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When the analog flows in the stream!
Review of the Baloran The River analog synthesizer
By synthwalker on 03/06/2018
35 years after the release of The Moog Source, the young French company Baloran pushes the concept to the next level. The River, much more than a polyphonic multitimbral analog synth, is made with pragmatism, modesty, talent and innovation. An outstanding musical instrument!
The analog revival is in full swing, see for instance all the new devices introduced at the NAMM Show 2018. DSI revealed Prophet Rev2 in 2017, we just reviewed the Korg Prologue and Arturia announced the semi-modular Minibrute 2 series in mid-January, just prior to NAMM.
Far away from the Californian turmoil, somewhere in the North of France, between two coal slag heaps, the young two-man company Baloran LTD, recently extracted a real gold nugget in near total secrecy. Three years ago, Baloran developed The Triko, a triple high-end programmable analog chorus, which was reviewed in Audiofanzine. Usually, synth designers begin small, with a mono synth, a small sequencer or a DIY module. The product choices made by Laurent Lecatelier, company founder and synth designer, have been much more ambitious from the start.
After a three-year development phase and the building of "The Chalet" in the backyard of Laurent's house, Baloran finally showed the final prototype to the public during the French Synthfest in 2017. Today, we are delighted to present an exclusive review of The River (pronounce "Zeu Riveur" à la French), the first French polyphonic multitimbral programmable analog synthesizer!
Diamonds in the River
We will have many opportunities in the course of this review to show how amazing this product is. The River is fully hand-crafted, and with the exception of the SMT components on the printed card boards, all the high quality electronics is based on through-hole components, thus manually soldered. The River is huge, measuring 41 x 20 x 8 inches and weighing 57 lbs. The wooden end caps are hand-finished by Tamara (Madame Baloran) in "The Cuisine" (the kitchen). The deep lacquered steel, numerous knobs/encoders with aluminium caps, lighted push buttons and the rear-panel connectors are all impressive.
Baloran has started building the first series of 20 units, which are scheduled to be delivered by end of May 2018. Pre-orders for the second batch will begin in June.
When you switch on the instrument, the lighted buttons and both 160 x 128-dot TFT color displays illuminate. And then the fun begins! The River is designed for the player and the sound designer in mind, and offers no less than 39 knobs, 9 encoders, 4 push-encoders and 37 lighted push-buttons for our feverish hands to touch.
Build quality is excellent: screwed knobs, aluminium caps, screwed connectors, well designed Lexan, selected high-end components, Fatar TP-8 high-level 61-key keyboard (the best semi-weighted keyboard you can find on this planet, and the same one used in John Bowen Solaris and Schmidt Eightvoice synthesizers). The keyboard is initial- and release-velocity sensitive as well as pressure sensitive, which allows almost unprecedent expressiveness in a poly analog synth (for those who already played the Oberheim Matrix-12).
As we previously stated, The River is designed to be player-friendly. The great majority of functions are directly accessible, either by tweaking the front panel knobs, or by combination of keyboard key presses. Two Shift buttons allow you to reach the silk-screened secondary functions. The first is located on the front panel and the second above the pitch bend and modulation wheels. A small removable magnetic piece of Lexan above the keyboard shows every shortcut. As a result, it's easy to call a sound, assign synth voices to multitimbral channels, adjust level, pan and transposition of individual voices, enter into synthesis, assign keyboard zones, configure keyboard controls, settle effect parameters, program a step-sequence and play an arpeggio. It can seem complex at first but is very powerful once you get up to speed. "I chose to use small displays because I think the user must be able to do without them", confided the designer.
Knobs respond to jump or catch mode in the current firmware, but we may see alternate modes in the future (I spoke with Baloran about relative and junction modes). There's no Compare function or a display of both stored and edited values. The former wouldn't have been easy to implement, considering that it has eight independent voices you can assign/unassign/reassign to eight channels at any time, eight channels you can assign/unassign/reassign to four layers, four layers you can assign/unassign/reassign to zones/arpeggios/sequences, you get the picture.
Connection-wise, The River is very well featured. The headphone output is located on the left of the front panel with its dedicated level knob. All the other plugs are screwed on the 7.8 inch-high spacy back panel. On the top row, you'll find two main stereo balanced outputs (XLR and TRS jacks), eight individual outputs (TS jacks), two stereo inputs (TRS balanced jack), two footswitch pedal inputs, MIDI In/Out/Thru, a CV pedal input and three USB jacks. The latter allow you to update the firmware of the various vital organs (we will discover later that The River consists of different elements that communicate with each other), one is for global MIDI (memory dumps, CC/NRPN transmission of buttons/knobs during live editing) and the other for the other MIDI commands (notes, physical controllers). It's a little bit confusing to have functions spread on different USB plugs.
Under the first row of connectors, you will find an impressive array of three rows of eight plugs: two rows of CV outputs and a row of Gate outputs (when you order The River, you can ask for 1/4" or 1/8" jacks to fit your modular synth system, very cool). CV can transmit Volt/Octave or Hertz/Volt (a future update may allow to settle the CV slope to fit uncalibrated analog external modules). You can also choose Gate polarity. As a result, The River is a powerful MIDI/USB-to-CV/Gate interface, able to communicate with vintage mono, poly or paraphonic instruments, as well as modern ones. Outstanding! The internal gigantic PSU delivers 120 VA of power, more than a Memorymoog!
The factory sound bank was designed by pro synth designers who are also synth fans. Laurent himself is a big admirer of vintage analog and contemporary synths. In his studio you'll find a Moog source, Minimoog, MatrixBrute, Microbrute, Poly61, Crumar Multiman S, Farfisa Synthorchestra, Vermona and a self-made clone of the EMS Synthi A—not to mention a bunch of digital synths and samplers. Now that's true eclecticism!
He also engaged the talented Barb&Co fellows, aka Stéphane "Barbenzinc" Garganigo and Laurent "Coyote14" Pelletier. They designed a smashing factory bank (SINGLE, FX and MULTI programs – more on this later) that demonstrates the vast sonic territory that The River can cover. You'll only find useful sounds, made by musicians for musicians, no filler or aggressive-and-saturated useless rubbish.
Laurent and Stéphane sent us some demos of their bank in progress, that we added to our own sounds, for a total of more than 70 sound examples in this review (enjoy!). You can overwrite any factory program and restore them later, directly from The River for Singles and FXs, or via Sysex USB dump for the Multis.
The River 00 LP Multi 7
The River 00 LP Multi 7 01:27
The River 00 SG Multi 1 01:13
The River 01 Polysynth2 00:16
The River 02 Giorgio 01:19
The River 03 Bellair 00:30
The River 04 Analopiano 00:37
The River 06 Percorgan 00:42
The River 07 Unisson 00:42
The River 08 Openbass 00:30
The River 09 Oberbrass 00:35
The River 10 Brass2 00:27
The River 11 Sweep 00:32
The River 12 Solosync 00:34
The River 13 Strings1 00:43
The River 15 Softsync 00:27
The River 16 Memory 00:31
The River 17 Polysynth 00:34
The River 18 Padifier 00:41
The River 19 Blipbass 00:22
The River 20 Chorale 00:42
The River LP Multi 3 00:30
The River LP Single 1 00:22
The River LP Single 10 00:21
The River SG Single 1 00:14
The River SG Single 10 00:25
After a warmup period of 15 minutes, The River becomes totally stable. The normal working temperature is approximately 33-37°C (91-98°F), based on the oven principle, which makes all the analog crucial components a little sensitive to external temperature variations.
If you can't wait the 15 minutes you can make an Autotune and the internal processor will compensate the rise in temperature (actually each time you make an Autotune, the processor stores the temperature and the CV corrections in each VCO/VCF and learns the behaviour of the synth to make automatic corrections regarding the temperature conditions).
The River impresses you immediately with its powerful audio level, and organic vintage sound that's alive, hot, and musical. The VCOs naturally drift like vintage gears do. This is not a digitally simulated drift, it's the real thing, provided by the VCOs and VCFs. On some contemporary analog synths, you often have to stack two or three voices to get some thickness, but with The River, a single VCO is all you need.
The sonic versatility of the instrument is also very impressive. You get beautiful polyphonic sounds (strings, brass, pads), delicate electric pianos, nice-sounding organs, fat or resonant basses, snappy of soft leads (that fluty Minimoog lead!), bumping analog percussions, evolving wavetables (more on that later) and, thanks to its modulation capabilities, even strange SFX and drones. The breadth of sounds is all the more impressive considering there are only three waveforms in both VCOs and one type of VCF.
Envelope attacks are fast enough when you need them to be, with the characteristic click. They're certainly not as fast as famous mono-synths like the Pro One or the Minimoog, but quite good nevertheless. The River's lush synth tones are embellished by the internal triple-analog chorus and digital reverb/delay FX section. The exquisite keyboard uses initial and release velocity to modulate certain destinations, such as AR segments of envelopes, and keyboard pressure can create additional modulations (DLFO waveforms or AR envelopes).
Moreover, you can send the aftertouch to newly played notes only, without affecting sustained notes, which is extremely useful when playing an expressive solo over a quiet pad. And don't hesitate to use and abuse multitimbrality, four Split/Layer zones, with independent arpeggios or sequences and the ability to drive external machines, whether purely analog, MIDI or USB. Thanks to its outstanding sound and user interface, The River is a true musical instrument.
Confluent and Affluent
The River, which is an 8-voice polyphonic and multitimbral synth, is organized a bit atypically. It's got eight sound channels in which you can assign one to eight voices, each referring to a Single program (for instance, a one-voice bass sound in channel 1, a five-voice pad in channel 2 and a two-voice Lead sound in channel 3, all other channels remaining empty). The eight voices are routed to individual outputs or sent to The Triko (triple-analog chorus + digital FX), where they are mixed in stereo and sent to the main outputs.
All that together constitutes a Multi, which is the unique play mode of The River. When editing sounds, the selected channel responds to the front panel commands; you just need to select another channel to edit it, as simple as a button push (the active Channel button is lit in red). Shortcuts (using the Shift button) allow for editing certain functions for all the active voices in a given channel (for instance transposition, level and pan of the pre-FX mixer). Well done!
Now that the eight voices are assigned to some of the eight channels, let's talk about the Layers. Imagine a sophisticated router named The RiverKey (originally developed independently from The River, just like The Triko which also exists as a separated rack unit). We'll give you the detailed specs later, but the idea is to arrange four independent layers, each which its own source (internal keyboard, MIDI In, USB In), keyboard zone (lower/upper notes), sequence/arpeggio and destination (internal sound module, MIDI Out, USB Out, CV/Gate Out).
For instance, in a Multi, you can assign the first two layers to the first two internal channels, trigger an external analog synth with CV/Gate on Layer 3 and a MIDI synth with Layer 4. To make your life easier, the Mode function allows you to choose what's played from the keyboard: the selected channel only (Select), whole active channels at the same time (All) or a Split/Layer combination set in The RiverKey (MIDI).
The internal memory can store 160 Single programs (including FX data), 40 independent FX programs, 40 Multi programs and 10 configurations of layers (The RiverKey). A Multi program stores all synth parameters of each voice (independently of the 160 Single and 40 FX programs), all current FX parameters (loaded with the last loaded Single program) and the current RiverKey configuration (internal/external sound layers with their key mapping, arpeggios and sequences). The River has something never seen before on a hardware synth, an auto-save function that seamlessly stores all parameters in the background at regular intervals. Great idea!
Each of The River's voices were designed from the Moog Source. In French, "source" also refers to spring, hence the name "The River." The main point in the design was to keep the genuine sound of the Source while improving the features. Mission accomplished for the user interface, thanks to its numerous knobs and buttons. It's significantly easier to get around on than the Source, which was equipped with a (fragile) membrane to choose parameters and an optical encoder to edit their values.
The River is also a big improvement over The Source in terms of features, adding audio-rate and low-frequency modulations. But let's go back to the sources of the signal: you'll find two true-discrete VCOs, each producing sawtooth, triangle or variable-pulse waveforms. The pulse width can be manually adjusted and modulated by the analog LFO, and the VCF envelope can modulate the pulse width of VCO2. Both VCOs have a footage of 32, 16, 8 or 4 to choose from. VCO2 can be detuned from VCO1 in semitones by an octave, or by 200th of semitone (same as The Source). You can even disable VCO2 keyboard tracking, useful when syncing VCOs.
Sadly, you can't change the keyboard temperament. Each VCO pitch can be modulated by the analog LFO and the digital LFO (more on this later). VCOs can also be synchronized to each other: it sounds like hard sync when their frequencies are close, and audio interaction when they diverge and generate chaotic metallic sounds. VCO2 can also modulate the VCF frequency. The two VCOs and the (almost) white-noise generator levels are mixed before going into the VCF stage. Their levels can be modulated by the DLFO. Well done!
The VCF is the classic 4-pole transistor-ladder filter originally designed by Moog. The name comes from the drawing of its circuits, where four pairs of transistors are coupled, drawing bars of a ladder. It is a resonant filter capable of self-oscillation when the Q (emphasis) reaches 70 to 80% of its maximum value.
We do appreciate the precise reproduction of The Source VCF. For one thing, 400 values are available for the cutoff frequency adjustment, as on the original unit, which eliminates step effects. Secondly, the filter self-oscillates with a pure, soft, smooth-sounding sine wave, exactly like on The Source (but very different from the Minimoog filter which can go from saturation to a kind of harshness when self-oscillating). It's interesting to notice how this filter and the overall design are a perfect fit for polyphonic playing. The filter has a beautiful musicality and is capable of slight saturation when you push the levels of the VCOs (but less than the Minimoog with its feedback circuit).
Let's go back to the Cutoff frequency, which can be modulated by the DLFO, the analog LFO, the key follow and a dedicated analog ADSR envelope with inverter. The Q can be modulated by the DLFO, which is excellent! After the filter, the signal goes to the VCA, with its own analog ADSR envelope (more details about this later). Each voice is then sent to the FX pre-mixer, where it is either routed to its individual output, or mixed before entering the triple chorus (more details about this later also). Voices can be set to unison mode, detuned with a dedicated spread knob and individually paned with the second row of eight knobs. You can also manage note priority (last note, highest interval and smallest interval, which allows you to preserve a voice in order to play a solo bass or lead on top of a chord).
Turbulent flows
Each voice of The River has far better modulation capabilities than The Moog Source, which was not renowned in this area. The modulation wheel can act on the level of the LFO and DLFO. The first one is purely analog and available for each voice. Its cycle is always free, which brings interesting phase shifting effects when playing in polyphony, contrary to most of the analog synths which have a global LFO for all the voices. It has triangle and square waves, delay time and rate knobs. It can oscillate up to audio levels. For each voice, the LFO can modulate pitch and PW of each VCO, and also the filter cutoff frequency.
Next are two purely analog ADSR envelopes, which are not often found on contemporary synths, especially multitimbral ones. The first is assigned to the filter and can also modulate pitch and PW of VCO2, which is useful to vary the harmonic content of the waveform in real time. The second is assigned to the VCA. Attack and Decay segments can be very short (they click) and go up to 15 seconds. Attack and Release segments can be dynamically modulated by initial and release velocity, respectively, which makes The River a very expressive machine. The envelope-modulation level can also be controlled by velocity and an external CV pedal. Each voice also has its own time-adjustable Glide.
And if it were not enought, The River also features a motion sequencer, which allows for recording the position of certain parameters on 1 to 16 steps. Recording is easy: arm Record mode, keep a key pressed, adjust the knobs and push buttons, and when you're satisfied, release the key. Repeat this for up to 16 steps and when finished, press Play.
The alterable parameters include VCO length (fun for creating some kinds of arpeggios), VCO2 Interval, VCO2 Detune, VCO1 Level, VCO2 Level, Noise Level, VCF Cutoff, VCF and Q. It's easy to create basic wavetables or more crazy effects—the motion sequencer rate can be settled with the DLFO frequency knob. One annoying and unwanted side effect is that changing VCO2 Interval or Detune in real time alters the tempo of the motion sequencer; Baloran must correct this in a future firmware. Smoothing between steps is also missing, but Baloran told us this was not planned because it's much too complex, especially in a multitimbral context.
Now it's time to talk about the DLFO. It is both a digital cycle and envelope generator. It works at a channel level (unlike the analog LFO). The idea is to generate common modulations to all the voices assigned to a given channel, as on singe-LFO vintage polyphonic analog synths. You can choose between several wave shapes and envelope types: modulation (more on this later), sine, triangle, square, ramp, sawtooth, S&H, random, tape-echo drift simulation, AR Up and AR Down. The "modulation" position creates a dynamic modulation depending on the position of the mod wheel, creating a sort of manual envelope. AR Up and Down are envelopes which Attack and Release times can be adjusted along with balance.
The cycle of the DLFO can be free running or retriggered on every key stroke; too bad you can't sync it with the master/MIDI clock—a shame for a digital LFO. The loop function allows you to restart envelopes at every LFO cycle, and the last choice combines retriggering of the cycle and envelope. The maximum speed of the DLFO stays under audio levels at around 16 Hz. A small matrix allows you to separately set the action of the four physical controllers to the amplitude or the speed of the DFLO, related to a balance between these two internal destinations. The DLFO can separately modulate the pitch of every VCO, the level of every VCO, the level of the noise generator and the Q of the filter. It's an excellent complement to the analog LFO!
The Crimson Rivers
The River integrates an electronic board named The Triko, compound of a triple-analog chorus and a digital reverb/delay. The PCB has been compacted compared to the original module The Triko, thanks to SMT components. Though-hole components were kept for vital parts (sound signal) or when there were no SMT equivalents of the same quality or behaviour, such as plastic or ceramic capacitors.
So, what have we got here? Three almost identical choruses are placed in parallel. They get a mono mix from all the voices and the stereo external audio input (dry signals are mixed in stereo and go to the stereo dry bus). In each chorus, you can select the waveform of LFO (none, Sine, Triangle, Square, S&H, Random, Tape or Chorus 2), delay (2 to 25 milliseconds), modulation depth, output level and pan.
The Tape position dials in modelled vintage tape echo. The Chorus 2 position allows you to synchronize the speed of the Chorus 1 andor 3 to that of Chorus 2. The Rate parameter of the synchronized choruses sets the phase shift (in degrees). By settling the respective phases of Chorus 1 and 3 to 120° and 240°, and by choosing the sine wave for Chorus 2, you can mimic the triple chorus of famous vintage string machines. Don't forget to spread stereo positions of each chorus to fatten the sound even more!
Chorus 2 has an additional feedback circuit that turns it into a flanger. Excellent! A global LFO adds an extra sine signal to the chorus modulations, with programmable depth and speed. You can also create dynamic modulations with a physical controller (modulation wheel, velocity, pressure, MIDI CC 4-7-11) or the envelope of the input signal, which you can assign to a destination within the effect, with positive-only modulation. Destinations include level, depth and speed of the chorus, global FX level, global dry level and one of the seven effect parameters of the digital FX (more on this below).
The stereo outputs of the chorus are then mixed to the stereo output or sent to the final digital FX effect, which consists of a DSP that can produce eight algorithms: Tape Echo, Ping-Pong Delay, Clean Echo, Gate Reverb, Plate Reverb, Small Hall Reverb, Hall Reverb and a special "Baloran" Reverb.
You can dampen high frequencies, select delay and reverb times, set the number of repeats, modulation waveform, modulation speed, and modulation depth. Depending on the kind of effect, you also get a "special parameter" such as level of the second head of the tape-echo simulator, and pre-delay of the reverbs. The number of repeats can reach and even exceed self-oscillation, a well-known effect of tape-echo chambers; this also applies to the reverbs.
Modulations have the same waveforms as the chorus; fast modulations are not audible when the algorithm is a reverb. With a delay, you can get realistic tape-drift effects. The quality is very good, with variety and musicality. There are no side effects, no aliasing or aggressiveness. Even without damping the high frequencies, the sound character remains beautiful, not metallic at all. Baloran did a great job in this digital area (as well as in the analog one). Each chorus and FX has its own output bus with independent level and pan. All the settings are stored within the Single programs or separately, a nice idea to swiftly apply different FXs to a given sound. If you don't want to route specific voices through the FX unit, you have to use the individual outputs.
Down the Waterfall
Now let's look at what is perhaps the most impressive aspect of The River: The RiverKey. It's more or less a powerful four-layer router, with each layer having its own input (sources) and output (destinations). You can define the keyboard zone, arpeggio or step-sequencer pattern for each and there is a global CV LFO.
Some parameters are directly programmable from The River using the Shift + keys combination. All the parameters are accessible using dedicated software (Windows 7/10 compatible only for the moment), where you create profiles and send them to The River using USB (you can send 10 profiles, which is enough to manage a studio or live configuration of analog and digital gear). The River stores the current profile along with the Multi, which makes it easy to recall a full configuration.
The parameters for each individual layer of The River include Layer Activation, Key Zone (lowest /highest Key), Octave, Transposition, Channel (internal/MIDI/USB), Clock Send and MIDI Program Change. As mentioned, each layer has an arpeggiator, whose parameters include: Tempo (Tap touch), Time Division, Pattern (11 types, mono and polyphonic), Octave Range (1-5), Playing Order (high, low, random), Latch Mode and Gate Time.
A special mode allows you to transpose an arpeggio in real time by playing only one key. The key will not be arpeggiated but will set the transposition range. There's also a step sequencer with its dedicated parameters: Tempo, Time Division, Playing Order and Gate Time. Each sequence can hold up to 48 steps that can be input in real time or step by step. Polyphony is limited to four notes and you can add silences (but sadly no doted notes or slide/auto-bend) in real time. Quantization is automatically applied according to gate time.
Once the sequence is programmed, you can't edit it, which is a shame. Baloran would you please find a way to navigate through the steps and edit them (at least key or silence change/delete/insert)? You can transpose the sequence in real time with the keyboard or via an external MIDI/USB unit. All these parameters are stored in the current profile.
A word now about the global parameters of the profile, which include Velocity Curve, Pressure Curve, Play/Stop (when arpeggios or sequences are active), Tempo (with Tap), Swing and CV LFO. The latter allows you to send an LFO in a given CV output to modulate an external analog module. Its parameters include Activation, Tempo, Waveform, Modulation Level, Vertical Waveform Offset and Cycle Phase Mode (either free or retriggered by each key press).
Many other parameters are editable via the Windows software, but the list is too long to include here. The first thing is to define the source of the Layer, be it internal keyboard, MIDI Input or USB. Next, define the Destination, choosing from Internal Sound Channel, MIDI, USB or CV/Gate output. Given that there are eight multitimbral Channels for four Layers, we suggested that Baloran invert the assignment of internal destinations allowing for defining the Layer number at the Channel level, which would allow for stacking several Channels in the same Layer by consuming one Layer only. That would not be trivial to accomplish, but Baloran promised to consider it.
Next you define the number of assigned voices, MIDI filter (physical controllers, CC) and in the case of CV/Gate destination, the sending mode through the output jacks (mono, polyphonic = X CVs for X gates, paraphonic = X CVs for 1 gate), the CV communication protocol (Volt/octave or Hz/Volt) and gate polarity. The editor shows the automatic assignment of sources to the available CV/Gate in real time, for the four layers. Of course, you can modify the assignment to your taste. Finally, the editor allows you to manage the profiles of four Layers. You can name them, manage up to ten profiles in a configuration, and dump them to the internal memory of The River. And there we are!
Small Brooks
It's hard to find words that do justice to The River. The vision of its designer has been realized: the vintage sound that we love, undeniable fire power, very original features, a design that makes you want to play and toggle and a great piece of hand-crafted hardware. Laurent is also a very nice and kind person.
Most of our suggested changes are in the software domain. A second filter would be nice, although the versatility of the machine is nevertheless surprising. Some users will also miss being able to route the audio input to the filter, which is not intuitive to control in a polyphonic multitimbral context.
When he was emotionally waving goodbye to the first unit when we picked it from his house for this review, Laurent made clear that his goal was to design a true musical instrument, and he has succeeded unequivocally. Much more than a musical instrument, The River is an instrument of pleasure which clearly deserves our « Best Product » Award!
Interview of Laurent Lecatelier, founder of Baloran LTD and designer of The River
During the previous test of The Triko, Laurent told us about his dream to move forward on its "big project," speaking of The River, even to complete it. And now he's done so.
When did you begin to think about The River?
First consideration began in March, 2014. I'd purchased a Moog Source a few months before, and immediately felt enormous love for that sound. But the huge level of maintenance required by that instrument caused me to dive inside the service manual, which gave me the idea to design a polyphonic version.
What were the big steps of the project?
At first the construction of three voice boards and a panel on prototype plates, which allowed me to validate the project and publish the first demos on SoundCloud. That phase was very fast, hardly three months. One year later, the main sections were validated. Then I designed The Triko and The RiverKey as separated projects; the marketing of The Triko put The River in standby but allowed me to create the Baloran LTD company and fund (a little bit) the developments. The following two years saw the finalization of the panel and the first case, then the complete redesign of the voice boards (transfer to SMT components with the exception of the high-end parts, replacement of the CA3080, new routings… same for The RiverKey and The Triko). Then I was invited to the French SynthFest 2017 edition, which drove me—in a crazy period from the end of 2016—to create a new case, new screen printing, finalization of the architecture, and validation of the prototypes. Since the middle of 2017, the marketing of the first batch has plunged me into period of madness that has still not slowed down.
Which synths influenced you most?
I can't say that any synth influenced me except The Moog Source. The machines that I'd kept the longest in the studio were the JD800 and the Ensoniq ESQ 1. My inability to escape from progressive, psychedelic and electronic rock motivated me to look for these sounds.
What were the main difficulties to overcome?
The optimization of the digital remote of the voice cards was a real challenge, just like the capacity to get eight fully analog voices to sing in tune. The construction of the Chalet was also a great moment. [ed: The Chalet is the small house Laurent built in his backyard, the "mini factory" where The River is hand-crafted, see picture]
What are your big satisfactions on this project?
Sound! I still play with The River for hours! I was also very touched by how the French-speaking community welcomed the project. I received so much goodwill and there were three days during the SynthFest 2017 where I could not touch ground. Today, even if the difficulties have not ended, it makes me proud to see new units of The River multiplying in the Chalet and to observe the reaction of the visitors in front of the instrument.
What advice would you give to those who want to design a new synth?
It's difficult to give advice. You and your family must be ready to face this wonderful nightmare.
After The River?
Some holidays please, before batch number 2 starts! Then I hope to make the small Baloran LTD company prosperous in 2018, so that it can become my full-time job. I already have some ideas of projects with the convergence of analog under digital control.
download the tracks (FLAC format)
2018 Best Product Award
Audiofanzine's review:
Genuine vintage analog sound palette
Polyphonic and multitimbral
Flexible voice assignment
Multi-layer internal/external capabilities
User interface with synthesis power
Smooth edition on the crucial parameters
Well-thought modulations
Per-voice motion sequencer
Four arpeggios/sequences
Programmable triple-analog chorus
Full multimode memories
Autosave in background task
CC transmission/reception via USB
MIDI/USB/CV/Gate interface
Craft construction
Internal huge PSU
Outcome of a beautiful project
Premium relationships with customers
Only one type of filter
Audio inputs not routed to the filter
Step sequencer could be improved
No DLFO sync to MIDI clock
No Compare
No CC via MIDI DIN
USB management is challenging
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One of the more anticipated shows at London Fashion Week Men's SS19 came courtesy of British menswear designer Samuel Ross AKA A Cold Wall. Set inside the industrial hallways of East London, Samuel Ross has emerged as part of a new pack of designers ready to expand the discussion around the versatility of men's fashion, such as Craig Green.
And the fashion community has responded exceedingly well. Having just confirmed himself a spot as a finalist in the prestigious LVMH prize in Paris, Samuel Ross is slowly becoming one of the most exciting names in fashion.
The highly theatrical show titled 'Human. Form. Structure' toyed with a new type of brutalist streetwear, a type of utilitarian experimentalism.
In attendance was his royal highness of fashion, Virgil Abloh himself, who has mentioned his fondness for Samuel's creations. At the door, construction apparel was given out which included noise ear plugs, dust glasses and a mask, all part of the industrial atmosphere building before the show.
A group of alien-like characters appeared at the beginning dressed head to toe in clay with shrouded anoraks, all moving to the pace of the industrial music. They would appear and reappear in different forms to add a dark and almost sci-fi feel to the show. At times the space echoing more the set of a Ridley Scott film than a runway show.
The clothes themselves relied heavily on functional details, the overtly technical with an emphasis on hybrid accessories. Most models appeared part of a deconstructed look, in which outfits were loosely fitting, displaying pieces which could be assembled and disassembled.
A riff on trench coats, body length anoraks, kimono-like waistcoats with added zips, cords and backpacks gave it that extra adjustability. As well as accentuating a more militant theme this show is noted for being different to Samuel's other shows where his usual embrace for the monochrome gave way to a host of more vibrant colours.
Samuel Ross is a designer who today brought us closer to a vision of a dystopian future, but he's also a designer that has given us a glimpse into the future of fashion itself.


text:
Алекса́ндр Плетнёв:
 Плетнёв, Александр Борисович (1964—2014) — российский театральный режиссёр.
 Плетнёв, Александр Никитич (1933—2012) — советский шахтёр, писатель.
 Плетнёв, Александр Эдуардович (род. 1975) — белорусский педагог.

redpajama_set_name: RedPajamaWikipedia


Just a couple shots of a new doublet in the works. Well, it was new when I was making it… In May. It's finished now, but I wanted to show the in-progress shots first, especially the attempt at a pad-stitched collar. I'm pretty happy with the way it came out; it added a lot of stability to the finished product.
Wait, it's been how long?


Posts Tagged " Anthony Geoffroy"
Few posts ago I presented you Anthony Geoffroy and his awesome caricatures. Now I present you his logos that are very nice. Because I know how well he works, when I will need a quality logo he will be one of the persons that I will speak with.


2013 ( US ) · English · Drama · PG-16 · 110 minutes of full movie HD video (uncut).
Battle of the Year: The Dream Team, full movie - Full movie 2013. You can watch Battle of the Year: The Dream Team online on video-on-demand services (Netflix, HBO Now), pay-TV or movie theatres with original audio in English. This movie has been premiered in Australian HD theatres in 2013 (Movies 2013). The DVD (HD) and Blu-Ray (Full HD) edition of full movie was sold some time after its official release in theatres of Sydney.
Movie directed by Benson Lee.
Produced by Beau Flynn, Dave Scott, Amy Lo, Glenn S. Gainor, Tripp Vinson, William Packer and Lisa Zambri.
Screenplay written by Benson Lee, Brin Hill and Chris Parker.
Commercially distributed this film, companies like Screen Gems, InterComFilm, Universal Pictures International (UPI), B&H Film Distribution, InterCom, Walt Disney Studios Sony Pictures Releasing (WDSSPR), Feelgood Entertainment, Sony Pictures Releasing Canada, Sony Pictures Releasing, Sony Pictures Entertainment, Sony Pictures Filmverleih, Andes Films, Sony Pictures Home Entertainment, Distribuye Movie and Columbia TriStar Warner Filmes de Portugal.
This film was produced and / or financed by Contrafilm.
As usual, this film was shot in HD video (High Definition) Widescreen and Blu-Ray with Dolby Digital audio. Made-for-television movies are distributed in 4:3 (small screen). Without commercial breaks, the full movie Battle of the Year: The Dream Team has a duration of 110 minutes; the official trailer can be streamed on the Internet. You can watch this full movie free with English subtitles on movie television channels, renting the DVD or with VoD services (Video On Demand player, Hulu) and PPV (Pay Per View, Netflix).
Full HD Movies / Battle of the Year: The Dream Team - To enjoy online movies you need a HDTV with Internet or UHDTV with BluRay Player. The full HD movies are not available for free streaming.


6.—(1) This article applies in relation to a complaint, conduct matter or death or serious injury matter which came to the attention of an appropriate authority before 22nd November 2012.
(2) With the exception of paragraphs 4, 7 and 8(1), (2), (3), (4) and (6) (which have effect as modified by paragraph (3) of this article), the provisions of Schedule 14 to the Act brought into force by this Order shall not apply in relation to the complaint or matter.
(b)in subsection (3) for "police authority" substitute "local policing body".".
(4) In this article "appropriate authority", "complaint", "conduct matter" and "death or serious injury matter" have the same meaning as in Part 2 of the Police Reform Act 2002(1).


text:
1001 Quotations to inspire you before you die [9781788400923]
1001 Quotations To Inspire You Before You Die is full of smart remarks - not just sassy one-liners (although there are plenty of those), but also more considered, philosophical epigrams that make us pause and reflect on a range of profound topics.
Each quotation is accompanied by an insightful account of its meaning and the historical context in which it was first uttered or written. Some famous quotations are straightforward, but many need contextualising - it's often not exactly what was said, but who said it, and in what context, that is more important. Many oft-quoted remarks open up whole new worlds of thought and interpretation. What, for example, did Voltaire mean when he wrote 'If God did not exist, it would be necessary to invent him'? - was he hinting at his own atheism (unlikely, given the age in which he lived) or making a more subtle point about the difficulty of apprehending the Almighty? This book looks into these and a host of other such questions, and takes the reader from the source material into illuminating discussions of its wider significance.
We all love quotations - we use them to make our points, to plead our cases and to justify our opinions, as well as to honour, glorify, motivate, incite, besmirch, bewitch and beguile. 1001 Quotations To Inspire You Before You Die will help you do all that and more.
AUTHOR: Robert Arp is a Senior Research Analyst for the US Army. His former roles include Assistant Professor of Philosophy at Southwest Minnesota State University, Visiting Assistant Professor of Philosophy at Florida State University and Associate Researcher at the National Center for Biomedical Ontology in Buffalo, NY. His research interests include the history of Western philosophy, philosophy and popular culture, and ontology in the information science sense. Arp has written numerous articles, book chapters and books, and is the editor of South Park and Philosophy (Blackwell Publishing, 2006), the co-editor of Philosophical Approaches to the Devil (Routledge, 2015) and the author of An Integrated Approach to the Philosophy of Mind (Cambridge University Press, 2010). In 2013 he was general editor of 1001 Ideas That Changed The Way We Think.
(You save £4.11 )
Robert Arp
Cassell Illustrated
1,840 Grams
1001 Movies You Must See Before You Die [9781788400794]
With more than 1.75 million copies sold worldwide in thirty languages, 1001 Movies You Must See Before You Die celebrates the great and groundbreaking…
1001 Wines You Must Try Before You Die [9781788400855]
Among the thousands of great wines on the market, which should you try at least once in your lifetime? 1001 Wines You Must Try Before You Die ensures …
1001 Whiskies You Must Try Before You Die [9781788400909]
Time-honoured, luxurious and naturally made, whisky has a noble heritage unparalleled by any other spirit. 1001 Whiskies You Must Try Before You Die t…
1001 Walks: You must experience before you die [9781788400954]
1001 Walks You Must Experience Before You Die is the perfect guide to the world's most exhilarating walks. The ever-increasing passion for recreationa…
1001 Bikes: To Dream of Riding Before You Die [9781844037636]
Never before have so many bicycles been profiled within one beautifully illustrated volume. 1001 Bikes to Dream of Riding Before You Die explores in d…
1001 Photographs: You Must See Before You Die [9781788400947]
Is photography art, documentary or both? Should images simply reveal the world we live in, or provoke us to think, act and react?1001 Photographs You …
1001 Inventions & Awesome Facts About Muslim Civilisation [9781426312588]
We often think that people from a thouand years ago were living in the Dark Ages. But from the 7th century onward in Muslim civilisation there were am…
1001 Paintings You Must See Before You Die [9781788400916]
With more than 300,000 copies sold worldwide in 15 languages, this newly revised and updated edition of 1001 Paintings You Must See Before You Die bri…
1001 Little Ways to Spend Less and Live Well [9781847323507]
Crammed full of facts and tips, 1001 Little Ways to Spend Less and Live Well will soon set you on the road to a happier and healthier bank balance a…
1001 Ideas that Changed the Way We Think [9781788400886]
1001 Ideas That Changed The Way We Think is a comprehensive guide to the most interesting and imaginative thoughts from the finest minds of the past 3…
101 Brilliant Things for Kids to Do with Science [9780857833839]
'Full of fun activities' - Telegraph Magazine on 101 Things For Kids To Do Outside From bestselling kids' activity author Dawn Isaac comes this exciti…
1001 Albums You Must Hear Before You Die [9781788400800]
1001 Albums You Must Hear Before You Die is the ultimate critical guide to history's greatest music. You'll find a mouthwatering choice of listening h…
1001 Really Stupid Jokes [9781841191522]
Another terrific compilation of jokes in the hugely successful series of Robinson Children's joke books - this one specialises in completely ridiculou…
101 Fun Outdoor Activities for Children [9781782495789]
A practical, dip-in guide, packed with over 100 outdoor activities for children. In an era when the iPad is often more appealing than the park, it …
1001 Ridiculous Ways to Die [9781853757969]
The woman who drank herself to death with water trying to win a games console by holding in her wee...the mechanic who blew himself up while trying to…
Jen Gale Q&A
Rukmini Iyer Q&A
Anna Deacon Q&A

redpajama_set_name: RedPajamaCommonCrawl


The word "team" takes on its full significance at Productions Multi-Monde, where we have a collective approach in all our efforts. Various collaborators join our core team according to the nature of the productions at hand.
Mellissa Frédérique works as an assistant director and production coordinator at Multi-Monde. She studies Film at Concordia University and is interested in documentaries and International Cinema. When she is not working at the office or on campus, she is a soccer coach for kids.


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Q: Subprocess command shows FileNotFoundError: [Errno 2] No such file or directory I'm trying to run shell commands using python by using subprocess module in the below code, but I don't why my script is throwing an error like below. Can someone help me what I'm missing?
Traceback (most recent call last):
  File "/Scripts/test_file.py", line 6, in <module>
    p2 = subprocess.Popen('sed s\'/"/ /g\'', stdin=p1.stdout, stdout=subprocess.PIPE)
  File "/Library/Developer/CommandLineTools/Library/Frameworks/Python3.framework/Versions/3.8/lib/python3.8/subprocess.py", line 854, in __init__
    self._execute_child(args, executable, preexec_fn, close_fds,
  File "/Library/Developer/CommandLineTools/Library/Frameworks/Python3.framework/Versions/3.8/lib/python3.8/subprocess.py", line 1702, in _execute_child
    raise child_exception_type(errno_num, err_msg, err_filename)
FileNotFoundError: [Errno 2] No such file or directory: "sed s'/"/ /g'"`

import subprocess
#output3.txt='/Users/boggulv/Desktop/output3.txt'
p1 = subprocess.Popen( ['cat', 'output3.txt'], stdout=subprocess.PIPE)
print(p1)
p2 = subprocess.Popen('sed s\'/"/ /g\'', stdin=p1.stdout, stdout=subprocess.PIPE)
p3 = subprocess.Popen('grep "sO"', stdin=p2.stdout,stdout=subprocess.PIPE)
p4 = subprocess.Popen('grep -v "get"', stdin=p3.stdout, stdout=subprocess.PIPE)
p5 = subprocess.Popen('cut -d \',\' -f2', stdin=p4.stdout, stdout=subprocess.PIPE)
p6 = subprocess.Popen('sed \'s/"//g\'', stdin=p5.stdout, stdout=subprocess.PIPE)
p7 = subprocess.Popen('sort', stdin=p6.stdout, stdout=subprocess.PIPE)
p8 = subprocess.Popen('sort', stdin=p8.stdout, stdout=subprocess.PIPE)
p9 = subprocess.Popen('uniq -c', stdin=p8.stdout, stdout=subprocess.PIPE)
p0 = subprocess.Popen('sort -nr', stdin=p9.stdout, stdout=subprocess.PIPE)
print(p01.communicate())

Tried now changing to lists.
p2 = subprocess.Popen('sed \'s/"/ /g\'', stdin=p1.stdout, stdout=subprocess.PIPE, shell=True)
p3 = subprocess.Popen(['grep','"shipOption"'], stdin=p2.stdout,stdout=subprocess.PIPE,shell = True)
p4 = subprocess.Popen(['grep','-v', '"getShipMethod"'], stdin=p3.stdout, stdout=subprocess.PIPE,shell = True)
p5 = subprocess.Popen(['cut','-d','\',\'', '-f2'], stdin=p4.stdout, stdout=subprocess.PIPE,shell = True)
p6 = subprocess.Popen(['sed','\'s/"//g\''],stdin=p5.stdout, stdout=subprocess.PIPE,shell = True)
p7 = subprocess.Popen(['sort'], stdin=p6.stdout, stdout=subprocess.PIPE,shell = True)
p8 = subprocess.Popen(['uniq', '-c'], stdin=p7.stdout, stdout=subprocess.PIPE,shell = True)
p9 = subprocess.Popen(['sort', '-nr'], stdin=p8.stdout, stdout=subprocess.PIPE,shell = True)
p0 = subprocess.Popen(['head', '-10'], stdin=p9.stdout, stdout=subprocess.PIPE,shell = True)```

New Error:

`usage: grep [-abcdDEFGHhIiJLlMmnOopqRSsUVvwXxZz] [-A num] [-B num] [-C[num]]
        [-e pattern] [-f file] [--binary-files=value] [--color=when]
        [--context[=num]] [--directories=action] [--label] [--line-buffered]
        [--null] [pattern] [file ...]
usage: grep [-abcdDEFGHhIiJLlMmnOopqRSsUVvwXxZz] [-A num] [-B num] [-C[num]]
        [-e pattern] [-f file] [--binary-files=value] [--color=when]
        [--context[=num]] [--directories=action] [--label] [--line-buffered]
        [--null] [pattern] [file ...]
usage: cut -b list [-n] [file ...]
       cut -c list [file ...]
       cut -f list [-s] [-w | -d delim] [file ...]
(b'', None)
cat: stdin: Input/output error`

A: Your commands are still wrong. If you just want to run these commands like the shell does, the absolutely easiest way to do that is to ... use the shell.
result = subprocess.run('''
# useless cat, but bear with
cat output3.txt |
sed 's/"/ /g' |
grep "shipOption" |
grep -v "getShipMethod" |
cut -d ',' -f2 |
sed 's/"//g' |
sort |
uniq -c |
sort -nr |
head -10
    ''',
    # Probably add these too
    check=True,
    capture_output=True,
    # We are using the shell for piping etc
    shell=True)

If you want to remove the shell=True and manually run all these processes, you have to understand how the shell works. In particular, you need to fix the quoting so that the commands you run have the quotes which remain after the shell has processed the syntactic quotes.
p1 = subprocess.Popen(['cat', 'output3.txt'], stdout=subprocess.PIPE)  # still useless
p2 = subprocess.Popen(['sed','s/"/ /g'], stdin=p1.stdout, stdout=subprocess.PIPE)
p3 = subprocess.Popen(['grep', "shipOption"], stdin=p2.stdout,stdout=subprocess.PIPE)
p4 = subprocess.Popen(['grep', '-v', "getShipMethod"], stdin=p3.stdout, stdout=subprocess.PIPE)
p5 = subprocess.Popen(['cut', '-d', ',', '-f2'], stdin=p4.stdout, stdout=subprocess.PIPE)
p6 = subprocess.Popen(['sed', 's/"//g'],stdin=p5.stdout, stdout=subprocess.PIPE)
p7 = subprocess.Popen(['sort'], stdin=p6.stdout, stdout=subprocess.PIPE)
p8 = subprocess.Popen(['uniq', '-c'], stdin=p7.stdout, stdout=subprocess.PIPE)
p9 = subprocess.Popen(['sort', '-nr'], stdin=p8.stdout, stdout=subprocess.PIPE)
p0 = subprocess.Popen(['head', '-10'], stdin=p9.stdout, stdout=subprocess.PIPE)

Notice in particular how the arguments to sed and grep have their outer quotes removed, and how we removed shell=True everywhere. As a rule of thumb, if the first argument to Popen (or other subprocess methods) is a list, you should not use shell=True, and vice versa. (There are situations where you can pass a list to shell=True but ... let's not even begin to go there.)
All of this seems rather moot, though, since Python can eminently well do all of these things.
from collections import Counter

counts = Counter()
with open('output3.txt', 'r', encoding='utf-8') as lines:
    for line in lines:
        line = line.rstrip('\n').replace('"', ' ')
        if "shipOption" in line and "getShipMethod" not in line:
            field = line.split(',')[1].replace('"', '')
            counts[field] += 1
print(counts.most_common(10))

Probably you would want to put the rstrip and replace inside the if to avoid unnecessary work. The same refactoring could be done to the shell pipeline, of course.

A: As per Gordon above - by default Popen() treats
sed 's/"/ /g'

as the name of a command to run rather than a command name plus one argument. So you need to do one of the following:
p2 = subprocess.Popen(['sed', 's/"/ /g'], stdin=p1.stdout, stdout=subprocess.PIPE)

or
p2 = subprocess.Popen('sed \'s/"/ /g\'', stdin=p1.stdout, stdout=subprocess.PIPE, shell=True)

The use of shell=True gets the Popen function to split the string into a list containing the command and arguments for you.
Also note, that p0 is your last result, but you call p01.communicate()

redpajama_set_name: RedPajamaStackExchange


text:
Posts tagged "Evangelical"
From the Magazine: Molly Worthen on Cultural Identity in the American Church
by Ethan Richardson on Apr 20, 2016 • 2 Comments
With the Church Issue out the door and hitting mailboxes this week, we thought it might be prudent to post a teaser edition of our amazing interview with religious historian and New York Times contributor Molly Worthen.
If you want to order the Church Issue or subscribe, this is the place to do it.
In the introduction to her 2014 book, Apostles of Reason: The Crisis of Authority in American Evangelicalism, historian and journalist Molly Worthen sets out to reappraise the term "evangelical"—both what it has meant and what it continues to mean today. She discusses the inherent distrust of American evangelical culture in the wider public sphere, where evangelicals on the whole are typecasted as hostile or anachronistic, too blinded by an authoritarian faith to confront the discoveries of science and reason. Yet Worthen argues that this characterization misrepresents wide swaths of evangelicals, that, on the whole, evangelicals are far more thoughtful and diverse than most critics realize. Worthen argues that evangelicals have been further from 'authoritarian' than the intellectual spheres that so readily spurn them:
The central source of anti-intellectualism in evangelical life is the antithesis of "authoritarianism." It is evangelicals' ongoing crisis of authority—their struggle to reconcile reason with revelation, heart with head, and private piety with the public square—that best explains their anxiety and animosity toward intellectual life. Thinkers in the democratic West celebrate their freedom of thought but practice a certain kind of unwavering obedience—bowing to the Enlightenment before all other gods—that allows modern intellectual life to function. Evangelicals, by contrast, are torn between sovereign powers that each claim supremacy.
In a way, this tension has been the story of the Church universal, perpetually buffeted between the unique revelation of truth in Jesus Christ, and the world of independent thought that also demands their everyday consideration. The Church, for better or worse, tends to operate in tandem with these powers, which has always led to tricky (and often, precarious) outcomes.
Worthen argues that evangelicals today are still searching for firm footing. As a journalist, the current moments of discord seem of particular interest to her. Her articles in the New York Times often engage the tension between the doctrines of tolerance given us by secular liberalism, and the exclusive truth claims made by the many we would call "evangelicals." As a Professor at the University of North Carolina (Chapel Hill), she is also interested in how secular thought and identity politics on American campuses have tended to provoke similar kinds of exclusive truth claims on its students, though to a different end. As you will see in our interview, for Molly Worthen, evangelicals are a group of believers who have found it necessary to reconcile the constraints of the public sphere and the demands of their own personal belief.
Worthen spoke to us from Chapel Hill, North Carolina.
Are there contemporary issues today within the Church that are simply rehashings of an old issue from centuries ago?
Sure, I'm often aware of continuities, and I try to stress them to my students. I teach a course on North American religion since European contact, and one of the themes is the way Christians have always struggled with the paradoxes that define their faith. These paradoxes are what give Christianity its majesty and brilliance, but they're also what cause great frustration among believers. It has seemed to me that, over the millennia, people who are deemed heretics by defenders of orthodoxy are Christians who sought to resolve one or more of the key paradoxes of Christianity—whether it was to try to separate Christ's human and divine nature or to try to rationalize the mystery of the Trinity or to push apart the paradox of free will and divine sovereignty.
And then there are the less Trinitarian paradoxes that continue to pop up in contemporary religion, that deal with culture—the paradox of the Christian calling to be 'in the world but not of it'—that dilemma frames so many issues for Christians today.
The paradox whereby Paul calls Christians to be always alert to the way in which culture can become confused with the Gospel, and worldly identities blended with identity in Christ—that one is so apparent in the current presidential election. It certainly illuminates the appeal of Donald Trump's xenophobic, nativist, essentially white supremacist language. Some evangelical leaders I've asked about this insist that evangelicals who support Trump are not real evangelicals because many of them don't go to church, but the fact is that "evangelical" has become a kind of cultural identity that churches do not control.
One trend I've been following is the way in which more and more evangelical leaders are calling for American Christians to think of themselves as a "moral minority," a Christian counterculture, to recognize that the ship has sailed on marriage equality and that they can no longer aspire to "take the country back." And yet, at the same time, we have the evangelical grassroots rallying for a presidential candidate who is resurrecting the rhetoric of Jerry Falwell, speaking about how the "silent majority" is back to reclaim the country. I mean, this is what Trump says! So there's a widening gap between the strategies and desires of many evangelical leaders, and what seem to be the sentiments of their constituents.
College students are certainly up against a lot, especially if they're professing a faith that has exclusive truth claims. Your recent article in the New York Times, "Hallelujah College," talked a little bit about that too, about the Christian student in a world of trigger warnings and what Jonathan Haidt called, "emotional coddling." Can you share your thoughts there?
I think that the general paradigm on most secular campuses is that of New Left identity politics, in which we all claim a certain set of identities based on our life experiences. We have authority to speak from those identities because of our experiences, and we must grant all respect and sovereignty to other people's identity claims and adopt a posture of openness, but never confrontation or judgment. My students, even those who come from conservative Christian backgrounds, have been steeped in that culture for long enough that they obey its rules without really thinking about them. On one hand, pragmatically, it works. It produces a fairly civil conversation. Most of the time, it allows people with very different perspectives to coexist.
But the fact is that traditional Christianity has a different way of conceiving of human nature and truth claims than do modern secular liberals. I think that modern secular liberals have not worked through some of the inconsistencies in their own ideologies when it comes to the accommodation of traditional religions, Christian or otherwise. You know, this problem is really coming to the fore in Western Europe, as these secular European liberal democracies try to accommodate and acculturate huge numbers of conservative Muslim immigrants. For the secular liberal, it's the old problem of, "How do you tolerate the intolerant?" What boundaries do you enforce?
It's a conversation that liberals have been exempt from having for a long time, at least in this country, and what I find interesting is the way conservative Christian students are trying to compel that conversation. Although both sides sometimes fall prey to a sense of moral superiority, and the rigidity of their own assumptions can prevent them from totally hearing the other side, I think liberals have a lot to learn from the way religious conservatives have learned to articulate their presuppositions and understand the intellectual framework of their own worldview. I think liberals, especially at universities, where they do enjoy cultural dominance, have not always had to come to terms with the logic of their own ideas.
Order your copy here!
The Primary Definition of an Evangelical
by Bryan J. on Mar 3, 2016 • 4 Comments
This election cycle, Donald Trump's ascendancy to front-runner status has given religion beat writers a whole new angle of thinkpiece to write: what exactly is an Evangelical, and why are they voting for Trump. At least a half-dozen of them are produced daily, it seems, from major publications like The Washington Post and the New York […]
Grace in the Age of Fentanyl
Mary Definitely Knew
To Die or Not to Die? by Robert Farrar Capon
Albert's Strange and Difficult Path (in Twin Peaks)
Everybody Else's Biggest Problem: Wealth is Health
When Life's Gappers Get Your Goats
Reynolds Price, In Memoriam


Age old Ayurvedic/Unani herbal tea that is beneficial during flu/viral season. Enjoy it with honey. Joshanda is used as herbal tea, quite effective for catarrh, cough, cold and physical fatigue. Joshanda packet helps to fight allergy and seasonal changes.


text:
Justus Jonas, o Velho (1493-1555) (* Nordhausen, 5 de Junho de 1493 † Eisfeld, 9 de Outubro de 1555) foi jurista, humanista, historiador, teólogo e reformador alemão. Foi tradutor da Bíblia e compositor de hinos. Teve papel significativo na tradução do Velho Testamento, que fez parte da Bíblia de Lutero. Admirava profundamente Erasmo de Rotterdam graças à sua paixão pelo estudo dos idiomas grego e hebraico.

Publicações

 Praefatio in Epistolas divi Pauli Apostoli, 1520
 Acta et res gestae D. Mi Lutheri in comitiis principium Wormaciae ,1521, in Luthers Werke Volumo 7, Seite 825
 Adversus Joanem Fabrum, Cosntantiensem vicarium, scortationis patronum proconiugio sacerdotali J. J. defensio,, Tiguri, Wittenberg 1523
 Ad Caput. 13. Matth(a)ei. Jonas, Sup(er) v(er)ba Isai(a)e. ca.6. 1524
 Annotationes J. J. in Acta Apostolorum. Ad Jo. Fridericum Saxon. Ducem, Wittenberg 1524, Basel 1525, germana traduko 5. August 1525 bei Silvanus Otmar, Augsburg.
 Vom alten und newen Gott, glawben und lere, gecorrigirt und gebessert, Wittenberg 1526
 Annotationes zu Act noch seine angesichts der Türkengefahr, 1529
 Das siebend capitel Danielis von des Türken Gotteslästerung und schrecklicher Moderey mit unterricht J. J., Wittenberg 1529; Jena 1529
 Contra tres pagellas Agri Phagi Georgii Witzel, quibus pene Lutheranismus prostratus et voratus esset, J. Joae responsio, Wittenberg, Georg Rhaw 1532
 Responsio ad apologiam Croti Rubeani, Wittenberg 1532
 Oratio de gradibus in Theologia, Wittenberg 1533
 Wilch die rechte Kirche und dagegen wilch die falsche Kirch ist, christlich Antwort und tröstlicher Unterricht wieder das pharisäisch Gewäsch Georgii Witzel, Justus Jonas D., Wittenberg, Georg Rhaw 1534
 Ludus Sylvani Hessi in defectionem Georgii Vuicelii ad Papistas cum Praefatione J. J. Respondo stulto iuxta stulticiam suam, ne videatur sibi sapiens, Wittenberg 1534
 Oratio Justi Jonae Doctoris Theologiae de studiis theologicis Declamatio Scripta, Wittenberg 1539
 Kirchenordnung zum Anfang, für die Pfarrherrn in Herzog Heinrichen zu Sachsen Fürstentum, 1539
 Gebet und Danksagung bey Abschaffung der ehemals am Tage Corporis Christi gehaltenen abgottischen Päbstlichen Procression ..., (Gebet zur Erhaltung der halleschen Salzbrunnen) 1541
 Christlicher und kurzer Unterricht von Vergebung der Sünden und Seligkeit durch D. J. Jonas, Wittenberg 1542
 Ein Seremon von den Historien Judas Ischarioth und des Judas Kuß, gepredigt zu Halle in Sachsen, 1543
 Der Neun und sybentzigste Psalm zu diesen gefährlichen Zeiten allen Christen zu Trost zu singen und zu bäthen im Reyme gestallt. Durch Doctor Just. Jonas, Supperatendenten zu Hall, 1546
 Zwo tröstliche Predigt uber der Leich D. Doct. Martini Luther zu Eisleben den XIX. und XX. Februarii gethan durch D. Doct. Justum Jonam. M. Michaelem Celium, Wittenberg, Georg Rhau
 Vom Christlichen abschied aus diesem tödlichen leben des Ehrwirdigen Herrn D. Martin Lutheri, Wittenberg 1546
 Vorrede inn die gantz Bibel, wie die ware Kirche Gottes auff Erden jren anfang gehabt, aus dem Latin verdeutscht durch J. J., Erfurt 1548
 Ein fast tröstliche Predigt und auslegung der Historien von der Wunderbaren XL tagen In Actis Aposto. Cap. I. Item von der Auferstehung der Todten zu Regenspurg Jnn Bayern gepredigt. Anno Dmn. 1553 erstlich jetz und Anno 1554 in Druck gegeben. Gedruck zu Erfurt 1554 durch Cervasium Stürmer anno 1554
 Die evangelischen Kirchenordnungen des 16. Jahrhunderts, Volumo 1, Leipzig 1902 kaj Volumo 2, Leipzig 1904

Traduções do latim para o alemão

 Luthers 95 Thesen, 1517
 Von geistlichen und klostergelübden, Wittenberg 1522
 Unterricht Melanchthons: Wider die lere der Widerteuffer, Wittenberg 1528
 M. Luthers Urteil an Hans Luther, seinen lieben Vater, verdeutscht durch D. J. J., Propst zu Wittenberg, Wittenberg 1522
 Das der freie Wille nichts sey, D. Mart. Luther an Erasmus Rot., verdeutscht von J. J., Wittenberg 1526
 Melanchthons Auslegung des Colosserbriefes Epistel S. Paulizum Colossern durch Ph. Melanchthon, Wittenberg 1529
 Apologia der Confessio Augustana, Wittenberg 1535
 Auslegung D. M. Luthers über das Lied Mose am 32. Cap Deutero, Wittenberg 1532
 Ecclesiates oder Prediger Salomo, Wittenberg 1533, 1538, 1560, 1563
 Melanchthons Übersetzung der Loci Communes, 1536
 Ursprung des Türkischen Reiches durch Paulum Jovium, 1538
 Des durchl. Großm. Herrn, Herrn Heinrich VIII. Schrifft an Kaiserliche Majestät, Wittenberg 1539
 Brandenburgisch-Nürnbergische Katechismus, Wittenberg 1539
 Ein kleglich ansuchen des ausschus der V. Nider Osterreichischen lande belangend die große jetzige Fahr des Türken halben, Wittenberg 1539
 Hymnus des Prudentius, 1539
 Epistel an den Landgrafen zu Hessen … Phil. Melanchthon, Wittenberg 1540
 Von der Kirchen und der alten Kirchen leren, Phil Melanchthon, Wittenberg 1540
 Lazari Klage für des Reichen Thür …, Wittenberg 1540
 Eine Schrift Ph. Melanchthon newlich lateinisch gestellet, wider den unreinen Bapst Celibat, Wittenberg 1541, Halle 1543
 Eine kurtze Schrifft des Ph. Melanchthon. Von rechter Vergleichung und Friedehandlung …, Wittenberg 1541 Erfurt 1541, Wittenberg 1557
 Verantwortung Ph. Melanchthons auff der Cölnischen unter Clerisey Schrifft wider Ern Martin Butzern ausgegangen, Wittenberg 1543
 Ursachen, warumb die Kirchen, welche reine, Christliche lehr bekennen …, Wittenberg
 Der Prophet Daniel, ausgelegt durch Ph. Melanchthon, Wittenberg 1546
 Vorrede in die gantz Bibel. Wie die ware Kirche Gottes auff Erden jren anfang gehabt. Aus dem Latin verdeutschet Durch Justum Jonam MDXLVIII., Gedr. Zu Erfurdt durch Melchior Sachsen
 Welchs die Einig. Recht, Kirche Christi sey, Regensburg 1553

Traduções teuto-latinas
 Praefatio methodica totius scripturae in epistolam Pauli ad Romanos e vernac. M. Luth. in lat. versa per J. J., Wittenberg 1523; Nachdrucke in Zürich und Hagenau
 Libellus Mart. Lutheri Christum Jesum verum Judaeum et semen esse Abrahae e germ. vers. per J. J. cum epistola Jonae ad And. Remum, Wittenberg 1524
 Libellus M. Lutheri de sacramento Eucharistae ad Valdenses fratres e germ. transl. per J. J., Wittenberg 1526
 Enarrationes Novae D. M. Lutheri in Jonam propetam Hagenoae, 1530
 In Psalm 82 de magistratibus, Wittenberg 1531
 Summaria D. M. Lutheri in psalmos Davidis, Wittenberg 1534
 De missa privata et nuctione sacerdotum libellus Mart. Luth. e germ. in lat. transl. per J. J., Wittenberg 1534
 Liber Jesu Sirach, Wittenberg 1538, Frankfurt 1564, Leipzig 1582
 Epistola D. M. Lutheri contra Sabbatarios, Wittenberg 1539
 Catechismus pro pueris et iuventute in ecclesiam Marchionum, Wittenberg 1543
 Libellus contra Judeos, 1543

Veja também

 Henning Göde (1450-1521) jurista
 Erasmo de Rotterdam (1466-1536)
 Johann Friedrich, o Constante, Príncipe-eleitor da Saxônia,  (1468-1532)
 Henrique da Saxônia, o Piedoso (1473-1541)
 Martinho Lutero (1483-1546)
 Johannes Bugenhagen (1485-1558)
 Andreas Bodenstein Carlstadt (1486-1541)
 Eoban Hesse (1488-1540)
 Michael Caelius (1492-1559) teólogo e reformador
 Adamus Crato Fuldensis (1493-1558)
 Philipp Melanchthon (1497-1560)
 Kilian Goldstein (1499-1568)
 Georg Witzel (1501-1573)
 Justus Jonas, o Jovem (1525-1567)
 Johann Faber (1581-1622) jurista
 Walter Delius(1899-1972)

Bibliografia
  WorldCat Identities
  www.Gateway-Bayern.de
  Allgemeine Deutsche Biographie
  Vitae Germanorum Theologorum - Adam Melchior.

Juristas da Alemanha
Tradutores da Bíblia
Teólogos da Alemanha
Historiadores da Alemanha
Universidade de Halle-Wittenberg
Orientalistas
Naturais de Nordhausen


text:
De La Soul Get Regal on New Song 'Royalty Capes'
| July 19, 2016 - 5:02 pm
Home » News » De La Soul Get Regal on New Song 'Royalty Capes'
De La Soul have been exploring a more subdued and introspective sound on their recent tracks in the lead-up to And the Anonymous Nobody, the group's first album as a trio since 2004's The Grind Date. "Royalty Capes," their most recent, finds them doing more of the same, with the running motif of royalty tying the track together: "The sky takes notes when we speak / Our capes move with the wind because of the wings beneath."
Listen to the new track, produced by Dave (a.k.a. Plug Two), below. And the Anonymous Nobody drops on August 26.
De La Soul Catalog Making Long-Awaited Streaming Debut in March


text:
Educating Prescribers a Key in Reducing Opioid Addiction, Overdose
Addiction physicians are increasingly being asked to help stem the rising tide of opioid addiction and overdose in their local communities. A special workshop Saturday has been developed to share strategies in this effort.
"Addressing the Opioid Addiction and Overdose Epidemic: Targeting the Prescriber," a Collaborative Workshop developed by the Association for Medical Education and Research in Substance Abuse (AMERSA), will be presented from 4:30 to 6:30 pm in Orlando Ballroom IV, Lower Level.
"We are going to talk about strategies to get opioid prescribers both in primary care and addiction treatment settings engaged in addressing the opioid overdose crisis. We will look at it in three different ways," said Alexander Y. Walley, MD, MSc, ABAM Diplomate, a session organizer and speaker.
Daniel P. Alford, MD, MPH, FASAM, ABAM Diplomate, will discuss national efforts to educate physicians about how to safely prescribe opioids. He will discuss Boston University's Safe and Competent Opioid Prescribing Education program (www.scopeofpain.com). This program was developed to satisfy the extended-release/long-acting Risk Evaluation and Mitigation Strategy (REMS) education requirements issued by the Food and Drug Administration. He is an Associate Professor of Medicine at Boston University School of Medicine.
"This educational effort is not for the purpose of eliminating opioid prescribing, but really making it safe," Dr. Walley said. "The SCOPE of Pain online and live programs focus on using a risk-benefit framework when making decisions to initiate, modify, continue, or discontinue opioids when managing patients with severe chronic pain."
Hillary Kunins, MD, MPH, MS, Acting Executive Deputy Commissioner for Mental Hygiene, New York Department of Health and Mental Hygiene, will review its efforts to proactively educate prescribers.
"Using overdose mortality, opioid prescribing data, and expert input, the department developed opioid prescribing guidelines for general use. In addition, they developed a targeted approach for prescribers in Staten Island, the New York borough with the highest opioid-analgesic involved overdose mortality rates and the highest rates and doses of prescribed opioids," Dr. Walley said. Dr. Kunins also will share the department's guidance for addressing risky drug use identified in the prescription-monitoring database.
Dr. Walley, Assistant Professor of Medicine at Boston University School of Medicine, will address the role of physicians in patient education.
"I will focus on educating patients to prevent opioid overdoses and how to manage them when they happen so they are not fatal," he said. "I will talk about how to prescribe naloxone rescue kits."
The speakers will start their presentations by talking about opioids prescribed for pain, but also discuss opioids prescribed for the treatment of addiction.
"This is a relevant public health issue because it is not just overdoses, it is addiction and it is connected to prescribing of opioids," Dr. Walley said. "But it is more complicated than that. There has been more information coming out about the transition of patients from prescription opioids to heroin, and heroin overdoses. Communities are concerned about this issue."
And when local communities want help addressing those concerns, they most likely will turn to addiction physicians.
"ASAM doctors are the local experts on addiction who people often turn to when they want to understand the prescription opioid problem," Dr. Walley said. "We are going to explain what is being done at national and state levels, and what can be done in municipalities and communities to address this problem."
Filed Under: 2014 Conference News, April 12


Leck Construction Ltd is one of the area's leading and most experienced, privately owned, construction and development companies, operating within South Cumbria, The Lake District National park, and Furness Peninsula.
For over seventy years, the Leck name has been synonymous with building quality. We have an outstanding portfolio of completed projects and we are very proud that our skills, knowledge, and expertise creates value for our clients.
With roots firmly placed in Barrow in Furness, we have long-standing relationships with both the public and private sectors. Founded in 1946, our business has grown on the basis of quality and reliability.
Our products and services are tailored to each client's needs, from traditional construction, design & build and repairs and maintenance services to Housing development for private individuals, social housing providers or for whole site development.
Whether you're looking for a contractor or an experienced repairs and maintenance provider, we are here to help.
Leck Construction Ltd is Grade A-rated members of the NHBC (National house building council), National Federation of Builders, are CHAS accredited and hold ISO 9001, 14001, OHSAS 18001 management and environmental and Health and safety standards.
Our success is based on a trusted management team with wide experience in housing development, civil engineering, groundwork, and major contracts building work.
With 70 years main contracting experience, and an ethos based on traditional construction values, and promoting good building practices, our team supports our clients in achieving high standards within their projects.
Leck employs a substantial local workforce in the core trades of groundwork, bricklaying, and joinery, who are supported by a selection of local specialist sub-contractors, and providers who share our core values.
Our team have a proven history of quality management and health and safety experience.


This may surprise attendees of the 1994 National Order of the Arrow Conference (NOAC).
Order of the Arrow is an honor society of Boy Scouts that uses American Indian imagery. The 1994 NOAC conference's closing ceremony prominently featured then-popular Return to Innocence by Enigma in an Indian-themed ceremony.
Only problem is that's not an Indian voice. It's an aboriginal Taiwanese chant.
So now you know. The NOAC planners are probably blushing.
See the whole scene for yourself. Pan around to see my neighbors.


Both the Wall Street Journal and Bloomberg have stories suggesting that the U.S. and China may reach a deal during the dinner between President Trump, General Secretary Xi and their respective teams.
Driving the news: Outlines of this supposed deal have been discussed for weeks, mainly because it is perhaps the only possible arrangement the two sides can agree to right now.
"The U.S. and China ... are exploring a trade deal in which Washington would hold off on further tariffs through the spring in exchange for new talks looking at big changes in Chinese economic policy..."
"New talks would focus on what both sides are calling trade 'architecture,' a broad term that could encompass many issues the U.S. has wanted Beijing to address, including intellectual property protection, coerced technology transfer, subsidies to state-owned enterprises, and even non-trade issues such as cyberespionage."
"Those discussions... have centered on the possibility of a truce in which the U.S. would delay ramping up tariffs on China in exchange for Chinese concessions."
"The two leaders would also agree on a 'framework' for further talks, U.S. officials such as Commerce Secretary Wilbur Ross have said publicly.
"The two sides have also been eyeing a possible mid-December trip to Washington by Liu He, Xi's top economic adviser, according to two people familiar with the discussions. But whether that visit actually takes place would depend on a positive outcome in Buenos Aires."
The big picture: A tariff ceasefire in exchange for some big PRC purchases of U.S. goods and a framework for months of talks would probably make the financial markets and Beijing quite happy.
The bottom line: But all of the reports in the run-up to the dinner are really just speculation at this point. It will come down how Trump and Xi are feeling during the meeting.


Installing a facemask or Ratchet-Loc chinstrap is a breeze with the Riddell Quick Release Combo Tool . The tool serves both purposes with small pegs on the side that fit into your quick +release pins to instantly pop them off the helmet. The ratchet side fits around the attachment wheel on Riddell SpeedFlex helmets to easily loosen the wheel and replace your chinstrap.
This is great for changing Riddell Speedflex facemasks. Tool makes it easier and quicker when changing facemask. Does the job, must have for Riddell Speedflex helmets !


1Therefore#(Matt. 5:48); Luke 6:36; Eph. 4:32 be imitators of God as dear #1 Pet. 1:14–16children. 2And #1 Thess. 4:9walk in love, #John 15:9; Gal. 1:4; 1 John 3:16as Christ also has loved us and given Himself for us, an offering and a sacrifice to God #Ex. 29:18, 25; 2 Cor. 2:14, 15for a sweet-smelling aroma.
3But fornication and all #Col. 3:5–7uncleanness or #(Luke 12:15)covetousness, let it not even be named among you, as is fitting for saints; 4#Matt. 12:34, 35; Eph. 4:29; Col. 3:8; James 1:21neither filthiness, nor #Titus 3:9foolish talking, nor coarse jesting, #Rom. 1:28which are not fitting, but rather #Phil. 4:6; Col. 3:17; (1 Thess. 5:18)giving of thanks. 5For this you know, that no fornicator, unclean person, nor covetous man, who is an idolater, has any #1 Cor. 6:9, 10; Col. 3:5inheritance in the kingdom of Christ and God. 6Let no one deceive you with empty words, for because of these things the wrath of God comes upon the sons of disobedience. 7Therefore do not be #1 Tim. 5:22partakers with them.
15#Col. 4:5See then that you walk circumspectly, not as fools but as wise, 16#Col. 4:5redeeming the time, #Eccl. 11:2because the days are evil.
17#Col. 4:5Therefore do not be unwise, but #(Rom. 12:2); Col. 1:9understand #1 Thess. 4:3what the will of the Lord is. 18And #Prov. 20:1; 23:31; Rom. 13:13; 1 Cor. 5:11; 1 Thess. 5:7do not be drunk with wine, in which is dissipation; but be filled with the Spirit, 19speaking to one another #Acts 16:25in psalms and hymns and spiritual songs, singing and making #James 5:13melody in your heart to the Lord, 20#Ps. 34:1giving thanks always for all things to God the Father #(1 Pet. 2:5)in the name of our Lord Jesus Christ, 21#(Phil. 2:3); 1 Pet. 5:5submitting to one another in the fear of God.
22Wives, #Eph. 5:22—6:9; Col. 3:18—4:1; 1 Pet. 3:1–6submit to your own husbands, as to the Lord. 23For #(1 Cor. 11:3)the husband is head of the wife, as also #Col. 1:18Christ is head of the church; and He is the Savior of the body. 24Therefore, just as the church is subject to Christ, so let the wives be to their own husbands #Titus 2:4, 5in everything.
25#Eph. 5:28, 33; Col. 3:19; (1 Pet. 3:7)Husbands, love your wives, just as Christ also loved the church and #Acts 20:28gave Himself for her, 26that He might sanctify and cleanse her #John 3:5with the washing of water #(John 15:3; 17:17; Rom. 10:8; Eph. 6:17)by the word, 27#(2 Cor. 4:14; 11:2); Col. 1:22that He might present her to Himself a glorious church, #Song 4:7not having spot or wrinkle or any such thing, but that she should be holy and without blemish. 28So husbands ought to love their own wives as their own bodies; he who loves his wife loves himself. 29For no one ever hated his own flesh, but nourishes and cherishes it, just as the Lord does the church. 30For #Gen. 2:23we are members of His body, of His flesh and of His bones. 31#Gen. 2:24; Matt. 19:5; Mark 10:7"For this reason a man shall leave his father and mother and be joined to his wife, and the #(1 Cor. 6:16)two shall become one flesh." 32This is a great mystery, but I speak concerning Christ and the church. 33Nevertheless #Col. 3:19let each one of you in particular so love his own wife as himself, and let the wife see that she #1 Pet. 3:1, 6respects her husband.


text:
China Convinced Of "Final Victory" Over Covid As World Awaits Virus Data
Jan 4, 2023 china covid, China covid surge, COVID-19 Cases
Officially, China has reported a small number of Covid deaths since the policy U-turn.Global health officials tried to determine the facts of China's raging COVID-19 outbreak and how to prevent a further spread as the government's mouthpiece newspaper on Wednesday rallied citizens for a "final victory" over the virus.China's axing of its stringent anti-virus controls last month has unleashed COVID on a 1.4 billion population that has little natural immunity having been shielded from the virus since it emerged in its Wuhan city three years ago.Funeral homes have reported a spike in demand for their services and international health experts predict at least one million deaths in China this year.But officially, China has reported a small number of COVID deaths since the policy U-turn and has played down concerns about a disease that it was previously at pains to eradicate through mass lockdowns even as the rest of the world opened up."China and the Chinese people will surely win the final victory against the epidemic," Chinese Communist Party mouthpiece the People's Daily said in an editorial, rebutting criticism of its tough anti-virus regime that triggered historic protests late last year.As it now dismantles those restrictions, China has been particularly critical of decisions by some countries to impose a requirement for a COVID test on its citizens, saying they are unreasonable and lack scientific basis.Health officials from the 27-member European Union are due to meet on Wednesday on a coordinated response to deal with implications of increased travel from China.Most European Union countries favour pre-departure COVID testing for travellers from China, the European Commission said on Tuesday, following similar measures imposed by the United States, Britain, South Korea and others.China, which has been largely shut off from the world since the pandemic began in late 2019, will stop requiring inbound travellers to quarantine from Jan. 8. But it will still demand that arriving passengers get tested before they begin their journeys.Meanwhile, World Health Organization officials met Chinese scientists on Tuesday amid concerns over the accuracy of China's data on the spread and evolution of its outbreak.The U.N. agency had invited the scientists to present detailed data on viral sequencing and to share data on hospitalizations, deaths and vaccinations.The WHO would communicate later, probably at a Wednesday news briefing, its spokesperson said after the meeting. The spokesperson earlier said the agency expected a "detailed discussion" about circulating variants in China, and globally.Last month, Reuters reported that the WHO had not received data from China on new COVID hospitalisations since Beijing's policy shift, prompting some health experts to question whether it might be hiding information on the extent of its outbreak.China reported five new COVID-19 deaths for Jan. 3, compared with three a day earlier, bringing the official death count to 5,258, very low by global standards.But the death count is widely believed to be much higher. British-based health data firm Airfinity has said about 9,000 people in China are probably dying each day from COVID.TRAVEL INTERESTDespite some countries imposing restrictions on Chinese visitors, interest in outbound travel from the world's most populous country is cranking up, state media reported.Bookings for international flights from China have risen by 145% year-on-year in recent days, the government-run China Daily newspaper reported, citing data from travel booking platform Trip.com.The number of international flights to and from China is still a fraction of pre-COVID levels. The government has said it will increase flights and make it easier for people to travel abroad.Thailand, a major destination for Chinese tourists, is expecting at least five million Chinese arrivals this year, its tourism authority said on Tuesday.More than 11 million Chinese tourists visited Thailand in 2019, nearly a third of its total visitors.But there are signs that an increase in travel from China could further spread the virus abroad.Health authorities in South Korea, which began testing travellers from China for COVID on Monday, said more than a fifth of the 2,189 arrivals had tested positive.(Except for the headline, this story has not been edited by NDTV staff and is published from a syndicated feed.)Featured Video Of The Day"PCR System Was Dismantled, Which Cost Us": Kiran Bedi On Delhi Car Horror
This Peanut Til Barfi Recipe Is So Good That You Will Get Hooked
Rupee Rises 18 Paise To 82.82 Against US Dollar


Directions: Following the use of Gaia Organics Bio-Shampoo and rinsing thoroughly, shake the bottle of Conditioner well, close the eyes and carefully apply to and finger massage into the scalp and through the hair. Please take care to avoid the conditioner entering the eyes. It is entirely safe, but the Capsicum, even in traces, can cause stinging of the eyes if not careful. Keeping the eyes closed and depending on the condition of the hair, sponge-out any excess conditioner from the hair, retaining as much as possible on the scalp, since this is where the nutrients need to remain and micro-circulation needs stimulating. Carefully wash the hands, face and closed eyes with plenty of fresh flowing water before drying off.
Repeat procedure after each hair washing so that active concentrated residues always remain in contact with the scalp.
Contains: purified rainwater; slow fermentative deccoction of kelp (iodine) for multi-minerals, Stinging Nettle, Green Tea & Comfrey Allantoin; Colloidal Silver & copper; Malic acid (apple cider vinegar crystals); Panthenol; Kombucha Symbiont (selenium), Ginkgo, Ivy & Wormwood extracts; cold-pressed Jojoba, Sesame and Coconut oils; and essential oils of Rosemary, Sage, Cedarwood, Cajuput & German Chamomile and exclusively, Capsicum Resin.


The water of melted snow of Mount Fuji, filtered during the journey underground, it becomes spring water flowing into Sukawa River.
Rainbow trout of Oyama is raised with this cool water of Sukawa.
Lava and the volcanic ashes which former Hoei volcanic eruption brought deposit, Rainbow trout slowly growing up in Sukawa River where algae are hard to spread, do not having the distinctive river fish odor, and the beautiful crimson color flesh due to swimming against the swift current is its features.


A look inside innovative new programs that aim to shift the gender balance in tech.
The leadership team at Computing Technology Industry Association (CompTIA) was well aware of data illustrating the gender gap in tech employment. According to their data, more than 5.1 million people worked in core technology jobs in the U.S. at the end of 2015, but just 25% of those jobs were held by women. But the heads of the nonprofit simply had to look around its industry events to see the anecdotal evidence, too. Most of the attendees were men.
"We wanted to take a closer look at what some of the reasons were for that," says Carolyn April, CompTIA's senior director of industry analysis. So, the organization commissioned research to look at why young girls are not choosing science, technology, engineering, and mathematics (STEM) education and careers.
Exposure. Boys are more likely than girls to be introduced to technology at an earlier age. Eleven percent of boys began using devices at age 5 or younger, versus 5% of girls.
Awareness. Nearly half of boys have considered a technology career verses less than one-quarter of girls. Of girls who have not considered an IT career, 69% attribute this to not knowing what opportunities are available to them. More than half (53% ) say additional information about career options would encourage them to consider a job in IT.
Role models. In general, just 37% of girls who responded knew of someone with an IT job. But 60% of girls who considered an IT career knew a woman who worked in IT. Relying on more classes isn't enough–girls who have taken tech classes are only slightly more likely to consider an IT career.
53% of girls say additional information about career options would encourage them to consider a job in IT.
While knowledge about why girls are choosing careers other than STEM can help pave the way for change, do we really need another awareness campaign about the gender gap?
It's not a bad idea, but efforts need to go beyond awareness, says Jeanne Meister, a partner at workplace consultancy Future Workplace and author of The Future Workplace Experience: 10 Rules for Mastering Disruption in Recruiting and Engaging Employees. And efforts to engage them in these paths need to start earlier.
"What's really shocking is that their consideration of an IT career decreases the older they get," Meister points out. "That says to me, that they have intellectual curiosity about technology, but it's beaten out of them between grammar school, and by time they get to high school," she says.
Change needs to start from young girls' early years through parental encouragement and even in their toys, Meister says. Relatively new market entrants like GoldieBlox and Project MC2 encourage interest in science and building things, and are targeted to appeal to girls as young as 4 or 5 years old. That gives girls an early awareness of the possibilities their future may hold, Meister says.
By providing a focused, intensive environment, the American Museum of Natural History's (AMNH) Brown Scholars program teaches young women about the intersection of computer science and science. Fast Company previously reported on the three-year, tuition-free program open to 9th and 10th grade girls, that's funded by the Helen Gurley Brown Trust. The program includes a paid internship and college and career exploration components. Field trips may take them from the computer science functions at Hearst Publishing or to those at a hot new startup.
But beyond introducing the young women to role models, which has been shown to be critically important, and showing them pathways to achieve their goals, there's another essential component: Community. Christina Wallace, the vice president at Bionic, an IT company focused on generating growth in large companies, founded BridgeUp: STEM, the educational initiative at the AMNH of which Brown Scholars is a part. Wallace is also a member of the TheLi.st, an online community of women in technology devoted to changing the ratio in the tech sector.
Wallace says that many girls come in to the program because of their interest–they may have heard of it or seen a relative or friend work in the field. But what keeps them around is having a community of other young women who are also interested in the same field, she says.
"Once they'd get there and they meet all of the other girls–that's what keeps them around and what really is that 'sticky' thing," she observes. "We've had 100% retention through the three years of the program. They now have a cohort of girls like them. They've got that community across all of these different schools in the city, and neighborhoods, and backgrounds, and interests," she says.
And some are focusing on recapturing potential STEM candidates at later stages of the game. Northeastern University is tackling the issue by creating the ALIGN program, which focuses on undergraduates and women who have completed their bachelor's degrees, but didn't study computer science. Piloted on the university's Seattle campus four years ago, the first small class of eight students graduated in 2016. Alumni landed jobs at Amazon, Facebook, Staples, and Porch.
In addition, the university is expanding its co-op program–undergraduate students do two to three co-ops while Masters-level computer science students do a six- to eight-month co-op–so that students in more majors get co-op experience in computer science. Northeastern is also expanding its dual majors and "meaningful minors" for computer science majors, which give more students the opportunity to study computer science along with other areas of interest, says Carla E. Brodley, professor and dean of Northeastern's College of Computer and Information Science. One of the reasons she's so excited about such opportunities is that it shows students, especially women and underrepresented groups, that there are many ways to use their interests in addition to computer science to follow varied career paths.
"[T]here's a lot of awareness that we need to get girls interested in STEM. But I think, 'What about all the people who graduated before? It's not too late for them, either,'" she says.
Of course, awareness campaigns can inspire change. As a large industry group. CompTIA has various programs that conduct outreach to and on behalf of the industry. April hopes that this research will influence the organization's membership and industry leaders to take action to encourage more young women to opt in to STEM education and careers.


Plate processors provide multiple plate cutting options, such as oxy, plasma, laser, and waterjet, as well as add-on processes. The use of outside processors is prevalent, as it allows for an expansion of services for production-ready parts.
The Perfect Machine: Building the Palomar Telescope [Ronald Florence] on Amazon.com. *FREE* shipping on qualifying offers. Almost a half-century after is completion, the 200-inch Palomar telescope remains an unparalleled combination of vast scale and microscope detail.
Design/Review – Renderings start out as pretty simple sketches and after several revisions and a final concept is reached, a full color rendering will be created. These renderings will keep everyone on the same page and used as a guide while building the car, they also make great artwork to hang on an office or home wall.
The video below is taken from a was a BBC documentary showing how Leonardo da Vinci's Glider could actually work while being built with materials and tools Leonardo would have had access to.


Is Lauren Goodger's cryptic message to her Strictly 2014 star ex-boyfriend Mark Wright?
Lauren Goodger isn't one to let old relationships lie, after referring to her ex-boyfriend Mark Wright in interviews and on social media time and time again.
So is her latest cryptic Insta message also a nod to her ex of 10 years?
'Still got love for a few people I'll never speak to again,' Lauren's Instagram snap read.
We know Mark and Lauren aren't on great terms at the moment, after Mark recently slammed his ex for bringing up their long-passed relationship in the public eye, deeming it 'disrespectful'.
'Not to mention the six weeks of her mentioning me in her column ha,' he added.
Mark is currently happily engaged to Michelle Keegan and the pair share a house in Essex. But apparently the Coronation Street actress isn't such a fan of Lauren either, since the two girls reportedly had a feud over another of Lauren's cryptic Insta messages.
A source says Michelle hit back after seeing the message.
'Michelle got hold of Lauren's number and messaged her to say "back off" and leave them be. Lauren insisted it was nothing to do with her and told Michelle not to be so self-involved.' Yikes!
Another recent spat between the exes was fuelled by Lauren's cruel comment about Mark's appearances on Strictly Come Dancing.
'It's embarrassing. I mean, what is he doing? I watch and can't stop laughing at his dancing and the faces he pulls. I don't know why he's doing it – he looks silly,' Lozza previously said.
But Essex friend Sam Faiers reckons Mark is past caring about Lauren's criticisms.
'Mark has become a great dancer and, although I know Lauren had a go at him, I think good on him. I bet Lauren's comment went straight over his head. He won't have cared at all!' Sam said.
Mark and Lauren dated on-and-off for over 10 years and got engaged (in a car park…) in March 2011, before splitting in August the same year when Mark accused Lauren of cheating.