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Right Hand of Truth:
Life and Work of Titus Burckhardt
William Stoddart
Source: Studies in Comparative Religion, Vol. 16, No. 1 & 2 (Winter-Spring, 1984). © World Wisdom, Inc.
www.studiesincomparativereligion.com
Titus Burckhardt, a German Swiss, was born in Florence in 1908 and died in Lausanne in 1984. He devoted all his life to the study and the exposition of the different aspects of Wisdom and Tradition.
In the age of modern science and technocracy, Titus Burckhardt was one of the most remarkable of the exponents of universal truth, in the realm of metaphysics as well as in the realm of cosmology and of traditional art. In a world of existentialism, psychoanalysis, and sociology, he was a major voice of the philosophia perennis, that "wisdom uncreate" that is expressed in Platonism, Vedanta, Sufism, Taoism, and other authentic esoteric or sapiential teachings. In literary and philosophical terms, he was an eminent member of the "traditionalist school" of twentieth-century authors.
The great forerunner-cum-originator of the "traditionalist" school was René Guénon (1886-1951). Guénon traced the origin of what he called the modern deviation to the ending of the Middle Ages and the arrival of the Renaissance, that cataclysmic inrush of secularization, when nominalism vanquished realism, individualism (or humanism) replaced universalism, and empiricism banished scholasticism. An important part of Guénon's work was therefore his critique of the modern world from an implacably "Platonic" or metaphysical point of view. This was fully laid forth in his two masterly volumes The Crisis of the Modern World and The Reign of Quantity. The positive side of Guénon's work was his exposition of the immutable principles of universal metaphysics and traditional orthodoxy. His main source was the Shankarian doctrine of "non-duality" (advaita), and his chief work in this respect is Man and his Becoming according to the Vedanta. However, he also turned readily to other traditional sources, since he considered all traditional forms to be various expressions of the one supra-formal Truth. A final aspect of Guénon's work was his brilliant exposition of the intellectual content of traditional symbols, from whichever religion they might come. See in this connection his Symboles fondamentaux de la Science sacrée.
An illustrious scholar deeply influenced by Guénon was Ananda K. Coomaraswamy (1877–1947) who, while being distinguished and gifted in his own right, had the merit, relatively late in life, of making the acquaintance of, and being thoroughly convinced by, the "traditional point of view" as it had been expounded, so fully and so precisely, in Guénon's books.
It is important to note that Guénon's writings, decisively important though they were, were purely "theoretical" in character, and made no pretence of dealing with the question of "realization". In other words, they were generally concerned with "intellectuality" (or doctrine) and not directly with "spirituality" (or method).
The sun rose for the "traditionalist" school with the appearance of the work of Frithjof Schuon (born in Basle in 1907). Thirty years ago, an English Thomist wrote of him: "His work has the intrinsic authority of a contemplative intelligence".[1] More recently, a senior American academic declared: "In depth and breadth, [he is] a paragon of our time. I know of no living thinker who begins to rival him."[2] T. S. Eliot's perception was similar. Regarding Schuon's first book, he wrote in 1953: "I have met with no more impressive work in the comparative study of Oriental and Occidental religion."
Schuon's work began to appear during the latter part of Guénon's life. Until his dying day, Guénon used to refer to him (for example, in the pages of Etudes Traditionnelles) as "notre éminent collaborateur". Schuon continued, in even more breath-taking fashion, the perspicacious and irrefutable critique of the modern world, and reached unsurpassable heights in his exposition of the essential truth, illuminating and saving, that lies at the heart of every revealed form. Schuon called this supra-formal truth the religio perennis. This term, which does not imply a rejection of the similar terms philosophia perennis and sophia perennis, nevertheless contains a hint of an additional dimension which is unfailingly present in Schuon's writings. This is that intellectual understanding entails a spiritual responsibility, that intelligence requires to be complemented by sincerity and faith, and that "seeing" (in height) implies "believing" (in depth). In other words, the greater our perception of essential and saving truth, the greater our obligation towards an effort of inward or spiritual "realization".
Schuon's work began with a comprehensive general study, the very title of which serves to set the scene: The Transcendent Unity of Religions. His further works include: Language of the Self (on Hinduism), In the Tracks of Buddhism, Understanding Islam, Castes and Races, Logic and Transcendence, and, more recently, a wide-ranging "compendium" of philosophic and spiritual enlightenment entitled Esoterism as Principle and as Way.
We can now return to Titus Burckhardt. Although he first saw the light of day in Florence, Burckhardt was the scion of a patrician family of Basle. He was the great-nephew of the famous art-historian Jacob Burckhardt and the son of the sculptor Carl Burckhardt. Titus Burckhardt was Frithjof Schuon's junior by one year, and they spent their early schooldays together in Basle around the time of the First World War. This was the beginning of an intimate friendship and a deeply harmonious intellectual and spiritual association that was to last a lifetime.
Burckhardt's chief metaphysical exposition, beautifully complementing the work of Schuon, is An Introduction to Sufi Doctrine. This is an intellectual masterpiece, which analyses with precision, by a series of lucid and economical definitions, what esoterism is and what it is not, goes on to examine the doctrinal foundations of Islamic esoterism or Sufism, and ends with an inspired description of "spiritual alchemy" or the contemplative path that leads to spiritual realization. This work clearly established Burckhardt as the leading exponent, after Schuon, of intellectual doctrine and spiritual method.
Burckhardt devoted a large portion of his writings to traditional cosmology, which he saw in a sense as the "handmaid of metaphysics". He formally presented the principles at stake in his masterly and concise article "Nature de la Perspective Cosmologique" (published in Etudes Traditionnelles in 1948). Much later he covered the cosmological ground very fully—with detailed references to the main branches of modern science—in his brilliant treatise "Cosmology and Modern Science" (published in Sword of Gnosis, edited by Jacob Needleman, in 1974).
Not unconnected with his interest in cosmology, Burckhardt had a particular affinity with traditional art and craftsmanship and was skilled in the evaluation of traditional architecture, iconography, and other arts and crafts. In particular, he dwelt on how they had been—and could be—turned to account spiritually, both as meaningful activities which by virtue of their inherent symbolism harbour a doctrinal message, and above all as supports for spiritual realization and as a means of grace. Ars sine scientia nihil. Here of course it is a case of scientia sacra and ars sacra, these being the two sides of the same coin. This is the realm of the craft initiations of the various traditional civilizations, and specifically of such things, in the Middle Ages, as operative masonry and alchemy. Indeed Buckhardt's principal work in the field of cosmology was his full-length book Alchemy: Science of the Cosmos, Science of the Soul, a brilliant presentation of alchemy as the expression of a spiritual psychology and as an intellectual and symbolic support for contemplation and realization.
Burckhardt's main work in the field of art was of course his Sacred Art in East and West, which contains many wonderful chapters on the metaphysics and aesthetics of Hinduism, Buddhism, Taoism, Christianity, and Islam, and ends with a useful and practical insight into the contemporary situation entitled "The Decadence and the Renewal of Christian Art". A comprehensive summary of the essential elements of this book is to be published for the first time in The Unanimous Tradition, a compendium of articles by traditionalist authors edited by Ranjit Fernando (Institute of Traditional Studies, Colombo, in preparation).
During the fifties and sixties, Burckhardt was the artistic director of the Urs Graf Publishing House in Olten near Basle. His main activity during these years was the production and publication of a whole series of facsimiles of exquisite illuminated medieval manuscripts, especially early Celtic manuscripts of the Gospels, such as the Book of Kells and the Book of Durrow (from Trinity College, Dublin) and the Book of Lindisfarne (from the British Library, London). This was pioneer work of the highest quality and a publishing achievement which immediately received wide acclaim both from experts and the wider public.
His production of the magnificent facsimile of the Book of Kells brought him a remarkable encounter with Pope Pius XII. The Urs Graf Publishing House wished to present a copy of the edition to the saintly and princely Pope, and it was decided that the best person to effect the presentation was the artistic director Burckhardt. In the eyes of the Pope, Burckhardt was ostensibly a Protestant gentleman from Basle. The Pope granted him a private audience at his summer residence in Castelgandolfo. When, in the audience chamber, the white-clad figure of the Pope suddenly appeared, he welcomingly approached his visitor and said to him in German: "Sie sind also Herr Burckhardt?" Burckhardt bowed and, when the Pope offered him his hand bearing the Fisherman's Ring, he respectfully took it in his. As a non-Catholic, however, he kissed, not the ring (as is the custom amongst Catholics), but the Pope's fingers. "Which the Pope smilingly permitted," Burckhardt adds.
Together they talked about the Dark Ages and about the surpassingly beautiful manuscripts of the Gospels that had been so lovingly and finely produced during them. At the end of the audience the Pope gave his blessing: "From my heart I bless you, your family, your colleagues, and your friends."
It was during these years with the Urs Graf Publishing House that Burckhardt presided over an interesting series of publications with the general title of Stätten des Geistes ("Homesteads of the Spirit"). These were historical-cum-spiritual studies of certain manifestations of sacred civilization, and covered such themes as Mount Athos, Celtic Ireland, Sinai, Constantinople, and other places. Burckhardt himself contributed the books entitled Siena, City of the Virgin; Chartres and the Birth of the Cathedral; and Fez, City of Islam. Siena is an enlightening account of the rise and fall of a Christian city which, architecturally speaking, remains "to this day something of a Gothic" jewel. Most interesting of all, however, is the story of its saints. Burckhardt devotes many of his pages to St. Catherine of Siena (who never hesitated to rebuke the Pope of her day, when she felt that it was necessary) and to St. Bernardino of Siena (who was one of the greatest Catholic practitioners—and teachers—of the saving power of the invocation of the Holy Name). Chartres is the story of the religious "idealism" (in the best sense of the word) which lay behind the conception and practical realization of the medieval Cathedrals—the still extant monuments to an age of faith. In Chartres, Burckhardt expounds the intellectual and spiritual contents of the different architectural styles—not merely distinguishing between the Gothic and Romanesque, but even between the different varieties of the Romanesque. It is a dazzling example of what is meant by intellectual discrimination.
One of Burckhardt several masterpieces is undoubtedly his Fez, City of Islam. As a young man, in the nineteen-thirties, he spent a few years in Morocco, where he established intimate friendships with several remarkable representatives of the as yet intact spiritual heritage of the Maghrib. This was a formative period in Burckhardt's life, and much of his subsequent message and style originates in these early years. Already at the time concerned, he committed much of his experience to writing (not immediately published), and it was only in the late nineteen-fifties that these writings and these experiences ripened into a definitive and masterly book. In Fez, City of Islam, Burckhardt relates the history of a people and its religion—a history that was often violent, often heroic, and sometimes holy. Throughout it all runs the thread of Islamic piety and civilization. These Burckhardt expounds with a sure and enlightening hand, relating many of the teachings, parables, and miracles of the saints of many centuries, and demonstrating not only the arts and crafts of Islamic civilization, but also its "Aristotelian" sciences and its administrative skills. There is indeed much to be learnt about the governance of men and societies from Burckhardt's penetrating presentation of the principles lying behind dynastic and tribal vicissitudes—with their failures and their successes.
Close in spirit to Fez, is another of Burckhardt's mature works, namely Moorish Culture in Spain. As always, this is a book of truth and beauty, of science and art, of piety and traditional culture. But in this book, perhaps more than in all others, it is a question of the romance, chivalry, and poetry of pre-modern life.
During his early years in Morocco, Burckhardt immersed himself in the Arabic language and assimilated the classics of Sufism in their original form. In later years, he was to share these treasures with a wider public through his translation of Ibn 'Arabi[3] and Jili.[4] One of his most important works of translation was of the spiritual letters of the renowned eighteenth-century Moroccan Shaikh Mulay al-'Arabi ad-Darqāwī.[5] These letters constitute a spiritual classic and are a precious document of practical spiritual counsel.
Burckhardt's last major work was his widely acclaimed and impressive monograph Art of Islam. Here the intellectual principles and the spiritual role of artistic creativity in its Islamic forms are richly and generously displayed before us. With this noble volume, the unique Burckhardtian literary corpus comes to its end.
Titus Burckhardt was like the right hand of Truth.
[1] Bernard Kelly, in Dominican Studies (London), Vol. 7, 1954.
[2] Emeritus Professor Huston Smith, 1974.
[3] La Sagesse des Prophètes (Fusus al-Hikam), Albin Michel, Paris, 1955.
[4] De l'Homme Universel (al-Insan al-Kamil), Derain, Lyons, 1953.
[5] Letters of a Sufi Master (Rasā'il), Perennial Books, Bedfont, England, 1969.
ātmā
the real or true "Self," underlying the ego and its manifestations; in the perspective of Advaita Vedānta, identical with Brahma.
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Literally, "enlightenment-being;" in Mahāyāna Buddhism, one who postpones his own final enlightenment and entry into Nirvāṇa in order to aid all other sentient beings in their quest for Buddhahood.
Brahma considered as transcending all "qualities," attributes, or predicates; God as He is in Himself; also called Para-Brahma.
"Brahmin"; a member of the highest of the four Hindu castes; a priest or spiritual teacher.
spiritual guide or Master. Also, a preceptor, any person worthy of veneration; weighty; Jupiter. The true function of a guru is explained in The Guru Tradition. Gurukula is the household or residence of a preceptor. A brahmacārin stays with his guru to be taught the Vedas, the Vedāngas and other subjects this is gurukulavāsa.
in non-technical use the term refers to the visual aspect of anything; for Plato and Platonists, it is the highest noetic entity, the eternal unchanging Form, the archetype of the manifested material thing; in Plato, idea is a synonim of eidos, but in Neoplatonism these two terms have a slightly different meaning.
great soul; sage (in Hinduism)
Lotus; in Buddhism, an image of non-attachment and of primordial openness to enlightenment, serving symbolically as the throne of the Buddhas; see Oṃ maṇi padme hum.
Rahmah
The same root RHM is to be found in both the Divine names ar-Raḥmān (the Compassionate, He whose Mercy envelops all things) and ar-Raḥīm (the Merciful, He who saves by His Grace). The simplest word from this same root is raḥīm (matrix), whence the maternal aspect of these Divine Names.
In Hinduism, one of the names by which to call God. In sacred history, Rama was the hero king of the epic Ramayana, and is one of the ten avatars of Vishnu. The term is also a form of address among sadhus
The seventh incarnation (avatāra) of Vishnu and the hero of the epic tale, Rāmāyaṇa.
divine science, theology, logos about the gods, considered to be the essence of teletai; for Aristotle, a synonim of metaphysics or first philosophy ( prote philosophia) in contrast with physics ( Metaph.1026a18); however, physics ( phusiologia) sometimes is called as a kind of theology (Proclus In Tim.I.217.25); for Neoplatonists, among the ancient theologians ( theologoi) are Orpheus, Homer, Hesiod and other divinely inspired poets, the creators of theogonies and keepers of sacred rites.
(as the term is used by "Traditionalists" and in the "Perennial Philosopy":) Divine Revelation and the unfolding and development of its sacred content, in time and space, such that the forms of society and civilization maintain a "vertical" connection to the meta-historical, transcendental substance from which revelation itself derives.
The sacred scriptures of Hinduism; regarded by the orthodox (āstika) as divine revelation (śruti) and comprising: (1) the Ṛg, Sāma, Yajur, and Atharva Saṃhitās (collections of hymns); (2) the Brāhmanas (priestly treatises); (3) the Āranyakas (forest treatises); and (4) the Upaniṣāds (philosophical and mystical treatises); they are divided into a karma-kāṇḍa portion dealing with ritual action and a jñāna-kāṇḍa portion dealing with knowledge.
In Sanskrit, "restraint", "self control", whether on the bodily or psychic level. in Hinduism, yama is the first step in the eightfold path of the yogin, which consists in resisting all inclinations toward violence, lying, stealing, sexual activity, and greed. See niyama. (This term should not be confused with the proper name Yama, which refers to a figure from the early Vedas, first a king and then later a deity who eventually conducts departed souls to the underworld and is mounted on a buffalo.)
In its strictest sense designates one who has arrived at effective knowledge of Divine Reality (Ḥaqīqah); hence it is said: aṣ-Ṣūfī lam yukhlaq ("the Sufi is not created").
the "other," in contrast to the ego or individual self.
love of wisdom; the intellectual and 'erotic' path which leads to virtue and knowledge; the term itself perhaps is coined by Pythagoras; the Hellenic philosophia is a prolongation, modification and 'modernization' of the Egyptian and Near Eastern sapiential ways of life; philosophia cannot be reduced to philosophical discourse; for Aristotle, metaphysics is prote philosophia, or theologike, but philosophy as theoria means dedication to the bios theoretikos, the life of contemplation – thus the philosophical life means the participation in the divine and the actualization of the divine in the human through the personal askesis and inner transformation; Plato defines philosophy as a training for death ( Phaed.67cd); the Platonic philosophia helps the soul to become aware of its own immateriality, it liberates from passions and strips away everything that is not truly itself; for Plotinus, philosophy does not wish only 'to be a discourse about objects, be they even the highest, but it wishes actually to lead the soul to a living, concrete union with the Intellect and the Good'; in the late Neoplatonism, the ineffable theurgy is regarded as the culmination of philosophy.
dhikr
"remembrance" of God, based upon the repeated invocation of His Name; central to Sufi practice, where the remembrance often consists of the single word Allāh.
"repetition" of a mantra or sacred formula, often containing one of the Names of God; see buddhānusmriti, dhikr.
action; the effects of past actions; the law of cause and effect ("as a man sows, so shall he reap"); of three kinds: (1) sanchita karma: actions of the past that have yet to bear fruit in the present life; (2) prārabdha karma: actions of the past that bear fruit in the present life; and (3) āgāmi karma :actions of the present that have still, by the law of cause and effect, to bear fruit in the future.
mantram
literally, "instrument of thought"; a word or phrase of divine origin, often including a Name of God, repeated by those initiated into its proper use as a means of salvation or liberation; see japa.
In Sufism this expression includes on the one hand the positive sense of non-manifestation, of a principial state beyond existence or even beyond Being, and on the other hand a negative sense of privation, of relative nothingness.
union of the jiva with God; method of God-realization (in Hinduism)
"bliss, beatitude, joy"; one of the three essential aspects of Apara-Brahma, together with sat, "being," and chit, "consciousness."
The intellectual viewpoint increasingly prevalent in the West since the time of the Renaissance; it replaced the traditional Christian view of God as the center of all things by a belief in man as the measure of all things.
"non-dualist" interpretation of the Vedānta; Hindu doctrine according to which the seeming multiplicity of things is regarded as the product of ignorance, the only true reality being Brahman, the One, the Absolute, the Infinite, which is the unchanging ground of appearance.
ex cathedra
literally, "from the throne"; in Roman Catholicism, authoritative teaching issued by the pope and regarded as infallible.
Ghazali
Author of the famous Iḥyā' 'Ulūm ad-Dīn ("The Revival of the Religious Sciences"); ardent defender of Sufi mysticism as the true heart of Islam.
Author of the famous Sufi poem the Khamriyah ("Wine Ode").
(A)wisdom; the term covers all spheres of human activity – all ingenious invention aimed at satisfying one's material, political and religious needs; Hephaistos (like his prototypes – the Ugaritian Kothar-wa-Hasis and the Egyptian Ptah) is poluphronos, very wise, klutometis, renowned in wisdom – here 'wisdom' means not simply some divine quality, but wondrous skill, cleverness, technical ability, magic power; in Egypt all sacred wisdom (especially, knowledge of the secret divine names and words of power, hekau, or demiurgic and theurgic mantras, which are able to restore one's true divine identity) was under the patronage of Thoth; in classical Greece, the inspird poet, the lawgiver, the polititian, the magician, the natural philosopher and sophist – all claimed to wisdom, and indeed 'philosophy' is the love of wisdom, philo-sophia, i.e. a way of life in effort to achieve wisdom as its goal; the ideal of sophos (sage) in the newly established Platonic paideia is exemplified by Socrates; in Neoplatonism, the theoretical wisdom (though the term sophia is rarely used) means contemplation of the eternal Forms and becoming like nous, or a god; there are the characteristic properties which constitute the divine nature and which spread to all the divine classes: good ( agathotes), wisdom ( sophia) and beauty ( kallos). (B) "wisdom"; in Jewish and Christian tradition, the Wisdom of God, often conceived as feminine (cf. Prov. 8).
(A) Wont; the model established by the Prophet Muḥammad, as transmitted in the ḥadīth. (B) "custom, way of acting"; in Islam, the norm established by the Prophet Muhammad, including his actions and sayings (see hadīth) and serving as a precedent and standard for the behavior of Muslims.
"Intellect"; the highest faculty of knowledge, to be contrasted with manas, that is, mind or reason; see ratio.
"wind, breath, spirit"; in Christian theology, either the third Person of the Trinity or the highest of the three parts or aspects of the human self (cf. 1 Thess. 5:23); see rūh.
Literally, "making first" (see materia prima); the fundamental, "feminine" substance or material cause of all things; see "purusha (puruṣa)."
In Hinduism, literally, "making first" (see materia prima); the fundamental, "feminine" substance or material cause of all things; see guna, Purusha.
purusha
Literally, "man;" the informing or shaping principle of creation; the "masculine" demiurge or fashioner of the universe; see "Prakriti (Prakṛti)."
the quality of harmony, purity, serenity
(A) In religious language, designates the worshiper, and, more generally, the creature as dependent on his Lord (rabb. (B) "servant" or "slave"; as used in Islam, the servant or worshiper of God in His aspect of Rabb or "Lord".
man; in Gnosticism, the macrocosmic anthropos is regarded as the Platonic 'ideal animal', autozoon, or a divine pleroma, which contains archetypes of creation and manifestation.
ayn
al-'ayn ath-thābitah, or sometimes simply al-'ayn, is the immutable essence, the archetype or the principial possibility of a being or thing
"I think therefore I am"; a saying of the French philosopher and mathematician René Descartes (1596-1650).
Ghayb
(A) "knowledge"; spiritual insight, principial comprehension, divine wisdom.(B) knowledge; gnosis is contrasted with doxa (opinion) by Plato; the object of gnosis is to on, reality or being, and the fully real is the fully knowable ( Rep.477a); the Egyptian Hermetists made distinction between two types of knowledge: 1) science ( episteme), produced by reason ( logos), and 2) gnosis, produced by understanding and faith ( Corpus Hermeticum IX); therefore gnosis is regarded as the goal of episteme (ibid.X.9); the -idea that one may 'know God' ( gnosis theou) is very rare in the classical Hellenic literature, which rather praises episteme and hieratic vision, epopteia, but is common in Hermetism, Gnosticism and early Christianity; following the Platonic tradition (especially Plotinus and Porphyry), Augustine introduced a distinction between knowledge and wisdom, scientia and sapientia, claiming that the fallen soul knows only scientia, but before the Fall she knew sapientia ( De Trinitate XII).
kashf
Literally, "the raising of a curtain or veil."
The predominant post-Renaissance and post-Enlightenment worldview of Western civilization marked by rationalism, scientism, and humanism. In the Muslim world, it refers to those individuals and movements who have sought to adopt Western ideas and values from the nineteenth century onwards in response to Western domination and imperialism.
(usually transcribed as psyche): soul; breath of life, life-stuff; Homer distinguishes between a free soul as a soul of the dead, corresponding with psuche (and still regarded as an eidolon), and body souls, corresponding with thumos, noos and menos: following the Egyptian theological patterns, the Pythagoreans constituted the psuche as the reflection of the unchanging and immortal principles; from Plato onwards, psuchai are no longer regarded as eidola, phantoms or doubles of the body, but rather the human body is viewed as the perishable simulacrum of an immaterial and immortal soul; there are different degrees of soul (or different souls), therefore anything that is alive has a soul (Aristotle De anima 414b32); in Phaedrus 248b the soul is regarded as something to be a separate, self-moving and immortal entity (cf.Proclus Elements of Theology 186); Psuche is the third hupostasis of Plotinus.
qalb
The organ of supra-rational intuition, which corresponds to the heart just as thought corresponds to the brain. The fact that people of today localize feeling and not intellectual intuition in the heart proves that for them it is feeling that occupies the center of the individuality.
literally, "calculation"; the faculty of discursive thinking, to be distinguished from intellectus, "Intellect."
The philosophical position that sees reason as the ultimate arbiter of truth. Its origin lies in Descartes' famous cogito ergo sum, "I think, therefore I am."
The worldview that seeks to maintain religion and the sacred in the private domain; the predominant view in the West since the time of the French Revolution of 1789 C. E.
shaykh
(1) In Islam, a Sufi or other spiritual leader or master. (2) The term is also used more generally as an honorific title for a chief or elder of a group.
Among the sacred texts of the Hindus, mostly Upaniṣāds discuss the existence of one absolute Reality known as Brahman. Much of Hindu Vedānta derives its inspiration from these texts.
the spiritual "path" (mārga) of "love" (bhakti) and devotion.
a god, a celestial being
literally, "I mark or set off, differentiate", often used in the dialectic of the medieval scholastics; any philosophical distinction.
Mutatis mutandis
more or less literally, "with necessary changes being made" or "with necessary changes being taken into consideration". This adverbial phrase is used in philosophy and logic to point out that although two conditions or statements may seem to be very analagous or similar, the reader should not lose sight of the differences between the two. Perhaps an even more easily understood translation might be "with obvious differences taken into consideration…"
God in the aspect of Creator, the first divine "person" of the Trimūrti; to be distinguished from Brahma, the Supreme Reality.
Giving, donation, charity.
Truth, Reality, cosmic law, righteousness, virtue.
One of the many subdivisions of a varna. By extension, birth into a certain clan, with all of the rites and responsibilities particular to it.
ksatriya
a member of the second highest of the four Hindu castes; a warrior or prince. (Also includes politicians, officers, and civil authorities.) The distinctive quality of the kshatriya is a combative and noble nature that tends toward glory and heroism.
moksa
liberation or release from the round of birth and death (samsāra); deliverance from ignorance (avidyā). According to Hindu teaching, moksha is the most important aim of life, and it is attained by following one of the principal mārgas or spiritual paths (see bhakti, jnāna, and karma).
murti
Anything that has a definite shape; an image or idol; personification.
In Buddhism (and Hinduism), ultimate liberation from samsara (the cycles of rebirths or the flow of cosmic manifestation), resulting in absorption in the Absolute; the extinction of the fires of passion and the resulting, supremely blissful state of liberation from attachment and egoism.
sudra
A member of the lowest of the four Hindu castes; an unskilled laborer or serf.
the Highest or Supreme Good.
vaisya
a member of the third of the four Hindu castes, including merchants, craftsmen, farmers; the distinctive qualities of the vaishya are honesty, balance, perseverance.
Caste; class; the four major social divisions in Hindu society include (in descending order): brāhmaṇas (priests), kṣatriyas (royals and warriors), vaiśyas (merchants and farmers), and śūdras (servants and laborers); situated outside the caste system are the caṇḍālas (outcastes and "untouchables") and mlecchas (foreigners and "barbarians"); members of the three upper castes are called "twice-born" (dvijā) and are permitted to study the Vedas.
selfless "love", as of God for man and man for God; human compassion for one's neighbor; equivalent of Latin caritas. In Christianity, it typically refers to the love of God toward mankind, given freely, to which believers must respond reciprocally, and which they must share with others.
the ancient Egyptian term for measure, harmony, canon, justice and truth, shared by the gods and humans alike; maat is the essence of the sacred laws that keeps a human community and the entire cosmic order; it establishes the link between above and below; 'letting maat ascend' is a language offering during the hieratic rites and interpretation of the cosmic process in terms of their mystic and salvational meaning; for Plato, who admired the Egyptian patterns, the well-ordered cosmos, truth, and justice are among the main objects of philosophical discourse.
(A) "word, reason"; in Christian theology, the divine, uncreated Word of God (cf. John 1:1); the transcendent Principle of creation and revelation. (B) the basic meaning is 'something said', 'account'; the term is used in explanation and definition of some kind of thing, but also means reason, measure, proportion, analogy, word, speech, discourse, discursive reasoning, noetic apprehension of the first principles; the demiurgic Logos (like the Egyptian Hu, equated with Thoth, the tongue of Ra, who transforms the Thoughts of the Heart into spoken and written Language, thus creating and articulating the world as a script and icon of the gods) is the intermediary divine power: as an image of the noetic cosmos, the physical cosmos is regarded as a multiple Logos containing a plurality of individual logoi ( Enn.IV.3.8.17-22); in Plotinus, Logos is not a separate hupostasis, but determines the relation of any hupostasis to its source and its products, serving as the formative principle from which the lower realities evolve; the external spech ( logos prophorikos) constitutes the external expression of internal thought ( logos endiathetos).
"bridge-maker"; man as the link between Heaven and earth.
Fusus al-Hikam
Literally, "The Bezels of Wisdom." The title of a famous work by Muḥyī-d-Dīn ibn 'Arabī, usually translated as "The Wisdom of the Prophets."
Insan al-kamil
Sufi term for one who has realized all levels of Being; also designates the permanent prototype of man.
Jili
An illustrious Sufi and commentator on the metaphysics of Ibn 'Arabī. Amongst his writings is the well-known Sufi treatise Al-Insān al-Kāmil ("Universal Man").
"religion," often in reference to its exoteric dimension. (The term is usually considered to be from the Latin re + ligare, meaning to "to re–bind," or to bind back [to God] .)
shaikh
"End or culmination of the Vedas," a designation for the Upanishads (Upaniṣāds) as the last portion ("end") of the Vedas; also one of the six orthodox (āstika) schools of Hindu philosophy who have their starting point in the texts of the Upanishads (Upaniṣāds), the Brahma-Sūtras (of Bādarāyana Vyāsa), and the Bhagavad Gītā ; over time, Vedānta crystallized into three distinct schools: Advaita (non-dualism), associated with Shankara (ca.788-820 C.E.); Viśiṣṭādvaita (qualified non-dualism), associated with Rāmānuja (ca.1055-1137 C.E.); and Dvaita (dualism), associated with Madhva (ca.1199-1278 C.E.); see "Advaita."
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Branded film for TAQA energy, filmed in the Kurdish part of Iraq.
Agency: Spike DDB. Short documentary about Brooklyn the brand.
Agency: Spike DDB. Short documentary on Brooklyn the brand.
A short documentary about Shinola Factory Worker from Detroit. Produced for VICELAND, 2016.


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Kevin Minter NFL Draft Profile
Kevin Minter, Junior, LB, LSU
LSU has been known to crank out some solid defensive stars under Les Miles and turn them into solid NFL players. Minter appears to be no different. He led the team in tackles as an inside linebacker at 10 per game (20th nationally). He is athletic and quick. He had four sacks this season blitzing from the inside. He seeks out the ball with regularity. He was constantly taking guys down for a loss. He may not be Ray Lewis, but Minter is a good football player and someone will scoop him up.
Minter is a top five prospect at his position and as such he will get a lot of early draft consideration. Inside linebackers are not always getting first round looks, though. With more teams shifting to 3-4 defenses, that may change a little bit. Minter could go somewhere in the first round, but he more likely a second or third round guy. A team that has the ability to sit him behind a veteran and transition him into the position would be his ideal fit.

redpajama_set_name: RedPajamaCommonCrawl


The Consortium met to conduct a risk assessment workshop to finalize the project. The risk assessment was based on studies conducted within the project compared with results from recent studies conducted outside the consortium. The 5-day workshop was hosted by IARC, and procedures outlined by the IARC Monographs Program on the evaluation of carcinogenic risks to humans were adapted and applied. External experts were involved in the evaluation.
The Consortium met in Hannover to discuss project progress. The meeting was hosted by the Fraunhofer ITEM.
The ARIMMORA consortium and one member of the External Advisory Board, Prof. Yngve Hamnerius, met in Salamanca, Spain, to discuss the project progress. The meeting was hosted by the ARIMMORA partner CSIC (Agencia Estatal Consejo Superior de Investigaciones Cientificas) and took place at the Cancer Research Center of Salamanca.
The second workshop on "EMF Health Risk Research: Lessons Learned and Recommendations for the Future" was held from October 21–26, 2012 on Monte Verità, Ascona, Southern Switzerland.
The Consortium met in Basel to discuss project progress.
The ARIMMORA consortium and the European Commission representative, Dr Tuomo Karjalainen met in Brussels to successfully kick-off the project.


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Priceline wants to get into your social feed, and it's using humor to ease its way in.
Last week Priceline.com rolled out a new series of television commercials that have, at least temporarily, spelled the death of William Shatner's Negotiator character.
In addition to the commercials made for television, Priceline.com released more than two dozen digital shorts on its YouTube channel that spelled out similar dangers, albeit in a different way. In the clips, fake news anchors broadcast stories about people who didn't take trips because they assumed some element of them — airfare, car rentals, or hotel rates — would be too expensive, and then suffered unintended consequences.
For Priceline, the campaign is about bet that mobile and video will work for it on Facebook's platform, and it's the first time Priceline.com has used Facebook's mobile targeting to execute a national brand campaign. "Facebook brings tremendous scale in mobile," Keller says.
Priceline would not reveal its spend for the Facebook campaign.
The tone and approach of the digital shorts leans heavily on the earnestly delivered fake news that The Onion has long practiced. "Humor has always been an integral part of priceline.com's brand voice," Keller says.
Two examples of the ads are below.


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L'MTV Europe Music Award al miglior artista rumeno (MTV Europe Music Award for Best Romanian Act) è uno dei premi degli MTV Europe Music Awards, che viene assegnato dal 2002.

Albo d'oro

Anni 2000

Anni 2010

Voci correlate
MTV Europe Music Awards

Collegamenti esterni
 Sito ufficiale degli MTV Europe Music Award

MTV Europe Music Awards

redpajama_set_name: RedPajamaWikipedia


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cathleen stoelting
Growing up, I was a tomboy, much more likely to be out digging worms with my brothers than doing girly girl stuff. Every Saturday morning my Mom headed to the corner beauty shop for her weekly shampoo and style, and sometimes I got drug along. I took my Nancy Drew mystery and sat reading quietly amidst the pungent aromas of perms and AquaNet, while my mom "got beautiful" and caught up on the latest with her Saturday friends. This hour at Cassie's Salon was the highlight of my mom's week, but honestly, my 10-year-old self just didn't get it.
Fast forward many years to the first time I experienced a professional blowout at a blow dry bar while traveling in New York City. I was immediately addicted (and I finally understood why that hour each Saturday morning was so important to my mom). My experience was relaxing, my hair looked so much better than if I had done it myself, and my style lasted for days. But more important was how I felt inside. My glossy, shiny, bouncy hair made me feel confident and transformed my day. I felt ready to go out and conquer the world.
Born out of this feeling was my dream to bring this brilliant concept to the Midwest. I wanted to offer amazing blowouts and prescriptive conditioning treatments, but equally important was my desire to create a home-like space where you can sink in, relax, laugh, talk and connect. Where you can enjoy a fine glass of wine or steaming mug of tea. Where you feel valued and loved. So, after two years of dreaming and planning (and loads of blood, sweat and tears!), Ten Friends was born.
We think you'll notice we're different from other blowout bars. We pay attention to every small detail, and we'll stop at nothing to create a one-of- a-kind experience. Granted, farm to shower, Italian products have replaced AquaNet, but our goal is really the same as back in my mom's day – helping you look and feel beautiful, so you can go out and be amazing. Consider this your personal invitation to visit our house. We have a chair waiting for you.
lindsay zito
Lindsay is our passionate, on trend style expert. Over the past decade, Lindsay has established herself as a true visionary of the beauty industry. Along with honing her craft behind the chair for six years, she served as National Educator for John Paul Mitchell Systems, the worldwide, billion-dollar hair care company founded by Paul Mitchell and John Paul DeJoria. In this role, Lindsay traveled to regional salons to coach, educate and inspire stylists in product knowledge and the latest techniques in hair cutting and styling. Most recently, Lindsay was invited by the creative director of Davines, Joseph DiMaggio, to be part of his Runway Styling team, where she lends her expertise and skill during New York Fashion Week. Lindsay is the heart and soul behind Ten Friends proprietary "art of styling," and works directly with the artistic lead, as she implements and oversees the artistic training, development and vision.
frank zito
As a third-generation hairdresser, Frank comes from a family rooted several decades in the beauty industry. With a passion for inspiring others toward a similar career, Frank spent seven years as the Admissions Leader for the prestigious Paul Mitchell Cosmetology Schools. In this role, he also served as a member of the National Admissions Team that trained and implemented admissions systems and strategies for more than 100 Paul Mitchell Schools nationwide. Frank has also cultivated life-long relationships with owners and partners of the Paul Mitchell School's group, the largest collection of cosmetology schools in the country, which has undoubtedly contributed to the success of the Ten Friends brand. Frank wears many hats at Ten Friends, but most fulfilling for him is providing guests with an unparalleled guest experience, while growing and developing the very best young talent.


Congratulations to Tammy and John from Puyallup, Washington!
Everyone has someone in their life who makes them look forward to another day. For Tammy, that someone is John.
Are you looking to find your special someone? If so, sign up here. If you've already met that special person using Zoosk and want to share your story, please share the details here.
Congratulations to Recently Married Couple Brandi and Andy from Atlanta, Georgia!
Congratulations to Amanda and Eric from Los Angeles, California!


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Review: Fire Emblem: Awakening
Game Fire Emblem: Awakening
Developer Intelligent Systems
Publisher Nintendo
Reviewed on 3DS
Genres Strategy RPG
Reviews3DS
February 19, 2013 2:00 PM EST
After too long of a wait, Fire Emblem has finally returned and on Nintendo's newest handheld console. Taking full advantage of the 3DS hardware, Fire Emblem: Awakening looks wonderful, but does it have the game-play chops to back up that pretty face? Strategy nuts and series fans have most likely already picked this title up, but let's explore some of the reasons why everyone else should consider doing so as well.
Let's get this out of the way early: Fire Emblem: Awakening is a very finely crafted game that is dripping with polish. Every part of it seems to be the fruit of the developers' intense labor of love.
Observing the game at face value, Awakening looks fantastic. The 3D character models and environments look superb. The anime art style shines through in the character portraits. The cutscenes (which were whipped up by Mad House I believe) are colorful and sharp. There is a huge variety of different environments and enemy types to gaze upon. The game makes sharp use of the console's stereoscopic 3D capability.
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The cinematics look absolutely marvelous in 3D. The battles between units, which are also graphically very pretty, seem to pop off the 3DS's screen. There are also times when you're shown a single piece of art in 3D (for example, like in the character's love confessions, which we'll get to) and it just looks really good. The game looks great with or without the stereoscopic 3D, but in my opinion if you have the option you should definitely turn it on whenever possible. There are lots of little flourishes, such as the sparkling event tiles on the maps, that simply stand out more and look a lot better in 3D.
While you're navigating the battlefield and sizing up the opposing faction, all of the units are assigned sharp little sprites, similar to older games in the series. But when a battle occurs between two units, you are swept off into a fully 3D environment where the two units do their dirty business with each other. This is similar to Fire Emblem: Radiant Dawn, but even though Radiant Dawn was on the Wii, I still feel that Awakening is the better looking of the two games. The battles too look even better with the 3D turned on.
Between the artsy character portraits, the lush maps, the beautiful battles and the excellent use of 3D, Awakening is by far the best looking game I've seen on the 3DS at this point and perhaps the most visually stunning title in the entire series.
Fire Emblem Awakening
The story is entertaining and compelling all the way through. The player is tasked with designing a male or female character (with admittedly modest customization options) at the beginning of the game. Although much of the story focuses on leading man Chrom, his siblings and the many characters encountered throughout their exploits, the proper star of the game is the unit you create. The characters are wonderfully well written, and I never grew tired of reading the dialogue between them.
Throughout the game, quite a few characters seem to take the spotlight as the main villain, but none of them actually are. The ultimate baddie isn't revealed until the final moments of the game. Some of the characters who seemed evil actually had good intentions. There are a number of plot twists and surprises that keep things interesting and compelling. As the characters are developed and you learn more about them, you grow attached to them and you want things to turn out well for everybody.
This is why the classic difficulty setting – where units who die are lost forever – is the best choice to keep the stakes high and keep you invested in every moment of every battle.
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Although the premise of the game starts off as a trifling war between factions, the fate of the entire world is at stake by the end of the game. Some serious choices are put in the players hands, especially towards the end of the game, that affect the ending. The characters are all charming and likeable and there is a variety of different personalities to enjoy. The Fire Emblem games have almost always tried to offer something in the way of a decent plot or narrative, but Fire Emblem: Awakening definitely sports one of the most engrossing stories.
This game's sky high production value continues into its music. Its sweet, sweet music. It's orchaestral, it's tasteful and it's enjoyable throughout. The music in the game sounds just great and it is always appropriate. The battle themes are intense and sweeping. The sad moments in the game are accompanied by soft strings and somber melodies. The soundtrack is so versatile and strong that every moment in the game is accompanied by a perfectly appropriate song.
Sometimse it sounds whimsical, sometimes it sounds ominous and forbading, sometimes it sounds playful – and it always finds a way to get stuck in your head. One of my absolute favorite pieces is the string heavy piece that plays during the love confession scenes. It is simply beautiful and when it plays during the ending credits and you're shown the fates of the various units, it's absolutely tear-jerking.
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The voice acting is spot on. Very few segments of the game are fully voiced. Most of the time the characters just blurt out sounds and relatively appropriate phrases while you are reading their dialogue. This works, but sometimes I did wish for a more straightforward, fully voiced approach, even if that would've been an insane amount of work. The option to play the game with original Japanese voicing is present, in case you're the kind of gamer that appeals to. The general sound effects are standard fair for the series (such as the sound of an attack missing). All things considered I loved the game's soundtrack and most of the character voices. The console's speakers don't quite do it justice. Enjoy this game with a nice pair of headphones or even a stereo system if you can. In the audio department, Awakening conquers yet again.
All the production value in the world doesn't matter if the game underneath isn't fun, right? Fortunately, Fire Emblem: Awakening's rich, multilayered game-play snatches the spotlight from its production. The battles are as strategic as ever and new options are in place to ease series newcomers into the fray.
At the beginning of the game you are given the choice between a difficulty setting and a game mode. You can choose normal, hard, or lunatic as a difficulty setting (notice that 'easy' is missing) and you can choose between classic and casual for the game mode. In classic mode units that die are gone for good. Series fans are no stranger to this mechanic, but because it might be a bit offputting for newcomers, the casual option has been added. In casual mode all units are magically resurrected at the end of each battle.
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I'd urge any newcomer to start with casual mode but eventually work their way over to classic mode. The full gravity of each decision and the grueling true Fire Emblem experience are somewhat lost when the lives of your favorite characters aren't at stake in ever battle. I applaud the developers for including the option, though.
As far as the difficulty settings are concerned, the closest to easy you'll get is the normal mode. In all honesty though, normal mode really isn't too challenging. I started my first play through on normal mode but I quickly restarted on hard mode because I simply wasn't being challenged enough. The game-play is traditionally deep, with new twists and additions to make things even better. The player moves a number of units throughout a big battlefield to complete a number of objectives. Game-play is turn-based and grid-based. The most common objective is to defeat all of the enemy units.
Each kind of unit has its own strengths and weaknesses. For example, the wyvern riders can cause a considerable amount of damage and they can fly freely about the battlefield, but they play victim to bows and magic spells. The knight on the other hand can't move very far and is rather immobile but is an absolute tank and sucks up damage from most kinds of weapons. The strategy and fun comes in when you are arranging your units into a competent team to cover all of your bases. Should you bring a healer or do you need that slot for another attacker? You'll want to bring a thief if you see a map laden with treasure chests and locked doors.
Fire-Emblem-Awakening-Cinematics
On hard and especially lunatic difficulty settings, the enemy units are clever and aggressive. Every enemy unit on the field will target your weakest unit with the aim of taking it out of the game. If you want to make it to the end of the game with all of your characters alive, you've got some critical thinking and lots of very challenging battles ahead of you.
Units can be outfitted with a number of weapons and items to improve their performance. Some advanced units can wield multiple weapons and you'll want to take advantage of this whenever possible to make the weapon triangle work in your favor. Battles between weapon wielding units are governed by a simple system that's actually much deeper than it seems on the surface (and also largely irrelevant at high levels): the weapon triangle. Swords beat axes, axes beat lances and lances beat swords. Bows and magic work a bit differently.
The many nuances of combat in the game are explained wonderfully in the games tutorials. Instead of having a now customary tutorial mode, Awakening introduces tutorials to the player as they play the game. These can all be accessed easily in-game whenever the need arises. The tutorials go in-depth and explain why certain units cause so much damage to other units, why enemy units spontaneously appear on the field and anything else that transpires on the battlefield.
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As units defeat enemies, they gain experience points and levels. Gaining levels increases a units stats. Once the unit has gained as many levels as they can (the limit is 20 for most basic classes), they can be promoted to an advanced class. Promoting the classes is rewarding and fun to watch, not unlike a Pokemon evolving in one of the Pokemon RPGs. The advanced classes typically have better stats and skills than the basic classes.
For example, once a wyvern rider is promoted to a wyvern lord, that grave ineffectiveness against bows and magic is somewhat alleviated and they gain the ability to wield lances in addition to axes, not to mention their stats are infinitely better.
A new item in the game is the second seal. Unlike the master seals which are needed to promote a basic unit, a second seal allows a unit to be promoted to various things or even demoted. Demoting a unit restarts it to its basic class at level one but usually only drops a few stats. This way the unit can be leveled up and promoted again while retaining many of the stats it earned the first time around. The second seal can be abused to create a viable super-unit with sky high stats that is nearly unstoppable (or at least impossible to land a hit on).
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As units grow in strength, they also gain skills. These skills are usually very useful. One character who already has a very high speed stat can gain a skill that makes her nearly invincible against sword wielding classes, allowing her to take on waves of foes while hardly every taking any damage. Another magic using unit can learn a skill that absorbs an opposing units stamina when she defeats it, which – when combined with her absurd magic stat – makes her an immortal arbiter of doom and destruction.
Promoting and growing these units is addictive and very fun. It's always exciting to see what they'll look like after being promoted and selecting the new skills and stats adds yet another layer of strategy to the deep game-play. There are also dozens of different classes to learn and explore. The support system is back but this time it's streamlined and richer than ever before thanks to the new pairing options.
The ability to rescue a unit has been removed and replaced with the option to pair up with them. Pairing two units gives one of the units (the main unit or the unit in the front) a number of stat bonuses based upon both the stats of the second unit and the support level between the two units. For example, pairing a knight with a falcon knight will give the falcon knight a huge bump in defense, which flyers are always in need of. Fighting while paired up increases the level of support between two units, and this can also be useful to cover the weaknesses of a certain type of unit.
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As the support level is raised, the two units gain new dialogue options with each other and form a deeper relationship. Many male and female units have romantic potential when paired up and once the final support level is reached they get married. Before your created character gets married, you'll see an adorable love confession scene. So yes, this is the deepest the support system has ever been.
Paired units with high support levels have an improved chance of guarding an attack on the other's behalf, or of attacking an enemy simultaneously. On top of that, the stat bonus granted to the front unit is greatly improved. For example, I made my main character a magic user. I married him off to another magic user, which gave him a significant boost to his magic stat. Then, they always fought paired up and his wife guarded nearly every attack on his behalf and almost always attacked with him for vicious bonus damage.
At the top support levels, some units can even activate their skills while the other unit is attacking, making the pair an absolute force to be reckoned with. Married units can also have offspring, who will inherit certain skills and stats from their parents. The way this works is tied into the game's story somewhat so I won't explain exactly how it works, but it is very cool because the units even retain physical features of their parents. My unit and his wife had a daughter who's magic stat was in the mid-twenties even though she was a basic low level mage.
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Building a relationship between characters is not only fun because of the hilarious dialogue and character development involved but also because it is very, very useful on the battlefield. That is a stroke of brilliance in my opinion.
As you complete the game you'll move across a large world map. This map is gradually filled out with new battles and locations as you progress through the story. Aside from the missions that move the story along, there is also a great number of side quests to be completed in the game. Many of these quests are the only ways to add certain characters to your troupe and others house powerful items and weapons. Depending on which difficulty you're playing on, you might just want to do some to grind some experience to keep you from getting mercilessly slaughtered.
The side quests are rewarding and offer plenty of space to further develop support levels and skills between units. You can shop and sell or buy items and weapons. The selection in the shops improve as you move further across the map. You can also use a forge at shops to improve a weapon. Through forging you can improve certain parameters of a weapon, such as the critical hit rate. Forging good weapons can cost several thousand gold pieces, but it might be worth it depending on your play style.
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If you improve the critical hit rate of a weapon that already has a high crit rate (such as the killing edge), and give said weapon to a unit with a high skill stat, the result will be a unit that frequently lands devastating critical hits.
There is no post-game super dungeon like there was in some of the other FE games so the game feels a tad bit light on post-game content. However, if you want a distinct challenge you can try going through the game on lunatic difficulty. If you have access to wi-fi, there is a good deal of DLC available and more of it is on the way. One of the maps is free until March. The paid content looks nice, but there is also some free content. Free bonus content has been added to my game using the console's SpotPass feature. This includes characters from other FE games (they look cool but they don't have a backstory and can't build support relationships), weapons, items and a map.
It seems very likely that more stuff will be added in the future, and regular updates with free content definitely sounds good in my book. By completing this additional content (and the quests already in the game, I think) your created unit earns an amount of renown. Once you have reached a certain level of renown, you can get powerful items and weapons to use in the game, but wi-fi is required for this too, I think.
The game also makes use of the StreetPass feature of the 3DS, although I'll probably never encounter anyone else who has the game. If you are lucky enough to encounter someone else playing it, you can recruit their created character for use in your game, which could be really helpful depending on how powerful their character is. One of the bonus maps was really pretty challenging, so it can be assumed that the challenging post-game content will be filled out with free bonus maps. Perhaps this approach isn't as strong or readily available as the post-game super dungeon (and it's also completely inaccessible to anyone without wi-fi), but it is cool nonetheless.
Even without the wifi add-ons, the game is quite heavy on content. My first play through on hard took roughly 20 hours, if you don't count any of the time I spent completing side quests and redoing a map to keep from losing one of my soldiers. Taking all of that into consideration, I had played the game for over forty hours before I finally made it to the ending credits. Once you complete the game, you unlock a number of sumptuous bonuses. These include a theater where you can view all of the glorious 3D animated cutscenes, and a unit gallery, where you can examine all of the character models in 3D and in any of the game's many beautiful backdrops.
In the unit gallery, you can also listen to any of the wonderful music in the game. Despite the other extras, that is probably the one I've spent the most time enjoying. I can't tell you how much time I've spent simply letting that love track play while I did something else (the song is called "Ha ha! Yes, it will take some getting used to!"). The music, character models and environments in this game are really fantastic, so I greatly appreciated the option to enjoy them without any of the critical thinking that actually playing the game requires.
The replay value of this game is quite high, I think. You'll want to fully develop as many support levels as you can. I played as mage the first time around, but I may choose more of a warrior type character (and as a result, a very different wife) the second time through. I missed out on the notorious young fighter Donnel and a thief on my first play through, so I'll have to go through again to get them. You also get the chance to make some important choices in the story and you will most likely want to know what happens if you do things differently. There is no new game plus option, but your renown carries over to a new game and you can use your created unit again.
Aside from the dozens of different support (and offspring) opportunities and the major story related choices, the game-play is simply fun and challenging enough that you'll want to experience it again – maybe even on lunatic mode if you're patient and skilled.
Fire Emblem: Awakening is fantastic, just pure turn-based strategy bliss. This is what happens when sky high production value is paired with absolutely remarkable game-play. The story is engrossing and the characters are well written and developed. The music is endearing and beautiful. The visuals and art are excellent and eye-popping. The console's stereoscopic 3D and wireless functions are implemented. The game-play is rich, complex and simply irresistible. Aside from being a must have for series and genre fans, Fire Emblem: Awakening is a genre highlight and in my opinion the strongest incentive to invest in a 3DS to date.
Fire Emblem Three Houses, Awakening Drama CDs Announced
Fire Emblem Three Houses, Awakening Drama CD will include fun side stories showing you a different side of certain characters.
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Watch a Blacksmith Make a Beautiful Replica of Chrom's Sword from Fire Emblem: Awakening


This unisex apron goes for both men and women, as well as for teenagers or adults. It is matched with loops with coloured triangle patterns. Comfortable and adjustable at the neck, it is perfect for BBQ and is made in Quebec with high quality materials.
Length: 79 cm – 31" from the neckline to the hem.


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Abóczky Róbertné Rózsahegyi Marika, született: Tornyai-Schossberger (Budapest, 1933. február 1. – 2014. augusztus 11.) magyar színésznő. Rózsahegyi Kálmán színész unokája.

Élete
Báró tornyai Tornyai-Schossberger Henrik György földbirtokos és Rózsahegyi Mária lánya. A szülei 1946-ban elváltak. 1952-ben nagyapja, Rózsahegyi Kálmán színiiskolájában szerezte meg színészi diplomáját. Ascher Oszkár tanítványa volt. Az oklevele megszerzése után 1952 és 1955 között az Állami Faluszínház tagja volt, majd a József Attila Színházhoz szerződött. 1958-tól az Országos Rendező Iroda rendezvényein rendszeresen fellépett vidéken és a szomszédos országok magyarlakta városaiban. 1973-ban a Kamara Varietéhez szerződött. 1974-ben az Amerikai Egyesült Államokban vendégszerepelt, majd egy évvel később –házasságkötése után– ott telepedett le. A tengerentúlon súlyos kutyatámadás érte és a plasztikai műtétek ellenére a sérüléseinek nyomai megmaradtak. Ezt követően visszavonult a színpadtól. Férje halála után visszaköltözött Magyarországra.

Utolsó közös fellépése nagyapjával az Öregember nem vénember című műsor volt.

Házastársa Abóczky Róbert (1929–2005) volt.

Szerepei

Színházi szerepei

 Lehár Ferenc: Pacsirta – Borcsa
 Franz és Paul Schönthan: Szabin nők elrablása – Etelka
 Ralph Benatzky: Az esernyős király – Adrienne
 Ábrahám Pál: Az utolsó Verebély lány – Nelly

Filmszerepei

 Gerolsteini kaland (1957)
 Mici néni két élete (1963)
 Színészek a porondon (tévéfilm, 1963)
 Lehet egy kilóval kevesebb? (tévéfilm, 1971)

Díjai, elismerései
2014-ben Gyomaendrőd díszpolgárává választották.

Jegyzetek

Források

 Életrajz Magyar Folklór Múzeum
 Kalmár Tibor: Sztárok az éjszakában (Kossuth Kiadó, Budapest, 2015)
 Színházi Élet - 1932/22. szám
 Elhunyt Abóczky Róbertné Rózsahegyi Marika, városunk díszpolgára (gyomaendrod.hu)

Magyar színésznők
1933-ban született személyek
2014-ben elhunyt személyek
Budapesten született személyek
Nevet változtatott magyar személyek


text:
Saint-Malo-de-Phily è un comune francese di 887 abitanti situato nel dipartimento dell'Ille-et-Vilaine nella regione della Bretagna.

Società

Evoluzione demografica

Note

Altri progetti

Collegamenti esterni

Saint-Malo-de-Phily


text:
Q: Does JMeter works on OpenJDK 13? I've did web search jmeter and openjdk 13 and found only that relevant post: Is JMeter is going to be paid as Oracle decides for Java post 1.8v?:

JMeter needs Java >=8 (Java 9 and 10 are intermediate and not
  advised).

On Apache JMeter page last JMeter version mentioned is JMeter 2.5.x (JVM 1.5+).
How does JMeter works on latest OpenJDK 13?

A: Latest JMeter 5.2.1 works with Java 13

JMeter works for me on a freshly installed Ubuntu 19.04 Desktop with either OpenJDK 13 (installed from the Ubuntu repo) as well as Oracle JDK 13

JMeter officially don't limit java version in requirements:

JMeter is compatible with Java 8 or higher. We highly advise you to install latest minor version of your major version for security and performance reasons.

Also you can see JMeter is tested with Java 13 on Travis CI

A: Why it shouldn't? Java is backwards compatible and as long as software doesn't rely on removed APIs it should be running better on newer JDK/JRE. Moreover as per 9 Easy Solutions for a JMeter Load Test "Out of Memory" Failure article you should be using:

*

*The latest JMeter version

*The latest Java version (better 64-bit server JRE or JDK)

*The latest version of JMeter Plugins (if any are used in your tests)

Just in case you can get familiarized with Oracle JDK Migration Guide

redpajama_set_name: RedPajamaStackExchange


In March the first part of book 1 for CLICK will be released but until then I will need a band of hearty readers who like to read Urban Fantasy Thriller books.
The series is New Adult Urban Fantasy Thriller genre.
The recommended age for this series is 17+ years due to the adult situations, foul language, and sexual content that is not appropriate for anyone under the age of 17.
Only the mature, brave of heart, dark & twisted and demons beyond this point.
I fight demons. I save lives. I'm literally a force for good holding back the gates of Hell.
My name is Sarah Kinsley and I take crime scene photos for the local police department of New London.
It has been nearly a year ago since I've bought this enchanted film camera from the local pawnshop and caught my first demon, Seth, a djinn. During our game of cat and mouse, he found out the one thing that I hated more than demons… glitter. From that point on every creature that went bump in the night uses glitter against me to get away.
To make matters worse these creatures now take on unassuming forms such as children so that you never know who the bad guys are anymore.
Whatever happened to the good ole days when demons took the form of sleazy old men or weirdos in overcoats and were essentially glitter free?
So, when I've been brought on a case that reeks of demon meddling, where mothers are found dead due to freak accidents, I do my best to find and capture it with my camera before it can do any more harm. But where there's more than one child possession that spreads like a virus, there's a stronger more powerful demon behind it. Will the camera be able to capture this demon? Or will the children within this town succumb to demonic possession?
If you would like to join the launch team then kindly sign up for the mailing list over here.


The MES group after establishing its name in the field of education with the experience of around 30 years, ventured into the field of Engineering education with the establishment of PIIT in the year 1999 in Panvel. Subsequently, after successfully running PIIT for more than a decade, MES set up the Pillai HOC College of Engineering and Technology (PHCET) at Rasayani. PHCET offers both undergraduate (Bachelor of Engineering) and postgraduate (Master in Engineering) programs.
PHCET has state-of-the-art facilities and distinguished faculty who have been a nurturing ground for students of high academic capabilities. It is established on a 14 acre of lush green campus with more than 3,00,000 sq. ft of built up area comprising of spacious classrooms, well-equipped laboratories and workshops, new age computer facilities and a well-stocked library which provide a stimulating educational environment within the college. PHCET is housed in an eleven storied building. The College has attracted qualified and experienced faculty members and has been constantly adding experienced faculty members to its already growing number of about 120 teaching staff.
PHCET offers comfortable hostel facilities at very nominal charges with hygienic vegetarian and non-vegetarian cuisine. The opportunity to study at Rasayani gives the tranquillity of village life without compromising on the attractions of the bustling city life.
PHCET imparts quality education by experienced and expert faculty and makes sure that students studying at PHCET pass out with flying colours irrespective of their initial academic performance. Each of our faculty members mentor our students and are available for guidance for about 15 students on a personal basis.
At PHCET, we believe in encouraging the students by creating an atmosphere where learning is fun. Faculty employs on learning centric approach.
Recognized by Government of Maharashtra.


text:
Exhibition at NYC Gallery featuring Rosenwald fellows to finish run on Saturday
by Cieslafdn | Mar 6, 2013 | Rosenwald Grant Recipients
"INsite/INchelsea," a modern art exhibition at the Michael Rosenfeld Gallery in Manhattan, closes its nearly 3 month run this Saturday, March 9th. The show features work by 5 of the most prominent artists to receive Rosenwald fellowships: Eldzier Cortor, Aaron Douglas, Jacob Lawrence, Augusta Savage and Charles White. Incidentally–and interestingly–the Rosenfeld Gallery's selections from these artists displays what their art looked like before they received their Rosenwald grants.
For example, take a look at Cortor's 1938 "Rooftops on Wabash," a painting of Chicago rowhomes framed through a second story apartment window. With the help of the Rosenwald Fund in the mid-1940s, Cortor went on to develop his artistic practice outside of this kind of urban space (traveling to South Carolina and, later, the Caribbean) but it's fascinating to see this earlier stage in his career. Likewise, you'll see Jacob Lawrence's 1937 "Christmas in Harlem," which displays some of the same style he would perfect in his acclaimed "Great Migration" series, completed with the help of consecutive Rosenwald grants in 1940, 1941 and 1942. From Charles White, the gallery offers a 1936 oil portrait, a piece that's markedly different from the epic, historical murals and prints he would create later in his career, after his consecutive Rosenwald grants in 1942 and 1943.
Young Augusta Savage at work
Photo credit: Wikimedia Commons
Finally, be sure to see Augusta Savage's famed "Gamin" (1929), a beautiful piece that put the great sculptor on the map and earned her 3 Rosenwald grants to study art in Europe in 1929, 1930 and 1931. Because these works of art were likely the ones that initially drew the attention of the Rosenwald Fund grant administrators, viewing them can give you a glimpse into the Fund's working process. If you are in the area, take the time to visit the Michael Rosenfeld Gallery before the exhibit closes.
Swann Galleries to auction work by Rosenwald fellows
by Cieslafdn | Feb 6, 2013 | Rosenwald Grant Recipients
On February 14th, Swann Galleries in New York City is holding another auction of African American Fine Art – this blog reported on a similar auction at Swann Galleries last October 18th. Beautiful artworks by many Rosenwald fellows are up for auction, including Charles Alston, Aaron Douglas, Jacob Lawrence, Gordon Parks, William Edouard Scott, Charles White and Hale Woodruff. Prints, lithographs and sculptures by a Rosenwald fellow who died last year, Elizabeth Catlett, are prominently featured, including an excellent print of her famous Sharecropper.
Augusta Savage, who received three consecutive Rosenwald fellowships, created a monumental sculpture for the 1939 New York World's Fair entitled "Lift Every Voice and Sing." While the original sculpture was destroyed, lot 24 of this auction is a smaller version of the sculpture that was offered at the World's Fair, a haunting memento of the great lost work.
D.C. interviews for The Rosenwald Schools reveal intriguing insights, surprising connections
by datdudejbal | Jan 9, 2013 | Rosenwald Fund
One of the pleasures of producing The Rosenwald Schools has been that, even though we select our interviewees based on their knowledge on a specific topic, more often than not they surprise us with fascinating facts, anecdotes and new points of view that we weren't previously aware of. This was very much the case with the interviews we filmed on December 11th, and we're extremely thankful for the time and effort of the interviewees who spoke with us that day.
The Rosenwald Schools
One great surprise occurred during our interview with David Driskell, a longtime art professor and a noted artist himself. We initially reached out to Mr. Driskell because of his knowledge of African American art and Rosenwald Fund fellows (several of whom he knew personally), but it turns out he had a story to share about a Rosenwald School as well from his upbringing in rural Rutherford County, North Carolina.
In the spring of each year, we would leave our little one-room school to go down to Cliffside, North Carolina to a four-room school, which I was told was a Rosenwald school. It was a brick building, and we didn't have any brick buildings in our area. We would go there for what we called Commencement. It had nothing to do with graduation, it actually had to do with displaying your creative skills, your oratorical skills, drawing, paintings […] and it was where I first exhibited my art made from the local clay in the brooks. (David Driskell, Dec. 11, 2012).
David Driskell (with a poster advertising his artwork in the background)
Another unexpected connection was made in our next interview, with Denise Johnson. Ms. Johnson is a descendent of Clinton Calloway, head of Tuskegee's Extension Department and a crucial administrator of the Julius Rosenwald's school-building program. Johnson is a resident of the Washington D.C. area, and she also shared with us that Clinton Calloway's brother, Thomas, founded a town named Lincoln in nearby Prince George's County, Maryland, where he organized the construction of a Rosenwald School.
It was Thomas' idea to give African Americans at the time an opportunity to buy land to live in a community on their own. Thomas bought land and sold it in small plots to families. As the communities started to grow they needed to have a school, and it's my understanding that the local government was not forthcoming in providing the funds for the school. Interestingly enough—and maybe not as a surprise—Thomas decided to call on the Rosenwald Fund and ask for help. (Denise Johnson, Dec. 11, 2012)
Aviva Kempner with Denise Johnson
The Lincoln Rosenwald School is one a few extant Rosenwald Schools in Prince George's County, though it is heavily remodeled. Its current address is 5201 Baltimore Lane, Lanham, Maryland.
The 12th Street YMCA
The legacy of the Rosenwald Fund is felt even more strongly in another part of the D.C. area, where the pilot building in Rosenwald's YMCA-building program stands in the heart of the historic African American community around U Street NW (we detailed the path the building took to construction in another blog post). In addition to shooting footage of the YMCA's beautiful and well-preserved interior (which includes historical exhibits about the luminaries who frequented the building), we talked to the Dodsons, a father and daughter who are both experts on local history. Norris Dodson, who used the YMCA's facilities as a young man and remains a passionate advocate for the building, spoke about the importance of passing that history on to the next generation.
When I played basketball at the 12th Street Y, I always recall having fun, making connections with people my age, learning to play fairly. But the one thing that was missing is that I was not told about the wonderful history of the building, that great basketball players played here: Elgin Baylor, John Thompson. In fact, John Thompson told us that he was discovered here. But I was never aware that John Thompson played here when I was playing. When I found that out, I was an adult. And I always thought that if I had known these guys played here, that I would have been a better basketball player, just because of that. I thought it was sad that so many kids in the neighborhood didn't know that Dr. Drew and Thurgood Marshall and Langston Hughes and Montague Cobb and so many others who had international reputations, reputations that grew far beyond this community, all met here. If the kids of some generations had realized that, if that history had been taught to them, they would have been able to have confidence that they didn't have and use that confidence to grow to higher levels. (Norris Dodson, Dec. 11, 2012)
Our cameraman, Michael Moser, getting some exterior shots of the YMCA
Lori Dodson, Norris's daughter, added context to her father's interview and also revealed a more recent connection between the 12th Street YMCA and Julius Rosenwald:
In 1982, due to the deterioration of this lovely building, it was forced to close its doors. It was a travesty because it was during a time when there were so many ills in the community, many problems among youth and drugs. It was a time, like during segregation, where this building and the type of character that it developed was sorely needed. And so a group of people came together, concerned citizens, and decided that they were going to protest the potential demolition of this building, […] a place like this that is so historically significant. […] Julius Rosenwald was key in making sure that this building was open and his family was also involved in making sure that it reopened once again. If this building were not open today then my family would have lost a lot of our personal history, and I know that that's the case of many, many families. (Lori Dodson, Dec 11, 2012)
Lori Dodson on our set in one of the restored rooms of the YMCA
Artists of the Rosenwald Fund
Along with David Driskell, we interviewed another art history scholar, Dr. Richard Powell of Duke University. Powell is a wonderful storyteller and a fount of knowledge about Rosenwald fellows. He shared a series of backgrounds on notable beneficiaries of the Rosenwald Fund with us, including this story about sculptor and teacher Augusta Savage:
Augusta Savage is a legend in African American art history. I say that because so much of her life was filled with struggle, with perseverance and with creativity all mixed up. She comes from Florida, she settles in New York in the early 1920s. She's working very hard to try to develop her skills as a visual artist and she's lucky enough to win a prize that will allow her to go to France. The Fontainebleau School provides her with [this] opportunity, until they find out that [she] is African American. When word gets around through the Fontainebleau School that they are about to bring an African American to the school, they basically say, "No, we're not going to give this award to you." And it actually is a cause célèbre. [Later, in the early 1930s,] thanks to the Rosenwald Foundation, Augusta Savage has an opportunity to go to France. France, for artists, is like a dream come true: the opportunity to walk in the paths of other famous artists, to live a life that is liberating without people questioning or looking at you based on your race. She has a wonderful experience there. Interestingly, when she comes back to Harlem, she then shifts gears back into the community [and] puts all of her energy and effort into developing an art school, the Harlem Arts Center, as one of the places that young people like [Rosenwald fellow] Jacob Lawrence, Norman Lewis and other artists will go to learn about art. I often describe Augusta Savage's school as a kind of latchkey school for young aspiring artists. Her school ended up being not just a place to study art, but it became kind of a community center. (Richard Powell, Dec. 11, 2012)
Savage was not the only Rosenwald fellow that went on to become a teacher and mentor to younger artists (other examples include Elizabeth Catlett, Aaron Douglas and Charles White) and we're excited to be able to tell her story and the stories of other Rosenwald fellows in The Rosenwald Schools, and grateful to those who have lent their voices to the film.
Dr. Richard Powell
Rosenwald Schools work in progress screens at University of North Carolina
by datdudejbal | Nov 7, 2012 | Rosenwald Fund
On October 25th, Aviva Kempner presented the work in progress version of The Rosenwald Schools to an audience at the Sonja Haynes Stone Center for Black Culture and History on UNC's Chapel Hill campus. Joseph Jordan, director of the Stone Center, introduced Aviva and Angelo Franceschina. Angelo, who has worked to restore Rosenwald schools, participated in the Q&A with Aviva.
Aviva Kempner with Angelo Franceschina, Joseph Jordan
Before she left the next day, Aviva visited an art gallery on North Carolina Central University's campus in Durham. An exhibit at the university's art museum, the subject of a blog post a couple weeks ago, contains a large number of artworks by Rosenwald fellow Charles White, including the haunting print below that Aviva snapped a picture of. The artworks on display at NCCU were loaned by the art collector Arthur Primas, better known as the manager of Tyler Perry.
"J'Accuse #6" on display at NCCU's temporary exhibit: "Heroes: Gone But Not Forgotten, the Art of Charles White"
Photo credit: Aviva Kempner
Works by Charles White, Rosenwald fellow, on display at North Carolina Central University Art Museum
by datdudejbal | Oct 18, 2012 | Rosenwald Fund
A couple weeks ago, a new exhibit featuring 47 works by the great painter and print-maker Charles White went on display at the Art Museum on North Carolina Central University campus.
White was a native Chicagoan who studied at the Art Institute of Chicago. After graduation, he joined the Federal Arts Project of the Works Progress Administration, and produced one of the WPA's best known murals entitled "Five Great American Negroes." The mural, which features Sojourner Truth, Booker T. Washington, Frederick Douglass, George Washington Carver and Marian Anderson was originally installed in the George Cleveland Hall Library on Michigan Boulevard in Chicago. This historic library is located just one block from the Rosenwald Apartments and was built on land donated by Julius Rosenwald to the Chicago Public Library. Today, the mural resides in the Law Library at Howard University.
"Five Great American Negroes," by Charles White
Photo credit: Federal Arts Project of Works Progress Administration
Shortly after completing "Five Great American Negroes," in 1942 and 1943, White received consecutive Rosenwald grants that allowed him to travel the south and study art. Around the same time, White married another Rosenwald fellow Elizabeth Catlett.
Admission to the museum is free and the exhibit will be on display until December 21st.


text:
TheTsunami
© 2017 Hazard Alarm Technologies LLC
TSUNAMIS POSE A REAL DANGER
Amid rising sea levels and swelling coastal populations, tsunamis pose a greater threat with each passing year.
KEY TSUNAMI TRIGGERS
Tsunamis can be triggered by earthquakes, volcanic eruptions, underwater landslides, land slumps into the ocean and meteorite strikes.
We can't prevent them; they are in nature's hands
Earthquakes are the leading cause of tsunamis, giving rise to about 80% of them according to subject-matter expert Dr. Eddie Bernard, formerly of the National Oceanic and Atmospheric Administration (NOAA)
Submarine landslides as well as land slumps into the ocean can give rise to tsunamis by suddenly displacing large amounts of ocean water, thereby triggering massive waves. Tsunamis caused by landslides are referred to as megatsunamis.
Meteorite strikes can also bring about devastating tsunamis. A key issue here is that scientists have not yet perfected the art of reliably monitoring all incoming meteorites.
No threat has been detected
EVERYTHING'S OK
A low-level threat has been detected; we're monitoring the situation
By tapping into a global network of buoys designed by the National
Oceanic and Atmospheric Administration (NOAA) to detect tsunami-related disturbances at a moment's notice, we can provide you with real-time alerts and all of the information you will need to protect yourself and your loved
ones when the big one hits.
LOW-LEVEL THREAT
ROUTE TO SAFETY
Follow this route to navigate your way to safety
RADAR AND COMPASS
Pinpoint your current location and use the app's compass to navigate your way to safety, even when you can't connect to the internet
A serious tsunami threat has been detected
A TSUNAMI IS APPROACHING
We will alert you when you've reached safety, or if you're already in the safe zone
WE CAN`T STOP TSUNAMIS, BUT WE CAN PREPARE
There is nothing we can do to stop tsunamis.
The best we can hope for is to mitigate the damage by being prepared.
It's up to each one of us to protect ourselves
and our loved ones.
AN INNOVATIVE SOLUTION
TO A TRAGICALLY OVERLOOKED, BUT VERY REAL PROBLEM
TheTsunami APP
TheTsunami is a tsunami-preparedness app that will alert you the moment we detect a disturbance.
The 2004 Indian Ocean earthquake and tsunami killed more than 230,000 people and displaced nearly 2 million across 14 countries.
The 2011 Tohoku earthquake and tsunami in Japan claimed the lives of more than 15,000 people and had devastating consequences for society at large, ranging from meltdowns at the Fukushima Daichi Nuclear Power Plant to hundreds of thousands of fully or partially destroyed buildings.
To learn more about what happens on the ground when a tsunami hits, we sat down with Dr. Eddie Bernard, former director of the National Oceanic and Atmospheric Administration's (NOAA) Pacific Marine Environmental Laboratory (PMEL). Dr. Bernard is a world-renowned subject matter expert and consultant on matters pertaining to tsunami warning systems, mitigation, research and education.
Dr. Bernard explained that tsunami victims should do everything in their power to stay out of the water – whether that means carefully planning and executing an escape strategy well before the water hits, or sealing yourself into a tsunami capsule.
If you're swept up into the water, you'll be floating alongside a flurry of logs, cars and other heavy objects. According to Dr. Bernard, a common cause of death among people who are swept up into tsunamis is drowning as a result of being knocked out by heavy objects.
In addition, the water is typically toxic – filled with oil, antifreeze and worse. The surface of the water may be coated with flammable substances that can easily catch fire. Likewise, people who manage to ride out tsunami waves may themselves be coated in flammable substance and can easily become burn victims.
It is important to familiarize yourself in advance with the most hazardous places in your area, as well as the nearest safe zones and evacuation routes. According to the NOAA, most coastal communities should already have designated evacuation routes. Check with your local emergency authorities to find out if your area already has a plan in place.
The NOAA advises those affected by a tsunami to attempt to move 100 feet above sea level or one mile inland.
In the event of a tsunami, TheTsunami app will provide you with a comprehensive evacuation plan, showing you the nearest safe zone and details of how to get there. You will also be able to use TheTsunami app to map out your own evacuation route in advance.
According to Dr. Bernard, it's inadvisable to drive. He pointed to an example during a Japanese tsunami when bumper-to-bumper traffic caused many people to abandon their cars in the middle of the road. This left many drivers who chose not to abandon their cars stranded when the tsunami hit.
He recommends fleeing on foot, by bicycle, or by any other means that will help you get to safety as quickly as possible.
Tsunamis are caused by sudden movements in the ocean. Most – approximately 80%, according to Dr. Bernard – occur as a result of earthquakes. Other causes include volcanic eruptions, underwater landslides, land slumps into the ocean and meteorite impacts.
To make TheTsunami app a reality, we need to gather funds in order to develop and fine tune the server. We plan to raise the funds we'll need by March. Then, we'll move forward with development. We plan to go live by mid-summer.
Founder Alexander Artyukhin has enjoyed a successful career in the financial sector, but he has always wanted to branch out and take on a project that will have a meaningful humanitarian impact. His lifelong passion for the environment and his drive to make a meaningful contribution to the world collided to produce TheTsunami.
It is Mr. Artyukhin's goal to save lives and to educate all coastal inhabitants on the imperative of tsunami preparedness. He is developing this app to ensure that when disaster strikes, you'll have the resources to protect yourself and your loved ones.
We will tap into a global network of buoys using the cloud database. This information will provide us with all of the necessary details of each tsunami, including speed, direction and height. Our servers will also process the topographic onshore and offshore landscapes of the coasts, enabling them to calculate which parts of each shore should expect to be flooded. Tthis modelallows us to project flooded zones with 80% accuracy.
During tsunami events, we only need to receive 100KB of data in order to assess the key risk parameters, so even a bad GPRS connection shouldn't be an obstacle for users seeking risk updates.
Calculating the route to the safe zone will require more data traffic than the initial messages, but if there is a shortage of GPRS signal (due to earthquake damages of cell phone stations, for example) the user can still use the app's built-in compass to navigate his or her way to safety.
Nope. After you install the app, it will remain dormant until needed, consuming about 1% of battery power each day.
Yes. Tsunamis are a genuine threat to coastal inhabitants all around the globe, and tsunami-related risks are on the rise with each passing year, due largely to growing coastal populations and rising sea levels.
According to the National Oceanic and Atmospheric Administration, tsunamis occur at an average rate of twice annually, and destructive, ocean-wide tsunamis occur an average of once every 15 years.
Read on to learn more about the tragic consequences tsunamis can have.
How can I prepare for a tsunami?
If a tsunami strikes, should I run or drive?
How to tsunamis happen?
When will the app go live?
Why did you create TheTsunami app?
What is the technology behind TheTsunami?
Will the app consume a lot of space and battery power?
Will it work if I have a bad mobile connection?
CROWDFUNDING CAMPAIGN
We have the intention to launch a crowdfunding campaign
in 2017. Please support us and assist us in our efforts
to save the lives of many, many people. And share!
BACK US
FOUNDER OF TheTsunami
Alexander spent years working as a banker and financier before shifting his focus to the startup world. He is the Chief Executive Officer of SnapExit, an innovative investment platform.
His lifelong passion for the environment and desire to contribute to an important cause inspired him to create TheTsunami. Alexander is a natural leader who thrives under pressure.
Alexander Artyukhin
Якорь 1
APP RELEASE
The app is expected to hit stores in mid summer 2017
Do I really need to worry about tsunamis?
What happens when a tsunami strikes?