les écoutis le caire' is a dual work that comprises a sound composition by Gilles Aubry and a poetic text in French by Stéphane Montavon. Materials for both elements were collected during a six-week residency in Cairo in February and March 2007.
The sound piece is based on the principle of 'indirect listening' to a busy city soundscape. It features recordings of several enclosed spaces chosen for their resonant properties and predominantly silent contexts : a bathroom, a market hall, a basilica, a courtyard, a refrigerator and a parking house. Throughout the piece the identification of the sound sources remains uncertain, as the distant hubbub of life in the streets diffuses inside the recorded spaces. Such ambiguity – further extended through the editing process – requires that the listener pay closer attention, and at the same time allows for a more intense musical experience.
This release is part of a label series devoted to field recordings, though the latter only constitute the groundwork of something more comparable to a minimalist opus than a collection of acoustic landscapes. Indeed the way in which Gilles Aubry processed and seamed voices and urban noises from Cairo – taped in 2007 during a residency – tends to exploit the canorous properties of the local activities, disposed according to criteria of rhythmical reiteration and mind-cuddling resonance with just a slight addition of electronic frequencies. Mixing the results in two separate pieces, Aubry shows us useful shortcuts in a neighborhood where failure is right behind the corner. We can choose among different listening methods: focusing on the discovery of hidden details, or using the record as a source of pleasingly insistent metropolitan textures to match a particularly meditative phase of a quiet evening (I confess of having fallen asleep at some stage in the first try). The CD is complemented by a sizeable "wordmap" containing Stéphane Montavon's text about the "audiovisual discrepancies" of the situations encountered in the city throughout the staying period. Written in French – a language unfortunately never mastered by this reviewer – the document contributes to an artistic assertion that deserves attentive appraisals before the emission of a definitive verdict. My gut feeling is one of concord, reinforced by consecutive spins.
Les Écoutis Le Caire (roughly translated as The Listeners of Cairo) is deeply immersed in the sounds of the Egyptian city, capturing, burrowing into and amplifying heterodox audio sources into a multi-layered, densely textured cacophonous document. Sounds were collected by Gilles Aubry while Stéphane Montavon worked on text, during a six-week residency in Cairo in February and March 2007.
Editing, montage and resonance are the main elements at work in these two similarly structured nearly half-hour long pieces. Aubry focused on a number of enclosed spaces: a bathroom, a market hall, a basilica, a courtyard, a refrigerator and a car park. These sources remain abstract, with the focus brought to the distant din which bleeds in on and overwhelms these spaces, random detritus, confused urban noise in all its frenzied forms. A howling, hissing drone seems to wind through both tracks, functioning as an anchor of sorts, around which finer details emerge and retreat: whistling wind, trickling water, indistinct chattering, honking traffic. Frequently the noise is overwhelming, not in the sense of harsh volume but of overcrowding, of there being too many elements to absorb. At other times it becomes music, cars swinging doppler effects like strings, voices taking on tonal form. Both works trail off into pleasingly bucolic finales, birdsong accompanying calm, spacious pockets of activity, possibly sourced from a suburban picnic, reminding listeners that it's not all go in Cairo. The packaging is particularly lavish, making for an attractive alternative travel guide for anyone visiting the city.
Anyone who's lived in Cairo can tell you this: between 5 a.m. and 7 a.m., it is the most beautiful city in the world. Driving through the rarely empty streets or a walking along the Nile without being bothered by the car exhausts and inhumane noises is an experience that is highly recommended by all peace seeking Cairenes. But then again, that is not what the Cairo people endure on a day to day basis, and it is definitely not the Cairo that Gilles Aubry has caught on tape on this album.
Les Écoutis Le Caire (roughly translated as The Listeners of Cairo or Cairo's Listeners) is two nearly half-hour long pieces of layered field recordings made in 2007 by Aubry when he resided in Cairo, accompanied by the poetry of Stéphane Montavon*. I've lived in Cairo all my life, and initially thought that any attempt to capture the city's essence on tape would be destined to fail. Not to underestimate Aubry's abilities, but the amount of entangled sounds, noises of all forms coming from all surroundings, and sheer cacophony of the whole place is just too much to portray in an hour-long recording, not to mention making something meaningful out of it. Surprisingly enough, these artists were able to make it happen with their blend of music and accompanying text. They have been able to achieve an extremely difficult feat and portray the city in a manner that hasn't been done before.
The key to this work's success is the amazing job that was done in cutting, pasting and placing the recordings. An additional embellishment comes in the form of a wind tunnel effect drone that runs throughout the length of the album (and which was actually recorded inside a ventilation duct). It acts as a muffler, a nod to the overpopulated metropolis, a gate which allows each sound to pass at exactly the right time. This enhances the feeling of distances, of locations, of some things coming closer while others disappear in the distance. This drone is Aubry's mind in action, our insight into how he thought about the album, or his technique of "indirect listening". It's very hard to tell what is happening at each exact moment but the listener gets a feeling of standing and drinking in the surroundings.
Aubry's decision to take samples mainly from Cairo's downtown area (confirmed by the names of the streets in the attached text) is worthy of applause, as downtown Cairo is an area of stark contrast and rich history. The old campus of the American University, home to the richer Egyptian youngsters, lies next to a rundown, covered souk, and is one of his sound locations. Honorable testaments to Greek, French, and Italian architecture stand opposite repulsive post-revolution slabs of cement. But most importantly, with the area being at the heart of the city: traffic! Lots of it. Immense numbers of cars in tiny streets that, in turn, lead to a huge number of angry commuters, and an onslaught of cussing and yelling. These elements allowed Aubry to gather diverse and accurate recordings, providing Montavon with the inspiration to write his eerily strange but beautiful guide.
It is actually a bit scary how accurate the experience of listening to this album is when compared to the real thing. I have listened to it while walking, driving, and while standing on my balcony, as forms of experimentation, and every time, after the album has been playing for a bit, the sounds blend in perfectly with the streets and noises.
Les Écoutis Le Caire is a testament to the power of music and words to capture real life perfectly without a single photo or form of visual aid. The artists have provided a taste of Cairo's unique spirit and a truly engaging work of art. I would recommend this to anyone who's never been to the city, as a means of insight; and to those who've lived their entire lives here, to give them something to remember and appreciate it by. One question remains, how come none of the Egyptian musicians ever thought of doing that? Oh yeah, they were busy covering Pearl Jam.
*Another very good accompaniment to the album are the poems by Egyptian poet Hoda Hussein which describe the journey. You can find those here.
Dit hier is nog een knutselwerkje waarvan de som van de delen een prachtig totaalkunstwerk vormen. Eerst en vooral hebben we de eenvoudige maar in het oog springende -want atypische- rechthoekige kartonnen verpakking. Daarin vinden we naast de CD ook nog begeleidende poëzie, zonder verdere opsmuk gedrukt op groot posterformaat. Die poëzie is van de hand van Stephane Montavon en omschrijft -in het frans- diens beschouwingen over diens verblijf in Caïro. Reisgezel was geluidskunstenaar Gilles Aubry, die tijdens tochten door de stad veldopnames maakte en deze later bewerkte tot een soundtrack voor een stad. Als echte ambientmuziek laat het je aandacht afdwalen om uiteindelijk toch steeds aanwezig te zijn. Je waant je zo in een of andere stad en inderdaad: wanneer we door de straten wandelen dan zouden we bijna onbewust deze geluiden horen. Je ziet de denkbeeldige stad a.h.w. aan je geestesoog voorbij gaan. Als je daar dan ook de teksten van Montavon bij neemt dan ben je zou vertrokken voor een auditieve en intellectuele wandeling door De Stad… Krachtig in zijn eenvoud!!
A simple white sheet, 51 by 84 centimeters, with the poetry of Stéphane Montavon spread over it. The CD is basically environmental field recordings, made by Gilles Aubry in Cairo, Egypt, in a bathroom, in a covered market, in a basilica and in a courtyard. Finally, other "audio catches" that can be traced to a refrigerator and a parking house, all gathered in a large box made of rough thick cardboard, held together by a coarse rubber band. The titles, the authors' names and the other information are just engraved, without any ink. Why such meticulous care? Why are such seemingly random and inessential elements combined into a single project? Shaky sound sources, confused mumbles, fragmented juxtapositions, all contribute to the challenge, to the ambiguity of the data, in a multi-faceted and fascinating editing process. The indeterminate prompts us to pay more attention, the mediation between what is unusual and what is less so, favors – ultimately – the creative development of new ideas and plots.
Entre deux plaques de carton gris, Gilles Aubry et Stéphane Montavon ont dissimulé Les écoutis Le Caire. Avec, il y a aussi un poster-poème « moderne » conçu par Montavon dans l'idée des calligrammes, c'est donc à dire : beaucoup moins « moderne » qu'il n'y paraît. Beaucoup moins « moderne » que le disque de field recordings qu'il cache en tout cas.
Sur ce disque, il y a inévitablement des bruits. Des bruits de la ville qu'est Le Caire aujourd'hui (tentaculaire, étendue, inembrassable d'un coup d'un seul, que ce soit du regard ou de l'oreille). L'auditeur que nous sommes tombe sur une allée au trafic dense ou sur un chantier certainement ralenti par la chaleur. Plus loin, c'est le bruit que font des machines ou des radios qui vomissent des voix ou crachent des mélodies insensées. Et puis tout à coup, une douce musique prend le dessus sur ce fatras magnifique, elle le transforme, le rythme. On ne sait trop comment Gilles Aubry et Stéphane Montavon ont agencé toutes ces preuves de réalité. Mais elles se trouvent là, sur un partition musicale surprenante, et même très belle.
The most vivid thing I've heard from Gilles Aubry. This field recordist usually invites us to explore static sound spaces for long stretches of time. But not this time. Les écoutes le caire features two half-hour tracks, both made of overlaid field recordings weaving dynamic and active webs of sound, even though the sources are closed spaces. A developed, mature piece of work enriched by poems by Stépane Montavon, presented in a booklet/poster that reads like a road map that (mis)guides your mind as the sounds go by. I must point out the packaging; two pieces of embossed cardboard held together b¥ a rubber band. Simple, stripped down, esthetic.
Le disque le plus vivant que j'aie entendu à ce jour de Gilles Aubry. Cet artiste sonore de field recording a tendance à nous laisser explorer des espaces sonores statiques sur de longues plages de temps. Pas cette fois. Les écoutes le caire propose deux pièces d'une demi-heure, toutes deux des amalgames d'enregistrements de terrain qui tissent des toiles dynamiques et actives, même s'il s'agit d'espaces clos résonants. Un travail poussé, mûr, et enrichi par les poèmes de Stéphane Montavon, à lire dans un livret-affiche comme une carte routière qui guide (et déroute) l'esprit au fil des sons. À souligner aussi: la présentation: deux morceaux de carton embossé réunis par une bande élastique. Simple, dépouillé, esthétique.
Swiss sound artists Gilles Aubry and Stéphane Montavon have collaborated in different projects exploring field recordings techniques.
"Les Écoutis le Caire" is printed in a rectangular cardboard that comes with a French text in the inner sleeve written by Stéphane Montavon with Aubry field recordings taken from urban places in Cairo.
Not only pure recordings but some of them are processed which contain voices, sounds of cars, claxons, noises of metal beats, jackhammers like and some others barely identifiable.
The idea of repetition is always present here with voices, dialogues or other noises such as claxons, an attempt to stick to the memory the claustrophobic sensations of overpopulated cities nowadays.
El artista sonoro suizo Gilles Aubry y Stéphane Montavon han colaborado en diferentes proyectos explorando las técnicas de grabaciones de campo.
"Les Écoutis le Caire" está editado es un cartón rectangular que viene junto a un texto en francés escrito por Stéphane Montavon con los registros de campo de Aubry capturados de lugares de la urbe de El Cairo.
No solo hay grabaciones puras, sino que algunas de ellas están procesadas que contiene voces, sonidos de automóviles, bocinas, ruidos de golpes de metales, retroexcavadoras y algunos otros poco clasificables.
La idea de repetición aquí está siempre presente con voces, diálogos y otros ruidos como bocinas; un intento para "pegar" en la memoria la sensación claustrofóbica de las ciudad sobrepobladas de nuestros días.
In a very nice cardboard sleeve we find a CD (by Gilles Aubry) and a large poster with a text in French by Stephane Montavon. I am sure lots of people speak or read French, but there are more who don't. So it eludes me why this is part of it. No doubt there is a relation to the two pieces on the CD, which were recorded during a six week stay in the CD. Aubry taped the busy city from within rooms with 'resonant properties': a bathroom, a market hall, a basilica, a courtyard, a refrigerator and a parking house. You hear the city, but its always a bit remote, a bit far away, a bit blurred. Its not a strict fifty minute recording here, but Aubry has made a collage out of these recordings, superimposing them (which means he layered a few), in order to further blurr the effect. The humming of machines, walking and talking of people, cars passing far and above. Like a beautiful day – like today actually – when the window is open and sounds from outside leap into your environment. I have not been to Cairo, but I can vividly imagine it would sound like this. I am not sure if two is more than one here: both pieces seem to have a similar approach, which makes perhaps the second one a bit superfluous. Not always more equals better, and in the limitation one can show beauty too. But through a pretty good release, musicwise. I can judge about the text, but a translation would be welcome, I guess.
Gilles Aubry provides claustrophobic urban field recordings brought back from certain enclosed spaces, showcasing them on Les Écoutis Le Caire (GRUENREKORDER GRUEN 061) over two lengthy suites of edited material. Amongst these intensive and crowded rumblings, the sense of despair is only barely kept at arm's length, and even hardened city dwellers such as myself blanch at the harsh realities with which this French Swiss audio composer confronts us. A counterpoint of sorts is provided by the words of Stéphane Montavon, printed in harsh red and black typography on a paper which had been folded up and inserted into the release as a 'word map'. How Situationist! Although it's not explicitly mentioned in the press notes, I expect this entire package, with its blind-letterpress card cover and circular holes cut in the back for purposes of revealing key words in the word-map, is intended to be used on your next psychogeographical stroll (or dérive) around the city.
La justesse de ce pari artistique est de combiner les trois dimensions fascinantes du Caire : le son, le temps, l'espace, dans une très intéressante proposition, sous élégant cartonnage, d'un poème poster de Stéphane Montavon et d'un CD de musique acousmatique de Gilles Aubry.
Avant toute chose, plaisir musical, une métropole s'écoute : elle se livre dans le son que la vie produit, qui a formé profondément l'enfance de ses habitants, qui les tient ensemble, qui les lui attache, qui rend étranger l'étranger. Le son du Caire dit la puissance de cette ville, un son flux, épais, continu, variant de hauteur selon les heures, pas de rythme, charriant des éclats, des pointes, des crêtes à l'intérieur de sa pâte constante.
Les Écoutis Le Caire sont le produit de deux écoutes, celle de Stéphane Montavon, auteur d'un poème qui se présente comme une constellation de paroles autour de lieux phares de la ville, le vieux marché Bab el Louk, le Mogamma, bâtiment administratif qui fait repère pour les touristes et les taxis, etc. ; et celle de Gilles Aubry, compositeur de deux pièces de musique acousmatique, à partir de sons concrets enregistrés dans la ville.
La particularité de la musique acousmatique, musique produite sur ordinateur, donnée en concert par des haut-parleurs, non pas par des interprètes, est de mettre en relation l'auditeur avec le son lui-même, le son comme une matière comportant sa propre consistance, ses accidents, ses volumes, ses valeurs, ses formes, sa sculpture, son espace, son paysage, et c'est une très belle façon de goûter Le Caire, que cette double composition qui installe d'abord un souffle, peu à peu respiration, c'est-à-dire rythme, durées qui se succèdent sans rupture, par de subtils éveils de hauteurs, par des réverbérations qui lui donnent une profondeur de champ, qui introduisent la perspective, autrement dit l'espace, dans le son, puis par l'arrivée de voix, à l'intérieur de ce souffle continu qui varie, dont on écoute différemment les cycles, qui se déploie puis diminue, se défait de ses éléments, jusqu'à un moment de rupture qui marque la limite entre le corps du morceau et la fin qui dépose le son peu à peu, calme, corbeaux, voilà.
Et dans cette continuité, le temps du Caire, mélopée de la ville, flux, lié, indivis, sans tranches horaires. C'est Le Caire, oui, c'est le Caire, cette musique, le son des balais, le son des chantiers, les sons de l'artisanat qui se travaille dans la rue, les klaxons, bien sûr, identité du Caire, mais travaillés avec discrétion, en décalage du cliché, c'est Le Caire mais cette reconnaissance n'est que le bonus d'une musique, riche et forte, qui s'écoute pour elle-même et à laquelle, en contrepoint, le texte spatialisé apporte une construction par ruptures. Fait d'éclats, d'énonciations multiples, d'énoncés tronqués, disparates, le texte dit la pénétration du singulier par le commun, la fragmentation de la continuité, de la pensée, de la parole, de l'existence, dans cette ville qui la rend impossible et malgré l'impossible, malgré l'entrave, d'une vitalité passionnante, ce que le texte dit, dans le chahut des paroles qu'il fait surgir du blanc qui les coupe.
les écoutis le caire, the latest release in Gruenrekorder's always captivating Field Recording Series, is a dual project involving a sound composition (premiered on Deutschland Radio in 2009) by Gilles Aubry, a Swiss sound artist currently residing in Berlin, and a poetic text in French by Basel, Switzerland-based Stéphane Montavon. The CD, which arrives housed within a large-format cardboard case with die-cut circles punched out of its cover and blind embossed type on its backside, features two long-form settings (a half-hour and twenty-four minutes, respectively). The opening piece is a half-hour sound portrait of a busy city where public transit systems and blaring car horns jostle for position and crowd into a mix that draws from recordings collected in Cairo at a bathroom, market hall, basilica, courtyard, and parking house. The source materials lose their identifiable character as they blur into a huge, rumbling mass of relentless, hyper-intense activity. It often sounds like what one would expect to hear were a microphone placed at the center of a city's busiest intersection at rush hour and the results amplified to their fullest. Halfway through, the transit-related intensity retreats slightly to allow voices to emerge more clearly—not that there's any lessening of intensity in general terms as surrounding the voices are hydraulic emissions of the kind one might associate with steam machinery. Aubry gradually brings the intensity level down as the piece enters its final minutes and as he does so the individual sounds come into clearer focus, even if only briefly. Track two unspools in a percussive rumble, rather reminiscent of the agitated rattle of an old car engine. Speaking voices and waves of abstract sound keep up a constant, unwavering churn throughout the piece until it too grinds to an abrupt halt. Montavon's contribution to the project is in the form of a large fold-out poster or word-map whose French text is laid out in a spacious, rhythmical manner that reads like a visual counterpart to the sonic pieces. Images and sounds weave through the text to form a word-tapestry that complements Aubry's material—an alternate way, then, to 'listen' to the city.
Now here is an interesting, and in no small amount embarrassing little situation. A couple of weeks back a CD arrived here that I have played a few times over the last couple of days and quite enjoyed. Nothing unusual there. The problem was, as I initially wrote this post, I had no idea what it is called, or what label it is on… The thing is, it is a disc that has no type on the actual face of the CD, and comes wrapped up in a very elegant oversized heavy grey die cut card sleeve held together with a rubber band enclosing only a very large poster sized sheet of text written in French but not containing any details about the music. Until I had played the disc a few times I had not noticed that there is indeed identifying text on the card sleeve, but it is not printed, rather embossed (or what ever the opposite of embossing is?) into the rear of the sleeve, so it took some noticing. Most embarrassing of all was once I read the text I realised that I had actually bought this CD online, having been attracted by the sleeve design as well as the potential of the music. I had just forgotten doing so… the CD in question then is a collaboration between Gilles Aubry, who provides the music here, and Stephane Montavon who wrote the text printed on the accompanying poster. The CD was released recently as part of a field recordings series on the German Gruenrekorder label. More photos of the project can be seen here.
For the most part, Aubry's music has a very claustrophobic, almost oppressive feel to it. In the notes at the website it is mentioned that recordings of enclosed spaces were mostly used, not necessarily all indoors, but tight often highly populated areas such as market spaces and busy courtyards. He also mixes in closely recorded home appliances, a fridge appearing in a few places amongst other hums, rattles and and buzzes. So quite a bit of the time its probably easy to be able to tell what this music sounds like. Interestingly (and you will have to just believe me here as I can't prove otherwise) I noted an North African feel to the sounds before I knew what it was I was listening to here. Perhaps the odd voice gave things away, or the gaggle of massed voices we often hear, usually in the distance, I was reminded on Dan Warburton's album of Moroccan field recordings he released some time last year. In places the treatment of the sounds works very well. In the first half of the album a long passage of layered traffic sounds, honked car horns and revving engines all layered and maybe looped over each other into one seething mass of tension is very nice, and elsewhere the use of superimposed sympathetic layers gives a physical depth to the music that is a lot of fun to listen vertically down into, picking apart the various different sounds. On the other hand, in places the use of looping can be far too obvious and somewhat annoying. A continually looped distant voice calling something unintelligible on the second part of the recording just doesn't work at all, and spoils the bulk of this second. The use of this sample like this brings rhythmic sensibilities into the music that do little for me.
Elsewhere though there are some very nice moments. At the end of the first part there is a lovely, extremely subtle section where the heavy layers of sound are peel back and a young voice is heard, strangely altered in tone as if it were recorded over a telephone line, but with a particular charge to it when it appears from underneath the more dense sections of the music. The second part ends with a similarly well considered ending, again the more tightly packed sounds cut away to leave a hissing, rushing sound that alters in texture, undercut by a loose recording of a crow calling out. The ending of these pieces seems important to Aubry.
Overall this is a pretty good example of this kind of work, which in itself is in danger of becoming a little too overpopulated right now, as I seem to come across an album that works in a similar way to Les écoutis le caire just about every couple of weeks. In spots the use of loops feels a little unnecessary and I think I would probably have preferred a few simple field recordings from Cairo layered in a less complicated manner, but the intricacies of the construction reveals a degree of care and consideration here that is not always present in this kind of music. Also the mixture of sounds is usually well chosen, nice combinations of different elements that at first sound part of one another until close listening reveals more. Perhaps not the most original album in the world then, and I don't doubt that I'll write about a few more CDs in a very similar vein before the end of the year (If I was more cynical I could be tempted to tick Cairo off of an imaginary list!) but it is well put together with some very pleasing moments and will certainly appeal to fans of this end of the musical spectrum. The sleeve design, and accompanying poster will appeal to fans of interesting sleeve art. It made me go and buy it anyway.


text:
UOC hierarch makes a statement on quarantine
Elena Konstantinova
Metropolitan Filaret (Kucherov). Photo: pravoslavie.ru
Metropolitan Filaret appealed to believers with a request to consider the dire situation with the coronavirus pandemic and make every effort to stop a medical collapse.
On November 13, 2020, the head of the UOC Synodal Department for Health and Pastoral Care of Medical Institutions, Metropolitan Filaret (Kucherov) of Lviv and Galicia published an appeal regarding the spread of coronavirus, reports the official website of the Lviv Eparchy.
According to Vladyka, "now we are experiencing the second wave of the pandemic, which epidemiologists had warned us about in advance. Sadly, we must admit that we came to it unprepared. The occupancy of beds in supporting hospitals in some regions reaches 110%, there are no free beds, and if there are free beds, then not all of them are equipped with oxygen points, there is not enough oxygen, oxygen concentrators."
"But worst of all, there is a catastrophic shortage of doctors and lower-level doctors, so COVID-19 has affected almost 17,000 medical workers, since the beginning of the pandemic, 150 medical workers have died. The medical staff are working to the limit, people are exhausted and massively resign," said the Metropolitan.
He stressed that "from all sides, through the media, doctors highlight the need to use protective equipment – to wear masks, wash hands more often, use disinfectants and maintain social distance. But for some reason, people have already stopped paying attention to these calls and are increasingly allowing themselves to appear in transport and public places without a mask or wear a mask incorrectly."
"Unfortunately, we see a similar situation in churches, some priests and believers do not just ignore the wearing of masks but also allow themselves to be sick attending services and expose their neighbours to illness," says Vladyka.
"Instead of listening to doctors who risk their lives every day to save the lives of patients in COVID wards of hospitals, people are following the calls of some pseudo-specialists who say that masks do not protect against the penetration of the virus and therefore there is no need to wear them. .. These advisers give false information and push a person to an internal unreasonable rebellion," the hierarch said.
However, Metropolitan Filaret stressed, "physicians wear masks all the time in their professional activity. Operating teams in hospitals may not take off the mask for up to 12 hours during the operation, doctors in COVID wards wear them throughout the day, saving people who find it difficult to put on a mask for 1 hour in transport or a store. "
He also pointed out that "there have been calls not to implement the recommendations of the Ministry of Health and WHO, that the requirement to wear masks violates the freedom of citizens. Much has been said about this, but I repeat once again: because many people have COVID-19 without visible symptoms, the carrier of the virus does not know that he/she is infected, therefore, without wearing a mask, they infect everyone around them. And these people may have chronic diseases, weakened immunity, and for them, infection with coronavirus can lead to serious consequences. "
That is why he turned to people who do not consider it necessary to wear a mask: "I am addressing people who do not consider it necessary to wear a mask: keep in mind that you harm the health of people who you have infected, make them seriously ill disabled people, and maybe kill them. You deliberately disregard the commandments of the Lord: "... love your neighbour as yourself" (Luke 10:27) and "do not kill" (Ex. 20, 13) ".
Vladyka believes that those who do not wear masks do not love their neighbours, but love only themselves: "It is thanks to you that the number of infected people is increasing, it is thanks to you that hospitals are overcrowded, and doctors are working at the limit of the possible."
"Therefore, dear brothers and sisters, I want to ask you to take into account the dire situation in our country with the coronavirus pandemic and to make every effort to personally help stop this medical collapse, in which you and I now find ourselves. And for this, one should not listen to various demagogues, but rely on the opinion of professionals who use the data of evidence-based medicine studies," the bishop said.
"Be responsible! Let us remember that you and I are Christians, our Lord Jesus Christ teaches us love, mercy and sacrifice, and "whatever you want people to do to you, so you do for them" (Matthew 7,12)," the Metropolitan reminded Filaret.
He also noted that in these difficult times it is necessary to "strengthen our common prayer for each other's health, ask the Lord for strength and patience", remember those who died of coronavirus and ask "the merciful Lord, His Virgin Mother and the patron saints of doctors for their all-mighty help for our physicians."
As reported earlier, a weekend quarantine is being introduced in Ukraine from November 14.
Tags: UOC, Health care, Coronavirus

redpajama_set_name: RedPajamaCommonCrawl


Coaching and Feedback Follow the Guidelines for Effective Interpersonal Communication There are fundamental strategies that should always be part of interpersonal... Giving constructive feedback to employees may seem like one of your most difficult tasks as a manager. If you learn to give it effectively, you can avoid the drama and instead have an insightful conversation with your employee about their performance, and how they can improve it.
In fact, for those in our database who started above average already (but are still below the 80th percentile), positive feedback works like negative feedback did for the bottom group. Focusing on... The good news, though, is that there are proven ways to handle negative customer feedback, and In this article, we will show you that 1) negative feedback can be positive, and 2) how you can turn it into a positive engagement with the customer.
3. WHERE TO GIVE POSITIVE FEEDBACK. When your message is constructive it�s always better to give it in private. Alternatively, giving positive feedback to your colleagues in public can be an even better way to show your appreciation, or boost the receiver�s confidence.


I have problem in joomla to show sub menu.I have create multi language site and i have near 500 menus. Now some of the old submenu i deleted and add new sub menu under parent menu. but those sub menu is not showing on my live server but it is showing on my local machine.
For eg. I have parent menu Product and its menu id is 112 and i have another main menu(parent) called about us and its id is 120. now if i create submenu under the product it is id is auto incremented like (620). it new sub menu showing on my local machine but on live server it is not showing. so suppose if i change that submenu id to 119 then it will display on the product menu. but the submenu id is grater than 120 then is is now showing.
Ensure that Show Sub-menu Items is turned 'On' for every menu module in your site. This is discussed already.
How do you sync local machine and live server?
How do you intend to change ID of a menu item? Bear in mind that direct modification in Joomla database could make your site total loss.
This could be template issue - please provide live demo.
Last but not least - clean Joomla cache after modifications.


The Texas Hold'em was introduced in Las Vegas in 1967 with a known group of players who were among Crandall Paddington, Doyle Brunson, and Amarillo Slim Roscoe Wiser, celebrated the first World Series of Poker in 1970.
Although it was increasingly known among poker players, Texas Hold'em was a fairly unknown variant, being outside the knowledge of normal people, all to the SWOOP Main Event in 2013, when Chris Moneymaker managed to turn $ 40 you paid for the entry of a satellite at 2.5 million dollars and all viewed by many people on national TV.
With this feat of Moneymaker and online poker, Texas Hold'em has managed to become the most played game worldwide. The main rules of Texas Hold'em are really simple. A standard hand in Hold'em operates as follows.


text:
'La La Land' Producer on Oscars Chaos: 'I Wanted to Make Sure the Right Thing Was Done'
"It was not about me, it was about making sure 'Moonlight' got the recognition it really deserves," Jordan Horowitz tells "GMA"
Brian Flood | February 27, 2017 @ 7:28 AM	Last Updated: February 27, 2017 @ 7:29 AM
"La La Land" producer Jordan Horowitz appeared on ABC's "Good Morning America" on Monday morning to explain his role in the snafu at the end of Sunday's Academy Awards. "People needed clarity in that moment," he said.
Warren Beatty and Faye Dunaway accidentily announced "La La Land" as the Best Picture award winner, when the actual winner was "Moonlight." Gary Natoli came onstage during the "La La Land" acceptance speeches, took the incorrect envelope from Horowitz and saw that it wasn't the Best Picture envelope.
Horowitz aggressively yanked the correct envelope from Beatty, showed it to the cameras and announced the actual winner. "GMA" co-host George Stephanopoulos called it a "study in grace under pressure."
Also Read: Steve Harvey to Warren Beatty After Epic Oscars Flub: 'Call Me'
"I wanted to make sure the right thing was done," Horowitz explained. "At that point it was not about me, it was about making sure 'Moonlight' got the recognition it really deserves."
Horowitz said there was a lot of "confusion and chaos" on the stage as the situation was unfolding and "it didn't look like there was any order whatsoever," so he just kind of "jumped in" to prove it was not some sort of joke.
Horowitz explained that the creators of "Moonlight" are good friends. Co-host Robin Roberts praised Hollywood for being a "loving, supportive community."
Oscars: Stars' Reactions to 'Moonlight' Best Picture Win Are The Best (Photos)
No one was prepared tonight for what may have been the biggest on-stage mistake in the history of the Oscars, when "Moonlight" took home the award for Best Picture -- only after it was first mistakenly given to "La La Land." Here are the best reactions from the stars at the Oscars.
Holding her own Oscar in hand, Davis is clearly thrilled for everyone involved with "Moonlight" -- as is her husband, Julius Tennon.
More than anyone, Streep was absolutely floored by the Oscar stage Best Picture flub.
Oscars All Access
Furiosa approves.
Henson was filming the moment on her phone, but couldn't wipe the shocked look off her face as "Moonlight" won.
Both Kidman and Keith Urban were ecstatic to hear the "Moonlight" news.
Washington's face conveyed nothing but pride as the "Moonlight" cast and crew took the Oscar stage.
It's possible Philipps could be more thrilled at "Moonlight" taking Best Picture, but it sure doesn't look like it.
From the Oscar stage, Monae celebrated the "Moonlight" win, putting into action the feelings of a huge number of people across the Internet.
Damon broke out the two-finger dad whistle to share his approval of the "Moonlight" win.
Spencer beamed over the "Moonlight" win, adding her applause.
Dwayne "The Rock" Johnson
The Rock is all smiles as the Best Picture announcement goes out.
The angle was a bit obscured, but Jackson took a photo with his phone of the amazing Best Picture moment, and then appeared to wipe away a tear.
Shock, disbelief, tears and laughter as Barry Jenkins' drama lands Best Picture Oscar after it was mistakenly given to "La La Land"
Steve Harvey to Warren Beatty After Epic Oscars Flub: 'Call Me'
By Brian Flood | February 27, 2017 @ 6:16 AM
Oscars: Stars' Reactions to 'Moonlight' Best Picture Win Are The Best (Photos)
By Phil Hornshaw | February 27, 2017 @ 1:00 AM
Academy's Accountants Take the Blame for Oscars Flub
By Steve Pond | February 27, 2017 @ 12:05 AM


NAVARRE � Calling all women who want to live with purpose and passion, not just go through the motions of life.
The New Beginnings Women�s Conference to be held 9 a.m.-3 p.m. April 13 at the Navarre Conference Center is designed to help refresh mind and spirit.
The New Beginnings Conference is an all-day Saturday event that gives women a break from the demands of their lives and allows them to get refreshed, revived and refocused on Christ.
Cristina Harty, along with her team of women, will minister through worship, testimonies, teaching and ministry. They will encourage women on their life journey and give them tools to live life to the fullest.
The speakers will share inspirational messages to women of all ages and backgrounds, at any level of faith, in every season of life without sugarcoating life�s challenges. With a mixture of humor and raw honesty, they bring a fresh confidence in God�s love and faithfulness.
The conference will get to the core issues of what women deal with. It seeks to reach women who are hurting or lonely as well as those who want to deepen their relationship with God.
It creates an atmosphere for women to encounter God and allow inner healing and ministry to take place. Women may unveil their masks, let their pasts go and enter into their New Beginning.
On April 13, registration takes place 8:309 a.m. at the Navarre Conference Center, with the conference following 9 a.m.-3 p.m.


P.S: There is another divine attribute which is even more perplexing. It is called God's Divine Middle Knowledge. It is popularly known as Molinism. I will not get into that topic now, but if the need comes for it in the future, we can flesh out the discussion, in the likely case that Kendoll's possible reaction involves an expatiation of that term.
So, I have to say that I am surprised that your reaction here is of rage or bitterness. Pray, did you wake on the wrong side of the bed? Or really, what's the source of this outburst? Who pissed on your wheaties Mr Buddhist? :) By the way, I need to correct an impression. I wasn't BEGGING you to come and respond. If that's the impression you got, then you are mistaken. I merely extended you an invitation to discuss in greater detail a topic which I felt might be up your alley –away from other all other distracting concurrent chat room interactions. Your acceptance or refusal to discuss the issue is neither here nor there:) If I may inform you, I am not starved of serious intellectual discussions as to hound you all over the place BEGGING you to come and respond. Really, you give yourself too much credit.
If you did not understand the terms I used, do the smart thing and research them. Yes, perhaps, I am the one that needs to tell you to go read up :) Seriously, if these common and relatively easy philosophical lexicon sounds like gibberish to you, it simply suggests that this topic is out of your depth. And I want to believe it is not. If it is, then limit the way you opine on matters that you have demonstrated sophomoric grasp. Do yourself a favor and pick another area where you'd feel free to discuss without alleging that your interlocutor is playing to the gallery — because it really sounds like sour grapes.
Yes, I have not told many people of the blog because I am still working out the kinks; you know--tinkering with design and layout. But welcome all the same. You can subscribe to the blog if you want. That way, whenever I drop a new piece, you'd be informed.
LOL.. oh by the way, I treasure the feedback/comments. Don't spare me--give me your honest and unflinching opinion on whatever i have written. I am a big boy--and I can handle all comments including constructive criticism.
OMG Godfather!! This is about the worst reply yet. I have told you from the beginning that the whole theory of nth Possibilities does not work. Thats the answer that the teenagers on youtube are giving smh. Stop ,stop,stop if you don't have a better solution. First and foremost, I never said anything about causation. I told you the first time that I don't like irrational arguments, so why would i imply causation? That's your assumption , please don't place it on me. I never said God caused the things to happen, rather that he knew about it. The whole nth possibilities theory to me is just silly , im tired of people bringing it up ,and you did it for the second time .
Even if you say that there are nth number potential futures of each choice,it does not and I repeat does not change the fact that God knows all potential futures and the potential future you will choose . It just doesn't , and the moment you say it does he is no longer Omniscient ....Even if all possiblites exists under the same sky multidimensional , he still know the one you will take in this dimension .
The argument isn't faulty but the way your taken it is... and you really just need to think about it. How does freewill work in a world with or without an Omniscient God.
"In Choosing between A and B , both answers have different potential futures Yes, God Knows all potential future. but have you forgotten you are choosing A or B?Even if both have a infinite number of potentials, in DOES NOT CHANGE THE FACT THAT GOD WILL KNOW WHICH ONE YOU CHOOSE AND AND THE POTENTIAL FUTURE YOU WILL TAKE.Sorry about the caps, but its like you can't see why this is wrong when its so simple. To God your not making a choice and there are no potential future , he knows exactly which choice you will take and which answer he will choose.Anything short of this is not omniscient.And even if you are considering a multi dimensional universe where all potentials exists , it doesn't change the fact that God won't know what the current you in this current frequency of existence will choose."
"….let's assume for example that God does not have foreknowledge or that in fact he does not even exist. Can you show me a demonstrable difference between the actions of free human agents in this world devoid of an Omniscient God and in a world where an Omniscient God does exist?"
Last but not least , on the nth potentials and dimensions. There is a theory that one of your favorite scientist Michio Kaku, sort of pioneered. Which was String theory and the Paraelle Universe theory. And just like you , I to love this Scientist . Perhaps the only place we can agree with. Thats why I was thinking you would understand what i ment by the whole potential futures multidimensional universes bit. But instead of typing this I will post a couple of links. See the whole idea of potential Futures, works when considering the Time Travel Paradox, but not the Omniscient God Paradox which in a certain sense is pointing to destiny anyway. But anyway let me post the links . Ciao for now.
you can only speculate that those perceptions are a figment of your imagination. Because if such perceptions truly exists than you would be able to choose differently from what God knew from the *beginning*."
"Right now your probably contemplating to important factors. Just because you know the whole book did you cause Harry Potter to make the decisions he did ? The answer is No of course not. Second question , does that mean Harry Pottery does not have free will? Simple answer to this is: Do characters in a book have free will? No what they are ment to do is already written,regardless of who wrote it. The only difference between you and a Omniscient God at this point is that- God always knew what was in the book from beginning to end since the beginning of time …. Its not a question if God is pulling the strings, but rather are there strings to begin with ..And there are . If not God perfect Foreknowledge couldn't work…"
The great Prophet/Clairvoyant Nostradamus, who had many millions of predictions . Alot of which came true, some of which didn't noted this: "That his prophecies /predictions are subject to change being that People have Freewill". So in other words people could still choose differently from what Nostradamus Prophesied . If to say , Nostradamus predictions where 100 percent accurate and always happen, than you would just have to consider them destiny. Thats why I argue with those Scholars who say Nostradamus was not making real prophecies . How could you prove him wrong with a disclaimer like that."
Here is another example but a bit more biblical . There has been a argument for centuries, in weather or not Judas was evil … Being that Jesus told Judas , that he would betray him ,did Judas ever have freewill in the matter or was it something Judas was ment to do? Remember Jesus didn't say he could betray me , but rather he would betray me.Could Judas be marked as bad ,if that was something he was ment to do. Or could Judas have actually proved Jesus wrong in the situation ?That is a Freewill vs Destiny Argument. And do note although, Jesus said this, Judas still had the perception that he had a choice , but weather he could choose differently from what Jesus knew is questionable or rather prove Jesus wrong is questionable. So how could he be evil if that what he was ment to do."
On that note, so how could the true Nature of the Universe be freewill when an Omniscient God knows everything that will ever happen in existence?Its a werid Idea so you might not grasp it at first, but with time you will . How could God have a judgement day, when from the begining he knew what everyone would do ? Did he create people to go to hell or heaven. How could things be considered evil when they are ment to happen. This is just one of the Omni-God paradox .Paradox like this aries when you are considering a perfect being in a imperfect existence. But it is also for that reason I sorta don't think that this paradox works at all. But when you have a better understanding of this I will share with you my theory . There are other paradox like the Omnipotent God vs Impossible creations."
"Last but not least , on the nth potentials and dimensions. There is a theory that one of your favorite scientist Michio Kaku, sort of pioneered. Which was String theory and the Paraelle Universe theory. And just like you , I to love this Scientist . Perhaps the only place we can agree with. Thats why I was thinking you would understand what i ment by the whole potential futures multidimensional universes bit. But instead of typing this I will post a couple of links. See the whole idea of potential Futures, works when considering the Time Travel Paradox, but not the Omniscient God Paradox which in a certain sense is pointing to destiny anyway. But anyway let me post the links . Ciao for now."


text:
The 1962 CFL season is considered to be the ninth season in modern-day Canadian football, although it is officially the fifth Canadian Football League season.

CFL News in 1962
The Canadian Football Hall of Fame was established in Hamilton.

The 50th Grey Cup game, nicknamed "The Fog Bowl", was postponed due to fog on Saturday, December 1.  The final 9 minutes and 29 seconds was played on Sunday as the Winnipeg Blue Bombers defeated the Hamilton Tiger-Cats, 28–27 to win their third championship in four years.

This was the most recent CFL season with average attendance of under 20,000 spectators per game.

Regular season standings

Final regular season standings
Note: GP = Games Played, W = Wins, L = Losses, T = Ties, PF = Points For, PA = Points Against, Pts = Points

Bold text means that they have clinched the playoffs.
 Winnipeg and Hamilton have first round byes.

Grey Cup playoffs
Note: All dates in 1962

Conference Semi-Finals

Conference Finals

Playoff bracket

Grey Cup Championship

CFL Leaders
 CFL Passing Leaders
 CFL Rushing Leaders
 CFL Receiving Leaders

1962 CFL All-Stars

Offence
QB – Eagle Day, Calgary Stampeders
RB – Earl Lunsford, Calgary Stampeders
RB – George Dixon, Montreal Alouettes
RB – Leo Lewis, Winnipeg Blue Bombers
RB – Ray Purdin, Saskatchewan Roughriders
OE – Hal Patterson, Hamilton Tiger-Cats
OE – Tommy Joe Coffey, Edmonton Eskimos
C – Neil Habig, Saskatchewan Roughriders
OG – Tony Pajaczkowski, Calgary Stampeders
OG – Gerry Patrick, Toronto Argonauts
OT – Frank Rigney, Winnipeg Blue Bombers
OT – Bronko Nagurski Jr., Hamilton Tiger-Cats

Defence
DT – Don Luzzi, Calgary Stampeders
DT – John Barrow, Hamilton Tiger-Cats
DE – Garner Ekstran, Saskatchewan Roughriders
DE – Herb Gray, Winnipeg Blue Bombers
MG – Kaye Vaughan, Ottawa Rough Riders
LB – Wayne Harris, Calgary Stampeders
LB – Tom Brown, BC Lions
LB – Gord Rowland, Winnipeg Blue Bombers
LB – Jim Conroy, Ottawa Rough Riders
DB – Harvey Wylie, Calgary Stampeders
DB – Don Sutherin, Hamilton Tiger-Cats
S – Jim Rountree, Toronto Argonauts

1962 Eastern All-Stars

Offence
QB – Russ Jackson, Ottawa Rough Riders
RB – Dick Shatto, Toronto Argonauts
RB – George Dixon, Montreal Alouettes
RB – Ernie White, Ottawa Rough Riders
F – Bobby Kuntz, Hamilton Tiger-Cats
OE – Hal Patterson, Hamilton Tiger-Cats
OE – Marv Luster, Montreal Alouettes
C – Ron Watton, Hamilton Tiger-Cats
OG – Hardiman Cureton, Hamilton Tiger-Cats
OG – Ellison Kelly, Hamilton Tiger-Cats
OT – Moe Racine, Ottawa Rough Riders
OT – Bronko Nagurski Jr., Hamilton Tiger-Cats

Defence
DT – John Barrow, Hamilton Tiger-Cats
DT – Bobby Jack Oliver, Montreal Alouettes
DE – Billy Ray Locklin, Montreal Alouettes
DE – Mel Semenko, Ottawa Rough Riders
MG – Kaye Vaughan, Ottawa Rough Riders
LB – Zeno Karcz, Hamilton Tiger-Cats
LB – Jim Andreotti, Toronto Argonauts
LB – Ed Nickla, Montreal Alouettes
LB – Jim Conroy, Ottawa Rough Riders
DB – Joe Poirier, Ottawa Rough Riders
DB – Don Sutherin, Hamilton Tiger-Cats
S – Jim Rountree, Toronto Argonauts

1962 Western All-Stars

Offence
QB – Eagle Day, Calgary Stampeders
RB – Earl Lunsford, Calgary Stampeders
RB – Nub Beamer, BC Lions
RB – Leo Lewis, Winnipeg Blue Bombers
RB – Ray Purdin, Saskatchewan Roughriders
OE – Pete Manning, Calgary Stampeders
OE – Tommy Joe Coffey, Edmonton Eskimos
C – Neil Habig, Saskatchewan Roughriders
OG – Tony Pajaczkowski, Calgary Stampeders
OG – Sherwyn Thorson, Winnipeg Blue Bombers
OT – Frank Rigney, Winnipeg Blue Bombers
OT – Lonnie Dennis, BC Lions

Defence
DT – Don Luzzi, Calgary Stampeders
DT – Roger Savoie, Winnipeg Blue Bombers
DE – Garner Ekstran, Saskatchewan Roughriders
DE – Herb Gray, Winnipeg Blue Bombers
MG – Ron Atchison, Saskatchewan Roughriders
LB – Wayne Harris, Calgary Stampeders
LB – Tom Brown, BC Lions
LB – Gord Rowland, Winnipeg Blue Bombers
LB – Bill Burrell, Saskatchewan Roughriders
DB – Oscar Kruger, Edmonton Eskimos
DB – Dick Thornton, Winnipeg Blue Bombers
S – Harvey Wylie, Calgary Stampeders

1962 CFL Awards
 CFL's Most Outstanding Player Award – George Dixon (RB), Montreal Alouettes
 CFL's Most Outstanding Canadian Award – Harvey Wylie (DB), Calgary Stampeders
 CFL's Most Outstanding Lineman Award – John Barrow (DT), Hamilton Tiger-Cats
 CFL's Coach of the Year – Steve Owen, Saskatchewan Roughriders
 Jeff Russel Memorial Trophy (Eastern MVP) – George Dixon (RB), Montreal Alouettes
 Jeff Nicklin Memorial Trophy (Western MVP) - Eagle Day (QB), Calgary Stampeders
 Gruen Trophy (Eastern Rookie of the Year) - Whit Tucker (WR), Ottawa Rough Riders
 Dr. Beattie Martin Trophy (Western Rookie of the Year) - Ted Frechette (DB/RB), Edmonton Eskimos
 DeMarco–Becket Memorial Trophy (Western Outstanding Lineman) - Tom Brown (LB), BC Lions

References

Canadian Football League seasons
CFL

redpajama_set_name: RedPajamaWikipedia


text:
About Ikebana in Thailand
About Ikebana in India
Ikebana at Hannover Messe
Ikebana at Middle East Energy Exhibition
Ikebana Electronics Pvt. Ltd. (IEPL) is a Mumbai based company established in 1988 under the Indian Companies Act 1956. IEPL started commercial operations with the exports of special-purpose machinery and engineering goods. In 1998, realizing the growing demand for power and consequent potential for marketing accessories for power cables in India, IEPL embarked upon a program of design of termination and joint systems for MV power cables up to 36 kV and organizing type-testing of these products using heat shrink cable accessories manufactured by Ikebana Engineering Ltd. Thailand, to international standards at Central Power Research Institute (CPRI) in Bangalore, India, which has a global recognition as an independent test-house.
IEPL has been marketing Heat Shrinkable cable accessories manufactured by Ikebana Engineering Ltd., Thailand as the sole distributor in India. IEPL's registered office in Mumbai, also has a design office, customer service centre and an in-house test facility to conduct necessary tests on the complete system and the components.
IEPL commenced supply of Ikebana MV Termination kits in 1999 to Maharashtra State Electricity Board (MSEB). Over the years, IEPL has established a reputation for timely supply of quality cable accessories and providing engineering services to their clients which include MSEB and numerous electrical contractors in Mumbai and all other major cities in Maharashtra state, who are engaged in providing MV/HV electrical installations for MSEB and industries.
Click to download the certificate.
IEPL had been supplying to Bombay Suburban Electric Supply (BSES) since 2000. After the take-over of BSES by Reliance Energy Ltd., IEPL was approved in 2005 as the vendor. REL has awarded IEPL a special letter of recognition for timely and reliable supply of the termination systems required for the emergency restoration of power supply after the unprecedented floods in Mumbai in 2005.
IEPL has also been supplying to other major Power Utilities such as Tata Power Co. Ltd, Calcutta Electric Supply Co. Ltd. (CESC) and Western Electric Supply Co. of Orissa Ltd. (WESCO) and to other states like Karnataka, Gujarat, Goa, etc. IEPL has been approved by major consulting firms and firms of international repute engaged in power distribution such as Larson & Toubro, UHDE India, Kvaerner Power Gas, L & T ECC, Siemens, Tata Consulting Engineers, etc.
The Quality Management System of Ikebana Electronics Pvt. Ltd. has been assessed and registered as per ISO 9001 (2015 Version). IEPL holds the UKAS certificate of ISO 9001:2015. The scope of this certificate is
Site 1: 1. Design of Termination & Joint kits and Rubber Cable Accessories.
2. Manufacturing of Termination & Joint kits.
Site 2: Manufacturing of Rubber Cable Accessories.


text:
Q: Getting value from GUI and using it in another class I'm trying to get the values from my GUI to be accessible to other classes in my program, I managed to get the values for concA and concB to be usable by the start method in the simulation class but I can't get the temperature value to be usable in the move method of the particle class. Where I have used 10 as a temporary value (line 133 & 134) I want that to be the temperature/100. This is my code in it's working form so far.
from tkinter import *
import random, math

class master():
    def __init__(self):
        self.mySim = simulation(self)
        self.myGUI = GUI(self)
        self.myGUI.menu.mainloop()
    def startSim(self, newdata):
        self.mySim.start(newdata)

class GUI():
    def __init__(self, master):
        self.myMaster = master
        self.menu = Tk()
        self.menu.title("Menu")
        self.createMainGUI()

    def createMainGUI(self):
        #Create Menu
        self.catalyst = Checkbutton(self.menu, text = "Catalyst", anchor = 'w', justify = LEFT)
        self.temperature = Scale(self.menu, from_=0, to=1000, orient = HORIZONTAL)
        self.concA = Scale(self.menu, from_=1, to=50, orient = HORIZONTAL)
        self.concB = Scale(self.menu, from_=1, to=50, orient = HORIZONTAL)
        self.start = Button(self.menu, text="Start", width=5, height=2)
        self.exit = Button(self.menu, text="Exit", width = 5, height=2)
        self.title = Label(self.menu, text = "Chemistry reaction model", width = 20, height = 2)
        self.option = Label(self.menu, text = "Options:", width = 10, height = 2, anchor = 'w', justify = LEFT)
        self.temperaturelabel = Label(self.menu, text = "Temperature in Kelvin:")
        self.concALabel = Label(self.menu, text = "Concentration of A:")
        self.concBLabel = Label(self.menu, text = "Concentration of B:")

        #Format Menu
        self.title.grid(column = 1, row = 1, columnspan = 3)
        self.option.grid(column = 1, row = 2)
        self.catalyst.grid(column = 1, row = 3)
        self.temperature.grid(column = 2, row = 4, columnspan = 2)
        self.concA.grid(column = 2, row = 5, columnspan = 2)
        self.concB.grid(column = 2, row = 6, columnspan = 2)
        self.start.grid(column = 1, row = 7)
        self.exit.grid(column = 2, row = 7)
        self.temperaturelabel.grid(column =1, row = 4)
        self.concALabel.grid(column =1, row = 5)
        self.concBLabel.grid(column =1, row = 6)

        #Event Handlers
        self.start.bind('<Button-1>', self.startSimulationGUI)
        self.exit.bind('<Button-1>', self.quit)

    def update_canvas(self, particles):
        self.canvas.delete('all') #clears canvas and redraws all particles at new positions
        for i in particles:
            self.canvas.create_oval(i.x, i.y, i.x+i.size,i.y+i.size , fill = "red")

    def quit(self, event):
        self.menu.destroy()

    def startSimulationGUI(self, event):
        self.simGUI = Toplevel(master=self.menu)
        self.simGUI.title("Simulation")
        self.canvas = Canvas(self.simGUI)
        self.canvas.grid(column = 0, row = 1)
        self.canvas.config(width = 400, height=400, bg = "Ghost White")
        # (0,0) is the top left and  (400, 400) is the bottom right coordinates
        self.Toolbar = LabelFrame(self.simGUI, relief = RAISED, width = 200, height = 50, padx = 105)
        self.Toolbar.grid(column = 0, row =2)
        self.Toolbar.config()

        self.MenuExit = Button(self.Toolbar, text="Quit to Menu")
        self.MenuExit.grid(row = 0, column = 0)
        self.MenuExit.bind('<Button-1>', self.simExit)

        self.time = Label(self.Toolbar, text ="Timer:", padx = 30)
        self.time.grid(row = 0, column = 1)

        #Get Data
        newdata = data()
        newdata.temp = self.temperature.get()
        newdata.catalyst = self.catalyst.getint()
        newdata.concA = self.concA.get()
        newdata.concB = self.concB.get()
        self.myMaster.startSim(newdata)

    def simExit(self, event):
        self.simGUI.destroy()
        self.myMaster.mySim.particles.clear() #makes sure that if the user exits, changes the settings and restarts no extra particles are drawn

class simulation():
    def __init__(self, master):
        self.particles = []
        self.myMaster = master
        #self.myParticleData = data()
        self.myParticle = particle(0,0)

    def start(self, myParticleData):
        self.myParticleData = myParticleData
        for i in range(0, self.myParticleData.concA):
            self.particles.append(particle(random.randint(0,400),random.randint(0,400)))
        for i in range(0, self.myParticleData.concB):
            self.particles.append(particle(random.randint(0,400),random.randint(0,400)))
        self.myMaster.myGUI.update_canvas(self.particles)
        self.animate()

    def animate(self):
        for i in self.particles:
            i.walls()
            i.move()
        self.myMaster.myGUI.update_canvas(self.particles)
        self.myMaster.myGUI.menu.after(100, self.animate)

class particle():
    def __init__(self, x, y):
        self.x = x
        self.y = y
        #self.tag = a or b or c
        self.speed = 0
        self.direction = 0
        self.myGUI = GUI
        self.size = 5
        self.myParticleData= data()
        #self.hyp = sqrt(self.size**2+self.size**2)

    def move(self):
        self.direction = random.randint(0, 360)
        self.x += math.sin(self.direction) * 10     # USING 10 AS TEMP VALUE
        self.y -= math.cos(self.direction) * 10    # USING 10 AS TEMP VALUE

    def walls(self):
        if self.x > 390 - self.size:
            self.x = 2*(400 - self.size) - self.x
            self.direction = -self.direction

        elif self.x < 10+self.size:
            self.x = 2*self.size - self.x
            self.direction = - self.direction

        if self.y > 390 - self.size:
            self.y = 2*(400 - self.size) - self.y
            self.direction = 180 - self.direction

        elif self.y < 10 + self.size:
            self.y = 2*self.size - self.y
            self.direction = 180 - self.direction

class data():
    def __init__(self):
        self.temp = None
        self.concA = None
        self.concB = None
        self.catalyst = None

if __name__ == '__main__':
    x = master()

A: Changed the particle() class do that each particle has its own temperature. Changes are followed by ###, hope this helps.
from tkinter import *
import random, math

class master():
    def __init__(self):
        self.mySim = simulation(self)
        self.myGUI = GUI(self)
        self.myGUI.menu.mainloop()
    def startSim(self, newdata):
        self.mySim.start(newdata)

class GUI():
    def __init__(self, master):
        self.myMaster = master
        self.menu = Tk()
        self.menu.title("Menu")
        self.createMainGUI()

    def createMainGUI(self):
        #Create Menu
        self.catalyst = Checkbutton(self.menu, text = "Catalyst", anchor = 'w', justify = LEFT)
        self.temperature = Scale(self.menu, from_=0, to=1000, orient = HORIZONTAL)
        self.concA = Scale(self.menu, from_=1, to=50, orient = HORIZONTAL)
        self.concB = Scale(self.menu, from_=1, to=50, orient = HORIZONTAL)
        self.start = Button(self.menu, text="Start", width=5, height=2)
        self.exit = Button(self.menu, text="Exit", width = 5, height=2)
        self.title = Label(self.menu, text = "Chemistry reaction model", width = 20, height = 2)
        self.option = Label(self.menu, text = "Options:", width = 10, height = 2, anchor = 'w', justify = LEFT)
        self.temperaturelabel = Label(self.menu, text = "Temperature in Kelvin:")
        self.concALabel = Label(self.menu, text = "Concentration of A:")
        self.concBLabel = Label(self.menu, text = "Concentration of B:")

        #Format Menu
        self.title.grid(column = 1, row = 1, columnspan = 3)
        self.option.grid(column = 1, row = 2)
        self.catalyst.grid(column = 1, row = 3)
        self.temperature.grid(column = 2, row = 4, columnspan = 2)
        self.concA.grid(column = 2, row = 5, columnspan = 2)
        self.concB.grid(column = 2, row = 6, columnspan = 2)
        self.start.grid(column = 1, row = 7)
        self.exit.grid(column = 2, row = 7)
        self.temperaturelabel.grid(column =1, row = 4)
        self.concALabel.grid(column =1, row = 5)
        self.concBLabel.grid(column =1, row = 6)

        #Event Handlers
        self.start.bind('<Button-1>', self.startSimulationGUI)
        self.exit.bind('<Button-1>', self.quit)

    def update_canvas(self, particles):
        self.canvas.delete('all') #clears canvas and redraws all particles at new positions
        for i in particles:
            self.canvas.create_oval(i.x, i.y, i.x+i.size,i.y+i.size , fill = "red")

    def quit(self, event):
        self.menu.destroy()

    def startSimulationGUI(self, event):
        self.simGUI = Toplevel(master=self.menu)
        self.simGUI.title("Simulation")
        self.canvas = Canvas(self.simGUI)
        self.canvas.grid(column = 0, row = 1)
        self.canvas.config(width = 400, height=400, bg = "Ghost White")
        # (0,0) is the top left and  (400, 400) is the bottom right coordinates
        self.Toolbar = LabelFrame(self.simGUI, relief = RAISED, width = 200, height = 50, padx = 105)
        self.Toolbar.grid(column = 0, row =2)
        self.Toolbar.config()

        self.MenuExit = Button(self.Toolbar, text="Quit to Menu")
        self.MenuExit.grid(row = 0, column = 0)
        self.MenuExit.bind('<Button-1>', self.simExit)

        self.time = Label(self.Toolbar, text ="Timer:", padx = 30)
        self.time.grid(row = 0, column = 1)

        #Get Data
        newdata = data()
        newdata.temp = self.temperature.get()
        newdata.catalyst = self.catalyst.getint()
        newdata.concA = self.concA.get()
        newdata.concB = self.concB.get()
        newdata.temperature = self.temperature.get() ###
        self.myMaster.startSim(newdata)

    def simExit(self, event):
        self.simGUI.destroy()
        self.myMaster.mySim.particles.clear() #makes sure that if the user exits, changes the settings and restarts no extra particles are drawn

class simulation():
    def __init__(self, master):
        self.particles = []
        self.myMaster = master
        #self.myParticleData = data()
        #self.myParticle = particle(0,0) ###

    def start(self, myParticleData):
        self.myParticleData = myParticleData
        for i in range(0, self.myParticleData.concA):
            self.particles.append(particle(random.randint(0,400),random.randint(0,400),self.myParticleData.temperature)) ###
        for i in range(0, self.myParticleData.concB):
            self.particles.append(particle(random.randint(0,400),random.randint(0,400),self.myParticleData.temperature)) ###
        self.myMaster.myGUI.update_canvas(self.particles)
        self.animate()

    def animate(self):
        for i in self.particles:
            i.walls()
            i.move()
        self.myMaster.myGUI.update_canvas(self.particles)
        self.myMaster.myGUI.menu.after(100, self.animate)

class particle():
    def __init__(self, x, y, temp): ###
        self.x = x
        self.y = y
        self.temp = temp ###
        #self.tag = a or b or c
        self.speed = 0
        self.direction = 0
        self.myGUI = GUI
        self.size = 5
        self.myParticleData= data()
        #self.hyp = sqrt(self.size**2+self.size**2)

    def move(self):
        self.direction = random.randint(0, 360)
        self.x += math.sin(self.direction) * .1 * self.temp     ###
        self.y -= math.cos(self.direction) * .1 * self.temp     ###

    def walls(self):
        if self.x > 390 - self.size:
            self.x = 2*(400 - self.size) - self.x
            self.direction = -self.direction

        elif self.x < 10+self.size:
            self.x = 2*self.size - self.x
            self.direction = - self.direction

        if self.y > 390 - self.size:
            self.y = 2*(400 - self.size) - self.y
            self.direction = 180 - self.direction

        elif self.y < 10 + self.size:
            self.y = 2*self.size - self.y
            self.direction = 180 - self.direction

class data():
    def __init__(self):
        self.temp = None
        self.concA = None
        self.concB = None
        self.catalyst = None

if __name__ == '__main__':
    x = master()

redpajama_set_name: RedPajamaStackExchange


The book is the outcome of 10-year socio-emotional workshops taken place in various schools located in Northern Italy. The book is divided into three parts: the first part consists in the theoretical approach of the topic titled "Promoting health at school – Educational relationship, learning and class management – communication in class – socio emotional education and school empowerment". The second part consists of a rich documentation concerning the projects carried out in different schools and of three practical handbooks to be used with students in class. The aim is to give teachers the necessary tools to work properly, so that they could carry out with students some activities to promote self-esteem.The first handbook is called "Dentro di noi il Bosco della felicità", "we are happy inside" and it is addressed to students attending the first school years of primary schools. It is a sort of socio-emotional alphabetization or first approach where children get in contact with their feelings and with group work.As for the remaining school years of primary schools (Calimero project), for the students attending lower secondary schools as well as high schools (progetto Filo Diretto), there are two handbooks that include a series of activities related to the self image, the discovery of the own self-awareness and self-esteem, communication and physical response. In each of the three handbooks you will find at first an explanation about how to carry out activities and then a series of worksheets with a short presentation. The third part focuses on the evaluation of some projects carried out in the past, where you can read the outcomes along with the evaluation methods and instruments. The book that joins theory with practice is a good help for educationalists and teachers who are interested in emotional education.
Socio-emotional education is a complex method that focuses on relationships. It develops a sort of intelligence which is called "emotional Intelligence" by Goleman or "personal intelligence" by Gardner.Gardner (1987) speaks about personal intelligence and identifies the difference between intrapersonal intelligence – that means getting in contact with the own self thanks to the own experiences and emotions - and interpersonal intelligence – that means getting in touch with other people, with their emotions, sharing experiences, supporting each other in case of difficulties, collaborating and being involved. The method described in this book develops this intelligence, promotes empowerment and enhance the life skills that the World Health Organization states as necessary for human life. You can be a genius, a remarkable thinker or a famous scientist, but if you lack in "humanity" and emotions, you will experience an inner division. This method considers two aspects of the educational mission: the teacher-student relationship and the student-student relationship. The former identifies strategies for effective communication (authentic messages and need for help), the latter involves group management strategies (circle time). In this field Mr Marco Maggi gives his support to develop self-esteem in guys. A positive and real self-esteem is necessary for a healthy development because it avoids passive resignation and arrogant individualism and it makes you consider other people as a resource, develop skills to get in touch with them, develop abilities to face life. The activities suggested by Maggi rich in valuable descriptions, worksheets, questionnaires, are a useful tool for those who want to enhance empowerment of young people.


text:
DIY Ventilators Might Ease Supply Shortage Amid Coronavirus Pandemic
Countries suffering drastically from the coronavirus pandemic are running out of ventilators and other medical equipment, causing "makers" to try to fill the supply gap by proposing open-source, do-it-yourself alternative devices, reports VICE.
RELATED: LATEST UPDATES ON THE CORONAVIRUS DISEASE
'Makers' work to create ventilators for coronavirus pandemic
Most CoViD-19 cases — the disease that comes from contracting the coronavirus infection — don't require hospitalization. But those who are hospitalized with severe cases of coronavirus infection suffer damaged lungs that make it hard to breathe in and circulate oxygen within the body. Machines that provide human lungs with oxygen called ventilators have proven to be crucial in treating people suffering from severe cases of CoViD-19, who represent 10 percent of all cases, according to VICE.
Governments around the world are already readying themselves for a shortage of ventilators, and the effects this will have on their health care systems.
U.S. President Donald Trump called U.S. governors on Monday to tell states not to completely rely on the federal government for equipment. "Respirators, ventilators, all of the equipment — try getting it yourselves," said the president, according to the New York Times. "We will be backing you, but try getting it yourselves. Point of sales, much better, much more direct if you can get it for yourself."
Director of the National Institute of Allergy and Infectious Diseases Anthony Fauci said on CNN that the U.S. has so far stockpiled 12,700 ventilators, but added that in a worst-case scenario this amount could be insufficient. He added that in Italy physicians are making "very tough decisions" about which patients they should treat.
Across the English Channel, Boris Johnson — Prime Minister of the UK — stressed the need for engineering firms to switch production to manufacturing ventilators, according to the BBC. This echoed a similar call by Matt Hancock, Secretary of State for Health and Social Care. "If you produce a ventilator, then we buy it. No number is too high," said Hancock on Sky News.
Makers trying to make up the medical supply shortage
Some officials think makers could help to make up the gap in the supply and demand of medical supplies. Third-year medicine resident Julian Botta of Jons Hopkins University who claimed his views are unrelated to those of the university assembled a Googe Doc titled "Specifications for simple open source mechanical ventilator." In the doc, he illustrates key specs of the types of ventilators used for patients who have contracted the coronavirus infection.
Botta also suggests a design for open-source ventilators after seeing that engineers with an interest in creating ventilators also lacked a thorough understanding of how they work.
Numerous other groups have appeared across the design spectrum, from sharing information to how to draft and 3D-print ventilator parts. A "hackspace for politics" in the UK called Newspeak House jump-started a crowdsourced document called the Coronavirus Tech Handbook, which details general virus-related information, but also includes links to open-source equipment designs and additional resources, reports VICE.
A resident fellow at Newspeak House who helped create the handbook wrote a Medium post, in which he argued that if the hub "causes two people to meet and develop a tool that saves a lot of lives, it just might be the most impactful thing I ever do."
Open-share ventilators for coronavirus patients
Despite this, Botta said that unique features of ventilators make them difficult to simplify for DIY replication, according to VICE.
Before Botta wrote his proposal for a ventilator, he noticed designs posted in Facebook groups (not unlike others showing up on GitHub) that looked like custom-built continuous positive airway pressure (CPAP) machines — these kinds of devices aren't able to sense how much oxygen is reaching a patient's lungs, nor are they dynamic enough to provide adequate functionality to coronavirus patients with respiratory distress, said Botta to VICE.
Instead, Botta's idea for a DIY ventilator includes feedback features, with sensors that trigger alarms in case of low oxygen flow or malfunctions in the device.
As the world economy stretches to meet the unprecedented demands of the coronavirus pandemic, the ingenuity of people in every sector of tech, design, and university departments is slowly coming together to close the precarious gap in medical supplies.
Watch the video: Doctor makes simple ventilator with basic supplies (January 2023).
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Copyright 2023 \ DIY Ventilators Might Ease Supply Shortage Amid Coronavirus Pandemic...


Do You Ever Beat Yourself Up for Failing?
"Scientists fail all the time. Only they don't call it failing. They call it 'collecting data.' They call it 'learning more about a situation.' Seeing nuances that make them question their assumptions. That make them question the rules that have come before."
Being a visionary is kind of like being a scientist.
We're constantly seeing the big vision—imagining what's possible, getting the intuition that this hypothesis might be true.
And then we start experimenting. We start taking action. And we fail. A lot.
Scientists fail all the time. Only they don't call it failing. They call it "collecting data." They call it "learning more about a situation." Seeing nuances that make them question their assumptions. That make them question the rules that have come before.
Science is the continual process of having an impossible vision that questions the rules and experimenting with actions to learn more about that vision.
We visionaries are all scientists of our own lives. Every moment of our lives, every word we speak, is a kind of experiment. An experiment in deepening into our genius.
I'm constantly learning which foods make me feel like a genius, and which definitely don't. And which business practices help me share my genius, and which definitely don't.
And I used to see it as failing. I used to see myself as failing all the time. Living in the shadows—the opposite of my genius. Unsuccessful and Misaligned and like a big Mistake. Rather than learning more about what it means to be Successful and Aligned and Unmistakable.
I didn't give myself any space to learn how to be human. I expected myself to be right every single time. And shamed myself when I tried to learn anything.
One of the most powerful reminders I have that all of life is a science experiment is a routine. I love doing things routinely. Whether it's writing this blog each morning, talking to Sherri for hours every Friday, or going to Aruba every New Year's.
Every good experiment has two things—a control group and a variable group. One that always stays the same, and one that changes. So that we can compare what's different.
Because one of the biggest challenges in life is that things are alive. They're always moving. And they subtly change in any given moment.
The Earth is rotating all the time, but we don't notice that it's actually changing. Because it's happening all the time.
We're aging all the time. But we can't see it from day to day because it's so subtle. It's only when we look back at pictures—a control, a constant—that we notice just how much we're growing into ourselves.
So routines provide a control for our lives. Because we are constantly changing.
Every day, I get up and write. The action is the same every day. It happens at about the same time every day, I nearly always write 1,000 words. And it takes me about the same amount of time. I've been doing it over five years. It couldn't be more routine.
But some days I'm so energized to write. Other days I don't feel like it at all. Or my ideas aren't flowing. Or they're spilling out of me so fast. And I have to reflect on what specifically changed.
Because, with a constant, we can notice what's different.
Many of us intuitively do this already. We'll use time or the calendar as a constant. If we spend every New Year's Eve reflecting on our year, then the practice and year rhythm is constant, and we can get a better sense of what changed in our year. Or if we always meditate every morning, we might notice that some mornings we're super focused and other mornings we're incredibly distracted.
But the best part is it's not a test. Because we do it routinely. If I was really, really struggling in my exercise this morning, who cares? I didn't fail. I'm just going to get up again tomorrow.
The more we do something, the less impact each individual instance holds. If we do things routinely, they become a lot less about individual results and more about learning.
We forget to be upset with ourselves for "failing" because we're too busy noticing what changed. Maybe my workout was harder because I didn't get as much sleep. Or because I have a lot on my mind. Or because I ate sugar yesterday. Or whatever variable did change.
Lesson learned. Experiment advanced. And we're just going to get up and do it again, anyway. So we can release any judgment we have.
So often, we visionaries are hard on ourselves. We're so used to being told that we're "too much" and "not enough" that we tend to internalize the blame and shame first. We immediately think we're the problem rather than collecting data on what changed.
The trouble with thinking we're the problem is that it implies we're this fixed object. Like we don't change at all in every single moment. Sure, my remote control can be broken. But can a person be broken? Can we really throw away a person like a broken appliance?
Of course not. That's utterly ridiculous.
We're not fixed objects. So we can stop objectifying ourselves. Even if we did something that caused a result we didn't want yesterday, it doesn't mean we're doomed to repeat it forever.
We took an action. We got an undesirable result. We learned something and changed our behavior. And now we're different than we were yesterday.
Every scientist understands this. Because the process of learning is inherently transformative. Once we learn something, we are fundamentally changed. We've absorbed this lesson, and we are therefore different. We're always evolving.
So, sure, our action might not have given us a desired result. But we can't possibly by the problem. Because who we are today is already way different than who we were yesterday.
And our only job now is to treat life like a giant experiment. Collect data everywhere we go. Notice what changes compared to what's constant. Learn and be transformed by those lessons. And, ultimately, live more of our genius.
If you knew you were truly a genius, then your only job would be to experiment with what brings that genius out of its shell—what makes you truly come alive.
— Do you ever feel ashamed or upset with yourself because you didn't get the results you were looking for? Maybe your launch didn't fill up the way you expected, or your art didn't sell, or your date didn't go as planned.
— Do you ever completely give up on doing something because it didn't work out the way you wanted it to? Have you ever told yourself that you're a failure? Or felt exasperated, frustrated, and defeated?
— What if you saw yourself as a scientist and all of life as just one big experiment? What if you saw every result as just collecting data? What if you chose to do some things routinely—regardless of the day-to-day result—to have a constant to compare against? What if you chose to learn from and be transformed by every result—even if it defied your expectations?
Mike writes about how artists, entrepreneurs, healers, and visionaries of all kinds can actually build a life around the genius inside of them.
He's CEO of Mike Iamele LLC and Creator of Sacred Branding® and the Sacred Circle.
What's So Special About Visionaries?
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With works spanning all forms of contemporary popular media, one might consider Neil Gaiman a sort of literary Leonardo Da Vinci. In this Delve seminar, we'll sample from Gaiman's impressive portfolio of prose, comics, film, and new media, with particular emphasis on his work's literary, social, and political impacts upon the culture.
Trevor Dodge is the author of three collections of short fiction (He Always Still Tastes Like Dynamite, The Laws of Average, and Everyone I Know Lives On Roads), and a novella (Yellow #10). He teaches writing, literature, and comics studies at Clackamas Community College in Oregon City, as well as courses in games studies and new media in the CMDC program at Washington State University-Vancouver.


text:
Corbyn brands May's talk offer as a stunt in Hastings speech
Published: 4:12 PM January 17, 2019 Updated: 6:25 PM September 17, 2020
Labour leader Jeremy Corbyn speaking at St Marys in the Castle during a visit to Hastings in East Sussex. Photo: Gareth Fuller/PA Wire - Credit: PA
Jeremy Corbyn has attacked the prime minister's offer of cross-party talks in front of 200 applauding activists in Hastings.
The Labour leader branded the offer as a 'stunt', saying Theresa May had made no 'serious attempt to engage with the new reality that is needed' to force a Withdrawal Agreement through parliament.
Corbyn, who also told his supporters that a second referendum is still an option, said: 'Take no-deal off the table now please, prime minister.'
Reiterating the party's preference for a general election and Brexit deal on its terms including protections for workers and the environment, he said that if support for Labour's alternative is blocked for party advantage 'our duty will then be to look at other options,' including that of a public vote.
However, taking questions after his speech at the venue on Hastings' seafront, he left open the question of which side Labour would campaign on in a public vote.
'If a second referendum should take place, then obviously the party will decide what role we will play in that and what our view would be,' he said.
'But I can't really go along with the idea it should simply be a re-run of what happened in 2016. There has to be a discussion about the options that we put forward and we've put forward the three options that I've outlined.'
Corbyn is the only remaining Westminster party leader to not hold discussions with May, after she held out an olive branch across the Commons on Wednesday.
Speaking in the heart of the East Sussex constituency, which voted 55% in favour of Leave in 2016, he said: 'Last night's offer of talks with party leaders turned out to be simply a stunt, not the serious attempt to engage with the new reality that is needed.'
He added: 'I say to the prime minister again, I am quite happy to talk but the starting point for any talks about Brexit must be that the threat of a disastrous no-deal outcome is ruled out, taken off the table, and we can talk about the future of the plans that we will put forward and the future relationship with Europe.'
A reporter who asked Corbyn whether other Labour MPs were also barred from meeting May or other ministers was met with audible discontent from Labour activists.
A smiling John Mann, a Leave-supporting Labour MP and long-term critic of Corbyn, was spotted coming out of the Cabinet Office in Whitehall at around 12.20pm, an hour after the leader's speech.
Mr Corbyn said he had written to the prime minister on Thursday setting out his position.
He confirmed that Labour will table amendments to Monday's motion, putting forward its preferred solution of a customs union with a voice for the UK in future EU trade deals, a close single market relationship and protections for rights.
He held open the possibility of an extension of the Article 50 negotiation period, saying: 'Quite clearly, if no agreement has been reached within the time it could be implemented by the end of March, the issue of extending the exit date, extending Article 50, does come into play.
'Indications are that may well be the case.'


De Nichols, a local artist and community organizer behind "Sticky Note to Self" and a variety of other community-focused projects, joined St. Louis on the Air on Wednesday.
Every few days, Nichols posts doodles and words of reassurance from her day-to-day life on social media, which are in turn shared and commiserated over by followers. The notes have also been part of the "Taking it to the Streets" exhibition at the Kranzberg Arts Center earlier this spring.
The project started in April 2015 after she witnessed online trolling of Ferguson activists and organizers.
A recent example of a "Sticky Note to Self," by De Nichols.
The project has now expanded to include a video series and apparel.
Nichols is also involved in many other creative endeavors through her work as Creative Director at Civic Creatives, the founder of a communal dinner meetup known as FoodSpark and with her work on the board of Forward Through Ferguson.
In addition to that, Nichols was recently named a 2017/2018 Kennedy Center Citizen Artist Fellow. For that fellowship, she works with noted cellist Yo-Yo Ma to broaden the impact of citizen artistry in St. Louis and across the country.
On St. Louis on the Air, De Nichols, a St. Louis-based artist and activist, shares her "Sticky Note to Self" project along with other creative endeavors she's a part of to help build community and bridge divides in St. Louis.


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text:
Global Business|Poland's Currency Lifts Economy
Poland's Currency Lifts Economy
By JACK EWING DEC. 6, 2010
WARSAW — With its drab, Soviet-era boulevards and standard-issue glass-and-steel office buildings, Warsaw does not look much like green, elegant Dublin. But there are some striking similarities between Poland today and Ireland in the 1990s.
Like the Irish a couple of decades ago, the Poles are a hardy people battered by history but on the verge of prosperity. Foreign capital is pouring in and investment banks are opening offices, lured by resilient growth and 38.5 million people who are close to shedding the "emerging market" label.
And Poland now, like Ireland then, has its own currency. Being outside the euro zone is working to Poland's economic advantage.
That is not the only reason Poland is currently that rare species: a financially vibrant member of the European Union. But it is to Poland's benefit not to be bound by a common currency, at a time when euro zone countries like Ireland will have trouble using cheap exports to grow their way out of trouble.
While Poland remains determined to eventually adopt the common currency, Prime Minister Donald Tusk said Monday in Berlin, the country does not plan to "force the pace," Bloomberg News reported.
One of the big lessons of the European debt crisis, Polish leaders say, is that countries should not adopt the euro until their economies and labor markets are flexible enough to compensate for the loss of control over exchange rates.
The country will not meet the technical requirements for euro membership until 2015 at the earliest, and policy makers do not sound as though they are in a big hurry to join.
"If you analyze the advantages and disadvantages of euro membership, there are more advantages," Aleksander Grad, the Polish treasury minister, said in a recent interview here. Advantages include eliminating the foreign-exchange risk with nearby trading partners.
But during the global economic crisis, Mr. Grad acknowledged, "Certainly the fact that the zloty could be adjusted helped us."
The floating zloty, which has fallen about 18 percent against the euro since early 2009, acted as a pressure release valve, helping to keep Polish products competitive on world markets and insulating Poland from the effects of the sovereign debt crisis.
Poland has proved itself to be Europe's most dogged economy during the last two years. It was the only member of the European Union to avoid recession, soldiering on even after a plane crash in April killed much of the political elite, including the president and the central bank governor. No banks needed to be rescued.
"I wouldn't say the crisis helped us," said Ludwik Sobolewski, president of the Warsaw Stock Exchange. "But the fact we proved relatively resistant to pressure enhanced the reputation of our markets."
A new subway line in Warsaw is among the public works projects, including roads and bridges, that attest to Poland's resiliency. Credit Adam Lach for Internationale Herald Tribune
There are important differences, of course. For one, Poland is far larger than Ireland, which has over four million people. And Poland's nearly miraculous economic performance during the global financial crisis was because of a combination of skill and luck. The government pumped stimulus money into the economy during 2009, and took advantage of an International Monetary Fund credit line that reassured investors.
But Poland was also lucky that, in contrast to Ireland, its banking industry was still small compared with the total size of the economy, with less potential to do damage. Household debt is relatively modest. Poland also benefited from the strong economy in neighboring Germany, which accounts for a quarter of exports.
Output is expected to rise 4 percent or more in 2011, after an estimated 3.6 percent this year. Commercial real estate prices in Warsaw are rising at a 10 percent annual clip. Foreign direct investment is expected to be up 28 percent this year, drawn by the country's status as one of the few growth stories in Europe. And hardly anybody is complaining about the influx of foreign money.
"That's the least of our worries," Mr. Grad said, laughing. "We are really happy to have this foreign investment."
Still, government borrowing is higher than would seem healthy. The deficit is expected to hit 7.6 percent of gross domestic product this year, pushing total debt uncomfortably close to limits under Polish law that would require the government to make drastic spending cuts.
And the economy still has some underlying problems. Poland ranks 70th out of 183 countries for ease of doing business, according to the World Bank. Executives blame the poor rating on an excessive government bureaucracy that hinders the creation of new business, holds back job creation and ultimately hurts Polish competitiveness.
"Everybody is very happy and very proud that Poland was a green island during the crisis," said Lucyna Stanczak, the Warsaw-based director for Poland at the European Bank for Reconstruction and Development. But "the big issue is structural reforms and fiscal stability. It doesn't seem that there is very consistent action."
Jaroslaw Kochaniak, the deputy mayor of Warsaw, put it more bluntly. "We have to do everything we can to avoid the P.I.G.S. virus," he said, referring to Portugal, Ireland, Greece and Spain and their failure to use years of cheap credit and fast growth to create durable economies. Mr. Kochaniak was speaking at a conference in Warsaw last week sponsored in part by The International Herald Tribune.
One risk for Poland is that some of its growth is based on an influx of European Union aid and other one-time factors, like the construction of new stadiums and other projects related to the European soccer championship, which Poland and Ukraine will co-host in 2012. The country is practically one big construction site, with numerous road and bridge projects and public works, including a new subway line in Warsaw.
If those projects are done well and make the economy more productive, they will contribute to growth. If not, there could be a slowdown when the flow of money ebbs.
Nor can Poland completely isolate itself from problems in the euro zone. It would be vulnerable to an unexpected slowdown in Germany.
"Poland is not able to fully decouple from the European cycle," said Gyorgy Kovacs, an economist at UBS in London who focuses on Eastern Europe. "If we see European countries going to another significant slowdown, Poland would be affected."
Polish leaders insist that they have learned from Ireland's experience, and will not repeat it, vowing to keep economic exuberance in check to avoid the hangover that Ireland is now suffering. "In good times we don't have to take the punch bowl away," Jacek Rostowski, the Polish finance minister, told an audience in Warsaw last week. "Because it will never come out of the pantry."
A version of this article appears in print on December 7, 2010, on Page B3 of the New York edition with the headline: Poland's Currency Lifts Economy, Despite the Frailties of the Euro Zone. Order Reprints| Today's Paper|Subscribe