text:
Het bisdom Florida (Latijn: Dioecesis Floridensis) is een rooms-katholiek bisdom met als zetel Florida in Uruguay. Het bisdom is suffragaan aan het aartsbisdom Montevideo.

Het bisdom Melo werd opgericht in 1897. In 1931 werd Florida co-zetel van het bisdom en werd het hernoemd naar het bisdom Melo-Florida. In 1955 werd het bisdom gesplitst en werden Melo en Florida aparte bisdommen.

In 2019 telde het bisdom 19 parochies. Het bisdom heeft een oppervlakte van 22.060 km2 en telde in 2019 128.000 inwoners waarvan 94,8% rooms-katholiek was.

Bisschoppen

 Miguel Paternain, C.SS.R. (1931-1960)
 Umberto Tonna Zanotta (1960-1987)
 Raúl Horacio Scarrone Carrero (1987-2008)
 Martín Pablo Pérez Scremini (2008-)

florida


July 14, 2014 — Because of his unique perspective as both a scientist and a man of faith, Jesuit Brother Guy Consolmagno has been awarded the Carl Sagan Medal from the American Astronomical Society (AAS).
The AAS recognized Br. Consolmagno for his diverse methods of reaching the public and for his achievements, including his numerous books and speaking engagements in both Europe and the United States, including his commencement address to the class of 2014 at Georgetown University.
Especially notable was his book "Turn Left at Orion," which "has had an enormous impact on the amateur astronomy community, engendering public support for astronomy," said the AAS.
The AAS also noted Br. Consolmagno is frequently interviewed on BBC radio about planetary science and had his own BBC radio show, "A Brief History of the End of Everything," which discussed the origins of the universe.
"As a Jesuit Brother, Guy has become the voice of the juxtaposition of planetary science and astronomy with Christian belief, a rational spokesperson who can convey exceptionally well how religion and science can co-exist for believers," the AAS wrote.


I know some of the best, most generous people who supported, shared, and cheered the Steps to Support SCLS walkathon! As of tonight, the campaign is at $5,482!
What do I need to do tomorrow in Santiago as a treat for all of you? A video tour of something maybe? I will think about this more and am open to suggestions.
In the meantime, here are some pics from my very last full day of walking. Tomorrow I roll down the hill for a total of 3 miles. Yes, I could have made it tonight but I wanted to get in fresh and in time for the noon pilgrim mass.
There aren't as many pics as I usually take because today was super, super rainy. Save the phone!
I had never seen these words on signs before and had to pull out google translate to make sure I wasn't walking into some sort of boobytrap . Turns out the signs are just a warning that it's a logging area.
This cute little guy came right up to the fence to say hi to me. Unfortunately there was a ditch full of water between us so I couldn't pet him. His dried umbilical cord was still attached.
Walked by the airport. I guess this means I could walk there, but I still plan to take a taxi Friday morning.
Check out this cute little altar to St James in the side of a farm wall.
Jen, Just enjoy the day and relish in your accomplishment! Think about what a hero you are in our hearts. Your determination has been astonishing to me!
Hi Jen, my sister, SR,just pledged $260. A couple of years ago, our youngest sister was being evicted. In court, I met a SCLS lawyer named Leona who helped us get help fro SCLS. We both tried to send donations then,and we're thwarted by a website. We are eternally grateful for the help our youngest sis (then 61) got. She is now in an adult family home.


text:
"""nubrain URL Configuration

The `urlpatterns` list routes URLs to views. For more information please see:
    https://docs.djangoproject.com/en/1.8/topics/http/urls/
Examples:
Function views
    1. Add an import:  from my_app import views
    2. Add a URL to urlpatterns:  url(r'^$', views.home, name='home')
Class-based views
    1. Add an import:  from other_app.views import Home
    2. Add a URL to urlpatterns:  url(r'^$', Home.as_view(), name='home')
Including another URLconf
    1. Add an import:  from blog import urls as blog_urls
    2. Add a URL to urlpatterns:  url(r'^blog/', include(blog_urls))
"""
from django.conf.urls import patterns, include, url
from django.contrib import admin
from nubrain.settings import BASE_URL, APP_NAME
from django.views.generic import RedirectView
from django.utils.translation import ugettext_lazy

urlpatterns = patterns('',
    (r'^$', RedirectView.as_view(url='%s/admin/' % BASE_URL)),
    url(r'^admin/', include(admin.site.urls)),
)

admin.site.site_title = ugettext_lazy(APP_NAME)
admin.site.site_header = ugettext_lazy('%s Admin' % APP_NAME)
admin.site.index_title = ugettext_lazy('%s Dashboard' % APP_NAME)
admin.autodiscover()

redpajama_set_name: RedPajamaGithub


At Victorian House Scones we think of ourselves as the 'kitchen elves' who leave you a bowl (well, a bag) of properly measured dry ingredients--just waiting for you to add the perishables and the magic. All our baking mixes (scone, biscuit, muffin, pancake, and shortbread cookie) are hand crafted, one ingredient at a time. This provides you and your customers with truly 'baked from scratch' baked goods. Many of our mixes are 'plain' base mixes, allowing you to create flavors unique to you and your business. We think baking should be fun and creative and accessible to everyone.
At Victorian House Scones we think of ourselves as the 'kitchen elves' who leave you a bowl (well, a bag) of properly measured dry ingredients--just waiting for you to add the perishables and the magic.
All our baking mixes (scone, biscuit, muffin, pancake, and shortbread cookie) are hand crafted, one ingredient at a time. This provides you and your customers with truly 'baked from scratch' baked goods. Many of our mixes are 'plain' base mixes, allowing you to create flavors unique to you and your business. We think baking should be fun and creative and accessible to everyone.


text:
ACCEPTED

#### According to
Index Fungorum

#### Published in
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#### Original name
Cercospora stachydis Ellis & Everh.

### Remarks
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text:
What Lane Do I Take on Michigan St?
Zoran Milic
A crazy road rage kind of start for the new lane changes that have been made on Michigan Street NE in Grand Rapids, Michigan.
According to WOOD, in a move that is supposed to make traffic move more easily the city of Grand Rapids took an eastbound Michigan Street through lane and make it a left turn only onto College Avenue. Leaving only one lane that moves eastbound.
Even though the new roads signs were well marked, people being creatures of habit on their drive to and from work, drivers still had a tough time getting the new system down. Lot's of horn blowing and raised blood pressure due to the new set up.
A little chaos happened on Monday as some drivers were driving straight through instead of turning left and were cutting off cars that were merging.
Each time the traffic lights changed, here came the horns as drivers were trying to navigate through the new changes.
So far there have been no crashes so hopefully drivers get the new changes down quickly and begin their new habit.
The changes were implemented by the city of Grand Rapids after many in the community had asked for ways to de-congest that area of the city's traffic.
So if that is your way to and from work, try and get the new changes dialed in and spread the word so no one gets hurt.
Source: What Lane Do I Take on Michigan St?

redpajama_set_name: RedPajamaCommonCrawl


text:
> Celebrity News
Miley Cyrus talks how the 2013 VMA's changed her life on Carpool Karaoke
The Hannah Montana actress spoke to James Corden about the VMAs, Wrecking Ball & her driving
October 11, 2017 - 15:03 BST Emmy Griffiths Miley Cryus joins James Corden in The Late Late Show's Carpool Karaoke. Wrecking ball singer admits 2013 VMAs changed her life & led her to activism
Miley Cyrus opened up about 2013 VMA's while taking part in Carpool Karaoke on The Late, Late Show with James Corden. The Wrecking Ball singer said: "I think realising – the first 2013 twerking, Robin Thicke VMAs led me to being the activist I am now because I realised that if that many people were going to talk about something that I did, or I do, I should make it a good thing and I should make it something that can change people's lives rather than be a controversial conversation that does nothing than become a fun Halloween costume for people."
GALLERY: James Corden buys £7.5million Los Angeles mansion: take a look inside
She also spoke about her transformation after leaving Hannah Montana behind, adding: "It was saying, 'I'm not that. I want you to know who I really am.' But I love that was me and is me and is a part of me and I think I've allowed that childhood self of me to shine through a bit more because I'm not trying to embrace it… Everyone should embrace who I used to be!" James joked: "See I thought you were just going to say you'd stopped smoking weed."
Miley and James sang some of her number one tunes
Fans were quick to praise the video, where Miley performed The Climb, We Can't Stop and Party in the USA with James, with one writing: "James can really sing and I'm so happy to saw Miley sing like this she was and still one of my favourite voices that I've ever heard in my life," while another added: "Her voice and she herself have grown soooo much over the past years. She's really grown into her own and I'm so proud."
WATCH: James Corden and Julia Roberts re-enact her film career – in under 10 minutes!
The pair concluded their car journey by performing Wrecking Ball, and Miley revealed that she was actually crying real tears in the video while thinking about her puppy who sadly passed away. Challenging her to cry on demand in the car, James pulled over as they both attempted to tear up on cue. When they were unable to do so, James laughed at the situation, explaining: "You ever have moments in your life where you're like, 'What am I doing? You're in a car with Miley Cyrus, you've pulled outside someone's house and you're trying to make each other cry."
How to get a free month of workouts with a celebrity personal trainer
More about miley cyrus
Miley Cyrus has been given the biggest transformation - and she loves it
Celebrity haunted houses: Jennifer Aniston, Adele, Miley Cyrus & more
17 of the shortest celebrity marriages: Jennifer Lopez, Kim Kardashian, Renee Zellweger, more
Carrie Fisher's beloved dog watches Star Wars: The Last Jedi trailer
WATCH: Holly Willoughby and Phillip Schofield break down in giggles on This Morning
WATCH: Will Smith stars in new Carpool Karaoke preview
WATCH: Pink and James Corden harmonise on Carpool Karaoke
Kelly Clarkson enjoys dinner date with husband on Carpool Karaoke
Barbra Streisand is on Carpool Karaoke with James Corden – see the sneak peek!


Last June 17, 2017 – Unreal Code Camp held at Bitspace Makati has been successfully accomplished through the help of our ever supporting DevConPH Volunteers and in partnership with International Game Developers Association (IGDA) Manila.
Unreal Code Camp for Games is a whole day seminar and workshop for developers that aims to build up game development skills using Unreal Engine. Participants are a combination of students and professionals.
Starting the event is a welcome speech from our volunteer lead, Beatriz Rivera, with the usual announcement of upcoming sets of events and seminars.
Followed by Regina Supapo from IGDA Manila. She introduces what's IGDA is and what they are doing. So to have some info, they are a chapter of an international non-profit professional society that is committed to advancing the careers and enhancing the lives of game developers by connecting members with their peers, promoting professional development, and advocating on issues that affect the developer community. IGDA Manila is specifically oriented towards cultivating a thriving local game development community in order to make the Philippines the new regional hub for game development in Southeast Asia.
After that, the workshop proper started. We are very thrilled with the presence of Mr. Bien Cabungcal and Mr. Luigi Rafael Bairan from Secret 6 Inc. Their company provides game development services for iOS, Android, Flash, HTML5, and Unity platforms. With the first locally developed esports title, Project Xandata, Secret 6 joins the first ever Esports Business Conference in Manila.
Mr. Cabungcal started by explaining what Unreal Engine is and he also shows some games that are developed using Unreal Engine to inspire the attendees.
Unreal Engine is a complete suite of creation tools designed to meet ambitious artistic visions while flexible enough to ensure success for teams of all sizes. As an established, industry-leading engine, Unreal delivers powerful, proven performance that you can trust.
After the short introduction, Mr. Bairan started the live game development. We had the projector to show what Mr. Bairan is doing and at the same time, he also discuss every step that he does.
No one will left behind, because while the other speaker is doing the live demo, the other one is roaming around to help those who are having problems or questions.
And of course, all code camps have this mini-hackathon at the end of the program. The participants are task to create a game that shoots a two-way projectile (left and right) then ends when it has shot five targets. The mini-hackathon lasted for about less than an hour and we have concluded 3 persons who finished the given task correctly on time.
The event was indeed so helpful not only to the participants but also to the volunteer squad. Aside from its all free to attend the event, including the foods and some giveaway prizes, we are able to unite different people from different places. No matter if they are on the professional level or just a student. We are all there to listen and learn new things. And we hope to see these new faces on our next event and seminars!
To the participants, speakers, partners, and to our volunteer squads, thanks for spending your time with us! Kudos everyone!


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RE/MAX Listings
Elk Valley Park Estates
Elk Valley Park Estates Open Houses January 20th 9:25pm
Search Elk Valley Park Estates Open Houses on January 20th 9:25pm: Find Elk Valley Park Estates Open Houses, open house schedules, compare Elk Valley Park Estates video open houses, tours with facetime live stream events. Register for Elk Valley Park Estates open houses lists, Nw, Sw, Ne, Se, Inner City Elk Valley Park Estates Open Houses.
Elk Valley Park Estates Open Houses
Elk Valley Park Estates real estate MAPS
Elk Valley Park Estates Open Houses Community Information
View Elk Valley Park Estates Open Houses community information Bragg Creek. Compare Bragg Creek open houses near me, video open house tours, 3 d tours, instagram live streams, virtual facetime live events. Search new open house list with instagram live Bragg Creek. Currently active properties in subdivision average price $0.00 highest $. Find Elk Valley Park Estates Open Houses in Bragg Creek, virtual tours, photos, covid 19 real estate news information and cancellations. Elk Valley Park Estates Open Houses Property types include affordable detached Homes, luxury homes plus condos, townhomes, rowhouses, for sale by owner, lake homes virtual open houses.
Covid 19 Elk Valley Park Estates Real Estate News - January 20th 9:25pm
2021 Elk Valley Park Estates Open Houses by Alberta Real Estate Association rules, regulations, open house cancellations. Elk Valley Park Estates Open Houses implementing new consumer safety policies, regulations, procedures to prepare for saftey to everyone during these challengine times. Selling or buying a home is more difficult but now there are virtual live Elk Valley Park Estates open houses.
Video Open Houses and Virtual tours are a great way to showcase you property for sale on many websites instantly especially during these challenging times
Virtual Private Showings
Virtual private showings are live, one-on-one viewings for a single prospective buyer. A virtual showing uses a live video feed from either the Seller, Listing Agent or Buyer Agent depending on the rules and orders in place where the property is located.
Frequently Asked Questions about Open Houses
How Do I prepare for Elk Valley Park Estates Open Houses?
Make your Elk Valley Park Estates Open houses accessible as possible, remove unnecessary furniture and retaining a small amount of personal items. The house should speak to potential buyers by presenting itself as a place others could easily call home.
What is a virtual Open House Event?
Virtual open house events are a lot simpler than they sound. They are just Elk Valley Park Estates open house videos that showcase properties for sale. A virtual open house video should provide a full walkthrough of the property.
What are Live Stream Video Open Houses?
Live stream open houses livestreaming platforms such as Facebook live, Zoom, YouTube and Instagram live are available to view Open houses from the comfort of your own home.
What are Elk Valley Park Estates Broker Open Houses?
Elk Valley Park Estates Broker open houses are promoted exclusively to the local brokerage community, very effective in educating agents on upcoming Elk Valley Park Estates open houses.
When is the best time for an open house?
Regularly open houses are scheduled on the weekends or in the evenings after work. Shorter open houses gives time for buyers to attend, but also creates a larger crowd in the property and can create more interest.
Elk Valley Park Estates Real Estate Statistics
Search Elk Valley Park Estates Community News
Search Bragg Creek is named after Albert Warren Bragg from Collingwood, Nova Scotia and his 14-year-old brother John Thomas who homesteaded in the area in 1894. The community was established between a forestry reserve, the Sarcee Indian reserve and a Provincial Park. Ranching was the original primary economic generator in Bragg Creek. The economy diversified with the emergence of recreation in the 1920s.
Bragg Creek was featured in the feature films Storm (1987) and Killer Image (1992) both directed by David Winning, and also Betrayed (1988) directed by Costa-Gavras. During the 1990s, CBC aired the television program North of 60, which was mainly filmed in Bragg Creek. The town was the filming location for the new BBC/Discovery Channel series Dinosapien (2007) and the 2009 CBC television series Wild Roses, as well as portions of the movie FUBAR.
Bragg Creek has community recreation available such as tennis and hockey, and community activities at the local community recreation centre.
Bragg Creek Community Centre 23 White Ave., Bragg Creek The facility has a reception area, auditorium, kitchen, youth room and meeting rooms.
Bragg Creek Demographics As a designated place in the 2016 Census of Population conducted by Statistics Canada, Bragg Creek recorded a population of 589 living in 241 of its 288 total private dwellings, a change of ?1% from its 2011 population of 595. With a land area of 3.98 km2 (1.54 sq mi), it had a population density of 148.0/km2 (383.3/sq mi) in 2016.[1] Rocky View County's 2013 municipal census counted a population of 454 in Bragg Creek, the same population recorded in its 2006 municipal census. As a designated place in the 2011 Census, Bragg Creek had a population of 595 living in 235 of its 286 total dwellings, a 8.2% change from its 2006 population of 550. With a land area of 4.06 km2 (1.57 sq mi), it had a population density of 146.55/km2 (379.6/sq mi) in 2011.
The store in Bragg Creek Bragg Creek is popular for shopping, with its quaint shops, restaurants, and mountain scenery. The area is a popular spot for vacations and short day trips from Calgary. It is near the Rocky Mountains and Kananaskis Country. The Elbow River and the scenic Elbow Falls are a short distance away. There are many recreational areas in the area. These include Bragg Creek Provincial Park and the Canyon Creek Ice Cave, also known as the Bragg Creek Ice Cave. There are numerous hiking/biking trails, equestrian trails and picnic/camping areas. Downhill skiing used to be popular, although since the abandonment of the nearby downhill ski centre, Wintergeen, only cross country skiing facilities are available. In recent years the Greater Bragg Creek Trails Association has developed over 140 km of biking, hiking, snowshoeing, and horseback riding trails. Many summer camps, such as OLQP, Easter Seals Camp Horizon and Kamp Kiwanis are also near Bragg Creek. The powderface42, a marathon and half-marathon takes place in the vicinity every year. This event is called a mountain marathon, but is more like a classical marathon running race rather than the multi-day mountain marathon events in the UK. The race does not have a navigational element to it; participants run on a predefined and marked course with water stations along it.
Elk Valley Park Estates Open Houses Market
Elk Valley Park Estates Open Houses near Elk Valley Park Estates: As of January 20th 9:25pm search Elk Valley Park Estates Open Houses near me including Northwest Calgary Open Houses, North Calgary, North East, Inner City Calgary , East Calgary plus new Calgary Open Houses.
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Oracle has announced the release of version 3.0 of its x86 enterprise virtualization solution VM Server. This version provides enhancements for network and storage configuration, policy-based management for delivering application resource flexibility and a new GUI. Oracle VM is still the only certified solution for use with all Oracle software.
Storage connect framework enabling direct leveraging of resources and functionality of storage systems from Oracle VM Manager. Plug ins are available for Fujitsu, Hitachi Data Systems and NetApp and in development for SUN ZFS Storage Appliances and the Pillar Axiom 600 SAN storage system.


text:
Sony Xperia 10 II review
The Xperia 10 II's unique talents are right for someone but its rivals offer greater mass-appeal
A worthy improvement that still struggles to compete
By Alex Walker-Todd, Consumer Tech Editor | 24 Jul 2020
Should I buy the Sony Xperia 10 II?
Expert's Rating:
A mid-ranger with water-resistance
Slim, lightweight design
Nice OLED display
Underwhelming battery life
No fast charger in-box
Middling performance
The Sony Xperia 10 II is a mid-ranger with unique talents. If you're after an affordable phone with a 21:9 OLED display and/or IP65/68 water and dust resistance in a svelte, stylish design, the 10 II is for you.
It can't, however, compete on matters of processing, battery or camera performance when placed against rival devices from the likes of Realme and Xiaomi.
Sony Xperia 10 II full review
Sony's smartphone release schedule has slowed to an absolute crawl in recent years, but that makes those times when a phone does hit the market all the more exciting. Queue the Sony Xperia 10 II - a phone with some unique flavour in an overcrowded mid-range market.
Last year's Xperia 10 and 10 Plus were middling mid-rangers, namely because of the ageing chipsets at their hearts, but also due to the fact that, beyond their elongated displays, they didn't do enough to differentiate themselves in a fiercely aggressive segment of the phone space.
Related: Best Sony phone 2020
The Xperia 10 II (that's pronounced "ten, mark two", for clarification - messy, but we'll move on) looks as though it's addressed many of its predecessors' shortcomings.
By being a singular device rather than 2019's twosome, the hope is that Sony has poured more energy into making this a more competitive phone outright. It's also granted the 10 II standout features that you seldom see at this price or in the mid-range market in general, not to mention it's a bit of a looker.
Design & Build - Refined and resilient
If you like the flat glass faces, tight corners and general precision look and feel of last year's Xperia 1 (or, indeed, this year's Xperia 1 II), you'll appreciate the aesthetic at work on the 10 II too.
The 6in display, paired with the company's current taste for a 21:9 aspect ratio, makes a phone with a decidedly-big screen feel deceptively small. In a sense, it is small, or more specifically narrow, with a 69mm width and a respectable 8.2mm thickness that means most people will have no trouble comfortably gripping the 10 II in one hand. It's also wonderfully light, considering its size, at 151 grams.
While the frame running the phone's edge is plastic, it's expertly finished to remain consistent with the look of the rest of the phone, while also offering a nice hand feel. A subtle indent on the right side of the frame houses a signature Xperia power key-cum-fingerprint scanner - no awkward side-by-side placement here - which is as responsive and reliable as you could hope for.
The frame also houses a USB-C port, volume rocker, SIM tray and (perhaps most importantly) a 3.5mm headphone jack. Sony even went as far as including a pair of conventional wired in-ear buds in-box, just to hammer the port's inclusion home.
It's also worth noting that, unlike practically every other phone on the market, the SIM tray on the Xperia 10 II's left side doesn't require any additional tools to be opened or closed; made all the more impressive by the fact that this phone also boasts IP65/68 certification.
This means it can withstand being fully submerged in water for short periods of time, which is, it's worth noting, a trait of real scarcity in the mid-range market.
Related: Best mid-range phone 2020
Display & audio - Keep it portrait and wired
Another inclusion that isn't really a guarantee in the mid-range market is the use of an OLED display and Sony comes through again with the panel at play on the Xperia 10 II.
It's a 6in, 21:9 Full HD+ OLED Sony-brand 'Triluminous for mobile' panel that delivers on colours, contrast and viewing angles.
With entrants like the Realme 6 now out in the wild, there was some hope of a high refresh rate in-tow but Sony is notoriously slow to jump on such trends, meaning here it still ticks over at 60Hz.
Its mid-range standing means no HDR viewing either (even though the newly-announced, affordable Moto G 5G Plus offers HDR10 support) and maximum brightness could be better. Sony does at least include some handy customisation options as part of the viewing experience that run a little deeper than most devices around this price point.
You can choose between more accurate or more vivacious visuals, thanks to the 'Original' and 'Standard' viewing options, while a built-in video optimisation engine is just a tap away. The 10 II's display settings also offer robust white balance controls, with presets and independent channel sliders to toy with for those who like to tinker.
As for the phone's taller aspect ratio, it's less dramatic against the current phone landscape but brings the pros and cons of such a hardware choice into stark contrast.
While Sony's marketing highlights the display's ability to show 21:9 aspect ratio content (such as two-thirds of Netflix original movies) natively, in real-world use you're unlikely to watch media formatted in this way all that often.
Instead, you'll likely spend far more time streaming short-form content, like YouTube videos or TV series, which more often than not, adhere to a more traditional 16:9 (or, at a push, 18:9) aspect ratio. As such, just be ready for a lot of landscape content to appear pillar-boxed - with black bars running down on either side.
On the other hand, when using the phone in portrait, that tall display is undoubtedly a strength; letting you take in more content at once without having to scroll and, in the case of certain apps like Twitch, giving the UI more room to breath (the chat doesn't obscure full-screen streams when viewed in landscape, unlike on most other phones - as shown above).
There are also solid multitasking benefits here, with ample room for split-screen app usage and UI tweaks that make such functionality readily accessible - like one-tap access from the notifications shade from supported apps.
As for the audio side of things, the increasing rarity of the 3.5mm headphone jack makes its presence on the Xperia 10 II all the more appreciated, while Sony's staple inclusion of DSEE HX audio upscaling tech only helps elevate the port's inclusion for stalwart wired headphone users.
One sole criticism, audio-wise, would be a lack of stereo loudspeaker support; with a thin slit of speaker grille along the display's bottom bezel being the only outlet for some pretty flat and uninspiring sound.
Software - Smart but subtle tweaks
The Xperia 10 II runs Android 10 out the box with Sony's decidedly-subtle embellishments on top. The company's toned down the number of tweaks it makes over the last few generations of its user experience, so, for the most part, the UI on the 10 II feels and behaves much like Google's own Pixel launcher.
A swipe up takes you to the apps tray, a swipe (or two) down lets you quickly check on notifications and quick-settings, instant access to Google is available via an ever-present search bar on your home screen and a dedicated Google page present after a single swipe right too.
The main alteration to the base Android experience is Side Sense, which has featured on Xperia devices for the last couple of years now.
A double-tap on the ever-present bar on the right side of the screen reveals a myriad of customisable shortcuts for apps and settings, as well as all-important features like split-screen and one-handed modes - essential when living with a device with a display as narrow and tall as the one on the 10 II.
Camera - Versatile snapper
One of the other failings of last year's Xperia 10 range were their cameras; particularly the smaller Xperia 10, which despite toting a dual-sensor setup like its larger sibling, opted for an underwhelming secondary depth sensor, which didn't add much to the base shooting experience.
Sony has taken a far more considered approach with the camera hardware at play on the Xperia 10 II. The triple-lens setup brings together a 12Mp main sensor, an 8Mp telephoto and an 8Mp ultra-wide angle sensor with a 120° FoV.
This makes for a more creative photography experience; granting you the ability to get different perspectives on the same subject, simply by jumping between the phone's lenses.
This alone is a step-up over last year and while the rest of the camera experience isn't going to blow your socks off, it's still a nice improvement over last year's mid-rangers.
Even with Night mode, the 10 II's low light credentials are lacking
The main sticking points come in the form of noticeable shutter lag, underwhelming low-light performance and narrow dynamic range, particularly when using that ultra-wide sensor.
Despite these niggles, the general shooting experience beyond is respectable. Sony has a few creative modes to toy with and the ability to adjust the amount of bokeh in standard shots in-viewfinder at the point of capture is a nice inclusion that you seldom see on other mid-rangers.
Tricky lighting conditions highlight the camera's narrow dynamic range
In natural light, you're going to generally enjoy the shots that come out of the 10 II - they can sometimes look a little flat and a bright, cloudy day is going to give you the best results but generally speaking, it'll take Insta-worthy pics without too much work.
As for video, autofocus is a particular highlight, with object tracking built-in, making it easy to keep pets or kids in focus. Similarly to stills, footage can look a little flat but it's still wholly useable. Electronic image stabilisation, meanwhile, is present but drops out when pushing past Full HD resolution at 30 frames per second.
Performance - Usable but not competitive
As mentioned, the original Xperia 10 duo offered up middling performance, so the question is, "are things better this time around?" Technically "yes" but that comes with a big caveat - at least with regards to artificial benchmarks.
In testing, the phone's Snapdragon 665 chip and 4GB of RAM don't cut the mustard when placed against similarly-priced phones. In truth, the 665 is more commonly found in sub-£200 devices, like the Realme 5 and Oppo A9 (2020), making its appearance on the 10 II a little disappointing.
All that said, the phone feels responsive and snappy in real-world day-to-day usage, with select extended app load times and the occasional stutter hinting at the fact that Sony perhaps should have coughed up for a beefier processor/memory configuration when designing the 10 II.
A small but notable aside with regards to how the phone handles has to do with the vibration motor spinning away inside the Xperia.
Perhaps because of the phone's slim and lightweight design or perhaps simply because of the component Sony has opted for, any vibrations from the Xperia 10 II are outlandishly noisy, with a sudden high-pitched, piercing whine every time the motor spins up.
It's particularly bad when typing, as haptic feedback is enabled by default, meaning every keypress spins the motor faster and faster, louder and louder - vibration on a phone is meant to serve as a halfway house between having your ringer on and your phone being set to silent - the way it operates in the Xperia 10 II is anything but and should be turned off the moment you get your hands on the phone.
Battery - Fast(er) charging
Sony was right to up the battery capacity compared to last year's Xperia 10 series; opting for a 3600mAh cell inside the 10 II. Based on the competition and rival devices hovering around the phone's price point, however, this is still only the bare minimum we'd expect from the company, from a competitive standpoint.
In PC Mark-based battery testing, it doled out a respectable 13 hours of benchmarking before reaching 20% (i.e. low battery), while real-world screen-on time (with auto-brightness enabled) clocked it at around four and a half to five hours per charge, which is just behind what we'd hoped for.
The Xperia 10 II does at least offer up to 18W fast charging, however, Sony once again skimps by putting a more conservative 7.5W charging in-box, meaning the phone makes it to just 28% after 30 minutes charge time.
If you want full-speed charging, you'll have to fork out for Sony's official 18W UCH32C fast charger (which isn't yet on sale but is expected to cost around £14.99). Alternatively, we tested with a compatible Power Delivery charger (the phone also supports Quick Charge 3.0) which at full speed filled the Xperia 10 II to a more satisfactory 41% within the same time frame.
Related: Best phone chargers 2020
The Sony Xperia 10 II launched in various markets, including the UK, on 15 June. It's available SIM-free, direct from Sony's Xperia partner store (in a dual SIM configuration) for £319, as well as Amazon UK, for 95 pence more.
You can also pick it up on-contract from the likes of EE, O2, Virgin Mobile, Vodafone and Sky Mobile; with plans starting at £10 a month with no upfront cost.
As ever with mid-tier devices like the Xperia 10 II, Sony has had to perform a tricky balancing act to produce a compelling, competitive phone that's comparable to its most similarly-priced rivals.
In a sense, the company has side-stepped a lot of direct comparison by including features that few other mid-rangers around the £320 asking price can match. Traits like its IP65/68 water and dust-resistance and that eye-catching 21:9 OLED display just don't appear on rival devices, and yet, in almost every other area that the phone is comparable, it falters.
The Xperia 10 II an unquestionable improvement over its two predecessors but the mid-range market has become even more fiercely competitive in the year since their launch; with companies like Realme and Xiaomi having a greater global presence and, it seems, more flexibility when it comes to price versus performance.
Notable rivals worth considering include the Huawei P30, Realme 6 Pro, Samsung Galaxy A51 and Xiaomi Redmi Note 9 Pro.
Related stories for further reading
Xperia 10 III rumours
Best mid-range phone deals
Best SIM-only deals
Best phone network
All smartphone reviews
Best mid-range phones
Best Sony phones
How we test smartphones
Best new phones coming soon
Sony Xperia 10 II: Specs
6in 21:9 Full HD+ OLED (2520x1080) display
12Mp wide + 8MP ultrawide (120°) + 8Mp 2x telephoto
8Mp front-facing camera
IP65/IP68 dust & water resistance
157x69x8.2mm
Qualcomm Snapdragon 665 processor
128GB storage + microSD up to 1TB
3600mAh battery
Side-mounted fingerprint sensor/power key
Author: Alex Walker-Todd, Consumer Tech Editor
Alex has covered every phone, tablet and wearable worth shouting about over the past eight years. Look out for him on Tech Advisor's YouTube channel.
Recent stories by Alex Walker-Todd:
Realme Race release date, price, features and specs rumours
Samsung Galaxy Note 21 release date, price and specs rumours
Oppo Find X3 release date, price & specs rumours


Remember that 80's show Short Attention Span Theater?
If you're not already using short video clips for your marketing, you better start soon.
CLICK HERE for an article on how travel products are using Vine and Instagram.
This entry was posted in Travel Industry and tagged instagram, vine. Bookmark the permalink.


Technical Diving - Fascinated by the abyss?
Technical diving (also known as "tech" or "tek" diving) goes beyond the boundaries of traditional scuba diving. Enter into caves and wrecks, or breathe mixed gas and bring you diving skills to new heights.
In the Red Sea, there are some dive sites well worth a visit, but reachable only with a technical diving training.
The fascination with tech diving worldwide has grown by leaps and bounds over the past decade.
To accommodate the increasing demand for this kind of scuba diving in Egypt, the Red Sea dive operators are keeping well abreast of the newest developments and technologies in technical diving.
Prestigious technical diving agencies such as TDI (Technical Diving International) and DSAT are present in the Red Sea offering the whole array of technical courses, from basic Enriched Air Nitrox to Trimix courses and more. You can also reach new levels in the areas of wreck and cave diving, for example.
Technical diving courses provide the techniques and procedures necessary for diving beyond recreational dive limits. These are some of the most intensive, yet exhilarating, courses you'll find. Technical diving isn't really for everyone, but if this type of diving appeals to you and you're willing to accept the risks, responsibilities and obligations, you'll find it one of the most rewarding dive experiences you'll ever have.
Diving centres in most Red Sea destinations, as well as some live-aboard operators, provide support and gear for technical diving. Most offer a variety of training courses and instruction on how to use the special techniques and equipment required for safe and fun tech diving.
Following the annulment of the decree that allowed fishing boats to fish in Ras Mohammed National Park, CDWS can confirm that at 8am this morning, all fishing boats had left the area.


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layout: page
title: About
permalink: /about/
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This blog is a place for me to write random musings about the various topics I find interesting

### Contact me

[Rastko](mailto:anicic.rastko@gmail.com)


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The Armenian Shooting Federation (), also known as the Shooting Federation of Armenia, is the regulating body of shooting in Armenia, governed by the Armenian Olympic Committee. The headquarters of the federation is located in Yerevan.

History
The Federation was established in 1993 and the current president is Arthur Hovhannisyan. The Federation is a full member of the International Shooting Sport Federation and the European Shooting Confederation. Armenian athletes participate in various European and international level shooting championships, including the ISSF World Shooting Championships and participate in shooting at the Summer Olympics.

See also
 Practical Shooting Federation of Armenia
 Sport in Armenia

References

External links
 Armenian Shooting Federation on Facebook

Sports governing bodies in Armenia
Shooting sports in Armenia
National members of the European Shooting Confederation

redpajama_set_name: RedPajamaWikipedia


Lakeland is launching a campaign to collect information on the demand for broadband Internet accessibility in the city.
In cooperation with Connected Tennessee, city officials are working to encourage broadband Internet providers to expand high-speed Internet services to unserved parts of the city.
The results of a recent business survey conducted by Connected Tennessee shows that an estimated $30 billion in online sales are earned annually by Tennessee businesses. This number alone illustrates how the adoption of broadband can change the framework of business, leading to a boost in the quality of life in communities around the state.
To take part in the survey, visit connectedtn.org/broadband-inquiry. You are not obligated to sign up for any service, nor is there any guarantee that broadband service will be expanded in all parts of Lakeland in the near future.
Broadband inquiries are able to identify: 1) residents or businesses who do not currently have access to broadband but want it; 2) residents or businesses who have access to broadband but desire different or additional service options; 3) those who do not currently have access to broadband service at their location and would like to report that information to help improve the broadband inventory maps for the city.
If you would like to assist in this effort or have questions, please contact Ward at 731-699-0234, or dward@connectedtn.org; or Thad Jablonski, Executive Coordinator, at Lakeland City Hall at 901-867-5402 or tjablonski@lakelandtn.org.


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Race Relations In The 1960s Essay
The race relations were also challenged during the 1960s. There were more and more immigrants coming to Britain after 1945 and they had to find a way to deal with it. The fact that there was already a housing crisis in the capital made it that much harder for Londoners to accept them. Far-right groups looked to take advantage of the situation by urging people to throw the immigrants out and spreading their slogan "Keep Britain White". Because of them and the growing tension between the communities, the number of violent acts against coloured people increased largely in 1958. It all built up to the Notting Hill riots of August 1958. Around 400 white people attacked the houses of Asian immigrants and fled when the police arrived. Following British…show more content…
The word that best defines the 1960s is change. Everything changed. More and more people went to university, more and more were educated which made an entirely new generation. The music scene changed, with the apparition of bands with hugely popular music like Beatles and the Rolling Stones. Fashion changed with the invention of a new and young lifestyle, with miniskirts and tights, geometric patterns and unusual fabrics; with the bob as trending hairstyle and the emergence of supermodels such as Twiggy. The private life took a more liberated step, with more sexual freedom for both straight and gay couples, the former being helped by the invention of the Pill and the latter stopping to be illegal in the eyes of the law. But it was also a change in the sense of political change and protest with the hippies and the movements against nuclear weapons and the Vietnam war. Most of the changes that made the 1960s, "the Swinging Sixties" were possible because the consumer society was beginning to settle in and people had generally more income and more money to spend. In London, workers earned 170 times for than the cost of life in the 1950s, and 183 times more than the cost of life in the 1960s. in 2014, the 1960s were voted Britain 's most defining
1960s Culture Vs Counter Culture
The hippies pretty much embodied all the radical and revolutionary ideas of the 1960's they believed in communal living and experimenting with psychedelic drugs. Furthermore they were really into the vibrant music scene during the time. Along with all these new radical ideas they had a different way of dressing also, one would say that they were quite fashionable. However, with all
The 1960s: Gender Roles And Race Relations
The 1960s brought along important and beneficial changes to America, especially changes regarding gender roles and race relations. Even after World War II and the increasing tensions between the United States and Russia and Vietnam, America's culture was changing faster than before. During the 1960s, gender roles changed for the better and race relations improved significantly. The role of women in the 1960s changed after centuries of little to no freedom. However, women gained freedom during World War II and a sense of equality between the genders grew throughout the late 1900s.
Rock And Roll Influence On Society
The invention of the television and AM radio attracted teens to listen and watch more music and television shows. The outcome of these new inventions was that there were more school dances, new clothing trends had been created, and new dance fads were also invented. There was a big sexual change within teen culture which included experimenting more with other teens "and teens [becoming] more addicted to pleasures of the body" (Altschuler 67). Parents were ultimately clueless when it came to this type of behavior and they had no idea the teens' sexual behaviors had changed so abruptly. With the change in normal teen behavior, came a change in the way teens saw music.
The Roaring Twenties Outline Essay
They were known to burn crosses in African Americans front yards as well as performing acts of violence and brutality. 3. On August 8th, 1925 the KKK marched in Washington as a sign of their dominance and power. 4.
The Importance Of Jim Crow Laws
The violence was largely one-sided, with mobs of armed whites buring hundreds of black homes and beating and lynching the black residents. First off, St. Louis' government was made of corrupt political whites that wanted to break the influence of the growing black community. At the time, St. Louis was nicknamed " The Land of Milk and Honey" for black people( First 5). Blacks would come to St. Louis and within 24 hours, they could have a job at the factories. Most
US Military Tactics In Vietnam
Thousands of newspapers and television displayed the horrors of the war causing protests in the US. Most importantly My Lai massacre which killed approximately 504 innocent women, children, and men who were allegedly Viet Congs. This revelation shocked the whole world especially the US. Additionally, Viet Congs were supported by other countries such as China, Russia, as well as neighboring countries near Vietnam that helped them transport supplies through the Ho Chi Minh trail, unlike the US who also lost the support of its own people and
How Did Race And Religion Affect Society
It resulted in brutal attacks and wars against race. English militiamen and their Indian allies set fire to the Indian wigwams and shot the fleeting survivors. In 1675, Massasoit 's son, Metacom launched a series of attacks and raids against the colonists ' towns. He launched coordinated assaults on English villages. In the end the war caused hundreds of Indians and colonist deaths and towns and villages destroyed.
Vietnam War Effects
Effects of the Vietnam War on USA Introduction The Vietnam War was one of the few military conflicts which USA had been involved that had been suspended because of unprecedented public unfavorability in the country. Increasing public disobedience and demonstrations erupted after continuous revealing of news related to real situation in Vietnam such as the atrocities committed by USA Armed Forces, and large soldier casualties enhanced the scale of transformation which American society had already been undergoing. For example, Inghram (2006) points out the Vietnam War was one of events in the 1960s, by which civil rights organizations were attempting to gain more rights for African-Americans so that they could be integrated racially into
Gun-Related Violence
Secondly, the massive gun related violence in the USA has caused many concerns about social stability and security. The recent gun violence in the US has also caused tense social relationship between African Americans and white people. O'Brien et al (2013) found that the increasing number of gun related violence in certain areas have caused fear towards black people such as African Americans. The racism driven type of gun violence is common in some areas. Also, gun violence is also argued to have connection with increasing unemployment rate in inner cities.
Race Riots: The Riot Of 1919
When they realized, the promises made to them as far as them working and their living situations improving was not happening like promised, they began moving into the white communities. Which would intelled more competition in the workforce. This outraged the whites and they reunited the Klu Klux Klan to begin violent acts towards the blacks. In 1918 there were a total of 64 lynchings and in 1919 there were a total of 83 lynchings.(www.history.com and
Great Conflict And Tensions Of The 1960's
On top of all of that, there was a serious economic divide in the country that caused certain classes to rise and fall. This decade was very trying for the United States, and has affected our society even to this day. The 1960's was full of civil rights leaders that helped shape America into the country it is today. There will always be racial tensions in society, but without Martin Luther King Jr. and his fellow activists, the inequalities that blacks faced in America wouldn't have been addressed until much later on in life.
The Scots-Irish Journey
Scotch-Irish and Latin Americans, both faced needs for a better life by moving to the United States only because of the circumstances that had occurred in their homeland. Scots-Irish left Ulster, which was their homeland, for different purposes. Religious persecution and economic factors were reasons that pushed them away, which according to The Scots-Irish Journey to the New World, "…Between 1714 and 1719 Ulster suffered a succession of bad harvests and by 1718 the linen industry was also in recession" ("The Scots-Irish Journey…"). As the Scotch Irish suffered
How Is Society Different In The 1960s
Have you ever wondered what society was like in the 1960s? Society has changed drastically in the last 50 years. Technology,music,and education are just a few of the changes. Were people smarter back then? Was there more violence than nowadays?
More about Race Relations In The 1960s Essay


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KS2: Igor Stravinsky - The Firebird — suite (1911) (Finale) - BBC Teach
Skillswise
School Radio
KS2: Igor Stravinsky - The Firebird — suite (1911) (Finale)
BBC Teach > Ten Pieces > KS2 resources
Claudia Winkleman introduces Stravinsky's The Firebird.
Igor Stravinsky was a Russian composer, pianist and conductor. He became internationally famous when his ballet The Firebird was premiered in Paris in 1910. Stravinsky was so proud of his composition that he later made it into an orchestral suite for performance in the concert hall without dancers.
Stravinsky's piece is based on a Russian folk tale about a magical glowing bird that Prince Ivan is searching for. The firebird is imprisoned in a castle with a beautiful princess. Ivan rescues the bird and the princess but then his own sister poisons him and the princess. Luckily the firebird flies to the fountain of youth and with magic water brings Prince Ivan and his beloved princess back to life.
Listen out for: The serene horn solo at the beginning then the harps come in. Gradually all of the instruments come in and the piece gets louder and louder. A great finale for a ballet because the audience leave with the music ringing in their ears.
Watch a full orchestral performance of Stravinsky's piece from BBC NOW.
BORN: 1882 / DIED: 1971 / NATIONALITY: Russian
Igor Stravinsky was born in Russia in 1882. His dad was a singer with the St Petersburg Opera and from a very young age Igor knew he wanted to be a musician when he grew up. Stravinsky in fact grew up to be one of the most important and influential composers of the 20th Century. He was also a bit of a musical chameleon, changing his musical style every few years to fit each new challenge. He first became famous in Paris in the 1910s writing vivid and exciting ballets, one of which caused a full-scale riot in the audience on opening night and catapulted him to fame.
Later in his life he wrote music that sounded like it had come from centuries before (neo-classical) and at the end of his life in 1971 he was in Hollywood, writing the occasional film score in between living the life of a celebrity. Stravinsky's unique sound changed music forever and his early Parisian ballets still inspire younger musicians.
MP3s: Listen to or download the music
Download the Firebird – suite (1911) (Finale) MP3
You can also download the Firebird orchestral backing track
Or download the Firebird piano accompaniment
(PC: right click, Mac: ctrl-click)
Performed by the BBC National Orchestra of Wales
Download lesson plans for six weeks of learning and activities for The Firebird, as Powerpoint presentations or PDFs. To enable all images to work in the Powerpoint files please save the file to your computer. To save to your computer: PC - right-click and save, Mac - ctrl-click and save.
Primary lesson plans:
Primary lesson plan for The Firebird (Powerpoint)
Primary lesson plan for The Firebird (PDF)
Lesson plan by Rachel Leach
Key Stage 2 in England and Wales
Second Level, P5-P7 in Scotland
*Key Stage 1/Key Stage 2 in Northern Ireland
Inclusive resources
The Firebird - spoken introduction from Andy (MP3)
The Firebird - Andy's theme (MP3)
The Firebird - relaxed version (MP3)
Main theme building block (MP3)
Secondary 5 beat building block (MP3)
Simple beat (tap and clap) building block (MP3)
The Firebird - SLD mind map (PDF)
The Firebird - Sensory mind map (PDF)
The Firebird - SLD activities (PDF)
The Firebird - Sensory activities (PDF)
Arrangements: Play the piece with simplified parts
All parts have been designed to work together to enable mixed-ability groups to perform together
Beginner/pre-Grade 1
Violin (open strings) | Cello/Double bass (open strings)
Flute | Clarinet in B♭ | Oboe (or any mid-range instrument in C) | Bassoon
Trumpet in B♭ | Horn in F (F and Bf fingering) | Trombone (or other bass instrument in C)
Tenor horn/Alto sax in E♭ | Euphonium/Baritone
Bass (or any large) drum | Glockenspiel
Piano beginner
Transposed score
Violin | Cello/Double bass
Trumpet in B♭ | Trombone (or any bass instrument in C) | Horn in F
Bass (or other large) drum
Intermediate score
Violin | 2nd Violin (based on viola) | Viola | Cello | Double bass
Flute | Clarinet in B♭ | Oboe | Bassoon
Trumpet in B♭ | Trombone (bass clef) | Trombone (treble clef) | Horn in F | Tenor horn/Alto sax in Eb
Euphonium/Baritone | Bass in B♭ | Bass in E♭ (treble clef) | Tuba
Full score | Piano accompaniment
Combined score
All levels of ability in one score
© 1911 SCHOTT MUSIC GMBH & CO. KG, MAINZ, GERMANY, WORLDWIDE RIGHTS EXCEPT FOR UNITED KINGDOM, IRELAND, AUSTRALIA, CANADA, SOUTH AFRICA AND ALL SO-CALLED REVERSIONARY RIGHTS TERRITORIES WHERE THE COPYRIGHT © 1996 IS HELD JOINTLY BY SCHOTT MUSIC GMBH & CO. KG, MAINZ, GERMANY AND CHESTER MUSIC LTD
Arrangements: Background notes
From the arrangers:
Notes on pre-Grade 1 and Grade 1-3 parts (Written by from Andrew Smith)
All the beginner and Grade 1-3 arrangements are short excerpts of the work named in the title and complement the Grade 4-5 arrangements. This enables you to involve players of different abilities in one ensemble, all performing the same piece.
Whereas the Grade 4-5 arrangements are around 3 minutes each, the beginner parts are between 60-90 secs, allowing for the stamina of a young musician who is used to playing pieces of similar duration.
The beginner and intermediate arrangements have been orchestrated for many different instruments, from flute to ukulele, however many different combinations of instruments can be used, even if your school has one or more that is not listen in the score!
The standard of playing for the beginner parts is based around the first few notes I'd expect the musician to learn, and basic semibreve, minim, crotchet, quaver rhythms. As much as possible, I have also tried to move to adjacent notes/strings, thus avoiding big leaps. The standard of playing for the intermediate parts is based around ABRSM Grade 1-3.
In most cases, the Grade 4-5 optional piano accompaniment parts will fill in any gaps, and will be useful for rehearsals or even in performance alongside an ensemble performing entire beginner and/or intermediate parts.
Notes on Grade 4-5 parts (Written by arranger Gareth Glyn)
All the arrangements present a short (3-minute) excerpt or abridgment of the work named in the title, and have been conceived in such a way that many different combinations of instruments can be successfully employed in playing them, even if your school hasn't got one or more of the instruments shown on the score.
The standard of playing necessary is about ABRSM Grades 4/5, though some parts may be marginally easier or trickier in places. Alternative notes have been provided for some more challenging situations.
In most cases, the optional piano accompaniment will fill any gaps, and may well be useful for rehearsals, though in most cases it would be best to do without it for performance, if possible.
Notes on orchestration
Flutes - This line can also be played by violins. Because of the range of the flute, violinists attempting this line will find themselves playing in the higher positions. Violins also have their own dedicated part, so it's suggested that that part should have sufficient instruments on it before any are put on the flute line.
Oboes - Any mid-range C instruments (i.e. instruments which play the written pitch) can play from this stave. This would include violins, recorders and flutes (especially if there is a surplus, after having placed some on the dedicated flute line).
Clarinets in B♭ - Other than soprano saxophones, which are highly unlikely to be found in a school orchestra, there are no obvious contenders to join the clarinets on this line. The writing, and the range, will generally be unsuitable for at-pitch B♭ instruments such as the trumpet or cornet; and lower B♭ instruments such as the euphonium shouldn't use this part as the sound will be muddied by the lower octave.
Bassoons - Cellos can play from this part (though in the first instance they should use their dedicated part).
Horns in F - This being a demanding instrument, rather rare in the school orchestra, it is generally doubled in the arrangements by the tenor horn in E♭, which has its own stave and part (see below).
Tenor Horns in E♭ and alto saxophones - These play from the same part, which generally doubles the part of the F horn (see above). There is, if required, a part for 2nd Horn in F, which duplicates that of the Tenor Horn.
Trumpets in B♭ - Their part can be played by cornets.
Trombones - The trombone part is available in two notations - bass clef at pitch and treble clef (brass band notation). The former part can also be used by cellos (though they have their own dedicated stave too); the latter by euphoniums and baritones (ditto).
Euphoniums and Baritones - Any spare trombones may be allotted this stave. A part in bass clef for this line is also provided; it's called '2nd trombone'.
Bass in B♭ - The part for this instrument is also provided in bass clef, for the orchestral tuba. A separate part is provided for the smaller E♭ bass; the music is identical in pitch, except for the odd occasion where an upwards octave transposition has been necessary.
Percussion - The name for this varies from piece to piece, but it is generally for any kind of large drum. If the part is called 'timpani', then of course those tuned drums should ideally be employed, but any percussive instrument will usually be quite effective. The percussion parts of all the pieces can be executed by one player, except for the Adams, which has a quick change in the middle; however, in this case, the instrument used at the start can just as well be used right through.
Violins - This part could be doubled by flutes or oboes if there are enough of them to go around. Players who aren't comfortable out of 1st position should consider an alternative (see below).
Violas - These aren't particularly prevalent in school orchestras, so a special violin part is provided. It's called 2nd violin, and is identical to the viola part except for passages which go below low G – these are either omitted in the special part or transposed upwards.
Cellos - Their part can be played by bassoons, though they should in the first instance be placed on their dedicated line.
Double Basses - Any other bass-clef C instrument (bassoons, cellos and the like) playing from this part will be doubling it an octave higher; this will do no harm at all, and often it would be better to have something on this line than nothing at all.


Do you ever encounter this feeling?
... you don't understand why you doing something not sync with what you thinking?
Sometimes...we are thinking of something else and suppose to do something else and end up doing something else...and there you go...gossshhhhh!!! it is totally something else!!!
Do you know what is the farthest distance in the world?
Since I always end up doing something else from what I am thinking...I came to conclusion... the farthest distance in the world is between our head and our heart!
No matter how hard we try to figure out....why we are doing this instead of that and this and that and why this happening and why not that instead of that...confusing right?
Gosh!!!! I am cracking my head hard with all this why and why.....Good Luck with your surviving mode...all!!!


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Dit is een lijst van leden van de Zweedse Academie, in volgorde van zetelnummer. De data geven de termijn aan van lidmaatschap in de Academie. Lidmaatschap was levenslang, maar sommige leden werden uitgesloten. Sinds 2018 is het formeel mogelijk als lid ontslag te nemen.

Zetel 1
Anders Johan von Höpken, 1786-89
Nils Philip Gyldenstolpe, 1789-1810
Johan Olof Wallin, 1810-39
Anders Fryxell, 1840-81
Hans Forssell, 1881-1901
Carl Bildt, 1901-31
Birger Wedberg, 1931-45
Birger Ekeberg, 1945-68
Sture Petrén, 1969-76
Sten Rudholm, 1977-2008
Lotta Lotass, 2009-2018 (afgetreden)
Eric M. Runesson, 2018-

Zetel 2
Carl Fredrik Scheffer, 1786 (nam nooit deel)
Abraham Niclas Edelcrantz, 1786-1821
Carl Peter Hagberg, 1821-41
Christian Eric Fahlcrantz, 1842-66
Gunnar Wennerberg, 1866-1901
Claes Annerstedt, 1901-27
Martin Lamm, 1928-50
Ingvar Andersson, 1950-74
Torgny T:son Segerstedt, 1975-99
Bo Ralph, 1999-

Zetel 3
Olof Celsius, junior, 1786-94
Johan Adam Tingstadius, 1794-1827
Carl Gustaf von Brinkman, 1828-47
Albrecht Elof Ihre, 1848-59 (nam nooit deel)
Johan Börjesson, 1859-66
Hans Magnus Melin, 1866-77
Carl Gustaf Malmström, 1878-1912
Henrik Schück, 1913-47
Henrik Samuel Nyberg, 1948-74
Carl Ivar Ståhle, 1974-80
Sture Allén, 1980-2022, permanent secretaris 1986-99
Vacant

Zetel 4
Johan Henric Kellgren, 1786-95
Johan Stenhammar, 1797-99
Claes Fleming, 1799-1831
Carl Adolph Agardh, 1831-59
Fredrik Ferdinand Carlson, 1859-87
Claes Herman Rundgren, 1887-1906
Ivar Afzelius, 1907-21
Tor Hedberg, 1922-31
Sigfrid Siwertz, 1932-70
Lars Forssell, 1971-2007
Anders Olsson, 2008-, permanent secretaris 2018-19

Zetel 5
Matthias von Hermansson, 1786-89
Magnus Lehnberg, 1789-1808
Jacob Axelsson Lindblom, 1809-19
Carl von Rosenstein, 1819-36
Jöns Jakob Berzelius, 1837-48
Johan Erik Rydqvist, 1849-77
Theodor Wisén, 1878-92
Knut Fredrik Söderwall, 1892-1924
Axel Kock, 1924-35
Bengt Hesselman, 1935-52
Henry Olsson, 1952-85
Göran Malmqvist, 1985-2019
Ingrid Carlberg, 2020-

Zetel 6
Johan Wingård, 1786-1818
Adolf Göran Mörner, 1818-38
Anders Abraham Grafström, 1839-70
Fredrik August Dahlgren, 1871-95
Hans Hildebrand, 1895-1913
Sven Hedin, 1913-52
Sten Selander, 1953-57
Olle Hedberg, 1957-74
Per Olof Sundman, 1975-92
Birgitta Trotzig, 1993-2011
Tomas Riad, 2011-

Zetel 7
Axel von Fersen (senior), 1786-94
Axel Gabriel Silverstolpe, 1794-1816
Anders Carlsson af Kullberg, 1817-51
Carl August Hagberg, 1851-64
Wilhelm Erik Svedelius, 1864-89
Nils Fredrik Sander, 1889-1900
Albert Theodor Gellerstedt, 1901-14
Selma Lagerlöf, 1914-40
Hjalmar Gullberg, 1940-61
Karl Ragnar Gierow, 1961-82, permanent secretaris 1964-77
Knut Ahnlund, 1983-2012
Sara Danius, 2013-19 (afgetreden), permanent secretaris 2015-18
Åsa Wikforss, 2019-

Zetel 8
Johan Gabriel Oxenstierna, 1786-1818
Esaias Tegnér, 1819-46
Carl Wilhelm Böttiger, 1847-78
Carl David af Wirsén, 1879-1912, permanent secretaris vanaf 1884
Verner von Heidenstam, 1912-40
Pär Lagerkvist, 1940-74
Östen Sjöstrand, 1975-2006
Jesper Svenbro, 2006-

Zetel 9
Gudmund Jöran Adlerbeth, 1786-1818
Hans Järta, 1819-47
Carl David Skogman, 1847-56
Henning Hamilton, 1856-81, handelend permanent secretaris vanaf 1874 (stapte op)
Esaias Tegnér, junior, 1882-1928
Otto von Friesen, 1929-42
Einar Löfstedt, 1942-55
Ture Johannisson, 1955-90
Torgny Lindgren, 1991-2017
Jayne Svenungsson, 2017-2018 (afgetreden)
Ellen Mattson, 2019-

Zetel 10
Anders af Botin, 1786-90
Christoffer Bogislaus Zibet, 1790-1809
Gustaf Lagerbielke, 1809-37
Carl Fredrik af Wingård, 1837-51
Henrik Reuterdahl, 1852-70
Paul Genberg, 1871-75
Carl Snoilsky, 1876-1903
Harald Hjärne, 1903-22
Fredrik Böök, 1922-61
Erik Lönnroth, 1962-2002
Peter Englund, 2002-, permanent secretaris 2009-2015

Zetel 11
Nils von Rosenstein, 1786-1824, permanent secretaris vanaf 1786
Lars Magnus Enberg, 1824-65
Bror Emil Hildebrand, 1866-84, handelend permanent secretaris 1881-83
Claes Theodor Odhner, 1885-1904
Erik Axel Karlfeldt, 1904-31, permanent secretaris vanaf 1913
Torsten Fogelqvist, 1931-41
Nils Ahnlund, 1941-57
Eyvind Johnson, 1957-76
Ulf Linde, 1977-2013
Klas Östergren, 2014-2018 (afgetreden)
Mats Malm, 2018-, permanent secretaris vanaf 2019

Zetel 12
Elis Schröderheim, 1786-95
Isac Reinhold Blom, 1797-1826
Gustaf Fredrik Wirsén, 1826-27
Bernhard von Beskow, 1828-68, permanent secretaris vanaf 1834
Carl Gustaf Strandberg, 1869-1874, handelend permanent secretaris 1872-1874
Anders Anderson, 1875-92
Adolf Erik Nordenskiöld, 1893-1901
Gustaf Retzius, 1901-19
Adolf Noreen, 1919-25
Bo Bergman, 1925-67
Sten Lindroth, 1968-80
Werner Aspenström, 1981-97
Per Wästberg, 1997-

Zetel 13
Gustaf Fredrik Gyllenborg, 1786-1808
Frans Michael Franzén, 1808-47, permanent secretaris 1824-34
Bernhard Elis Malmström, 1849-65
Carl Anders Kullberg, 1865-97
Karl Alfred Melin, 1898-1919
Anders Österling, 1919-81, permanent secretaris 1941-64
Gunnel Vallquist, 1982-2016
Sara Stridsberg, 2016-2018 (afgetreden)
Anne Swärd, 2019-

Zetel 14
Gustaf Mauritz Armfelt, 1786-1794 (uitgesloten)
Malte Ramel, 1797-1824
Erik Gustaf Geijer, 1824-47
Elias Magnus Fries, 1847-78
Carl Rupert Nyblom, 1879-1907
Per Hallström, 1908-60, permanent secretaris 1931-41
Ragnar Josephson, 1960-66
Lars Gyllensten, 1966-2006, permanent secretaris 1977-86
Kristina Lugn, 2006-20
Steve Sem-Sandberg, 2020-

Zetel 15
Carl Gustaf Nordin, 1786-1812
Carl Birger Rutström, 1812-26
Johan David Valerius, 1826-52
Ludvig Manderström, 1852-1873, permanent secretaris 1869-1872
Anton Niklas Sundberg, 1874-1900
Gottfrid Billing, 1900-25
Hans Larsson, 1925-44
Elin Wägner, 1944-49
Harry Martinson, 1949-78
Kerstin Ekman, 1978-2018 (afgetreden)
Jila Mossaed, 2018-

Zetel 16
Carl Gustaf af Leopold, 1786-1829
Samuel Grubbe, 1830-53
Israel Hwasser, 1854-60
Carl Vilhelm August Strandberg, 1862-77
Viktor Rydberg, 1877-95
Waldemar Rudin, 1896-1921
Nathan Söderblom, 1921-31
Tor Andræ, 1932-47
Elias Wessén, 1947-81
Kjell Espmark, 1981-2022
Vacant

Zetel 17
Johan Murberg, 1787-1805
Gustaf Mauritz Armfelt, 1805-1811 (uitgesloten)
Gustaf af Wetterstedt, 1811-37
Anders Magnus Strinnholm, 1837-62
Louis Gerhard De Geer, 1862-96
Pehr Jacob von Ehrenheim, 1897-1918
Hjalmar Hammarskjöld, 1918-53
Dag Hammarskjöld, 1954-61
Erik Lindegren, 1962-68
Johannes Edfelt, 1969-97
Horace Engdahl, 1997-, permanent secretaris 1999-2009

Zetel 18
Nils Lorens Sjöberg, 1787-1822
Anders Fredrik Skjöldebrand, 1822-34
Pehr Henrik Ling, 1835-39
Per Daniel Amadeus Atterbom, 1839-55
Johan Henrik Thomander, 1855-65
Gustaf Ljunggren, 1865-1905
Vitalis Norström, 1907-16
Oscar Montelius, 1917-21
Albert Engström, 1922-40
Gunnar Mascoll Silfverstolpe, 1941-42
Gustaf Hellström, 1942-53
Bertil Malmberg, 1953-58
Gunnar Ekelöf, 1958-68
Artur Lundkvist, 1968-91
Katarina Frostenson, 1992-2019 (afgetreden)
Tua Forsström, 2019-

Leden Zweedse Academie


In his now classic book From Caligari to Hitler: A Psychological History of the German Film, Siegfried Kracauer looked for cinematic hints, clues and warnings about the rise of Naziism and Hitler in pre-War Germany. Published by Princeton University Press in 1947 — just two years after the end of the war — his book was among the first to interrogate the deep architecture of film as a psychological state, one that does not directly mirror but rather reflects in a distorted way the "secret history" of mass psychology that, in his argument's specific case, made possible the rise of Hitler. "What films reflect," Kracauer wrote, "are not so much explicit credos as psychological dispositions — those deep layers of collective mentality which extend more or less below the dimension of consciousness." For Kracauer, the anonymous nature of movie-going (albeit much different in the early 20th century than now) was key, for in the dark, spectators participated in an exchange of meaning away from the open light of other public spaces, such as pubs, churches or sports events. "Thus, behind the overt history of economic shifts, social exigencies and political machinations runs a secret history involving the inner dispositions of the German people," Kracauer wrote.
As time-bound as it is with all its era's predispositions and prejudices, Kracauer's book provides a vital model for exploring how the mass cultural phenomena of movies can provide social clues and premonitions for what is to come. The book demonstrates how the groundwork for radical new political movements exists long prior to that movement's taking of power.
There is, of course, no one-to-one correspondence between the plots of movies and the plots of nationhood. At most today we can look for hints and codes in films from the decade or so prior to the ascendency of Donald Trump — even if these clues won't fully form a clear pattern until the post-Trump era because ideology is hard to detect (impossible, some would say) while one is living under it. The Cold War subtext, for instance, of 1950s alien invasion and science fiction films (such as Invasion of the Body Snatchers, 1956) only became clear in the aftermath of the Cold War. Ideology works precisely because it is largely invisible, "natural" and seemingly inevitable.
To excavate pre-Trump cinema following Kracauer's survey of pre-Hitler cinema is maddeningly difficult and thorny, largely because there is no such thing as "pre-Trump cinema." There is no such thing as "Hollywood" or "the film industry" anymore — at least not in the way that Kracauer or Theodor Adorno would have understood it as a kind of centered, hegemonic force, let alone a force whose films cohere into some sort of consistent narrative. And yet there are a few paths to follow. Most obviously, we could take a hard look at the neo-Nazi — and, more broadly, the fascist — depictions in films ranging from American History X (1998) to The Believer (2001) to Green Room (2015), a weirdly prescient political film disguised as a horror film that features a punk band, the Ain't Rights (not the alt-rights), that unknowingly accepts a gig for a group of rural, racist, Pacific Northwest neo-Nazis. Yet these are relatively isolated examples, and none of these films capture the zeitgeist that swept the new administration into power. And, after all, America's foundational film (The Birth of a Nation, 1915) inaugurated an Angry White Man sub-genre that has only grown with legerdemain as the decades have ticked by.
It's as if there is a void in these films, a lack and a void in the bored lives of boring characters, waiting to be filled, waiting for a greater authority, a higher purpose, or else something like the it in It Follows, or the Patrick in Martha Marcy, or the black storm in Take Shelter. In HBO's Westworld, episode 5, the Man in Black (Ed Harris) says to Teddy (James Marsden), "You know why you exist, Teddy? The world out there, the one you'll never see, was one of plenty. A fat, soft teat people cling to their entire life. Every need taken care of except one: purpose, meaning. So they come here." Whether this lack of purpose and boredom is just another symptom of comfortable, middle-class white privilege, or some deeper existential trauma that signals the coming of a true revolution, remains to be seen. Like Kracauer, we will have to wait until it's too late — until the aftermath of our present disorder — to detect and dissect the symptoms that were there all along.


text:
Discours 31 octobre 2014
The extent of the judge's powers and their necessary limits
Par Jean-Marc Sauvé, Vice-president of the French Council of State
The extent of the judge's powers and their necessary...
On the occasion of an European Colloquium on the Judiciary and Politics
 Lien à reprendre : > download in pdf format
 Lien à reprendre : > french version
European Colloquium on the Judiciary and PoliticsFriday 31 October 2014
Address by Jean-Marc Sauvé[1],Vice-president of the French Council of State
I would like to start by thanking the organisers of this conference for inviting me to share my ideas this evening about one of the main aspects of political theory, which is currently undergoing great change, particularly in connection with the construction of Europe. The relationship between the judiciary and politics forces us to question our conception of the rule of law and democracy, while raising the question of the separation of powers. It also invites us to think about the legitimate exercise of one of the major functions of the state, namely, justice. As such, what is the scope and what are the corresponding limits of the mission of judges nowadays ?
Although the concept of the "separation of powers", which looms over our discussions, appears to be illusively simple, history has exposed its theoretical fragility and practical complexity. It refers not so much to the functional specialisation of the relevant institutions, but rather to the division of the three functions of the state, namely the legislative, executive and judicial branches, each with its own domain of specialisation, but between which there exists some overlapping. Whatever the type of constitutional organisation, the separation of powers rests on a dynamic equilibrium in which the judiciary has a very special role : it is one of the powers that form the state, and at the same time, the guarantor of both the division of powers and the respect for constitutional principles.
Paradoxically, this special role can explain the historical weakness of the judiciary in comparison with the other two. The inherent tensions prevalent in the separation of powers have often been resolved by hierarchically organising the three powers to the benefit of the executive and legislative powers. However, these days, the order has been reversed: judges now oversee statutory compliance with constitutional and international norms, as well as the acts and activities of all public decision-makers. In noting the expansion of the areas within which judges may now intervene, should we fear the so-called "politicisation" of the judiciary, that is to say an encroachment by judges in the areas of competence of the other powers, along with the adoption of positions by judges in political, economic and social debates that have yet to be decided?
I will return to the factors which have lead to this assertion of the power of the judiciary, in order to show the benefits, as well as the limits. From its beginnings as a weakened, dominated body, has it become, as certain caricatures would have us believe, a dominant, hybrid power? When the threat of "government by judges" is made once again, what is the just and legitimate place of the judiciary in its relations with politics?
I. First, allow me to turn to judicial independence and the extension of the judiciary's powers of oversight
A. The mission of the judiciary is multifaceted. It determines which law is applicable. It interprets laws. It minimises obscurities. It settles uncertain or conflicting situations. Finally, it enacts measures that will provide a sustainable resolution to a dispute. In order to perform this function with total impartiality, judicial independence vis-à-vis the political powers is guaranteed: judges are irremovable and do not receive any instructions when exercising their functions. Their appointment, their promotion and their careers are usually determined by high councils of justice, which are themselves independent of the other powers. Their decisions are respected and executed.
It is true that judges were dependent for a long time and occasionally remain the target of laws intended to (1) remove them from office, (2) subject them to other powers or (3) challenge their decisions. In spite of this, in the second half of the 20th century, judges in Europe generally acquired a status that is consistent with the requirements of the separation of powers. The last century was also marked by two other changes: the promotion of fundamental rights and the emergence of new rights in economic, social and environmental matters. This twofold evolution drew lessons from the totalitarian experiences of the 20th century and the incapacity of judges to stand up to totalitarian governments, and was also influenced by the belief that the law should provide a framework to foster a more thriving society. As such, it went hand in hand with changes in the role of judges: their jurisdiction was extended; proceedings were diversified; their authority was expanded, particularly through the creation of new powers to make orders and impose penalties for non-compliance[2]; and their oversight became more rigorous and effective. Against this background, the contemporary legitimacy of the judiciary is linked to its ability to provide and enforce a guarantee of fundamental rights and ensure that ties in society are subject to the law.
B. This assertion of the power of the judiciary was made in the context of a crisis in political representation, which weakened national parliaments[3], and in the context of the loss of influence, even impotence, of national public authorities in the face of globalisation[4]. However, this assertion is also the fruit of internal transformations in the legal sphere, which I would now like to describe.
Firstly, it is insufficient to point out that most public decisions today are subject to judicial review. It should also be noted that judicial review has become more detailed and sophisticated everywhere. When a judge has to deal with a challenge to an operation in the public interest, any possible conflict between private and public interests[5] and between public interests[6] themselves is to be considered and analysed. The judge determines the extent to which a property right has been infringed, as well as the estimated cost and the disadvantages that may result from the operation for society as a whole. Finally, when assessing proportionality, the judge weighs these factors, an analysis which thus becomes intrusive or even subjective. At a later stage, judges are more concerned about the effectiveness of their rulings, which may be made as a matter of urgency at the same time as the political decisions: in a growing number of countries, political decisions are dependent upon judicial ones[7].
Secondly, the powers of judges were asserted not only vis-à-vis the administrative authorities, but also vis-à-vis the legislature itself, thanks to the consecration of fundamental rights at constitutional and international levels, whereas the law was, in most constitutional traditions, protected from all judicial oversight and all risk of censure. Without claiming to possess a "general power of assessment and a decision-making authority comparable to that of Parliament"[8], constitutional and even ordinary judges verify, more and more frequently and in detail, that eminently political decisions, on which laws are based, comply with constitutional and international norms of which the courts are the guardians and interpreters. Judges have thereby taken on a new democratic role and acquired a new legitimacy[9]. Elections may come and go, political parties may perhaps alternate, but judges remain the keepers of the principles enshrined in the Constitution and laid down by the legislature itself. These principles are in fact at the summit of the hierarchy of norms.
Thirdly, national legal systems are now linked to European legal systems. This means, in principle, that European judges have the last word concerning the interpretation and application of European law. Rights in the European Union are protected by member-state constitutions on the one hand and by the European Convention on Human Rights and the Charter of Fundamental Rights on the other. These rights are indeed materially close and often formulated in the same way, but the concrete obligations that derive from these documents for the public authorities are specified in each individual case, not only by national courts but also European courts. It is up to both groups to set out their respective constructions of these norms and settle the concrete situations before them, with the interpretation of the European judge taking, in principle, precedence over that of national judges, as a result of the principles of primacy and effectiveness.
C. These three fundamental transformations explain the emergence of a new proximity and interaction between the judicial and political powers. As the judge's sphere of competence overlaps more and more with the political realm, neither of the latter's branches, whether executive or legislative, can now avoid judicial oversight, which is becoming increasingly substantial. A second reason for this development is that the principles inherent in the judicial process—impartiality, adversarial debate and transparency—have an increasing influence on the operation of public institutions and have thus become the model for an "ethic of collective deliberation"[10], separate from parliamentary debate. It is therefore natural to look beyond a confrontation between the judiciary and the political powers, as they are both affected by the same movement towards greater proximity and participation, thus creating more room for the consultation of the parties involved and for collective deliberation.
As such, I believe that the legitimacy of the judiciary is absolutely essential in a democracy.
II. I would now like to move on to the new responsibilities of the judiciary in today's context which require judges to be more vigilant in the exercise of their functions in order to be more legitimate.
A. The intervention of judges in the public realm—which is sound in principle, as all powers must be subject to oversight—could be perceived as an illegitimate, and potentially anti-democratic interference, which could in turn antagonise other public powers or, at European level, give rise to uncooperative attitudes vis-à-vis the European courts. In order to avert these risks, national and European judges must take on new responsibilities, as illustrated through the following four points.
1- Firstly, an enhanced duty to explain the reasons behind judicial decisions. When judges give the reasons for their decisions, they should be fully aware that they are addressing not only the concerned parties, but also parliament, the government, other judges, the legal community as a whole and even public opinion. Faced with such a vast audience, it is incumbent upon them to explain what they do and what they decide. It is a facet of the responsibility and accountability that they bear and the corollary of the power that is entrusted to them. As such, explaining a judicial decision serves in fact a purpose of justification to the public authorities, subject to oversight, as well as to the citizens. This task is all the more important in that the cases in question deal with issues for which there is no consensus among states[11] or even within them.
2 – Secondly, a duty on national and European judges to cooperate honestly and transparently. Legitimate differences of opinion or assessment may certainly arise between judges, but these cannot be a source of legal insecurity. In such cases it is important that the judges concerned enter into an in-depth dialogue, which may either be formal, accompanied by preliminary questions, or informal. However, when a European Court has adopted a position, it is desirable —even necessary—that national judges abide by its ruling, unless there is a particularly serious, overriding reason not to do so.
3 – Thirdly, a duty to adapt the oversight of the courts in order to preserve the margins of appreciation of political authorities or of national judges. The oversight of the courts must stop where the discretionary power of parliaments and governments begins. It cannot lead to a judge taking the place of the political power, nor to a judge interfering with the functions of that power: as each has its own democratic legitimacy, and their legitimacies are in fact complementary, neither may nor should enter into a conflict in this regard. For instance, constitutional judges should not, under the cover of an interpretation, perform their duties of oversight in such a zealous manner as to make the constitutional rules excessively rigid and unnecessarily restrict parliament's powers of appreciation. Similarly, European judges must refrain, without sufficient justification, from making extensive interpretations of transfers of power granted by the states within the Union, as they must show prudence in their teleological or finalist interpretations of primary or derived law, to the detriment of a literal reading of the texts. These judges must make every effort, without harming the unity and consistency of European law, to further the principle of subsidiarity , i.e., granting states certain margins of appreciation and allowing their respective courts to show a certain degree of restraint when identifying the points of consensus among national constitutional traditions. This "buffer zone" between the principles of primacy and subsidiarity will allow the European project to survive in the long term.
Whether national or European, judges can only find their proper place in the separation of powers if they show a certain degree of "restraint" or "judicial deference" vis-à-vis democratically elected or responsible bodies. This deference will naturally vary from state to state, but it is essential in maintaining the balance of all the powers.
4 – Fourthly and finally, stricter ethical obligations and more restrictive personal duties. Because judges are called upon to oversee democratically elected bodies in the exercise of their powers, they must show great reserve when expressing their opinions outside judicial debates, act with the greatest impartiality and avoid all risk of conflicts of interest.
B. These long-standing responsibilities, which have now taken on a new intensity and scope, limit the judiciary's role, preventing it from becoming excessively powerful. By accepting these responsibilities, the judiciary agrees to limit its own powers, while pursuing its objective to protect and ambitiously promote the rule of law. To borrow the metaphors employed by François Ost, those who now defend a Jovian or Herculean type of judiciary might well become tomorrow's denigrators of a "government of judges", depending on the nature of their own interests. The legitimacy of the judiciary can only be maintained if, while fully assuming its own responsibilities, it manages to identify, preserve, and protect the margins of appreciation of the two other powers. Moreover, as the judiciary derives its authority and legitimacy from the constitution and the law—and therefore the will of the people—, it is always open to the sovereign, that is to say, the people, to clarify its wishes by amending the Constitution or the law, in order to prevent potential unwanted judicial interpretations of the texts currently in force. In fact there is nothing more democratic than this method of resolving disagreements between the judiciary and the political powers, provided naturally that it is not used as a pretext to attack the independence of judges and the mission of the judiciary.
For more than 20 years, as the judiciary has asserted its authority, relations between this power and the political powers have not ceased to change and become more complex, without necessarily reaching a crisis point. I do not doubt that the work within this conference will make it possible to analyse this phenomenon, to clarify the challenges arising, to point out the risks that are involved, and to identify the means of harmonious coexistence and even peaceful cooperation between the judiciary and the other public powers or between European and national judges. This will certainly be beneficial for our societies, for the rule of law and for European construction.
[1]Text written in collaboration with Mr Stéphane Eustache, administrative judge and special assistant to the Vice-President of the Council of State.
[2]See J.M. Sauvé, "L'injonction – la loi du 8 février 1995 après vingt ans de pratique", 5 September 2014.
[3]On this point, see P. Rosanvallon, La légitimité démocratique, impartialité, réflexivité, proximité, Le Seuil, coll. Points Essais, 2008, p. 12 and p. 59: "la légitimité d'identification à la généralité".
[4]On this point, see P. Rosanvallon, La légitimité démocratique, impartialité, réflexivité, proximité, Le Seuil, coll. Points Essais, 2008, p. 101: "la grande transformation".
[5]CE [Council of State], Ass., 28 May 1971, Ville Nouvelle Est, no. 78825.
[6]CE, Ass., 20 October 1972, Société civile Sainte-Marie de l'Assomption, no. 78829.
[7]See J.M. Sauvé, "L'urgence devant le Conseil d'Etat : procédures, méthodes de travail et défis nouveaux", 23 September 2014.
[8]Wording adopted by the Constitutional Council: see note CC no. 2013-669 DC [Oversight of constitutionality of laws] of 17 May 2013, Loi ouvrant le mariage aux couples de personnes de même sexe, cons. 14.
[9]On this point, see P. Rosanvallon, La légitimité démocratique, impartialité, réflexivité, proximité, Le Seuil, coll. Points Essais, 2008, p. 222 "Constitutionnalisme et réflexivité".
[10]A. Garapon, "La question du juge", Pouvoirs, no. 74, 1995.
[11]On this point, see the reasoning behind decisions: ECHR 26 June 2014, Mennesson v. France, no. 65192/11, relating to the conditions for the transcription of birth certificates in civil status registers of children born to surrogate mothers; ECHR 1 July 2014, S.A.S. v. France, no. 43835/11, relating to the prohibition on covering one's face in public spaces.


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As you all know all too well, I've been tinkering with my bike to solve some handling problems. And mostly playing with the forks.
I had a headshake that was present in straight line riding as well as with the bike leaned over. The bike 'developed' a rhythmic bouncing in the front end at certain speeds. There was also an intermittent knock in the left fork.
What was done: New Steering head bearings, new front tire, rear shock re-build, swing-arm bearings, new fork tubes, new damper piston collars, second new front tire, multiple tear downs of the forks, new rear brake pads and retaining pins, cut down fork preload spacer, and so on. New fork springs in the near future (recommendations?).
Pay close attention to the order and arrangement of parts! At the bottom of a fork slider is an aluminum spacer. One end is wider. *Put the wide end facing up.* It helps keep the damper assemblies and tubes lined up when the fork is stressed (such as under heavy braking). This in turn might minimize the scraping of the fork springs on the inside of the fork tubes. After I turned mine around to wide side up (I'd originally installed them as I'd found them), the mysterious knocking sound in the front left fork disappeared (it was not related to the valve body shimming). Yes, there is a lot of conjecture in this. But when in doubt, put it together stock.
*Do not assume that who ever previously worked on the bike, dealer or not, put it back together correctly*. Use the manuals.
Put the sliders on the tubes, attach to the damper assemblies, but only loosely bolt on the fork brace.
Insert the front axle – this is to align the fork tubes.
Move the sliders up and down multiple times. If you put some pressure on the sliders from different angles, you will quickly see how misalignment can contribute to stiction.
When you've found what slider positioning feels like it produces the least amount of stiction, tighten the bolts securing them to the fork brace.
Give them another quick slide to check that all is well.
To measure sag – With bike upright on its tires and unsupported by a stand….
Push down on front end, release gently. Measure top of slider to some static point such as lower triple clamp.
Pull up on front end, release gently. Make same measurement.
The difference between those two measurements is fork stiction. Around 1 cm and less is desirable. Take the average of the two, call it measurement 'X' Get on bike. With feet up on pegs (might need helper)….
Push down on front end, release. Measure.
I won't buy another Metz 33.
While she does need new springs, she's feeling better than ever. I'm falling in love with her all over again. 🙂 Stable in turns, in a line, and more supple on the bumps. All of the above is gleaned from fellow Prezzes, the archives, and the lessons of too many mistakes.
***THANK YOU*** to all who've helped through this saga. I'm sure I've forgotten a few bits. Hope this helps someone.