditional singing sessions in Scotland and the rest of the UK, and many community choirs incorporate some of this material into their repertoires. I believe there is also a place for the choral arrangements of the early twentieth century offering thoughtful settings of words as well as MacMillan's more recent re-imaginings of Burns. This really builds on the folk material, using the choir in an imaginative way to support the melody lines. For me, the practice of arranging folksong for choir is a tradition in its own right, one with a rich history and, considering the current revival, with a fascinating future too.
Katy Cooper is a choral conductor, arranger, tutor and musicologist. She has lectured at the Universities of Aberdeen, Strathclyde and Glasgow, where she is completing her PhD, and trained as a choral conductor with Sing for Pleasure and is now conducting tutor and editor of their national newsletter. She conducts Glasgow Madrigirls (madrigirls.org.uk), Cathures (cathures.org.uk), Happy Voices (a children's choir), and workplace- based choirs at Glasgow Life and John Lewis (Edinburgh), and sings with Sine Nomine International Touring Choir, Glasgow University Chapel Choir, Sang Scule (sangscule.org.uk), and folk-harmony groups Muldoon's Picnic (muldoonspicnic.org.uk) and The Crying Lion. A collation of her arrangements for choir was published by Sing for Pleasure in 2011. Email: katylaviniacooper@googlemail.com
Intimacy at Some Remove:
The Choral Music of Judith Weir
The music of Judith Weir inhabits a strange world. Her style is an intimate one, but somehow remains unfamiliar even when listeners feel they have got to know and understand it. Her choral works offer some striking textures and result in quite gratifying sounds, ones tempered by more than a measure of restraint. But whatever she writes, the music serves the emotional content of the text she sets.
The use of the organ in Ascending into Heaven reveals the influence of her teacher, Olivier Messiaen. It was completed in 1983 and sets a Latin text by Hildebert of Lavardin (1056-1133). The role of the organ itself is an unexpected one – in all of her music she remains ready to spring a surprise – and resembles that of an orchestra more than anything else. Certainly, it does much more than provide a commentary, and Weir does not use it merely to join one section of the work to the next. Choirs will welcome the directness of the choral writing, which is affirmatively modern but remains most accessible.
Her Drop down ye heavens was written for the Chapel Choir of Trinity College Cambridge, and premiered in 1983. She sets words from the Advent Prose and proffers a perfect jewel-like hymn. This is Weir at her most elegiac.
Judith Weir: 'Drop down ye heavens', bars 11-end
(Click on the image to download the full score)
Drop Down Ye Heavens From Above Traditional Words — Music by Judith Weir © Copyright 1984 Chester Music Limited. All Rights Reserved. International Copyright Secured. Used by permission
Another Cambridge commission was Illuminare, Jerusalem, commissioned by the renowned Choir of King's College, which gave the first performance back in 1985 at the famous service of Nine Lessons and Carols. The text is in Gallic, and Weir achieves some dense harmonic moments amidst the lively rhythms.
Perhaps her most attractive and, in the best sense of the word, popular choral works to date are the Two Human Hymns, a commission from the University of Aberdeen for its Quincentenary in 1995.Weir sets words by George Herbert, as well as another seventeenth century poet, Henry King. The choral writing is at its most lyrical, in stark contrast to an organ part that constantly interrupts harmonic progress. The result is a remarkable sense of tension. The organ episodes in the second setting are overt toccatas. The first setting of the pair, 'Love Bade Me Welcome', the composer arranged two years later for a cappella forces.
Judith Weir: 'Love bade me welcome' (a cappella version), bars 1-14
Love Bade Me Welcome Words by George Herbert — Music by Judith Weir © Copyright 1997 Chester Music Limited. All Rights Reserved. International Copyright Secured. Used by permission
As for My Guardian Angel, commissioned in 1997 by the Spitalfields Festival, this would seem to be a fairly direct sing. But with Judith Weir, simplicity hides quite subtle complexities. And any choir attempting the piece will surely notice the depth of the harmonic thinking as one rehearsal follows another.
Vertue was also written for London's Spitalfields Festival, receiving its premiere there in 2005. The composer sets three poems by George Herbert, demonstrating a compositional response that is quite severe in its directness and the use of a harmonically bare musical language. Here, Weir is at her most thoughtful, and an engaged audience will hear her musical voice distinctly.
Her setting of Psalm 148 was to a 2009 commission for the 800th anniversary of the University of Cambridge. The work's forces are somewhat unusual: choir and trombone. She does not, however, merely allot a bass line to the instrument, but forces it to add some sturdy counterpoint to the choir. Somehow she manages to produce a setting that is overtly hymnic yet oddly introverted. The sounds are spare, and part of a detached sound world lost in its own reverie. With but an occasional nod to the sentimentality of the text, Weir charts a course through dangerous harmonic waters, allowing the motivic work at the composition's surface to take the listener from one tonality to the next.
A poet whom Weir obviously finds intriguing is e.e. cummings, and her setting of his little tree, from 2003, matches the words perfectly. Cast as three short independent pictures, the piece is for choir and marimba. It was a commission by the Young People's Chorus of New York. Against the three-part upper voices the marimba acts like a continuo, expanding the musical texture. As with cummings, what you see is not necessarily what you get, or in the case of Weir, what you hear…
In a second cummings setting, also completed in 2003, a blue true dream of sky, we have quite a rapturous work, one which makes us turn instantly to Weir's preoccupation with the mystic Hildegard von Bingen. The piece was written to a commission by choral director and organist Philip Brunelle, the premiere being given by his Plymouth Church Choir in Minneapolis. The prominent solo soprano part was written for Maria Jette. Two alto solos occupy the musical background and allow the solo line, the chorus, and their own music gradually to align themselves.
Judith Weir: 'a blue true dream of sky', bars 9-11
A Blue True Dream Of Sky Words by e.e. cummings — Music by Judith Weir © Copyright 2003 Chester Music Limited. All Rights Reserved. International Copyright Secured. Used by permission
Judith Weir's music is published by Chester-Novello, part of Music Sales Group, and we hope this brief survey will have sparked an interest amongst choral directors.
Judith Weir has interests in narrative, folklore and theatre, and these have found expression in a broad range of musical invention. She is the composer and librettist of several widely performed operas whose diverse sources include Icelandic sagas, Chinese Yuan Dynasty drama and German Romanticism. Folk music from the British Isles and beyond has influenced an extensive series of string and piano compositions. For many years she has worked in England and India with storyteller Vayu Naidu, and on film and music collaborations with director Margaret Williams. She spent some time as resident composer with the City of Birmingham Symphony Orchestra, and has also composed for the Boston Symphony, BBC Symphony and Minnesota Orchestras.
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hippelsportshub
Sports from Hunter Hippel
Most Beautiful Ballparks
Sports Czar 2016
More Than A Point Guard
On March 23, 2015 By Hunter Hippel
Being born in Phoenix, and spending most of my early childhood there, I was around the Phoenix Suns quite a bit. They're my favorite team, as they should be.
During this period in my life, the Suns went on an incredible seven year run, with a point guard named Steve Nash leading the team. In the seven years, they made the playoffs six times, and missed the Finals by one series three times.
Steve Nash announced his retirement Saturday. It wasn't a shock, as we knew it was coming sometime this season. I wasn't shocked. However, when the news was officially released, it made me really look back on him, and those teams I watched growing up. It was kinda surreal, and I was pretty emotional about it.
Nash was the first basketball player I ever knew of. With basketball being my Dad's favorite sport, he had me introduced to the sport at a young age. I've been watching basketball since.
What made me fall in love with basketball was those Suns teams from 2003-2010. The perfection of offense that featured Nash, and coach Mike D'Antoni. D'Antoni takes a lot of crap nowadays. People make fun of him quite a bit. What some don't realize is, D'Antoni revolutionized basketball with Nash. The fast paced, fly up and down the court offense, with one big guy and a bunch of shooters. Shooters who made their shots. And a point guard who commanded the game, then took over when needed. That's how those teams were ran. And they worked, and were a ton of fun to watch.
Perhaps the most important trait about Nash was his toughness. I can't count how many times I saw him on T.V. with a bloody face, nose, eye, etc, in the playoffs. And he played through it. That's toughness, and it taught me what toughness was at that age.
Nash's game will always be remembered. He's one of the most unique players the NBA has ever seen. A guy who could shoot, pass, play excellent defense, and take over when needed. And at his size, it's pretty impressive.
Watching those Suns teams really taught me basketball, and how it's truly played. How it's truly a team game. While Nash was the best player on those teams, guys like Shawn Marion, Leandro Barbosa, Amare Stoudamire, Raja Bell, etc, helped him out. Having chemistry is so important in basketball. Those teams had it for so long. It's amazing they never won a title. It's amazing, that in 47 seasons, the Phoenix Suns have never won a championship.
With so many great players in their history, the Suns are perhaps the best franchise to have not won a title. Too many players have came through Phoenix for that not to be the case.
Nash is undoubtedly a top three player in Suns history. I'm not going to speculate about it now, and really, I don't care. There's too many options.
Nash was more than a point guard. He was an inspiration no matter what happened and no matter where he played.
The trade to the Lakers was devastating at the time, but really, we won that trade, and I'm allowing myself to admit that. To me, Nash will always be a Sun. His best days were here in the Valley. Yes, he brokeout in Dallas, and became friends with Dirk Nowitski, but Nash had his success here, and that's what matters.
Nash, as said above, was more than a point guard. He was a inspiration, a role model, a beloved player, and my favorite player in basketball. Ever. And he always will be.
Column tomorrow on the NBA's 8th seed races and Kevin Durant…..
Is Oklahoma City Done? Plus, The 8th Seed Races


Home Page > Who Is In Charge?
Jeff Ball (1939-2011) was a full time garden writer for 28 years. He wrote 9 books which are the source of much of the information on this site. He produced garden videos, a gardening cdrom, and a garden planner software package. For 8 years he was the monthly gardening expert on the NBC Today Show in New York City. He wrote a weekly yardening column for the Detroit News and a monthly column on tools and vegetable gardening in the Michigan Gardener magazine. He lived in central Michigan and, formerly, in Pennsylvania. He coined the term YARDENER SM and was visionary in his efforts to provide expert online help to "homeowners who have lawns and plants to care for, but who aren't really gardeners" (1). His legacy and mission of helping yardeners is carried on through the Yardener.com website.
Nancy Szerlag has been a full time garden writer for 15 years. She has had a weekly column in the Detroit News for all of that period. She has written two books. She gives dozens of programs in the Detroit region each year. She has built and cares for two large perennial gardens, an extensive shade garden, a vegetable garden, and a shrub bed.
John Davis has been a professional web software developer for 20 years. He lives in central California.


The 5th annual Adopt-a-Shoreline (AAS) clean-up effort took place on Thursday, June 1 around the shores of Lake Mille Lacs. With a combined effort of more than 40 volunteers, more than 1,200 lbs. of trash was collected from various shorelines and disposed of properly. The trash "treasures" included a car bumper, a milk carton, a snowmobile belt, two dinner plates, two mud flaps, two feet of snow fencing, four tires, plastic bags and wooden blocks.
The event ran from 9 a.m. to 4 p.m. As soon as volunteers filled their bags, they brought them to one of the designated drop-off sites: Malmo Park, Garrison Public Access, Shaw- Bosh-KungBayandEddy'sResort.Gloves,trashbagsandtrash disposal were provided by Grand Casino. Supplies were made available at each of the sponsor locations throughout the day.
Organizers of the event created a website, adoptmillelacslake.com, to help spread the word about the effort. Their hope is to continue to get more volunteers involved in keeping the shorelines of Mille Lacs Lake clean and inspire others to consider the impact of trash washed ashore after the winter ice out. Interested area residents can also check out the website next spring for more information about next year's Adopt-a-Shoreline event.
A special thank you to this year's Adopt-a-Shoreline sponsors: Grand Casino Mille Lacs, Mille Lacs Corporate Ventures, the Mille Lacs Tour- ism Council, The Wharf Resort, Twin Pines Resort, Sandelands Realty and Eddy's Resort.
The Adopt-a-Shoreline program was started by Grand Casino Mille Lacs in 2013. The need for a clean-up effort was evident in the form of trash and debris following ice out each spring. The program has grown into a community-wide event as Grand Casino has been joined by new partners around the lake including community members, individuals, organizations and area businesses that help make this program a success. The goal of the program is not only to increase the number of volunteers each year to help keep the shoreline clean, but to also educate and inspire others to think about the impact of the trash in or around Lake Mille Lacs.


Gionee the Premium Chinese vendor has launched new Smartphone in mid-range price range basically to compete with Moto G (2nd Gen). Gionee Marathon M3 has a 5-inch HD IPS Display, 1.3GHz Quad-Core CPU, Dual SIM, 8 MP rear cameras and 2MP front camera.
The Marathon M3 run on Android 4.4 KitKat and comes with monster 5000 mAh battery. This phone will fulfill the demand for those who need smartphone with longer battery life. The Marathon M3 promises 32.46 hrs. talk time on 3G and 51hr talk time on 2G. The standby time is 32.8 days.
The device comes in with an OTG Reverse Charge to help you attend calls even if the battery of some other phone is running low and OTG Data Transfer where you can plug in the files and view directly on your phone while you are on the go. The device also comes in with a very interesting feature 'Hotknot'. The feature allows two phones to exchange photos and videos in an instant as long as the two screens are put together.
The phone also comes with 1GB of RAM with 8GB of Internal Memory and with an expandable memory up to 128GB.
Mr. Arvind Vohra, India Head, Gionee Smartphones said," It gives us immense pleasure to bring the much awaited Marathon M3 to India. I am delighted to present our consumers with our latest device that is sure to create a new benchmark in the smartphone market. We have introduced this for discerning consumers who love to be connected on the go and are in the lookout for powerful devices. Along with a strong battery we have also introduced a set of new innovative features like the OTG Reverse Charge or the OTG Data Transfer to enable our consumers with seamless communication. With every product we introduce we have been trying to make communication simpler and faster and our endeavor remains the same with the Marathon M3".
The Gionee Marathon M3 will be available at MOP 12,999 in India.
Its very nice device in under 15000 INR range . I am thinking to buy this phone.


Description: The Indian ASAT is an anti-satellite missile based upon a three-stage rocket utilizing solid propellant boosters to hit targets in low Earth Orbit (LEO). The interceptor missile is intended to shoot down LEO satellites and other spacecraft utilizing high precision hit-to-kill principle technology. The Indian Armed Forces first tested the new missile successfully on March 27, 2019, shooting down a satellite at 300 kilometers of altitude.


For quite some time now, all of us lot at Fashion Police HQ have been worried about the lack of arrests in Canada and a major breakthrough has come along! It appears that the Canadians have been indulging in a Fashion Police banned substance. They've been topping up with steaz. Before hitting the slopes hard and in need of extra steeze, just top up with a can of Steaz. Ludicrous. Utterly ludicrous. We're onto you lot and you shall be brought to justice.
Got a fashion police? Send them to fashion.police@whitelines.com.
Official news: Skiers are cnuts!


The VIA VB8004 Mini-ITX board combines a choice of 1.2GHz and 1.6GHz VIA Nano processors and the VIA VX900H media system processor, providing a high performance and highly scalable solution for advanced digital signage systems.
The VIA VB8004 Mini-ITX board features a comprehensive array of on-board I/O, including an HDMI port, one DVI port, a one channel 24-bit LVDS, one GigaLAN port, two USB 2.0 ports, one serial, one PS2 port and two SATA ports in addition to supporting up to 4G DDR3.
In addition to providing native support for dual-displays, the VIA VB8004 Mini-ITX mainboard can also be easily upgraded to support four displays using an additional VIA S3 5400E graphics module, providing developers the widest possible variety of multi-display configurations, including HDMI, LVDS, and DVI technologies.
The VB8004-A adds in the VIA S3 5400E dedicated graphics module, a daughter card specially designed to provide advanced multimedia capabilities for next-generation embedded applications and is the best-in-class energy efficient DX10.1 GPU on the market today. It is a 64-bit processor that supports the latest display connectivity technologies, a DirectX 10.1 graphics engine, OpenGL 3.1 and shader model 4.1.


Speed Camera Detectors are becoming more popular due to the increased chances of getting points on your licence. With an all time high of average speed cameras and police speed check areas. It is now more important than ever to make sure you remain protected against points and fines. With the average 3 driving points with a fine of £100 it makes sense more than ever to make the investment in a speed camera detector. This system known as the Road Angel Gem has an inbuilt sim card meaning the device automatically updates. This was the problem with older devices you used to have to plug them in a PC to update the device every month and hot spots for speed check areas wasn't commonly updated.
With this device it has a solid base which is stuck down to your vehicles dashboard. The base on the camera detector has a strong magnet which holds the camera to the base. The wire exits the camera and a small part of around 3 inches is visible unit it disappears down the side of the tirm.
We professionally install or supply and fit speed camera detectors in the local Essex area via our fully mobile installation service Contact us.


We announced at the Origins 2014 Munchkin Tavern that we'd partnered with Funko to make Munchkin toys; well, they've announced that their Spyke figure is coming in November! We've now got a picture of it, and we're super excited about how cool it looks.
Funko makes incredible toys, and the chance to partner with them is amazing! We hope you all enjoy it as much as we do.


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By ATWBeauty, May 30, 2017 | Destination: NYC
Journey to Beauty NYC: A Global Beauty Panel
At our Journey to Beauty NYC event, the Global Gathering featured a panel of leaders that are making waves in the beauty industry. Hosted by Lyndsay Green, Editor and Chief of Beauty Atlas, our panelists discussed Global Beauty + Diversity in this day and age.
Matin Maulawizada – As a NYC celebrity makeup artist, Matin also has a company called Afghan Hands. It is an embroidery project that helps women of Afghanistan gain their freedom.
Nyakio Grieco – Founder of Nyakio, her skincare brand launched 6 weeks ago at ULTA. As the 1st generation American in her family, Nyakio's grandmother was a coffee farmer and her grandfather was a medicine man, giving her the inspiration for her brand.
Stephanie Wang – Born in Hong Kong, Stephanie is the president of The Alchemist's Kitchen, which focuses entirely on the power of plants for conscious living – incorporating plants into life, connecting the mind, body, and spirit through plants. The Alchemist's Kitchen combines different ancient wisdoms and traditions from around the world to share how plants actually heal in a contemporary setting.
Stephanie Flor – As our ATWB Founder and the host of this event, Stephanie supports beauty that starts at the source and the wisdom of women. She's traveled to over 30 countries to discover the source of beauty, hoping to empower women through a beauty conversation.
The discussion was a full-circle conversation about beauty: the source of beauty, and how we see and share beauty.
Stephanie Flor talked about how important it is to learn the ancient wisdom behind beauty rituals, because "there is power in knowing where we come from and who we are".
Stephanie Wang agreed that connectivity is the key to beauty and wellness. "Beauty is having integrity, fully seeing who you are and being comfortable. It's about the sharing the tradition and realizing sacred connection to each other. The roots of ancient practices are about authenticity and understanding others."
Nyakio has a personal connection to her roots from visiting her family every summer in Kenya. Her global beauty secrets are the connectivity to her family, keeping traditions alive. Storytelling is a huge part of her brand, because it is the very story of her family's culture that brought her beauty brand to life.
Matin shared how happy he was "to be in a society that shares this with one another". Family recipes and secrets are important to everyone. "Global beauty is nourishing". He also touched upon the cultural differences that are present in the beauty community. While American beauty enthusiasts often times focus on the long-wear and performance of color cosmetics, Matin believes the opposite, because "the most romantic thing about a lipstick is when it comes off and leaves a mark on your wine glass". The most important thing is share these focuses with one another, and we can all grow as a result.
Beauty Ingredients are a huge part of Around the World Beauty, and all the panelists were excited to talk about various recipes they've noticed these days.
"Ingredients have a story" says Nyakio, "and an authentic ritual". She uses quinoa, for example, in some of her products. Not only does she use it because it works, but "quinoa is the mother grain, as harvested from mothers and grandmothers in Peru".
Matin loves that "everything in your kitchen cupboard is a beauty ingredient." Face masks didn't even exist until recently, people used to make them from scratch with ingredients from their kitchen. Stephanie Wang's favorite beauty ingredients are the ones you can both use and eat. "Food and skincare and supplements are all blending together. Such as natural things like turmeric, for example. You are a participant in your own health and you need to be aware of what you are putting in and on your body."
Sharing beauty from other cultures can sometimes be a sensitive topic, but Nyakio says the key is "mindfulness and integrity". Writing about ethnic secrets "should be done in a loving way", says Matin. Inclusivity is the goal whenever we discuss global rituals (which is all the time, here at ATWB) and the purpose is not to exploit other cultures, but to learn from them. Stephanie Wang's goal is to share original stories from the real points of view from others, because that's where the truth comes from.
Lyndsay questioned how the beauty industry has grown in terms of diversity, and Nyakio began answering by applauding how consumers are becoming more savvy. Consumers are doing more brand research now, figuring out which ingredients are important. "This isn't a trend, it's here to stay". Matin shared that we've also come a long way with more diverse business leaders and women, and women of color in the beauty industry.
Stephanie Wang explained how she loves to see people connecting beyond what they know visually, and connecting more on a personal level. Stephanie Flor loves seeing women travel more to connect to different cultures and find their curiosity of the world.
An audience member posed the question "how do men play a role in this conversation about mainly female-focused beauty?" and Matin replied saying that men definitely have a larger role than we think. Globally, men take a larger part in beauty, and many of them even wear makeup. Whether they're outwardly enjoying beauty products, or sneaking some of their wife's face cream, Western men also support beauty, but in a quieter way. However, beauty products are marketed mostly to women and there should be less restrictions on who can use products. There is no reason for men not to be included in beauty, and we should be making strides to have less of a bias, and become a more inclusive, non-gendered community within beauty and life in general. We are living a human story, not a gendered story.
To Stephanie Flor, "Beauty is living your best life, working to make a change, and impacting people. When I am living outside of my comfort zone, I feel the most beautiful."
Journey to Beauty NYC: A Full Day of Beauty Workshops
Destination: USA
Why Choose Around the World Beauty for Your Global Travel Adventure?
Destination: NYC
#BeautyTraveler Janell Geason, Aveda Global Artistic Director
Keep up with our travels @ATWBEAUTY


Recognizes a protein of 40 kDa, identified as cytokeratin-19 (CK19), which is expressed in sweat gland, mammary gland ductal and secretory cells, bile ducts, gastrointestinal tract, bladder urothelium, oral epithelia, esophagus, and ectocervical epithelium.
Recognizes a protein of 40 kDa, identified as cytokeratin-19 (CK19), which is expressed in sweat gland, mammary gland ductal and secretory cells, bile ducts, gastrointestinal tract, bladder urothelium, oral epithelia, esophagus, and ectocervical epithelium. Anti-CK19 reacts with a wide variety of epithelial malignancies including adenocarcinomas of the colon, stomach, pancreas, biliary tract, liver, and breast. Perhaps the most useful application is the identification of thyroid carcinoma of the papillary type, although 50%-60% of follicular carcinomas are also labeled. Anti-CK19 is a useful marker for detection of tumor cells in lymph nodes, peripheral blood, bone marrow and breast cancer.
Catalog number key for antibody number 0800, Anti-Cytokeratin 19 (KRT19/800) The prefix indicates conjugation, followed by the antibody number and size suffix.


text:
package frc.team5333.webui;

import com.github.jknack.handlebars.Handlebars;
import com.github.jknack.handlebars.Template;
import com.grack.nanojson.JsonArray;
import com.grack.nanojson.JsonObject;
import com.grack.nanojson.JsonWriter;
import frc.team5333.core.Core;
import frc.team5333.webui.api.*;
import frc.team5333.webui.controller.ConfigController;
import frc.team5333.webui.controller.Controller;
import frc.team5333.webui.controller.IndexController;
import frc.team5333.webui.controller.TrainingController;
import frc.team5333.webui.websockets.SocketConfig;
import frc.team5333.webui.websockets.SocketLogger;
import frc.team5333.webui.websockets.SocketReadout;
import frc.team5333.webui.websockets.SocketTraining;
import jaci.openrio.toast.core.StateTracker;
import jaci.openrio.toast.core.thread.Heartbeat;
import jaci.openrio.toast.lib.log.Logger;

import java.io.*;
import java.util.HashMap;
import java.util.Map;

import static spark.Spark.*;

public class WebHandler {

    static Handlebars hb;
    static HashMap<String, Template> templates;

    public static void init() {
        hb = new Handlebars();
        templates = new HashMap<>();

        hb.registerHelper("import", (ctx, opt) -> {
            HashMap<String, Object> hm = (HashMap<String, Object>) opt.hash;
            String template = (String) hm.get("t");
            hm.remove("t");
            if (ctx instanceof HashMap) hm.putAll((Map<? extends String, ?>) ctx);
            return new Handlebars.SafeString(applyTemplate(template, hm));
        });

        hb.registerHelper("include", (ctx, opt) -> {
            HashMap<String, Object> hm = (HashMap<String, Object>) opt.hash;
            String template = (String) hm.get("t");
            hm.remove("t");
            if (ctx instanceof HashMap) hm.putAll((Map<? extends String, ?>) ctx);
            hm.put("include_body", new Handlebars.SafeString(
                    hb.compileInline(
                            opt.fn.text()
                    ).apply(hm)));
            return new Handlebars.SafeString(applyTemplate(template, hm));
        });

        port(5801);

        webSocket("/socket/logger", SocketLogger.class);
        webSocket("/socket/readout", SocketReadout.class);
        webSocket("/socket/config", SocketConfig.class);
        webSocket("/socket/training", SocketTraining.class);
        Logger.addHandler(new SocketLogger());
//        StateTracker.addTicker(SocketReadout::tick);
        Heartbeat.add(missed -> { SocketReadout.tick(); });
        SocketTraining.init();

        get("/styles/:file", (req, res) -> {
            res.type("text/css");
            return resource("resources/style/" + req.params(":file"));
        });

        get("/png/:file", (req, res) -> {
            res.type("image/png");
            return resourceRaw("resources/img/" + req.params(":file"));
        });

        get("/svg/:file", (req, res) -> {
            res.type("image/svg+xml");
            return resource("resources/img/" + req.params(":file"));
        });

        get("/scripts/:file", (req, res) -> {
            res.type("text/javascript");
            return resource("resources/script/" + req.params(":file"));
        });

        get("/ping", (res, req) -> { return "pong"; });

        register(new EventBusAPI());
        register(new DriveAPI());
        register(new MatchAPI());
        register(new DefenseAPI());
        register(new PlacementAPI());

        register(new IndexController());
        register(new ConfigController());
        register(new TrainingController());
    }

    public static Handlebars getHandlebars() {
        return hb;
    }

    public static void register(API api) {
        api.init();
        get(api.address(), api::handle);
    }

    public static void register(Controller controller) {
        controller.init();
        get(controller.address(), controller::handle);
    }

    public static String jsonToString(JsonObject obj) {
        StringWriter writer = new StringWriter();
        JsonWriter.indent("\t").on(writer).value(obj).done();
        return writer.toString();
    }

    public static String jsonToString(JsonArray obj) {
        StringWriter writer = new StringWriter();
        JsonWriter.indent("\t").on(writer).value(obj).done();
        return writer.toString();
    }

    public static String resource(String name) {
        try(BufferedReader reader = new BufferedReader(new InputStreamReader(WebHandler.class.getResourceAsStream("/5333/webui/" + name)))) {
            String ln;
            String total = "";
            while ((ln = reader.readLine()) != null) {
                total += ln + "\n";
            }
            reader.close();
            return total;
        } catch (Exception e) {
            return "";
        }
    }

    public static byte[] resourceRaw(String name) {
        try(InputStream in = WebHandler.class.getResourceAsStream("/5333/webui/" + name)) {
            byte[] buffer = new byte[8192];
            int bytesRead;
            ByteArrayOutputStream output = new ByteArrayOutputStream();
            while ((bytesRead = in.read(buffer)) != -1) {
                output.write(buffer, 0, bytesRead);
            }
            return output.toByteArray();
        } catch (IOException e) {
            return new byte[0];
        }
    }

    public static String applyTemplate(String name, HashMap<String, Object> values) {
        if (!templates.containsKey(name)) {
            String path = "templates/" + name;
            try {
                templates.put(name, getHandlebars().compileInline(resource(path)));
            } catch (IOException e) {
                Core.logger.exception(e);
                return "500 - Oops, Template could not be loaded :c";
            }
        }
        try {
            return templates.get(name).apply(values);
        } catch (IOException e) {
            Core.logger.exception(e);
            return "500 - Oops, Template could not be applied :c";
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
Marius Ionescu () este un alergător pe distanțe lungi din România, care s-a specializat la proba de maraton. A reprezentat România la Jocurile Olimpice de vară din 2012 și 2016.

Carieră
Marius Ionescu s-a apucat de atletism la vârsta de 11 ani. A absolvit liceul cu program sportiv "Petrache Trișcu" din Craiova, unde a fost în aceeași clasă cu scrimerele Ana Maria Brânză și Loredana Dinu.

A alergat initial la crosuri în probele de 1500 m, 3000 m, 5000 m, 10000 m și semimaraton. Prima competiție de maraton la care a participat a fost maratonul de la Rotterdam din 2011, unde a reușit să îndeplinească baremul pentru Mondialele de la Daegu (27 august - 4 septembrie) și pentru Jocurile Olimpice de vară din 2012 de la Londra, cu timpul de 2:16:10. A fost primul maratonist român care a participat la proba de maraton masculin din cadrul unei olimpiade după 48 ani: ultima participare a fost la Tokyo 1964, prin Constantin Grecescu, care a încheiat pe locul 36 cu 2:30:43. La Londra Ionescu s-a clasat pe locul 26 cu timpul de 2:16:28.

În 2015 a devenit primul român calificat la Jocurile Olimpice din 2016 de la Rio de Janeiro după ce a câștigat maratonul de la Düsseldorf cu timpul de 2:13:19, stabilind un nou record personal.

Palmares

Recorduri personale

Note

Legaturi externe

 http://mariusionescu.ro/ , site-ul personal lui Ionescu

Nașteri în 1984
Sportivi români în viață
Atleți olimpici români
Alergători români
Atleți la Jocurile Olimpice de vară din 2012
Atleți la Jocurile Olimpice de vară din 2016
Maratoniști

redpajama_set_name: RedPajamaWikipedia


As some of you know, both Mike Jonas and I have participated as runners in the Boston Marathon many times--seven times myself, and Mike has done at least that many (including 2013). Thus this tragedy strikes us extremely personally because the Boston Marathon is such a beautiful event that represents the finest that Greater Boston--and moreover the people--have to offer. It is rare to find someone that has not gone out to cheer on the throngs of runners, which is in and of itself a treat, but I can attest as a runner that the thrill of running this race is like none other I have ever experienced. Thus we will be hosting a fundraiser at some later date, the proceeds of which will go toward restoring the threatend beauty and vitality of the Boston Marathon as the tradition Mike and I have so much enjoyed so many times in the past.
Our thoughts go out to those that were injured or worse, and the myriad of athletes and spectators who were affected. May the dust settle and wounds heal quickly.
In the meantime, may the dancing continue, a therapy which I personally have used to heal my own wounds of sorts for many years.
But of course... hope you all caught Eight to the Bar last week, a full house and fantastic dance. We've got them booked again tentatively on July 19.
Now, if you like a full house (who doesn't?), you can expect one again this Friday with Roger's band, who similarly never disappoint. Please join us for what will be another great evening of live music, great dancing, great people to meet, dance lessons, and of course fantastic exercise. Oh, and free, fresh, hot popcorn now too!


text:
July 30, 2002 Bruce Allen Uncategorized
It was a somewhat odd
It was a somewhat odd scene during the top of the 6th inning of the Red Sox game as John W. Henry, Mike Port, Theo Epstein and Larry Lucchino piled onto the NESN set at Fenway to join host Bob Rodgers in talking about the Red Sox newest acquisition Cliff Floyd. I guess making the announcement together fits with their team image. In the past we'd probably just see Dan Duquette saying "We're pleased to be adding a player of Cliff Floyd's ability to our ballclub, I think the fans will really like him." Now we get the entire front office on live TV at 11:30 at night. They made mention that they will try to sign Floyd beyond this season and he does have a history with John W. Henry from his time with the Marlins. The Sox other principal owner Tom Werner joined the broadcast in Anaheim during the 8th inning. Called Floyd "a ballplayer's ballplayer". Werner mentioned that worry that the Yankees might get Floyd was part of the equation. He said he hopes this deal shows the fans that they are willing to spend for a winner. He said he had got together with Nomar's mother while he's been out there in California. She enjoyed the Ted Williams tribute and seeing her son involved in it. Werner added that the Sox have a very competitive schedule in August and Floyd will help with that.
John Rooke and Ron Hobson
Sox get their man. Sean


text:
The Wisconsin Supreme Court Ruled In-Person Voting Must Proceed Tuesday Despite The Coronavirus Pandemic
Democrats had tried to postpone the primary election, citing low voter turnout and the potential to spread the virus.
Dominic Holden BuzzFeed News Reporter
Last updated on April 6, 2020, at 8:08 p.m. ET
Posted on April 6, 2020, at 6:38 p.m. ET
Karen Bleier / Getty Images
The journalists at BuzzFeed News are proud to bring you trustworthy and relevant reporting about the coronavirus. To help keep this news free, become a member and sign up for our newsletter, Outbreak Today.
The US Supreme Court and Wisconsin Supreme Court ruled against Democrats in back-to-back decisions on Monday, declaring that key aspects of the state's primary election must proceed as originally scheduled — issuing two separate orders that said late mail-in ballots cannot be counted and that in-person voting must proceed on Tuesday despite fears that people at polling sites will spread the coronavirus.
Democrats had feared proceeding as planned would worsen the pandemic, while driving down voter turnout and sending hundreds of state-level elections into turmoil.
The nation's top court ruled 5-4 along ideological lines in favor of Republicans, who sought to block a lower court decision that would have provided six extra days for voters to mail their ballots and for election officials to receive them in the mail.
Despite concerns that a backlog within the postal service meant thousands of voters would not get their mail-in ballots before Election Day, the Supreme Court's conservative majority found a lower court erred by extending the date for ballots to be accepted to April 13, even if those ballots were postmarked after Tuesday. Democrats had not initially requested that specific ruling, and writing for the majority, Justice Brett Kavanaugh said, the lower court's order "fundamentally alters the nature of the election."
"When a lower court intervenes and alters the election rules so close to the election date, our precedents indicate that this Court, as appropriate, should correct that error," the opinion said. The majority added that modifying election rules ran afoul of the Purcell principle, a doctrine that courts should avoid meddling in elections immediately before the vote, saying doing so "judicially created confusion."
Justice Ruth Bader Ginsberg, leading a dissent for the court's liberal wing, took umbrage with the majority opinion that had declared the case was about a "narrow, technical question."
The minority wrote wrote that Wisconsin voters "will have to brave the polls, endangering their own and others' safety. Or they will lose their right to vote, through no fault of their own. That is a matter of utmost importance—to the constitutional rights of Wisconsin's citizens, the integrity of the State's election process, and in this most extraordinary time, the health of the Nation."
About two hours beforehand, the Wisconsin Supreme Court declared that in-person voting in the swing state must proceed as planned despite the pandemic, blocking an executive order issued earlier the same day by Democratic Gov. Tony Evers that attempted to delay Tuesday's scheduled primary election until June.
Republicans have insisted extending deadlines would undermine election integrity. In announcing their lawsuit, Republican leaders of the state legislature called the governor's last-ditch effort to postpone the vote a "constitutional overreach" and said, "Evers can't unilaterally run the state."
Evers, who had previously said he lacked authority to delay the election, had issued his order Monday afternoon postponing in-person voting for the primary until June 9 and directing the legislature to convene on Tuesday afternoon. Wisconsin's election was the last April primary that had not yet been delayed.
The state supreme court blocked the provision that suspended voting, but said the legislature could still convene on Tuesday.
Wisconsin Supreme Court justice Daniel Kelly — who was appointed by Republican former governor Scott Walker — tweeted on Monday afternoon before the decision that "we urge clerks, poll workers, and voters to stand ready to conduct the election" as scheduled on Tuesday. He abstained from the state court's ruling.
At least 15 states have postponed primary voting dates due to the pandemic — and Evers and others Democrats pleaded to do the same in Wisconsin — but Republicans who control the state legislature balked.
The GOP has long tried to suppress voter turnout, particularly by people of color in swing states; in the lawsuit about the absentee ballot filed last week, the Republican National Committee and Wisconsin Republicans called on courts to order Wisconsin's primary to proceed as scheduled and block efforts to extend the timeline for counting ballots.
In a ruling that partially sided Democrats, however, US district court judge William Conley ruled on Thursday that ballots received by April 13 must be counted regardless of when they are postmarked — six days after the original deadline for officials to receive ballots — even though Democrats had not requested that sort of ruling. On Friday, the 7th Circuit Court of Appeals denied Republicans' request to block that lower court decision.
The next day, Republicans filed an emergency application at the Supreme Court saying, "Requiring a state to permit unlimited absentee voting for almost a week after election day presents significant dangers to election integrity, voter confidence and the orderly administration of an election that already has strained state resources due to the difficult circumstances associated with COVID-19."
The Democratic National Committee countered there had been a backlog of 21,590 requested mail-in ballots — driven by voters who wanted to vote absentee during the pandemic — as of April 2.
"It appears that tens of thousands of voters may not even receive their requested absentee ballots by election day," said a response filed at the Supreme Court by Democratic election lawyer Marc Elias, who added, "Thousands of voters at minimum will be disenfranchised if their requested absentee ballots must be postmarked by Tuesday the 7th."
The Democrats' filing went on to argue that the Republican plan "could exacerbate the unfolding COVID-19 public health disaster. If voters are not confident their absentee ballots will be counted, this will drive more people to vote in-person on election day, thereby increasing the risks of community spread through polling places in cities and towns throughout Wisconsin."
The Supreme Court Is Delaying Arguments Again — Why Don't They Just Do A Videoconference Like The Rest Of Us? Dominic Holden · April 3, 2020
Where Is Joe Biden? Online, Being Drowned Out By The Coronavirus And Trump Ryan Brooks · April 1, 2020
A Pandemic Won't Stop Trump And Republicans From Trying To Get More Judges Confirmed Zoe Tillman · April 3, 2020


text:
Home/Afaceri/Volkswagen transforms two factories into power plants
Volkswagen transforms two factories into power plants
romania November 7, 2018 Afaceri, romania
At the Emden factory, VW is currently building a medium-sized Passat VW. The company had to review the future of this plant because the sedan segment suffered from drop-in demand, with customers focusing on SUVs.
In Hanover, Volkswagen builds vans, including the Crafter electricity version, along with the Amarok and Tiguan SUV collection.
Volkswagen has three production units for electric cars: Dresden, Wolfsburg, and Bratislava. But in two years their number will reach 12, and from 2022 there will be a total of 16 Volkswagen plants that will generate electricity cars.
The brand intends to sell around 150,000 electric cars by 2020, including 100,000 German manufactured identification models. The Volkswagen Group intends to build 10 million electric cars on its new modular platform, MEB. Global mass production starts at the end of 2022.
Read also: Angela Merkel gives her best to the head of her party
At the Dresden factory, 380 workers work to produce several thousand copies of the Volkswagen e-Golf (300 km NEDC independence). Last year, 5,300 electric cars were produced in one shift.
With the introduction of the new scalable platform for electric cars, Volkswagen promises to make electricity cars affordable to everyone and with greater autonomy. The modular battery structure allows cars to have a range of 330 km to 550 kilometers. This scalable platform can be used in a variety of vehicles, from compact cars to vans.
A small battery identification vehicle can load 80% of a 100 kW station in 32-37 minutes, and from a home with 11 kW in 4 hours and 45 minutes (at a temperature of 20 degrees Celsius). An electric car with a large battery will load 80% of a 125 kW station in about 33-48 minutes, and from a home with 11 kW in approximately 8 hours.
For November 2019, VW intends to start producing a battery for the I.D. hatchback in Zwickau, Germany. In the VW plans, it is also the brand new Škoda, outside the Czech Republic.
Read also: Poland again calls for war warrants from Germany
Source of photographs: By Teddy Leung / Shutterstock
The Israelis invented a battery that charges in 5 minutes
"At least better food!" What answer did he get?
ASUS ROG Phone 4 will provide an update on fast charging; Stores the 6000 mAh battery of the predecessor
When nosebleeds become dangerous
Potentially cruel decision at Romanian university: Students not vaccinated against COVID no longer allowed to study – News sources
Delia was on the verge of death. Terrible moments he experienced: "A little panic"


On the second day of Swedish royal couple's visit to Germany, King Carl Gustaf and Queen Silvia, German President Joachim Gauck, his partner Daniela Schadt attended a official banquet hosted by Sweden at the Charlottenburg Palace on October 6, 2016 in Berlin, Germany. The Swedish royal couple is on a four-day visit to Germany.
Gorgeous regal color on QS.
Absolutely! I like this dress better than the one of the night before.
its rarely that the Queen wears the baden fringe tiara.
I really love the color of Q.Silvia's dress. Also love the Baden fringe tiara and that brooch looks so beautiful.
Classe et élégance. La reine Silvia est tout simplement sublime. Quant à Mme Daniela Schadt, spécialement sur la première photo, elle me fait penser curieusement à la princesse héritière Mary de Danemark mais en plus âgée.
Purple is such a majestic colour, and Silvia is looking looking very majestic ! The brooch is sublime!


McKinney's most gentle and complete armadillo service!
Armadillos are one of the common species of wildlife that we are called upon to control in McKinney. Armadillos can be found living in lawns and landscapes throughout McKinney, Plano, Allen, Frisco, Richardson, Wylie, Murphy, Texas.
Armadillo also take up residence under porches and patios. Armadillo create tunnels underground and the dirt that is excavated is deposited on the surface of your lawn or landscape. Armadillo commonly eat grubs, earthworms and other lawn insects. The Armadillo is commonly called a Dillo.
Armadillo control and removal should be initiated as soon as the animal has been discovered living in this area as Armadillo will dig up mulch beds and lush lawns searching for insects. Expensive landscaping can be ruined quickly by this very large animal. Texas is home to the common Armadillo.
Armadillo control and removal should only be attempted by people who understand the behavior of this animal. A All Animal Control is your local professional that can get rid of your Armadillo.
To control pest Armadillo, we often must begin Armadillo trapping followed by Armadillo relocation. Trapping Armadillo is necessary in most cases. We know how to get rid of a Armadillo and have years of experience of removing Armadillo. Armadillo pest control is one of our specialties at A All Animal Control.
Trapping an Armadillo humanely is important to prevent as little stress as necessary to the Armadillo. Getting rid of a Armadillo is a process that should be carried out with proper planning and procedures. Armadillo removal can be done in an efficient manner with the proper tools and training. If I had an Armadillo in my yard, I would want a professional that could remove the Armadillo quickly and humanely.
A dead Armadillo in under your porch or house is a service that we provide including the deodorization of the area. Armadillo do occasionally die in unusual places and they must be removed as soon as possible. We have even found a dead Armadillo in a basement. Leaving the Armadillo will only make the problem worse and cause further damage to your home and attract other animals and insects. Animal control for Armadillo is a necessary service to protect your home and family. Removing Armadillo is the first step to making your home healthy again. Get rid of Armadillo the right way before the problem gets out of control.


Aquacultural production of trout and salmon, collectively referred to as salmonids, is one of the largest global aquaculture industries and currently uses a disproportionately high amount of fish meal in dietary formulations. Sustainable production and growth in salmonid culture demands identification of alternative high-protein feed ingredients. The chemical composition of soy protein concentrate (SPC) suggests it has potential has an ingredient in diets fed to salmonids. There have been over 30 published studies of SPC use in diets for rainbow trout and Atlantic salmon. The data indicate small trout and salmon are more sensitive to SPC inclusion in diets than larger fish. SPC can provide up to 50% of the dietary crude protein in diets for small fish. Fish meal can be completely replaced in diets for larger fish. Results from digestibility studies indicate high nutrient availability from SPC. Methionine supplementation appears necessary for salmonids and taurine supplementation was recently identified as beneficial in SPC-based diets for trout. The form of phosphorus in SPC remains problematic, but incorporation of phytase or pretreatment of SPC with phytase improved phosphorus availability. Sensory characteristics of salmonid fillets fed SPC have been lighter in color than those from fish fed fish meal, but texture and flavor have not been adversely impacted. Several dietary formulations are available that have been tested in the target species. Ingredient cost hampered use of SPC in the 1990's and remains an issue in the 21st century. However, given the escalating price of fish meal and demand for that commodity, use of SPC in salmonid diets appears promising.