The well-known Swedish fashion company H&M enters a new phase. H&M always followed the same route: cheap trendy fashion. Now they enter a new phase. By buying the upcoming Swedish fashion company Fabric Scandinavien (behind brands like Sunday Sun , Cheap Monday . HM enters a new role as a venture capitalist. Before HM had to produce products to get revenues, now (with acquisitions) they have to control the portfolio of stocks.
This could be a boring, dangerous and reactive way to go. Before they were forced to lead and forge a path, now they can just look and follow. In the long run, this could be a problem: when you fall back and get satisfied, the world around seems to fade away.
Where will it end for H&M? Will it become the new PPR ?
By Claes Foxerus. You can find more writing from Claes here. He's also the co-founder and editor of The David Report . And, for those of you looking for Swedish Planning connections Claes is the man, he is the co-founder and secretary of the Swedish APG.


It must be a 200Tdi thing to hack around with the wiring.
I found a relay and some spare wiring behind the headlamp finisher, one of the lights had been piggybacked from the other light on the other side by running some 3 core household cable across the radiator (just laid on top, not secured or anything) and there is still an absolute birds nest inside there I need to have more of a go at.
Then finally, and more significantly, a pair of nearly new drivers door hinges. The original hinges on my 90 are completely shot, making closing it a real pain. However, the quality of new aftermarket replacements seems to be variable, so a new-ish pair of second hand ones seemed liked a good compromise.
Nice purchase of the cubby box and the Techno Cloth matches my seats as well As for the weather co-operating, down here in Devon, it would be a NO go tomorrow, hope the weather lets you get the hinges done 1996 Golf Blue 300Tdi 110 Pick up. Keeper.
It's been a frustrating few weeks on the 90 front. My hinge swapping became a real chore that involved sheared captive nuts, piles of rust and bolts that were too short. This all resulted in only getting one hinge fitted, over several days, and I still need to change two of the bolts. Fortunately, that was enough to allow the door to shut without crashing it, but as the task isn't finished I'll come back to it another day.
So, after much faffing around, I did eventually get my new door hinges fitted. Obstacles included not realising that the captive nuts in the bulkhead were an imperial thread � I sheared two before the penny dropped, the nice new stainless bolts I�d bought being not long enough to go through the door frames and discovering a large pile of very fine, dry rust in the base of the door pillar. The latter was painstakingly extracted with a magnetic pickup before the void was soaked with ACF50.
That did reveal another drama, though. To fit the top hinge, it was necessary to remove the door card to get at the bolts. However, what that revealed is the frame of the door is cracked. It�s obviously been like it for some time and is undoubtedly due to the constant slamming as a result of the worn hinges.
Every Land Rover door I've ever seen has had that crack, just a design flaw unfortunately. You can weld it up but in a few years it will crack again. Doesn't seem to cause big problems though.
I'd be wary of the rad muff, very easy to overheat an engine with a full coverage one like that. Plus in my opinion they're wholly unnecessary in the UK - many do use them but generally it's masking a cooling system issue.
Apart from having to drill one bolt out, it was all fairly straightforward, except for the one flaw in their design, which is that they're slightly narrower than the originals. This typically means that they need more shims between them and the door frame to allow the door to close over them. Something I remembered from fitting them to my old 110 a few years ago.
The door's rotten anyway so will be replaced but the crack was allowing quite a lot of flex, which added to the difficulty in closing.
I know what you mean but it suits the mainly short journey driving that I'm using it for at the moment. I've run with one of these covers before and it's beauty is that it can be easily adjusted to control the cooling.
A spare hour and some dry weather enabled me to fit some roof bars, mentioned a few posts further up, that I've been preparing for some weeks. Preparation included painting them black (they come galvanised) and making some brackets to fit to one to allow me to use a set of magnetic rotating beacons, for use with my 4x4 Response activities.
The brackets comprised two lengths of 40mm steel angle, bolted to each side of one of the roof bars so that they're flush with the top face. They're spaced off with some 6mm nylon, partly to make them the right width for the magnets on the beacon and partly to avoid a water trap between the metal faces.
Positioning of the bars required a bit of careful measuring, as I want them positioned to suit the mounting points on my Ozpod.
Next was fitting a new interior light. The original was broken so again eBay furnished a replacement. Much to my delight, it worked first time without any faffing about with wiring required.
Then I replaced the wipers and arms - no pictures but I'm sure you get the idea.
Finally, I cleaned up the contacts on one of the rear indicators that was playing up. You know, on, off, on, off. So annoying.
That is really looking smart LRA, great pic 1996 Golf Blue 300Tdi 110 Pick up. Keeper.


(1) From Detroit, take M-53 North to Port Austin, then turn right on Spring Street when M-53 ends. Follow this road 5 miles to Captain Morgan's. More scenic option: Follow I-94 to the end in Port Huron, then M-25 (Lakeshore Road) north. Follow M-25 north to about 7 miles north of Port Hope, and turn right on Pearson. There are signs for Grindstone City there. Follow it around to Captain Morgan's.
Cross Mackinac Bridge, and get off at Exit 359. Follow M-134 to Detour Village, take the ferry to Drummond. Continue on M-134, 1.5 miles to Whitney Bay Road, turn right to Fort Drummond Marina.
Take 1-75 to US 10 (Bay City) to M-115 to Frankfort. When arriving in town, turn left on M-22, East Shore Marina is 1/2 mile on right.


Would you like to help create and publish an Open Textbook and at the same time contribute to developing a new, collaborative model for publishing Open Textbooks?
The Rebus Community is looking for someone to join "The Open Anthology of Earlier American Literature" as lead editor. The editor should be either faculty or a Ph.D. student in Early American Studies or a related field.
The Anthology is one of a handful of Open Textbook projects being undertaken with the support of the Rebus Community for Open Textbook Creation. Support will be offered in the form of finding contributors and coordinating the different tasks in the publishing process (e.g. proofreading, formatting, reviewing, marketing etc.).
Unlike a traditional managing editor, this role will be the guiding academic voice on the project, but much of the project management work will be handled by the Rebus team, and the work of editing will be shared with collaborators.
Lead the TOC creation & guide development strategy (possibly in collaboration with others).
Tap into their network to help find introduction authors & other contributors.
Curate appropriate public-domain literature texts for inclusion.
Collect, edit & review introductions (in collaboration with other editors).
Help spread the word once the project is completed & encourage adoptions.


text:
Tag Archive for: William Hunting
'The Veterinarian' Vol 42 Issue 12 – December 1869
30th December 1869 /0 Comments/in 1869 - Volume 42 /by Helena Clarkson
anatomy, blood, brain, cattle, cattle plague, central nervous system, circulatory system, cruelty, ear, eye, feeding, foot, George Fleming, head, heart, hedgehog, Highland and Agricultural Society of Scotland, horse, horse tack, illustration, inflammation, intestine, Ireland, Irish Central Veterinary Medical Association, joint, lameness, laminitis, leg, legal trial, legislation, limb, liver, lung, mammal, military, mouth, muscular system, North of England Veterinary Medical Association, pneumonia, respiratory system, roaring, Royal Society for the Prevention of Cruelty to Animals, Scotland, sheep, shoeing, skeleton, skin, smallpox, spinal cord, tuberculosis, veterinary equipment, West of Scotland Veterinary Medical Association, William Hunting, Yorkshire Veterinary Medical Society
https://rcvsvethistory.org/wp-content/uploads/2018/09/featVet-Vol42-No12a-0049.jpg 974 1527 Helena Clarkson https://rcvsvethistory.org/wp-content/uploads/2020/02/vet-history-logo1-e1581675327360.png Helena Clarkson1869-12-30 11:55:402018-10-31 12:26:47'The Veterinarian' Vol 42 Issue 12 – December 1869
'The Veterinarian' Vol 42 Issue 12 [with George Fleming's annotations]– December 1869
anatomy, blood, brain, cattle, cattle plague, central nervous system, circulatory system, cruelty, ear, eye, feeding, foot, George Fleming, head, heart, hedgehog, Highland and Agricultural Society of Scotland, horse, horse tack, illustration, inflammation, intestine, Ireland, Irish Central Veterinary Medical Association, joint, lameness, laminitis, leg, legal trial, legislation, limb, liver, lung, mammal, military, mouth, muscular system, North of England Veterinary Medical Association, pneumonia, respiratory system, roaring, Royal Society for the Prevention of Cruelty to Animals, Scotland, sheep, shoeing, skeleton, skin, smallpox, spinal cord, tuberculosis, West of Scotland Veterinary Medical Association, William Hunting, Yorkshire Veterinary Medical Society
https://rcvsvethistory.org/wp-content/uploads/2018/09/featVetVol-42-No12-0823.jpg 1092 1299 Helena Clarkson https://rcvsvethistory.org/wp-content/uploads/2020/02/vet-history-logo1-e1581675327360.png Helena Clarkson1869-12-30 18:59:502018-10-31 12:27:07'The Veterinarian' Vol 42 Issue 12 [with George Fleming's annotations]– December 1869
98 – Letter to Fred Bullock from Frederick Smith, 26 Oct 1913
26th October 1913 /0 Comments/in 04 – Correspondence sent and received in 1913 /by Helena Clarkson
The copyright of this material belongs to the Royal College of Veterinary Surgeons. It is available for reuse under a Creative Commons, Attribution, Non-commercial license.
Second Anglo-Boer War, Spain, veterinary literature, William Hunting

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Package found in Jupyter Notebook but not command line Specs

*

*Ubuntu 18.x

*conda 4.8.3

I created a new conda environment in the command line.  After installing some packages, I ran a kernel in jupyterlabs using the packages with no problem.  I later wrote a .py program, but it gave errors saying that I had not installed the packages.  Here is a minimal example to reproduce the error:
conda create -n new_env pip ipykernel python=3.7
conda activate new_env
whereis pip

/opt/conda/envs/new_env/pip

/opt/conda/envs/new_env/pip install pandas pandas
ipython kernel install --user --name=new_env

Inside a jupyterlab notebook (with the new_env environment), import pandas as pd works perfectly.  Inside the command line this yields an error:
conda activate new_env
python
>>>import pandas

Traceback (most recent call last):
File "", line 1, in
ModuleNotFoundError: No module named 'pandas'

The Culprit?
Inside the jupyter notebook (with the new_env environment), sys.path is
['/rapids/notebooks/my_code/TF_Models/DAE',
 '/opt/conda/envs/new_env/lib/python37.zip',
 '/opt/conda/envs/new_env/lib/python3.7',
 '/opt/conda/envs/new_env/lib/python3.7/lib-dynload',
 '',
 '/opt/conda/envs/new_env/lib/python3.7/site-packages',
 '/opt/conda/envs/new_env/lib/python3.7/site-packages/IPython/extensions',
 '/root/.ipython']

inside the command line (with new_env conda activated), the sys.path is:
['',
'/opt/conda/lib/python38.zip',
'/opt/conda/lib/python3.8',
'/opt/conda/lib/python3.8/lib-dynload',
'/opt/conda/lib/python3.8/site-packages']

If not the actual issue, this is clearly tied to the issue.  The jupyterlab is pointed to the correct paths but the python in the conda environment is not.  This gives me 2 questions:
1. How can I get the command line python with the new_env environment pointed to the correct path?
2.  How can I get the command line python with the new_env environment to run the installed packages?

A: You are using (note only a single =):
conda create -n new_env pip ipykernel python=3.7

try with ==:
conda create -n new_env pip ipykernel python==3.7

redpajama_set_name: RedPajamaStackExchange


text:
You are here: Home / News / State Climatologist says May was cooler than normal
State Climatologist says May was cooler than normal
June 2, 2020 By Matt Kelley
June has started out with some 90-degree days, which is much different than the just-ended month of May, which wrapped up cooler than normal, according to state climatologist Justin Glisan.
"We were about two-and-a-half degrees below average across the state and colder than average across the Midwest," Glisan says. "We had a lot of cloudy days, a lot of daily highs that were below average." As for precipitation across Iowa, Glisan says May was fairly typical.
"We're looking at about four or four-and-a-half inches of rainfall across the state, which is about average," Glisan says. "There are sections of the state in which we have drier-than-normal conditions. That's where we saw some D-zero introduced by the U.S. Drought Monitor. D-zero is not drought. It's abnormal dryness."
Forecasting models are showing inconclusive predictions for Iowa's weather during June, as some are indicating a warmer, drier month ahead while others show it'll be cooler and wetter.
"Typically, when we're in the summertime when we do see wetter-than-normal conditions, that's tightly coupled with cooler-than-average conditions," Glisan says. "There is an expectation that perhaps June could be warm and then we get to near-normal or slightly cooler conditions moving into July and August." The first day of summer arrives June 20th.
(Pat Powers, KQWC, Webster City contributed to this report.)
Filed Under: News, Weather


Ideal to commemorate a special golfing achievement or event, these photo frames can be engraved - for free - on the front with your chosen message. They feature a quality silver plated finish and include a golf motif in the lower right corner. The frames hold a picture sized 95mm x 145mm (3.75in x 5.7in) in landscape orientation, and can be wall-mounted or free-standing via a strut at the back (strut is supplied).


text:
Home » Guides » Model Conservation Easement
Model Conservation Easement
Display to header level All 1 2 3 4 5 6
An Easement is Only as Strong as the Document Underpinning It
Use a State-of-the-Art Document and Save Money
Take Advantage of Collective Experience
Understand the Reasoning; Tailor Provisions Appropriately
Find the Latest Version Online
Help Improve the Model
Advantages of Using the Model
PALTA's Approach to Managing the Model and Serving Conservation
Using the Model
The Commentary
Involve Legal Counsel
Ammending and Restating A Grant of Easement
Riparian-Focused Model
Notes on the New Edition
- hide table of contents -
The Model Grant of Conservation Easement and Declaration of Covenants with Commentary provides users with a state-of-the-art legal document and guidance to customize it to nearly any situation. No easement document has benefited from more real-world testing and peer review.
Typical End Users
Conservation Impact
Obstacles and Challenges
A conservation easement can only be as strong as the legal document—the grant of easement and declaration of covenants—that underpins it. Easement documents written today should take advantage of the innumerable lessons learned in easement projects across the country in recent decades. This is easier said than done. Very few people (or, for that matter, groups of people) have dedicated enough of their time to easement drafting (including understanding its stewardship and enforcement consequences) to be able to draft a quality document that optimizes conservation protections and ease of understanding while avoiding mistakes that others have unwittingly made previously.
The Model Grant of Conservation Easement and Declaration of Covenants with Commentary is designed for use by private land trusts, local and state governments, landowners, and their respective legal counsels. Thanks to the collective input of countless conservation practitioners, the model and commentary take full advantage of the lessons of the past and the best knowledge of the present. The extensive guidance that accompanies the state-of-the-art legal document provides users with what they need to customize the model to nearly any situation. Users can avoid the legal costs of reinventing easement documents and provisions, and can instead focus legal counsel on addressing issues truly unique to the particular project.
The model, now in its seventh edition, is informed by many years of regular and heavy use by land trusts, governments, and landowners across Pennsylvania and the nation. No conservation easement document has benefited from more real-world testing, user scrutiny, and cycles of peer review and improvement. The latest edition alone underwent six rounds of public review and critique before being finalized.
The model's expansive commentary explains the reasoning behind every provision, offers instructions on applying the model to particular circumstances, and provides alternative and optional provisions to address a variety of variables. The commentary helps users understand the sections of the document where tailoring is appropriate or desirable, as well as provisions that are generally best left untouched.
The model provides for three levels of protection to deal with variations in conservation objectives across a property, but one or two levels can easily be removed for use with simpler projects.
Thanks to the Pennsylvania Land Trust Association's generous donors, the latest version of the model, as well as the commentary and a quick start guide, is always available free-of-charge at ConservationTools.org.
The Pennsylvania Land Trust Association is deeply committed to supporting the model and commentary. Suggestions for improvements are always welcome. Please direct comments to the Association via phone, email, or web form.
Users benefit from the model in multiple ways:
They avoid the legal costs of unnecessarily reinventing easement documents and provisions. They can focus legal expenditures on addressing very specific issues unique to a particular project.
The many lessons of the past are built into the content of the model and its commentary. The Association judiciously updates the commentary and, less frequently, the model, when it is necessary or desirable to address new user experiences and advances in the field of conservation. This enables individuals to stay on the cutting edge of easement preparation with minimal effort.
With a wide range of organizations using the same document, there are many people at many different organizations working within the same document framework. This facilitates people helping one another in addressing easement issues.
The model brings assurance to both the potential easement holder and grantor that each is being treated fairly. Both parties and their respective legal counsels have the same access to the same model language, alternative provisions, and explanatory material when discussing and negotiating the easement transaction.
Legal counsel, particularly those without extensive easement experience, are comforted by (1) having full access to the same widely accepted materials as the other party and (2) knowing that the model has been vetted by numerous attorneys through the years and huge numbers of model-based documents have been recorded. (They are also less likely to try to "improve" a proven document—thus enabling the client to avoid billings for rewrites of questionable or marginal value.)
The model brings credibility. Funders are comforted knowing the project they are funding is built on a rock-solid legal document that has stood the test of repeated use over time.
Purchase options, sales agreements, and rights of first offer and negotiation can be written to specify that the document will be in the form of the model. This, plus a few details regarding the conservation objectives and physical boundaries, can easily bring desired specificity to these documents.
The Association is deeply committed to supporting the model. It does so by:
Keeping it fresh. The Association is always looking for ways to improve its guidance and responds to every comment submitted.
Providing transparency. The Association engages users in considering major changes to the model. For example, the seventh edition was preceded by months of discussions and six drafts published for public review and critique. The Association also posts explanations for changes that are ultimately made.
Being judicious in making changes. Especially since the model is a mature, well-developed tool that many organizations have customized, the Association endeavors to be conservative in considering modifications. In practice, this means that the model only changes every several years. The commentary, in contrast, is updated more frequently—whenever the Association sees an opportunity to better help users use the model.
Focusing on conservation. The model's covenants and administrative rules are designed to uphold conservation in the long run without unduly burdening either landowners or holders. For example, unlike many easements, the model doesn't prohibit an activity simply because the activity is commercial; rather, restrictions are based on the potential for activities to harm the land's conservation values.
Being consistent. The Association adheres to strict, established rules regarding the structure and content of the model when making modifications. For example: plain language is used wherever possible; words and terms are defined wherever meanings could reasonably be misconstrued against the interests of conservation; and cross-references to specific sections are avoided to prevent drafting errors.
Providing training. The Association provides workshops on the model at Rally, the Pennsylvania Land Conservation Conference, and other learning venues.
Offering assistance. Although it does not provide legal counsel, the Association helps land trust staff with their questions regarding the model and its application to projects.
If you are new to the model, take a few minutes to review the Quick Start Guide.
When in doubt, check the commentary. It explains the purpose of each provision and, in many cases, provides alternatives that may be useful in particular situations.
The main body of the commentary follows the same article and section structure as the model. Captions preceded by numbers or letters refer to articles or sections of the same title in the model.
Although the model helps users avoid many legal expenses, be sure to involve legal counsel before completing a project. A good attorney will ensure that, given particular circumstances, the easement document does what you intend it to do.
The model is tailored to Pennsylvania state law, and the Pennsylvania Department of Conservation and Natural Resources requires its use for Department-funded grant projects. The model has been applied to numerous local government and federally-funded projects and has been adapted for use in states from Arkansas to Alaska.
Since each state's laws and customs are different, users outside of Pennsylvania need to take particular care to modify the model to account for these differences.
The model is often adapted for the purpose of amending and restating a grant of conservation easement. The topic of amending and restating grants of easement is addressed in the commentary's supplemental provisions as well as in the guide Amending and Restating Grants of Conservation Easement: Best Practices to Document Change.
The Pennsylvania Land Trust Association also publishes a model document for the specific purpose of protecting riparian buffers along waterways. The third edition of the Model Grant of Conservation Easement and Declaration of Covenants for Riparian Buffer Protection is based on the model grant described here.
The model was originally published in 2005. The seventh edition was published in December 2016.
Moving from the sixth to seventh edition involved extensive and intensive public feedback—in-person discussions, webinars, and postings of drafts (six in all) for public comment. The process ran from spring 2015 through fall 2016. The differences between the sixth and seventh editions and brief explanations of the changes can be viewed at the model's page on ConservationTools.org.
With the addition of new optional provisions and explanatory material, the commentary was expanded by 42% for the new edition.
The model's publication history is as follows:
1st edition – Jul. 2005
2nd edition – Apr. 2006
3rd edition – Sep. 2007
4th edition – Apr. 2008
5th edition – Sep. 2008
6th edition – Oct. 2011
7th edition – Dec. 2016
Conservation Easement
Debra Wolf Goldstein
Conservation Matters, LLC
Log in to see email
Advisor to the first edition of PALTA's Model Grant of Conservation Easement & Commentary.
Patricia L. Pregmon
Pregmon authored the Model Grant of Conservation Easement and Declaration of Covenants with Commentary.
Andrew M. Loza
WeConservePA (formerly known as Pennsylvania Land Trust Association)
Loza co-authored the Model Grant of Conservation Easement and Declaration of Covenants with Commentary.
Related Library Topics
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Model Grant of Conservation Easement and Declaration of Covenants
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Model Trail Easement Agreement with Commentary
This widely used model is coupled with an expansive commentary that explains the reasoning behind every provision, instructs on applying the model to particular circumstances, and provides alternative and optional provisions to address a variety of situations. Users can easily customize the documen…
The Pennsylvania Land Trust Association develops and maintains model documents to help users complete projects and manage their operations efficiently and effectively. This guide briefly describes each of these models. (print edition of the ConservationTools.org guide)
Amending and Restating Grants of Conservation Easement: Best Practices to Document Change
If a land trust intends to amend a grant of conservation easement, implementation of the changes requires careful planning and drafting. The consequences of a poor execution range from missed opportunities to improve easement stewardship to inadvertent elimination of conservation protections.
Model Consent, Non-Disturbance, and Subordination Agreement with Commentary, 2nd edition
When a mortgage precedes an easement on a property, the possibility that one day the mortgage could be foreclosed poses a threat to the continued existence of the easement unless the holder of the mortgage signs an agreement that allows the easement to survive a foreclosure. In addition, "subordina…
Model Stewardship Funding Covenant with Commentary
Used to secure payment of deferred contributions and other conservation commitments made by present landowners and to be paid by either them or future owners. The model offers ten basic ways to structure stewardship funding arrangements in conjunction with conservation easement projects. Download …
Conservation Easements: An Introduction for Private Landowners
A conservation easement limits certain uses of the land in order to advance one or more conservation objectives while keeping the land in the owner's control. It is established by mutual agreement of a landowner and a private land trust or government. (WeConservePA guide; 5 pages)
Model Declaration of Public Trust with Commentary
This set of model documents and accompanying commentary helps local governments to formally dedicate lands to public purposes and clarify what are and aren't appropriate uses of the land. (The materials include an option to grant a conservation easement to a qualified holder as added protection for…
Andrew M. Loza authored this guide; Nate Lotze edited it.
The Pennsylvania Land Trust Association published this guide with support from the William Penn Foundation, the Colcom Foundation and the Community Conservation Partnerships Program, Environmental Stewardship Fund, under the administration of the Pennsylvania Department of Conservation and Natural Resources, Bureau of Recreation and Conservation.
Nothing contained in this or any other document available at ConservationTools.org is intended to be relied upon as legal advice or to create an attorney-client relationship. The material presented is generally provided in the context of Pennsylvania law and, depending on the subject, may have more or less applicability elsewhere. There is no guarantee that it is up to date or error free.
© 2017 Pennsylvania Land Trust Association
Text may be excerpted and reproduced with acknowledgement of ConservationTools.org and the Pennsylvania Land Trust Association.


Now introducing our teeny tiny witchy hat fascinator/hair barrette! We've been making the bigger (yet still mini) version of these for years, but then a customer came along and begged us too make her the teeniest tiniest version possible...and it ended up so adorable!
Art engraved, hand sewn, wet shaped, hand painted in a silvery lavender color and intricately adorned with feathers, cloth flowers & netting, and wire wrapped gemstones!
This tiny little hat is lightweight and easy to wear.
Please note that the last four pictures are not the teeny tiny witch hat that is for sale.


text:
Odin and the Runes, Part Five
The best-known of Odin's mystic discussions with the deceased occurs in the Eddic poem Völuspá. He raises a dead prophetess to gain knowledge of the world as it was, is, and will be. Her answers range from an explication of the world's beginning to a prophecy of the end of the gods. At the conclusion of her wisdom performance, she says, "now she must sink down" as she returns to her grave.
Odin and the Prophetess by Emil Doepler (1900)
In another Eddic poem, Baldrs draumar ("Balder's Dreams"), Odin rides down into the world of the dead, again raising a deceased prophetess in his effort to gain knowledge of the end-times. It is from this poem that the name Vegtam originates; Odin is "way-tame" – accustomed to travelling the roads, the Wanderer of Wagner's Ring and Gandalf the Grey of Tolkien's Lord of the Rings. According to the Edda of Snorri, Odin also sends his son (or possibly his servant) Hermód on a journey into Hel, the land of the dead, loaning him his mystical eight-legged horse Sleipnir so that he can travel there to seek the release of Baldur, the murdered god of light.
Odin is also known as Gizurr ("riddler"), since he not only questions the dead, but also engages in wisdom contests with giants and the god Thor, who himself has a battle of wits with a dwarf. In the Eddic poem Vafþrúðnismál ("Vafthrudnir's Sayings"), the eponymous giant tells Odin,
Wise you are, guest, come to the giant's bench,
and we will speak together in the seat;
we shall wager our heads in the hall, guest, on our wisdom.
The giant loses the contest when he is unable to answer Odin's final question.
In Harbardsljód ("The Song of Grey-Beard"), Odin matches wits with Thor in a flyting – a verbal battle that occurs often in the Germanic literature of this period. Their pairing is analogous to that of the World's Finest in DC Comics, the pairing of Batman and Superman. One is brilliant and devious, the other is really just kind of strong. This poem is clearly written from the perspective of a poet in service to a societal group of lords and warriors dedicated to Odin, as opposed to the farmer class that usually elevated Thor to the central position.
Odin's "ecstatic wisdom peformance" by Emil Doepler (1900)
In addition to these verbal contests, Odin expresses himself as Fjölnir ("Much-wise") and engages in "ecstatic wisdom performances." Most notable of these occurs in Grímnismál, in which the god, disguised in human form, is bound and set on fire by his backstabbing host. As the flames climb higher, he gives a recital of Norse cosmogony and cosmology very similar to that given by the prophetess of Völuspá. Again, this can be seen as a mythic representation of human ritual practice, in which the poet, bard, or skald of the Nordic world recites the religious knowledge of the tribe. In light of Odin's association with the lordly caste, it is notable that Odin is passing on his wisdom to a young protégé who goes on to become a king.
Two paired names for Wotan, Haptaguð and Haptsœnir ("Fetter-god" and "Fetter-loosener") seem at first contradictory, but actually together form an important aspect of the Norse conception of the god. In Hávamál, Odin describes more of his runic abilities:
I know a third one which is very useful to me,
which fetters my enemy;
the edges of my foes I can blunt,
neither weapon nor club will bite for them.
I know a fourth one if men put
chains upon my limbs;
I can chant so that I can walk away,
fetters spring from my feet,
and bonds from my hands.
Odin is able to "bind" the minds of his enemies. This is a metaphorical construct for the war-terror that grips soldiers on the field of battle, the same paralyzing fear that was described by boxers who faced Mike Tyson in the ring. As the god of war, Wotan can bind the minds of his enemies so that they are incapable of fighting.
As the god of poetic inspiration (more on this later), he can "unbind" the minds of poets so that they can create freely. Through his gift of mead and other alcoholic beverages, he can also unbind the mind so that one is unencumbered by the fetters of conscious thought. These two senses of fetter – positive and negative – are united in the god, and are reflected in Tacitus's description of the religious practices of the Germanic Semnones, a subset of the Suebi tribe. They would ritualistically bind themselves with cords before entering a sacred grove for their rites – a practice that brings together imagery of both Wotan's binding powers and his relationship to the World Tree. In this context, it is noteworthy that Adam of Bremen's description of the pagan temple at Uppsala states that "a golden chain encircles that temple and hangs over the gables of the building." Given the Odinnic sacrifices that occurred at the temple, it is possible that this chain was symbolic of the god's binding powers.
Hammars Stone in Sweden (8th century)
In several ancient carvings from England, Norway, and Sweden, representations of Odin are paired with the symbol now known as the Valknut ("knot of the slain"). This pictogram of three interlocking triangles has been interepreted by Hilda Ellis Davidson as a symbolic representation of the binding power of Odin. It may also be a "cousin" to the so-called Celtic knot. Today, the Swedish pulp and paper manufacturer Svenska Cellulosa Aktiebolaget uses the symbol as its logo, the three interlocking triangles pointing up over the letters SCA.
Odin captures the Mead of Poetry by Emil Doepler (1900)
As Fimbulþulr ("mighty poet"), Odin is the source of poetic inspiration and creative frenzy. Note that he is not the god of poetry; that distinction goes to Bragi, whose name literally means "poetry," and who may or may not have been an actual poet of the 9th century who was later elevated to godly status. Odin, instead, is the prime mover of the poetic impulse. Several Eddic sources refer to the tale of how he captured the Mead of Poetry and shared it with human poets; the mead is a metaphor for the inspiration that "possesses" creative artists. As with the "ecstatic wisdom performances" mentioned earlier, not just poetry, but religious frenzy can be seen as emanating from the god – a sort of Nordic speaking in tongues.
Odin is also known as Skollvaldr ("treachery ruler"). He is undependable; he's on your side until he's not. This is understandable when we view him as many of his followers did – as a god of war. The unpredictability of the god reflects the uncertainty of life in a violent age. He protects those whom he destines to succeed in battle, and they survive war and strife. Then, one day, and for no apparent reason, he switches sides and his hero falls. Where a modern Christian may ask, "Why does God do bad things to good people?" an ancient pagan may have merely shrugged and said, "We can't predict or understand what the powers do." I say "powers" because that is how they were conceived. A truer translation from the Old Norse "Ragnarök" than "Twilight of the Gods" is "Doom of the Powers." Snorri seems to have confused Ragnarök ("the doom of the powers") with Ragnarøkkr ("the twilight of the gods"). What a difference a letter makes.


UK inflation was yesterday's main focus. UK consumer price index posted its highest level since October 2013 at 2.3%, exceeding economists' consensus. There is a now a strong case starting to build for the Bank of England to raise rates sooner than initially thought, as prices near a four-year high. However, on the other side of the coin, inflation is moving away from the central bank's target of 2%. If this surge in prices continue it is inevitable that inflationary pressures will appear, once again.
It is important to remember; unemployment is close to 40-year lows and household earnings have accelerated in the six months after June's referendum. With CPI already having edged up to 2.3 per cent, and expected to rise further this year, the Bank could easily justify raising base rates, once the all-important wage growth box has been ticked.
In Canada, the Trans Alaska Pipeline System is facing potential issues as the oil production in the country has declined. Built to face extreme conditions, the operators are now worrying the line might become unusable with the reduction of oil passing through it, potentially cutting off hundreds of the North Slope oil wells. Since the news, the Loonie has strengthened across the majority of its counter parties as the Canadian Dollar is a commodity driven currency.
The UK's average earning index will be released today, expected at 2.1%. It has posted a worse than expected figure the last two months, so if this follows suit we could see a weaker Sterling today. Also from the UK, the unemployment rate is released, expected at 4.7%. As the figure has seen little change in the last few months, it is unlikely to be a market mover.


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Pronsk () ist eine Siedlung städtischen Typs und ehemalige Stadt in der Oblast Rjasan in Russland mit  Einwohnern (Stand ).

Geographie
Der Ort liegt gut 50 km Luftlinie südlich des Oblastverwaltungszentrums Rjasan am rechten, namensgebenden Oka-Nebenfluss Pronja.

Pronsk ist Verwaltungszentrum des Rajons Pronski sowie Sitz und einzige Ortschaft der Stadtgemeinde Pronskoje gorodskoje posselenije.

Geschichte
Der Ort wurde erstmals in der Nikonchronik für das Jahr 1131 erwähnt. Er gehörte während dessen Existenz bis ins 16. Jahrhundert zum Fürstentum Rjasan. Ab 1778 besaß Pronsk das moderne Stadtrecht als Verwaltungssitz eines Ujesds der Statthalterschaft, ab 1796 des Gouvernements Rjasan.

1926 verlor Pronsk sein Stadtrecht, wurde aber als Dorf (selo) am 12. Juli 1929 Verwaltungssitz eines neu geschaffenen, nach ihm benannten Rajons. Seit 1958 besitzt der Ort den Status einer Siedlung städtischen Typs.

Bevölkerungsentwicklung

Anmerkung: Volkszählungsdaten

Verkehr
Durch Pronsk verläuft die Regionalstraße von Rjasan an der föderalen Fernstraße M5 in das gut 30 km südlich gelegene Skopin, wo Anschluss an die föderale Fernstraße R22 Kaspi besteht. In östlicher Richtung zweigt eine Straße zur nächstgelegenen, etwa 25 km entfernten Bahnstation Chruschtschowo an der Strecke Moskau – Rjasan – Woronesch/Saratow.

Söhne und Töchter des Ortes
 Uladsimir Jarmoschyn (* 1942), weißrussischer Politiker

Weblinks
 Offizielle Webpräsenz der Gemeindeverwaltung (russisch)

Einzelnachweise

Ort in der Oblast Rjasan

redpajama_set_name: RedPajamaWikipedia


My 17-year-old daughter's relationship with her first boyfriend has just finished. He ended it and she is devastated. She can't stop crying and doesn't want to be on her own.
I have run out of ideas on how to help her and what to say. She has got her AS levels soon. She blames me for her inability to cope as I am on anti-depressants to cope with stress-related problems of my own.


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Exhibition "Shéhérazade la nuit", Palais de Tokyo (19.10.2022 – 08.01.2023). Photo : Quentin Chevrier
Our Heroine
By Lionel Ruffel
In the beginning was a first fable. It is three hundred, one thousand, or even thirty thousand years old. It has no origin. It is pure matter, medium, milieu. It runs through us wherever we may be, and we constantly replay it, over and over. Even before we speak, we feel it. It is the most beautiful fable of them all, the fable of fables—it contains and welcomes all the others. After much searching, to me, there seems to be nothing closer to it than a cell or a matrix, overflowing with life, constantly moving within its own boundaries. It is life itself.
We needed a magic number for it, a number that would be as powerful as seven or three—that would be even more powerful than them. This number—you guessed it—is one thousand and one, 1001: the simplest, the most graphic, the most beautiful palindrome of them all. A code inscribed within the first mention of it there ever was, in Baghdad, more than ten centuries ago. It then competes with the number one thousand, which is written in the title of a Persian work, Hezār Afsān, later reused in Arabic, Alf Khurafa, which means "One Thousand Extraordinary Tales," up until the dazzling and eter- nal title is established: Alf Laylah wa-Laylah, the "One Thousand and One Nights." Because one thousand is dull—you wind up back in arithmetic—it's both a lot and it's finite. With one thousand and one, you pass into the unknown. You can always add to one thousand, but nothing can be added to nor take away from one thousand and one.
Exhibition view, Shéhérazade, la nuit, 2022, Palais de Tokyo, 19/10/2022 - 08/01/2023 Lieko Shiga, Human Spring, 2019 Photo credit : Aurélien Mole
The most ancient sources are unambiguous. This organism is not made from one thousand extraordinary tales but passes through one thousand and one nights during which two young women, Scheherazade and Dunyazad, are to save the world from a king's destructive madness. Who are they? What do they mean to each other? On this point, the most ancient sources are in disagreement. Over time, they become sisters. We can now confidently say so, since, opposite them, there are two brothers. That's the scenario, and it's simple: two sisters clash with two brothers. The latter are rational and intelligent. They do not act impulsively. They are too intelligent for that. But having already made use of all the resources intelligence has to offer, they see no other solution than the extermination of women and thus the end of the world. The former are also intelligent—even more intelligent—since they see no other solution than the pursuit of life. They devise a scenario—one that relies on addiction, addiction to fables. The scenario resumes every night and every day until the sisters prevail.
But I'm moving too fast. Let's take a step back.
When it comes to the One Thousand and One Nights, as with many other things, we tend to forget the supporting roles (Dunyazad and Shah Zaman) in favor of the leading roles (Scheherazade and Shahryar). Yet the first king to be cheated on is indeed Shah Zaman, the younger brother, who inherited the kingdom of Samarkand, while his older brother's kingdom extends from the islands of India to those of China. Longing for the presence of Shah Zaman, Shahryar sends a diplomatic mission to invite his brother to his palace. Shah Zaman gladly accepts. The preparations for the trip are just as splendid as the palaces and the gifts but, at long last, the time has come, and they are finally on their way. It is at this point that something unimaginable occurs, or, depend- ing on your perspective, something inevitable.
Near the middle of the night, Shah Zaman must retrace his steps to retrieve an object he has left behind. He returns to his palace and finds his wife stretched out on the royal bed, her body intertwined with that of a slave from the kitchen. This sight plunges him into darkness. He says to himself: "If this is what happens when I have barely left the city, what will this damned woman do when I go to visit my brother?" What follows is, regrettably, well-known: "He drew his sword and struck killing both his wife and her lover. Then he dragged them by the heels and threw them from the top of the palace to the trench below, before going back. The drum was struck and he ordered his escort to move off."
He then sets out to meet Shahryar, his overinflated double, at whose palace everything is bigger, more intense, more extraordinary—even his wife's betrayal. And the unlucky Shah Zaman is once again going to bear witness to a scene that has since established itself as one of the most well-known scenes of voyeurism in human history.
View of the exhibition "Shéhérazade at night", 2022 © Aurélien Mole
This one is perfect. King Shahryar, in a full expression of his power and his manliness, has gone hunting, leaving his melancholic brother to his darkness. The younger brother heads to a mashrabiya, providing him with an observatory where it is possible to see without being seen. But where the view is only partial, leaving to the imagination or to desire the care of piecing together the storyline. It does not disappoint: nothing less than a scene of group sex involving ten black slaves and ten white female servants, the queen, and the one known as Mas'ud.
When you think about it, it's really quite a curious coincidence: two king-brothers cheated on. And yet, it's a decisive one. Shah Zaman the melancholic, emaciated Shah Zaman, his face increasingly pale, regains some color, feels better. Shah Zaman feels better because he has witnessed a scene framed by a window, which is nothing other than a screen. Like those screens that, back then, were placed in front of the hearth—and, today, are placed in front of the world—in order to more efficiently release a heat that, without the screen, would burn us. Shah Zaman was burned by the first scene. He finds reassurance in the second scene, which comes to him mediated, represented, rescripted, projected, told in a different way.
Thus, a theory of fiction presents itself to us, a coherent one. There's the real, which is too brutal—it hurts us, we don't under- stand a thing. And when we understand, we don't know what to do, we murder everyone. Fiction filters it and, all of a sudden, we understand better, we stop making a mess of things. We're purged of our bad passions. Fiction cheats death: that is the theory of the frame-narrative, one that still enlivens us today. And it's true that Shah Zaman feels better. He can finally converse with his brother to whom he had hardly said a word. He tells him everything about each of their misadventures to which he was witness. Shahryar wants to see. All the better, we will see with him. The two brothers become screenwriters. Manly, powerful, in a full expression of this manliness, they announce their departure for a fictional hunt, bringing about a reaction that we already know since, of course, history is repeating itself. Shahryar is devastated, but he does not step into darkness like his brother. He only brushes up against madness. He's a true prince who must inform himself in order to act. Dominant males want to know, want to understand, before they act. They will get little for their efforts, because understanding is a disease for which narrative is the antidote.
Exhibition view, Shéhérazade, la nuit, 2022, Palais de Tokyo, 19/10/2022 - 08/01/2023 Ana Vaz, The voyage out, 2016-2022 Photo credit : Aurélien Mole
They set out, "journeying for some days and nights" before stop- ping at the foot of "a tall tree in the middle of a meadow by the sea- shore." Would they have been able to tell themselves that, in their palaces, while they were out hunting, their wives were shut away? That while their desires were being fulfilled elsewhere, out in the vast world, that maybe their wives needed to find some source of pleasure? Well, actually, no. They don't tell themselves any of this. Here's what we read—and it's appalling:
"They left straight away and went back to Shahryar's city, where they entered the palace and cut off the heads of the queen, the slave girls and the slaves."
It's a crushing defeat for intelligence. Shahryar commits the same impulsive crime as his brother, but after having taken the time to travel and get to know the world. He is unable to feel the mimetic effect that should have set him on the right path. He is straightforwardly rational. He is a sapiens in all of its destructive, violent, Machiavellian horror, putting the resources of intelligence to work for the destruction drive. He develops what, to my knowledge, is the first ever plan to extermi- nate a species. You know it as well as I do.
"Every night for three years, he would marry the daughter of a merchant or a commoner, deflower her and then kill her the next morning. He swore, 'There is not a single chaste woman anywhere on the entire face of the earth.' This led to unrest among citizens; they fled away with their daughters until there were no nubile girls left in the city."
Then comes Scheherazade's time.
She is even more intelligent than the king. "She had read books and histories, accounts of past kings and stories of earlier peoples, having collected, it was said, a thousand volumes of these, covering peoples, kings and poets." Her father, the vizier, in charge of having Shahryar's one-night wives executed, had hidden from her that the world was headed straight for its own downfall. As soon as she learns this, she decides to intervene and nominates herself for these macabre nuptials. Her father warns her by telling her the infamous story of the donkey, the ox, and the merchant. But there's no need to explain the virtues of fictional mimetism to Scheherazade. She already gets it.
Time is of the essence, and faced with the imminence of the ultimate catastrophe, she has a script. A script for the repopulation of the world that begins by populating it with stories. The script involves her sister Dunyazad who will take care of the dialogic portion of each narrative. Scheherazade doesn't have any doubts. She sees clearly into the future: "I shall then tell a tale that, God willing, will cause the king to stop his practice, save myself, and deliver the people." She knows that the king's perverted intelligence is disrupting his sleep, and that insomniacs can only find salvation in fables.
With Shah Zaman, we saw the image of the screen fiction, which protects from the brutality of the real, but does this through vague meanings and forms, and in doing makes it possible to bet- ter understand reality; Shah Zaman is also the image of cathartic fiction, which dresses the wounds and has a healing power. With Dunyazad, the theory of fiction known as the frame-narrative grows even richer. She tells us that fiction is not born from nothing. She sets forth from a script. Fiction requires a stimulus, a trigger, a ritual of immersion, without which its charm becomes a threat. Dunyazad is a threshold. She holds the door, opens it whenever necessary, but also knows how to close it. She is the border that opens onto fictional spaces and protects us from them. Scheherazade knows all of this, and she puts it to use.
And here we go—it will have only taken one night for the king to be made addicted to his new dope. "'By God,' the king said to himself, 'I am not going to kill her until I hear the rest of this remarkable story.'" But he still hasn't forgotten the previous story: revenge, murder, chaos. They'll have to repeat, repeat, and repeat some more. Every night, pick up where they left off, with love and fables, beneath Dunyazad's gaze. Repeat and vary, offer short fables, long ones, medium ones, use all available narrative resources—known ones and unknown ones—and, most importantly, never let dawn coincide with the end of the story. Repeat the mise en abyme, the nested constructions, make every- thing that does not exist in the present of presence coexist: the past, the future, spirits, talking animals… in order that, at last, this luna- tic king comes to understand. It will take nights—no one knows exactly how many, or rather, we all know how many—, it will take one thousand and one of them for Scheherazade to finally prevail. For her, her children, and all the children in the world to be saved, for the curse and the tumult to come to an end, for life to go on.
She saved the world. She is our heroine.
Translated by Jackson B. Smith.
This text reprises, abridges, and adapts a chapter from Lionel Ruffel, Trompe-la-mort (Lagrasse: Verdier, 2019). © Editions Verdier, 2019
Related exhibition
Shéhérazade, at night
This article is an extrait of the magazine Palais
Magazine PALAIS #34


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Maybe you have felt unhappy, at very low spirits, or underneath the elements directly out of the extremely morning? I personally will surely show you you are perhaps not usually the sole and also the main reason for this mental and physical condition isn't your laziness (therefore frequently credited for you personally ), however, also the elements which could have a big influence on over all condition and farther activities. Thus in such"perhaps not the times", the disposition and also basic amount of psychological action turned into quite exposed and, since a outcome, the instructional procedure is suffering out of this and foremost.
Is Rain a Basis to Be Unfortunate?
Unaffected – people blessed objects which aren't influenced by climate (approximately 50percent).
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Review | "Project Nim"
James Marsh doesn't make documentaries. He makes art out of real life.
Like his last film, the Academy Award winning Man on Wire, Project Nim is a film infused with a deep sense of wonder, except this time instead of at the achievements of a man with a dream, Marsh turns his sense of awe at the natural world - more specifically, the relationship between animal and man.
Our subject is Nim, a chimpanzee who is at the center of a scientific experiment begun in 1973 by a psychology professor from Columbia University. The goal - to raise him from infancy as if he were a human child with a human family, to study a chimpanzee's ability to pick up human communication and mannerisms. The film begins with the newborn Nim's harrowing removal from his screaming, tranquilized mother, and his insertion into a new life with a new, human family. Nim's life will never be the same, and not necessarily for the better.
Laura-Ann Petitto teaching Nim Chimpsky sign language, as seen in
PROJECT NIM. Photo credit: Susan Kuklin.
At first, Nim fits right in with his new family. But he soon begins to drive a wedge between his human mother and his human father, as he grows angry at signs of affection and begins purposely targeting his father out of jealousy. It soon becomes clear, however, that his unstructured home life is not conducive to scientific study, with no real routine or record keeping, Nim's progress goes largely uncharted. So he is removed from yet another mother and put in a more structured environment in a home owned by the university.
Nim continues to grow up, getting bigger and stronger by the day. And while his sign language skills grow exponentially, so does his aggression. He may be smarter than your average chimp, but he's still a wild animal at heart, and despite the scientists' best efforts to tame him, Nim still retains a wild, unpredictable rage, seriously injuring several handlers. His caretakers soon realize that he has outgrown them, and find other, far less favorable living conditions to send him to. And so begins Nim's tragic downward spiral, being transferred from place to place, each a brand new hardship he isn't ready to face. The chimp who thinks he's a human is soon going to face the harsh reality that to most of humanity he is just another animal.
Nim Chimpsky, as seen in PROJECT NIM.
Photo credit: Harry Benson.
Despite what the adorable marketing campaign would suggest, Project Nim is not a feel-good film. It is, at its heart, a tale of abandonment, betrayal, and human failure. Nim was raised as a human by humans, only to find himself thrown in with the rest of the chimpanzees when he is too big to handle. Nim is essentially a child ripped from his mother and abandoned by his captors. His story is a heartbreaking one, and Marsh tells it with a compelling sense of reverence. Project Nim is, in a sense, a tribute to Nim, a respectful celebration of his unique talents, and a mournful atonement for the sins of his fathers.
Nim's tragic life was a product of the failures of nearly everyone around him - those he loved, and those who loved him. Was he really the person many believed him to be? Or was he just another science experiment to be tossed aside like so much dispassionate data? Marsh explores the question of what defines our humanity with great tenderness, turning Nim's story into a representation of grander questions, closely examining the relationship between man and animal. It's an enthralling story in and of itself, but its implications are even more fascinating to contemplate. Project Nim is an extraordinary documentary about an extraordinary creature. It's a harrowing and intensely powerful tale of an animal who was perhaps more human than the actual humans around him. To meet Nim is to never forget him. And Marsh ensures that no one who does will ever be the same.
PROJECT NIM | Directed by James Marsh | Rated PG-13 for Some Strong Language, Drug Content, Thematic Elements and Disturbing Images | Now playing in select cities.
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DANCE CLASS SPOTLIGHT
Jessica Abrams
Live Arts Los Angeles
The Franklin Method Takes the Pain out of Ballet
by Jessica Abrams
4210 Panamint St.
As a former dancer, I wish I had been trained in the Franklin Method before I jammed my feet into positions my hips were not ready for and generally associated ballet with unattainable levels of perfection. The Franklin Method came after I had run screaming from dance, tired of a body that was constantly hurting and a psyche that was beaten down as a result. Founded in 1994 by Eric Franklin, a Swiss dancer and inspired by Mabel Todd's Ideokinesis, Bonnie Bainbridge Cohen's Body-Mind Centering and Sri Aurobindo's Integral Yoga, it focuses on the use of visual imagery, experiential anatomy and reconditioning of both body and mind to improve functionality. A former dancer, Franklin applied his techniques of re-aligning the body to ballet dancers, but it has mushroomed into an approach to help athletes across all disciplines.
After two decades of not setting foot in a ballet studio, I attended my first Franklin Method ballet class last Tuesday night, taught by Carol Guidry at Live Arts LA in the Eagle Rock section of Los Angeles. I was nervous, the thought of my forty-something year-old leg suspended in mid-air daunting; but there were two hints that things had maybe changed a bit since my days in Madame Darvash's class: music came from an iPod and a dog – Carol's pitbull mix Lulu – was hanging out in the corner. The air felt lighter, friendlier. Welcoming.
The barre started with the usual pliés and an unusual forward bend with legs turned parallel. Following tendues that not only worked the foot but centered the body, the exercises were simple, yet precise. For this rusty bunhead, I appreciated that Carol didn't push for a daredevil développé or an endless series of rond de jambes. We weren't being set up to pull ourselves off center or exhaust ourselves and get sloppy. Center work was the same: simple, as opposed to easy, with a fun waltz and a jump segment. And while doing it, something crazy happened: I realized I actually love ballet. The port de bras, the jumps, the sheer joy of moving.
I caught up with Carol afterwards and we chatted.
JESSICA ABRAMS: So what is the Franklin Method? Who is this Franklin person?
CAROLE GUIDRY: Eric Franklin is the latest in a line of movement educators that are loosely categorized as "somatic arts". So it's basically becoming hyper-aware of your physical experience to inform your movement. Specifically what Eric Franklin has done is, he's used the latest information, scientific research on anatomy and biomechanics to inform our movement and that also includes the use of imagery for motivating movement and improving performance. In sports medicine, the use of imagery to achieve specific goals is very widely used and it's very detailed and delineated so there are specific imagery exercises for healing injuries. There are specific exercises for improving awareness. There are specific imagery exercises for enhancing performance.
JA: Is it specifically within a ballet context or for any kind of athletic activity?
CG: Any sports. It's using imagery and knowledge of your own biomechanics and I've applied it to ballet. Weirdly enough, Eric Franklin started as a dancer and he started late – he was studying ballet – and his issue was, it was wreaking havoc on him. It was making everything hurt. And he was trying to figure out, wow – I always thought dance was good for me; why is it killing me? And so he started studying with a man named Andre Bernard who introduced him to this thing called Ideokinesis, this kind of movement training developed by a woman named Lulu Sweigard, who's kind of considered the progenitor of this. And her story is, she was in some horrible accident and was told she'd be paralyzed and confined to a wheelchair and she'd never walk again and just through her own observation, she willed herself back into function again, and she did it by observing things like, wow, I notice when I bend my knee, the joints are counter-rotating. We have this mechanistic view of our body – that it's a machine and if a part breaks down it's not a whole system. But she also studied Alexander and also Rudolf Laban and it was this precursor to physical therapy. And basically they were all three doing the same thing: they were serving their own bodies and movement and really tuning into their own experience; and they were able to realize things about biomechanics that weren't observable on the outside but you could experience them if you were really tuned in. And it was all validated once we had MRIs and Cat scans we could look at the body and go, oh my gosh, the bones do counter-rotate at the joint. They don't move in one plane, like a door hinge. And that is actually recognized in sports medicine and physical therapy. It hasn't quite infiltrated the dance world yet. The dance world is still operating in the nineteenth century! [laughs] Because it's an art form, and we're passing down this information that is barely getting revised.
JA: But that was my next question. Certain poses, like for me, a back attitude – my body just doesn't want to do it. Do you think [the reason it hasn't caught on in the ballet world] is because there are these anatomically impossible poses that you have to have a specific body type to achieve?
CG: I would put it this way. I would say, it's like yoga. Ideally, the more flexible you are, the more you can reach those extreme ranges of these positions. But it doesn't mean you can't do ballet. It just means that maybe you can't achieve the extreme heightened expression of that position. But ideally, if you're learning ballet in a biomechanically sound way, you're maintaining your function and improving your range. And the body is really capable of a lot, but there are all kinds of reasons why the body might not do what we want it to do – it could be impatience, ego. It's like we want it to do something and we have a lot of anxiety around it. Like pirouettes – people tend to freeze up around pirouettes. And sometimes that is a barrier –psychological stuff gets in the way. Same thing with flexibility. A lot of times people will do something that requires flexibility and they get stressed about it and their body tightens up and kind of clamps down and it exacerbates the problem. Those are two separate issues. I do think the art of ballet isn't as destructive as the way it's taught – the way it's traditionally taught. The way it's taught is kind of hard on the body. I don't think that's inherent in ballet. It's sort of stuck in the nineteenth century. So it'll take a while, but a lot of companies are already recognizing the need for Pilates and cross-training. The need to work in parallel sometimes.
JA: I have to confess, I'm worried I'm going to be sore tomorrow.
CG: Well, this is my theory: ideally you're working in a way that the body wants to work anyway. It takes a lot of energy and torque to work in the traditional ballet way, but that's not how the body works. The body is constantly counter-balancing. And if you're allowing that to happen and supporting it, it's way less stress on your body. And it's really the way our body is deigned to move, has evolved to move and wants to move, so hopefully it's not going to be as sore as you'd think.
JA: Thank you, Carol. I'll definitely be back.
Carol Guidry helping a participant feel her "bone rhythms" at the Franklin Method Minnesota workshop
Photo © & courtesy of Aleutian Calabay
Carol Guidry demonstrating counter-rotation of the hip halves.
Photo © & courtesy of Felicity Kiner


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Q: SQL Server : getting "invalid column name" I am working on writing a query but there are problems which I couldn't find. Here is my code
begin
    declare @v_max int
    declare @v_count int
    declare @sessionID int
    declare @sessionStart datetime
    declare @sessionEnd datetime

    declare my_cursor cursor local for
        select * from Test;

    open my_cursor
    fetch next from my_cursor INTO @sessionID, @sessionStart, @sessionEnd

    while @@FETCH_STATUS = 0
    begin
        select *  into **@v_count**
        from [dbo].[Test]
        WHERE **[dbo].[Test].[SessionStartTime]** > @sessionStart
        OR **[dbo].[Test].[SessionCloseTime]** < @sessionEnd

        if @v_count > @v_max
            set @v_max = @v_count

        fetch next from my_cursor INTO @sessionID, @sessionStart, @sessionEnd
    end

    print @v_max;

    close my_cursor
    deallocate my_cursor
end

Bolded areas have problems:

Msg 207, Level 16, State 1, Line 18
  Invalid column name 'SessionStartTime'.
  Msg 207, Level 16, State 1, Line 19
  Invalid column name 'SessionCloseTime'.
  Msg 102, Level 15, State 1, Line 16
  Incorrect syntax near '@v_count'.

Here is my Table
CREATE TABLE [dbo].[Test](
    [ScenarioID] [bigint] NULL,
    [SessionStartTime] [datetime] NOT NULL,
    [SessionCloseTime] [datetime] NULL
) ON [PRIMARY]

Here is my Table
CREATE TABLE [dbo].[Test](
    [ScenarioID] [bigint] NULL,
    [SessionStartTime] [datetime] NOT NULL,
    [SessionCloseTime] [datetime] NULL
) ON [PRIMARY]

GO

A: @v_count is declared as an int in the beginning of your query and not as a table. You can not use SELECT * INTO @v_count there.

A: Select into creates a table.
You may want
select @v_count = count(*)
from [dbo].[Test]
...

You also need to initalise @v_max at the start of your routine.
set @v_max = 0

As for your other problem, do you have columns called SessionStartTime and SessionCloseTime in your Test table?


Switching job roles? Here's what to look for in a graduate business program.
MBA candidates around the world represent different career paths and backgrounds. These current students discuss a variety of topics, including why they chose business school, why they opted to study in India, how they prepared for the GMAT™ exam, and more.


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text:
Andrew Gold - Never Let Her Slip Away
Suspect sought after Llanelli assault
More from Local
Sunday, July 7th, 2019 1:14pm
Man's injuries thought to be serious after incident outside Met Bar
Dyfed-Powys Police are calling for information after an assault which happened outside The Met Bar in Llanelli just before one o'clock this morning. (Sunday 7th July)
A man was taken to hospital with what are believed to be serious injuries.
A force statement says they are searching for a suspect described as:
"a white male in his 20's, stocky build, approximately 5ft 10", blonde hair with a goatee beard. He wore a white t-shirt with a dark coloured emblem on the left side of the chest area."
Detective Inspector Llyr Williams said
"There was a large group of people in the area at the time and we are keen to speak to anyone who was present during the incident."
Anyone with information that can help officers with their investigation is asked to report it by phoning Llanelli CID on 101, quoting Ref:DP-20190707-033.
If you are Deaf, hard of hearing or speech impaired text the non-emergency number: 07811 311 908. Alternatively, contact the independent charity Crimestoppers anonymously by calling 0800 555111, or visiting crimestoppers-uk.org.
Man Jailed For Baby Son's Death
Matthew Jones guilty of shaking baby boy to death
Emphatic 6-1 friendly win for Swans over Yeovil
Fulton hat-trick helps maintain unbeaten run under Cooper
Swansea research team could turn tide on plastic waste
Swansea University find way to turn food packaging into materials for industry
R Kelly refused bail as prosecutor says singer is 'still a danger to young girls'
Dame Helen Mirren slams 'heartbreaking' move to axe free TV licences for over-75s
Snow Patrol's Chasing Cars crowned the most-played song of the 21st Century
A4076 Freemans Way - Haverfordwest, Pembrokeshire
Dave Brookes playing Andrew Gold - Never Let Her Slip Away


FAB LAB ATHENS is the first Greek node of the Fab Lab Network, a network of digital fabrication laboratories that is a platform for cooperation between people and organizations from different countries around the world.
Fab labs are conceived and designed to encourage the idea that anyone can fabricate/make anything anywhere in the world by sharing technological and social knowledge and by using machines of digital manufacturing.
Through Research, Innovation and Making FAB LAB ATHENS explores how the content of information relates to physical representation.
Fab Lab Athens counts with the collaboration of the Center for Bits and Atoms of MIT, the Fab Foundation, the Fab Lab Barcelona as well as the NTUA (National Technical University of Athens), the TEE (Technical Chamber of Greece), the non profit organization MyCity.me, the GFOSS (Greek Free / Open Source Software Society ) and the P2P Greece Foundation.FAB LAB ATHENS is the first Greek node of the Fab Lab Network, a network of digital fabrication laboratories that is a platform for cooperation between people and organizations from different countries around the world.
Fab Lab Athens counts with the collaboration of the Center for Bits and Atoms of MIT, the Fab Foundation, the Fab Lab Barcelona as well as the NTUA (National Technical University of Athens), the TEE (Technical Chamber of Greece), the non profit organization MyCity.me, the GFOSS (Greek Free / Open Source Software Society ) and the P2P Greece Foundation.


The last few days have been quite tense in Aragua State, as an undeclared conflict between criminal gangs and the authorities heats up.
It all began last Thursday when six members of the criminal gang known as "El Kilverth" (named for the leader's alias) were killed in a shootout following their attack on a local police station near San Mateo, close to the capital city of Maracay. Three of the gang members died after a live grenade went off inside their vehicle.
Hours later, came the retaliation: three offices of the CICPC (Criminal Investigations Police) were destroyed by coordinated grenade blasts.
The CICPC declared a maximum state of alert. Over the weekend, agents from local and national forces (including the intelligence service SEBIN) have increased their presence in the area and carried out several raids to find those responsible. This could include other criminal groups active in the area.
In recent months, violence has increased in Aragua (specially in small towns like Turmero and Villa de Cura), reaching the point that local opposition legislators have asked both the State government and the Interior Ministry to declare a state of emergency.
The thing that caught my attention has been how the gangs have easy access to grenades. Incidents involving this type of military weaponry are becoming more and more common. Even tear-gas canisters (used for riot control) are falling into the hands of folks that really shouldn't have access to them.
With our criminals having both war-ready equipment and a huge supply of bullets, police officers and civilians are on the losing side. This recent story by NPR's John Otis on policing in Petare confirms the trend – grenades galore.
The central government prefers to blame violence on drug traffickers and politically-motivated paramilitaries. But that view isn't that far from the truth: these criminal gangs sort-of fit the basic definition of a paramilitary body, and many of those groups (such as the infamous "El Picure" gang) are involved in drug-related activities. However, the political angle the government desperately wants to stick onto the problem simply doesn't match the evidence available.
Our crime epidemic is surpassing all estimations, to the point that Venezuela is (according to the Brazilian think tank Instituto Igarape) the second most murderous country in the planet. If you are being murdered, there is a high chance you are in Venezuela.
UPDATE: Related to the issue of delinquents' recent love of grenades, check out this brand new article by Thabata Molina. Very informative.
Next article"We don't trust voting machines"


Football is a globally loved match that has huge fans in almost every part of the country.It is now streamed live without the need for TV on laptops, mobile devices,and tablets across the world.With the inception of the Internet and best online websites now anyone can ดูบอลสด football match from their own comfort. It is best if they own an iOS or Android built ma obile that makes their task to download the site or app that allows them to get registered for streaming wa ide range of sports matches happening worldwide. FuboTV, LiveScoccerTV, HotStar, SonyLIV, LiveSport etc .are few of the best online websites that are especially designed for football lovers who love to watch live matches on the mentioned dates.The user just needs to havegaood internet connection that has high speed for live streaming of football match anytime from anywhere.Below is the list of few online websites that are accessible with tthe heood internet service provider to watch any sports event happening live.
With a lack of time and busy schedules, many people are missing to watch their favorite TV shows, TV channels, movies that are broadcasted on Television. So, to keep updated themselves from what is happening in different channels it is recommended to have a good internet connection that is high speed and allows the users to access its best features and helps them to watch their favorite shows and channels at any time. Access any one of these best football online streaming websites which allow you to watch live sports matches that are very convenient and easy to use.
Fubo TV:It is the popular streaming website of the USA and Canada that allows it's local to live stream football matches and other TV shows at their comfort. Being popular to watch a football match live it is not available for free. After a seven-day trial period if the user finds it successful, then they can view all the live TV shows and football matches.
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LiveSport:Enjoy watching different sports such as football, tennis,hockey, basketball,through this website that is easy to access to watch your favorite match live.
HotStar: It is readily available on all SmartPhones to be at any place as one of the live video streaming app and website.Stay benefited from watching all the TV channels, movies, and sports broadcasted live. Even though it is free, you need to pay for some content to watch live.
Sony LIV:It is a legal website of Sony that is high on demand in India for live video streaming. Have unlimited fun watching your favorite TV shows, movies, sports, all live through this website without any registration. However,it has to pay for little content.
Get ready to gain ultimate experience of streaming live football match that is worldwide popular and one of the global games having a massive number of football lovers. Access any of the above sites to stream the live football matches happening at any place at your comfort.
Next PostHow to Pick A Vacation Home Rental for Enjoying Your Holidays?


With cloud backup, important computer data will continue to be safe, retrievable, and prepared to restore if you require it. In addition , they is now increasingly sophisticated in terms of selection, volume, and type. Therefore , yes, they will really provide an large advantage on your hotel business. When you have the data moved to the facility, anyone with heading to need to be concerned about hard disk drives which in turn have a small capacity ever again. The data need to be supplied at no charge. In summary, leveraging hotel organization data should be able to help you to produce an successful expense managing want to stop earnings pilferage and seapage.
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To spend my day off discovering this area is one of my faourite things to do. Sometimes I love to go for trekking. One of my old collegues showed me "La Colada del Estrecho" in February and I fall in love. Last week I showed the way to a friend. We really enjoyed the trekking day in Tarifa togueter.
The path is the old way to Algeciras from Tarifa around the coast. The rout starts in the port of Tarifa and finish in Guadalmesí Towel. For me, a person who love hiking from my childhood was very nice to see myself walking between Europe and Africa. The name of this beautiful área is La Caleta. The only way to hiking or ciclying around this way is with a moderate wind, it is even better if you choose a day with west wind.
All the way is full of small and rocky beaches where people practise diving, snorkel and fishing diving. This beautiful area is empty of people even in August so you can enjoy it all year!
After 5.5km aproximately there is a nice area to have lunch or talé a break, it is an old militar area with nicely views to Morocco.
Nowadays Guadalmesí towel is a bird watching place very important in Europe. This point of the way is located in Algeciras in the Natural Park of Strait of Gibraltar.
I reccommend a 100% to considerate this activity on your next visit to Tarifa. In the last picture you can see how the views change depends of the direction of the wind. That day East wind was really strong and you couldn´t see Morocco nicely.


text:
Q: Wordpress Multisite Medial Library not working for .online domain I have a wordpress multisite domain setup (subdirectory setup) and all the domains have been working fine (all end in .com). I've recently added a domain ending in .online. When I visit the media page for this domain only, the wait spinner keeps spinning. When I look at the chrome tools, the console shows an error retrieving the ajax.php file (404 error) in this format [domain-name].online/[domain-name].online/wp-admin/admin-ajax.php. I tried disabling all the plugins and changing the theme to no avail. One difference I notice is that in the listing of sites, all the sites start with https://[domain].com. With this site, it starts with ://[domain].online. Adding the "https" string and clicking save changes doesn't change anything (i.e. it still shows "://..."). Any ideas?
Thanks,
Andrew

A: I fixed it. It was the :// issue. Using a sql editor, I saw that the site was pointing to https:///[domain].online. Not sure why changing that in the wordpress admin interface did not fix it, but removing the extra slash in the database fixed it.


I thought I might take a poll of those interested to get your opinions on what the hoplite phalanx looked like when engaged in combat.
Gioi - I think the key to these diagrams is the way the shields overlap (or dont).
Quote: Gioi - I think the key to these diagrams is the way the shields overlap (or dont).
Thanks. I don't want to say too much because I am interested in peoples' "common" perception of how hoplites fought based on their previous reading. Each image represents an alternate spacing or shield overlapping scheme. I think the four images cover all of the prevailing opinions, but if someone has another feel free to share it.
What is the point of this ? To show that people often have false perceptions?....such a poll is only valid among those familiar with the sources !
B. represents 'close' formation, that which the phalanx closed up to before combat. Naturally, a long line in this formation could not maneouvre as freely. But there should be an option to show close order, side on/left foot forward too.
....a simple calculation also shows that C. and D. are so unlikely as to be impossible! Armies of the 4th century typically numbered 13,000 -20,000 or more Hoplites. Drawn up in th 'natural'/open order i.e. 6 ft aprox per man, say, 8 deep this gives a frontage of around 1600 - 2500 men, and around 3,200-5,000 yards, or two-three miles roughly. A quick look at Paul's diagram for C. and D. shows that for each 4 men, the 'line' slants back half a yard (D.) or more (C.) That means that one flank or other will be refused by at least 400-625 yards (over a quarter of a mile!) or more ! i.e that far behind the other flank. Assume 12 deep then.... frontage 1000 -1700 men, or 2000-3400 yards in 'natural'/open order - and one flank or other refused by at least 250-425 yards !
O.K.....assume that when the sources speak of '12 deep' or '8 deep' they mean in close order ( highly unlikely, as that would then have them 24 or 16 deep in open order.....too deep to maneouvre effectively, )......the lines are still refused by hundreds of yards!
Paul M, I think you took C and D for granted.They're just about to show how the shields yould be overlapped,not the body station and not the position of each hoplite further in front of the next.At least I hope so.The shields in C,for instance would actually be a little to the side,so each hoplite would be exactly next to the one in his right. And before you vote for B,think that the shields have to overlap in close order.
Quote: The shields in C,for instance would actually be a little to the side,so each hoplite would be exactly next to the one in his right.
I voted for C because in D, the rim of the shield would harm the shield-arm of the man to his right.
Which is what my solution above is based on. I think you and Gianni are thinking of the same thing.
Ok,here we are.Forgive my ridiculous drawings.But I think they help more in the comprehension.First of all,I think it has much to do with the deployment of the phalanx.
LOL, I thought I would be accorded at least the deference to artistic style we accord ancient potters!
Yes, my D should look more like what Giannis described above, but I did not want to confuse the picture by skewing the figures- and evidently did so even more n the process. Rather than the position slanting the line into a slope, the overlap with a slant as shown by Giannis above translates into a built in rightward drift- which we know was a feature of hoplite combat.
I hoped to provide as little info as possible since the purpose of the poll is really to see how the various hypotheses of different authors have penetrated into the common perception, but I'll elaborate.
A) Represents the opened order espoused most recently by Van Wees, but earlier by Cawkwell and others.
B) Is a portrayal of "close order" but not the overlapping aspises we associate with othismos. In this order, side-long or squared forward is irrelevant since either stance does not effect the formation with this much space. The true side-long stance is a myth in any case since the right shoulder surely came forward in the strike.
C) Hanson and others who push for othismos describe a plan like this with the side-long stance and shoulders used in pushing. The men could be packed much tighter than this crude drawing suggests.
D) Is the scheme that I described recently. If you take a look at Johnny's excellent illustration in AW you'll see that I had him draw them this way.
At this point we have to mention that the vast majority of phalanxes in art have the shields shown like ©. Paul B suggests that this is because it is easier to depict them like that.This may be true in some early crude depictions of phalanx in black figure potery,but it doesn't excuse its use through the centuries by all sculptors and painters.
Also,as I've already said,the key is in the way of deployment.
First they formed a 16 deep phalanx in loose order and then the 8 rear came to the front. This is very difficult in (D) and (E),as the shields of the first 8 have to be already in battle position wile the rear come forward.Their shields would be a problem leaving no space for the rear hoplites' shields.
In ©,however, all the hoplites have their shields to the side until everybody is in position.Then the signal comes and the only they have to do,is bring their shield in dront of them.Given that they've taken position close enough to the hoplite in the right,their shields overlap as shown.
Paul B,in othismos they would stick their chest in the shield,exactly the same as in (D).The right sjowlder would be deeper in the bowl of the shield,and thus the shields are slightly to the side.
It is strange that up till now in the poll (d) wins.Even if I'm wrong for supporting ©, this is what art always shows (with very few exceptions) and thus this should be the most probable candidate for the poll.I think your original drawings have been misleading,as most people know the shields were overlapped and heard of the notion of the phalanx to push to the right. This notion has nothing to do with how the shields were overlapped.Or it has...only in © you are able to come closer to the man in the right and push him that way.
I think your 'D' is costing you spear length range because the right arm is further back than in 'C' or 'E'.
'E' I see as superfluous. If you put a column between two others, they can turn their shields a bit while the columns deploy between them, so that the shields end up overlapping.