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Commentary: "Wayne Booth Remembered" at the 2006 AML Conference
The only Wayne Booth I've ever read was A Rhetoric of Irony, and that years ago, yet this session honoring his life and his work impressed me deeply. The presenters, Rick Duerden and Neal Kramer, with Bruce Jorgensen chairing the session, brought their love, their respect, and their gratitude for their subject to the table, lending to the meeting an intelligent and gracious atmosphere that IMO elevated the tone of the entire conference. Both Duerden and Kramer had studied with and otherwise associated with Wayne Booth at the University of Chicago; clearly they felt Booth had given them important gifts, intellectually and spiritually (if the two can in truth be split out).
Jorgensen opened the session, describing Booth as one of the "very finest American critics and theorists in the twentieth century." He said that in 1988 Booth published The Company We Keep, a book Jorgensen said he read "in big gulps." He chose it for an award for criticism (I thought this was the AML Award for Criticism but couldn't find record of it on the AML site) and related how Booth told him, "People ask where I got my ethical sense. I always tell them I got it at home, growing up in Mormon country."
Neal Kramer titled his presentation on Wayne Booth, "Leaving Home and Looking Homeward." He started by telling how "life weighed heavily on nineteen-year-old Wayne" because he felt that the dogmatic Mormon culture he grew up in "stifled his mind." BYU satisfied some of Booth's intellectual hunger but his belief in Mormonism failed to answer to his internal querying and "fell off rapidly."
On his mission to Illinois Booth discovered the University of Chicago, and rumor had it that instead of throwing heart, mind, and soul into his missionary work Booth began taking classes at the U of C. Richard Cracroft, one of this session's attendees, broke in here to say that Booth had told him that during his mission he had indeed taken evening classes at the university with permission.
Booth, Kramer said, "thought extremely clearly and well." During graduate school Booth discovered New Criticism and then the super new critics of the Chicago school. These critics used analytical tools forged in the manner of logical techniques that Plato and Aristotle established. At this time, Booth became immersed in "serious, high-level dialogue among people about important things." The stimulation such company provided allowed Booth to develop a point of view that "enabled [him] to read literature in a way not done before" among American scholars.
In Booth's critical stance, Kramer said, pure reason held sway, "but it was the humanity of novels that caused Booth to focus attention on rhetoric." Such a shift in focus returned the literary conversation to ethical and moral questions. In this way, Booth began to undermine his own enthusiasm for New Criticism.
Ultimately Booth concluded that any literary theory that disallowed inquiry into a work's ethical stance "went wrong." Kramer said that as Booth's thinking evolved, his conversations always turned upon questions of ethics and morals. In The Company We Keep Booth's goal was to prepare ground where the two groups (I took this to mean critics and communities interested in ethical and moral content and critics and communities disinterested in such) could gather and enter into dialogue. Important to Booth: "friendship, and how to put friendship at the center" of ethical strivings. Booth, Kramer said in winding down his presentation, "gives academics a possibility for how to speak well together." Given Aristotle's three categories of friends (friends of utility, friends of pleasure, and friends of virtue or of the good), Booth postulated that critics need to realize that "sometimes friends of utility or pleasure are fine but ought to lead to [the third category of friend, the friend of virtue or the good] where seams are effaced. We seek out conversation for living in friendship."
Rick Duerden told how in composing his presentation he had felt torn between taking an anecdotal approach and a critical approach. He determined that a mix of both would represent Booth well.
He described Booth as "a powerful intellect combined with an open heart." Having these qualities made it possible for him to regularly change his thinking and accommodate it to his relationships. Kramer said, "All his life [Booth] searched for what was better and truer."
All Booth's changes and growth, Duerden said, marked development in his spiritual growth. Duerden said, "[Booth] loved the ideal of Mormon universality where anybody can be saved or converted."
By the 1960s, Booth was swinging around to Plato's ideas. The Company We Keep represents the far end of the spectrum of Booth's intellectual travels. Booth, Duerden said, moved from "stick in the mud truth to an infinitely spreading relational vision of truth."
According to Duerden, Booth began finding his way back into dialogue with the Mormon community in the 1980s. Duerden said that Mormons were suspicious of Booth, but the intelligentsia said to the Mormon community, "This guy is the best missionary you've got."
Bruce Jorgensen commented that Booth's critical stance ultimately rooted itself in love and that the core act in loving one's neighbor was to ask, "What are you going through?"
Duerden responded saying that Booth "resisted postmodernism and aspired to putting people back in the conversation."
Richard Cracroft broke in at this point and told how when Booth came to BYU to give a forum address he spoke forthrightly about BYU and the Mormon culture, saying, "We're Osmondizing BYU." Cracroft said that the Osmonds had just a few weeks prior either made a donation to BYU or had in some other way manifested their influence. According to Cracroft, Jeffrey Holland went rigid at Booth's words and his displeasure with Booth's speech was palpable. At the faculty luncheon held for Booth afterward, Booth asked Cracroft how he thought his talk went over. Cracroft replied he'd never seen President Holland so steamed. "Just watch," Booth said. "I'll take care of that." Cracroft said Booth went over to where President Holland was sitting, said some things that President Holland up, and soon all clouds dispersed. Booth returned to Cracroft and asked, "How'd I do?" Cracroft replied, "I think you did very well."
Richard Bushman asked what the panel thought the consequences for Booth's thinking might be for Mormons, especially for Mormon writing.
Both Kramer and Duerden addressed this question, but I think it was Kramer that replied that LDS "tend to feel bitterness over people as successful as Wayne Booth who "˜leave' the church." He told how it was not unusual for someone to say to him of Booth, "Your church must think this guy is one of the greatest guys around." Kramer said he had had to reply, "Well, no we don't." But as Kramer put it, we "ought to feel comfortable praising and embracing Booth's thinking, adding that "Wayne was always interested in helping me develop my testimony."
This whole conversation was interesting, but here Kramer said something that really snagged my attention: "Conversations we [Mormons] think have ended have only begun." I think he meant this not only as a comment on Wayne Booth's critical and spiritual stance but also in general about just how much wonderful narrative and conversational matter is out there that we have not yet begun talking about in Mormon folk and academic circles.
Duerden added that in saying the things he had to session attendees he felt he was preaching to the choir. "But the choir," he added, "sings to the congregation." He felt that Wayne Booth's existence and work "was an indictment of our judgement that he wasn't LDS enough." Booth, he said, talked people out of leaving the church.
Kramer added that Wayne Booth was "our best friend in many respects."
Jorgensen added that he considered Booth to have lived "the kind of life President Hinkley urges us to have."
Author patriciakaramesinesPosted on 03/07/2006 Categories Commentary, Conferences, Criticism
7 thoughts on "Commentary: "Wayne Booth Remembered" at the 2006 AML Conference"
Justin B. says:
Thank you for your interesting report. I did some searching and discovered that the February 1989 Sunstone reported that Booth won AML's "Special Recognition in Criticism" for 1988.
According to Sunstone, the citation read: "Wayne Booth's The Company We Keep is not specifically, not doctrinally a work of 'Mormon criticism'; yet it is the work of a Mormon critic who has always acknowledged the roots of his most enduring values, his persistent sense of the world and what is worthy in it, as first nourished in Mormon country and community – in a place some still call 'American Fark.' In the present situation of literary criticism, which often can seem desiccated by skeptical polemics rather than fertile with plurality, Booth argues learnedly, lucidly, generously, and delicately for not just the relevance but the necessity and centrality of ethical criticism, and demonstrates the athletic complexity of its action, as if his life – as if all our lives -depended on it. And he persuades us that our lives do indeed depend on our alert, quickened ethical relations to those who offer us the community at large, and the smaller community of Mormon letters within it, is one that promises (or threatens) to keep on giving. We thank him heartily, glad of his company."
Posted by Justin
P. G. Karamesines says:
A thousand "thank yous" for filling in this important gap!
Posted by P. G. Karamesines
S. P. Bailey says:
I was also impressed by the Wayne Booth session and hope to soon read some of his works. I anticipate discovering a rich and respectable way of looking at literature that transcends the basic literary criticism I had imposed upon me in college (with all due respect to lit crit types everywhere, I got the impression that current literary criticism is something of a wasteland where critics ravage or exalt texts (any pretty much anything else they want–why limit literary criticism to literature?) according to their narrow causes). The idea of looking at the ethical stance of literature–and understanding a work by considering what the author was going through–strikes me as very interesting. Thanks, Patricia, for your thorough report.
I hope you don't mind me adding a few things that stood out to me:
1. In the context of discussing Wayne's lifelong relationship with Mormonism, they reflected on the arc of Wayne's belief in God. It was memorable (and a little touching too) to hear that he described himself later in life as a lapsed or backsliding atheist. They also noted an interesting sounding article Wayne had written laying out the Ironic Proof of the Existence of God, i.e., that irony only makes sense if you posit a Divine Being who laughs when rain falls on your parade.
2. The comment about Wayne being the best missionary we had came after he apparently gave a speech at a big conference (MLA I think) in which he bore his testimony (the words of the presenter) not of the Book of Mormon itself, but of reading the Book of Mormon with one's family.
Anyway, I hope we can (and I mean this in the most generous, warm, unpresumptuous way possible) reactivate Wayne posthumously. Or at least ensure he is present and honored at the Mormon literary equivalents of ward parties.
Posted by S. P. Bailey
William Morris says:
Thanks for the write up, Patricia. Sadly, I only encountered Wayne Booth's work once (and that briefly) in my literary studies.
So I'm pleased that he has at least some honor in his own country — I wouldn't have known to seek his work if it hadn't been for the AML.
Posted by William Morris
Shawn:
Thank you for fleshing out points on Wayne Booth's relationship with Mormonism. I can't remember who said this–Kramer or Duerden (probably Kramer, maybe you remember better)–but one of them suggested gently but firmly that the overall Mormon rejection of Wayne Booth's fellowship was more than a little stingy (my word) and that in his fostering of young Mormon intellectuals and the way his work reflected upon the church Booth paid a generous tithing.
I noticed that USU Press is publishing Booth's memoirs. I'd like to get a copy.
My Many Selves
J.B., Thanks for the heads up on Booth's memoirs; looks like another "must have" for Boothians. I'm going to try to revisit A Rhetoric of Irony (irony is important to me; I'm working up a series on it to post here)and also try to pick up The Company We Keep ASAP. I plan to squeeze My Many Selves in there too.
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Volume 4 of the Masterpiece Collection features Max Sterling's VF-1J!
3000 special units of each volume will only be available on Robotech.com with a limited cel of the Veritech's pilot... at no additional charge! When you collect all 5 cels and the background, you'll be able to enjoy the complete new "Pilots" illustration!


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» Category: "Motor Vehicle Accidents" (Page 2)
Driver fatigue is a major contributor to truck accidents
On Behalf of Darla K. Snead, P.L. Attorney at Law | Feb 17, 2022 | Motor Vehicle Accidents
Many in Florida would agree that it is through the hard work of semi-truck drivers that our economy keeps going. We depend on truckers to deliver goods across the country so we can see the items we want on store shelves. However, some truckers take risks in doing so,...
Should you accept insurance companies' offer after car accidents?
On Behalf of Darla K. Snead, P.L. Attorney at Law | Dec 21, 2021 | Motor Vehicle Accidents
Many Florida car accidents will only result in minor damage and/or minor injuries, but even those accidents can create inconveniences that people would rather not deal with if they can avoid it. However, many car accidents do result in significant damage to the...
What happens when teen drivers are distracted
Distracted driving is anything the driver does besides driving when they are behind the wheel of the car. Whether it is eating a sandwich, brushing hair, adjusting mirrors, texting, or picking out music to play, these are all forms of distraction that can raise the...
Auto accident dangers rising for Floridians in wheelchairs
On Behalf of Darla K. Snead, P.L. Attorney at Law | Dec 6, 2021 | Motor Vehicle Accidents
Auto accidents can happen at any time in Florida with people suffering catastrophic injuries and death. While anyone who takes to the road in any capacity is vulnerable, some are at greater risk than others. This includes children, the elderly and handicapped people....
On Behalf of Darla K. Snead, P.L. Attorney at Law | Nov 22, 2021 | Motor Vehicle Accidents
Accidents can happen in a split second, but the aftereffects, in terms of injury trauma, healing, rehabilitation, or coping with loss, can last a lifetime. Florida drivers should be aware of what steps to take after the accident has occurred, as well as what laws are...
Eighteen-year-old arrested after leaving scene of fatal accident
On Behalf of Darla K. Snead, P.L. Attorney at Law | Oct 21, 2021 | Motor Vehicle Accidents, Personal Injury
One of the crucial problems in assessing liability for pedestrian accidents is the fact that the vehicle driver frequently leaves the scene of the accident and travels far enough that arrest and identification are often very difficult. The opposite outcome occurred...
Truck driver negligence may cause serious accidents
On Behalf of Darla K. Snead, P.L. Attorney at Law | Aug 17, 2021 | Motor Vehicle Accidents
If you were involved in an accident involving a commercial truck, truck driver negligence likely caused or contributed to the accident. Operating a commercial truck requires specialized training and licensure, as commercial trucks can be more difficult to control than...
An insurer may not have your best interests in mind after a crash
On Behalf of Darla K. Snead, P.L. Attorney at Law | Jun 21, 2021 | Motor Vehicle Accidents
Motor vehicle insurance is an important responsibility that Florida drivers must maintain when they own cars, trucks, and other automobiles. A motor vehicle insurance policy protects a driver from claims if they are involved in accidents and may compensate them if...
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Wrong-way driving appears to have caused a collision of a passenger car with two semi-trucks in Lakeland last Friday. The multi-vehicle accident occurred just after 7 a.m. on U.S Highway 98, north of Lakeland Acres Road. Aaron Michael Russ, 28, was headed southbound...
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On Behalf of Darla K. Snead, P.L. | Apr 26, 2021 | Motor Vehicle Accidents
It is not unusual to see semi-trucks in Lakeland, especially Publix trucks and Amazon trucks. Those who drive semi-trucks provide a valuable service that is essential to the economy not just in Florida, but across the nation. However, semi-truck drivers are prone to...
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Introducing the Selectors for the MA/MFA Phase of Graduate Photography Online 2017: we talk to Thomas Dukes, Curator at Open Eye Gallery Liverpool.
Tell us about your job and about the work of Open Eye? What does your core role at the gallery involve?
I'm the curator here at Open Eye Gallery in Liverpool. We're by no means a large team, so I can be very involved in a number of different stages of project at once - so any kind of outline of what my core role will definitely miss something out. But I spend a lot of time in conversation with photographers, and those who work with photographs, about their projects and images, about their passions and perspectives on images and image culture. We are working hard developing thinking around Socially Engaged Photography Practice (SEPP) at present, and this involves becoming more of an enabling organisation - engaging photographers at the centre of many varied disciplines and peoples daily lives - so there is a lot of sharing ideas and talking with people from a non-arts background. My core role is enabling a dialogue, whether that be in physical space, or online, or offsite in talks and sessions, around photography and its incredible ability to connect people.
I started a degree in Law having always thought that I would be a solicitor. But during the single year I was there, I attended around 4 lectures and took thousands and thousands of photographs, then shared them almost daily over the uni' network with all my friends and people we had seen out. I think this was probably before Facebook, so it went down really well. The enjoyment I got from this made me think I wanted to be a photographer, so I left Law, got an Arts Foundation Qualification and a place at Blackpool & The Fylde College on the Photography BA. At which point I realised my enjoyment was definitely in sharing images, connecting people and stories through photography and less in being the photographer. So an MA and a number of incredibly inspirational people in galleries later and I'm in the incredible position I am in. I couldn't want to be in a better job, I think photography is only becoming more vital and essential to our lives.
Well, everyone has different ideas of what might be interesting. But some projects are deeply personal and might be the obsession of a very small group - whereas some might be a clearly presented project around a very important subject. Knowing how and when to work across both, or use either, makes for a well crafted exhibition or discussion.
I want to know, very simply, what the project is about and why you made it. Get used to explaining your project in a clear, structured way - do this in critiques or with your tutor, that way you can do it outside of University. Keep your projects direct and make them well! It takes a lot of skill and practice to make a project around Philosophy or Psychology that still looks great and makes sense (Esther Teichmann is a prime example of someone capable of doing this) and if a new graduate starts writing about a number of complex ideas that have inspired the work I become worried the work will be un-cohesive or overly complex.
Visual culture is becoming essential in every discipline from Anthropology to Sales to Policing. I joke with my (incredible) Director, Sarah Fisher, how wonderful it would be if all the fast food places in Liverpool employed Viviane Sassen or Mishka Henner to do their visual merchandising. As you say, aside from the technical skills - and these are important! - there's a lot of space in the degree to explore how an emerging photographer may want to move forward in the world, and a great deal of this is understanding how images work in different audiences, or situations, or times. New photographers are masters of a new language, and can speak or provide platforms for new messages - you can do anything with a language - look at what memes accomplished.
David Uzochukwu is 18 and just photographed the new FKA Twigs Nike campaign. As far as I'm aware he's totally self taught. It's not a challenge so much as something to be aware of - undertaking a degree means you've had access to incredible experience, resources and time, but if you don't make use of them the degree won't help you by itself. Whilst we're on the subject, talk about your work to people outside the university world - as it can be incredibly insular.
Make work as much as possible, make work with people, make work that I can find online, join a studio and show work as part of that studio, do the flyers for your local anything - but keep making work!


Darlington Beach House @ Spring Beach is a beautifully appointed, award winning holiday house in a fabulous location only a short stroll to two beautiful beaches: the stunning white sands of Spring Beach and exclusive Stapleton Beach on Tasmania's spectacular East Coast.
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The beach house is comfortable, airy and light and offers contemporary furnishings and quality towels and linen, Tasmanian essential oil soaps, a luxurious deep 'air' spa bath, well-equipped Chef's kitchen with stainless steel/European appliances, slow cooker, a partially stocked pantry, a wood heating fire for cold winter nights, a reverse-cycled air conditioning/heating system, plus luxury underfloor heating in the lower level adult retreat.
The Beach House accommodates 2-8 guests extremely comfortably over two spacious levels, offering flexible living spaces and rental options. Darlington is ideal for both couples seeking a romantic break as well as families and friends seeking separate living spaces and quality accommodation.
The upper level accommodates 6 guests in 3 bedrooms: 2 Queen Size bedrooms and 1 Twin (The twin bed can also be zipped together to create a King Size bed) . The upper (and entry) level of the beach house (main section of the house) also has a bathroom with air spa bath and a shower, a separate toilet, small laundry and a modern open plan living/kitchen/dining area filled with natural sunlight. The upper level dining area seats 8. The outdoor setting on the lower level seats 10. We also provide timber tables and folding chairs for the veranda.
The fully self contained one bed apartment/adult retreat on the lower level accommodates 2 extremely comfortably and offers a second living/dining area, TV, DVD, i-pod docking station, small kitchenette with functioning oven and cooktop, plus a second shower room (easily accessed from the upper level as this is off the living area rather than lower level bedroom).
* If guests do not require the retreat it simply remains locked so that guests can enjoy exclusive use of the property.
Darlington is a 'fully accredited' holiday home with council approval.
*Quality European Appliances, including Miele dishwasher and a superbly equipped chef's kitchen including catalytic oven, Baccarat Cookware, Microwave and Slow Cooker.
*Games, Children's toys, books, Boogie Boards and Fishing Rods.
Spacious 2 acre garden offering privacy and the perfect space for children to play!
Darlington has a safety Gate for small children at the top of the stairs and a child safety guard for the wood burning fire.
Cot and linen available for a small extra one-off fee.
A single High Chair is also available.
NOTE: Guests are responsible for purchasing their own kindling. Guests are welcome to use our log supply.


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redpajama_set_name: RedPajamaGithub


text:
Het landskampioenschap hockey bij de heren in het seizoen 1934/35 werd gewonnen door HDM door in de beslissende kampioenswedstrijden te winnen met 0-3 en 7-0 van Breda. Hiervoor versloeg Breda eerst de oostelijke kampioen PW.

Algemeen
Het Nederlandse hockey was opgesplitst in vier districten, waarvan ieder district (uitgezonderd het district noord) een eigen eerste klasse competitie hield. De kampioenen van ieder district speelden vervolgens tegen elkaar een hele competitie voor de beslissing om het landskampioenschap. De districtskampioenen waren respectievelijk: HDM (West), Breda (Zuid) en PW (Oost).

Eindstanden

Zie ook
 Nederlands landskampioenschap hockey dames 1934/35

Hockey in 1934
Hockey in 1935
 1934/35

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By now you've heard the expression.. "The Whole is the Part...The Part is the Whole" -- You have, haven't you? Well, this (fractal-based) saying is one of the most powerful Meta concepts that most are familiar with, and could learn more of.
(When we say meta- it simply means to study how opposites are two sides of the same coin, but still the same coin.. .meaning... .they come together. Our job at thehempcoop.org is to share with you the sciences of opposites, one in which Leonardo Da Vinci and Nikola Tesla heavily practiced.
Your whole being is recorded into every cell of your body: physical and non. How cool, right? That means, if I take any part of your body: hair, finger nail, skin, etc. I can essentially duplicate another you! We call that cloning, which is already done to animals, but said to be immoral for human use, and thus we presume most of its experiments are done in secrecy.
Plant Cloning: Plants clone, why can't we?
If you know anything about plants, you should know that it spreads its genes just as we do in the sense that it can be grown in several ways. The first is the traditional seed + water + TLC. The second one is to clone from a bio-mass of the intended subject you wish to clone, and non-destructively decompress its bio-mass into a clone. This second method here is no different than taking a drop of your blood, subsequently growing you in an incubation tank. So you see, the DNA of the entire plant, or you, is entirely all in one little spec of you.
Digital Photography and Memory Sticks follow the same rules.
Everything in this world is a recordable frequency. From Ice dating to DNA. What's not obvious are the things we have not yet achieved, so naturally, humans being will resist the possibilities of what I'd like to call "impressionable resonance." I may have heard this elsewhere before, but in short, that's how the Universe expresses itself through the whole of the Universe. Moving on, look at the amount of data that could be squeezed into a piece of memory stick today with loads and loads of instructions to produce the entirety of you. This happens because data are able to overlap one another due to their efficiently compact nature, and because every quarks of the universe carries a unique frequency signature, the metaphysician is able to distinguish and thus extract the information into usable data.
Sound works in the exact same way as described in the examples above where every note carries the DNA of other notes. That's right; you heard me. We were taught that a C note is a C note and a B note is a B note. Never were we taught that within a C note are essences of all other notes we could easily be determinable by mathematics.
Lastly, there's a gentlemen by the name of Walter Russell who was renown for his expression, "Everything is made of everything else. Nothing is of itself alone." As crystal clear as this Universal Principle to Walter, there were very few who understood then, which is no different than today. Russell was widely acclaimed for being self taught by way of meditation where he would go into meditation, (otherwise known as the EMPTINESS), to extract all of that which interests him. We were taught the exact opposite approach, in the sense that we pile on more books and experiences, but hardly do we look to empty our minds so that the answers to our lives could, in response, fill the void that we create through meditation.
"The Whole is the Part, the Part is the whole" simply means that opposites create one another. Just as with sorrows and joys, you cannot have repeat sustainable success without feeling the feelings of failure. To go even further, for those vying for true sustainable success, you must intentionally push yourself to fail at all cost. Be sure to fail gracefully, because if you take short cuts, it could take you longer to get there, take the easy way out and life will surely be difficult for you. My best advice for the average being is, take a balance of both, as long as you keep your awareness on the concept that this is all your creation and that a Part of you truly is the entirety of this Whole You-niverse.
A clone of my body will not be me. Nor will it be a duplicate. Similar, yes. Duplicate, no.


text:
Q: Return actual patched property value from patchcommand in RavenDb A have a "Billing" class that's describe my finance account model in multithreading application. If i want to transfer money from one billing to another i make patchcommand that is increment one property and decrement another. What is the right way to return actual property value after patching without redundant Load-query?
Billing class
public class Billing
{
    public string Id { get; set; }
    public decimal Balance { get; set; }
}

My patch method
public void TransferMoney(string billingSrc, string billingDst, decimal money)
    {
        _ctx.DatabaseCommands.Batch(new ICommandData[]
        {
            new ScriptedPatchCommandData
            {
                Key = billingSrc,
                Patch = new ScriptedPatchRequest
                {
                    Script = @"this.Balance -= money;",
                    Values = {{"money", money}}
                }
            },
            new ScriptedPatchCommandData
            {
                Key = billingDst,
                Patch = new ScriptedPatchRequest
                {
                    Script = @"this.Balance += money;",
                    Values = {{"money", money}}
                }
            }
        });
    }

A: You can use the output() method to send values back to the user.

A: Since RavenDb v3, the set of predefined JavaScript functions available in ScriptedPatchRequest has method output(message), which allows to debug your patch and print passed messages in the output. See documentation for v3.0, v3.5, v4.0.
See example below:
var balancePatch = dbSession.Advanced
    .DocumentStore
    .DatabaseCommands
    .Patch(
        billingDst /* document ID */,
        new ScriptedPatchRequest
        {
            Script = @"this.Balance += money; output(this.Balance);",
            Values = {{"money", money}}
        });

// Reading the debug output
var balance = balancePatch["Debug"].Values().First().Value<decimal>();

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In mid-August, head teacher Babalwa Mfebe had the privilege of shadowing the principal of Parkview Junior School. Mrs. Felicity Peter generously gave so much time to Babalwa, who returned to the Wings of Hope School with many new books, evaluations, and other organizational ideas. In addition to all of this support, the parents of Parkview Primary have also donated R6 300 to our neighbourhood foundation.


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text:
Synths and Similar - an electronic music gear thread
By Rowan Morrison, September 23, 2016 in Creative
Rowan Morrison
We used to have a lot of synth talk in the Audio Club thread, but that's largely devoted to actual music tracks these days - which is great. So I thought I'd see if there's enough interest in synths and music technology to support a new, separate thread. I've been mucking around with electronic music gear for almost three decades now, and I don't think there's ever been a time with such a variety of interesting and (usually) affordable hardware releases. So this is a place where we can discuss any kind of electronic music equipment, ask about potential purchases, review new purchases, share tips and insights, etc. etc.
In a timely fashion, I can kick things off by saying that I just (yesterday) completed my first case of Eurorack. I started small with an 84hp case from Eowave and, predictably, things spiralled rapidly - I haven't expanded, but I've filled it up faster than anticipated. Here's the rack:
The recently-released Ears over on the far right (a contact mic / audio input) was a last-minute final piece, and works really nicely with Clouds, especially the 'resonestor' mode in the alternative firmware.
I started off with a focus on Make Noise - my additions pretty much run left to right - but since getting the Ripples and Clouds I've been really impressed by the Mutable Instruments modules. Inevitably I'll have to move up to a bigger rack eventually - probably one of the nice new Mantis cases from TipTop - and when I do, I'll be picking up some more MI stuff for sure.
Going modular has definitely put a curb on my gear buying, and also much of my interest in new non-modular stuff - I don't really care about the Deepmind or the Matrixbrute or any of that now. I wish I'd done it years ago - I could have built a huge collection by now, but I was always put off by the initial outlay and the lure of more affordable and self-contained things. On the other hand I think now is a much more interesting time to get into modular - there's a demented range of options, and plenty of affordable routes.
I now have to think about whether I want to start selling my piles of non-modular gear in order to feed this new habit. I've got a fair amount of stuff that would translate into a seriously powerful rack. Would I miss it all, or am I now on a one-way journey into a world where everything must be patchable? Modular is really the ideal route for me, because all I've ever really wanted to do is mess around and tweak things indefinitely. So while I've got some catching up to do, I feel like I'm finally heading in the right direction. If anyone's considering it and has questions, ask away.
Anyway, that's my courageous story. I know we have a few other synth fanciers on board, so what are we all up to? What are we lusting after? What do we have?
Dimahoo
Sadly i don't have anything. I'm all VST'd up to the max with Diva, Serum, Meldapower Synth, Synthmaster, et all.
I was thinking of going down the Korg Minilogue route but as i have Diva i'm not honestly sure if its worth it.
I was wondering if i could get a better or similar sound by using Diva and some good quality VST effects. I could just about afford the Korg - but i'm wondering if that £400 quid would be better spent elsewhere really - given i have a decent Nektar Panarama P6 so i'm not sort of knobs.
In fact, my next move would be into a semi decent microphone to record precussion and field.
I've got my sights set on an MS 20 at the end of this month, been hovering over various Buy buttons for the best part of a year. I suppose the next step of the plan will have to be inventing a time machine so that I can go back 20 years and invent jungle.
What non-modular kit do you have, @Rowan Morrison?
1 hour ago, PK said:
Oh man, it's an underused catalogue of shame. Now bear in mind that around six years ago - although you might not believe it - I got rid of years' worth of gear in a big part-exchange for my Moog Voyager. This was a great move, cleared things up a lot and set me on the right track - for a while. Then I started to lapse into bad habits again, but obviously, as per the above, that's all over now for true. Anyway, precariously arranged in my little loft fortress:
Moog Voyager, with VX-351 expansion
Moog Mother 32
Moogerfoogers: CP-251, Ring Mod & Freqbox
Dopefer Dark Energy v1 & Dark Time
Roland SH-101, MC-202 (x2), TB-303, TR-606 & TR-707
Elektron Analog Four, Analog Rytm & Octatrack
Waldorf Streichfett
Akai S-950
Yamaha TG-33
Korg Volca Beats, Bass and Keys
Korg SQ-1
Dave Smith Mopho
Aturia Beatstep (v1, not - sadly -the Pro)
Boss SP-404SX
MPC 1000 & 2000XL
Critter & Guitari Kaleidoloop
Jomox T-Resonator
and now the modular above and probably a couple of things I've forgotten.
I don't spend much money socialising and, you know, I'm quite old. For recording I have an old Yamaha AW16G and a more modern Zoom R16. The R16 is a lovely little SD card multitrack - battery option, 8 simultaneous inputs, built-in mics, works as a soundcard - but it has no sync. The Yamaha will sync to MIDI and has more comprehensive effects and dynamics, but is a bit unwieldy
I don't want to get rid of the Moog stuff because it's just too nice in use. Same with the Elektrons, which are really at the heart of things - the A4 is great for controlling CV gear and the Octatrack's four inputs and channel effects are a godsend if you want to get away from the laptop, which I usually do (in practice I tend to favour the OT over the two dedicated recorders). I'd have a hard time selling the 303, partly because it has CV mods and partly because it's a 303 for Christ's sake. But obviously it would translate into a lot of modular gear... and if I keep the 303, I have to at least keep the 606.
But yeah, I need a clearout for sure, it's just a shame that most of what I'd be happy to get rid of isn't worth a great deal (the Roland stuff and the Akai are the prime candidates). It adds up, though, I just need to get off my backside and make a start. I know what does and doesn't get used, and I know full well that less is more.
I'm sorely tempted to just go full Eurorack, but I expect selling all the above will be a big hassle. The lesson is clearly to start as you mean to go on, but the flipside of that is that I've tried a hell of a lot of different gear over the years, and satisfied a lot of curiosity. What I regret most are the impulse purchases like the Mopho, the Beatstep and the Volcas (the SQ-1 is great, though).
Wow, seeing it all listed like that makes it even worse - it's much less depressing when it's buried under a pile of cables or leaning against a wall behind a table.
1 hour ago, Dimahoo said:
If you're happy enough working in a DAW then the Minilogue probably doesn't add a great deal (and I expect it'll have difficulty matching Diva for sound). It's a good example of something I'd have been eager to check out a year ago, but feel less drawn to now (it's mainly the little oscilloscope that appeals). I'm now in a similar position re. £400 - I'd be thinking about whether that could buy me a new case or a complex oscillator or something. I mean, I'll still piss it away, just less indiscriminately.
A good mic is something I've never had, though I do have a Zoom handy recorder that does a decent enough job of field recording. I want to pick up a contact mic after payday to accompany the Ears module in my rack - that has a built-in contact plate for tapping and rubbing, which is great, but I want something I can attach to springs and singing bowls and kettles and such.
I hovered over the MS-20 Mini for quite a while, but the fact that it doesn't talk v/Oct always kept me at bay. Are you considering the kit version or the MS-20m? They're more tempting because they can handle v/Oct, and it's a safe bet that once you start slinging patch cables you'll find yourself looking at other things you can connect.
The Voyager is annoying in this respect, because it tends to work at a 5v level rather than the 10v you often find in Eurorack. So it's potentially risky to connect the two directly - too many 10v gates might damage the Moog. I can offset voltages using either my Maths or CP-251, but in practice I tend to keep the two systems separate (apart from the Mother 32, which is Euro-friendly). The Voyager and 'foogers get along well enough.
Here's the modular in action, with a self-generating krell patch:
The hardest part of this was recording audio into my sodding iPhone. The only audio source is the STO, which is a pretty simple triangle-core VCO, but it's going through the uFold wavefolder for a touch of grit. Dynamics from the LxD low pass gate and some resonance from the Ripples filter, and then delay and reverb from the Clouds. The delay is from the granular processor, just being used sparingly. The Maths over to the left is the main clock and is doing a lot of the heavy lifting, and the leftmost Wogglebug is randomly modulating the oscillator pitch and the envelope decay.
At least I think that's what's going on, I've moved a few cables since making the video so it's now gone forever.
Shamefully, I also ordered a Make Noise 0-Coast this morning, after finding one of my regular shops had it in stock. But that's it now, nothing else until 2017 as God is my witness. I'll report back on that on Tuesday.
My 0-Coast of shame arrived yesterday, but it was a busy day so I didn't get long to arse around with it. It's very nice, though. Physically it's well built and very compact, but sturdy. There's a little more room than you generally get on a Eurorack module, so it's comfortable to work with, and the layout is sensible (normalled paths are clearly marked).
Soundwise it's going to be an enjoyable module to explore. Despite the name it's primarily a West Coast synth, which makes it an interesting alternative to the Mother 32. There's no filter, of course, but the Overtone, Multiply and Balance controls are a powerful and complex replacement. Sample & hold, which is hidden away on the Mother, is up-front on the 0-Coast, with a dedicated output and a big LED indicator. Throw in the cycling Slope circuit and the end of cycle / end of onset trigger outputs, and it's clear that this synth is built for more experimental tones, while the Mother excels as a melodic self-contained one-osc mono.
But they're both filled with modular connections, and they're both very flexible. If I get a chance tonight I'll hook a sequencer up to the 0-Coast and dive into the programmable features (like the two 'hidden' LFOs) and maybe get some samples.
If you're in the market for a semi-modular desktop, you're spoiled for choice at the moment - the Mother and 0-Coast are the headliners, but there's also the Pittsburgh Modular Lifeforms, which has two oscillators and a lot of patchability, as well as several smaller options from the likes of Dreadbox. They all offer their own unique strengths - the Mother is a Moog and sounds like it (and has a powerful little sequencer), the 0-Coast is a great encapsulation of the more unconventional West Coast elements of modular (and might be the most interesting option to add to an existing modular), and the Lifeforms looks like a more comprehensive gateway to modular in general.
The Liberal Elite
Fucking hell at your list, @Rowan Morrison!
My far humbler list includes:
Korg Minilogue
Volca Beats, Sample, FM, Keys
Novation Circuit
Novation X-Station
Teenage Engineering PO-14 (which barely counts, tbh)
Beatstep v1
I'd love to go full on mid life crisis and get loads more but it's all about the space. If that and money wasn't an option, would get an Elektron Analog 4 in a second, and some of the Airas are bloody great as well.
TBH, what I need to do before anything else is work out a way of connecting it all. I assume that a mixer and some multi midi thru is required. What's your set up in this regard?
My setup is a load of stuff sitting around in chaos with a big mess of power cables and audio leads that have fused like rat kings. Every six months I'll sort it all out, and then after two or three units have been put into place it's pretty much back to how it was.
I've given up trying to connect things in any permanent or meaningful way. I've got the two mixer / recorders but that's still not enough inputs, and even if it was I'd be moving the MIDI cables around and rerouting gear through other gear all the time, so chaos is inevitable unless I straighten myself out and simplify my setup.
So at the moment I tend to use the Octatrack as my main device - it can have four inputs (each with dedicated FX and sampling), and it can sequence eight MIDI tracks alongside its eight internal tracks, and that's enough for me. I'll also chain the Analog Four and Rytm if I'm using them, as they both have useful external inputs - with good effects on the A4 and compression on the Rytm. So the Elektrons form a nice little self-contained unit with several inputs for other gear (how many depends on your mono/stereo preference). The Octatrack is a great MIDI sequencer and the A4 can do two sets of CV/Gate.
Recently, though, I've just been sending my modular output into my Roland Cube Lite monitor.
You've got a lot of stuff that will happily sync up there, which I always like - the Beatstep and all the Korgs (and the PO-14, if I'm not mistaken) will all communicate via gate clocks on mono 3.5mm jacks - I think the Beatstep will only work as a master, but you could probably have it syncing the Circuit. So if you're happy working with multiple devices all running their own sequences (which is the beauty of the Volcas), you just need a mixer. I've got a Belkin Rockstar, which is a little starfish device that should be around a tenner and passively mixes 3.5mm stereo lines - that has five inputs, so you could have your Volcas and PO-14 going through that. Then you'd be able to get away with a little notepad-style mixer, if size and/or cost are factors. But there are plenty of affordable 8- or 12-track mixers out there if you want a more fully-featured mixing setup.
Are you planning on sequencing it all with a DAW, or using internal sequencers on the gear itself?
My modular filter (a Mutable Instruments Ripples) arrived with a fault; one of the sockets was 'loose' and didn't grip the jack. So I had to rip that out and send it back, leaving a big gap in my freshly-filled rack that naturally haunted my every waking moment. One day later I'd cracked and ordered a module to fill it, except the module I ordered was bigger than the gap, with the effect that when the filter comes back I'll have two or three modules that don't fit in the rack, for which the only solution is to buy another rack. And that's how easily it happens.
Anyhoo, the module I cracked and bought was the Braids oscillator, also from Mutable. This thing is really deep and interesting. It's fully digital, which is fine as my other oscillator is analogue. It runs a wide variety of models, from three-osc voices through FM, waveshaping systems, noise, wavetables, vowel synthesis and more. Initially it seems quite limited, only having two parameter inputs beyond note CV and FM. But oscillators in general don't have many inputs - maybe a PWM control and a variable waveshape if you're lucky, so while Braids could certainly benefit from another eight inputs, it's certainly very capable with what it's got.
And as with all the digital Mutable devices, the firmware is open source and there's at least one alternative out there, which adds a ton of features (Turing machine, internal modulators, a meta-sequencer - crazy stuff). I haven't tried that yet, because there's an update imminent and the official firmware is deep enough to keep me busy for a long time.
A lot of what it does is, I suppose, bread and butter digital stuff - you find comparable models and features in synths like the Ultranova or Blofeld (though I'm not aware of anything that does everything Braids does). But as with modular in general, it's the connectivity that makes all the difference, being able to quickly patch various sources and signals in and out on a whim.
How have I used all this awesome processing power, you ask? Obviously to create a kind of washing machine noise, using the Particles model through Clouds (everything goes through Clouds now):
It didn't start out like that, obviously. It never does.
How about the Drumbrute, is anybody planning on picking one of those up? I can't justify it because I have enough drum machines and I've got a new modular rack to buy, but someone here must be tempted.
Nequests
Bit of cheeky post perhaps, but would anyone here want to buy my Roland Juno 60? I won't be back in the U.K to sell it until January, so mostly gauging interest for now, but would do it for 850 quid for someone on here. All keys and everything working fine and in great condition. No mods.
It's in Nottingham if anyone wants to look at it in January, or I can arrange photos and work out shipping rates nearer the time if need be. \
It was my first ever synth, bought over a decade ago and I'll be gutted to see it go, but I can't ever see me lugging it back to China any time soon. Hope it can go to a loving home.
CrispyPhallus
If anyone's interested, the OP-1 has just dropped massively in price!
https://www.amazon.co.uk/Teenage-Engineering-Portable-Synthesizer-Controller/dp/B00CXSJUZS/ref=sr_1_1?ie=UTF8&qid=1479288500&sr=8-1&keywords=op-1
I must have bought the last one from a certain supplier as it's now unavailable at the price I got:
https://www.amazon.co.uk/Teenage-Engineering-Portable-Synthesizer-Controller/dp/B00CXSJUZS/ref=aag_m_pw_dp?ie=UTF8&m=A1VWZJYS32J9EY
I hope it's there's no faults with it. I'm not too impressed by those reviews.
I'd love an OP-1 in theory, but I've always held back for some reason. The tape tools and the crank handle are the main draws for me, and it seems like a solid option for a hardware sampler. I guess there's always been something else I'd rather have.
I would imagine the Novation Circuit is giving it some competition nowadays, but it still strikes me as a well-designed and musically interesting device. Post up your impressions!
My modular shenanigans have gone predictably off the rails and I now have a 6U (two-tier) case and just capped off the bottom row, which is 100% Mutable Instruments modules. Last one is was a Warps, which is a stupidly flexible modulation module in its own right and is taken even further by the alternate firmware, which adds a raft of additional features (including a beautiful tape delay simulation). The Tides module has two alternate firmwares, one of which is official and turns it into a wavetable oscillator that could easily be sold separately.
The value and depth in this stuff is off the charts - the downside is that you don't have the focus that something like the OP-1 imposes. I really like the notion of having several minutes of linear tape time, and once that's filled up you have to draw a line under whatever you're working on. But at the same time I really like the notion of noodling around for hours listening to three function generators choose what you're hearing.
Anyway, report back but don't make it sound too good.
They've cancelled the order! I managed to get it for £362.77 but the price has gone back to £631.63. It looks like the seller has left Amazon for good now. What a shame!
EDIT: I've just purchased Logic Pro X, so I should probably just stick to learning that first before buying any gear anyway!
Ah, for £362 I'd have slapped it right on a credit card without a second thought (other than 'is this a scam?').
If you're getting into a DAW then the OP-1 might not have been the optimal choice, anyway - I think its real value is as an out of the box, all-in-one unit.
Yeah, it was just to have fun with really. A nice way to instantly jam like this guy does a lot.
The DAW is really for me to learn about music creation and to be able to record my own guitar and bass in to hopefully one day. I have a Line 6 KB37, so I'm able to right now but must learn the DAW first.
EDIT: sorry, I've derailed the thread slightly with my non-purchase.
@Rowan Morrison
https://www.amazon.co.uk/dp/B00CXSJUZS/ref=sr_ph_1?ie=UTF8&qid=1479635185&sr=sr-1&keywords=op-1
Cheap again. What's going on?!
EDIT: Ah, it's a new company on Amazon. Probably should avoid.
EDIT2: Incidentally, something I've noticed with how Amazon works is that this low price is brining down the price of the items sold and dispatched by Amazon to £566, which is a big discount in itself.
EDIT3: Price is back up again and the marketplace company looks to have vanished. Next time this happens I might buy the £566 one despatched by Amazon if this happens again.
If it's fulfilled by Amazon I'd be confident. The low one on there at the moment (366 'Black Friday' deal) looks dubious - anything on Amazon that says 'contact before buying' with an email address ain't happening.
Someone noticed that Thomann were selling the Aira FX units very cheap, and they still are (example). These are modular compatible FX devices, but also work as standalone units, and can be reprogrammed via an app. Worth a look at that price for anyone who has semi-modular gear or is after effects. Someone on Muffwiggler took apart one of the units and they're ridiculously over-engineered, weird pieces of kit. They're practically useless in a modular case because they suck up crazy amounts of power. Anyway, they're all half price at the moment.
Do virtual racks and synths count?
Moog's Model 15 iOS app is half price, first time it's had a discount since launch. I haven't had chance to do more than buy it and randomly press keys on a few presets but it seems v cool.
on a similar but more modern-interface, zmors modular is £3.99
I'm tempted by that because Animoog is great, but my iOS synths do just tend to sit there doing nothing. Also I have an iPad Mini - it does Metal, so it'll run the app, but I expect it'll be on the low end of the performance scale, and probably a bit fiddly on the small screen. I might crack yet, though.
While I'm here, I've just had an unexpected early drop-off of a Mutable Instruments Peaks, which is a dual trigger-to-signal device. It does envelopes, LFOs and also has two drum synths, but what makes it really interesting is the alternative firmware that adds a ton of other features, including several sequencing modes - looking forward to diving into that tonight. I've got a noise module arriving tomorrow (both Black Friday pickups) and after that I've only got room for one or two more modules, so I'm going to have to choose carefully.
I sold my OP-1 years ago, I still regret it til this day. Had to used the funds to buy a laptop as mine got nicked. Can't believe the price has increased though, its a fantastic device though I wish the sampler had choke groups.
I've ended up going down the VST route. I just don't have the space. The money i'd have spent on the Korg i've now bought NI Komplete 11.
I feel i can do way more and have more fun what with Reaktor, et all. I bought Molecukar at half price too.
Molekular is pretty incredible, though it's one of those tools where I forget how it works if I'm away from it for a couple of days. Reaktor Blocks is a major development and has some very nice community modules, including a number of replicas of Eurorack gear. What Blocks is lacking is a good patching interface - if it had a rear view like Reason where you could quickly patch modules together, it'd be pretty much perfect. As it is, patching is fiddly and time-consuming, so it lends itself more to creating fixed-architecture synths from the modules, rather than quickly trying out new ideas. But the scope is tremendous.
Both work really well with Maschine, which is an excellent controller for any modern NI software. If you've got Komplete I'd give serious thought to a Maschine (if you haven't already). I've got the V2 model, which looks a bit dated alongside the Studio model but still works well enough that you can ignore the computer 90% of the time. The pads are really nice.
Oops, submitted that halfway through. I don't have Komplete - just Maschine, Reaktor and a few individual NI apps - but I could undoubtedly sell all my hardware, stick with a laptop and the Maschine hardware and still have enough to keep me busy for the rest of my life (and that's before factoring in Live, Max, Renoise and the rest). I just enjoy different hardware interfaces too much, which is partly why modular appeals to me - Maschine works just fine, but it's the same interface for hundreds and hundreds of instruments. On the one had that's an incredible situation to be in, but on the other hand it's quite a generic experience overall. What this really means, of course, is that I'm a tinkerer more than a musician, which is another reason I'm drawn to modular...
Yeah i'm kinda the opposite. I've always thought i was a tinkerer but actually i'm not great working at a macro level as when the "phase" comes i just want to write and tire of tweaking. So then i want to learn chords, forget i'm not musically trained, then want to get simple again - which forces me back to working at a Macro level .
My approach is all kinds of wrong
At least now i have a stable Windows 10 studio with some good kit so i'll take the time to learn that.
Well, returning to the start of this thread, I finished off my 6U (two-tier) modular yesterday:
It really is an 'abandon hope' situation once you've taken that first step. I've got my old case from the top of the thread sitting empty, and my plan is to put some control and performance modules in there, but as God is my witness I'm going to rein myself in now and explore this rack. Filling in that last blank space did feel like a kind of closure.
Anyway, the last module in was a Mutable Instruments Rings, a modelling resonator that I now wish I'd put in months ago. Here's the output of my first test - just Rings with random CV and some modulation, going into Clouds for some simple delay & reverb. The interesting angle here is the noise element - the main clock is a steady pulse LFO, which is triggering a Wogglebug. The Wogglebug just spits out a sample & hold CV on every tick, but I'm sending blue noise to the Wogglebug's input, which influences the values being chosen. For some reason this leads to the irregular rhythms and long pauses in the video. Changing to another colour noise like white or pink doesn't have this effect, so it must be something to do with the lack of low frequencies in the blue noise. Unexpected, at any rate - I'll be looking into this over the weekend. Here's how it sounded:
Thread Astaire
If anyone is interested Behringer are working on a Model D clone for $400, plus rumours of an ARP 2600 and Oscar clone.
http://www.synthtopia.com/content/2017/03/09/uli-behringer-teases-400-behringer-d-eurorack-minimoog-clone/
Yeah, I know it's all above board, and if it delivers it'll be a hell of a low-price monosynth, but I still think the Model D clone is a bit... cheeky. No more so than the various 303 clones (or existing Minimoog clones) but, I don't know, it bugs me for some reason and I feel like it probably shouldn't. I guess I'd rather see people picking up Mother 32s or 0-Coasts than stuff like this - forward-looking designs - but who am I to tell people what they want? If they nail the filter and the knobs stay on, this thing will be hard for anyone buying a mono to resist, and the Minimoog goes with anything.


text:
How the Covid-19 Crisis Is Affecting Our Summer Events
Watch for details about the 2021 season of the 55th Shindig on the Green and the 94th Mountain Dance and Folk Festival.
In lieu of the annual gatherings of our loyal fans and performers, the Folk Heritage Committee is planning several streaming events to celebrate the 54th Shindig on the Green® and the 93rd Mountain Dance and Folk Festival®. The ongoing COVID-19 pandemic makes mass gatherings in person impossible so we will present some first-of-its-kind variations on these traditional events.
As summer is approaching, we will modify our long-standing traditions with the safety of our fans, performers, volunteers, and community in mind. Social distancing measures are a priority, and we will truly miss the warmth of your friendship and camaraderie. We appreciate your patience and understanding as we navigate the new normal of public safety mandates.
As a thank you to everyone who has attended and supported us for decades, these broadcasts will be presented at no charge through links on our website, folkheritage.org. We are thrilled to be able to bring a new version of these historical events to music lovers and appreciate our sponsors for their continuing support during these challenging times.
Follow us on our website, folkheritage.org, and our Facebook page, Shindig on the Green and Mountain Dance and Folk Festival, for upcoming information about how to tune in to this year's events. Until then, thank you for your continued support and please stay safe and stay well.
Mountain Dance and Folk Festival
Shindig on the Green
Shindig Sponsorship Opportunities
Volunteer to Help!
About the Folk Heritage Committee
Performer Info
Media / Press Releases
Press Releases, Previous Years
Songs From the Road Band to Play Shindig on July 20, 2019
Songs From The Road Band is Charles Humphrey, III (bass), Mark Schimick (mandolin), Sam Wharton (guitar), and James Schlender (fiddle). These veteran acoustic musicians have collectively received top accolades in the bluegrass, Americana, and jazz genres. Once primarily an album recording band, Songs From The Road Band has emerged as one of the heaviest touring bands in the country since March 2018. They are currently touring in support of their number one Americana, Bluegrass, and Classic Country chart-topping album Road To Nowhere. They are proud to call Asheville, NC home.
Humphrey, a member of the NC Music Hall of Fame and a Grammy-winning songwriter and producer, received the International Bluegrass Music Association's entertainer of the year award in 2011. Schimick's signature high harmonies and energetic mandolin licks have pushed him to the top of the progressive and jamgrass scene alongside legends Larry Keel, Vassar Clements, and Tony Rice. Wharton is an award-winning singer and guitar picker who honed his chops in Telluride, CO Schlender, a two-time National fiddle award recipient, is one of the top five string fiddlers in the world, with a background in contest, classical, and jazz. The Road Band delivers a one-of-a-kind show, featuring original songs from their four studio albums and crowd favorites from all musical genres. The band is known for their improvisational jams and light show, providing an engaging, high-energy experience for audiences around the country.
Raffle Prize Winner for 2020
Shindig Named Best of "Uniquely Asheville" 2019
Loretta Freeman Receives 2019 Lunsford Award
Raffle Prize Winners for 2019
MDFF & Shindig Will be Part of the Year of Music Celebration!
© 2021 Folk Heritage Committee
Website by Evolutionary Graphics


Develop a balance of speed, agility, and strength in your athletes.
Strength and conditioning are the foundation for athletic success. No matter how well trained a body is, focused and sport-specific training will take an athlete to a new level of performance. Andrew Moser, Director of Basketball Strength and Conditioning for Iowa State University, delivers over 40 exercises that will provide new challenges for your athletes.
This video allows you to follow the entire workout, exercise by exercise, to see how it's put together and to learn how to do the exercises.
The video begins with a description of the exercises and processes that Coach Moser goes through during the workouts. He discusses his philosophy and gives insight into the types of workouts you'll see. Upper body, speed and agility, plyometric work, lower body and balance are all addressed every day.
To effectively train, the body must be warmed up to peak performance levels. Using multi-joint directional movement, Coach Moser is able to get his players ready for what's to come.
In this section, you will see players use foam rollers and a series of dynamic stretches. Next comes medicine ball work and balance drills to enhance player performance. Tossing and throwing heavy medicine balls will not only improve hand-eye coordination and hand strength, it will also help your players' core strength and ankle stability, which are key to basketball footwork.
Players perform a variety of bench presses, split jerks, pull-ups, crunches, blast rows, and resistance band workouts. Cleans and snatches are two of the most important weight exercises for improving explosiveness to the rim. Each muscle group in the body must work in tandem to create vertical explosiveness and lateral quickness.
Coach Moser uses push up planks, elbow planks, and side planks in between other exercises to give players a "rest" while adding core strength and stability. Combined with other body weight workouts - such as back extensions, chin ups, ab roll outs, and glute-hamstring drops - your athletes will develop a championship-caliber core that will lessen the risk of injury and help them become more robust and agile simultaneously.
On the court, Coach Moser uses hurdles and boxes to work on plyometric explosiveness and hip flexibility. You will see a series of diverse sprinting, shuffling, sliding and back-peddling. The emphasis is to become faster and quicker overall and to switch from one movement to another with minimal loss of speed.
All of these exercises are shown in Coach Moser's four day program and can be altered depending on your athletes. A major plus for these workout routines is the limited time spent standing around. Each exercise is done quickly, then the players move on to the next station. Coach Moser keeps his players on track and engaged with different exercises every day, preventing them from getting bored with their workouts.
This video will help ensure your players are working smarter, not just harder. They will get stronger, faster, more explosive, and most importantly, less prone to injury.
212 minutes (2 DVDs). 2015.


text:
Acinetobacter baumannii est une bactérie à Gram négatif du genre Acinetobacter.

Il s'agit d'un germe de maladie opportuniste chez l'Homme, particulièrement chez les personnes immuno-déprimées et que l'on trouve aussi comme agent d' infections nosocomiales où sa transmission est manuportée. Il a aussi été isolé du sol et de l'eau dans l'environnement.

Antibiorésistance
La bactérie n'est pas toujours responsable d'infections et peut simplement être présente sur la peau ou les muqueuses des patients. Chez les patients fragilisés, elle est à l'origine d'infections variées parfois sévères (infections pulmonaires, infections de plaies ou de brûlures...). La létalité des infections nosocomiales à Acinetobacter baumannii varie entre 17 et 46 % pour les septicémies et peut atteindre 70 % pour les pneumopathies. En France en 2001, Acinetobacter baumannii représentait 1,2 % des micro-organismes isolés d'infections nosocomiales. En service de réanimation, on l'isolait dans 5 % des infections pulmonaires.

Une souche d'Acinetobacter baumannii responsable d'une épidémie de 12 patients a été identifiée pour la première fois à l'hôpital de Valenciennes en 2003.

La bactérie a acquis des caractéristiques de résistance aux antibiotiques originales qui la rendent préoccupante mais qui facilitent son identification. Elle produit une enzyme bêta-lactamase à spectre élargi (BLSE) de type VEB-1 qui la rend résistante à presque tous les antibiotiques de la famille des bêta-lactamines. La souche reste seulement sensible à deux antibiotiques : la colistine et l'imipénème, même si on note, principalement dans les services de réanimation, l'émergence de souches d'ABRI (« Acinetobacter baumanii résistant à l'imipénème »).

Par la suite, 6 souches multi-résistantes d'Acinetobacter baumannii New Delhi métallo-bêta-lactamase (NDM-1) positives (possédant le gène bla NDM-1) originaires d'Afrique du Nord émergent en  en France. Les auteurs concluent :

En février 2020, la presse belge annonce que 6 cas d'infection par cette bactérie ont été déclarés dans un hôpital d'Hornu dont 2 en sont décédés.

Notes et références

Notes

Références

Références biologiques

Voir aussi

Articles connexes
 Antibiotique
 Staphylococcus aureus résistant à la méticilline
 Plasmide
 Tourisme médical

Liens externes

Espèce de bactéries (nom scientifique)
Pseudomonadales
Bactérie décrite en 1986


text:
Maya Esparza was the District 7 Councilmember on the San Jose City Council.

References

Hispanic and Latino American city council members
Hispanic and Latino American women in politics
San Jose City Council members
Living people
Year of birth missing (living people)
Women city councillors in California
21st-century American politicians
21st-century American women politicians


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CamilaMonroeIsabelaMayerAlmiandaMarvinxlMarttin .SkiinykiittyMiladarkBADWORETaraTGdom .stunningjenyIsabelaMayerCarinaCrystalpennyxraw .FlirtyMaryLikeSunSweetCamilaMonroestunningjeny .JadeSummerCyrogiuliaspiceLorenDee .BloosomBabyxGoddessAIRAxX21Cutie21MelenaForU .MistressDeliaJanelleBakerSweetyPolliJanelleBaker .SilverBoy23ZatannaLalagulaSEXYSWEETVENUS .EmilyScarletRianaMayJadeSummerkatereedxx .ShiTora0KendraCherryLover1233AliceKaran .AlanThonsonJanetmagiceSoHotSexyCoupleKleopatraLove .
SexyBlackAnasdivOLIVERFOXJessicaBryttTimmieTwink .MonaBrownieDildoMathildaNoemieTravShemalMonaBrownie .NoemieTravShemal21Cutie21fithnessgirlSimonaRays .NoemieTravShemalCyroBlondeElysaTimmieTwink .AliceKaranLikeSunSweetBloosomBabymrb102768 .SweetyPolliIvyCrissNaughtyTOPangeLxDustin4u .JanetmagiceMissRoxAnnMelodiousOneAngelesPuppy .00HotASSXXXMeowDaisyZatannaCrisstyne .Asiyaa00HotASSXXXTaraTGdomMichellPayne .MelenaForULikeSunSweetSimonaRaysLyndon197 .SarahJaayCurvesAndGlassesANGELLXMissRoxAnn .


text:
Collins & Aikman, Charlotte, N.C., hired J.P. Morgan/American Century...
Collins & Aikman, Charlotte, N.C., hired J.P. Morgan/American Century Retirement Plan Services to provide investment management, record keeping and communications for its $111 million cash balance plan and $126 million 401(k) plan, said Greg Tinnell, vice president of global compensation and benefits for Collins & Aikman. The core investments they will manage are: American Century International Growth; American Century Strategic Asset Allocation, moderate; American Century Equity Income; American Century Ultra; J.P. Morgan Prime Money Market; J.P. Morgan Bond; J.P. Morgan Smart Index Institutional; and J.P. Morgan U.S. Small Company. The company is also adding a Schwab brokerage window and continues to offer a company stock investment option, Mr. Tinnell said. It will discontinue its profit-sharing program and enhance its company match. The company also is adding an automatic enrollment feature to its 401(k) plan.


text:
We must all be advocates
John Allan, CEO, Sensis
"At Sensis, we steadfastly believe that diversity makes for better innovation, a stronger workforce, a sustainable business and happier customers.
"Our vision is to connect and engage all Australians. We can only do this with a truly balanced and diverse workforce. Only a balanced workforce will provide us with the diversity of experiences, skills and imagination that we need to drive innovation and performance.
"#BalanceforBetter at Sensis extends through our approaches to recruitment, retention and development programs, and our commitment to work life balance. Fundamental to our culture is the belief in providing equal opportunities and promoting diversity of ideas, opinions and cultures.
"We have made a clear commitment to pay equity, of which we are extremely proud, and to increasing female representation at all levels of leadership. We are striving to be a truly balanced workplace. We are proud of our efforts to date, but acknowledge that diversity is a journey and we always strive to do more.
"We can all be diversity advocates. Every single member of our workforce is empowered to be a champion of change in order to accelerate women's equality and make a difference for women today and in the future.
Hear from further leaders committed to a #BalanceforBetter


text:
using com.lover.astd.common.manager;
using com.lover.common;
using System;
using System.Collections.Generic;
using System.Net;

namespace com.lover.astd.common.partner.impl.sf
{
	public class SfLogin : LoginImplBase
	{
		public SfLogin(LoginMgr loginMgr) : base(loginMgr)
		{
		}

		public override LoginResult login(ref List<Cookie> cookies, string verify_code = null, string extra = null)
		{
			LoginResult result = new LoginResult();
			base.logging();
			TimeMgr timeMgr = new TimeMgr();
			string url = string.Format("http://{0}/root/login.action?{1}", verify_code, timeMgr.TimeStamp);
			string data = string.Format("password={1}&yx=&userName={0}", this._username, this._password);
			TransferMgr.doPost(url, data, ref cookies);
			string redirecturl = string.Format("http://{0}/astd2/", extra);
			base.processRedirect(redirecturl, result, ref cookies);
			return result;
		}
	}
}


One of my main projects for Halloween 2018 was to tackle a big wall in the OneandSeventy hallway.
Right now as you enter through the front door, you're greeted by three pieces of handmade artwork (you can see them in this post) that last year, I Halloweenified with webbing, creepy holographic images, and homemade bats.
It looked great and The Cauldron Inn's visitors loved it, but I have this vision of a full-on Victorian Gothic mansion complete with ornate wallpaper, moving pictures and Gothic arch windows.
Although tantalisingly close, the wallpaper and moving pictures might have to wait another year, but hey! One out of three ain't bad!
I was going to make my Gothic arch windows from cardboard but a much simpler route presented itself when one of Suzy Homemaker's Insta-buds posted a picture of the Soho Window Mirror from Home Bargains. It was only £6.99 and its 69cm by 34cm sizing sounded ideal, so I immediately dragged Beloved to check it out.
First things first, remove the mirror.
Simple screws held everything together and I discovered the mirror was actually in sections, making it very easy to disassemble.
I wanted my Gothic arch windows to look rather more stone than plastic, so I hit the frames with two coats of Rustoleum Black Granite Stone spray paint.
As they dried, I turned my attention to the creepy images. This was the tricky part – how to print pictures at home that would be big enough to fit the windows.
I had a vague idea about printing a large image onto multiple pages, but I was only aware of the technique in principle. I feared this was going to involve much measuring and calculations, neither of which are my forte.
As it turned out, it wasn't difficult at all… for a Photoshop user.
Clearly, not everyone is so if you want to make windows of your own, you'll need a high-resolution image and a method that suits you. A quick YouTube search for "print large image to multiple pages" will return loads of tutorials so check those out.
Alternatively, head over to my crafty soul sister Alex at Me & Annabelle Lee who, in yet another case of curious timing, recently published a gorgeous project that described not one but two other ways of doing this.
Alex and I appear to have an uncanny knack for posting similar projects, techniques, or inspiration at the same time.
Measure the back of the frame.
Create a new, custom size document in Photoshop the same size as the frame.
Design or import your image. I made mine by combining this gorgeous cemetery photo from Pixabay and some creepy images I found on Google.
To divide your image into multiple pages, first select your image using the SLICE tool (you'll find it with the crop function).
Right-click and choose DIVIDE SLICE.
Choose the number of pages you wish to print. For my purposes I chose x2 horizontal and x4 vertical, giving me 8 pages. You'll need to decide how many you need for your window.
Click FILE>SAVE FOR WEB. Your image will be magically sliced into the number of pages you've chosen and saved into a new folder called "images" within your destination folder.
Print your newly sliced images, remembering to adjust the orientation if needed. I printed mine on landscape.
Above, you can see we have 2 images, left and right. Remember, I sliced my image into 8 pages, which is 4 rows of 2 images. You need to trim the white space so your images fit together.
Trim the TOP of each image.
Trim the LEFT side of the RIGHT image.
Do the same for all your images.
Before you crack open the glue, position the cuts within your window to make sure you're happy with the final layout.
On the LEFT image, brush PVA onto the RIGHT white space.
Line up the (now trimmed) right image to the left image and stick. You now have 1 row.
Move onto row 2 and follow steps 4 & 5 above. Once your rows are glued, it's time to glue the rows to each other to form the complete image.
Brush PVA onto the white space at the bottom of row 2 (see image above).
Line up row 2 with row 1 and stick.
Continue up the rows until you have a complete image.
To trim the image so it fits in your window, position your window over the image, draw around the frame and cut with scissors.
Glue the image to the mirror backing, trimming off any excess, then screw the backing onto the frame.
In the daylight, you may be able to see joins but they will soon fade from view in a dark October hallway, lit only by Hogwarts-worthy Hanging candles and eerie lighting courtesy of Hue Halloween.
Apologies they're not dressed in all their creepy glory, but I wanted to bring you this project early, to give you plenty of time to try it for yourself.
Well… it IS only the beginning of September and even I haven't started decorating for Halloween yet!
It won't be long though, so keep an eye on Facebook and Instagram, to see how I dress these babies for Halloween.
As always, I hope you like this project. I realise it's not always easy following a written tutorial with lots of steps, so I hope it's clear. If not, let me know by dropping a comment below or if you have any questions, get in touch directly via the contact page.
In LOVE with these!! They turned out gorgeous! I am totally making some of them! Brilliant! And, of course, thank you for the shout out!!


text:
SLEEPWALKING III
20 May - 20 June, 2014
Opening: May 20, 6 pm
On May 20, 2014 VARTAI gallery will host the third instalment in the Sleepwalking exhibition series curated by the Vienna-based curator Amer Abbas. The first one was on show at the Temporary gallery in Cologne in 2009, and the second one at the Freies Museum Berlin in 2012. Sleepwalking III discards the group exhibition format and instead presents two representatives of the contemporary Austrian art scene, Franz West and Barbara Kapusta.
Instead of presenting a sequence of phenomena such as turmoil and resolution, or visuality and performativity, the curator's idea here is based on the contraposition of two artistic forces. The earlier Sleepwalking projects invoked the notion that art essentially tends to separate its directions of development from the trajectory in dominant discourse. According to Jacques Rancière, in comparison with other "aesthetic regimes", such as politics or science, art is characterized by a "primary aesthetics". All of the regimes defined by the thinker individually or collectively participate in the distribution of the sensible, depending on their concept and composition. Art's subversiveness or destructive power is related to its separation from the discourse of representation.
The conceptual axis of the third part of Sleepwalking is the phenomenon of the emergence of something. The exhibition also employs the widely used notion of a "body without organs", often applied to the interpretation of art. Borrowing this metaphor from Antonin Artaud and interpreting it in his spirit, Deleuze and Guattari explain the emergence and functioning of the notion of a "rhizome" in their Capitalism and Schizophrenia.
Franz West's sculptures, objects, collages and performances function like still pictures – instant photographs of events and stage sets – in a displaced space, on an open stage. These objects and sculptures often resemble organic structures or recycled things that have acquired an organic form. Here, the "body without organs" takes on a special meaning, because it is a state that escapes schizophrenia – the subjugation of the body. In addition to the objects, the Sleepwalking exhibition presents a large-format projection of Eva Badura Triska's video interview with Franz West.
Barbara Kapusta's film Der vereinbarte tag is also shown on a large screen, alongside her photographic series They She We Them. Employing her poetic skills, the young artist sets out to stage the "body without organs" as a narrative. Her friends portrayed in the mentioned series of photographs attempt to externalize the internal "body without organs". The filmed version of this project has no action. People, seated on the stage by the artist are frozen in poses of simplified gestures.
In Sleepwalking III, the works of Franz West and Barbara Kapusta – artists representing different generations – form a symbolic union aiming to re-invoke the "body without organs", the menacingly redemptive presentiment written about by Antonin Artaud in 1948.
Franz West was born in Vienna in 1947 and studied at the Academy of Applied Arts, Vienna. West's work has been a fixture in countless international survey exhibitions such as Documenta and Biennales all over the world, and it is included in major public collections including Centre Pompidou, Paris; Museum Ludwig, Cologne, the Museum of Modern Art, New York; and MAXXI, Rome. Recent solo exhibitions were presented at Kunsthaus,Bregenz, Austria (2003); Lincoln Center, New York (2004); Vancouver Art Gallery (2005); MAK, Vienna (2008); Baltimore Museum of Art (2008–09, traveled to Los Angeles County Museum of Art in (2009); and Museum Ludwig, Cologne (2010); traveled to MADRE, Naples, Universalmuseum, Graz, Austria in 2010–2011); Museum of Art, Philadelphia, (2012); Schinkel Pavillon, Berlin, Germany (2012); Museum fur Moderne Kunst, Frankfurt, Germany (2013). Franz West died in Vienna in July 2012.
Curator: Amer Abbas
Exhibition sponsored by:
Gallery sponsors:
Lietuvos rytas, Namas ir Aš, Infoterminalas, Echo Gone Wrong, Ekskomisarų biuras


Abstract. The pros and cons of existing methods for true ortho generation are analyzed based on a critical literature review for its two major processing stages: visibility analysis and occlusion compensation. They process frame and pushbroom images using different algorithms for visibility analysis due to the need of perspective centers used by the z-buffer (or alike) techniques. For occlusion compensation, the pixel-based approach likely results in excessive seamlines in the ortho-rectified images due to the use of a quality measure on the pixel-by-pixel rating basis. In this paper, we proposed innovative solutions to tackle the aforementioned problems. For visibility analysis, an elevation buffer technique is introduced to employ the plain elevations instead of the distances from perspective centers by z-buffer, and has the advantage of sensor independency. A segment oriented strategy is developed to evaluate a plain cost measure per segment for occlusion compensation instead of the tedious quality rating per pixel. The cost measure directly evaluates the imaging geometry characteristics in ground space, and is also sensor independent. Experimental results are demonstrated using aerial photos acquired by UltraCam camera.
How to cite: Hu, Y., Stanley, D., and Xin, Y.: TRUE ORTHO GENERATION OF URBAN AREA USING HIGH RESOLUTION AERIAL PHOTOS, ISPRS Ann. Photogramm. Remote Sens. Spatial Inf. Sci., III-4, 3-10, https://doi.org/10.5194/isprs-annals-III-4-3-2016, 2016.


Truman's forensic union (speech and debate team) brought home two tournament championships in debate and numerous other awards at the 21st annual Gorlok Gala, hosted by Webster University in St. Louis. In a field of 42 schools from 17 different states, Truman forensics had its best performance in the last five years.
In individual events, sophomore Audrey Baker and junior Austin Sopko placed second in duo interpretation. Baker also reached the finals in two other events, placing fourth in program oral interpretation and fifth in after dinner speaking. Sopko placed fourth in after dinner speaking and was recognized as being in the top 30 percent of the impromptu speaking field. Freshman Korrin Comley reached the finals of informative speaking, picking up third and the top novice award. She also received fourth and top novice in communication analysis. Finally, freshman Will Henrickson earned sixth place and top novice in dramatic interpretation.
In the Lincoln-Douglas debate junior varsity division, freshman Macy Cecil earned the championship in a 2-1 decision against the University of Nebraska-Lincoln. Freshman Michael Garret finished as a quarterfinalist in the junior varsity elimination rounds. Garret and Cecil were slated against each other on the bracket and Cecil advanced due to preliminary round seeding. In addition to their elimination round status, Garret earned sixth best speaker in the division and Cecil placed third.
In the Lincoln-Douglas varsity division, senior Johnathan Christy was named top speaker from a pool of more than 60 competitors. He also finished as a quarterfinalist. Fellow senior Tyler Behymer also finished as quarterfinalist. Finally, sophomore Cami Smither was named eighth best speaker in the division.
The forensics team will compete at the Missouri Association of Forensic Activities Championship Tournament from Feb. 22-23, also hosted by Webster University. For more information on how to get involved, visit forensics.truman.edu or contact Christopher Outzen, director of forensics or Craig Hennigan, assistant director of forensics.


In the lunchtime crush at Mitsuwa Marketplace in Arlington Heights, there's talk of current events, family affairs and of an unassuming local man with a knack for timely hitting.
"He's kind of like a Michael Jordan," Hitoshi Urasaki, 31, said of White Sox second baseman Tadahito Iguchi. "Everyone knows who he is here. I'm not even into baseball, but I know who he is."
While the national spotlight shines on the Sox and their playoff run, the large northwest suburban Japanese community is aflutter as one of its own takes part in the wild race for the American League pennant.
The 31-year-old rookie, a Tokyo-born former Olympian and Japanese Pacific League All-Star, chose to live in Schaumburg because of its thriving Japanese community.
The Mitsuwa Marketplace--a sprawling building that houses a Japanese market, bookstore, liquor, video stores and more--is a mini-metropolis for Asians, attracting families from across the Chicago area.
Iguchi is a familiar face there, employees and customers said. And much of the recent talk has focused on his exploits.
The inclusion of Japanese players on the White Sox has sparked increasing interest in the team among Japanese residents, especially those who don't necessarily follow baseball.
"A lot of Japanese non-baseball fans are taking notice," said Ichiro Kumaki, 45, owner of Japanese Toys and Gifts in Arlington Heights. "The more Japanese players on the field, the more interested I am."
Kumaki, who used to sell baseball memorabilia, said he has handled many requests for Iguchi jerseys. And though the player's popularity hasn't risen to the level of, say, Ichiro Suzuki of the Seattle Mariners or Hideki Matsui of the New York Yankees--two veteran stars--Iguchi's stock is rising.
The White Sox first caught the eye of many Japanese fans last year when they signed relief pitcher Shingo Takatsu, who also lived in the northwest suburbs.
Released in late July, Takatsu was the first Japanese player to wear a Sox uniform and helped ease the transition for Iguchi, team spokesman Scott Reifert said.
"We started seeing fans with Japanese script signs, T-shirts [around Takatsu's arrival and it continues today]," Reifert said. "Many of our games are also televised in Japan, and we've had interest from Japanese companies in buying signage behind home plate."
The postseason adventures of Iguchi, the 24th Japanese-born player to reach the major leagues, are closely followed by a group of about 10 reporters from Japanese publications and television stations.
After his solid year with the bat and the glove, Iguchi should be highly regarded in the rookie-of-the-year voting, said Brian Proulx, owner of the Friendly Card Finds shop in Arlington Heights.
"Japanese players are being brought more to the forefront of the baseball community, and it has had a huge impact on the hobby worldwide," said Proulx, who has sold several Iguchi rookie cards for up to $25.
With his pivotal three-run blast in Game 2 of the American League Division Series against the Boston Red Sox, Iguchi joined Matsui of the Yankees as the only Japanese players to hit homers in postseason play.
But for Nao Sato, the most important product of Iguchi's play is the pride he has brought to his community.
"It means much that he lives here," Nao Sato, 31, said. "We are rooting for him."


text:
Difference: AngelaLuijf (r21 vs. r20)
Back to BioLabPeople
A.C.M. Luyf (Angela) In the picture
Bioinformatics Laboratory
Department of Clinical Epidemiology, Biostatistics and Bioinformatics (KEBB)
Academic Medical Center (AMC)
J1B-205 (J-building, floor 1B)
Phone: (+31)20-5664711
Email: a.c.luyf@amc.uva.nl
web: www.bioinformaticslaboratory.nl
Pubmed me
In the past, I attended several trainings and in all fields I have been working for several employers. In 1991 I completed the training systems management at the Vrouwenvakschool Informatica in Amsterdam, Since 1991 until 1996 I was employed by the AMC as System Administrator for the Faculty of Medicine. From 1996 to the present I work at the Bioinformatics Laboratory at the AMC. My function is to support research and education. In general, support of the department servers and maintenance/developing various applications. (see Software and Databases page on http://www.bioinformaticslaboratory.nl). From 2009 to August 2011 I focused on e-Bioscience; Grid support and developing / documenting Workflows. Currently: The analysis of metabolomics data, together with Mia Pras and the people from the GMZ lab.
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This sword was forged with 1060+1095 high carbon steel with gomai kitae method (5 Layers). It comes with clay tempered process hamon. Very unique and visible hamon. This is one of the master piece for Musashi Collection.
Real ray skin wrapped grip and black cotton cord wrap, iron tusba, kashira and fuchi.
Scabbard lacquer: High quality piano paint finished (Red color).