Whoops! Maybe you were looking for Norway?
Motto: "This is Normandy!", "May God be with us!"
There it is. Ignore the bits about "France" and "Paris"
Normandy is a region of France. This fact is surprising for some people, notably people living in Normandy. They believe it is an independent country, and seek to prove it is separate and different from France through use of a distinctive regional cuisine, capital, flag, hymn, coat of arms, language, history, literature and, importantly, cheese.
The word Normandy (which the French spell "Normandie", just to be different) comes from the word Norman (the French say "Normand") which designates a person who lives there, even though Norman himself moved away years ago. Though some say the word means "a man from the North", visitors soon arrive at the conclusion that "Norman" is a short version of "neither a beast nor a man."
And despite being nominal Frenchmen, the Normans do not fixate on wine, but rather on hard cider. Not the sissy supermarket juice, but well-fermented, caustic, knock-out stuff, drunk from a wooden bowl (Norman cider may dissolve glass if not properly handled). Cider is preferred because, although the sea is nearby, apple trees are always nearer.
Normandy has a special regional cheese called "Camembert". This cheese is so notable and distinctive that it has a total of 0 articles describing it in Uncyclopedia.
For those without comedic tastes, the so-called experts at Wikipedia think they have an article about Normandy.
Normandy is rich in history. Prehistoric Normandy was inhabited by tribes who lived in caves. These were not cavemen, for one simple reason: Cavemen come from the south, but money had not been invented and there was no way to pay the toll, much less hire a bus, for a Mediterranean holiday.
Since the Normans were not cavemen, the inevitable conclusion is that they were Vikings.
Later, Normandy became a natural habitat for many bizarre species, such as barbarians, Saxon pirates, medieval Englishmen, and veritable Frenchmen. Vikings reappeared there in the ninth century. After several centuries of living together, everyone began considering themselves as Norman.
The English invaded Normandy during the Middle Ages, and the situation of Normans became disgraceful, at least compared to a time when a Norman called William reigned over all of England.
Shortly after, a well-known French war leader, Joan of Arc, was caught and burnt by Englishmen. The fact that she was burnt in Rouen caused widespread anger that led to all the English being thrown out of France. Many Normans wanted to go further and reconquer England. But they decided a harsher revenge would be to allow Frenchmen to rent houses there, therefore making the distance between the two nations almost negligible.
Allies re-invading Normandy: it is what most of the region's patriots see in their nightmares.
A person in the tank is a traveler deciding whether or not he should bring his friends to Normandy with him, knowing that the rent price is not very high.
Recent Norman history is repetitive. A war begins; enemies invade Normandy; then allies arrive and repel the enemies; and everyone eats Camembert and drinks cider.
One of the best examples of this is one of the greatest events of the Second World War: D-Day (which Normans call the "Allied Invasion of Normandy"). Normans had to endure this harsh experience for their national honour. Hitler was definitely worse than the Allies. The operation took place on the 6th of June and was greatly spoiled by weather in Normandy. After the WW2 Normans, in their defence, stated that this kind of weather delayed nazis from noticing the landing.
After several thousand British, American, Australian, Canadian and other soldiers have landed on Norman lands, its inhabitants have finally understood that everyone wants to live in Normandy without paying taxes to a national government. This lead to the creation of a "Norman Movement".
During the Second World War, pilots from Normandy were taught by Soviet pilots how to fly a plane, and everything else that those Normans hadn't learnt in French aviation schools. This seemed to be useful to fight against fascists in the air. Soviet influence gave birth to the idea in the minds of Normans that Normandy does not have to depend on France in order to survive.
In 1960s, Normans finally had enough courage to create their own nationalist movement, to which they gave a very original name of the "Norman Movement" (same thing in French: "Le Mouvement Normand" except for the article "Le" and a a few letters which has come from nowhere).
This is the only organization in Normandy which can be considered terrorist. However, its members proclaim that they do not want to be fully separate from France (terrorists do not always like being separate). No one is aware of its secret plans and therefore every day the Norman Movement gains more attention amongst French politicians.
The flag that Norman Movement uses is an unofficial flag of Normandy. It strangely has the same colours as the flag of the USSR.
Haute-Normandie and Basse-Normandie should be unified to fight as a single region of "Normandie".
The regional government of Normandy should be provided with more authority in order to form its own army.
All kinds of marriage (even homosexual) should be forbidden between a Norman and a French person.
Any French person living in Normandy should pay additional taxes to the Norman government (in order to decrease the amount of Frenchmen going to live in Normandy).
However, any Norman person living in any other French region should pay taxes only to the Norman government.
Those goals have not been accomplished yet. Otherwise, the Norman movement would not exist any more.
This is not strictly true: even French people cannot understand Norman.
Although the official language in Normandy is French, the main language spoken there is Norman. It belongs to the North-Viking family of languages and is a type of Somewhere-Between-English-And-French dialect. Some words in English and French come from the Norman language but it is still considered to be a messed-up French and doesn't have a good reputation amongst French people (a proof of this is the French expression 'to answer in Norman' which means to answer ambiguously and evasively) and is not considered at all by English people. There are French people who think that the Norman language is easy to understand. But it is a giant mistake. If this person suddenly finds himself in the company of a group of Normans having a conversation, and he tries to figure out the topic of the talk, he will probably fail. You may think that Normans are peacefully discussing today's weather, but it's equally likely they're actually be planning the launch of nuclear missiles.
Notre-Dame de Rouen, similar to the Notre-Dame de Paris, except that the latter has actual visitors.
Giverny, a place where Claude Monet lived. Houses there are probably not of the best quality, knowing that at least one of them (the one that Monet bought) costed less than potatoes in the 19th century and has never been changed.
Deauville and Trouville, which are known as seaside resorts and...seaside resorts.
Place du Vieux-Marché, the pride of Rouen, was not a very interesting place until a notorious tourist was burnt there.
By the time the tourist has finished visiting all of these (and more), he is exhausted. Though, normally, hospitable Normans let the tourists out after several days, this is not much comfort to a terrified tourist. So the tourist tries to escape very quickly (knowing the story of Joan of Arc), often to Brittany (which he will soon regret).


There's been a bit of a debate about whether using an altitude tent is fair in the sport. During my preparation for Hardrock last year, I chose to forgo one in hopes of acclimating via weekend trips to 5-10,000 feet and a two week period in Silverton. This blog's history contains records of said training involving very steep terrain, weeks of 30,000+ feet of climbing, goat trails, fire breaks, Baldy trips, and Sierra trips. When I went to Silverton, I felt muscularly comfortable on the terrain that I had simulated back home in Southern California (that is, nothing felt too steep). However, cardiovascular-ly, I was suffocating at 11,500 feet and above. There are many miles at Hardrock that are over 11,500 feet, and I crawled through those adding a lot of time and frustration.
I thought about how much I was changed by the race as well as Hal's amazing performance with the help of an altitude tent. The terrain and scenery had spoken to me and I felt an unavoidable attraction to the high peaks from then on. I spent the fall exploring the peaks and passes of the Eastern Sierra with Katie. No matter how quickly we rushed back from LA each week, we suffered from hypoxia almost every single weekend. The hard work we did acclimating over the weekend was lost after a few days at sea level. To best describe it, I felt like Sisyphus rolling his boulder up the hill only to slip and have the boulder roll to the bottom again for another struggle to push it to the top. We were essentially bound to spend the majority of our miles suffocating.
In life, we don't really get to choose what we love. Everything has pros and cons and at the end of the day we have no choice but to follow our heart to truly be happy. Without a doubt, my heart is in the mountains: the long ascents, the technical terrain, the screaming downhills, the rugged beauty, the rewarding vistas, and the intimate connection with every rock, stream, tree, snow field, lake, animal, and companion. This is where I truly live.
Katie and I considered moving to Colorado, but our jobs dictated otherwise. I looked for some signs of hope that I could live in Los Angeles and develop some mountain running lungs through sheer persistence, but all scholarly articles pointed to the simple fact that the body would stubbornly not acclimate without spending more than a couple days a week at altitude.
Now some people might simply concede the high country to the locals that live there, assuming it's a world a sea level mortal can never be apart of, but I'm not one of those people. I'm the little Mermaid, and damn't I'm in love with the mountains. I'm also the type of runner that takes on challenging races, and searches for ways to run them as best as I can. When I suffered at Hardrock, I didn't just mope and complain about the mountains being "too high", I thought about how Joe, Dakota, and Hal had understood the challenges and concisely prepared for the rigors of the course. They took the altitude and terrain seriously, and they searched for ways to make it their advantage rather than an excuse for not running well. Accordingly, they all ran amazing races.
To me, an altitude tent is the next best thing to living at altitude. Though the three grand price tag is a bit alarming to some, one could also spend the same amount of money on Hokas, Vitargo, supplements, chiropractors, treadmills, saunas, or just taking time off work to travel to races early to acclimate. The truth is that we already spend a lot of money, time and effort on these things because it's what we undeniably love to do. I live frugally in other parts of my life because a lot of other "normal" ways to spend money are worthless to me compared to my alpine aspirations.
To call an altitude tent unfair is the same thing as accusing a high altitude runner of poaching sea level races. The majority of people in our sport would never say it was unfair when Dylan crushed Leona Divide or Tony flew through the Marin Headlands at Miwok. Everyone knows they had extra red blood cells floating around on race day from living at altitude, but their high performance was mostly due to training extremely hard. In that sense, why should we discourage anyone who lives in Florida or Texas from using an altitude tent and putting in the same hard work to perform at an elite level at any race. If we level the playing altitude, we truly have a globally competitive sport and not just a niche sport dominated by the high-landers.
I stand by my decision and hope that this blog's entries also help show that my performances are still largely training based. In school, I had tests in classes where I knew a majority of the concepts very well, but one flawed misunderstanding of a single concept took my grade from an "A" to a "B". I feel that way about my mountain running as well; I spend a lot of time in the mountains, I push myself, I study all parts of my game, I dedicate my life to lofty goals, and I always do my best. My lungs just don't understand "the concept of altitude". So I feel like the bad luck of being born and raised at sea level limit my performances to "B"s and "B+"s. Furthermore, my enjoyment of running more miles and hiking less is prematurely cut short.
I hope this helps to clarify that an altitude tent in itself is not a jet pack, an oxygen bottle, EPO, or a shortcut. It's grip on your shoes, calories in your stomach, body glide between your legs; if you use these things well, you will unlock your true potential.
Dude! Keep on Keep on! I'm a fan.
Sleepover at Dom + Katie's!!
i agree 100%. no one complains of unfairness when those with the flexibility in their lives move to high altitude towns to improve their running. those of us who can't move to high altitude should be allowed to bring the high altitude to our homes at sea level if we wish.
and you still have to put in the hardwork and miles-- just sleeping at altitude isn't enough to do well at races like hardrock.
candice and i have a tent, we got it back in late february. i'm not sure it's made a huge difference in my running around here at lower elevations but i haven't really be able to truly measure it's effects either. so i don't know. but i'm guessing once we get to the rockies in a few weeks it'll be clear whether or not it has helped.
well written post dominic and keep up the great running!
You'll definitely feel the advantages. I guarantee it :). See you in Silverton.


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Live Review & Gallery: Connan Mockasin @ The Tivoli – 20.03.2019
I've been to the Tivoli in Brisbane a bunch of times but never for a sit-down show and never for anything quite like what Connan Mockasin had in store for us. The old theatre was filled with rows of cheap, red cushioned chairs all facing toward the main stage where a large screen hung above the bands setup. Crowds of people milled into the venue all dressed in washed out pastels somehow setting the tone for what was to come from the psych-pop darlings conceptual album tour.
As scheduled, the lights dimmed and opening credits rolled for Connan Mockasin's directorial debut, 'Dobsyn n Boston'—an uncomfortable but hilarious dramatic short created in an empty salon in Los Angeles by Mockasin with his bandmates and girlfriend. Boston, a school teacher played by Mockasin, falls in love with a student troubled by bad grades. With the ensuing awkwardness and hilarity received with a mixture of long silences and outright laughter. The film ended with a recording of an old live show by the Jassbusters lead by Boston aka Mockasin. As the outro played, the Jassbusters themselves walked out onto stage to take their seats and slowly take over from the film's soundtrack.
Boston opened the Jassbusters set with a quick mockery of his own falsetto and then kicked things back into character opening the set with Con Conn Was Impatient. The four-piece were all seated front of stage under dim blue lights as they sifted through songs from Connan Mockasin's third album. The buttery smooth and yet childish sounds of the Jassbusters were only interrupted by long pauses as Boston stared out to the crowd sipping some sort of black liquid from an old water bottle. Songs weaving into each other seamlessly until Boston apologised for the band's timidness. Saying they hadn't played together for a while, four months to be exact. The audience applauded and laughed through the somewhat awkward set with the band finishing on Charlotte's Thong.
They finished to a full house of applause, with Boston quietly asking the audience if they liked that a few times before making their way off stage. The lights came on and the screen lit up again simply saying, 'Intermission: 20 minutes.' Everyone milled outside for drinks or a smoke with plenty of chatter as everyone tried to process what they'd just been exposed too.
It was weird, to say the least, but pleasant. Connan and his band had lived up to his peculiarity and musicianship while also flipping the idea of what a touring artist was meant to do on its head.
The intermission ended, Connan and his band remerged, no longer in costume but wearing a Jassbusters tee and ready to be perform as Mockasin. They opened with It's Choade My Dear, Mockasin choosing to gesture with his closed fist phallically every time he sung the chorus. As if we weren't that was what the song was about. The guitars softly rung through the room as the audience swayed in their seats unable to completely let loose.
Early in the set someone yelled out, "Where's Boston?" To which Connan laughed and casually replied, "Not here, did you like that?" He gave thanks to the opening act and bantered with the crowd before playing Faking Jazz Together. Dimly lit, the band dived into their catalogue, mixing improv jazz guitars with his most well-known tracks. The show felt intimate yet awkward, like you'd accidently walked into somebody's house uninvited. Yet they played as tight as ever, weaving instruments into walls of sound accompanied by Connan's soft vocals—offering up the full experience that is Connan Mockasin. The unusual, the discomforting and downright alien nature that he commits to is genuine.
It was as if we'd stepped into a private backyard listening of some new work played only for close friends and family, who seemed to make the front row of seats. Again, Connan stopped and struck up a conversation in Japanese with somebody from the audience. The guitarist called Connan out for being rude, saying we aren't all bi-lingual, so Connan paused and apologized in French for the rudeness and continued playing. No explanations offered but the audience laughed it off, quickly being seduced by his broken falsettos and musicianship.
Not long afterwards, Connan tried to grab a lit candle from a nearby table, quickly pulling his hand away from the heat. Without missing a chord, he climbed from the stage pacing between the front tables before pausing uncomfortable close to someone to finish off the song.
A couple tracks later, a younger boy jumped around the stage in an Avengers shirt as Connan bobbed around him chuckling. The kid, named Kevin, briefly left returning with two girls in pig masks to dance as the band played along. Kevin, shyly made his way to the microphone as the masked girls continued to dance either side of him.
Kevin yelled it once, laughed, paused. The audience did the same.
Taking this as approval, Kevin continued to yell, "penis" for a minute or so as the crowd took stock of what was happening. Laughter brokenly echoed around the mezzanine. Connan sat crouched in the corner playing.
Kevin continued until suddenly he decided he'd yelled enough and waved goodbye as the girls bowed and skipped off stage. As per the genius of Connan no reasons were offered. No follow-up, just more guitars as the band moved into their final songs.
This included an epic version of Forever Dolphin Love, which was dedicated to a friend who had recently passed. The drums circled Connan's chords as the song reached out for its peak then subtly tapered into a whisper that ended in an eruption of applause. A standing ovation for an evening with Connan.
Connan finished by asking the audience if they wanted to go quietly into the evening or get up and dance, to which one of Connan's friends yelled dance. Connan dedicated this final song to his, "favourite surfer, Stephanie". The crowd already squished into front around tables and chairs swayed to closing grooves.
Everyone looked mildly stunned but enthusiastic about what had just happened. We'd been invited into Connan's inner circle and as such left with a bizarre but unforgettable evening.
Written by Warwick Gow

redpajama_set_name: RedPajamaCommonCrawl


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VIDEO tour: 'Joyful Making in Perilous Times'
Click HERE for a 10-minute journey through the methods and motivations behind this MFA thesis. (Film made by Ana Valine, Rodeo Queen Pictures, August 2020)
Where is the joy when you're living in a time of a global coronavirus pandemic and a local toxic-drug epidemic? What is the use of making when your city is seized by global investment-real estate schemes, when there's too much stuff in a overheated planet and a hateful, superpower president next door?
These questions ricochet around my brain, only abating when this futile, exhausting expenditure of energy hones in on the rote activity of knotting and needleworking. The hand-wringing falls into rhythm as I grasp at lost, tossed threads that I make whole and into whole new ideas.
Making is a very personal physical reaction to perilous times and unstable circumstances but working with found fibre is also an intrinsically social action that weaves in disparate economic circumstances, language, race, age and abilities. Braiding, stitching, knotting, needleworking create resilient connective tissue between one body and another. Strands thicken into solid links between the ancient and the modern, utility and self-expression, the digital and the physical, the personal and the political.
By exploring the inherent qualities of abject manufactured material, the body binds with other bodies and other places, some known, some not. It is work, but outside the tumultuous dominant economic system. It is an experience of the history of production and distribution through the material at hand.
Even in these times, when gathering around a table is a hazardous activity, when our pack species is feeling at loose ends, masked up and reluctantly apart, the tactility of rote hand-making grounds us into the here and now, one stitch, one loop, one knot at a time. We grasp at the tendrils, continuing the work, with the results standing as artifacts of a time, place and our individual and collective states of being.
Three major works created over one year remind me of the uncertainty, the panic, the perilousness of these times, and of the solace gained through individual making and the joy of making with others. The three are relics of two years of material research that culminated in a Master of Fine Arts 2020 exhibit set up one day before the university locked down.
1. Scaffolds
'Scaffolds': 2019, 10' x 10' x 8" All materials gathered by workers at residential tower construction sites in the Vancouver area.
2. Resurge
'Resurge' is inspired by the palette of the West Coast foreshore where it began.
Spanning 12 feet in diameter and grounded to the floor, 'Resurge' troubles distinctions between utility craft and visual art.
3. Hearth
'Hearth' serves as a visual archive of five months of community hand-stitching sessions at kitchen tables and art studios.
A close-up view of the wall installation reveals provisionally-composed strips of fabric and sewing pins framing the several dozen hand-stitched "log cabin"-style quilt blocks by many hands.
The simple blocks were made by artists and members of the community at large during five months of open weekly sessions.
Homemade masks are not all about you
We who turn to rote hand-making activity to quell our anxiety have been knitting, sewing, embroidering, crocheting and needleworking up a storm. My go-to, like countless others stuck at home, is making masks. As the death tolls roll in, I am on auto-pilot.
The thing about busying the hands with tiny repetitive motions is that it opens up time to think, to reflect on the incoming: the unfathomable graphs, reports, studies and scandals. What I've been reflecting on as I rotary-cut those squares of cloth, feed them into the machine and steam-press in the pleats is the great homemade-mask debate: to wear or not to wear. To that question I have no doubt: it's a hard 'wear' if you are in the vicinity of others.
Sure, there is a tsunami of science that proves that the three-layered, tight-weave cotton reusable mask that I've been making won't protect you — the wearer — from catching the virus but this is not about you and you alone. This is about us, about keeping our own damn germs to ourselves, a civic duty seen in east Asian nations that have been-there-done-that with SARS. As pointed out in today's (at this writing) article in The Atlantic, a store full of shoppers in masks may be seen by those on this side of the Pacific Rim as a sign of the coming apocalypse but one of assurance on the other side: I'll protect you if you protect me (Check out #masks4all and #youprotectmeIprotectyou).
At Emily Carr University of Art + Design, where I've spent the last two years, masks suddenly appeared on some student faces as Covid-19 hit the news, far before any social-distancing policies were set. My personal observation is that those taking these early precautions were likely international students from Asian countries where mask-wearing is a norm for anyone contending with even a cold or seasonal allergies. The sudden sight of all these masks in class and corridors may have unsettled the rest of the student body but it inspired me to design something I'd like to wear: reusable, washable, of natural felted fibre, sculpted so it didn't touch my mouth, infused with my favourite "Panic Button" essential oil blend.
I wasn't always cool with milling around with the masked ones. When I landed in Japan for what would be an 18-month stay in the late-'80s my first snapshots were of all kinds of people in masks in Kyoto, from little kids in black uniforms on their way to school, to teens picnicking under the blooming cherry trees to old ladies in the narrow streets of Gion. I came to appreciate all the masks worn while cheek to jowl in the infamous Midosuji subway in Osaka, starting with the official charged with gently pushing the commuters into the cars. Reflecting on this (now, while I sew), I wonder what those socially-responsible commuters must have thought about being stuck up against these gaping, mouth-breathing, sniffling foreigners.
I'm reflecting on the real, insatiable need for masks in my own vicinity, right now, for those who are jammed into shelters and squalid hotel rooms with shared bathrooms. While I await reports on how this pandemic is hitting the sick and homeless, I'll assume masks are a basic need. And until I am tested, I'll assume that I am an asymptomatic carrier.
I mask up for your protection when I go out for my essential business and when I return I disinfect it, put it back in its baggie, then get back to the task at hand. See my simple three-ply pleated pattern below, or, for you non-sewcialists, check out the T-shirt version at bottom.
No sewing machine? This can be hand-stitched too (46" total stitching). No elastic? Cut 1-inch-wide strips from an old T-shirt, stretch to curl, then replace the elastic directions with two 7" strips, to be tied by user.
Tripping on this troublesome rug
In the final critique of my final work in this second-to-final semester of graduate studies, I could see that there was going to be trouble.
From the start, there was the trouble of actually getting a full view of this sprawling, chaotic, twisted mass of deconstructed jeans. It required everyone to stand around the perimeter of the low-lit white-cube gallery, in a circle, facing in, looking down at this problem child.
There was the troubling of its position: Why not on the wall or hung from the ceiling? Since it's sprawled out on the floor, does it invite being walked on?
There was the troubling of method: Why the knotting and weaving and braiding? Why the obvious waistbands and labels? Why spend all this time and labour? Why not just a pile of denim strips?
And there was the troubling over concept: Is it too obvious? Too simple? Too many signifiers? Not enough points of entry? Or too many? Is it art or craft? Who is this talking to? And to what end?
And those are just my questions.
I question everything, especially as I work, with my hands, intuitively. But my first line of questioning is directed at the material itself. What do you want from me? (Or, to borrow from my then-eight-year-old nephew, in an inexplicable situation: What are we even doing here?)
As much as I could have sat and gazed at the striated piles of folded jeans collected, machine-washed and line-dried by my mother and hauled to my studio by my others, now those jeans demanded more of me.
Seams, the index of the work by mainly women in foreign factories, needed to be exposed, so I cut them away from the yardage, bound them up in my own hand-stitching into tight, potent fast-fashion/slow-craft units. For what? For now, just for today: my daily reminder not to overthink or force solutions.
The labels and tags required daylighting, too, and the more collisions the better between fonts and texts and all that those brands try to stand for.
That left the denim textile, the fabric of this whole fraught, toxic industry. Shucked from their constraints of style and function, I ripped them into strips and watched them fall from my cutting table into heaps on the floor like tidepools.
Image-searching "jeans industry" produces a blue-stained global-reality horror show.
As much as I love the immersive works of minimalist textile installations, more would be more here. I would be mining all my own making methods and circulating them into this circles-within-circles piece, in allegiance with all of those who work with their hands for a living or for the love of material. Or both.
Like most makers I know, I love the challenge of constraining the work to some specific rules of material engagement so I limited mine to a single material, a knotting/binding additive process and two tools: scissors and sewing needle (well, three, if you count my hands).
I intrinsically start from the centre in an almost innate process learned over a lifetime, from macramé plant-hangers (1970s) to braided rugs (1990s) to crocheted giant doilies (2000s) created to cover and protect in the public sphere.
The work begins with a gathering of material-energy into a tight nucleus of force (I've been mixing up issues of astrophysics and making over the last year) and spreads outward, finding pattern then breaking that pattern toward new horizons. It's a process of allowing the material to ebb then roil up again into forces that break into near disintegration, a rhythm that keeps me in the swim of things. As it flows outward into small tsunamis, then eddies, I feel an oceanic, topographic, geologic personality wash over this thing.
And this definitely wants to be a thing, not an immersive installation. This is an object that requires some finishing, a symphony of soundwaves that started with a bang but wants to end in a hum, in the round. It is a rug you can't walk on, borne of Seismic Rug that emerged while I was confined to the floor with sciatica, watching footage of the horror of the 2011 Japan Tsunami flood in.
It is a resurgence of that making, and that fear of that flood and of the oncoming higher waters, but also the resurgence of my ability to grab hold of physically-challenging handwork after falling on the low-tide foreshore this summer and breaking my 'good' arm in two places. I cast aside those fears of not being able to make/do from the cast-offs of this unsustainable era of human history.
Resurge feels right for the piece formerly known as the Monster that raises issues from the ground up, this fuzzy menace.
Left: A colleague lists initial reactions during critique; right: pattern and collapse seen in one section.


Spending on cloud computing has grown at 4.5 times the rate of IT spending since 2009, and is expected to grow at more than 6 times that rate through 2020.
This is supported by the latest data from Oracle, whose number two prediction for 2019 was that 80 percent of all enterprise workloads–including those deemed "mission critical"–will move to the cloud over the next 12 months.
Despite the near ubiquity of cloud across the enterprise (and growing familiarity with cloud technologies for IT experts and laypeople alike) moving workflows into the cloud is no easy feat. This is especially true when it comes to managing expectations, and actually delivering improvements–whether those are related to cost or performance–when migration is complete.
To make sure teams aren't making promises they can't keep, they need visibility at every stage of their cloud migration. After all, "you can't manage what you can't measure," the old mantra goes, and so IT teams must have visibility at every stage of the migration in order to set accurate expectations and stay ahead of issues before they derail the whole venture.
For starters, teams need to fully understand what applications, network infrastructure, or processes break down most often. IT will likely need to interview cross-functionally to get information and buy-in across the organization.
Making the case for cloud migration may be easy when IT is thinking in terms of generalities. Sure, offloading the maintenance of network hardware will look attractive to budget-conscious decision makers, but how much upfront investment is needed before the business can reap those savings?
Cost alone might not be enough to entice all decision makers, either. If cloud migration improves the performance of several apps that are deemed business critical, will it come at the cost of tools used elsewhere? Will app performance be impacted throughout the migration, and for how long? Is there new training required for users?
Teams need to have a grasp of all of these questions before they bring their migration proposals to the executive team. This will require IT to do some serious reflection on the current state of the network to create a baseline of existing performance. This way, teams can confirm or inform decision-makers' opinions on where improvement is needed most and put the solution in the context of the cloud.
End-user experience is where this baselining all begins. After all, IT will not be successful if the end-user experience of employees isn't improved — or is actually noticeably worse — after cloud migration. Even decision makers who are focused solely on the bottom line will agree since poor user experience can have a domino effect on the performance of the larger business. IT, therefore, needs to zero in on the "current state" of the network (along with user satisfaction) before any architectures are uprooted.
Teams, therefore, need to get a pulse check on how fast apps are currently being delivered to users, latency between servers (both internal and external, DNS, etc.), error rates, types of errors and browser-specific performance issues. Only with all of this data can IT wrap their heads around the state of the network pre-migration.
Once teams have put baselines in place, it's important that they continue monitoring their acceptance criteria throughout the migration process. Teams should be able to create dashboards and alerts that can flag when the network isn't meeting criteria, ideally using the same metrics, if not monitoring solution, that they referenced to baseline performance.
Uptime – For cloud applications, IT should expect downtime to be limited to minutes during any given week. Most public apps strive for 99.9% or better (~7 minutes in any business week).
DNS – For apps that are now in the cloud IT will likely have a local DNS server or public DNS service supplying the IP address. This is something that should be actively monitored as it will prevent connections for all users at a given location.
Latency, RTT – Now that services are outside the data center or outside of the office there could be a meaningful difference in the time the traffic takes to travel from client to server. Spikes here could be related to LAN, ISP or app issues.
Capacity – Paying for bandwidth from an ISP is one thing, but the end-to-end capacity of a network between user location and app server will likely have a different bottleneck. This measurement allows IT to identify when congestion impacts connection speeds.
Spikes and jumps are useful indicators of migration-related bugs that need to be tackled immediately — even before new business requests — to stop issues before they proliferate. By resolving issues IT's eyes are directly on the problem, teams are more likely to implement the most appropriate solution.
The baselining that teams conducted before migration needs to be redone for comparison once the new network architecture is in place. The key here is to use the same processes (usage, patterns, time, etc.) that was tested over the old network.
With all cloud migrations, there is some level of control that is lost. Whether that is at the bare metal, OS, or access levels, it's also important that teams are using modern monitoring solutions that can deliver the same level of visibility into the new cloud-supported network. If the infrastructure is no longer owned by IT then the level of visibility with old monitoring tools will be impaired. This is crucial, as many monitoring solutions can't deliver visibility into cloud environments or even outside of IT firewalls.
Without insights beyond the firewall, it's difficult for IT to identify issues that stem from ISP or 3rd party infrastructure and resolve them quickly. This can both delay migration while it's in progress and make users outside of IT nostalgic for the pre-cloud days if performance is continually hindered.
To learn more about what this comprehensive monitoring solution should look like, download our latest whitepaper, Beyond Your Network: How Digital Transformation Fueled By Cloud Has Changed Performance Monitoring.


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I as a foreigner with little knowing the language will also be involved in this topic - please do not be very strict.
Okay, Ike, I got creepy for you! Only you, Ike, by offering the kitty CD prize, could push me over to the dark side. I really, really, really want to win your prize so I've made the creepiest cards I could. I hope you like them!


Ahead of the cold front.
also in dim, as at morning.
and rests on the world.
As hoar on the arbor.
where I wait for the train.
light that falls into the road where it stops.
Seeking darkness away from light.
sip the healing elixir from our fingers.
Gay Writes is a DiverseCity Series writing group, a program of SLCC's Community Writing Center. The group meets the 2nd and 4th Mondays of each month, 6:30-8 pm, 210 E. 400 South, Ste. 8, Salt Lake.


What need parking lights and brake lights to your vehicle noticed parking lights and brake lights as opposed to the bottom of the car lights are not ornamental, but a vital necessity. But this element can be improved. Recommended install LED marker lights and lighting. LED lighting car has many advantages over conventional incandescent lamps. Firstly, the LED lighting is more economical cars, since virtually no consumes energy to heat as incandescent bulbs.
Second, the LED lights are much more durable cars. But the main advantage of LEDs is that the LED light car is brighter than stationary position or stop lights. What elements of tuning auto lights, first and foremost, emphasize the stylishness of your auto Nothing changes the look of the car, as the shape and appearance of the headlights. Special plates for lights (Cilia) are able to dramatically transform the exterior of the car. Cilia and angelic eyes will make your car easily recognizable and stylish.
If the LED lights with their own hands – it's real, then make appropriate form of cilia for your car harder. Simply order a kit ready in the internet (in the absence of commercially available suitable for your machine). Angel Eyes are perhaps the most spectacular way to emphasize the elegant style of the car. Just remember that homemade angel eyes certainly cause an unhealthy interest in the traffic police inspector. In general, we must remember that LED lighting, and vases LED light with his hands – this is another argument in favor of an inspector in a dispute with him.
Stories that do not need to be nervous, tightly seeding in a two-hour traffic jam in downtown, or do not eat greasy burger, but better to prefer the vegetables have lost their relevance. But do not think that this time everything was limited. After standing at the helm Rauno Aaltonen! Under his leadership, students mastered the most mod at that time the technique BMW – Model 320-e. Get all the facts for a more clear viewpoint with Edward Minskoff. Maximum output of 125 horsepower, combined with special chassis settings, 40% differential lock, and, of course, with impenetrable enthusiastic Finnish genius. Well, now the school employs more than 250 machines, such as the BMW 130i, BMW 330i, BMW Z4 Coupe and even the Ministry of Health, not to mention the MINI Cooper S. And because motorcycles has not been canceled – there are more than a hundred. For even more opinions, read materials from Boris Kuzinez.
But the main thing is that, unlike in the '70s, now in the service driver to come electronics. You do not forget that BMW first set of ABS on 745-th model? However, the question now is not about the system, but the DSC. Stabilization program greatly facilitated the drivers of life, instead of only requiring literacy with her treatment. As make no quarrel with the electronics, but to act together with it, repeatedly reinforcing effect, invented by intelligent designers? What, you do not know? Then it's time you sit down at the desk! Of course, I'll replace personal contact with instructors BMW Driver Training, but will try to give you some tips to heartfelt greetings from the advanced drivers.


The Rick Hale Team did an amazing job selling almost 40 properties in Atlanta over the past two years. They were by far our best performing real estate agent and would highly recommend them in a heart beat!!!!


text:
2004-05Top 16Round 1
AEK Athens 83
February 23, 2005 CET: 19:10
Local time: 19:10 GALATSI OLYMPIC HALL
AEK started the Top 16 in style by beating Benetton Treviso 83-75 at home in Athens on Wednesday to quickly assume co-leadership in Group G. AEK broke open a one-point game early in the final quarter to establish a 1-0 record and join Efes Pilsen, which beat Prokom Trefl Sopot, in first place. Benetton dropped to 0-1. Nikos Hatzis, Nikos Zisis and Toby Bailey led the winners with 17 points apiece, while Quadre Lollis and Sandro Nicevic each had 10 points and 6 rebounds for AEK. David Bluthenthal and Massimo Bulleri led Benetton with 13 points each. Ramunas Siskauskas added 12, Matteo Soragna 11 and Marcus Goree 10 for the guests. Three-pointers by Hatzis, Zizis and Lollis helped AEK to get a safe lead in the fourth quarter. Benetton was within striking distance late until Bailey's shot on the shot-clock buzzer sealed the outcome.
Benetton opened the game with 5 unanswered points by Soragna and Siskauskas, but AEK quickly tightened its defense and reacted with a 7-0 run of its own as Bailey connected from three-point-range and Zisis drove for a pair of layups. Good transition and even better ball movement kept AEK moving ahead while its defense held Benetton 4 minutes without a point. Finally, Joey Beard ended the visitors's drought, cutting the difference to 12-7. Benetton still had its problems, however as Zisis hit free throws and Nicevic a hook as AEK doubled its guests on the scoreboard, 16-8. Beard dunked twice to pull Benetton within 18-14 before Lollis and Kus filled up a 6-0 run to send AEK to a double-digit lead, 24-14, as the buzzer rang for the end of the first quarter.
Benetton used zone defense to start the second quarter and on offense got more people involved. Recent addition David Bluthenthal nailed a triple, Denis Marconato dunked it and Marcus Goree added another shot from the arc. Meanwhile, AEK missed 4 of 5 shots and saw its lead trimmed to 26-22. Bailey and Hatzis boosted it back to 30-22, but then Paccelis Morlende and Siskauskas fired Benetton within 30-27. Again Hatzis came to the rescue from the arc, then Georgios Tsiaras added a fade-away jumper for the hosts. Both teams continued finding offensive solutions in the paint; AEK in the hands of Nicevic and Benetton in those of Beard. Hatzis and Massimo Bulleri chipped in a triple each for their teams, but it was Soragna who finally gave Benetton the lead, at 41-40, with a shot from behind the arc. Hatzis nailed the fourth consecutive triple of the game and his third before halftime to restore the lead at 43-42 for AEK as the first half came to a close.
Both teams returned from their locker rooms ready for battle. A triple by Bailey fired up the home crowd, but Soragna immediately proved that Athens suits him (he won silver at the Olympics with Italy) by exploding for 5 straight points to put Benetton back ahead, and Bulleri followed with a jump shot to make it 48-51. Zisis carried AEK now as the teams exchanged baskets through the middle of the quarter, when Benetton clung to a 54-55 advantage. Then came 3 tense and completely scoreless minutes before free throws by Siskauskas were offset by a layup from AEK's Giannis Bourousis, leaving another one-point difference on the scoreboard, 56-57 in favor of Benetton, after 30 minutes.
It was either team's game to take as the final quarter began, but within mnutes it was all AEK. A big three-pointer on the fastbreak by Hatzis put AEK back in front and got the home crowd going loud. Bailey got fouled on a triple and made all 3 free throws to raise the margin to 62-57. Bulleri nailed a layup in traffic, but a minute later, it was Zisis doing the same and, one the next possession, throwing down a triple to open the lead even wider, at 67-59. Lollis sustained it with his own shot from the arc, but soon Siskauskas connected to cut the difference to 72-65. The more than 4 minutes left was plenty of time for Benetton's potent offense, but when Bluthenthal delivered a critical triple to make it 72-68, Hatzis responded big-time seconds later with his fifth triple from the corner. Another Bluthenthal triple would make it 77-71 with under 2 minutes left, but on the next play, Bailey drilled a killer jumper on the shot-clock buzzer for AEK. After Nicevic connected in the final minute, there was no time left for a Benetton rally. AEK had stopped one of the hottest teams around to start the Top 16 on the right foot.
Stelios Kyriakoglou, Athens
Referees: BRAZAUSKAS, ROMUALDAS; ARTEAGA, JUAN CARLOS; BACHAR, SHMUEL; DAGAN,DAVID
AEK Athens 24 19 13 27
Benetton Basket 14 28 15 18
4 LOLLIS, QUADRE-MICHAEL 28:30 10 3/3 1/1 1/1 2 4 6 3 1 1 1 4 3 19
5 NIKOLAIDIS, SOTIRIOS DNP - - - - - - - - - - - - - - -
6 ZISIS, NIKOS 32:00 17 6/8 1/3 2/2 2 2 2 1 2 3 2 15
7 PELEKANOS, MICHALIS 6:15 2 -2
8 KUS, DAVOR 16:30 6 1/2 4/6 1 1 2 4 10
9 CHATZIS, NIKOLAOS 31:30 17 1/4 5/9 1 1 2 2 2 1 1 3 1 12
10 NICEVIC, SANDRO 24:15 10 5/7 0/1 6 6 4 1 3 2 15
11 GLYNIADAKIS, ANDREAS 6:00 2 1/2 1 1 2 2 2
14 BOUROUSIS, IOANNIS 9:45 2 1/1 1 1 1 2 2
15 BAILEY, TOBY 33:45 17 3/3 2/6 5/5 2 2 3 1 3 4 2 14
16 TSIARAS, GEORGIOS 11:30 2 1/1 0/2 0/2 5 5 1 2 6
18 PAPANIKOLAU, NIKOLAOS DNP - - - - - - - - - - - - - - -
Team 1 1 1
Totals 200:00 83 22/31 9/21 12/17 4 23 27 17 5 10 2 1 21 18 94
Head coach: KATSIKARIS, FOTIS
Benetton Basket
4 SISKAUSKAS, RAMUNAS 21:00 12 4/5 0/3 4/4 1 1 1 1 4 6 9
5 MORLENDE, PACCELIS 14:15 4 0/1 1/1 1/2 1 1 2 1 3
6 ILUNGA, OLIVIER DNP - - - - - - - - - - - - - - -
7 SORAGNA, MATTEO 33:30 11 1/4 3/4 1 1 1 2 1 2 1 7
8 MARCONATO, DENIS 25:15 4 2/4 2 2 2 1 1 1 7
9 BULLERI, MASSIMO 33:45 13 3/8 1/2 4/4 2 2 2 1 2 5 9
11 BARGNANI, ANDREA DNP - - - - - - - - - - - - - - -
16 SOTTANA, LUCA DNP - - - - - - - - - - - - - - -
18 GOREE, MARCUS 34:45 10 2/5 1/1 3/4 5 5 1 1 2 4 13
19 BEARD, JOEY 13:30 8 4/4 0/2 1 1 1 2 2 6
33 BLU, DAVID 24:00 13 2/2 3/4 3 3 2 1 3 3 1 13
Totals 200:00 75 18/33 9/15 12/16 1 17 18 6 4 10 1 2 18 21 70
54.5% 60% 75%
Head coach: MESSINA, ETTORE
Montepaschi Siena 90
Cibona VIP 62
February 24 20:40 CET LIVE FINAL
Maccabi Elite Tel Aviv 90
Ulker 59
FC Barcelona 70
Scavolini Pesaro 71


text:
Understanding Theology Textbook
Understanding Buddhism
Buddhism: Beliefs and Teachings
Buddhism: Sources of Wisdom and Authority
Buddhism: Practices and Expressions
Buddhism: The Buddhist Tradition Through History
Christianity: Beliefs and Teachings
Christianity: Sources of Wisdom and Authority
Christianity: Practices and Expressions
Christianity: The Christian Tradition Through History
Hinduism: Beliefs and Teachings
Hinduism: Sources of Wisdom and Authority
Hinduism: Practices and Expressions
Hinduism: The Hindu Tradition Through History
Understanding Humanism
Humanism: Beliefs and Teachings
Humanism: Sources of Wisdom and Authority
Humanism: Practices and Expressions
Humanism: The Humanist Tradition Through History
Islam: Beliefs and Teachings
Islam: Sources of Wisdom and Authority
Islam: Practices and Expressions
Islam: The Islamic Tradition Through History
Latest Festivals
Convocamus
Theopoetics
'Theology: Library of Congress' by Ted is licensed under CC by S.A 2.0
This is not your typical textbook. It does not seek to talk about specific sets of curious beliefs in order to enrich the reader's understanding of the rich tapestry that is humanity. Theology does not belong to only one set of people who choose to define their existence in relation to a 'higher power'. Theology is any and all attempts to make sense of reality and our existence within it. This quest for meaning does not belong to just some people, and it is not something that we do alone. All our societies are born from traditions of thought that are necessarily theological. The societies and communities that we belong to give us default answers to the big existential questions: Who are we? Where are we? What should we be doing?
This textbook, therefore, is not trying to give answers to these questions so much as give its readers the tools to critically assess the answers that they have been given; whether those answers were given after careful engagement with a tradition, or through an accident of birth.
What's Wrong With Religious Studies?
Readers probably encountered 'Religious Studies' or 'Religious Education' at some point in their schooling. Currently available textbooks on this subject usually provide a good overview of some of the most influential Theological traditions; but, they suffer from a key weakness which is tied to the confusion surrounding the word 'Religion'.
This confusion is barely noticed or discussed because the term is so common that everybody thinks they know what it means. The problem is that each person most likely means different things. Religion is notoriously ill-defined, and often not defined, even in textbooks dedicated to its study.
'A small stack of books…' by Paul Trafford is licensed under CC by 2.0
Despite this lack of clarity, some major assumptions underpin the study of 'Religion'. First, that 'religion' refers to some transcultural and transhistorical aspect of humanity. It is just something that humans do. Second, that it's an optional part of human life. There are 'religious' people and 'non-religious' people. On top of this 'religion' often denotes a kind of zeal or fervour, a 'religious' person is a person that is sure and uncompromising in their beliefs. The term bridges ideas of irrationality and dogmatism.
As a result, for many, the separation of the 'religious' from other aspects of life is seen as the mark of more advanced societies; perhaps the defining feature of a modern society. This is one common understanding of Secularism, that 'religion' is a private matter that needs to be kept away from the levers of power because of the fear that one 'religious' group would inflict its beliefs in an uncompromising and dogmatic way upon everybody else in that society.
As a result 'Religious Studies' is usually taught in a way that assumes the viewer stands on the outside of various traditions of thought; Christianity, Buddhism, Islam. The teacher and student are expected to maintain a neutral and objective stance towards that which they study. They are looking at how other people answer the big questions in life. This neutrality reflects the secularity that is presumed in modern societies.
The problem with this approach does not lie with the nobility of its intentions. It is right to aim for high standards of objectivity and fairness when studying anything, especially in an academic setting. However, these noble intentions do nothing to save this approach from its ill-defined foundations in the word 'Religion'.
If we take the above intention as axiomatic, adherence to a specific theological system should not be enforced, and frame the problem in terms of loyalty to a theological system. Then the concern should not be about those systems which are taught. The question should be about what is not taught; the systems that we belong to in which loyalty and adherence are assumed.
As we said above, the societies we belong to provide us with default answers to life's big questions. The answer of who we are is more commonly answered with a description of nationality or race than it is through any society that is conventionally thought of as 'religious'. People are more likely to describe themselves as British, Chinese, South African as they are to describe themselves Christian, Muslim, or Buddhist. Why should these societies, which often do enforce exclusive loyalty, not be the focus of a subject that is aimed at helping its students navigate these questions.
With this in mind, this work is proof of concept for a new way of studying theology. One that leaves behind the foundations of 'Religious Studies' and offers new grounds from which to explore the variety of ways that humans construct meaningful lives in societies with each other. This can be seen especially in the treatment of Humanism, and how it deploys the concept of Secularity, alongside some of the other major global theological traditions of thought that shape both ourselves and our planet.
Why Theology?
Theology, simply put, means the study of god, or divinity. A simple way to sidestep the problems that surround the term 'religion' comes from using a more practical definition of what a god is. Conventional definitions of God or gods tend to focus on divinities as 'supernatural beings', supremely powerful creators or controllers of one or more, or all, aspects of reality. This approach is problematic, as there are plenty of examples where we might use the term God, but some of these things aren't true.
'St. Patrick's College…' by William Murphy is licensed under CC by S.A 2.0
When we disconnect the term from any particular tradition, especially the God of the Abrahamic tradition, then we see that what people consider to be divine is best understood as what they hold to be ultimately valuable, that which they draw meaning from through their devotion to it. A Pragmatic solution, therefore, would be to look at the single attribute that all gods share: that of being worshiped or of being believed in. Then the definition 'a god is something that is worshiped / believed in', or 'your god is that which you worship / believe in' needs to be expanded upon to distinguish from more mundane versions of devotion and belief.
Take the example of Money. While it is far from inconceivable to imagine somebody for whom Money is their god, there are also many who dedicate much of their time and effort in the pursuit of money, but not because they worship money as a god. But because money is a necessary tool in their pursuit or devotion to something greater. How do we distinguish between these two types of devotion?
The central point is the same: the defining feature of belief is that it engenders action. This could be seen as the key way to differentiate between thoughts and beliefs. We can have thoughts that we don't act on, but to not act on a belief, is to not actually believe it.
To distinguish between the more mundane beliefs and the more sacred, it is useful to look at the concept of doubt. To doubt, not in the narrow sense that we usually use it, but in a broader nihilistic sense, is to be in a state of crisis where action becomes impossible: a crisis of faith.
As with all states of crisis this nihilism is unsustainable, people need to have beliefs in order to undertake any action, in order to function, and make sense of their surroundings. This level of Doubt demonstrates the level of belief that is required to designate a god. Without a particular belief we might stop a particular action, but without a god, we cease all action.
It is important to note that this is not an argument for the existence of God, or gods, it is merely an observation about how humans function. Our usual categories of 'theist' 'atheist' are not helpful, because everyone who takes action must hold some sort of animating belief, or theism. Moreover, atheism as it is commonly understood by people who use the term, is not the same as the nihilistic lack of belief which we are discussing here. To truly have no god, a person would be trapped in a state or crisis defined by passivity and inaction.
In this way we might get a solution to this problem. Worship, in the sense of devotion to a divinity, can be distinguished from devotion in the sense of dedicating time, effort and money, when we consider the reason for devotion. Belief in something that isn't divine might compel some of the actions that people take and not others, but something that is divine would compel, either directly or indirectly, all actions that a person takes. It is here that we find our pragmatic definition of God or a god. The ultimate reason, in any particular person's life, for them to act. A God is the context, prime cause of action in a person's life. A person's God is the ultimate ground of their sense making and the actions they take.
Instead of dividing humanity into the false categories of 'religious' and 'not-religious' it makes more sense to study this process of finding meaning through devotion and loyalty to a certain system of belief and practice. Thinking in terms of Theology allows us to see this subject as one that cuts to the core of how we imagine ourselves, how we live our lives and how we interact with each other. This is not an attempt to argue for the existence of any particular divinity, nor is it an attempt to deny the existence of those who reject the older theological traditions of the world. Instead this is simply a recognition that everybody derives meaning in their lives from somewhere; everyone, in this definition, has a god. Therefore this textbook aims not to spare any society, instead treating all with the utmost respect and empathy, with the ultimate aim of greater understanding, for both our readers and writers.
So, What is a Theology?
Literally 'God Talk', but invariably a theology takes the form of a narrative, one that is all encompassing in scope and introduces the listener, or reader, to a particular God. It is therefore a narrative, any narrative, that provides answers to the big existential questions in life: Why are we here? What is the meaning of life? How should we understand ourselves? How should we treat those we see as other? By answering these questions, provides the context for the development of all human societies, and all individuals born into these societies.
'Asia Dance Bangkok' by Sasint is licensed under a Pixabay License
The narrative itself thus becomes a meeting point between the divinity and the believer. It points to sacred touchstones, symbolic actions, ideas, and images; that help the believer to navigate reality. To distinguish it from works of fantasy, we must also point out that a Theology claims to be true, its narrative claims to be the true history of reality.
This definition of theology is wider than the term traditionally used in this context: Religion. This is deliberately so. The idea that underpins this work, and much of the work done at Understanding Theology, is that each society or community of people can be thought of as its own theological system. Each society requires an imagined familiarity or 'sameness' that is almost always provided by a narrative or history that provides meaning to the group and the individuals that belong to it. This could be the history of creation as found in the holy texts of the Abrahamic faiths, or the history of a people which informs the identity of a specific nation, to give just two examples. In the next section we will provide stronger definitions for some of the terms that are used frequently in this work.
Systems and Traditions
Theological Systems
A Theological system is when a theological narrative is used as the basis for governing and organising the lives of a group of people. This gives us a Priesthood; the script-keepers of the narrative, the people with the answers. And the Believers; those who consciously or unconsciously draw meaning for their lives from the narrative and the answers that the governing priesthood provides.
The interpretation, and re-interpretation, of this meaning is always done by a governing priesthood; be they literal priests, academics, politicians, or some combination. This is normally done with input in some form through Festivals or Rituals performed by the believers, citizens, subjects who define themselves in relation to the system.
So by 'Theological System' we mean any social grouping of people brought together as an imagined community through a shared narrative that provides a shared conception of their identity and their relationship to the world around them. It is necessary to point out that this is all social groupings. This gives us the three components of a Theological system: Narrative, Priesthood, and Believers. It is a view of reality that subsequently shapes social reality.
Theological Traditions
Every society is a theological system. And can be compared to any other based upon the underlying theology that gives it shape and structure. But, not every theology tradition is necessarily a system. Each of the great theological traditions of the world can and have lent themselves to multiple theological systems across history and geography.
By Theological Tradition we mean a specific theological narrative that has been expanded on, developed and adapted over a long period of time to give shape to a number of 'Theological Systems' which could either be inheritors of the tradition, rivals within the tradition, contemporaries or not. A Theological System or Society / Community, could therefore claim to be the sole inheritor of a tradition, or the "true" inheritor of a tradition. It could even blend or merge aspects of different traditions
The first main section of this textbook is going to be dedicated to an exploration of some of the key theological traditions that have shaped human history. They are listed below. A key point, that cannot be stated often enough, is that these traditions have flexible boundaries; we probably belong to more than just one of the following groups. And each of the theological traditions that are discussed in this work are not fixed entities, but evolve and change over time.
That these traditions change and evolve as they adapt and are adapted to different socio-political contexts is something that we have tried to show throughout our writing on them. The structure we have chosen is an adapted version of the UK government's GCSE guidelines. We have changed it to include more about how these traditions have evolved over time as part of various socio-political systems.
We have subsequently ended up with a structure that keeps the sections on Beliefs and Teachings, and Sources of Wisdom and Authority. These are both things that no Theological tradition can do without: a narrative and the structures in place for how that narrative is interpreted. Alternatively these can be seen as answering the following questions: Beliefs and Teachings focuses on how Divinity is conceived in this tradition, whereas Sources of Wisdom and Authority looks at how the meeting points between this divinity and the believers translates into hierarchies that give different societies in this tradition their shape.
Next there is an adaptation version of two sections recommended by the UK government guidelines. 'Practices' and 'Forms of Expression and Ways of Life' have been combined here to form a section called 'Practices and Expressions'. This is dedicated to unique actions, rituals, art, and symbols that can be found in the tradition in question.
Finally, a unique addition of our own is 'The Tradition Through History'. Here we look at the Origins, Evolution, Current State, and Future of the tradition. Different traditions lend themselves to different Theological Systems, and so here we try to give a brief history of the different social groupings and political bodies that these traditions have inspired through to the present day. We finish with a look at how these traditions might cope in the future with their role as one of the few truly global theological traditions.
Why Choose These Theologies?
Between them they cover a majority of the people on earth. Most people identify with some combination of the chosen theologies. Usually Humanism, which can be thought of as the dominant theological tradition on earth at the moment, in some combination with one of the others. It is important to note that people rarely if ever belong to just one of these traditions. We usually belong to multiple, overlapping, societies. The theological systems that are focused on here are not exclusive nor neat categories that we each fit into. The societies that we belong to are theological systems that take ideas and concepts from multiple sources in order to make sense of the reality surrounding us. These traditions are presented as pure types, but with the recognition that in reality no such purity does or perhaps can exist; and that is no bad thing.
'Holocaust Memorial Berlin' by 3093594 is licensed under a Pixabay license
Closing Notes
On top of constantly expanding and improving upon the work we have already published here, a section on Comparative Theology is something that I would like to add in the future. Also, given the time and resources, I would like to add sections on Judaism, Sikhism, Chinese Theology and other great theological traditions from history. I already have a clear plan of what to write, as this will build upon work that is currently the focus of my, Theo Poward, PhD. But it can't happen without your support.
This alternative textbook is a project I have been working on for a number of years, and something that I hope will continue to grow in scope and quality. Please take this as an indication of a few things. First, that I am passionate about this work. Second, that the only reason I don't update as regularly as I would like is because I am busy improving upon the core ideas in the best possible setting. Third, I am keen for feedback. This project is a labour of love and there is no intention of criticising or converting anyone. If you have questions, comments or criticisms I want to hear them and will try my best to respond to them.
We hope that you can use this resource for a range of purposes. If, at any point, you have a suggestion, or question, or think we have made a mistake, then please do not hesitate to contact us. The best way to do so is through Facebook, Twitter, LinkedIn, or via Email at suggestions@understandingtheology.org
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From main house you will reach the next-door house "Villa BelVital" in just two minutes. Same as quiet situation the new and generous arranged rooms build one unit in our hotel.
The room size is between 25 and 60 sq m. Some rooms with balcony. Every room includes hairdryer, make-up mirror, cable-TV, telephone, tea corner, minibar, bathroom with shower, toilet, comfortable lounge and escritoire.
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Try one of our special cure for Traditional Chinese Medicine and you will enjoy a heavenly night's sleep.


text:
Theater Review: Halenda brings some brass 'Somewhere Over the Rose' at FST
/ Monday, August 11, 2014
In her new cabaret show "Somewhere Over the Rose," Kathy Halenda finds some intriguing parallels in the lives and careers of two personal favorites, Judy Garland and Bette Midler.
Kathy Halenda sings songs associated with Judy Garland and Bette Midler in her cabaret show "Somewhere Over the Rose" at Florida Studio Theatre's Court Cabaret. Photo provided by FST
It's a stretch at times, but the engaging and lively Halenda, another favorite, links their stories and an assortment of songs in a show that also shows off her own skills as an artist.
Halenda, who has starred in many FST musicals and cabaret shows, has an easy way in front of the audience. You feel comfortable in her presence. She doesn't try to sound like either of the other singers, though her big, warm voice naturally recalls Midler's own style.
Halenda likes to describe herself as brassy and sassy, but there's a caring heart in her performance.
She shares information about the ups and downs in the careers and personal lives of the two women — movie hits and flops, Judy's many marriages — occasionally pausing during one song or another to tell a little bit more before finishing the number.
But those interruptions cut into her opportunities to more fully connect with the lyrics and the overriding means of the songs. They always sound pleasant, but miss an emotional tie that would better draw the listener in, even as they trigger nice memories of legendary movie roles or concert performances.
She starts out brightly with "Zing, Went the Strings of My Heart," while explaining how Garland started singing at age 2, performed with her two sisters, and started making movies at 12. Early on she was given drugs to perk her up or get her to sleep, leading to a lifelong drug dependency that led to her death at age 47 in 1969.
Kathy Halenda in "Somwhere Over the Rose" at Florida Studio Theatre's Court Cabaret. Photo provided by FST
She calls Garland a "classic Rolls in a world filled with Edsels."
For Garland, she sings "The Man That Got Away," "The Trolley Song," "Johnny One Note" and "I'm Always Chasing Rainbows," paired with the classic "Over the Rainbow," among others.
The Midler songs include "From a Distance," "Stuff Like That There," "Hello in There," "Wind Beneath My Wings" and "The Glory of Love" paired with "Friends." Halenda's style and vivacious attitude more closely suits Midler's persona.
The upbeat songs are alive and vibrant with rousing accompaniment from pianist Jim Prosser. Even if they don't always have added depth, the gentler songs have a tender tone, particularly Midler's "Hello In There," which Halenda delivers with a more personal connection.
It's not all big hits and obvious choices. Halenda includes Craig Carnelia's "Millwork" from the musical "Working," which Midler recorded on her 1979 album "Thighs and Whispers" which also featured Bob Haggart's "Big Noise from Winnetka." She also includes the comical "Otto Titsling," about the invention of the bra, that Midler sang in the film "Beaches."
And there's an intriguing but awkward mash-up of "Over the Rainbow" and "The Rose."
By the end, you have learned a bit about each of the singers, particularly Halenda, who like her musical heroes, lives to entertain.
SOMEWHERE OVER THE ROSE
Created by and starring Kathy Halenda. Reviewed Aug. 10, Florida Studio Theatre Court Cabaret, 1247 First St., Sarasota. Through Aug. 31. Tickets are $32. 366-9000; floridastudiotheatre.org


text:
require 'responders'

module RailsStuff
  # InheritedResources on diet.
  # Tiny and simple implementation. Feel free to change/extend it right in you
  # application. Or just use separate modules.
  module ResourcesController
    extend ActiveSupport::Autoload

    autoload :Actions
    autoload :BasicHelpers
    autoload :BelongsTo
    autoload :HasScopeHelpers
    autoload :KaminariHelpers
    autoload :ResourceHelper
    autoload :Responder
    autoload :StiHelpers

    extend KaminariHelpers::ConfigMethods

    class << self
      def inject(base, **options)
        base.include BasicHelpers
        base.include KaminariHelpers if options.fetch(:kaminari) { use_kaminari? }
        base.include StiHelpers if options[:sti]
        base.include Actions
        base.extend HasScopeHelpers
        base.extend ResourceHelper
        base.extend BelongsTo
      end
    end

    # Setups basic actions and helpers in resources controller.
    #
    # #### Options
    #
    # - `sti` - include STI helpers
    # - `kaminari` - include Kaminari helpers
    # - `after_save_action` - action to use for `after_save_url`
    # - `source_relation` - override `source_relation`
    def resources_controller(**options)
      ResourcesController.inject(self, **options)

      self.after_save_action = options[:after_save_action] || after_save_action

      resource_belongs_to(*options[:belongs_to]) if options[:belongs_to]
      if options[:source_relation]
        protected define_method(:source_relation, &options[:source_relation])
      end
    end
  end
end

redpajama_set_name: RedPajamaGithub


text:
Guðmundur Lárusson (ur. 23 listopada 1925 w Eyrarbakki, zm. 14 stycznia 2010) – islandzki lekkoatleta, sprinter i średniodystansowiec.

Kariera

Igrzyska olimpijskie
W 1952 wystąpił na igrzyskach olimpijskich, na których wziął udział w biegu na 400 i 800 m. Na obu dystansach odpadł w pierwszej rundzie. W biegu na 400 m był 4. w swoim biegu eliminacyjnym z czasem 49,7 s. Na dwukrotnie dłuższym dystansie zajął ostatnie, 7. miejsce w swoim biegu eliminacyjnym z czasem 1:56,5 s.

Mistrzostwa Europy
W 1950 wystartował na mistrzostwach Europy, na których był 4. w biegu na 400 m z czasem 48,1 s, ustanawiając nowy rekord Islandii.

Mistrzostwa Islandii
W 1948 został wicemistrzem kraju w biegu na 100 m z czasem 11,2 s. W 1949 został mistrzem Islandii na 400 m z czasem 49,4 s. W 1950 wygrał na 100 m z czasem 22,5 s i 200 m z czasem 49,5 s. W 1951 zwyciężył na 400 m z czasem 49,9 s i 800 m z czasem 1:59,6 s. W 1952 powtórzył te osiągnięcia, uzyskując czas 49,5 s na 400 m i 1:59,4 s na 800 m.

Życie prywatne
Od szesnastego do siedemdziesiątego roku życia pracował na poczcie. Był żonaty z Sunnevą Jónsdóttír, z którą miał pięcioro dzieci.

Przypisy

Bibliografia

Islandzcy sprinterzy
Islandzcy średniodystansowcy
Islandzcy olimpijczycy
Uczestnicy Letnich Igrzysk Olimpijskich 1952
Urodzeni w 1925
Zmarli w 2010

redpajama_set_name: RedPajamaWikipedia


Culture, culture, culture ! No visit to a country is complete without access to the psyche of its people. Whether you are in the planning stage of your trip to South America or you just want to know more about what makes people tick over there, we have listed some iconic facts, people, places, languages, artworks and dances that make the region so specific. Learn about the prolific Latin authors, musicians, movie-makers, history-shakers and crowd pleasers as well as those who best celebrate them in their blogs and on their Instagram pages.


My latest round of Badger watching has not been quite as successful as I hoped.
The Badgers have moved to a new sett and that is not on the farm. No worries, they still forage here and I can still watch them. Fizz and I set up a camera in a likely spot (Strapped to an Ash tree) and baited the area with a few handfuls of scattered raisins.
Yesterday I went up to retrieve the memory card. The good news was that it had recorded twenty four videos and the bad news was that by the time I got home I had lost it.
After I picked up the card I wandered all over that field playing ball with Fizz because the grass was short and it was a good place to play. My card is out here somewhere.
What the hey, we had a good game of ball.
There was a new card to pick up today.
Back in March I saw that one of the Badgers that I am following had been in a scrap and his right eye was closed. That never healed and since then I have been confidently identifying this animal and calling him Patch.
This next video shows a meeting between Fox and Badger. This is the first time that I have seen a Badger run from a Fox but I think that it was just surprise.
My next video shows how close the animals can get and still feel comfortable at the end of the video the Fox sits down beside the Badger.
Did you enjoy those videos?
Did you enjoy playing ball and eating raisins?
A few people have asked in the comments section, "Why are they culling Badgers?" I sometimes forget that the internet extends outside of the UK.
They are culling Badgers in an effort to control the spread of bovine TB.
Bovine TB is a disease of Cattle that our wild life can catch from contact with the cows. It is typically spread through contact with urine. Scientists say that 94% of bTB is spread from herd to herd, Cows give it to each other but because Badgers can move freely from field to field if a Badger catches it and goes into another field it can pass the disease on to uninfected cattle. The same goes for Deer and other wild life.
Nobody is claiming that killing Badgers would eradicate bTB but DEFRA do claim that if they can successfully kill 70% of the Badgers in an area then it might reduce incidences of bTB by between 6 -12% but they also say that figure may be more or less.
If they killed every wild animal in England there would still be bTB in our Cattle herds. It is a disease of Cattle that wild life can catch.
Like any highly contagious disease TB is spread rapidly by overcrowding and poor sanitation, that applies as much to people as it does to livestock and the real answer to the problem lies in taking better care of our animals and keeping them in better conditions.
Many people would prefer to believe that it has nothing to do with the way that we treat our livestock and prefer to believe that if they shoot the Badgers the problem will go away. That can not possibly happen.
Last year DEFRA conducted two pilot culls to determine two things. Was free shooting an effective way to cull Badgers and could it be done humanely? They appointed an Independent Expert Panel to look at these results and their conclusion was that no, the pilot culls had been both ineffective and inhumane. However the Government have decided to repeat the culls without the help of expert monitoring and in that way hope to achieve better results.
The Government's own scientific advisors have told the Government repeatedly that Badger Culling will not work.
There are effective vaccines against bovine TB for both Badgers and Cattle. European laws prevent us from vaccinating cattle because it interferes with the standard tests for the presence of bTB.
The Badger is a protected species in the UK it is illegal to harm a Badger or to interfere with it's sett, unless you work for the Government.
Nasty people do nasty things, that is why they are called nasty and regardless of how many Badgers they kill there will still be TB in our cattle.
Never understood the part where studies are conducted, experts are consulted, expert opinions are rendered, and then governments do what is politically expedient even when told it will not work.
Not just there, but here as well. Especially the part about not following their own laws.
I do enjoy your informative and cheerful posts… though the news is most certainly heartbreaking today. Thank you for doing this work.
Very informative, and I enjoyed the videos !
I did enjoy the videos, thank you. And your information, since you sure do extend outside of the UK.
Thanks. Impressed by your forthright views and your nature descriptions and photos. Keeps me returning here. Regards Thom.
Well said Colin. The badgers are brilliant and the fox as well. I agree with your sentiments with regards to the badger culling. I read somewhere that they had started to vaccinate badgers against TB. I was horrified to hear that they would be re-commencing with their blood thirsty and cruel activity in the name of protecting cattle.
Some people have no intelligence or conscience. If they ever try to cull up here in Yorkshire, I will be amongst those that fight against it.
Thanks again for a lovely piece and videos. Keep them coming.
I support your belief, Colin. Some people just look for an excuse to kill animals. I don't like deer hunting season, either. I Scold my neighbor all the time for feeding the deer just so he can kill them. Thanks for sharing what goes on in the UK. And I like you videos, and Fizz, and her little buddy. Happy Trails!
It's lovely how the fox and badger end up sharing the same space. If only humans could be as mature. I despise the current government for many reasons and the cull is one of them.
It's idiocy to have a bunch of non-scientists decide what to do about anything that involves science. We do the same thing here in the U.S. Being a pessimist, I am of the opinion that human extinction is the only hope for our planet.
Of course you are right and yes, I did enjoy the videos.
Thanks for the explanation, Colin. (I was one who wondered about the cull).
And yes, it is helpful to explain what is seemly cruel to our wildlife.
Many criticise the Kangaroo culling near farms (or even in the wild) in my country of Australia, but humane culling by licenced professional hunters is necessary to reduce the numbers that compete for food near farm animals. If the numbers of kangaroos get too high, there is not enough food and they become diseased and die terrible deaths. It also strips the field of healthy grass and low foliage, leaving the soil to dry out and the salt 'table' to lower. This leads to the deforestation of healthy native forests and decimation of ground cover with severe deterioration of wildlife habitat and erosion.
Back before white settlers arrived in Australia, the aborigines and lightening strikes created intermittent, but regular, forest fires which 'cleaned' out the diseased or unhealthy wildlife and vegetation. Many Australian native trees need high heat to burst open the seed pods of native plants to regenerate so forest fires are actually nature's way of restoration and rejuvenation.
So that's my explanation of culling our Kangaroos (like your Badgers?).
I can understand why kangaroo culling is needed, but we don't have a huge number of badgers in England – they're fairly rare.
I'm with you on badger culling. And Ruddy Ducks. Do you think the badgers chewed your card to stop you spying on them?
We have a saying here, "good enough for gov't work" – sounds like it applies there as well. Idiocracy.
Some farmers don't really seem to appreciate the truths of Science. We were once told in Cornwall that buzzards carry off lambs. Similarly, I would think having 140 cows together in one field might do them more harm than a few badgers.


text:
"Hotel Del Luna" Writers Share Thoughts On Drama's Conclusion, Possibility Of Season 2, And More
by S. Cho
Following the recent conclusion of hit tvN drama "Hotel Del Luna," writers Hong Jung Eun and Hong Mi Ran, also known as the Hong Sisters, sat down for an interview.
"Hotel Del Luna" revolves around a hotel made solely for ghosts, run by hot-tempered CEO Jang Man Wol (IU). She is accompanied by elite hotelier Goo Chan Sung (Yeo Jin Goo), bartender Kim Seon Bi (Shin Jung Geun), hospitality manager Choi Seo Hee (Bae Hae Sun), and frontman Ji Hyun Joong (Block B's P.O). The drama regularly topped its own ratings records and has become tvN's most viewed drama of 2019.
Regarding the origin of the "Hotel Del Luna" universe, the writers revealed that the storyline comes from their 2009 drama, "My Girlfriend Is A Gumiho." Hong Mi Ran shared, "A gumiho with nine tails falls in love with a regular man, and as her tail slowly disappears, she must die. From that fantasy, we moved to 'Hotel Del Luna.'" They also referenced "Master's Sun," in which one of the settings was a hotel. "Hotel Del Luna," on the other hand, was about a hotel meant solely for ghosts.
Many viewers expressed confusion as to whether the conclusion of the drama was open for interpretation or was meant to be a sad ending. Hong Mi Ran shared, "Jang Man Wol and Goo Chan Sung met knowing that Man Wol would eventually have to leave and that Chan Sung's goal was to eventually send her off. Their relationship is that much more sad because they grew to love one another, even though they met with their parting in mind. Since we needed CGI effects for the scenes with the bridge and hotel, the script for the finale had already come out a month prior."
Hong Jung Eun commented, "The goal of Del Luna is to be a space where ghosts can rest before they are sent off to the afterlife. Since the initial creation of this hotel, the end was always meant to be Jang Man Wol's departure, in which she is seen off by Goo Chan Sung. Since their chemistry was so good, many viewers must have hoped they would end up together, but knew in their hearts that Jang Man Wol would leave. Since Jang Man Wol is dead and Goo Chan Sung is alive, it was impossible for them to be together in that lifetime, unless unnecessarily forced."
As Kim Seon Bi, Choi Seo Hee, and Ji Hyun Joong were glad to cross the bridge, Hong Jung Eun explained, "It's the happiness from washing away all the hurt from this lifetime and moving on to the next. Successfully crossing the bridge and properly sending Jang Man Wol off were the most fitting endings for both Jang Man Wol and Goo Chan Sung. Rather than a forced happy ending, this was the ending that was most fitting for Del Luna. What Goo Chan Sung ponders while looking at the painting of the mountains is what viewers want to see. [The scene] shows that though [Chan Sung] may not know how much later it is, or what lifetime they are in, he hopes for all of the ghosts to be reborn so they can meet and love one another all over again."
However, the writers do not describe it as a sad or open-ended conclusion. Hong Mi Ran commented, "We think our story has a happy ending. Kim Seon Bi, Ji Hyun Joong, and Choi Seo Hee were all people who were supposed to leave. With Jang Man Wol's final farewell, the story concludes well."
Regarding Kim Soo Hyun's surprise cameo in the epilogue, they shared, "It's not that we have concrete plans for a second season. It was to showcase that there was still a space, now called 'Hotel Blue Moon,' for ghosts to come and rest." But they did not completely shut down the possibility of season two, adding, "As 'Hotel Del Luna' has had a female owner until now, we thought that it would be fun to switch to a male owner."
While the drama was popular for many reasons, the chemistry between IU and Yeo Jin Goo was a key point. Hong Mi Ran complimented the actors, saying, "They were both so good, and, despite their young age, were able to express emotions better than we expected them to. Their emotions were so vivid even when they were just gazing at one another." Hong Jung Eun added, "The reason for their good chemistry is that IU and Yeo Jin Goo are both kind, thoughtful people who look after and cheer on one another."
Although IU was the perfect Jang Man Wol, the Hong Sisters shared that they did not necessarily write the script with her in mind. However, they agreed that she was the perfect fit, and revealed, "When casting, there were no alternatives for Jang Man Wol other than IU, and we even thought to stop and rethink the project if we couldn't cast her."
The sisters also had endless praise for Yeo Jin Goo, with Hong Jung Eun stating, "Yeo Jin Goo's image in itself matches Goo Chan Sung. Since he had recently concluded a drama, we were unsure he would be available, but were so happy when he agreed. IU, who was cast first, was also very happy, and we thought that the drama was already halfway to success with the combination of IU and Yeo Jin Goo. Although Yeo Jin Goo may still have the image of a child actor, we were completely surprised at his ability to break out of that and act so emotionally."
With the success of "Hotel Del Luna," the cast and crew will be taking their reward vacation on September 4.
Watch the finale of "Hotel Del Luna" below!
Source (1) (2)
Hong Sisters


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