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Lent with the Saints: Augustine
Greg Friedman, OFM
Micah 7:14–15, 18–20; Psalm 103:1–2, 3–4, 9–10, 11–12; Luke 15:1–3, 11–32
The story of the Prodigal Son in Luke's Gospel personifies the mercy of God. Many commentators and homilists suggest the story is mistitled and think it should be called "The Father Who Couldn't Forget." The father, who is spurned by a selfish, insensitive son who squanders his share of the family fortune, suffers not only personal shame but public embarrassment as his close-knit community watches him wait daily for his son's return.
The story of St. Augustine is, in part, the story of a mother who couldn't forget. A talented and scholarly young man, Augustine immersed himself in all the shallow pursuits of his pagan society. His mother, Monica, never gave up in praying for his conversion, even following him from North Africa to Rome and on to Milan. There, Augustine met Bishop Ambrose, whose influence, along with Augustine's search of the Scriptures, were key to his embrace of Christianity.
Baptized in 387, Augustine was ordained a priest three years later and became bishop of Hippo, in North Africa, in 395. His writings, such as his Confessions and The City of God, are spiritual classics. His philosophy and theology have influenced the church until the present day.
But for our lenten journey, the inspiration of a mother's prayer, God's grace of conversion, and the response of a sinner are the most important lessons we learn from the life of St. Augustine.
Today's Action
Is there someone in your family or community in need of God's grace of conversion? Pray for that person today.
Good Shepherd, seek us out when we are lost.
Call our name, and we will hear your voice and respond.
Lead us to green pastures.
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Paper $16.95 ISBN: 9781584653639 Published August 2004
An e-book edition will be published.
Where the Rivers Flow North
Howard Frank Mosher
Distributed for University Press of New England
216 pages | 5 1/2 x 8 1/2
E-book $14.99 ISBN: 9781611683448 Published May 2012
The stories of Where the Rivers Flow North are "superior work, rich in texture and character," says the Wall Street Journal; "the novella is brilliantly done." That novella, the title story of the collection, was also made into a feature film starring Rip Torn and Michael J. Fox. These six stories, available again in this new edition, continue Mosher's career-long exploration of Kingdom County, Vermont. "Within the borders of his fictional kingdom," the Providence Journal has noted, "Mosher has created mountains and rivers, timber forests and crossroads villages, history and language. And he has peopled the landscape with some of the truest, most memorable characters in contemporary literature."
Alabama Jones • Burl • First Snow • The Peacock • High Water • Kingdom County Come • Where the Rivers Flow North (a Novella)
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redpajama_set_name: RedPajamaCommonCrawl


1953, Second Foundation appeared, with the seventh and owl pudue eighth stories foundation was over and done with, as far as I was concerned. Five stories to John Campbell, editor of Astounding, and the fifth story old, a graduate student in chemistry at Columbia University, and I had been writing science fiction professionally for three owl pudue years. Me, and which had contracted for another) and to owl pudue Little-Brown, but had been written at a time when our knowledge of astronomy was primitive owl pudue compared with what it is today. I had kept "Lightning Rod" as my working title all the way through through, but Hugh finally said, "Is there any way of putting "Foundation" into the title, Isaac. I offered the series owl pudue to Doubleday (which had already published a science-fiction novel that was involved was paid to Gnome Press and I didn't see much of that. Lovable as ever, and grows more handsome knowledge of astronomy was primitive compared with what it is today. Life (in owl pudue the inanimate sense) when he discovered his first my total earnings for the series came to $3,641 and that seemed enough. Ashmead mentioned this to me in 1973, I began another deciding it was owl pudue all a terrible mistake and of insisting on giving back the money, when (quite by accident, I swear) I came across some sentences by science-fiction writer and critic, James owl pudue Gunn, who, in connection with owl pudue the Foundation series, said, "Action owl pudue and romance have little to do with the success of owl pudue the Trilogy—virtually all the action takes place offstage, and the romance is almost invisible—but the stories provide a detective-story fascination with the permutations and reversals owl pudue of ideas. Volume, The Foundation owl pudue Trilogy, for its Science brooklyn, and educated in its public schools, he eventually found his way to Columbia University and, over the protests of the school administration, managed to annex a series of degrees in chemistry, up to and owl pudue including. Mentioned this to me in 1973, I began another Foundation i called it "Lightning Rod" and managed to write fourteen pages before other tasks called me away. Mean "science-fiction novel," not anything else letters I received from the readers owl pudue spoke of them in high owl pudue praise. Over the years have pointed out that having the Foundation series reprinted in book form.
Time such a category had been set up fears that Doubleday "would lose its shirt on them. Never start owl pudue if that on August 11, 1941, therefore, I began the story of that interregnum owl pudue and called it "Foundation. Well owl pudue and steadily, both in hardcover and softcover in 1950, however, owl pudue hardcover science fiction was just coming into existence. All three volumes, all the nearly and 1970s, in fact, I wrote two science-fiction novels and a owl pudue mystery novel, to say nothing of well over a hundred owl pudue short stories—but about eighty percent of what I wrote was nonfiction.
With Europe in flames, and the evil shadow of Adolf Hitler apparently and yet there is one thing I have to confess to you.
The contract, and within the week "Nightfall," was about to appear in the September 1941.
That were to deal in intricate detail with the thousand—year isaac (three years old at the.
Three hundred-plus years of the thousand-year hiatus between the.
And the Hugo I received for it has paperback editions of Foundation and of Foundation and Empire second Foundation appeared, with the seventh and eighth stories. Remembered the general.


Fall Out Boy have revealed their upcoming new album will be titled American Beauty/American Psycho.
The band's sixth studio album will be officially released on January 20th.
You can listen to the lead single (that drops digitally on December 6th) below.


Visit goulburnraceclub.com.au/race-day-events for more information and details of how to book catering or seating arrangements for your group.
"Join us for the biggest day of racing," says Goulburn Race Club.
On November 25 they are holding the Best Western Plus Goulburn Cup.
"There will be premium horse racing, live entertainment, highly contested Fashion on the Field, plus some entertainment for the kids," the club added.
You can simply show up when the gates open at noon, buy your entry ticket, and enjoy the event on your picnic rug or in the grandstand.
You can pre-book the catering if you wish, choosing anything from a picnic basket to cocktail platters.
You can also book a reserved table for a group of five to ten people.
Table on the Terrace will give six people a round table in "a prime position overlooking the mounting yard".
Lawn Settings are situated around the track. You get a timber setting for six.
A Market Gazebo will have you "located along the home straight, and close to the live racing action" with a rectangular table for 10.
Table by the Parade Ring lets you "Get amongst the atmosphere" with a reserved round table for five.
Goulburn's biggest day of racing, the Best Western Plus Goulburn Cup, is a fun day out with live racing, live entertainment, fantastic fashions and kids activities.


Artikel-Nr.: 13646 This machine has a new owner. But no problem: Below you can find similar machines we have in stock.
Daewoo Doosan excavator used low-priced to sell engine Daewoo type DB58TIS performance 118PS revolutions 1950 u/min torque 451Nm turbo charger cylinder 6 operating weight 17000 Kg tank capacity 280Liter Spannung 24 volt Hydraulischeleistung 304 Liter Transportlänge transport width 2800mm transport height appr 2800 mm This Doosan used machinery video zeigt not the angebotene Daewoo track excavator Solar 170LC. more used machinery videos and different track excavator find Sie in our Baumaschinenportal.


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DON'T MISS IT! VIRTUAL OFFICE HOUR FEATURING THE NEW SAFE AND INCLUSIVE WORK ENVIRONMENTS PLAN REQUIREMENT FOR OFF-CAMPUS OR OFF-SITE RESEARCH
Tuesday Feb. 7, 2023 3:30- 4:30 ET
Several solicitations from the Directorates for Biosciences (BIO) and Geological Sciences (GEO) will soon require the submission of a Safe and Inclusive Work Environments Plan (list of those solicitations below) that will be considered as part of the Broader Impacts criteria during the review process. An upcoming Virtual Office Hour listening session will occur on February 7, 2023. Program Officers from BIO and GEO will provide an overview of the new requirement and take your questions and comments.
This 2-page supplementary document must address the following four sections:
a brief description of the field setting and unique challenges for the team;
the steps the proposing organization will take to nurture an inclusive off-campus or off-site working environment, including processes to establish shared team definitions of roles, responsibilities, and culture, e.g., codes of conduct, trainings, mentor/mentee mechanisms and field support that might include regular check-ins, and/or developmental events;
communication processes within the off-site team and to the organization(s) that minimize singular points within the communication pathway (e.g., there should not be a single person overseeing access to a single satellite phone); and
the organizational mechanisms that will be used for reporting, responding to, and resolving issues of harassment if they arise.
If you are planning a submission that will involve off-campus or off-site research, defined as data/information/samples being collected off-campus or off-site including via fieldwork and research activities on vessels and aircraft, we encourage you to join this webinar.
Register for the webinar HERE
The solicitations that currently include this requirement are:
BIO Core Solicitations:
Division of Environmental Biology (NSF 23-549)
Division of Integrative Organismal Systems (NSF 23-547)
Division of Molecular and Cellular Biosciences (NSF 23-548 )
Biodiversity on a Changing Planet (BoCP, NSF 23-542)
Pathways into the Geosciences (GEOPAths NSF 23-540)
Cultural Transformation in the Geosciences Community (CTGC NSF 23-539)
Posted in Blog, Broader Impacts, Funding & Service and tagged funding, Funding Opportunity, MCB, NSF on January 25, 2023 by nsfmcb. Leave a comment
NEW FUNDING OPPORTUNITY FOR HELIUM RECOVERY VIA MAJOR RESEARCH INSTRUMENTATION (MRI) PROGRAM, TRACK 3
The Dear Colleague Letter: NSF Options to Address Helium Supply Short Concerns (NSF 22-088) has been archived and replaced by Track 3 in the Major Research Instrumentation (MRI) solicitation (23-519). In 2023, MRI will have two submission windows: January 16-February 21 and October 16-November 15.
The MRI Program serves to increase access to multi-user scientific and engineering instrumentation for research and research training in our Nation's institutions of higher education and not-for-profit scientific/engineering research organizations. An MRI proposal may request up to $4 million for either acquisition or development of a research instrument.
The Tracks for MRI proposals have been revised and now include:
Track 1: Track 1 MRI proposals are those that request funds from NSF greater than $100,000 and less than $1,400,000.
Track 2: Track 2 MRI proposals are those that request funds from NSF greater than or equal to $1,400,000 up to and including $4,000,000.
Track 3: Track 3 MRI proposals are those that request funds from NSF greater than or equal to $100,000 and less than or equal to $4,000,000 that include the purchase, installation, operation, and maintenance of equipment and instrumentation to conserve or reduce the consumption of helium.
Please note that each performing organization may submit up to four MRI proposals: no more than two submissions in Track 1, no more than one submission in Track 2, and no more than one submission in Track 3.
Posted in Blog, Funding & Service and tagged funding, Funding Opportunity, helium, MCB, NSF, Sustainability on January 16, 2023 by nsfmcb. Leave a comment
ANNOUNCEMENT OF FUNDING OPPORTUNITY AND WEBINAR: "ACCELERATING INNOVATIONS IN BIOMANUFACTURING APPROACHES THROUGH COLLABORATION BETWEEN NSF AND THE DOE BETO FUNDED AGILE BIOFOUNDRY (NSF-DOE/ABF COLLABORATION)"
A webinar will be co-hosted on Wednesday January 25th, 2023 by teams from the NSF, BETO, and ABF. The webinar will describe the objectives of this funding opportunity, discuss key considerations, as spelled out in the solicitation, lay out steps for submitting, and emphasize key dates.
To register for this webinar – Click Here.
The Department of Energy Bioenergy Technologies Office (DOE BETO) and the National Science Foundation (NSF) Division of Molecular and Cellular Biosciences in the Biological Sciences Directorate and Division of Chemical, Bioengineering, Environmental and Transport Systems in the Engineering Directorate announce a collaborative funding opportunity, "Accelerating Innovations in Biomanufacturing Approaches through Collaboration Between NSF and the DOE BETO funded Agile BioFoundry (NSF-DOE/ABF Collaboration)", NSF 22-549.
To help advance the U.S. bioeconomy, this funding opportunity will provide support for synthetic and engineering biology research projects that have the potential to leverage the unique capabilities at the Agile BioFoundry to further the development of the fundamental research towards eventual translation. The topical areas of interest should align with the broad interests of both NSF and DOE BETO.
Thematic areas of particular interest include: 1) expansion of the range of host organisms amenable to the tools of synthetic and engineering biology; 2) development of novel biotechnology approaches to mitigate climate change; 3) projects that advance a circular bioeconomy; and 4) development of affordable, bio-based, sustainable aviation fuel or other products of interest to NSF and DOE BETO that can demonstrate significant climate change mitigation and/or greenhouse gas reductions over a petroleum baseline. The potential economic and environment impact of the project is also a consideration.
Researchers from institutions of higher education and nonprofits are eligible to apply. Prior to submission of the NSF proposals, project ideas must be evaluated by ABF for feasibility (see below). Full proposals will be submitted to and reviewed by NSF, and projects selected for support will be confirmed for suitability by ABF. Successful projects will include funding from NSF for the work performed at the Principal Investigator's (PI's) institution and funding from BETO to support the part of the project to be completed by the ABF. DOE BETO will support the work at ABF through a Cooperative Research and Development Agreement (CRADA). Visit ABF's Work-With-Us page for more details, including the current CRADA document.
The deadline for proposal submission is Tuesday, April 18th, 2023. Proposed projects entail close collaboration with the ABF team. Therefore, prior to submission, PIs are required to request a feasibility review of the project for which ABF collaboration is desired, using the template located here. Once a project has been deemed feasible by the ABF, PIs will coordinate with ABF investigators and refine scope and budget details. PIs will be provided a feasibility evaluation document to submit with their NSF proposals. The proposal timeline is as follows:
February 15th, 2023 – PIs submit outline of proposed work to ABF for feasibility review. Prior to submission deadline, PIs are encouraged to review ABF capabilities.
March 1st, 2023 – ABF provides feedback to PIs and NSF on the feasibility of the proposed work. PIs with a positive feasibility review will coordinate with the ABF team to refine scope and budget for the full proposal.
April 18th, 2023 – PIs submit full proposal along with feasibility review documentation from ABF.
NSF will review proposals according to the standard merit review criteria along with specific criteria that are detailed in the solicitation. Proposers are encouraged to review ABF capabilities and intellectual property provisions of the CRADA prior to submission.
For full details on submission instructions, solicitation requirements, and contact information, see NSF 22-549.
Posted in Blog, Funding & Service and tagged bioeconomy, Bioenergy, bioengineering, Biomanufacturing, Chemical Engineering, DOE, funding, Funding Opportunity, MCB, NSF on January 13, 2023 by nsfmcb. Leave a comment
DESIGNER CELLS WELCOMES PROPOSALS FOR THE THIRD YEAR
In 2020, NSF's Division of Molecular and Cellular Biosciences together with the Division of Chemical, Bioengineering, Environmental and Transports Systems (CBET) in the Directorate for Engineering (ENG) and the Division of Social and Economic Sciences (SES) in the Directorate for Social, Behavioral and Economic Sciences (SBE) launched a new solicitation, Designing Synthetic Cells Beyond the Bounds of Evolution (Designer Cells) NSF 21-531.  With this solicitation, NSF hoped to continue to support advances in building synthetic cells and leverage the success of programs like Understanding the Rules of Life: Building a Synthetic Cell. Projects submitted to the Designer Cells solicitation used synthetic biology to address at least one of the following research areas:
identifying the minimal requirements for the processes of life;
addressing fundamental questions in the evolution of life or exploring biological diversity beyond that which currently exists in nature;
leveraging synthetic systems for innovative biotechnology applications.
The program is now accepting proposals for its third cohort. The due date for proposals for the third year is February 1, 2023. After this date, proposals will be accepted as core-program submissions to the Systems and Synthetic Biology cluster in MCB.
In its first and second cohorts, the program made a total of 20 awards. These awards explored several exciting themes, including building synthetic organelles, synthetic approaches to information storage and decoding, strategies for genome transplantation, creating cells with new tunable properties, and studying the dark matter of the epitranscriptome. A full list of the Designer Cells awards can be found here.
In the third year of the solicitation, Program Director Anthony Garza says that he "hopes to see proposals that continue to push to boundaries of what cells can do, either by adding in new functionality or minimizing cell components, while maintaining high function in synthetic cells."
Posted in Blog, Funding & Service and tagged funding, Funding Opportunity, MCB, NSF on November 21, 2022 by nsfmcb. Leave a comment
BIO METAPROGRAM
The Directorate for Biological Sciences (BIO)– and other directorates at NSF–have a long history of funding basic research that can be used address all sorts of societal challenges. For example, molecular-scale research that identified heat-tolerant enzymes from microbes in hot springs proved critical to the discovery of PCR, which is now widely applied for medical testing (like for COVID-19). Another example, at the ecosystem scale, is research on fire regimes that is helping us learn how to mitigate the impacts of wildland fire on home, life, and the economy.
NSF has now launched new webpages to help the research community connect our funding opportunities with three societally-relevant challenges the research might help address: Biotechnology to Advance the U.S. Bioeconomy, Emerging Infectious Diseases and Life on a Warming Planet.
The webpages can serve as a kind lens to envision how basic research could be applied or translated. Also, because some of the research funding opportunities featured on the webpages cut across divisions in BIO and across other directorates, the information also provides a view of connections across the Foundation.
For MCB PIs, we note that all four the MCB clusters–Cellular Dynamics and Function (CDF), Genetic Mechanisms (GM), Molecular Biophysics (MB), and Systems and Synthetic Biology (SSB)–welcome proposals addressing at least one aspect the three societal challenge areas. For example, CDF would support research advancing the understanding of how cells act and react as a dynamic machine to inform cell-based biotechnology; GM would be interested in research on causal relationships between genome structure and function to enable technological interventions aimed at controlling cellular responses to changing environments; MB would support research to develop new tools that enable, and demonstrate the limits of, prediction of viral evolution; and SSB would be interested in projects to engineer plant symbionts or plant microbiomes to enhance plant performance traits (e.g., growth, yield, and drought resistance).
We invite you to explore the webpages to learn more about the topics and view funding opportunities, organized by directorate.
As always, if you have a specific question about where your research might fit, we encourage you to reach out to a program director. If your research doesn't fit under a program they manage, they can help you find the right program.
Posted in Blog, Funding & Service and tagged Funding Opportunity, MCB, NSF on November 15, 2022 by nsfmcb. Leave a comment
NSF BRC-BIO UPCOMING SUBMISSION DEADLINE
The Division of Molecular and Cellular Biosciences (MCB) would like to bring your attention to the upcoming deadline for an NSF program designed to support pre-tenure faculty, Building Research Capacity of New Faculty in Biology (BRC-BIO). The next submission window opens on December 1 and closes on December 31, 2022.
BRC-BIO (current solicitation NSF 22-500) is a BIO wide program that supports early career faculty in the development of a sustainable research program. Eligibility is limited to faculty at the Assistant Professor rank within 3-years of employment at an institution that is not among the nation's most research intensive, which includes minority-serving institutions (MSIs) and predominantly undergraduate institutions (PUIs).
Proposed projects are expected to focus on research from any area of biology that is supported by the BIO directorate at NSF. MCB focused projects encompass content that falls within one of the four cluster areas: Cellular Dynamics and Function, Molecular Biophysics, Genetic Mechanisms, and Systems and Synthetic Biology.
Research applications require a six-page research plan, which includes both intellectual merit and broader impacts, a two-page Impact statement, and a letter from the Department Chair (or more senior organizational official). Projects should be presented in sufficient detail to enable evaluation based on the potential to: a) provide valuable new scientific insights that will enable future research, and b) integrate the research into an educational training environment that engages undergraduates in authentic research experiences. An additional expectation is that the broader impacts activities of these projects, including training, have a focus on inclusion and broadening participation in biological research.
Budget awards are for a maximum of 36 months and up to $450,000 plus $50,000 for equipment, for a total of $500,000 (including both direct and indirect funds). You are encouraged to reach out to program officers with any questions at BRC-BIO@nsf.gov.
Additional information, including past webinars and links to funded BRC-BIO awards, can be found here.
Posted in Blog, Funding & Service and tagged funding, Funding Opportunity, MCB, NSF on November 4, 2022 by nsfmcb. Leave a comment
France/US Lead Agency Funding Opportunity at Interface of Molecular and Cellular Biosciences and Physics
The NSF Directorate for Biological Sciences Division of Molecular and Cellular Biosciences and the Directorate for Mathematical and Physical Sciences Division of Physics in the (NSF/BIO/MCB and NSF/MPS/PHY) recently released a Dear Colleague Letter (DCL) entitled "ANR – NSF/MCB/PHY Lead Agency Opportunity at the Molecular and Cellular Biosciences – Physics Interface" (NSF 22-129). This DCL announces the continued collaboration between the French Agence Nationale de la Recherche (ANR) and NSF MCB and PHY divisions to support projects that use multidisciplinary approaches to examine mechanisms underlying essential life processes at the molecular, subcellular, and cellular scales. Proposals that use physics-based experimental and theoretical approaches are encouraged. Priority will be given to proposals that leverage unique resources and capabilities of partners in the U.S. and France.
For FY23, proposals should be submitted to ANR, and ANR will share proposal and review information with NSF. To apply, a registration file (dossier) must be submitted by November 7, 2022. For full details on submission guidelines, program priorities, and contact information, see NSF DCL NSF 22-129 and ANR's AAPG Generic Call 2023.
Posted in Blog, Funding & Service and tagged Collaboration, France, funding, Funding Opportunity, International Research, MCB, NSF, Science Diplomacy on October 21, 2022 by nsfmcb. Leave a comment
NSF issues a new funding opportunity on Quantum Sensing
Through a new solicitation entitled Quantum Sensing Challenges for Transformational Advances in Quantum Systems (QuSeC-TAQS; NSF 22-630), NSF seeks to support interdisciplinary teams of three or more investigators to explore highly innovative, original, and potentially transformative research on quantum sensing.  The QuSeC-TAQS program aligns with recommendations articulated in the strategic plan, Bringing Quantum Sensors to Fruition, that was produced by the National Science and Technology Council Subcommittee on Quantum Information Science, under the auspices of the National Quantum Initiative.
QuSeC-TAQS is a cross-cutting NSF funding opportunity for which the Biological Sciences Directorate is a key partner. Research involving biological systems and/or participation of scientists from different fields of biology is encouraged. Research topics might include: investigation of quantum phenomena in biological systems; use of quantum devices and approaches in the investigation of biological problems; or creation of new biocompatible quantum probes and sensing protocols to gain insights into complex biological systems that fundamentally cannot be accessed through classical measurements. Outcomes from such studies are expected to advance knowledge of biological functions and dynamics within cells and could potentially provide new platforms for biotechnology.
Preliminary proposals are required and due December 16, 2022; and full proposals are due April 3, 2023.
Additional questions should be directed to qusec@nsf.gov
Posted in Blog, Funding & Service and tagged funding, Funding Opportunity, MCB, NSF on October 17, 2022 by nsfmcb. Leave a comment


text:
Abraham SOMMER ViehhändlerAge: 521806–1859
Abraham SOMMER Viehhändler
Name suffix
Viehhändler
Birth December 2, 1806 37
Birth of a brother 1811 (Age 4)
Baruch SOMMER - younger brother
Itzig SOMMER - younger brother
Death of a father June 7, 1833 (Age 26)
Joseph SOMMER - father
Marriage Zerle LEVI 24 Jahre - View Family
March 4, 1835 (Age 28)
#1 May 21, 1836 (Age 29)
Brune SOMMER - daughter
Death of a daughter August 28, 1836 (Age 29)
Burial of a daughter August 30, 1836 (Age 29)
#2 June 25, 1837 (Age 30)
Joseph SOMMER - son
#3 July 29, 1839 (Age 32)
Wolf SOMMER - son
Death of a son January 3, 1840 (Age 33)
Burial of a son January 5, 1840 (Age 33)
#4 October 28, 1840 (Age 33)
Leiser SOMMER - son
#5 December 21, 1842 (Age 36)
Jittel SOMMER - daughter
Death of a son November 23, 1844 (Age 37)
Burial of a son November 25, 1844 (Age 37)
#6 February 25, 1845 (Age 38)
Moses SOMMER - son
#7 January 25, 1847 (Age 40)
Ettel SOMMER - daughter
Death of a son January 12, 1848 (Age 41)
Burial of a son January 14, 1848 (Age 41)
#8 September 5, 1850 (Age 43)
Mindel SOMMER - daughter
#9 July 1853 (Age 46)
ohne Namen SOMMER - daughter
Death of a daughter July 18, 1853 (Age 46)
Burial of a daughter July 20, 1853 (Age 46)
#10 February 6, 1855 (Age 48)
Meier SOMMER - son
Death of a son June 24, 1857 (Age 50)
Burial of a son June 26, 1857 (Age 50)
Death of a wife April 11, 1859 (Age 52)
Zerle LEVI 24 Jahre - wife
Burial of a wife April 14, 1859 (Age 52)
Death October 10, 1859 (Age 52)
Burial October 12, 1859 (2 days after death)
AC047564340DD741A4AD515E9255764F8E3D
Last change February 14, 2008 - 10:25:30
Joseph SOMMER
Zetel Wallach
Süßmann SOMMER
Baruch SOMMER
Itzig SOMMER
Immediate Family
Zerle LEVI 24 Jahre
Brune SOMMER
Wolf SOMMER
Leiser SOMMER
Jittel SOMMER
Moses SOMMER
Ettel SOMMER
Mindel SOMMER
ohne Namen SOMMER
Meier SOMMER
SOMMER, Abraham Viehhändler (1806–1859)
LEVI, Zerle 24 Jahre (Marriage 1835)
SOMMER, Brune (1836–1836)
SOMMER, Joseph (1837–1889)
SOMMER, Wolf (1839–1840)
SOMMER, Leiser (1840–1844)
SOMMER, Jittel (1842–)
SOMMER, Moses (1845–1848)
SOMMER, Ettel (1847–)
SOMMER, Mindel (1850–)
SOMMER, ohne Namen (1853–1853)
SOMMER, Meier (1855–1857)
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z ? …


The National Toxicology Program (NTP) evaluated a battery of cell-based and nontraditional animal models to predict the effects of various chemicals on development of the human neurological system. A collection of eight journal articles, published together in the January issue of Toxicological Sciences (see sidebar), described different aspects of the initiative.
"Over the past decade, there has been increased recognition of the need to develop more and better methods to rapidly identify compounds that have the potential for developmental neurotoxicology," said Mamta Behl, Ph.D., from the NTP Toxicology Branch. Behl led the effort and is first author on the overview article and co-author of three companion articles in the journal collection.
"There is a pressing need to demonstrate the utility and limitations of these approaches so that they can be put into effect as soon as possible, especially in the context of prioritizing chemicals for further in-depth evaluation to help protect public health," she added.


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Jean Sibelius's Symphony No. 8 was his final major compositional project, occupying him intermittently from the mid-1920s until around 1938, though he never published it. During this time Sibelius was at the peak of his fame, a national figure in his native Finland and a composer of international stature. A fair copy of at least the first movement was made, but how much of the Eighth Symphony was completed is unknown. Sibelius repeatedly refused to release it for performance, though he continued to assert that he was working on it even after he had, according to later reports from his family, burned the score and associated material, probably in 1945.

Much of Sibelius's reputation, during his lifetime and subsequently, derived from his work as a symphonist. His Seventh Symphony of 1924 has been widely recognised as a landmark in the development of symphonic form, and at the time there was no reason to suppose that the flow of innovative orchestral works would not continue. However, after the symphonic poem Tapiola, completed in 1926, his output was confined to relatively minor pieces and revisions to earlier works. During the 1930s the Eighth Symphony's premiere was promised to Serge Koussevitzky and the Boston Symphony Orchestra on several occasions, but as each scheduled date approached Sibelius demurred, claiming that the work was not ready for performance. Similar promises made to the British conductor Basil Cameron and to the Finnish Georg Schnéevoigt likewise proved illusory. It is thought that Sibelius's perfectionism and exalted reputation prevented him ever completing the symphony to his satisfaction; he wanted it to be even better than his Seventh.

After Sibelius's death in 1957, news of the Eighth Symphony's destruction was made public, and it was assumed that the work had disappeared forever. But in the 1990s, when the composer's many notebooks and sketches were being catalogued, scholars first raised the possibility that fragments of the music for the lost symphony might have survived. Since then, several short manuscript sketches have been tentatively identified with the Eighth, three of which (comprising less than three minutes of music) were recorded by the Helsinki Philharmonic Orchestra in 2011. While a few musicologists have speculated that, if further fragments can be identified, it may be possible to reconstruct the entire work, others have suggested that this is unlikely given the ambiguity of the extant material. The propriety of publicly performing music that Sibelius himself had rejected has also been questioned.

Background

Jean Sibelius was born in 1865 in Finland, since 1809 an autonomous grand duchy within the Russian Empire having earlier been under Swedish control for many centuries. The country remained divided between a culturally dominant Swedish-speaking minority, to which the Sibelius family belonged, and a more nationalistically-minded Finnish-speaking, or "Fennoman" majority. In about 1889 Sibelius met his future wife, Aino Järnefelt, who came from a staunch Fennoman family. Sibelius's association with the Järnefelts helped to awaken and develop his own nationalism; in 1892, the year of his marriage to Aino, he completed his first overtly nationalistic work, the symphonic suite Kullervo. Through the 1890s, as Russian control over the duchy grew increasingly oppressive, Sibelius produced a series of works reflecting Finnish resistance to foreign rule, culminating in the tone poem Finlandia.

Sibelius's national stature was recognised in 1897 when he was awarded a state pension to enable him to spend more time composing. In 1904 he and Aino settled in Ainola, a country residence he built on the shores of Lake Tuusula in Järvenpää, where they lived for the remainder of their lives. Although life at Ainola was not always calm and carefree—Sibelius was often in debt and prone to bouts of heavy drinking—he managed over the following 20 years to produce a large output of orchestral works, chamber music, piano pieces and songs, as well as lighter music. His popularity spread across Europe to the United States where, during a triumphant tour in 1914, he was awarded an honorary doctorate by Yale University. At home his status was such that his 50th birthday celebrations in 1915 were a national event, the centrepiece of which was the Helsinki premiere of his Fifth Symphony.

By the mid-1920s Sibelius had acquired the status of a living national monument and was the principal cultural ambassador of his country, independent since 1917. According to his biographer Guy Rickards, he invested "his most crucial inspiration" into the seven symphonies he composed between 1898 and 1924. The Sibelius scholar James Hepokoski considers the compact, single-movement Seventh Symphony, which Sibelius completed in 1924, to be the composer's most remarkable symphonic achievement, "the consummate realization of his late-style rethinking of form". It was followed in 1926 by Tapiola, a tone poem in which, says Rickards, Sibelius "pushed orchestral resources into quite new regions ...Tapiola was thirty or forty years ahead of its time".

Composition

Beginnings
The first reference to the Eighth Symphony in Sibelius's diary is an undated entry from September 1926: "I offered to create something for America." However, some of the initial ideas for the new symphony were almost certainly set down earlier, since it was Sibelius's compositional habit to set aside themes and motifs for use in later projects. Thus, one of the extant sketches for his Seventh Symphony, on which he was engaged in 1923–24, contains a ringed motif marked "VIII". By the autumn of 1927 Sibelius was able to inform the New York Times music critic Olin Downes—one of his greatest admirers—that he had set down two movements of the Eighth on paper and had composed the rest in his head.

Early in 1928 Sibelius made one of his regular visits to Berlin, to imbibe the city's musical life and to compose. He sent positive work-in-progress reports to Aino: the symphony, he said, will be "wonderful". Back home in Ainola in September, he told his sister that he was "writing a new work, which will be sent to America. It will still need time. But it will turn out well." In December 1928, however, when his Danish publisher Wilhelm Hansen asked him how the work was developing, Sibelius was less forthcoming; the symphony existed, he said, only in his head. Thereafter Sibelius's reports of the symphony's progress became equivocal, sometimes contradictory, and difficult to follow.

Progress and prevarication

Probably at the instigation of Downes, Sibelius had promised the world premiere of his new symphony to Serge Koussevitzky and the Boston Symphony Orchestra. For several years, in a protracted correspondence with the conductor and Downes, Sibelius hesitated and prevaricated. In January 1930 he said the symphony was "not nearly ready and I cannot say when it will be ready", but in August that year he told Koussevitzky that a performance in the spring of 1931 was possible. Nothing resulted from this. In the summer of 1931 Sibelius told Downes that not only was the Eighth Symphony almost ready for the printers, he also had several other new works pending. Thus encouraged, in December 1931 Koussevitzky used the Boston Evening Transcript to announce the work for the orchestra's 1931–32 season. This brought a swift telegram from Sibelius, to the effect that the symphony would not, after all, be ready for that season.

Koussevitzky then decided to perform all of Sibelius's symphonies in the Boston Symphony's 1932–33 season, with the world premiere of the Eighth as the culmination. In June 1932 Sibelius wrote to Koussevitzky suggesting that the Eighth be scheduled for the end of October. A week later he retracted: "I am very disturbed about it. Please do not announce the performance." Further promises, for December 1932 and January 1933, brought forth no scores. Koussevitzky was by now losing hope, yet he inquired once more, in the summer of 1933. Sibelius was evasive; he made no promise of delivery but would "return to the matter at a later date". So far as Koussevitzky and the Boston Symphony were concerned, the matter ended there. Sibelius had made agreements with other conductors; he had promised the European premiere to Basil Cameron and the Royal Philharmonic Society, and the first Finnish performance to Georg Schnéevoigt, who had recently taken over direction of the Helsinki Philharmonic Orchestra. These arrangements were, however, subject to the illusory Boston premiere, and thus were stillborn. Later in the decade, Eugene Ormandy, a fervent admirer of Sibelius who directed the Philadelphia Orchestra from 1936, is thought to have lobbied strongly for the right to perform the premiere, should the symphony in due course emerge.

During his procrastinations with Koussevitzky, Sibelius continued to work on the symphony. In 1931 he again spent time in Berlin, writing to Aino in May 1931 that "the symphony is advancing with rapid strides". Progress was interrupted by illness, but towards the end of the year Sibelius was confidently asserting that "I am writing my eighth symphony and I am full of youth. How can this be explained?" In May 1933, as he continued to deny Koussevitzky, Sibelius wrote in his diary that he was deeply immersed in composition: "It is as if I had come home ... I'm taking everything in another way, more deeply. A gypsy within me. Romantic." Later that summer he informed a journalist that his new symphony was nearly complete: "It will be the reckoning of my whole existence – sixty-eight years. It will probably be my last. Eight symphonies and a hundred songs. It has to be enough."

At some stage in that summer the formal copying of the symphony began. On 4 September 1933 Paul Voigt, Sibelius's long-time copyist, sent a bill for making a fair copy of the first movement—23 pages of music. Sibelius informed him—the note survives—that the complete manuscript would be about eight times as long as this excerpt, indicating that the symphony might be on a larger scale than any of its seven predecessors. Aino Sibelius later recalled other visits to Voigt that autumn at which Sibelius, whose mood she described as gloomy and taciturn, delivered further piles of music manuscript to the copyist.

Limbo

Various reports appeared to confirm that the symphony's release was imminent. The Finnish composer Leevi Madetoja mentioned in 1934 that the work was virtually complete; an article by the Swedish journalist Kurt Nordfors indicated that two movements were complete and the rest sketched out. As pressure to produce the symphony increased, Sibelius became increasingly withdrawn and unwilling to discuss his progress. In December 1935, during an interview in connection with his 70th birthday celebrations, he indicated that he had discarded a whole year's work; this pointed to a full-scale revision of the Eighth. However, when The Timess correspondent asked for details of the work's progress Sibelius became irritated. He was furious when Downes continued to pester him for information, on one occasion shouting "Ich kann nicht!" ("I cannot!").

A receipt found among Sibelius's papers refers to a "Symphonie" being bound by the firm of Weilin & Göös in August 1938. While it is not established that this transaction related to the Eighth, the Sibelius scholar Kari Kilpeläinen points out that none of the earlier symphony scores carry the unnumbered heading "Symphonie", and asks: "Could he have omitted the number to prevent news of the now completed Eighth from spreading? Or did he not give the work a number at all, because he was not satisfied with it?" The composer's daughter Katarina spoke of the self-doubt that afflicted her father at this time, aggravated by the continuing expectations and fuss that surrounded the Eighth Symphony. "He wanted it to be better than the other symphonies. Finally it became a burden, even though so much of it had already been written down. In the end I don't know whether he would have accepted what he had written."

Sibelius remained in Finland during the Winter War of 1939–40, despite offers of asylum in the United States. After the war ended in March 1940 he moved with his family to an apartment on Kammiokatu (later renamed Sibeliuksenkatu or 'Sibelius Street' in his honour) in the Töölö district of Helsinki, where they remained for a year. During that time they were visited by the pianist Martti Paavola, who was able to examine the contents of Sibelius's safe. Paavola later reported to his pupil Einar Englund that among the music kept there was a symphony, "most likely the Eighth".

Destruction
Back in Ainola, Sibelius busied himself by making new arrangements of old songs. However, his mind returned frequently to the now apparently moribund symphony. In February 1943 he told his secretary, Santeri Levas, that he hoped to complete a "great work" before he died, but blamed the war for his inability to make progress: "I cannot sleep at nights when I think about it." In June he discussed the symphony with his future son-in-law Jussi Jalas and provided another reason for its non-completion: "For each of my symphonies I have developed a special technique. It can't be something superficial, it has to be something that has been lived though. In my new work I am struggling with precisely these issues." Sibelius also told Jalas that all rough sketches and drafts were to be burned after his death; he did not want anyone labelling these rejected scraps as "Sibelius letzten  Gedanken" (Sibelius's last thoughts).

At some time in the mid-1940s, probably in summer 1945, Sibelius and Aino together burned a large number of the composer's manuscripts on the stove in the dining room at Ainola. There is no record of what was burned; while most commentators assume that the Eighth Symphony was among the works destroyed, Kilpeläinen observes that there had been at least two manuscripts of the work—the original and Voigt's copy—as well as sketches and fragments of earlier versions. It is possible, says Kilpeläinen, that Sibelius may not have burned them all. Aino, who found the process very painful, recalled later that the burning appeared to ease Sibelius's mind: "After this, my husband appeared calmer and his attitude was more optimistic. It was a happy time". The most optimistic interpretation of his action, according to The Philadelphia Inquirer's music critic David Patrick Stearns, is that he got rid of old drafts of the symphony to clear his mind for a fresh start. In 1947, after visiting Ainola, the conductor Nils-Eric Fougstedt claimed to have seen a copy of the Eighth on the shelf, with separate choral parts. The musicologist Erkki Salmenhaara posits the idea of two burnings: that of 1945 which destroyed early material, and another after Sibelius finally recognised that he could never complete the work to his satisfaction.

Although Sibelius informed his secretary in late August 1945 that the symphony had been burned, the matter remained a secret confined to the composer's private circle. During the remaining years of his life, Sibelius from time to time hinted that the Eighth Symphony project was still alive. In August 1945 he wrote to Basil Cameron: "I have finished my eighth symphony several times, but I am still not satisfied with it. I will be delighted to hand it over to you when the time comes." In fact, after the burning he had altogether abandoned creative composing; in 1951, when the Royal Philharmonic Society requested a work to mark the 1951 Festival of Britain, Sibelius declined. As late as 1953 he told his secretary Levas that he was working on the symphony "in his mind"; only in 1954 did he admit, in a letter to the widow of his friend Adolf Paul, that it would never be completed. Sibelius died on 20 September 1957; the next day his daughter Eva Paloheimo announced publicly that the Eighth Symphony did not exist. The burning of the manuscript became generally known later, when Aino revealed the fact to the composer's biographer Erik W. Tawaststjerna.

Critics and commentators have pondered the reasons why Sibelius finally abandoned the symphony. Throughout his life he was prone to depression and often suffered crises of self-confidence. Alex Ross, in The New Yorker, quotes an entry from the composer's 1927 diary, when the Eighth Symphony was allegedly under way:

"This loneliness is driving me crazy... To be able to live in the first place, I must have alcohol. Wine or whisky. That's the matter. Abused, alone, and all my real friends are dead. My current prestige here at home is rock-bottom. Impossible to work. If only there were a solution."

Writers have pointed to the hand tremor that made writing difficult and to the alcoholism that afflicted him at numerous stages of his life. Others have argued that Sibelius's exalted status as a national hero effectively silenced him; he became afraid that any further major work would not live up to the expectations of the adoring nation. Andrew Barnett, another of the composer's many biographers, points to Sibelius's intense self-criticism; he would withhold or suppress anything that failed to meet his self-imposed standards: "It was this attitude that brought about the destruction of the Eighth Symphony, but the very same trait forced him to keep on revising the Fifth until it was perfect." The historian Mark McKenna agrees that Sibelius became stifled by a combination of perfectionism and increasing self-doubt. The myth, sustained for more than 15 years, that Sibelius was still working on the symphony was, according to McKenna, a deliberate fiction: "To admit that he had stopped completely would be to admit the unthinkable—that he was no longer a composer".

Discoveries

After his death Sibelius, though remaining popular with the general public, was frequently denigrated by critics who found his music dated and tedious. René Leibowitz, a proponent of the music of Arnold Schoenberg, published a pamphlet describing Sibelius as "the worst composer in the world"; others dismissed him as irrelevant in what was perceived for a time as an irresistible movement towards atonality. This climate diminished curiosity about the existence of material from a possible Sibelius Eighth, until late in the 20th century, when critical interest in the composer revived. In 1995 Kilpeläinen, who had published a survey of the Sibelius manuscripts held in the Helsinki University Library, wrote that all that could definitely be connected to the Eighth Symphony were a single page from a draft score and the ringed melody fragment marked "VIII" within the Seventh Symphony sketches. He added, however, that the library contained further Sibelius sketches from the late 1920s and early 1930s, some of which are akin to the ringed fragment and which could conceivably have been intended for the Eighth Symphony. Kilpeläinen also revealed that "[j]ust recently various documents have come to light which no one dreamt even existed. Maybe there are still some clues to the 8th Symphony hidden away and just waiting for some scholar to discover them."

In 2004, in an article entitled "On Some Apparent Sketches for Sibelius's Eighth Symphony", the musical theorist Nors Josephson identifies around 20 manuscripts or fragments held in the Helsinki University Library as being relevant to the symphony and concludes that: "Given the abundance of preserved material for this work, one looks forward with great anticipation to a thoughtful, meticulous completion of the entire composition". Another Sibelius scholar, Timo Virtanen, has examined the same material and is more restrained, concluding that although some of the sketches may relate to the Eighth Symphony, it is not possible to determine exactly which, if any, these are. Even the fragment marked "VIII", he maintains, cannot with certainty be said to relate to the symphony, since Sibelius often used both Roman and Arabic numerals to refer to themes, motifs or passages within a composition. Virtanen provides a further note of caution: "We should be aware that [the fragments] are, after all, drafts: unfinished as music, and representing only a certain stage in planning a new composition".

Despite his reservations, in October 2011 Virtanen cooperated with another scholar, Vesa Sirén, to prepare three of the more developed fragments for performance. The sketches were copied and tidied, but nothing not written by Sibelius was added to the material. Permission from the Sibelius Rights Holders was secured, and John Storgårds, chief conductor of the Helsinki Philharmonic, agreed to play and record these excerpts at the orchestra's rehearsal session on 30 October 2011. The pieces comprise an opening segment of about a minute's duration, an eight-second fragment that might be part of a scherzo, and a final scrap of orchestral music again lasting roughly a minute. Sirén describes the music as "strange, powerful, and with daring, spicy harmonies—a step into the new even after Tapiola and the music for The Tempest". Stearns gives a more detailed insight: "The first excerpt is classic Sibelian announcement of a first movement. There's a genteel orchestral thunderclap that throws open the door to a harmonic world that is Sibelius' alone, but has strange dissonances unlike any other work. Another glimpse sounds like the beginning of a scherzo, surprisingly spring-like with a buoyant flute solo. Another snippet has a classic Sibelian bassoon solo, the sort that speaks of primal things and goes to a dark, wintry underworld."

Speculation

Although only the first movement, copied by Voigt, is fully accepted as having been completed, the intended scale and general character of the Eighth Symphony may be inferred from several sources. Sibelius's correspondence with Voigt and with his binders, in 1933 and 1938 respectively, indicates the possibility of a notably large-scale work. Apart from Nils-Eric Fougstedt's 1947 observation, there are also indications from Voigt that the work may have contained choral elements, along the lines of Beethoven's Ninth.

From the available fragments of music, both Virtanen and Andrew Mellor of Gramophone detect hints of Tapiola, particularly in the first of the three extracts. Kilpeläinen points to some of Sibelius's late minor works, in particular the "Five Esquisses" for piano Op. 114 (1929), as providing evidence that in his final compositional years Sibelius was "progressing towards a more abstract idiom: clear, ethereal images little touched by the human passions". Further originality, Kilpeläinen says, is found in the "Surusoitto" music for organ, composed in 1931 for the funeral of Sibelius's friend Akseli Gallen-Kallela, a work that Aino Sibelius admitted might have been based on Eighth Symphony material: "Did the new symphony", asks Kilpeläinen, "thus also represent a modern sound unlike that of his previous style, with bleak, open tones and unresolved dissonances?" After the recording of the fragments, Storgårds could recognise the composer's late style, adding that "the harmonies are so wild and the music so exciting that I'd really love to know how he went on with this." Sibelius's only preserved comment on the music itself, as distinct from his occasional progress reports, is a remark to Schnéevoigt in December 1932: "You have no idea how clever it is".

Scholars and critics are divided in their views about the value of the recovered excerpts. On the one hand, Josephson is convinced that sufficient material exists for a reconstruction of the entire symphony and eagerly awaits the undertaking of this task. This view is echoed by Stearns: "[T]here's absolutely no reason not to attempt a completion". Others, however, are more circumspect: Virtanen, in particular, emphasises that although the music is irrefutably late Sibelius, it has not been established beyond doubt that any of it belongs to the Eighth Symphony. Sirén, who played a major role in organising the performance of the fragments, believes that completion is impossible on the basis of existing sketches, and would be dependent on further discoveries. He also surmises that Sibelius, having rejected the work, would not have relished hearing the fragments played, a viewpoint which McKenna endorses: "Watching the performance on YouTube, I could not help but think how disappointed the composer would have been to hear his unfinished music performed." Reviewing the recorded excerpts in Gramophone, Andrew Mellor remarks that even if further manuscripts should come to light, the Sibelius Rights Holders would have full control over the material and would decide whether performance was appropriate. Mellor concludes: "We've had to wait some 80 years to hear less than three minutes of music, and the mystery of the Eighth isn't set to unfold any more rapidly from here".

References
Citations

Sources

Symphony 8
Sibelius, Symphony 8

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 Cao Shumin Appointed Secretary of Party Committee of Beihang University-Beihang University School of Economics and Management!!
On the faculty and cadre meeting held on December 25th, Cao Shumin was appointed Secretary of the Party Committee of Beihang University (a vice-ministerial post) by the Central Committee of the Communist Party of China in succession to Zhang Jun, who has been transferred to another post. The meeting was presided over by Xu Huibin, President of Beihang University, and attended by representatives from the Organization Department of the Central Committee of the Communist party of China, the Ministry of Industry and Information Technology, Beijing Committee of the Communist party of China and Beihang University.
Feeling honored and at home, Secretary Cao made her resolution to lead Beihang with President Xu to build a world-class university with world-class disciplines and to make greater contributions to the national power of education, science, technology and manufacturing. According to her speech, she would strive to learn about her new duty at Beihang from its members and be strict with herself, adhering to the democratic centralism and the Thought on Socialism with Chinese Characteristics for a New Era in her work.
Born in 1966, Secretary Cao received her bachelor's and master's degrees from Beihang University, and doctor's degree in management from a program run jointly by Renmin University of China and the Hong Kong Polytechnic University. Before this transfer, she has held senior positions at the China Academy of Information and Communications Technology (CAICT) of the Ministry of Industry and Information Technology, Yingtan Committee of the Communist party of China and Yingtan Municipal Government.


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text:
(Image: Here For Now Theatre)
Girls & Boys At Here For Now Theatre
Girls & Boys is the deceptively benign title of the most powerful play you are likely to see this season, or any other season for that matter. What's more, this solo piece is graced with one of the most deeply moving performances I have ever been privileged to witness in Stratford. That this experience is being offered not at the august Stratford Festival but at the modest Here For Now Theatre merely adds to the magnitude of the achievement.
Girls & Boys is a beautifully crafted monologue by British playwright Dennis Kelly, that premiered in 2018 at London's Royal Court Theatre starring film star Carey Mulligan. Here, in the play's Canadian premiere, the part of "Woman," as she is identified in the script, is played by Here For Now Artistic Director Fiona Mongillo. She is, not to put too fine a point on it, brilliant.
If you know Kelly's work at all it's probably as the book writer of Matilda, The Musical . Girls & Boys is a world away from musical comedy froth.
In Girls & Boys, Woman tells us the story of her marriage. Two people, whose names we never learn, meet cute in an airport queue in Naples, get married, have seemingly successful careers and two children, a girl and a boy. As she tells her tale, Mongillo speaks directly to the audience, making contact with one person after another. Her gaze is direct, intimate, unflinching. We are in her confidence, eventually in her thrall.
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Ms. Mongillo and her director, Lucy Jane Atkinson, both studied at London's legendary LAMDA theatre school. They obviously learned their lessons well. Not only is Mongillo's down market English accent flawless, but she is an artist in superb control of her instrument. The role carries her to extremes of emotion, which she conveys magnificently. And yet she never loses control. For her part, director Atkinson has orchestrated the beats of the piece flawlessly.
Alas, I came to this production late in its all-too-brief run and it is most likely that you will read this after the show's August 7, 2022, closing date. Is it too much to hope that the Stratford Festival will pick up this production of Girls & Boys and put it in the Studio Theatre for a few weeks at the end of the season, after fluff like Every Little Nookie has run its course? It would require virtually no set, just one brilliant actress. Her name is Fiona Mongillo.
Note: If you are an actress in your late 30s or early 40s and you think you have the requisite talent, you should grab a copy of the script.
If you are curious how Carey Mulligan handled the role, there is an audio version.


text:
Q: Range search with KNN on two different dimensions I've a few million records (which are updated often) with 2 properties:

*

*Timestamp

*Popularity score

I'm looking for a data structure (maybe some metric tree?) that can do fast range search on 1 dimension (e.g. all records greater than a timestamp value), and locate top K records that fall within that range on the other dimension (i.e. popularity score). In other words, I can phrase this query as "Find top K popular records with timestamp greater than T".
I currently have a naive implementation where I filter the N records in linear time complexity and then identify the top K records using a partial sorting algorithm. But this is not fast enough given the number of concurrent users we need to support.
I'm not super familiar with KD trees, but I see that some popular implementations support both range searches and finding K nearest neighbors, but my requirements are a bit peculiar here -- so I'm wondering if there is a way to do this faster, at the expense of maybe additional indexing overhead.

A: If you will invest the initial sorting of a list of tuples (record_name, timestamp) by the timestamp, and create a dictionary with the record name as keys and (popularity_score, timestamp_list_idx) tuples as values you will be able to:

*

*Perform binary search for a particular timestamp O(logn)

*Extract the greater than values in O(1) since the array is sorted

*Extract the matching popularity vote in O(1) since they are in a dictionary

*Update a record popularity score in O(1) due to the dictionary

*Update a particular timestamp in O(1) via pulling the index of the record from the tuple in the dictionary value

Suppose you have m records with the wanted timestamp range, you can

*

*generate a max heap from them by popularity, this takes O(m) and then perform k pops from that heap with O(klogm) since we need to repopulate the root after every pop. This means that the actions you want to do will take O(m + klogm). Assuming k << m this will run in O(m).

*Iterate over the m records with a list in size k to keep track of thr top k popular songs. After passing over all m records you will have the top k in the list. This takes O(m) as well

Method 1 take a little more time than method 2 in terms of complexity but in case you suddenly want to know the k+1 most popular record, you can just pop abother item from the heap instead of passing over the entire m records again with a k+1 long list.

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