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text:
Title: John Ashbery
Subject: Flow Chart, Self-portrait in a Convex Mirror (book), The New American Poetry 1945–1960, Brand upon the Brain!, Hudson, New York
Collection: 1927 Births, Bard College Faculty, Bollingen Prize Recipients, Columbia University Alumni, Deerfield Academy Alumni, Fellows of the American Academy of Arts and Sciences, Gay Writers, Guggenheim Fellows, Harvard University Alumni, Lgbt Poets, Lgbt Writers from the United States, Living People, MacArthur Fellows, Members of the American Academy of Arts and Letters, National Book Award Winners, National Humanities Medal Recipients, New York School Poets, New York University Alumni, People from Manhattan, Poets from New York, Poets Laureate of New York, Postmodern Writers, Pulitzer Prize for Poetry Winners, The New Yorker People, Wesleyan University People
Accepting the 2010 Best of Brooklyn Award
(1927-07-28) July 28, 1927
Rochester, New York, USA
Poet, Professor
Literary movement
Surrealism, The New York School, Postmodernism
Notable works
Self-portrait in a Convex Mirror
MacArthur Fellowship, Pulitzer Prize for Poetry, National Book Award, National Book Critics Circle Award, Guggenheim Fellowship
David Kermani
John Lawrence Ashbery[1] (born July 28, 1927) is an American poet.[2] He has published more than twenty volumes of poetry and won nearly every major American award for poetry, including a Pulitzer Prize in 1976 for his collection [3] At the same time, he once joked that some critics still view him as "a harebrained, homegrown surrealist whose poetry defies even the rules and logic of Surrealism."[4]
"No figure looms so large in American poetry over the past 50 years as John Ashbery," Langdon Hammer, chairman of the English Department at Yale University, wrote in 2008. "No American poet has had a larger, more diverse vocabulary, not Whitman, not Pound."[5] Stephen Burt, a poet and Harvard professor of English, has compared Ashbery to T. S. Eliot, calling Ashbery "the last figure whom half the English-language poets alive thought a great model, and the other half thought incomprehensible".[6]
Awards and honors 3
Poetry collections 4.1
Collections, prose, and translations 4.2
Ashbery was born in Rochester,[7] New York, the son of Helen (née Lawrence), a biology teacher, and Chester Frederick Ashbery, a farmer.[8] He was raised on a farm near Lake Ontario; his brother died when they were children.[9] Ashbery was educated at Deerfield Academy. At Deerfield, an all-boys school, Ashbery read such poets as W. H. Auden and Dylan Thomas, and began writing poetry. Two of his poems were published in Poetry magazine, although under the name of a classmate who had submitted them without Ashbery's knowledge or permission. He also published a handful of poems, including a sonnet about his frustrated love for a fellow student, and a piece of short fiction in the school newspaper, the Deerfield Scroll. His first ambition was to be a painter. From the age of 11 until he was 15 Ashbery took weekly classes at the art museum in Rochester.
Ashbery at a 2007 tribute to W.H. Auden at Cooper Union in New York City.
Ashbery graduated in 1949 with an A.B., cum laude, from Harvard College, where he was a member of the Harvard Advocate, the university's literary magazine, and the Signet Society. He wrote his senior thesis on the poetry of W. H. Auden. At Harvard he befriended fellow writers Kenneth Koch, Barbara Epstein, V. R. Lang, Frank O'Hara and Edward Gorey, and was a classmate of Robert Creeley, Robert Bly and Peter Davison. Ashbery went on to study briefly at New York University, and received an M.A. from Columbia in 1951.
After working as a copywriter in New York from 1951 to 1955,[10] from the mid-1950s, when he received a Fulbright Fellowship, through 1965, Ashbery lived in France. He was an editor of the 12 issues of Art and Literature (1964–67) and the New Poetry issue of Harry Mathews' Locus Solus (# 3/4; 1962). To make ends meet he translated French murder mysteries, served as the art editor for the European edition of the New York Herald Tribune and was an art critic for Art International (1960–65) and a Paris correspondent for Art News (1963–66), when Thomas Hess took over as editor. During this period he lived with the French poet Pierre Martory, whose books Every Question but One (1990), The Landscape is behind the Door (1994) and The Landscapist he has translated (2008), as he has Arthur Rimbaud (Illuminations), Max Jacob (The Dice Cup), Pierre Reverdy (Haunted House), and many titles by Raymond Roussel. After returning to the United States, he continued his career as an art critic for New York and Newsweek magazines while also serving on the editorial board of ARTNews until 1972. Several years later, he began a stint as an editor at Partisan Review, serving from 1976 to 1980.
During the fall of 1963, Ashbery became acquainted with Andy Warhol at a scheduled poetry reading at the Literary Theatre in New York. He had previously written favorable reviews of Warhol's art. That same year he reviewed Warhol's Flowers exhibition at Galerie Illeana Sonnabend in Paris, describing Warhol's visit to Paris as "the biggest transatlantic fuss since Oscar Wilde brought culture to Buffalo in the nineties." Ashbery returned to New York near the end of 1965 and was welcomed with a large party at the Factory. He became close friends with poet Gerard Malanga, Warhol's assistant, on whom he had an important influence as a poet.
In the early 1970s, Ashbery began teaching at Brooklyn College, where his students included poet John Yau. He was elected a Fellow of the American Academy of Arts and Sciences in 1983.[1] In the 1980s, he moved to Bard College, where he was the Charles P. Stevenson, Jr., Professor of Languages and Literature, until 2008, when he retired; since that time, he has continued to win awards, present readings, and work with graduate and undergraduates at many other institutions. He was the poet laureate of New York State from 2001 to 2003,[11] and also served for many years as a chancellor of the Academy of American Poets. He serves on the contributing editorial board of the literary journal Conjunctions. He was a Millet Writing Fellow at Wesleyan University, in 2010, and participated in Wesleyan's Distinguished Writers Series.[12] Ashbery lives in New York City and Hudson, New York, with his partner, David Kermani.
Ashbery's long list of awards began with the Yale Younger Poets Prize in 1956. The selection, by W. H. Auden, of Ashbery's first collection, Some Trees, later caused some controversy.[13][14][15] His early work shows the influence of W. H. Auden, Wallace Stevens, Boris Pasternak, and many of the French surrealists (his translations from French literature are numerous). In the late 1950s, John Bernard Myers, co-owner of the Tibor de Nagy Gallery, categorized the common traits of Ashbery's avant-garde poetry, as well as that of Kenneth Koch, Frank O'Hara, James Schuyler, Barbara Guest, Kenward Elmslie and others, as constituting a "New York School". Ashbery then wrote two collections while in France, the highly controversial The Tennis Court Oath (1962), and Rivers and Mountains (1966), before returning to New York to write The Double Dream of Spring, which was published in 1970.
Paul Auster and Ashbery discussing their work at the 2010 Brooklyn Book Festival.
Increasing critical recognition in the 1970s transformed Ashbery from an obscure avant-garde experimentalist into one of America's most important poets (though still one of its most controversial). After the publication of Three Poems (1973) came Self-portrait in a Convex Mirror. For that Ashbery won all three major American poetry awards: the Pulitzer Prize, the National Book Award[16] and the National Book Critics Circle Award). The collection's title poem is considered to be one of the masterpieces of late-20th-century American poetic literature.
His subsequent collection, the more difficult Houseboat Days (1977), reinforced Ashbery's reputation, as did 1979's As We Know, which contains the long, double-columned poem "Litany." By the 1980s and 1990s, Ashbery had become a central figure in American and more broadly English-language poetry, as his number of imitators evidenced.
Ashbery's works are characterized by a free-flowing, often disjunctive syntax; extensive linguistic play, often infused with considerable humor; and a prosaic, sometimes disarmingly flat or parodic tone. The play of the human mind is the subject of a great many of his poems. Ashbery once said that his goal was "to produce a poem that the critic cannot even talk about."[17] Formally, the earliest poems show the influence of conventional poetic practice, yet by The Tennis Court Oath a much more revolutionary engagement with form appears. Ashbery returned to something approaching a reconciliation between tradition and innovation with many of the poems in The Double Dream of Spring,[18] though his Three Poems are written in long blocks of prose. Although he has never again approached the radical experimentation of The Tennis Court Oath poems or "The Skaters" and "Into the Dusk-Charged Air" from his collection Rivers and Mountains, syntactic and semantic experimentation, linguistic expressiveness, deft, often abrupt shifts of register, and insistent wit remain consistent elements of his work.
Ashbery's art criticism has been collected in the 1989 volume Reported Sightings, Art Chronicles 1957-1987, edited by the poet [3] In 2008, his Collected Poems 1956–1987 was published as part of the Library of America series.
Ashbery at the Miami Book Fair International, 1986
2011: Inducted into the New York Writers Hall of Fame
2011: National Book Foundation Medal for Distinguished Contribution to American Letters[19]
2008: America Award for a lifetime contribution to international writing
2005: finalist for National Book Award for Where Shall I Wander (2005)
2002: Bestowed the rank of Officier de la Légion d'honneur by the Republic of France.
1984: Bollingen Prize in Poetry for A Wave (1984)
1984: Lenore Marshall Poetry Prize for A Wave (1984)
1976: Pulitzer Prize in Poetry for Self-Portrait in a Convex Mirror (1975).
1976: National Book Award for Self-Portrait in a Convex Mirror (1975).
1976: National Book Critics Circle Award for Self-Portrait in a Convex Mirror (1975).
1972: Ingram Merrill Foundation Fellowship
1956: Yale Younger Poets Prize, for Some Trees (1956) awarded by W.H. Auden
Turandot and Other Poems (1953)
Some Trees (1956), winner of the Yale Younger Poets Prize
The Tennis Court Oath (1962)
Rivers and Mountains (1966)
The Double Dream of Spring (1970)
Three Poems (1972)
The Vermont Notebook (1975), illustrated prose poems
Self-portrait in a Convex Mirror (1975), awarded the Pulitzer Prize, the National Book Award[16] and the National Book Critics Circle Award
Houseboat Days (1977)
As We Know (1979)
Shadow Train (1981)
A Wave (1984), awarded the Lenore Marshall Poetry Prize and the Bollingen Prize
April Galleons (1987)
Flow Chart (1991), book-length poem
Hotel Lautréamont (1992)
And the Stars Were Shining (1994)
Can You Hear, Bird? (1995)
Wakefulness (1998)
Girls on the Run (1999), a book-length poem inspired by the work of Henry Darger
Your Name Here (2000)
As Umbrellas Follow Rain (2001)
Chinese Whispers (2002)
A Worldly Country (2007)
Planisphere (2009)
Quick Question (2012)
Collections, prose, and translations
Melville (1960) by Jean-Jacques Mayoux, Ashbery (Tr.)
The Ice Storm (1987), 32-page pamphlet
Reported Sightings: Art Chronicles, 1957-1987 (1989) (Alfred A. Knopf), ed. David Bergman, Art Criticism and Commentary
The Mooring of Starting Out: The First Five Books of Poetry (Ecco) collection of the poet's work from 1956 to 1972; a New York Times "notable book of the year" (1998)
Other Traditions, 6 long essays on 6 other poets (2000)[1]
100 Multiple-Choice Questions (2000) (reprint of 1970 experimental pamphlet)
Selected Prose 1953-2003 (2005)
Notes from the Air: Selected Later Poems (2007) (winner of the 2008 International Griffin Poetry Prize)
Martory, Pierre The Landscapist Ashbery (Tr.) Carcanet Press (2008)
Collected Poems 1956-87 (Carcanet Press) (2010), ed. Mark Ford
Rimbaud, Arthur Illuminations Ashbery (Tr.) W. W. Norton & Company (2011)
Collected French Translations: Poetry, edited by Rosanne Wasserman and Eugene Richie (2014)
Collected French Translations: Prose, Edited by Rosanne Wasserman and Eugene Richie (2014)
Ben Hickman, John Ashbery and English Poetry, Edinburgh University Press, 2012
Stephen Shore, Lynne Tillman, The Velvet Years: Warhol's Factory 1965-1967
David Perkins, A History of Modern Poetry, Volume II, Modernism and After, Harvard University Press, 1987
Harold Bloom, Figures of Capable Imagination
Laura Quinney, The Poetics of Disappointment: Wordsworth to Ashbery
John Shoptaw, On the Outside Looking Out, Harvard University Press, 1995
Helen Vendler, Soul Says, Harvard University Press, 1996
Andrew Epstein, Beautiful Enemies: Friendship and Postwar American Poetry (Oxford University Press, 2006)
John Emil Vincent, John Ashbery and You: His Later Books http://www.amazon.com/John-Ashbery-You-Later-Books/dp/0820329738/ref=sr_1_1?ie=UTF8&qid=1400812098&sr=8-1&keywords=john+ashbery+and+you
Mark Silverberg, The New York School Poets and the Neo-Avant-Garde (Ashgate, 2010)
^ a b "Book of Members, 1780-2010: Chapter A". American Academy of Arts and Sciences. Retrieved 25 April 2011.
^ a b Ryzik, Melena (August 27, 2007). "80-Year-Old Poet for the MTV Generation".
^ a b c - including poem audio. March 19, 2005Where Shall I WanderNPR interview with Ashbery about his collection
^ Ashbery, John. "On Elizabeth Bishop." Selected Prose. 2005.
^ Hammer, Langdon, "'But I Digress'", review of Notes from the Air: Selected Later Poems, by John Ashbery, New York Times Book Review, April 20, 2008, accessed same day.
^ Burt, Stephen (2008-03-26). "John Ashbery a poet for our times". The Times (London). Retrieved 2010-05-06.
^ "John Ashbery".
^ Curry, Jennifer; Ramm, David; Rich, Mari, eds. (2007). World Authors, 2000-2005.
^ "Video: The Other Twenty-Three Hours".
^ "New York". US State Poet Laureates. Library of Congress. Retrieved May 8, 2012.
^ John Ashbery Visits, Presents His Poetry, Wesleyanargus. By Marjorie Rivera, Contributing Writer. 19 February 19, 2010. Retrieved 14 October 2012.
^ New York Times – Paper Cuts
^ Times Literary Supplement – Auden and prizes – Kessler
^ Times Literary Supplement – Auden and prizes – Ashbery
^ a b "National Book Awards – 1976". National Book Foundation. Retrieved 2012-02-25.
(With acceptance speech by Ashbery and essay by Evie Shockley from the Awards 60-year anniversary blog.)
^ How to read John Ashbery
^ James Longenbach, Ashbery and the Individual Talent
^ "Distinguished Contribution to American Letters". National Book Foundation. Retrieved 2012-03-11.
(With acceptance speech by Ashbery.)
Poems by John Ashbery at PoetryFoundation.org
The Ashbery Resource Center
John Ashbery at EPC
John Ashbery--the Academy of American Poets
Works by or about John Ashbery in libraries (WorldCat catalog)
Peter A. Stitt (Winter 1983). "John Ashbery, The Art of Poetry No. 33". Paris Review.
Audio recordings from Key West Literary Seminar, 2003: Chinese WhispersAshbery reading from ; Ashbery's 'mini-lecture' on Elizabeth Bishop
Audio recordings of John Ashbery, from the Woodberry Poetry Room, Harvard University
Carcanet Press - John Ashbery's UK publisher
Griffin Poetry Prize biography
Griffin Poetry Prize reading, including video clip
Modern American Poetry, critical essays on Ashbery's works
Pulitzer Prize for Poetry (1976–2000)
John Ashbery (1976)
James Merrill (1977)
Howard Nemerov (1978)
Robert Penn Warren (1979)
Donald Justice (1980)
James Schuyler (1981)
Sylvia Plath (1982)
Galway Kinnell (1983)
Mary Oliver (1984)
Carolyn Kizer (1985)
Henry S. Taylor (1986)
Rita Dove (1987)
William Meredith (1988)
Richard Wilbur (1989)
Charles Simic (1990)
Mona Van Duyn (1991)
James Tate (1992)
Louise Glück (1993)
Yusef Komunyakaa (1994)
Philip Levine (1995)
Jorie Graham (1996)
Lisel Mueller (1997)
Charles Wright (1998)
Mark Strand (1999)
C. K. Williams (2000)
Poets in The New American Poetry 1945–1960
Helen Adam
Paul Blackburn
Robin Blaser
Ray Bremser
Brother Antoninus
Paul Carroll
Edward Dorn
Kirby Doyle
Larry Eigner
Madeline Gleason
Philip Lamantia
Ron Loewinsohn
Michael McClure
David Meltzer
Frank O'Hara
Joel Oppenheimer
Peter Orlovsky
Gilbert Sorrentino
Lew Welch
Philip Whalen
John Wieners
BLP articles lacking sources from July 2010
Incomplete lists from November 2011
WorldHeritage articles with VIAF identifiers
VIAF not on Wikidata
Poets from New York
Members of the American Academy of Arts and Letters
Columbia University alumni
People from Manhattan
New York University alumni
Harvard University alumni
Gay writers
Deerfield Academy alumni
LGBT writers from the United States
New York School poets
Poets Laureate of New York
Wesleyan University people
National Book Award winners
Pulitzer Prize for Poetry winners
Bard College faculty
Fellows of the American Academy of Arts and Sciences
Postmodern writers
Bollingen Prize recipients
LGBT poets
Long Island, Queens, Brooklyn, Philadelphia, Staten Island
Man Booker Prize, World War II, Children's literature, Pulitzer Prize, Stephen King
Library of Congress, Diana, Princess of Wales, Latin, Oclc, Integrated Authority File
Dada, Salvador Dalí, Cubism, André Breton, René Magritte
Emily Dickinson, John Ashbery, International Standard Book Number, Los Angeles Times, Walt Whitman
Self-portrait in a Convex Mirror (book)
John Ashbery, Penguin Books, International Standard Book Number, Self-portrait in a Convex Mirror, American literature
The New American Poetry 1945–1960
Allen Ginsberg, Jack Kerouac, Beat Generation, Objectivist poets, Language poets
Brand upon the Brain!
Guy Maddin, Silent film, The Film Company, Jason Staczek, New York Film Festival
Columbia County, New York, New York, United States Democratic Party, New York City, Hudson Valley

redpajama_set_name: RedPajamaCommonCrawl


text:
Home » The American Civil War » American Civil War June 1861
American Civil War June 1861
Citation: C N Trueman "American Civil War June 1861"
June 1861 witnessed the first major casualties of the American Civil War, though nothing like the American Civil War was to experience in later years.
June 1st: Union and Confederate forces met at Fairfax Court House, Virginia. Some of the earliest battle casualties took place here with one soldier killed on both sides.
June 2nd: 3,000 Union troops commanded by General McClellan advanced on Philippi in western Virginia to confront a Confederate cavalry force that was out recruiting for volunteers.
June 3rd: McClellan's men caught the Confederates by surprise having marched through the night. The Confederates made a hasty retreat in what became known as the 'Philippi Races'. The ease of victory convinced many Union officers that the war would not last long. McClellan shared this view.
June 5th: Arms and ammunition bound for the Confederacy were seized in Baltimore.
June 6th: The Federal government announced that once a state had done its job of mobilising volunteers, the government in Washington would bear the cost of the war.
June 8th: The Federal government established the United States Sanitary Commission that was tasked with overseeing the health of Union troops. Its creation is considered a major military innovation.
June 10th: A force from General Butler's command attacked a 2,000 strong Confederate force at Little Bethal. However, confusion reigned in the Union force that had been split in to three for the attack. Approaching Little Bethal at dawn, Union soldiers identified other Union soldiers as Confederate troops. They fired on their own men. They also alerted the Confederates of their approach and lost any chance of a surprise attack. Sixteen Union soldiers were killed in this attack while the Confederates lost just one man killed.
June 11th: Counties in western Virginia set up a pro-Unionist government that was recognised by the federal government in Washington DC. In Missouri, the state governor Claiborne Jackson tried to convince Brigadier-General Lyon, commander of the Department of the West, that the state wished to remain neutral in the war and that Missouri did not want any troops quartered in it or passing through it. Lyon knew, however, that Jackson was a secessionist. However, there was little he could do.
June 12th: Jackson made a proclamation in Jefferson City declaring Lyon's men "invaders". He called for 50,000 volunteers to defend the state against Lyon's.
June 13th: Lyon advanced on Jefferson City with 1,500 men while Jackson and all the troops he could muster moved south and out of the city.
June 14th: Confederate troops abandoned Harper's Ferry in the face of a two-pronged Unionist advance.
June 17th: Professor Thadeus Lowe demonstrated to President Lincoln his hot air balloon. The president's military advisors considered that the balloon had advantages with regards to battlefield reconnaissance. A small Confederate cavalry force got within sight of the capital. A clash between Lyon's men and Confederate forces at Booneville, Missouri, left fourteen Confederates dead with twenty wounded.
June 18th: Twenty-five Unionist soldiers were killed at Camp Cole, Missouri. Four Confederates soldiers were killed.
June 19th: Francis H Pierpont was elected governor of what would eventually become Western Virginia.
June 20th: Confederate forces in Missouri gathered in the south of the state away from Lyon's men.
June 22nd: Governor Jackson moved out of Booneville and travelled further south in the state.
June 23rd: Two large Confederate armies gathered. The Army of the Potomac, commanded by Beauregard, and the Army of the Shenandoah, commanded by General Joseph E Johnson. To both commanders, Virginia seemed to be the likely state where major confrontations would take place.
June 25th: Minor clashes occurred between the forces of Johnson and General Patterson, a Union commander in the Shenandoah Valley.
June 26th: An article in the 'New York Tribune' became popular in Washington. It declared that the Confederate Congress must not be allowed to meet in Richmond on July 20th and that a Unionist army should be in Richmond by that day. Militarily this was highly risky but the article, entitled "Forward to Richmond" caught the public mood in the capital.
June 27th: A committee of men from the army, navy and coastal survey teams met in Washington DC. It discussed the likely problems that Union forces could encounter on land and at sea around the Southern coast.
June 28th: Senior Union officers argued that a rush to Richmond – as demanded by the public –would be folly and would almost certainly end in very heavy Unionist casualties.
June 29th: Senior military and civilian leaders met with Lincoln in Washington DC. Field command of the Union army was handed to General Irwin McDowell. He had spent the previous 12 years in administrative fields and may have been looking at ways to extract some glory from his appointment, as his first order was to march on Richmond. While this was very popular with the public, those in the Union army were less than convinced that it was a good move.
June 30th: 'CSS Sumter' broke the Unionist blockade of New Orleans. Commanded by Captain Raphael Semmes, over the next six months the 'Sumter' captured or destroyed eighteen Unionist ships.


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text:
UN official condemns blockade
Bastian Silvestre / 30 June, 2017
June 30, 2017 / by The Peninsula Qatar
Geneva: H E Ali Khalfan Al Mansouri, Permanent Representative of the State of Qatar to the United Nations Office and International Organizations in Geneva, met yesterday with Prince Zeid Ra'ad Al Hussein, the UN High Commissioner for Human Rights.
The meeting discussed the flagrant violations of international human rights law and international law committed against the people of Qatar because of the collective punishment and siege imposed by Saudi Arabia, the UAE and Bahrain on the State of Qatar.
The High Commissioner expressed his "concern and condemnation" of the actions and coercive measures taken by Saudi Arabia, the United Arab Emirates and Bahrain against the State of Qatar, which have caused many humanitarian tragedies, pointing out that the directives issued by these countries to deal with a number of humanitarian cases of joint families were insufficient and ineffective.
Prince Zeid bin Ra'ad said that the demands submitted to the State of Qatar cannot be implemented, stressing that he will meet with the UN Secretary-General to address these violations and to end the crisis. For his part, the Permanent Representative of the State of Qatar expressed appreciation for the statement issued by the High Commissioner on the Gulf crisis and welcomed the statement issued by the UN Special Rapporteur on the promotion and protection of the right to freedom of opinion and expression on demand submitted to Qatar to close Al Jazeera as a "serious blow to media pluralism".
Ambassador Al Mansouri told the High Commissioner that the countries besieging Qatar have no intention to contain the crisis. On the contrary, they have the intention to escalate and complicate things.
He stressed the importance of following up the violations that accompanied this crisis in a deeper and more determined manner by the High Commissioner for Human Rights, urging the High Commissioner to issue further statements in this regard. The Permanent Representative of the State of Qatar to the UN Office and International Organizations in Geneva invited representatives of the Office of the UN High Commissioner for Human Rights to visit Qatar to examine violations of international human rights law and to meet with individuals who had been subjected to such violations.
Source:https://thepeninsulaqatar.com/article/30/06/2017/UN-official-condemns-blockade
30 June, 2017 in Asia, Digital Media, journalistic genre, News, Qatar. Tags: Al Jazeera, libertad de prensa, Media Pluralism, Pluralismo en los Medios, press freedom
UAE: Al Jazeera has gone beyond incitement to hostility and violence
US, Kuwait stress restraint in crisis – Saudis reject negotiations
UN Media Watchdog Slams Demands to Close Down Qatar-Based Al Jazeera
← Rupert Murdoch's Sky takeover has been denied for now – but the plurality of our media is still at risk
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On October 19th, 2018, we will once again be hosting a CentOS Dojo at CERN, in Meyrin, Switzerland. This will be a full day of CentOS presentations, drawn both from CERN and from the broader CentOS community.
CERN is one of the best-known research facilities on the planet, and the home of the Large Hadron Collider.
CentOS Dojos are the best place to meet other members of the CentOS community, and the various communities - such as OpenStack and Ceph - that have a large overlap with CentOS.
I am interested with Cern facilities.
gcc , gedit and bash.
How to cut off starting waiting time is about 2 minuite too long to see Seven wall paper.


text:
Q: Python object orientated not changing values in init function Hi I'm in the process of making a game and I've hit a stumbling block this is part of my code below:
class player(object):
    def __init__(self):
        self.x = 10
        self.y = 10
        self.amount = 5
        self.answer = 0

     def move(self):
        self.x += self.amount
        self.y += self.amount

while True:
    player().move()
    print player().x

Its probably a really basic mistake but whatever the move() function does it doesn't ever seem to change value of self.x or self.y can someone poke me in the right direction please! Thanks, I realise I'm probably missing something very basic, I don't have much experience with OO

A: player().move()    # create a player and move it
print player().x   # create another player and print its x

What you meant is:
aplayer = player()
aplayer.move()
print aplayer.x

PS: The common practice is to capitalize class names:
class Player(object):
    def __init__(self):
        self.x = 10
        self.y = 10
        self.amount = 5
        self.answer = 0

     def move(self):
        self.x += self.amount
        self.y += self.amount

player = Player()
player.move()
print player.x

This way it's easy to differentiate between classes and objects.

A: Ok. what the other person said is that you need to set the "Player" as a variable such as George, then call George.move()
so
class Player(object):
    def __init__(self):
        self.x = 10
        self.y = 10
        self.amount = 5
        self.answer = 0

    def move(self):
        self.x += self.amount
        self.y += self.amount

While True:
    george = Player()
    george.move()
    print george.x

that should work. and you can change "george" to anything you want, just make sure it is consistent.

redpajama_set_name: RedPajamaStackExchange


For some time now, there has been gossip around digital ads not working. Ben Kunz, VP Strategic Planning at Mediassociates has had enough. He's come to the conclusion that folks aren't doing basic math to calculate the return of ads. The point he attempts to drive (and he does it well) is that you need your price point to be above your digital acquisition cost. And to be honest, there are a ton of products that are.
Sure, there are a ton of variables. Budget, CPM, CTR, and conversion rates. But at the end of the day, digital ads work. Don't listen to the noise- data speaks.


Leonard Redon's fourth-floor office at Paychex Inc.'s headquarters in Penfield might be one of the least likely places to find him.
He could be at a board meeting for one of the many non-profits he works with, or on a boat in the middle of Lake Ontario. If it is winter, there is a good chance he is in his home recording studio, working on an album.
But more than likely, Redon will be traveling to the company's operations west of Buffalo, which report to him in his position as vice president of western operations. In that capacity he oversees 38 branches and close to 2,500 employees, traveling at least one week in most months to get a feel for operations firsthand.
The style is typical of Redon, 57, who has worked extensively in customer service since his time with Eastman Kodak Co. as vice president of Rochester operations.
A decorative sign hanging from his office door says, "Take a number," but it is not Redon's nature to sit passively and wait for issues to be brought to him.
Redon says he does his best work in person, when he can help motivate people at the branches to achieve the goals the company sets forth. He says he enjoys stepping in on the classes at the company's headquarters, where he helps lead aspiring managers in finding novel solutions to problems posed by instructors.
He also is known for bringing an innovative approach to projects or problems the company presents to him. Martin Mucci, Paychex vice president of operations, says Redon took the lead on the introduction of a client relationship management system, just the kind of large-scale project where his expertise and creativity fits.
"Even though Paychex has been around for more than 30 years, we're always changing to deliver what clients need, and he brings that real strategic thinking to look at what can be done differently, what are all the different angles," Mucci says.
Redon's hands-on style has a practical purpose. Because the branches he oversees are in different states, each with its own local taxes and payroll periods, the need to remain on top of the challenges through continual travel is essential.
The current economy is one of the biggest obstacles Redon faces. In California, where he notes that taxes are increasing the cost of doing business at a rate much faster than the rest of the country, the company serves nearly 100,000 clients. Some work for California clients has moved to Albuquerque, N.M.
Redon says that at his branches and across the entire company, business has slowed from the normal 12 percent revenue and 6 percent gross income growth each year. To bring costs down, he says, branches are consolidating services such as printing checks.
There are opportunities for growth in local areas that Redon oversees. He administers HR Online and Time and Attendance programs that are growing 35 percent to 40 percent each year. While they are still smaller programs, Redon says they have a tremendous upside for the company.
The HR Online function allows clients to manage employee information, benefits and hiring activities with an online product. After roughly four years, it has taken off in the company's major market services, Redon says.
The Time and Attendance function allows companies to track employees' work hours through an automated system. It also provides different input options such as a swipe card or biometric scans of fingerprints. Redon says the company's main competitors have been offering the function for some time, and now Paychex is beginning to see significant growth in the product.
"This is becoming more and more important as any company managing its hourly work force needs to be in compliance with things like general overtime laws," Redon says.
Even in difficult times, Paychex's priorities of service to clients and loyalty to employees have remained a top commitment, Redon says. After Hurricane Katrina struck, Redon helped scramble to make sure that each displaced client and employee had a place in the company. Accounts from the New Orleans branch were handled from Houston and Dallas, and employees were shifted to nearby locations.
"We got all our employees to Baton Rouge or the local offices in places where they might have relocated to and started working again," Redon says. "That said a lot about the company and our business continuity plans, that if something happens here, we move the work here, here and here and we're still able to process payroll and contact clients.
Redon remembers what former Kodak chairman and CEO Kay Whitmore told him during Redon's time with that company: To whom much is given, much is expected. For Kodak executives, sharing the expertise and leadership they had gained on the job with non-profit boards and other community organizations was almost expected, Redon recalls.
Redon has used his expertise to support charitable and community organizations of many kinds. He began with a desire for involvement in an organization that encourages young people to learn and grow, which led to his involvement with the Center for Youth Services. While on that board, he established contacts with the Monroe Community College Foundation, which does fundraising on the school's behalf.
Redon was chairman of the foundation for more than two years and head of a presidential search committee during the college's initial search last year, which ended amid accusations of political tampering by members of the college's board of trustees.
"That was interesting," Redon says with a laugh.
As his interests and involvement broadened, Redon found a niche within health care organizations. He was on the Rochester advisory board for Excellus BlueCross BlueShield and also sat on its community technology assessment advisory board, which helped determine whether certain medical technologies were needed locally and thus would be covered by health insurance.
John Doyle, chairman of Lifetime Healthcare Cos., a holding company including Excellus, says Redon has brought great insight and business experience to the board they have served on together for more than seven years.
Redon chairs the 2020 Commission, a group of 18 local business leaders, health care and government officials that investigated the local need for hospital beds and how beds should be distributed among Strong Memorial, Rochester General and Unity hospitals. After more than a decade of building expertise in the field, Redon says he was ready to bring what value he could to the cause.
For Redon the benefits of his board involvement flow both ways. While he is imparting the knowledge and business acumen acquired in his corporate life to the groups he works with, he is picking up new skills that aid in his work with Paychex.
When the grind of evening board meetings and skipping across time zones to visit Paychex branches wears on Redon, he retreats to the sanctuary of his home recording studio. There he plays guitar and bass, writes lyrics and records CDs of five to six songs roughly once a year.
As a classically trained musician, he originally went through a jazz recording phase before settling on a mix of classic rock and Motown that he refers to as "Len music." On the upcoming album he has two Joni Mitchell songs, a couple from the Eagles and the Grateful Dead, along with some from Huey Lewis and the News. It will be completed as soon as he finishes the lyrics to his own original song.
Music has been a lifelong pursuit for Redon, but because of his hectic schedule he is not able to find steady playing partners or join a band. Still, he is not ready to let his passion fall by the wayside.
The creativity bred from hours spent in the recording studio also spills over to Redon's work at Paychex, Mucci notes.
After growing up in the eastern suburbs of Cleveland, Redon attended Worcester Polytechnic Institute in Worcester, Mass., before taking a job with Kodak that would keep him in Rochester for most of his adult life. He now lives in Bushnell's Basin.
Not all of his pursuits are indoors. Redon is also an avid golfer and sailor, activities he shares with wife Denise.
Doyle also has a boat at the Rochester Yacht Club. At the club, Redon is well-liked and highly regarded for his skill, Doyle says.
Doyle recalls a 300-mile race around Lake Ontario in which Redon competed as part of a two-person team. The race required teams to work seamlessly and communicate constantly, something Doyle says Redon excels at in both his profession and his personal life.
Title: Vice president of western operations, Paychex Inc.


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What is Advocaat liqueur?
2020-07-29 By Jason Wilson Other
Is Advocaat an eggnog or liqueur?
What is Advocaat and how is it made?
What is German liqueur?
What is Advocaat of the Devil?
What is Advocaat Liqueur? Advocaat is a Dutch liqueur that is very thick, rich and creamy with a yellow color. Usually made with a brandy base, it contains egg yolks, lots of sugar, and vanilla. It can be thought of as something like an egg custard liqueur or simply a very boozy version of eggnog.
Although Advocaat is often classed a liqueur, it is much easier to make than most liqueurs since there is no need to wait for the ingredients to steep. It is as quick as making most other eggnogs.
Where can I buy Advocaat?
It may be difficult to find advocaat for sale at liquor stores, although some larger well-stocked stores may carry Bol's or Warninks brand advocaat. Although Advocaat is often classed a liqueur, it is much easier to make than most liqueurs since there is no need to wait for the ingredients to steep.
What is Advocaat of Filliers?
In 1970, Julia Denecker, wife from the third generation of Firmin Filliers, developed the family recipe for the Belgian Advocaat of Filliers Distillery. It is a creamy mild liqueur produced in small quantities in the traditional way, with fresh eggs & only natural flavors.
This liqueur comes in various forms adapted for all possible tasting situations: the classic glass retro weck jar, but also small weck jars and squeeze bottles. Since 2017, the Belgian Advocaat has received the official VLAM label "Regional product from East Flanders"
Advocaat is a traditional Dutch custard made of egg yolks and brandy. Sometimes referred to as Dutch eggnog, advocaat is similar in flavor but richer and thicker than the eggnog you might be used to. It is so thick that you can—in fact, must—eat it with a spoon, sort of like a thick, eggnog-flavored malt.
*Price, vintage and availability may vary by store. Germany- Rich and creamy liqueur made from eggs, sugar and brandy. It has a smooth taste that is fairly similar to almonds. An ingrededient for desserts and a snowball cocktail. It can also served as an aperitif or digestif. Cordials offer a delicious burst of flavor and sweetness.
Everyone's had some Advocaat at a party, this is the superlative egg-based Dutch liqueur. No, it's not a very competitive category, but it counts for something. This is made with just four ingredients; egg yolk, brandy, sugar and vanilla.
What is Advocaat made of?
(Nutrition information is calculated using an ingredient database and should be considered an estimate.) Advocaat is a traditional Dutch custard made of egg yolks and brandy. Sometimes referred to as Dutch eggnog, advocaat is similar in flavor but richer and thicker than the eggnog you might be used to.
What are the different types of liqueurs that have sweetening agents?
Cream liqueurs require homogenization and other different mixing processes. After producers marry flavoring agents with alcohol, they reduce the proof by adding water, which is sweetened and often colored. Sweetening agents include sugar, high-fructose corn syrup and honey.
This drink is often called "advocaat of the devil" because once you start nipping at the sweet nectar, you cannot resist the temptation to have more. While commercial advocaat can be difficult to find outside of Europe, it is easy to make from scratch from a few common ingredients.
What floor should I put on my garage gym?
What is lauryl Lactyl lactate?


A fuel cell for space. Batteries that use air. A way to tap pine trees and extract biofuels like maple syrup from a maple tree. These are just some of the "out-there" energy innovations that researchers and entrepreneurs are hard at work building in labs across the U.S., and which were on display at the fifth annual energy innovation-focused ARPA-E Summit this week. As snow fell gently on the Gaylord Convention Center on the banks of the Potomac, just outside of Washington D.C., over 260 energy technology projects were showcased across diverse sectors from biofuels, to power grid analytics, to next-gen batteries.
Most of the scientists and innovators at the conference have a few things in common. The bulk are funded by the Department of Energy's ARPA-E program, which gives small grants (a million dollars or so) to early-stage, high-risk "moonshots" that can advance energy technology. Some of the researchers work at university labs, some work at startups, others work in the R&D divisions of big companies. A lot of these scientists are examples of what Bill Gates once (lovingly) referred to as crazy energy entrepreneurs working on energy miracles.
A power dense charger for electric cars from APE International.
Underlying the bright ideas and goodwill, there's a general acknowledgement that the ARPA-E program is, indeed, small. Its budget is only a couple hundred million dollars (currently at $275 million) and at times it has had to fight for survival. Many of the technologies that get funding in the program are so early stage, it's hard to deliver success stories, and even harder to scale these research projects beyond the lab and into real companies.
This year, compared to previous years, there were notably fewer highlighted startups, much more university research and even fewer venture capital investors walking the floor. Most VCs have by now have learned that it's just really difficult to make easy, fast money from backing these energy miracles.
Tapping pine trees for biofuels: Researchers at the University of Florida are using metabolic engineering to increase the number of energy-dense molecules in pine trees so that they could potentially be tapped like maple trees. The molecules are called wood terpenes, and the substance they can extract is called turpentine. The team, which raised close to $7 million from ARPA-E, wants to boost the amount of turpentine in the pines from 4 percent to 20 percent of its weight.
A 3D-printed electric car motor: And you thought 3D printing was just for toys and design models. A group of researchers at aerospace giant United Technologies Research Center is using 3D-printing techniques to make a high-efficiency electric car motor that uses fewer rare earth materials and less energy, doesn't rely on a global supply chain and can be made more compact. The process uses a laser to deposit layers of copper and insulation, instead of winding wires in the traditional fashion.
Diamond semiconductors: When diamonds are doped up with boron or phosphorus, they're great electricity conductors — they can withstand higher temperatures at a higher performance than silicon. But of course they're very expensive. Researchers at Arizona State University have developed a new process to grow doped diamond crystals to be used as semiconductors for a much lower cost. Michigan State University is also working on making doped diamonds for high-powered semiconductors.
MIT researchers prototypes of thermal battery cells for an electric car.
Thermal batteries for electric cars: Saving the battery power of an electric car to power the vehicle — instead of running the air conditioning or the in-car electronics — could significantly extend the range of an electric car. Researchers at MIT are working on a battery-type energy storage device that can absorb a lot of water using an engineered material of zeolites and graphene. The "absorptive battery" could provide heating or cooling for about an hour, without using the batteries that would be powering the car. The MIT researchers are testing out the technology with Ford and got a $2.7 million ARPA-E grant.
UTRC is also working on a so-called thermal battery — or hot and cold battery — for electric cars using a vapor compression system that absorbs a refrigerant on a metal salt. University of Texas, Austin has a project developing a hot-cold battery for EVs that uses "phase change materials" that release and store energy as they move from a gas to a liquid stage. When it's completed, the UT Austin the researchers hope their thermal battery can extend an EV's range by a third.
Dust devil energy: This might be the most out-there idea at the show. The researchers at Georgia Institute of Technology are looking at ways to harness the energy in dust devils, a naturally occurring phenomenon that takes place when a wind vortice is created from solar heated air on the ground. The project looks to create man-made dust devils in a sort of wind turbine.
Air batteries: The ARPA-E program has a whole bunch of projects working on batteries that use air as a key component (for electric cars and grid storage). Some of the work is coming from substantial companies like Fluidic Energy, which I wrote about last year, or PolyPlus, which I covered a couple years ago. Other air battery projects, like a newly announced aluminum-air battery that Phinergy and aluminum giant Alcoa are working on, are still very early-stage research.
NASA developed this fuel cell for space applications.
A "closed" fuel cell for space: NASA was showing off a fuel cell that is closed, and is "non-flow-through" so it requires no maintenance, uses reactants that can be stored at high pressures, and has no moving parts. NASA has already been practicing powering one of its lunar rovers with the non-flow-through fuel cell.
Turning tobacco into fake shark liver molecules: Squalene is a compound that is mostly obtained from shark liver and is used in cosmetics and vaccine technology. But killing millions of sharks to extract their livers is a huge problem. A project from Texas A&M University, called SynShark, is working on a way to genetically modify tobacco leaves to make squalene.
None of these technologies stand a chance of changing our energy situation. We need truly disruptive tech that would dethrone coal and natural gas as our major fuels. Gen IV nuclear has been available since the 60s and our government has done a great job of stifling true innovation in this area. Instead they would pay clueless academics to run around in a meaningless green energy rat race.
I agree none of these technologies has the potential to change the game substantially. Given that fission reactors produce hideously toxic waste that lasts for thousands of years and for which no one has developed a truely safe long term solution, we are left with a situation where the solution that is evolving is one that is a mosaic of renewable energy techs that will each find a niche.
The strength if this is its diversity, decentralised nature and sustainability, all of which make it far more robust than our sucidal rush to massive climate change produced by our addiction to fossil fuel and its fragile centralised infrastructure.
The Japanese were using Pine derived fuels at the end of WWII… Much of this fuel went into planes used in Kamakazi attacks. The results were slow planes that often failed to reach target, killing their already doomed pilot/crews.
The Germans used coal gasification for their end of war efforts… with similar results.


text:
Q: .Assembly / GetExportedTypes throws FileNotFoundException If I run this code:
var myAsm = typeof(MyType).Assembly;
var types = myAsm.GetExportedTypes();

I get:
System.IO.FileNotFoundException : Could not load file or assembly ....

which lists a dependent assembly.  However, if I do:
var myAsm = Assembly.LoadFrom(...);  // DLL containing the same assembly as above
var types = myAsm.GetExportedTypes();

it works fine.
I really would prefer the first technique, as it's cleaner... why should I have to load a DLL that is already loaded?  Any advice?

A: This doesn't exactly answer your question, but I just had a related problem to this and I thought I'd post some info to help others who may stumble across this as I did!
Assembly has
.LoadFile(string path)

and
.LoadFrom(string path)

LoadFile will throw a FileNotFoundException if loading the assembly from some remote (not the same as the executing dll) folder. You need to use LoadFrom as you do above ;)

A: Have you tried
System.Reflection.Assembly.GetExecutingAssembly();

Or
System.Reflection.Assembly.GetAssembly(typeof(MyType));

The reason your second one works is you are actually loading a .dll.  When you call typeof(MyType).Assembly, it has no idea which .dll reflection should be using.  Which is why either GetExecutingAssembly or GetAssembly(tyepof(MyType)) should work.

A: If you are trying to Load an Assembly that IS NOT the ExecutingAssembly, and that DLL has references to lower-level objects like MyProj.Interfaces or MyProj.BaseClasses or Infragistics controls or something like that...  THOSE dll's will also have to be available in the same folder from which you are loading the initial dll.


text:
By Froma Harrop
A tale of morality at Uber
Travis Kalanick of Uber collects the award for Best Overall Startup of 2014 at the TechCrunch 8th Annual Crunchies Awards in San Francisco in 2015. Credit: Getty Images for TechCrunch / Steve Jennings
Updated June 24, 2017 12:03 PM
Travis Kalanick helped found and build Uber into a corporate giant worth more than Ford Motor Co. On June 20, Uber's board effectively fired Kalanick.
This was a direct reaction not to Kalanick's infamously immature bad-boy behavior but to what his toxic personality was doing to the ride-hailing service's bottom line. It recognizes that consumers don't scour the internet for the lowest price and, on that basis alone, make a purchase. Reputation still counts.
Kalanick had become the leading representative of an obnoxious "bro culture." He and his managers both mocked and discriminated against women. They partied at strip joints. They sneaked around local regulations, abused drivers and have been accused of stealing technology owned by Google's parent company. Kalanick's official core values included "stepping on toes" and "always be hustlin'."
Uber's big investors decided they'd had enough.
The Uber case is just one example of companies' acting on worries that they are lending their good name to questionable activities. Another was JPMorgan Chase's decision to withdraw its advertising from NBC's Megyn Kelly interview with the creepy conspiracy theorist Alex Jones.
Delta Air Lines and Bank of America pulled back sponsorship of a New York Shakespeare in the Park production of "Julius Caesar" that featured the assassination of a Donald Trump-like figure. In a similar vein, CNN fired comedian Kathy Griffin after she posed lifting a mock severed head of Trump.
All these decisions were solid ones. A critic for The Guardian quoted an English theater director as saying that corporate sponsorships of performances are, in effect, censorship. That is nonsense.
Bill O'Reilly's sponsors were in no way censoring the Fox News personality when they pulled ads from his show because of multiple reports of his piggish treatment of women. And it mattered not that O'Reilly still had a big audience. They didn't want to be seen as enabling socially repugnant behavior.
O'Reilly retains the right to say what he wants to, and Fox News has a right to give him airtime, though it decided to let him go. But companies also have a right to advertise or not.
As for the ads themselves, I don't care much for overtly political messages, even when the messages jibe with my own worldview. They have an air of manipulation, playing with my civic emotions to sell a product having nothing to do with government or politics. But I have no problem with companies that sponsor news shows promoting views I greatly disagree with. As long as the content is vaguely honest, the sponsor's reputation remains intact, in this opinion.
There was a time when advertisers saw social media — Facebook, Twitter and the like — as a means to maintain tighter reins, directing customized ads toward specific audiences. On the contrary, social media have become a wild horse, an uncontrollable force whereby popular campaigns against a company can explode with force in a matter of hours.
That's why the hashtag "DeleteUber" so pained Uber's board of directors. That's why the hashtag "GrabYourWallet" — urging followers to boycott Trump brand products — has hurt bottom lines.
It is admittedly a tall order for corporations to navigate these choppy waters. They must develop sharp messaging that will not set off fireworks on Twitter and Facebook among would-be customers. (It's hard enough to counter blatant lies targeting the company name.)
But buffing the corporate image is what executives get extravagantly paid to do. If it gets tarnished by anti-social behavior in the executive suite or association with a repellent personality or message, companies have every right to cut the ties. Bashers of corporate America take note: Big business may be one of the few gatekeepers for public decency left.
Froma Harrop is a syndicated columnist with Creators.
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text:
Joseph-Alfred Langlois ( - ) était l'évêque du diocèse de Valleyfield.

Biographie
Natif de Sainte-Claire-de-Dorchester, il reçoit son ordination au sacerdoce à Québec le  après des études classiques à Sainte-Thérèse et des études théologiques au grand séminaire de Québec.

Il enseigne au collège de Lévis. Le , Pie XI le nomme évêque de  et il est consacré évêque dix jours plus tard.

Joseph-Alfred Langlois est nommé à l'évêché de Valleyfield le , succédant à  Félix-Raymond-Marie Rouleau. Il était d'abord évêque auxiliaire et curé-fondateur de la paroisse du Sacré-Cœur de Québec.

Il fonde le journal Le Salaberry et crée dix-neuf paroisses. Il est perçu comme un candidat pour diriger l'archidiocèse de Québec. Langlois est l'ami du chanoine Lionel Groulx et de Delphis Neveu.

Il enseigne aussi au Grand Séminaire De Québec (GSDQ).

Joseph-Alfred Langloisest un des premiers récipiendaires de la médaille Gloire de l'Escolle en 1952. Après quarante ans d'épiscopat, il meurt le  à l'âge de 90 ans et est enterré à la cathédrale Sainte-Cécile.

Son successeur est . Les armoiries de la municipalité de Sainte-Claire sont inspirées de ses propres armoiries.

Toponymie
Le pont Monseigneur-Langlois, reliant Salaberry-de-Valleyfield à Coteau-du-Lac, a été nommé en son honneur.

Le boulevard Monseigneur-Langlois fut nommé en son honneur.

À Pincourt, une avenue est nommée en son honneur.

Liens externes

Naissance en Chaudière-Appalaches
Naissance en septembre 1876
Décès à 90 ans
Décès en septembre 1966

Professeur à l'Université Laval

Évêque canadien
Personnalité religieuse de Beauharnois-Salaberry
Salaberry-de-Valleyfield
Évêque de Valleyfield

redpajama_set_name: RedPajamaWikipedia


Attack of the Cute Dinos!
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String Section: Diversity
Written by Mark O'Connor
Racial Diversity and the Symphony Orchestra
Dr. Aaron Dworkin of the Sphinx Organization.
I have long been intrigued by the lack of diversity in classical music, in part because I think there are a variety of reasons for it, some of which are not at all obvious. I recently had a conversation about this topic with Dr. Aaron Dworkin, the founder and president of the Detroit-based Sphinx Organization, which encourages black and Latino students to participate in classical music. I am a member of the advisory board at the Sphinx.
Mark O'Connor: Aaron, I recently viewed a video of a speech you gave at Carnegie Hall entitled, "Address on Inclusion in American Orchestras." I share your concerns about diversity. However, I want to take a closer look at the statistics you brought up in your speech. You said:
The New York Philharmonic has no fulltime black members and has not for over five years! There are also no Latino members of the orchestra. A decade ago, the Chicago Symphony hired the first black in the history of their orchestra, and he remains the only black member ever hired by that orchestra. In addition, they have only one Latino amongst their ranks. Nationally, only about four percent of orchestras are black and Latino combined. As it relates to repertoire, less than one percent of all of the works performed by orchestras are by any composer of color. And orchestras' administrative leadership is even less representative of our society, with less than half of one percent of executive directors being either Latino or black.
The question is: What do these numbers really mean? The fact is that so few black and Latino musicians are winning auditions because so few are auditioning in the first place. To hammer home the obvious, when 100 skilled violists show up for an orchestra audition, and only two or three of them are black, there is only a two or three percent chance one of the black violists wins, statistically speaking.
The O'Connor String Quartet.
As you may know, Kelly Hall-Tompkins, an African-American violinist, is a member of my string quartet. She is also a member of a top-25 orchestra, the New Jersey Symphony. Recently, I learned that she has decided to quit the symphony, for reasons that are still unclear to me. She is only in her 30s, but apparently she cannot envision spending her life in that environment. Her departure reduces the black membership of that orchestra by 50 percent! Even after the New Jersey Symphony made Henry Lewis the first black conductor of a major orchestra in 1969, the legacy of diversity under his leadership is nothing to speak of.
Aaron Dworkin: Thank you so much for raising these important points, Mark. In essence, what you are describing delves directly into the issue itself. As you know, access to early music instruction in communities of color has been, and remains, a challenge. Our society does continue to experience a strong correlation between race/ethnicity and socio-economic barriers. As a result, far fewer young people of color are afforded exposure and then consistent access to any musical training.
I might disagree that the issue is a lack of desire, but rather, a lack of awareness and opportunity. At the same time, however, I do believe that as a field, we are doing painfully little to remove those barriers. We are not doing enough to engage or include communities of color _ an annual concert celebrating the legacy of Martin Luther King, Jr., coupled with a few visits to disadvantaged elementary schools does not constitute a systemic change.
Our introductory programs do not have the fundamental support to continue the pipeline all the way to college. Beyond music schools and conservatories, there are orchestras and teaching opportunities: our institutions are not doing nearly enough to specifically include those who have been historically excluded. When the foundation is not there in terms of training and opportunity, how could we have a level playing field? If the latter is not "equal," then we, as a field, cannot move forward, as evidenced by how little progress we have made.
MO: In my career, I have given more than 600 performances as a soloist with orchestra, and I have appeared on roughly the same number of country music albums as a session fiddler. I am afraid to say that diversity in country and bluegrass music is just as bad as, if not worse than, it is in classical music, despite the fact that black people have a much more extensive history playing country music than playing Mozart and Brahms. (In fact, at the turn of the century, nearly half of all Appalachian string bands included black musicians.) But these days, are there really that many black musicians who want to play Mozart, Brahms, Johnny Cash, and George Jones? I do not fault anyone who does not want to participate in making certain kinds of music. Frankly, I think it's a good thing that we are freer now than ever before to make choices about the kinds of cultural activities we want to take part in.
On some level, looking at racial breakdowns of mostly white orchestras playing mostly white men's music is as peculiar as looking at the racial composition of country music session players in Nashville, banjo players at bluegrass festivals, heavy metal guitar players in hard rock bands, or athletes in the National Hockey League. Doesn't this mostly come down to what choices people are making for themselves?
AD: As a musician myself, I value tremendously the freedom to make choices in what I study or perform. My choices are driven by my musical and philosophical convictions, aesthetic preferences, and overall passion for my art form. I could not agree with you more: it is truly all about choices. Choices made by our music directors and artistic administrators. As an example, when the good majority of the season is programmed by our artistic leadership, who are often zero percent black or Latino (statistically), the choices are likely to represent something based on their experiences, geared toward the status quo in terms of our standards of programming and our homogenous audiences. The issue then becomes, how does an orchestra serve the community that it aims to serve? How does our world reflect not only our population, but also the growth trends, where most metropolitan centers are already becoming majority minority? If our orchestras are not reflective of our constituents, how might it be relevant to them?
I am afraid that choices in this case do have profound consequences: empty halls and an endangered form of art, which, otherwise, would have the capacity to transform lives, heal, inspire, and spark creativity.
MO: I believe diversity in orchestral membership would improve if orchestras featured a greater diversity of musical ideas and styles. If, in the last half-century, American orchestras had performed American music a majority of the time, I think we would have seen significantly more black composers and performers. It makes me think about the old idiom, "You can lead a horse to water, but you can't make it drink." Doesn't the horse's willingness to drink depend partly on what is in the water as well?
In some ways, Aaron, I think you are relying on an outdated belief that the appeal of classical music is largely dependent on opportunity and education. We do know what an orchestra is today – we see it at our schools, in our outreach programs, and on the Internet. Plenty of educated people are simply refusing to take part in it. And comparatively speaking, classical music feels stagnant. People have heard the masterworks too many times. People are seeking cultural experiences that are relevant to their lives.
AD: I think what you are describing directly delves into the previous point I made. The reason that orchestra concerts are not popular is largely due to what is being presented, as well as how. When faced with a prospect of a two-and-a-half-hour concert in an environment which does not permit much emotion, verbal response, or audience participation, along with the fact that the music we are about to hear does not represent our heritage, we choose other options. That is the unfortunate reality for the vast majority of our field. However, classical music does have a tremendous amount of value: the offerings are enormous, vast, and diverse.
The Sphinx Organization encourages young black and Latino orchestral musicians.
I would love to see orchestras program more American music, as there is an absolute wealth of beauty and ingenuity in the volumes that we have available to us today. It would be tremendous to see American composers of diverse heritage on stage, being introduced to audiences in our country and abroad. It would also be invaluable if we would collectively pause for a moment and think about the fact that we are attempting to preserve a poignantly outdated model of a symphony orchestra in the 21st century.
When we consider how far our society has come, in terms of creativity, invention, technology, and immense resources available today, we must admit that what we present on stage is archaic and not terribly inspired. It is not engaging to view a conductor's back for a long period of time. It is not engaging to hear a recurring cycle of symphonies by composers of yesteryear played by every major orchestra.
Imagine if we looked at the way in which we market our concerts in ways similar to car companies: one of my favorite examples has been looking at a Ford ad in The New Yorker and comparing it to a Ford ad in JET Magazine. Same product, same integrity, but a different look, different source, and different feel. I imagine our excellent orchestras on stage, performing works by emerging composers of color, narrated by artists of all backgrounds, alongside displays of stirring visual art by young people of all backgrounds, while a conductor's face on an oversized screen is visible to every audience member, where they can empathize, feel, and participate in the whole experience, being able to react to what they hear.
MO: I believe early music education is also relevant to this discussion. Please correct me if I am heaping too much praise, but it seems to me that the African-American community is one of the most creative, expressive, and musical communities of all the cultures in this country. Coming from a culture that is more creative and individually expressive than most, why would a young African-American musician dedicate years and years to an orchestral instrument, only to end up buried in an orchestra section forever? African Americans have innovated a disproportionate number of musical styles and modes of expression. I can't imagine many of them throwing their own cultural innovations in the ditch to pursue old music from white Europeans practically 100 percent of the time.
But to return to the point we were discussing before: Indeed, we should have given much more attention to American music in the classical world all these years. Orchestras have doubled down on the short-term fix of European masterpieces written hundreds of years ago, seeing just how many more decades of play they can squeeze out of them while ignoring the long-term goals of our own musical culture. The fact is that things change, people change, tastes change, and music reinvents itself. Take an example from country music: Even the great George Jones, the king of country, opened for Alan Jackson and George Strait later in his career.
Similarly, the masterworks can "open" for new works by American composers in this country. We must let our art develop and have a place to flourish. I have had Mozart pieces open for my concerto performances, and frankly, not only did it feel right, but also audiences enjoyed it. But this kind of thing happens far too infrequently, and I believe it is why the orchestra is barely hanging on. As we have discussed, it is also a factor in maintaining the homogeneity in orchestral membership.
AD: I agree wholeheartedly with your point about not integrating American music. The point that you make about the lack of instructional materials and early repertoire by composers of color is also an important one. Rachel Barton Pine has been working to compile an important collection of early repertoire by composers of color, which is incredibly interesting. Sphinx requires works by composers of color in its competition guidelines. There are important efforts conducted, which have produced some results. They are just not enough: it would take a conscious effort on behalf of all of us _ teachers, students, music schools, youth ensembles, orchestras _ to change the status quo and look at our art form as a reflection of our society. For centuries, our field has told a single, one-dimensional, formulaic story about itself. That story needs to evolve. In the words of the incredible Chimamanda Adichie: "When we reject the single story, when we realize that there is never a single story… we regain a kind of paradise."
Mark O'Connor is a multiple Grammy Award-winning composer and violinist who teaches at University of Miami's Frost School of Music and directs an internationally renowned Summer String Program at the Berklee College of Music.
O'Connor has authored the O'Connor Method for violin, viola, cello, and string orchestra. In addition to promoting standard technical acquisition, the O'Connor Method incorporates American music and styles into a holistic approach to musical creativity, improvisation, music history, and cultural diversity. More information on the New American School of String Playing, teacher-training seminars, O'Connor Method Camps, and O'Connor's residencies can be found online.
www.oconnormethod.com
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Matterhorn Museum Zermatlantis.
UNIQUE AUTHENTIC TRADITIONAL EXCITING ARCHAEOLOGICAL INSTRUCTIVE INTERESTING TRUE ATTRACTIVE ORIGINAL
zermatt.ch
Zermatt around 1850 A unique interactive presentation A subterranean world opens up underground under the glass dome adjacent to the village church: Zermatlantis. You enter rooms as they looked in days gone by in Zermatt. Experience how the people of the poor farming village tried to ward off the forces of nature with God's help. How mountaineers conquered the surrounding mountains and 4000-metre peaks and how the fatal fall of four climbers on the first ascent of the Matterhorn changed life in Zermatt for ever. Experience the myth of Zermatt and the Matterhorn for yourself through state-of-the-art presentation techniques. The farming village that became a worldfamous holiday resort. And you can't say that you've really been to Zermatt until you have gazed at the original torn rope from the first ascent. A world from the past has been excavated, a forgotten village reappears. Visit the old houses, immerse yourself in the world of mountain farming families, mules, mountain guides and the very first tourists. Experience here how the inhabitants of Zermatt lived in 19th century, when there were no mountain railways and ski lifts, and the first English mountaineers arrived in the village.
Special exhibitions The museum has regular special exhibitions and offers the perfect backdrop for cultural performances.
Private and Corporate Events The Museum premises can be used for private functions outside of normal opening hours (on request).
Museum concept and design: Steiner Sarnen Schweiz
Highlights The rope from the first ascent The original rope from the first ascent – a hemp rope – is housed B inC the museum, like a valuable relic behind toughened glass. In 2005, the Swiss rope manufacturer Mammut reproduced the D original rope and tested its tear resistance. A rope like this would E only hold 150 kilogrammes – the four mountaineers on the first F ascent, who fell despite being attached to the hemp rope, had no chance. G A
H I A J B
The discovery of human remains on the Theodul Glacier K The 'soldier', the discovery of human remains with coins, shoes, C L fragments of clothing and a variety of weapons, is an archaeologD ical M sensation. He was discovered by locals on the Theodul Glacier E in 1985. This is the second most important discovery of human N F remains in the Alpine region – following 'Ötzi', the Ice man, who O G came to light on an Austrian glacier in 1991. P H A Q I B R J C S K D T L E U M F V N G W O H X P I Y Q J Z R K
Prehistoric stone axe from the Neolithic period The impressive green stone (eclogite) axe was discovered in 1959 above Furgg on the road to the Theodul Pass. A traveller could have lost it. However, this seems unlikely as it is of a respectable size and would have been extremely valuable in its time. The scientific community assumes that it was intentionally put there as a votive offering. It originates from the Neolithic period (about the 3rd to 5th millennium BC).
S L T M U
A B C D E F G A H B I C J D K E L F M G N H O I P J Q K R L S M T N A U O B V P C W Q D X R E Y S F Z T
Audio guide The audio guide (chargeable) offers a unique opportunity to get to know olden-day Zermatt from the viewpoint of two different people: Edward Whymper 1850 – 1911 Edward Whymper was born on 27th April 1840 in London. Like his father, he learned woodcarving as a trade. He became famous through the tragic first ascent of the Matterhorn on 14th July 1865. He wrote books and guides and undertook expeditions. Edward Whymper died on 16th September 1911 in Chamonix. Hannes Taugwalder 1910 – 2007 Hannes Taugwalder was born on 21st December 1910 in Zermatt and grew up there. He left the valley, then worked as the Director of a knitwear factory and became a self-employed manufacturer of women's and children's clothing. He has also written several novels, short stories, poems, radio plays and stage plays. He describes his childhood memories in Zermatt in his book 'The Lost Valley'. Readers are introduced to the everyday life of a mountain farming family in the years following the First World War.
1 1 2 1 1 6 2 3 3 2 21 7 3 1 4 14 3 32 81 4 2 5 25 4 1 43 92 5 3 6 36 5 2 54 1 103 6 4 7 47 6 3 65 2 114 7 5 8 58 1 7 4 76 3 125 8 6 9 69 2 8 1 5 87 4 136 9 7 10 710 3 9 2 6 98 5 147 10 8 11 1 10 811 4 3 7 10 6 9 158 11 9 1 12 2 11 912 5 4 8 11 7 10 169 12 10 2 13 3 12 1013 6 5 9 1211 8 13 11 10 Hotel 17 3 14 14 4 13 11 7 1 6 10 1312 9 18 14 11 12 4 15 5 14 1215 8 7 1413 102 11 19 15 12 13 Gallery Church 5 16 6 15 1316 9 (Gallery) 8 1514 113 12 20 16 14 13 6 17 7 16 1417 10 9 1615 124 13 21 17 15 14 7 18 8 17 1518 115 14 10A 13 Matterhorn 1716 22 18 15 16 room 8Alpine126 19 1 9 18 1619 11 Museum 15 1817 Tea19 House Dairy B 14 Hotel 23 16 17 9 20 2 10 19 1720 137 16 1918 24 A 12C 15 20 18 17 10 21 3 Mountain 11 20 1821 148 17 House Guides'13 Hut 16 2019 Research 25 21 18 Laboratory 19 B 11D 22Vicarage 4 12 21 1922 15 Granary 2120 A 14 179 18 26 22 20 19 12 C 23 5 13 22 E 2023 16 10 19 15 Mule 18 2221 27 23 21 20 B Drivers 24 24 6 House 14Barn 21 D 13 17 23 11 Church F 16 20 2322 Barn 19 28 24 21 22 25 25 7 C 14 15 24 22 18 12 E 17G 20 21 2423 29 25 23 22 26 8 D 15 16 25 2326 19 13 22 2524 30 F 18H 21 26 24 23 Audio 27 9 E 16Guide 17 26 2427 20 14 Menu: 19 23 2625 22 31 27 24 25 G 17 I 28 Introduction / Welcome 27House – Window 10 18 2528 21 15 24 F 20 2726 23 32 28 26 25 H 18 J 11 Mountain Hut29 28Dairy 19 2629 22 16Guides' 21 25 2827 24 33 29 27 26 G 19 30 12 Rescue Sledge 29Granary 20 2730 I 22 23 17 26 K 25 2928 34 30 27 28 20 31 13 21 H Historic Alpine Museum 30Barn II 2831 24 18 J 23L 26 27 3029 35 31 29 28 21 32 14 22 I Mountain Bench 31House 2932 25 19Guides' 28 3130 36 K 24M 27 32 30 29 22 Monte 33 15 23 J Hotel Rosa – Staircase 32Barn I 3033 26 20 29 25 3231 28 37 33 30 31 L 23N 34 16 24 Hotel Monte Rosa – Reception 33Church 3134 27 21 30 K 26 3332 29 38 34 32 31 M 24O 35 17 25 Tea House 34Vicarage 3235 28 22 27 31 3433 30 39 35 33 L 32 36 18 N 25 26 35 3336 29 23 32 28P 31 3534 40 36 34 33 M 26 37 27 36Tour: approx. 1h 19 The museum is accessible to wheelchairs 3437 30 24 33 O 29Q 32 3635 41 37 35 34 38 20 N 27 28 37 3538 31 25 34 30 3736 33 42 P 38 36 35 R 39 21 O 28 29 38 3639 32 26 35 31 3837 34 43 39 37 36 Q 29S 40 22 30 39 Free entry 3740 33 27 36 P 32 3938 35 44 40 38 37 R 30T Museum 31 40 •	23Swiss 3841 34 28 37 Pass41 33 4039 36 45 41 39 Q 38 42 32 41cards •	24Raiffeisen 'VISA' or 'MasterCard' 3942 S 31 35 29'Maestro', 34U 37 38 4140 46 42 40 39 R 32 43 Pass and Swiss 33 42 Pass 4043 Youth •	25Swiss Flexi 36 30 Swiss T 35V Pass, 39 4241 38 47 43 41 40 44 26 S 33 34 43 4144 37 31 40 36 4342 39 48 U W 44 42 41 45 27 T 34 35 44 4245 38 32 41 37 4443 40 49 45 43 42 V 35X 46 28 36 45 4346 39 33 42 U 38 4544 41 50 46 44 43 1
The First Ascent of the Matterhorn History Between 1857 and 1865, 15 unsuccessful attempts were made on the Matterhorn from the Italian side and 3 from the Swiss side. In July 1865, London-born Edward Whymper made a further attempt with the Italian mountain guide Jean-Antoine Carrel. As Whymper waited for good weather in Breuil / Cervinia, he heard that Carrel had set out for the Matterhorn with an Italian roped party. By chance, Whymper met Lord Francis Douglas and learned of his intention to conquer the summit from Zermatt with Peter Taugwalder.
Departure On 12th July, Whymper and Douglas reached Zermatt through the Theodul Pass and met the mountain guide Michel Croz, who was also planning the ascent with the Reverend Charles Hudson and D. Robert Hadow. They decided to make the ascent together and also involved Peter Taugwalder's son, also called Peter. They spent the night at the foot of the Matterhorn on 13th July and on 14th July 1865 at 3.40 a.m. climbed onto the rock pyramid on the Hoernli Ridge (Hörnligrat). The higher they climbed, the more difficult the ascent became – the inexperienced Hadow relied on help.
The Triumph 14th July 1865, 1.40 p.m.: The group stood together on the Matterhorn summit. There were no traces of their Italian competitors. Whymper spied the Italians far below. The victors drew attention to themselves with cries of joy and by throwing stones down the mountainside. Carrel recognised Whymper by his brightly-coloured trousers and disappointed began his descent.
The Disaster After an hour, Croz, Hadow, Hudson and Douglas roped up to their strong rope and started their descent. Taugwalder senior also secured Douglas, the last in the party. He used his thin reserve rope, which was the only one he had available. Whymper, father and son Taugwalder followed in a second rope party. Douglas noticed Hadow's lack of confidence and asked Whymper to rope himself to Taugwalder senior. The seven men now formed a single rope party. To secure them, Taugwalder senior tied the fixed club rope that connected him to Whymper to a rock spur. Hadow suddenly slipped and pulled Croz, Hudson and Douglas with him. The impact of the auxiliary rope hit Taugwalder senior and injured his hands and chest, then severed off. The four unfortunate men plummeted down the North wall. The three survivors were deeply shocked and spent the night under the Hörnli shoulder. Whymper wrote later that, at sunset, they saw shadows that looked like crosses above the Lyskamm. On Saturday morning 15th July they arrived back in Zermatt.
The Rescue The following day, Whymper climbed with three Anglican priests and five foreign mountain guides to the Matterhorn Glacier. They discovered the shattered bodies of Hadow, Croz and Hudson. They only found Douglas' gloves, one shoe and his belt. The body remained missing. The three dead were buried in the compacted snow of the glacier. On the orders of religious and secular authorities, the corpses were transferred to Zermatt on 20th July. Croz was buried with Roman Catholic rites in the cemetery, Hadow and Hudson were buried outside of the cemetery by an Anglican priest. Hadow's bones were later transferred to England, and Hudson's remains were enclosed within the altar of the Anglican Church in Zermatt.
The Epilogue The court decided that Hadow was to blame for the accident. And yet no crime had been committed. Malicious tongues later claimed that Whymper or Taugwalder senior had cut through the rope to save themselves. The two suffered badly from this accusation. The tragedy brought worldwide attention to Zermatt and had a lasting effect on tourism development in the village.
Matterhorn Museum Kirchplatz 11 CH-3920 Zermatt Tel. +41 (0)27 967 41 00 matterhornmuseum@zermatt.ch More information & opening hours: www.matterhornmuseum.ch www.facebook.com/matterhornmuseum
Zermatt Matterhorn
Matterhorn Musem - Zermatlantis (EN)
zermattmatterhorn


This level may seem daunting at first due to it's cheer size but It's fairly straight-forward.
Additional length may be required to reach the further away, sleeping one's.
Now the critical part. While the pipe is not far away, the rotating stone makes it incredibly difficult to decide where to place your tower.
After that, it's a simple matter of building a leaning tower.
And the gravity pull from the pipe should do the rest!
Disassembly afterward may be required to reach the required amount.


Perfect for any dog lover, the Funky Dog Artisan Outdoor Fire Pit features a dog and dog paws etched within the side of the fire bowl. You'll love seeing the etchings come to life in the dark of night with the glowing fire. Built to last out of thick carbon steel the Fire Pit is naturally resistant to the elements and will retain its beauty for years to come. Each fire pit is a unique piece of art and features plaque of authenticity. A fire screen is available as an optional accessory (see accessories tab). A one and one half inch thick limestone optional base is also available. (see accessories tab).
The Funky Dog Artisan Outdoor 36 in. Fire Pit ships and is delivered in !


text:
El Bolkhovitinov S-2M-103 Sparka  (por skorostnoy (alta velocidad) con dos motores M-103) ; fue un proyecto de bombardero de alta velocidad diseñado y construido en la URSS entre 1937 y 1940. Otras designaciones utilizadas en diversos momentos fueron: BBS-1, BB y LB-S.

Historia, diseño y desarrollo
Con la intención de crear un bombardero ligero de alta velocidad, Viktor Bolkhovitinov diseñó lo que comúnmente se conoce como Bolkhovitinov S o Sparka.  La Fuerza Aérea Soviética (VVS) durante las pruebas de vuelo se refirió al avión como S-2M-103, (skorostnoy (alta velocidad) con dos motores M-103); sin embargo, a lo largo de los años se han aplicado otras designaciones. La designación común de Sparka significa doble, porque la aeronave tenía dos motores montados en tándem. Otras designaciones son BBS-1 por blizhniy bombardirovshchik skorostnoy (bombardero de corto alcance, alta velocidad), BB por blizhniy bombardovshchik (bombardero de corto alcance) y LB-S por lyohkiy bombardirovshchik-sparka (bombardero ligero).

El Sparka era un avión de ala baja de construcción totalmente en aluminio con revestimiento estresado; tenía una cola bideriva para aumentar y mejorar el campo de fuego del artillero trasero y el tren de aterrizaje era completamente retráctil hacia la parte trasera; las ruedas giraban 90º para alojarse en posición plana dentro del intradós alar. El piloto y el navegante/bombardero/artillero se sentaban en tándem bajo una larga cubierta. Entre el piloto y el segundo miembro de la tripulación había una pequeña bahía de bombas con una capacidad de 400 kg. Una sección de plexiglás en la parte inferior de la aeronave, justo detrás de la bahía de bombas, proporcionaba al bombardero una vista del suelo.

Estaba propulsado por dos motores de 12 cilindros en V Klimov M-103A colocados en tándem en el morro del avión. El motor Klimov M-103 derivó del M-100, que era a su vez una copia con licencia del Hispano-Suiza 12Ybrs. Este paquete de motores acoplados designado M-103SP producía 960 CV (716 kW). Cada motor impulsaba la mitad de la unidad de hélices contrarrotativas de seis palas coaxial. Esta disposición del motor y las hélices era similar al Fiat AS.6 instalado en el Macchi M.C.72 italiano y al Hispano-Suiza 12Y  en el francés Arsenal VB 10 . Con esta disposición propulsora, el motor delantero impulsaba la hélice trasera, y el motor trasero la hélice delantera a través de un eje de transmisión que pasaba entre la V del motor delantero. Se instaló un radiador en un gran ducto justo debajo del motor trasero que enfriaba ambos motores.

Bolkhovitinov inició el trabajo de diseño en el Sparka en 1937, y la construcción del prototipo comenzó en julio de 1938. El avión realizó su primer vuelo en enero de 1940 (alguna fuente dice que a finales de 1939). Las pruebas realizadas por las VVS se llevaron a cabo desde marzo hasta julio de 1940. El Sparka mostró una buena velocidad, alcanzando los 570 km/h. Sin embargo, la carrera de despegue era excesiva, la velocidad de aterrizaje eran altas y la visibilidad sobre la proa se vio afectada. Además, se encontraron algunos problemas con la rotura del eje de transmisión de la hélice del motor trasero debido a vibraciones excesivas. Aun así, la aeronave recibió una evaluación positiva, observando que la instalación de los motores en tándem eliminó una considerable cantidad de la resistencia que ejercen dos góndolas motoras separadas.
Se diseñó una nueva ala con una sección aerodinámica NACA-230 para mejorar el rendimiento de despegue y aterrizaje. El avión fue probado con esta nueva ala de septiembre a diciembre de 1940, y mejoró las características de despegue y aterrizaje del avión. Fue reconfigurado con un único motor Klimov M-105P de 783 kW, 1.050 hp (algunos dicen 103P), que se instaló en el compartimiento del motor delantero. El M-105P fue un desarrollo del M-103P y podría equiparse con un cañón entre la V del motor para disparar a través del buje de la hélice. El M-105P conservó el diámetro y el recorrido del anterior M-103P (y M-103SP). También, el avión se probó con tren de esquís a principios de 1942, pero, en general demostró poca potencia con el único M-105P, alcanzando una velocidad máxima de solo 400 km/h a 4.000 m.

Variantes
Bolkhovitinov I
AM Isayev fue el diseñador principal de este caza/bombardero en picado experimental basado en un 'S' más pequeño, con motores en tándem M-107 previstos para aviones de producción y motores M-103 o M-105 para el prototipo. Las características avanzadas planeadas para el 'I' incluían una estructura de aleación de magnesio de forja de alta resistencia (Elektron), tanques de combustible integrales, tren de rodaje triciclo y la provisión para el lanzamiento desde catapultas.
Bolkhovitinov D
Un bombardero pesado proyectado con dos motores en tándem, fuselaje en forma de huso con góndola saliente, ala media y ruedas principales gemelas, área de ala de 140 m²  y un peso máximo de 28.000 kg. También se planeó una variante de pasajeros, pero todo el trabajo se abandonó al inicio de las hostilidades con Alemania en 1941.

Especificaciones técnicas

Véase también

Aviones de función, configuración y época comparables
 Macchi M.C.72
 Latécoère 299
 Arsenal VB-10

Bibliografía
 Gordon, Yefim; Gunston, Bill. Soviet X-Planes. Midland Publishing Ltd. 2001 ISBN 978-1857800999
 Gunston, Bill. The Osprey Encyclopaedia of Russian Aircraft 1875–1995. London, Osprey. 1995 ISBN 1-85532-405-9
 Kotelnikov; Victor. Russian Piston Aero Engines: The Complete Story.The Crowood Press; First edition 2005 ISBN 978-1861267023
 Maslov, Mikhail. Krylatyi Spartak in: Poligon No.2/2000
 Taylor, Michael J.H. Jane's Encyclopedia of Aviation. Studio Editions. London. 1989 ISBN 0-517-69186-8

Enlaces externos

 http://www.airwar.ru/enc/bww2/sparka.html

Aviones con hélices contrarrotativas
Aeronaves experimentales de la Unión Soviética de los años 1940


The Heritage Lab, in collaboration with WeWork India, was proud to organise India Art Fair's first ever Wikipedia Edit-a-Thon. This was a preview to a larger campaign in March, called Art+Feminism. It is an international movement which seeks to improve content on 'women in the arts' on Wikipedia and encourage female editorship of the platform.
The guiding belief of this campaign is that for the world to wake up to women's contribution to art and history, they must themselves get involved in the preservation of their own stories. Globally, it has been running for 6 years, and in India, it is in its third year.
At the India Art Fair edit-a-thon, we focused on developing and adding content about 8 leading female modernists from India. These included artists Nalini Malani, B. Prabha, Mrinalini Mukherjee, Amrita Sher-Gil, Madhvi Parekh, Arpita Singh, Nasreen Mohamedi and Nilima Sheikh. Many of their works were also on display at the fair. However, despite making a name for themselves in India and abroad, information about them is not readily available in the public domain.
The problem is especially rampant on Wikipedia. This is unfortunate because the platform is read by millions daily. However, with small, gradual steps, the situation can be changed, as those who participated in our workshop came to learn.
What was most notable that almost all who participated had no experience of editing Wikipedia earlier. The participants were excited to add to the corpus of knowledge on the internet and learn new things in the process.
Wikipedia has always been the first point of reference for me and I thought might get to know if there's more to it than what we read. [the campaign] spoke of editing and adding more information, I wanted to know how Wikipedia comes about and I think I learnt something new today.
Thus, the edit-a-thon at India Art Fair was an important initiative. Since 2014, over 7,000 people have participated in similar events all over the world as part of the Art+Feminism movement. This has resulted in the creation and improvement of more than 11,000 articles on Wikipedia.
If you would like to contribute to this international campaign, look out for an edit-a-thon in a city near you. Come fight for equality one article at a time.