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Free Association is a platform for workshops, public programming and publishing through the expanded fields of fiction, poetry, critical theory, philosophy, art and art criticism.
Founder, Programming and Development: Anita Spooner
Producer: Chantelle Mitchell
Media and Communications: Jordana Bragg
Adviser: Josephine Mead
Resident Astrologer and Fantasy Worker: Angelita Biscotti
Designer: Alex Margetic
Web developer: Xavier Connelly
hello@freeassociation.com.au
We acknowledge the custodians of the land on which we work, the Wurundjeri people of the Kulin Nation, and pay respect to their Elders, past, present and emerging.
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6	 Intrusive Thoughts: The internal monologue of a stressed singularity
7	 Under Queer Stars: Life Writing with Astrology
5	 Making Mobiles: A Gif-Making Poetry Workshop
4	 Otherwise Possibilities: A Critical Art Writing Workshop
3	 Poetry of the Personal and Political: A First Nations Writing Program
2	 Time, After Time: A Reenactment Workshop
1	 The Two-Headed Bird: A Surrealist Writing Workshop
Family, ancestry, sexuality and class origins are complex inheritances we didn't ask for. How might we reappropriate the concept of destiny to land fully in our bodies and selves, as creatures of stardust thrown into consciousness and time?
Under Queer Stars introduces Angelita Biscotti's queer anti-capitalist engagement with birth chart astrology, embracing humour and hope to consider how we might speak to ourselves about ourselves with compassion and curiosity.
This workshop will consider the counselling, research, and teaching praxis of queer BIPOC healers in the Pluto in Scorpio and Sagittarius generations, alongside theory and method inspired by Hellenistic and psychological astrology. Participants will study astrology of love, sex, and queer relating as well as astrology of family and ancestry. We will read and discuss emerging classics, such as the work of Alice Sparkly Kat,Tabitha Prado-Richardson and others, as we work through the natal promise of our birth charts.
Participants are invited to use their findings as prompts for poetry, prose or visual art in response to their charts, to be considered for publication on Free Association's website. These creations will also be developed for Rogue Planet, a night of readings and performance under the stars, forthcoming in summer 2021.
Supported by Siteworks and Moreland City Council Making Space Program.
Working on unceded Boon Wurrung Country, Angelita Biscotti is a non-binary feminine astrologer, writer, artist and teacher of Spanish-Filipinx descent. Her client practice and astrological writing is inspired by Hellenistic, psychological, and evolutionary astrology approaches. She has been published in Overland, Cordite Poetry Review, Archer, Djed Press, Peril, ABC Life, The Lifted Brow, Critical Military Studies, and elsewhere. Her previous teaching experience includes an erotic poetry workshop at Writers Victoria in 2021 and sessional academic teaching at La Trobe University and the Ateneo de Manila University. She is the current recipient of a scholarship and mentorship with the international Association for Astrological Networking (AFAN). Her chart is dominated by the fire sign Leo, ruled by an 8th house Earth sun.
The themes of her work are unconventional intimacies, anti-racist beauty ideals, and queer hope. She is most accessible through her website and Instagram @angelita.biscotti
Workshop 1: Monday June 14th, 6-8PM
Workshop 2: Monday June 21st, 6-8PM
Applicants must be available to attend all three workshops to participate.
Midnight, June 11, 2021.
Techno-futurists believe "The Singularity"—when human and artificial intelligence combines to form a world-spanning super-intelligence—is the inevitable next step in the evolution of life on Earth; but what happens when the worldwide super-mind starts spiralling? And what if the singularity is already here and it's literally just obsessing over whether we've all bought toilet paper this week?
This series of workshops will introduce attendees to the thought of John C. Lilley, Ray Kurzweil, and other outsiders and futurists, whom we will read through the work of Jacques Lacan and Sigmund Freud. After establishing a theoretical grounding we will use state-of-the-art machine learning algorithms, and a set of especially adapted writing exercises, to learn to listen—to ourselves and to the algorithm—so that we might predict what comes next. What will it be like when the internet scrolls us? Get ready to see Siri stress the fuck out!
Writing and technology enthusiasts are encouraged to apply.
Application deadline: 12PM, Wednesday, 3 November, 2021
Supported by Darebin City Council.
Sam Lieblich is a Melbourne-based artist investigating networked and algorithmic forms. His work explores the orientation/disorientation of the subject in the other, and the manifestations of the human-algorithm hybrid into which human beings are now subsumed. These digital works combine machine learning algorithms with custom code to foreground systems design and—by finding beauty and intention in the system—try to re-situate human desire in the algorithm.
Workshop 4 (Gulumoerrgin/Darwin): 07/11/21 1PM – 4:30PM
*In-person workshop at Coconut Studios
Applicants will be notified by 6PM Wednesday, 3 November, 2021
Think of a mobile: suspended and unsettled, an ending is a beginning. Digital poetry operates like a mobile, a mobile moves like a gif. When we write digital poetry, we are are constructing something that moves across the screen. We want it to loop back over itself, to spin in circles, to end up where it started. Digital poetry is a mobile is a gif.
Making Mobiles is a two-hour gif-making workshop that suspends and loops digital poems. The workshop will equip participants with the skills to bridge poetry and the moving image. The first hour will consist of a presentation on digital mediums, design basics, how to make a gif, and implementing poetry into the moving image. The second hour will put the presentation into practice, asking participants to turn a pre-written poem into a looped gif.
We will present these gif poems across a digital exhibition, inviting you into a room full of mobiles.
Poets from any state or territory in Australia are encouraged to apply.
Application deadline: Midnight, Sunday August 9, 2020
Supported by the City of Melbourne COVID-19 Arts Grants.
Lujayn Hourani is a digital writer, editor and arts worker based in Naarm. Their practice focuses heavily on digital literature – writing it, editing it, and talking about it. Their digital writing has appeared in Meanjin, Overland, The Lifted Brow, Voiceworks, Emerging Writers Festival and Going Down Swinging, among others. They are Online Editor at Voiceworks, work at Next Wave and were previous Online Editor at The Lifted Brow.
16/8/2020 2-4PM
This workshop will consider the role of critical art writing in the broader political project of imagining the world otherwise. The workshop understands 'art' in its most expanded sense, encompassing both cultural texts and the aesthetic dimension of political experience and subjectivity. Taking Ashon Crawley's phrase 'otherwise possibilities' as a departure point, the three sessions will engage in close readings of recent criticism that reads alongside or through a work of art in order to think about how to transform ways of seeing, being, organising, and resisting.
The sessions will focus on the how political subjectivity is shaped (by race, class, gender, sexuality, nationality, (dis)ability; by access to or distance from networks of care; vulnerability to or protection from the law) and how art is one way of studying the affects and effects associated with becoming a political subject. Close readings will be accompanied by writing exercises that explore different registers and styles and that consider how critical writing can be particularly responsive to the world moment we find ourselves in. The first session will focus on 'reading' as an expanded practice that informs writing; the second session will examine 'writing' and the process through which an argument emerges through the act of drafting; the final session will look at 'editing' and how to edit both one's own and other people's writing. Examples of readings include work by Fred Moten, Saidiya Hartman, Evelyn Araluen, Helen Hughes, Andrew Brooks, and Kay Gabriel.
Writers from any state or territory in Australia are encouraged to apply.
Application deadline: Midnight, Sunday August 2, 2020.
Astrid Lorange is a writer, artist, and editor who lives and works on unceded Wangal land. She lectures in contemporary theory at UNSW Art & Design. She is one-half of the critical art collective Snack Syndicate and a member of the publishing collective Rosa Press. Her research examines reading as a critical generative practice that offers transformative possibilities for (re)thinking everyday life. In her scholarly and creative work, she analyses modern and contemporary literature and art, and the relationship between cultural texts and social and political structures (gender and sexuality; settler-colonialism and the nation-state; legal and economic systems; infrastructure; labour). Recent publications include Labour and Other Poems (Cordite Books, 2020) and Homework (forthcoming from Discipline).
Applicants must be available to attend all three workshops.
In a time marked by rage and mourning over recent tragic deaths and ongoing police and state violence against Black and Indigenous people both at home and abroad, this is a writing program for Indigenous poets of Naarm to take stock and respond through the activism of poetry. It is a time for the language of immediacy and urgency; a time to ask: If not now – then when? And, if not you – then who?
The dawn is at hand – Oodgeroo Noonuccal
Three writing workshops will study historical and contemporary examples of poetry of protest and activism ranging from the personal (activism on the home-front, body politics, black bodies, queer bodies and their intersections) to big picture public activism and protest. The curriculum will cover the radical writing of Oodgeroo Noonuccal, Lionel Fogarty, Romaine Moreton, Jack Davis as well as contemporary poets Ellen van Neerven, Alison Whittaker, Evelyn Araleun, Samuel Wagan Watson and more. In this violent rupture we will draw connections across space and time through a reckoning of history; and deconstruction of the colonial mythscape of peaceful settlement and the united nation through the dismantling of colonial relics and a harbouring of future refusals and resistance. From the storytellers and song-makers of ancestry to contemporary protest language, we will look at how activist poetry is deeply localised, personal and highly political, at once.
Twelve First Nations writers will be paid $300 fees to develop a piece of poetry for digital publication on BLINDSIDE and Free Association's websites.
The program:
Three poetry workshops led by Jeanine Leane covering theory, discussion and practical workshopping
A meeting with a Wurundjeri Elder
An online residency with BLINDSIDE from 22 July – 8 August with editorial support from Jeanine Leane
An online presentation of readings and work in development
This program will take place on the land of the Wurundjeri people of the Kulin Nation. We recognise that sovereignty was never ceded – this land is stolen land. We pay respects to Wurundjeri Elders, past, present and emerging, to the Elders from other communities and to any other Aboriginal or Torres Strait Islanders who might encounter or participate in the program.
First Nations writers and artists from any state or territory are encouraged to apply.
Co-presented by Free Association and BLINDSIDE
The annual BLINDSIDE First Nations Project is supported by the Victorian Government through the City of Melbourne through their Triennial Grants Program. This project is proudly supported by Creative Victoria, the City of Melbourne COVID-19 Arts Grants and Darebin City Council.
Jeanine Leane is a Wiradjuri writer, poet, essayist and academic from southwest New South Wales. Her poetry, short stories and essays have been published in Hecate: An Interdisciplinary Journal of Women's Liberation, The Journal for the Association European Studies of Australia, Australian Poetry Journal, Antipodes, Sydney Review of Books, Best Australian Poems, Overland and the Australian Book Review. Jeanine has published widely in the area of Aboriginal literature, poetry, writing otherness and creative non-fiction. Her research interests concern the political nature of literary representation, cultural appropriation of minority voices and stories and writing identity and difference.
Monday July 20, 6-8pm
Monday August 3, 6-8pm
All workshops will be held via Zoom
Online Residency: July 22 – August 8
Time, After Time: A Reenactment Workshop is a free series of lectures, discussions and practical workshops presented by Camila Galaz. Workshop participants will develop new reperformance works to present as part of Channels Festival, the International Biennial of Video Art. Open to emerging artists, writers and filmmakers, participants will consider how reperformance of historical events and reproductions of archival documents can be used to address ideas of cultural memory, inherited trauma, and the complexities of truth-telling.
Exploring the techniques and ethics of moving from the archival to the contemporary, the course will examine the theoretical landscape of historical reperformance, discuss works by video and installation artists such as Renata Poljak, Silvia Kolbowski, Yoshua Okón, and Petrit Halilaj, and develop new reperformance works for public presentation.
Camila Galaz is a visual artist whose practice uses video, drawing, and installation to explore intimate connections to history and resistance. Recent exhibitions include you are the magnet and I am the metal (slowly magnitizdat', C3 Art Space (2018), Reparar Means to Repair, Blindside (2018); and You Transform Everything into a Boat, Kings Artist Run (2017). In 2018 she presented online projects with Sister Gallery and The Digital Writers' Festival. She is the recipient of the 2018 MECCA M-Power Scholarship from the National Gallery of Victoria and the 2019-2020 Australia Council EMPAC New York Residency. In 2019 she presented a Writing & Concepts lecture at the NGV entitled Questioning Existence with the Subjunctive (Spanish Demystified). She is also a founding member of the performance art collective The Band Presents (TBP), and co-ran the TBPHQ Art Space in Docklands, Melbourne from 2017-19.
Schoolhouse Studios 81 Rupert St, Collingwood, VIC 3067
5/8/2019 6-8PM
Applicants must be available to attend all three workshops and participate in the public program on Friday September 13, 6-8PM.
The Two-Headed Bird: A Surrealist Writing Workshop seeks to unearth the creative potential of the unconscious for the purpose of composition and publication. Presented by Manisha Anjali, the course consists of a series of lectures, discussions and practical exercises on dream work, automatic writing, psychoanalysis and mythology. Students will examine existing surrealist works like William Blake's nightmarish visions, blues folklore, Yoko Ono's instructional pieces, Alejandro Jodorowsky's cinematic lucid dreams and the spiritual revolt of Butoh: a surrealist way to move.
Dream control, psychic automatism and cut-up are tools of illumination. By extracting narratives from the unconscious mind, students will not only be able to maintain a continuous state of inspiration but also evade psychological traps that inhibit creativity like writer's block, self-criticism and creative boundaries established by traditional forms of composition and editing.
Manisha Anjali is a writer and artist. Her practice is rooted in the language of dreams and exile. Manisha is the author of Electric Lotus (Incendium Radical Library Press, 2019). She has been a recipient of BLINDSIDE's Regional Arts & Research Residency, a Writer-in-Residence at Incendium Radical Library and a Hot Desk Fellow at The Wheeler Centre. Manisha is the producer of Neptune, an archive of dreams, hallucinations and visions.
Breath Poetics
Presented by Chantelle Mitchell with readings and performance by Amaara Raheem, Eva Birch and Indiah Money, alongside calligraphy and embroidery tutorials by Angie Pai and family.
Breath Poetics introduces projectvisim as a poetics of embodiment - as a tool for writing the body through the materiality of text. Projective poetry traditions emerged from the Black Mountain School, and were inscribed by Charles Olson in his pamphlet 'Projective Verse' from 1951. This public program introduces Projective Verse traditions and practices, and explores the significance of text and language as a poetics of breath, as 'a high-energy construct and an energy discharge' and in presenting methodologies to consider and untangle the relation of body to language, and the relation of language to the page.
Programmed alongside 'I will never run out of lies nor love', curated by Nanette Orly and Sebastian Henry-Jones, with works from Manisha Anjali, Natasha Matila-Smith, EJ Son, Rosie Isaac, Angie Pai. July 10 – August 3, 2019 at Bus Projects.
Thursday August 1, 6-7:30
Bus Projects 25-31 Rotherby Street Collingwood VIC 3066
Time, After Time
Time, After Time: A Reenactment Workshop, was a workshop series developed and run by myself (Camila Galaz) at School House Studios through Free Association for Channels Festival. Selected through an EOI process, the participants were: Emanuel Rodriguez-Chaves, Indiah Money, Kate Stodart, Sumarlinah Raden Winoto, Sean Miles, Kate O'Boyle, Sha Sarwari, and Georgia Kartas.
Reenactment is often spoken of as a revisiting of history to understand the past through the present. But within contemporary art sometimes reenactment is an aim, sometimes a tool, and sometimes an element within a larger work. For this workshop, I proposed reperformance as a framework – as a way of approaching the creation of art that looks to use or respond to histories, archives, and other source materials. We looked at examples of works, mostly video and installation-based by Renata Poljak, Sylvia Kolbowski, Petrit Halilaj, Carlos Motta, Yoshua Okon, Rod Dickinson, and Alfredo Jaar among others.
Reenactment allows us access to a range of thought processes around meaning, ethics, and personhood, which are essential when creating works that use history and archive. History is always mediated – through archives, oral histories, technology, official history, books, photographs, and cultural memory. Reperformance allows us to look to and dissect the histories and stories these recount, but also to interrogate the conditions of the source material itself – the mediums and contexts through which we view and access history. Because no matter what we do, source material will always contain its conditions embedded within it. It is not objective. This can be seen in specific source material, but also in archival practices themselves.
In addition to this, we also looked at issues of truth. It is difficult to decipher what is actually true in a world where technology and the mass media is filtering much of the information that we receive, and where collective memory is mediated through the state, but also through pop culture. Many works that use reenactment use it to highlight or pull apart the layers of mediation that are entangled into our knowledge and perception of history and information in general. These works problematise historical truth – reconsidering what was presented as truth, the forces in play that shaped it, and the purpose of the presentation of that evidence.
A key component of effective and ethical reperformance is a strong justification for the use of a particular source. It is not something to be used flippantly and it's important that we analyse our motivations in working in this way. These works often link into histories and tell stories that may become part of the narrative itself. Through our discussions in the workshops, we looked to think beyond ourselves – to the past, and to the future that might be influenced or represented by the works.
These are difficult things to work through, and I think once through it, that a conclusion against reperformance is sometimes a necessity. To this I offered the relative safe haven of responsive work, rather than reperformative. A breaking apart of the script, and an abstracting from the original. In these cases, reperformance is a tool and a stepping stone to work through complexities and consider the connections and power dynamics at play.
As artists we are not necessarily coming to conclusions or to a particular point, but displacing and recontextualising, a Deluezian unfolding of the singular to speak to the multitude. But within this, the most important element is self-awareness and being flexible enough to make adjustments to our practices as we go along. To borrow from Cyndi Lauper: Caught up in circles, confusion is nothing new.
There are many types of artworks and artists that use reperformance. They can be grouped through this medium, however, conceptually can be disparate in method and intention. Each of our participants came with their own source material. Some of these are highly personal, familial stories, while others are connected to topics and histories of relevance to the themes of the participants' practices. Some participants were finding new directions for themselves, and others were delving deeper into projects already underway.
Working in this way takes time. Time to unpack and repack, but also to give thought to ethical considerations. I would also add, from my own experience, often the creation of highly personal work that may be connected to your family, runs in parallel to the hard work of unpacking this emotionally and sometimes physically within your life. All of these works are smaller components to larger research and studio based projects; works within themselves, but also gestures towards broader ideas. A bringing back of previous occurrences into our minds, to analyse them in new contexts.
The works-in-progress were shown at a public presentation on Friday September 13, 2019 at School House Studios. They took the form of videos and durational performances that were presented simultaneously.
Emanuel Rodriguez-Chaves, 1 de Julio, 1981
What can we do to represent an action, an event, a person, when there are not enough images found? How can art deal with this issue without being didactic, thus, losing agency? Are images empty containers waiting to be filled? This work tries to work within an intricate frame of issues around political violence, ethics, the use of archives, and the role of art.
Indiah Money, Soft Hands, Can't Remember
This piece is calling to Money's Wiradjuri grandmother, Dorothy. Dorothy Williams was a member of the Stolen Generation. There weren't many possessions or photographs of hers handed down to her son, Money's father. In these works Money performs lost images of Dorothy to embody her memory.
Sumarlinah Raden Winoto, the little mermaid
with music by Lera Auerbach
a study of Die Klein's Meerjungfrau by John Neumeier (2005) on fluidity of bodies. a re-enactment of Neumeiers choreography as a practice of self love and acceptance in a non-binary body.
Georgia Kartas, Card Games
Georgia Kartas will excavate her great-grandfather's journals by listening through the ears of his daughter, and her grandmother, Γεωργία Κάρτα. Born in Russia in 1893, he went to school with Stalin, and brought his father's bones back to Greece when forced to flee on foot. Γεωργία never knew her own birthday, and hid her personal past when she married. This history is pockmarked with half-truths, twisted facts, and contradictory information. So the work is absorbed through sound alone, in the original tongue, because it is not a riddles to be solved, but a sense of history to be felt.
Sean Miles, Ngāti-Raukawa, Ngāti-Ahuru, Balls were wasted on you
The term takatāpui, in modern Te Ao Māori, is a way of identifying that relieves us from the colonial binaries of gender and sexuality that have been imposed on our bodies and ways of being by white Western culture. Jane Campion's 1993 film The Piano is a pakeha love story set in 1850s Aotearoa and features some Māori characters in the background of the films main narrative. My source material for this re-performance is Mika X Haka's brief background cameo as an apparent takatāpui in this film. To me, Mika's enactment is their way on connecting to our takatāpui ancestors. By re-performing Mika's pose and movements, I hope the connect to this trajectory of takatāpui whakapapa, whilst simultaneously pulling takatāpui portrayals from the background to centre focus.
Kate O'Boyle, Part 1: Extracting the extractor
This work sees the artist performing alongside a piece of excavated Carrara marble. Removed during renovations to a religious site in Naarm (Melbourne), the large slab was cut into 30 kg pieces for human transportation. Attempting to extract an excavation bolt from the dense stone, Kate considers the use of marble in religious ritual and institutional authority. The first step in a journey which will see Kate take the scarred marble block back to Italy at the end of this year, this performance is an initial meeting of bodies and an attempt not at undoing, but locating human intervention and material agency.
Sha Sarwari, From Me, To You
Next year will mark the 20th year since my arrival to Australia. My imagination is still trapped in the past, my experience in detention centre, through the fierce political and social discourse surrounding refugees. From Me, To You is slight accounts of fragmented memory that reflect the mood of detainees and the time spent I in the detention centre in the year 2000 on the wake of the new millennium.
Kate Stodard, specimen
Stodart's performance considers the dehumanising language used in mental illness diagnostic and treatment processes.
Camila Galaz is a visual artist whose practice uses video, drawing, and installation to explore intimate connections to history and collective memory. Recent exhibitions in Melbourne include c3 Contemporary Art Space, BLINDSIDE, Seventh Gallery, and KINGS Artist-Run. In 2018 she presented online projects with Sister Gallery and The Digital Writers' Festival. Galaz is the recipient of the 2018 MECCA M-Power Mentoring Scholarship from the National Gallery of Victoria and the 2019-2020 Australia Council EMPAC New York Residency. She is also a founding member of the performance art collective 'The Band Presents' (TBP), and co-ran the TBPHQ Art Space in Docklands, Melbourne from 2017-19.
We acknowledge the custodians of the land on which these workshops took place, the Wurundjeri people of the Kulin Nation, and pay respect to their Elders, past, present and emerging.


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\section{Introduction}

Under the influence of gravity, the initially-small fluctuations in the primordial density field grow to become the hierarchical and nonlinear structures observed today. We can study the late-time clustering of matter by evolving a density field described by an initial power spectrum and comparing the simulated structures to observed galaxies in a statistical way. However, if we were able to undo the smearing effects of nonlinear evolution and reverse the formation of structure, we would be able to reconstruct the primordial power spectrum from an observed distribution of galaxies.
Many reconstruction methods have been developed~\citep{ham91,wei92,pea94,pea96,fri02,bre03,moh06}, from simple linear reconstruction to more complex methods, with varying degrees of success (see~\citep{nar99} for a comparative review).
For example, Monge-Amp\`{e}re-Kantorovitch (MAK) reconstruction \citep{fri02,bre03,moh06} was successfully able to reproduce the observed velocity field of the Local Group~\citep{lav10}.
A reconstruction method that uses the linear Zel'dovich approximation of the Lagrangian displacement has also been proposed to enhance the measurement of baryon acoustic oscillations~\citep[BAOs;][]{eisrec,noh09,pad09,whi10,meh11}. The displacement field is a crucial quantity in most of these methods, and is of interest in its own right.

There is reason to believe that a logarithmic transformation of the density field may aid estimation of the displacement field.
The mass distribution has been successfully described by a lognormal field that evolved from Gaussian initial conditions \citep{coles91}, with some evidence for a skewed lognormal field in the nonlinear regime \citep{col94}. More recently, it has been found that the power spectrum of the log-transformed density field contains more Fisher information than the usual power spectrum at small scales by up to a factor of $\sim$10 \citep{ney09}. A modified logarithmic transform has also been shown to increase the precision of the power spectrum of the nonlinear weak lensing convergence field \citep{seo10}. The log-transformed density field is also more effective in constraining cosmological parameters than the standard density field when using the power spectrum~\citep{ney11}.

This paper investigates the effect of a logarithmic transform of the density field on the relation between the density and displacement fields. We do this by measuring the divergence of the displacement field, which in linear theory is proportional to the negative density contrast $\delta$, using both Eulerian and Lagrangian techniques in a cosmological $N$-body simulation. We compare the linear and logarithmic approaches and evaluate their dependence on redshift and smoothing scale, both of which affect the applicability of linear theory. The linear and logarithmic approximations for the displacement field are derived in Section~\ref{sec:reconstruction}, and three methods of measuring the divergence of the displacement field and the density field are presented in Section~\ref{sec:results}. Concluding remarks are given in Section~\ref{sec:conclusion}.

\section{Theory}
\label{sec:reconstruction}

In this section, we compare the linear approximation of the continuity equation to a logarithmic approximation. The large-scale dynamical evolution of structure is described by the Zel'dovich approximation \citep{zel70},
\begin{equation}
\mathbf{x} = \mathbf{q} + \mathbf{\Psi} = \mathbf{q} - D\,\nabla\mathbf{\Phi},
\end{equation}
where ${\bf x}$ is the comoving Eulerian coordinate, ${\bf q}$ the Lagrangian coordinate, $\mathbf{\Psi}$ the displacement, $D$ the linear growth function, and $\mathbf{\Phi}$ the gravitational potential. The linear Poisson equation relates the density contrast, $\delta = (\rho - \bar{\rho})/\bar{\rho}$, to the gravitational potential by $\delta = D\,\nabla^2\mathbf{\Phi}$, thus the divergence of the linear Zel'dovich displacement can be related to the density contrast:
\begin{equation}
\label{eqn:divdel}
\nabla\cdot\,\mathbf{\Psi} = -\delta.
\end{equation}
The time derivative of the Zel'dovich approximation in expanding coordinates (${\bf r} = a{\bf x}$, where ${\bf r}$ is the physical coordinate) allows us to relate this expression to the continuity equation. We first note that the derivative consists of two components, $\dot{\bf r} = \dot{a}{\bf x} + a\dot{\bf x}$, where the first component describes the rate of expansion and the second the peculiar velocity of galaxies (or mass particles): ${\bf v} = a\dot{\bf x} = a\dot\mathbf{\Psi}$. The continuity equation can be written as~\citep[see, e.g.,][p 48]{pee80}
\begin{equation}
\label{eqn:continuity}
\frac{\partial\left(1+\delta\right)}{\partial t} + \frac{1}{a}\nabla\cdot[\left(1 + \delta\right){\bf v}] = 0.
\end{equation}
To first in $\delta$ order this becomes
\begin{equation}
\frac{\partial\delta}{\partial t} + \frac{1}{a}\nabla\cdot\,{\bf v} = 0,
\end{equation}
thus we have $\dot\delta = -\nabla\cdot\,\dot\mathbf{\Psi}$ and have recovered Equation~\ref{eqn:divdel}.

The continuity equation (Eqn.~\ref{eqn:continuity}) may also be simplified by keeping the $(1+\delta)$ together, resulting in a logarithmic derivative of $(1+\delta)$:
\begin{equation}
\frac{1}{\left(1+\delta\right)}\frac{\partial\left(1+\delta\right)}{\partial t} + \frac{1}{a}\nabla\cdot\,{\bf v} = 0.
\end{equation}
This gives a logarithmic expression for the divergence of the Lagrangian displacement,
\begin{equation}
\label{eqn:divlnd}
\nabla\cdot\,\mathbf{\Psi} = - \ln\left(1 + \delta\right)+C,
\end{equation}
where the $C$ term appears because $\ln(1+\delta)$ is not a zero-mean-field, so we must take into account a non-zero integration constant. We find that this constant is well-approximated by the rather natural value of $\langle\ln(1+\delta)\rangle$. We now may compare the linear relation, given by Eqn.~\ref{eqn:divdel}, to the logarithmic relation, given by Eqn.~\ref{eqn:divlnd}.

\section{Results}
\label{sec:results}

We measure the density field and $\nabla\cdot\mathbf{\Psi}$ in a 200~h$^{-1}$Mpc, $256^3$ particle Gadget~\citep{spr01} cold dark matter simulation with standard $\Lambda$CDM cosmology ($\Omega_M = 0.3, \Omega_\Lambda = 0.7, h = 0.7$). We use three different methods: a grid-based Cloud-In-Cell (CIC) smoothing plus a Fourier-space estimation of the divergence (Section~\ref{sec:cic}); an adaptive smoothing using a Smoothed Particle Hydrodynamics (SPH) kernel, combined with a Fourier-space divergence calculation (Section~\ref{sec:sph}); and a geometrical Delaunay tessellation estimation of both the density and the divergence (Section~\ref{sec:dtfe}).

We find that each of these methods achieves differing degrees of success based on the nature of the length-scales involved: the CIC method is an Eulerian, mass-weighted scheme; the Delaunay tessellation is a Lagrangian, volume-weighted scheme; and the adaptive mesh method is a hybrid, featuring a Lagrangian kernel with interpolation onto an Eulerian grid. We discuss each in turn below.

\subsection{Cloud-In-Cell and FFT}
\label{sec:cic}

The CIC method smooths an arbitrary distribution of particles onto a regularly-spaced grid by placing a ``cloud'' having the volume of a grid cell around each particle, so that a particle contributes to the average of multiple nearby cells based on the fraction of its volume contained in these cells. Using this weighting scheme, we calculate the density and displacement fields in real space for both $64^3$ and $128^3$ cells, where the displacement $\mathbf{\Psi}$ is the final ($z=0$) minus initial ($z=49$) particle positions. In the case of $128^3$ cells at $z=0$, there is only one cell containing zero particles; we set its value to the average value in the surrounding cells. To avoid cells with zero particles, this is the finest grid we use, given the resolution of the simulation.
The divergence of the displacement can then easily be calculated in Fourier space, where the derivatives become simple multiples of $k$.

We note here that BAO reconstruction methods also calculate the linear Zel'dovich displacement in Fourier space, which they multiply by a smoothing function $S(k)$: $\mathbf{\Psi}_{k,\rm{lin}} = i\,{\bf k}\,\delta_k\,S(k)/k^2$; for example, a Gaussian smoothing function would take the form $S(k) = e^{-k^2R^2/2}$. We do not apply an extra smoothing function in Fourier space, but note that the size of the grid cells gives the effective smoothing length of the both the density and displacement fields. In our simulations, a $64^3$ cell grid has a length of 3.1~h$^{-1}$Mpc and a $128^3$ cell grid has length 1.6~h$^{-1}$Mpc, while the reconstruction methods have $R$ = 5, 10, and 20~h$^{-1}$Mpc, with $R$=10~h$^{-1}$Mpc performing the best \citep{eisrec,noh09}.

In Figure~\ref{fig:divcic4z} we show a two-dimensional histogram of $\nabla\cdot\mathbf{\Psi}$ versus $\delta$ and $\ln(1+\delta)$ at four different redshifts, for a cell size of 1.6 h$^{-1}$Mpc and with a slope of -1 plotted for reference. The color scale is logarithmic so that the outlying cells can be seen, though the furthest outliers (especially at low-$z$) extend beyond the range of the plot. At $z=7$, the nonlinear clustering of matter has only begun for the initially highest-density peaks, so both the linear and logarithmic relations have slopes near -1 and are very tight. At $z=3$ there is more scatter, and the linear relation begins to deviate very slightly from a slope of -1 for the majority of cells (shown in black in the plot) and to develop a high $\delta$ tail. This trend continues at $z=1$, with increased scatter in both the logarithmic and linear relations, and with the linear relation deviating from a slope of -1. Finally, by $z=0$ the linear relation deviates drastically from a slope of -1 while the logarithmic relation does very well, though with much scatter.

\begin{figure}[tb]
\centering
\includegraphics[scale=0.34]{divcic_4z.png}
\caption{The divergence of the Lagrangian displacement as a function of $\delta$ (left) and $\ln\left(1+\delta\right)$ (right), calculated using CIC smoothing for a cell size of 1.6 h$^{-1}$Mpc at 4 different redshifts. A slope of -1 through the origin is plotted for reference. The color scale is logarithmic and gives the number of CIC cells in each histogram bin.\label{fig:divcic4z}}
\end{figure}

It is not unexpected that the linear relation does not hold, since 1.6~h$^{-1}$Mpc is by no means in the linear regime, but the fact that the logarithmic relation holds so well echoes the results of \citet{ney09} and others that the logarithmic transform of the density field increases the information content of the matter power spectrum in the weakly nonlinear regime.
When the CIC cell size is increased to 12.5~h$^{-1}$Mpc, both the linear and logarithmic relations become very tight, though the logarithmic approximation continues to do slightly better.
Figure~\ref{fig:divz0} is the same as Figure~\ref{fig:divcic4z} but at $z=0$, showing the CIC method for cell sizes of 1.6 h$^{-1}$Mpc and 12.5~h$^{-1}$Mpc, along with the two other methods discussed in the next sections.

\begin{figure}[tb]
\centering
\includegraphics[scale=0.34]{divall2_z0.png}
\caption{The divergence of the Lagrangian displacement as a function of $\delta$ (left) and $\ln\left(1+\delta\right)$ (right) at $z=0$, calculated using CIC smoothing for a cell size of 12.5 h$^{-1}$Mpc (top) and 1.6 h$^{-1}$Mpc (upper middle), adaptive SPH-like smoothing with a cell size of 1.6~h$^{-1}$Mpc (lower middle), and the Delaunay Tessellation Field Estimator (DTFE) method (bottom). A slope of -1 through the origin is plotted for reference. The color scale is logarithmic and gives the number of cells (CIC and SPH) or particles (DTFE) in each histogram bin.\label{fig:divz0}}
\end{figure}

\subsection{Adaptive SPH Smoothing and FFT}
\label{sec:sph}

We also try an adaptive smoothing technique, described by \citet{col07}, on both the density and the displacement fields. We assume that each particle $p$ traces some physical quantity $A_p$. For the purpose of this paper, $A_p$ will be either a particle count or the displacement vector $\mathbf{\Psi}$ between the final and initial particle positions.
We sample the adaptively-smoothed field onto a three-dimensional grid, with grid sites denoted by the integers $(i,j,k)$. At each grid site we define the smoothing radius $R(i,j,k)$ which corresponds to half the distance from the grid site to the $M$-th particle, where $M$ is defined as:
\begin{equation}
	M(i,j,k) = \max\left\{M_\text{min}, M_\mathrm{binned}(i,j,k)\right\}
\end{equation}
and $M_\mathrm{binned}(i,j,k)$ is the number of particles binned on the grid site $(i,j,k)$. Following~\citet{col07}, we conservatively set $M_\text{min}=32$, corresponding to the typical number of a particle's closest neighbors. This choice of $M(i,j,k)$ ensures that we always take into account a sufficient number of particles for making the adaptively-smoothed field on the grid.

The smoothed-interpolated value $\tilde{A}(i,j,k)$ at the grid site $(i,j,k)$, which corresponds to a smooth-averaging of the quantities $A_p$ carried out by individual particles $p$, is defined as:
\begin{equation}
	\tilde{A}_{i,j,k} = \frac{1}{R(i,j,k)^3} \sum_{p=1}^{N} A_p W_p \mathcal{S}\left(\frac{d_p}{R(i,j,k)}\right),
\end{equation}
where $W_p$ are additional weights to be determined for each particle and $\mathcal{S}$ is the smoothing kernel function. We determine the weights by enforcing that the sum of $\tilde{A}_{i,j,k}$ over all grid sites must be the same as the sum of $A_p$ over all particles. This yields, for $N$ particles,
\begin{multline}
	\sum_{i,j,k} \tilde{A}_{i,j,k} = \sum_{i,j,k} \frac{1}{R(i,j,k)^3} \sum_{p=1}^{N} A_p W_p \mathcal{S}\left(\frac{d_p}{R(i,j,k)}\right) = \\ \sum_{p=1}^N A_p = \sum_{p=1}^N A_p W_p \sum_{i,j,k} \frac{1}{R(i,j,k)^3} \mathcal{S}\left(\frac{d_p}{R(i,j,k)}\right).
\end{multline}
The last equality is true if
\begin{equation}
	W_p = \left(\sum_{i,j,k} \frac{1}{R(i,j,k)^3} \mathcal{S}\left(\frac{d_p}{R(i,j,k)}\right)\right)^{-1}.
\end{equation}
Finally, we define the smoothing kernel to be the typical SPH compact-support spline~\citep{mon92},
\begin{equation}
	\mathcal{S}(x) = \left\{
			\begin{array}{ll}
				1 - \frac{3}{2} x^2 + \frac{3}{4} x^3 & 0 \leq x \leq 1 \\
				\frac{1}{4}(2-x)^3 & 1 \leq x \leq 2 \\
				0 & x \geq 2
			\end{array}.\right.
\end{equation}

We now compute both the mass density fluctuation field $\delta(i,j,k)$ and the displacement field $\mathbf{\Psi}(i,j,k)$ in Eulerian coordinates. In the case of $N$-body simulations, the mass density fluctuation field is obtained by putting a mass $m_p=1$ on each particle $p$, thus
\begin{equation}
	\delta(i,j,k) = \frac{\tilde{m}(i,j,k)}{N/N_\text{g}} - 1,
\end{equation}
where we used the conservation of the quantity $\sum m_p=\sum \tilde{m}(i,j,k)$, and defined $N_\text{g}$ the number of grid sites. In the case of observations, one could in principle use any tracer of the mass that is available, such as the luminosity or the number of galaxies.
The displacement field is obtained by averaging the displacement carried by each of the tracer particles. We thus obtain
\begin{equation}
	\mathbf{\Psi}(i,j,k) = \frac{\tilde{\Psi}(i,j,k)}{\tilde{1}(i,j,k)}
\end{equation}
where $\tilde{1}$ is the result of applying the adaptive filter to compute the number of tracers on the grid site $(i,j,k)$. We note that even though in $N$-body simulations $\tilde{1}(i,j,k)=\tilde{m}(i,j,k)$, this is not the case for observations.

We obtain the divergence of the displacement field in Fourier space, as with the previous CIC method.
Figure~\ref{fig:divz0} shows $\nabla\cdot\mathbf{\Psi}$ as a function of $\delta$ and $\ln(1+\delta)$ using the adaptive SPH smoothing method with a cell size of 1.6 h$^{-1}$Mpc (lower middle plot).
We note that both the CIC and SPH methods produce very similar results. The additional advantage of the SPH method is that grid cells with zero particles are not an issue, as they are for CIC, since $M_\text{min}=32$ particles are always included in the binning.
The vertical artifact near $\ln(1+\delta)-\langle\ln(1+\delta)\rangle=2$ marks the transition where $M_\text{min}$ becomes important, above which the adaptive method behaves effectively the same as the CIC method. Note however that this is a very small feature that is exaggerated by the logarithmic color scaling on the plot.

\subsection{Delaunay Tessellation}
\label{sec:dtfe}

The Voronoi tessellation and its dual, the Delaunay tessellation, divide an $N$-dimensional space into a fully volume-covering set of cells based on the underlying particle distribution (see e.g. \citet{van94}). The resulting distribution of cells is such that the volume of the cells is inversely proportional to the density of the particle field at the location of each sampled particle, leading to a natural and adaptive density estimator~\citep[the Delaunay Tessellation Field Estimator, DTFE;][]{sch00,pel03,van09}. In the case of the Delaunay tessellation, each particle is surrounded by a set of tetrahedra of which it makes up one of the vertices. The volume of one tetrahedron, $T$, is a function of the positions of the three other vertices for a particle at the origin:
\begin{equation}
V_T = \frac{1}{8}\,{\bf x_1}\cdot\left({\bf x_2}\times{\bf x_3}\right).
\end{equation}
The density is then given by the inverse of the volume of the set of tetrahedra surrounding each particle, $V = \sum_T V_T$.

We choose to normalize the inverse volumes by $1/\langle V \rangle$ instead of $\langle 1/V \rangle$ (which gives a mean-zero density field) because the DTFE density distribution has a prominent tail at high densities. This can be seen in Figure~\ref{fig:pdf}, in which we plot the distribution functions of the CIC $\ln(1+\delta)-\langle\ln(1+\delta)\rangle$ and the DTFE $\ln(\langle V \rangle / V) = \ln(1+\delta)$. The CIC distribution is much more symmetrical than the DTFE, which has a shoulder at high densities.
Note that the mean of the DTFE distribution has not been subtracted so that its peak is much closer to zero. We also plot a transformed DTFE distribution function in which we weight the original distribution function by the volume: $P(x) = (V/\langle V \rangle)P(\ln(\langle V \rangle / V))$; this effectively transforms the (mass-weighted) Lagrangian DTFE distribution into a (volume-weighted) Eulerian distribution that closely resembles the CIC distribution.

The Delaunay tessellation also allows a calculation of the divergence of $\mathbf{\Psi}$ at the location of every particle by using Gauss's theorem, $\int_V\nabla\cdot\,\mathbf{\Psi}\,dV = \int_S\mathbf{\Psi}\cdot\,{\bf n}\,dS$. Replacing the integrals with discrete sums, we have
\begin{equation}
\nabla\cdot\,\mathbf{\Psi} \sum_T V_T = \sum_T \mathbf{\Psi}_T\cdot\,{\bf n}\,dS_T,
\end{equation}
where we take $\mathbf{\Psi}_T$ to be the average of the $\mathbf{\Psi}$ values of the three particles making the outside face of the tetrahedron, and where the surface element is given by
\begin{equation}
dS_T = \frac{1}{2}\,\left({\bf x_1} - {\bf x_2}\right)\times\left({\bf x_1} - {\bf x_3}\right).
\end{equation}
Thus for each particle we have a measure of both $\nabla\cdot\mathbf{\Psi}$ and $\delta$.

\begin{figure}[htb]
\centering
\includegraphics[angle=90,scale=.4]{pdf_lndel.pdf}
\caption{Distribution functions of $\ln(1+\delta)-\langle\ln(1+\delta)\rangle$ for the CIC method with 1.6 h$^{-1}$Mpc cell sizes, $\ln(\langle V \rangle / V)$ for the DTFE-calculated volume $V$, and the volume-weighted DTFE transformation (see the text for explanation). The CIC and transformed DTFE distributions are shifted to have zero mean, while the DTFE distribution is not. The good match between the CIC and transformed DTFE distribution functions motivate our use of $\delta = \langle V \rangle / V - 1$ as the DTFE density variable. \label{fig:pdf}}
\end{figure}

Figure~\ref{fig:divz0} shows $\nabla\cdot\mathbf{\Psi}$ as a function of $\delta$ and $\ln(1+\delta)$ at $z=0$, calculated using the Delaunay tessellation (bottom plot) and the other methods. Both the divergence of $\mathbf{\Psi}$ and the density calculated with the Delaunay tessellation lead to a large scatter at high densities beyond the range of the plot, with the maximum values of $\nabla\cdot\mathbf{\Psi}$ reaching around $\pm 1000$. This large scatter is not surprising because neighbors in high-density regions are unlikely to be true Lagrangian neighbors, so their displacements should be fairly random; additionally, the length-scales associated with the highest densities are smaller than the scale over which we would expect the logarithmic approximation to hold. While the low-density success of the logarithmic approximation is encouraging, it seems that a Lagrangian kernel method is not the most appropriate choice for relating the density and displacement fields.

\section{Discussion}
\label{sec:conclusion}

Motivated by the success of the logarithmic density field in improving the statistics of large scale structure into the nonlinear regime, we have compared the linear relation between the density and displacement fields to a logarithmic approach. We have used different methods of measuring the divergence of the displacement field, $\nabla\cdot\,\mathbf{\Psi}$, and the density field in cosmological $N$-body simulations, and have investigated their relation for different redshifts and smoothing scales. The logarithmic approach fares better even on scales as small as $\sim$2 h$^{-1}$Mpc, where the linear approximation is no longer valid. Smoothing over a uniform grid in Eulerian coordinates seems to outperform a tessellation-based Lagrangian method, though both work well at low to average densities.

Because a key advantage of the logarithmic transformation is the ability to use the density field on weakly nonlinear scales, this method would be most effective for a low-redshift galaxy survey (such that the effect of nonlinear evolution is strongest) with a high galaxy density (such that the mean separation of galaxies is small and in the nonlinear regime).
Using a logarithmic transform of the density to reconstruct the displacement field is simpler than advanced algorithms such as MAK reconstruction~\citep{bre03} and thus may require only small changes to existing analysis codes, providing an improvement over the linear method while maintaining a high degree of computational efficiency. Our full investigation of a reconstruction algorithm that uses a logarithmic transform of the density field is left to future work and will be applied to a large suite of cosmological simulations.

When applying this method to an observed galaxy distribution, additional considerations must be accounted for, such as discreteness noise, galaxy bias, and redshift-space distortions. A log-transform can enhance the effective shot noise caused by particle (or galaxy) discreteness, but the log-density can still be usefully estimated in the presence of (low-enough) shot noise.  \citet{ney10} found that even with a rather sparse galaxy sample, added power-spectrum Fisher information in the non-linear regime can be tapped with a log (or similar) transform, suggesting that shot noise can be overcome in the present case, as well.  However, it is likely that higher sampling for the log-density field than
for the overdensity field will be necessary to resolve the fields at a given
resolution.

Though a full reconstruction algorithm using a log-density field remains to be tested, we doubt that a logarithmic transform of the density would exacerbate problems caused by galaxy bias or redshift-space distortions, and these problems seem to be manageable in the case of BAO reconstruction.
For example, it has been shown that linear reconstruction of the BAO peak reduces the effect of bias, including the induced shift in the location of the BAO peak~\citep{meh11}. Additionally,~\citet{eisrec} showed that reconstruction of the BAO peak is effective in both real- and redshift-space.
However, we anticipate that Fingers of God will at some point prevent the push to smaller scales in redshift-space using a logarithmic transform.

We have shown that a simple logarithmic transformation of the density field provides a substantial improvement of the linear theory relation between the density and displacement fields on sub-linear scales. This improvement is greatest at low redshift and for Eulerian smoothing on small ($\sim$2 h$^{-1}$Mpc) scales. This result is in line with the finding that the logarithmic density field restores some lost information to the power spectrum of density fluctuations~\citep{ney09}, and provides more evidence that a logarithmic transform of the density field is a powerful density variable on weakly nonlinear scales.

\acknowledgments

The authors would like to thank the anonymous referee for insightful comments.
BLF and MCN are grateful for support from the Gordon and Betty Moore Foundation. GL acknowledges financial support from NSF Grant AST 07-08849.

redpajama_set_name: RedPajamaArXiv


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Futures dip, another ugly jobless claims number ahead
People gather at the entrance for the New York State Department of Labor offices in Brooklyn on March 20, 2020. The Federal Reserve estimates that 47 million people could lose their jobs before the COVID-19 crisis ends.
Andrew Kelly | REUTERS
This is a live blog. Check back for updates.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Assistant Professor, Duquesne-China Health Institute
University of Michigan - Tenure Track Research Faculty Position
University of Michigan, Dept. of Orthopaedic Surgery
Orthopaedic Surgeon - Shoulder and Elbow
Communications Manager I
TECH RADIOLOGY/IMAGING - DIAGNOSTIC RADIOLOGY ( FULL TIME)
Physician - Physical Medicine & Rehabilitation
Rice Lake, WI, Wisconsin
Marshfield, WI, Wisconsin
Emergency Radiologist - Physician
Scheduler - Orthopaedics Clinic
TECH RADIOLOGY/IMAGING - DIANOSTIC RADIOLOGY ( PER DIEM)
Posted: 06-Oct-21
The Duquesne-China Health Institute (DCHI) in the John G. Rangos, Sr. School of Health Sciences is seeking a 12-month, full-time, non-tenure track Assistant Professor who will also serve as the Assistant Director of the DCHI. Start Date: January 3, 2022. Salary is competitive.
The DCHI at Duquesne University offers unique academic programs with Master Degrees and a Ph.D. in Health Science Degree. The Master Degrees focus on the areas of Physical Therapy including general practice in Physical Therapy as well as specialized areas of study (e.g., orthopaedic, neuro PT, pediatric PT. pelvic flooring, and cardiopulmonary), Occupational Therapy and Speech-Language Pathology.
As a condition of employment, Duquesne University requires all new employees —full-time and part-time, including adjunct faculty—to get a COVID-19 vaccine and provide proof of their vaccination upon commencement of employment.
New employees requesting a religious or documented medical exemption from the vaccine must complete and submit a Duquesne University exemption request form for review and approval. To receive the appropriate exemption request form, contact hrservices@duq.edu. Employees with approved exemptions will be required to be tested on a regular basis.
Teach 4 – 5 DCHI graduate courses and 1 – 2 lab sections of graduate courses as assigned
Advise, mentor and supervise student research and doctoral capstone projects
Advise, mentor and supervise visiting scholar and student research development
Pursue leadership and service opportunities in the DCHI, School, University and profession
Engage in scholarly productivity in the area relevant to the practice of Physical Therapy or Speech-Language Pathology
Working with the DCHI Executive Director the Assistant Director will:
make curriculum changes as needed and identify qualified/expert instructors for teaching following the requirements of our Chinese partners to meet their desired programmatic outcomes
draft proposals, documents and stimulants for sustaining and expanding the DCHI
ensure successful execution of clinical shadowing observation space and field activity management
assist in the hiring process for qualified instructors
work with the Executive Director of the DCHI and the Rangos Dean to identify and advocate for space
facilitate a positive and productive work relationship with all parties involved in the DCHI and communicates with Executive Director while the Executive Director is traveling, and
support the Executive Director with policy management to keep pace with policy changes in China
Certification as a Physical Therapist or Speech-Language Pathologist and eligibility for PA Licensure
A minimum of Master's degree or higher in physical therapy or bachelor of science in physical therapy with a master's degree in a related field
Understanding and sensitivity of this program which is tightly tailored around the culture and societal needs of China
A rounded skill set that can be applied to a wide range of clinical populations
A demonstrated record of, or potential for, effective teaching in a variety of instructional formats
Evidence of, or potential for excellent teaching and proficiency in scholarship
Earned doctorate (DPT, or equivalent) or Ph.D. in Communication Disorders with preparation to engage in scholarship. Applicants in dissertation phase will be considered.
Evidence of scholarly productivity
Preferences will be given to applicants with established traditions of leadership, teaching excellence, and cultural sensitivity and enthusiasm of embracing multicultural diversities
Work on campus whose University-wide mission is highly congruent with our PT and SLP professions and teaching and scholarship are both valued
Participate in the delivery of a clinical doctoral program
Collaborate with faculty to enhance our practice scholar reputation nationally and internationally
Interested candidates should submit a cover letter, resume, salary requirements, and contact information for three professional references via Interfolio. Applications received before October 22 will receive first consideration. Questions may be directed to Dr. Yang Chen at cheny@duq.edu.
Catholic in its mission and ecumenical in spirit, Duquesne University values equality of opportunity as an educational institution and as an employer. We aspire to attract and sustain a diverse faculty and staff that reflects contemporary society, serves our academic goals and enriches our campus community. We particularly encourage applications from members of underrepresented groups and support dual-career couples through our charter membership in this region's HERC (http://www.hercjobs.org/oh-western-pa-wv/).
We invite applicants for this position to learn more about our university and its Spiritan heritage by visiting http://www.duq.edu/about/mission-and-identity/mission-statement. Those invited to campus for an interview may be asked about ways in which they see their talents contributing to the continued growth of our community and furthering its mission.
Duquesne University was founded in 1878 by its sponsoring religious community, the Congregation of the Holy Spirit. Duquesne University is Catholic in mission and ecumenical in spirit. Motivated by its Catholic identity, Duquesne values equality of opportunity both as an educational institution and as an employer.
About Duquesne University
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text:
The Original Collection consists of many books donated by influential people who supported the International effort to establish Crosby Hall.
Living in Chelsea in the 1920s, the American born Alys Russell (1867-1951), first wife of Bertrand Russell, gave books, some of which carry the bookplate of her brother, Logan Pearsall Smith.
Another American who supported the venture and its library was Virginia Gildersleeve, Dean of Barnard College, New York. She wrote of her friend Caroline Spurgeon, the Chaucerian scholar of Bedford College, London.
'Everything Caroline Spurgeon did, she did with tremendous gusto. With her, scholarly research became as exciting as the exploration of the Greenland icecap or a search for the supposedly extinct Moa bird in the outermost wilds of Australia'. Many a Good Crusade, p.230
Theodora Bosanquet led the committee which established the library in 1928. She gave to Alys Russell a copy of her work, Harriet Martineau: An Essay in Comprehension (1954)
She wrote: 'Harriet Martineau was a remarkably well-educated woman and accomplished woman ...Much of her youthful energy was inevitably spent in the fine needlework which was the common occupation of gentlewomen. She could make her own clothes. She could cover dancing shoes with silk and plait straw bonnets. But Mrs M... held unusual views as to the blessing of education for girls, and looked about for the means of giving her daughters the advantages she had missed herself'.


text:
Swindon UA
Statistical comparisons will be made with Tunbridge Wells (change comparison)
Age Structure, in 5-year bands, from 1861 to 2011: In 1861, only 4.83 per cent of the population were aged 65 and over, but by 2011 13.8 per cent were.
Changing Industrial Structure 1841 to 2011: In 1841, 49.93 per cent of all workers worked in agriculture, but in 2011 this had fallen to .22 per cent.
Proportion of male workers with professional and managerial jobs, from 1951 to 2011: In 1951, 11.92 per cent of men had these generally better paid jobs, and in 2011 this had risen to 22.36 per cent.
Over-crowded housing, from 1911 to 2011: In 1911, 14.67 per cent of people were living in households with over 1.5 persons per room, but in 2011 this had fallen to .88 per cent.
Unitary Authority
Swindon UA, Wiltshire
SWINDON Preferred English Census of Population (2001 Key Statistics)
00HX Code: Office for National Statistics English Census of Population (2001 Key Statistics)
SWINDON CfC Primary Urban Area Centre for Cities, Primary Urban Areas: Spatial definitions
GB Historical GIS / University of Portsmouth, Swindon UA through time | Census tables with data for the District/Unitary Authority, A Vision of Britain through Time.


For EVs that are moving from a direct drive system to a 1 to 3 speed gearbox, Orbitless is an ideal choice to improve the efficiency and NVH while lowering cost. An Orbitless Drive can provide an ideal initial stage in a multi-stage gearbox, or a great low ratio (1.5:1 - 4:1) solution. Alternatively, our Orbitless Hi-Ratio configuration can support up to 50:1 or even higher in a single stage.
- Lower NVH - up to 60% less due to low gear engagement, slower planet speeds and overall smoother operation. Measured >10 dBA lower than comparable planetary drives.
- NO Ring Gear - Removes costly Ring Gear element which is also prone to tolerance issues in large volume manufacturing. Removal of ring gear also limits tooth engagement, which helps on NVH.
- Utilize the built in Offset option...or implement as an Inline solution. Your choice!
- High efficiency for less power draw for windows, seats, convertible tops, mirrors etc.


The island is found at the coordinates 42° 45' 29" North and 17° 4' 28" East - in the Adriatic sea, Croatia.
Vela Sestrica (Vrhovnjaci) is an unpopulated island with total area of square meters (m2). The lenght of its coastline is meters. There is no public transport to Vela Sestrica (Vrhovnjaci).
Glavat Lighthouse in Islet Glavat near Lastovo at a distance of 3.65 miles.
Struga Lighthouse in Skrivena Luka, Lastovo Island at a distance of 9.91 miles.
Sestrica vela (Korcula) Lighthouse in Islet Vela Sestrica near Korcula at a distance of 15.65 miles.
Plocica Lighthouse in Islet Plocica near Korcula at a distance of 22.90 miles.
Sucuraj Lighthouse in Sućuraj, Hvar Island at a distance of 26.08 miles.
Susac Lighthouse in Susac Islet near Lastovo at a distance of 29.65 miles.
Sveti Petar Lighthouse in Makarska at a distance of 37.21 miles.
Marina Solitudo (Lastovo) in at a distance of 12.81 miles.
ACI Marina Korcula in at a distance of 14.21 miles.
ACI Marina Vrboska (Hvar) in at a distance of 35.39 miles.
Marina Ramova ( Baska Voda) in at a distance of 39.35 miles.
Marina Baska Voda in at a distance of 41.91 miles.
Mala Sestrica (Vrhovnjaci) Island at 0.15 miles away.
Bratac Island at 0.22 miles away.
Mrkljenta Island at 1.10 miles away.
Donji Vlasnik Island at 1.68 miles away.
Srednji Vlasnik Island at 1.94 miles away.
Gornji Vlasnik Island at 2.24 miles away.
Hrid Mrkljenta Island at 3.12 miles away.
Glavat (Lastovo) Island at 3.76 miles away.
Saplun Island at 4.51 miles away.
Cesvinica Island at 4.72 miles away.


text:
Flashback: When Democrats opposed the Fed
This morning, I called the pressure that Republican congressional leaders are exerting on Federal Reserve Chairman Ben Bernanke "unusual." But it's certainly not unprecedented. Here, for instance, is a 1982 New York Times article reporting that Rep. Jim Wright, then the Majority Leader of the House, had called for Federal Reserve Chairman Paul Volcker to resign:
Representative Jim Wright, the House majority leader, a strong critic of current monetary policy, called today for the resignation of Paul A. Volcker as the Federal Reserve Board's chairman.
''I would ask for Mr. Volcker's resignation,'' the Texas Democrat said at a breakfast meeting with reporters, in arguing for an easing of monetary policy that some economists contend could lower interest rates. Mr. Wright would not say who he would like to see as the board's chairman or whether he wanted Mr. Volcker to resign from the board entirely or just from the chairman's post.
Volcker didn't resign and nor did he back off his policy of raising interest rates to crush inflation. He's now remembered as one of the greatest Federal Reserve chairmen of all time.
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Carolyn Hax: Three's a crowd, except when it's an angry, drunken mob
Boyfriend's debauched, middle-aged son moves home and wants her out of the house.
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Lawmakers who objected to election results have been cut off from 20 of their 30 biggest corporate PAC donors
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Analysis The Capitol rioters kept posting incriminating things on social media. Unsurprisingly, they were mocked — and arrested.
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We are in love with today. Not only is it a Friday but we've spotted a number of 12/12 Online Sales & Deals going on right now in the region. So we thought we'd put them all together in this list and share the love with all of you.
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text:
GOVERNO: SISTO (FI), DA CONTE FALSITà SU MAGGIORITARIO
THE UNITED STATES TAKES FURTHER ACTION AGAINST ENABLERS OF VENEZUELAN OIL TRANSACTIONS,…
VACCINI, DE LUCA (PD): RICHIESTA MORATTI INQUALIFICABILE, PD SI OPPONE CON FORZA
PROCIDA: PD, BENE SCELTA FRANCESCHINI, METTE IN MOTO PERCORSO VIRTUOSO
SANCTIONS ON RUSSIAN ENTITY AND A VESSEL ENGAGING IN THE CONSTRUCTION OF…
Home » BOEING RESPONDS TO FAA APPROVAL TO RESUME 737 MAX OPERATIONS
BOEING RESPONDS TO FAA APPROVAL TO RESUME 737 MAX OPERATIONS
(AGENPARL) – SEATTLE (SEATTLE, WA), mer 18 novembre 2020
SEATTLE, Nov. 18, 2020 /PRNewswire/ — The U.S. Federal Aviation Administration (FAA) today rescinded the order that halted commercial operations of Boeing (NYSE: BA) 737-8s and 737-9s. The move will allow airlines that are under the FAA's jurisdiction, including those in the U.S., to take the steps necessary to resume service and Boeing to begin making deliveries.
"We will never forget the lives lost in the two tragic accidents that led to the decision to suspend operations," said David Calhoun, chief executive officer of The Boeing Company. "These events and the lessons we have learned as a result have reshaped our company and further focused our attention on our core values of safety, quality and integrity."
Throughout the past 20 months, Boeing has worked closely with airlines, providing them with detailed recommendations regarding long-term storage and ensuring their input was part of the effort to safely return the airplanes to service.
An Airworthiness Directive issued by the FAA spells out the requirements that must be met before U.S. carriers can resume service, including installing software enhancements, completing wire separation modifications, conducting pilot training and accomplishing thorough de-preservation activities that will ensure the airplanes are ready for service.
"The FAA's directive is an important milestone," said Stan Deal, president and chief executive officer of Boeing Commercial Airplanes. "We will continue to work with regulators around the world and our customers to return the airplane back into service worldwide."
In addition to changes made to the airplane and pilot training, Boeing has taken three important steps to strengthen its focus on safety and quality.
Organizational Alignment: More than 50,000 engineers have been brought together in a single organization that includes a new Product & Services Safety unit, unifying safety responsibilities across the company.
Cultural Focus: Engineers have been further empowered to improve safety and quality. The company is identifying, diagnosing and resolving issues with a higher level of transparency and immediacy.
Process Enhancements: By adopting next-generation design processes, the company is enabling greater levels of first-time quality.
For more information, visit www.Boeing.com/737-max-updates.
Boeing Media Relations
SOURCE Boeing
Fonte/Source: https://boeing.mediaroom.com/2020-11-18-Boeing-Responds-to-FAA-Approval-to-Resume-737-MAX-Operations
boeingcompanyqualitysafetyservice
PUBBLICAZIONE GRADUATORIA DEFINITIVA CONTRIBUTI A SOSTEGNO CANONE DI LOCAZIONE 2020
STATEMENT BY MINISTER GARNEAU ON FEDERAL AVIATION ADMINISTRATION'S CERTIFICATION OF CHANGES TO THE BOEING 737 MAX AIRCRAFT
BBAM ADDS UP TO 12 737-800 BOEING CONVERTED FREIGHTERS
APPROVED PRIVATE SERVICE HOME CAREGIVERS ELIGIBLE FOR RESPITE FUNDING
CANADA TO LIFT GROUNDING OF BOEING 737 MAX
BOEING RE-QUALIFIES STARLINER SOFTWARE FOR TEST FLIGHT IN MARCH
GLOBAL REGULATORS HIGHLIGHT KEY ROLE OF HEALTHCARE PROFESSIONALS IN FOSTERING CONFIDENCE IN COVID-19 VACCINES, , 19/01/2021


On October 7, Sanford Heisler LLP, a leading national public interest law firm, announced the launch of the Sanford Heisler Public Interest Diversity Fellowship, in partnership with the California- based Foundation for Advocacy Inclusion and Resources (FAIR), and the Legal Aid Society-Employment Law Center (LAS-ELC), based in San Francisco.
"Sanford Heisler has a strong commitment to diversity and to ensuring that new attorneys from all backgrounds are able to pursue public interest careers," said Janette Wipper, Managing Partner of Sanford Heisler's San Francisco office. "The Fellowship will encourage a more inclusive plaintiffs' Bar that will better serve the needs of California's diverse workforce. It is an honor to join FAIR and LAS-ELC to create this much needed opportunity."
Beginning in 2014, Sanford Heisler will provide salary and benefits to a recent law school graduate from an underrepresented community who will work for two consecutive six-month terms at LAS-ELC and a law practice affiliated with CELA. "The Fellowship was designed to make it financially feasible for new attorneys to pursue a public interest career and to develop the specialized litigation skills required to advocate effectively for employee rights," said Felicia Medina, Senior Litigation Counsel at Sanford Heisler, and a FAIR Board Member.
The roll-out of the Fellowship was announced at our Annual Conference by CELA Executive Board Member and FAIR's President Bryan Schwartz. "Our plaintiffs' employment law Bar is all about promoting diverse workplaces in California," Bryan emphasized, "and with this groundbreaking new Fellowship— because of Sanford Heisler's generosity and LAS-ELC's expertise in training new lawyers—we are able to take an important step. I hope that other leading firms in California will follow Sanford Heisler's example in helping to create opportunities for diverse and empathetic new attorneys, passionate about workers' rights, to enter our practice area."
"We thank Sanford Heisler for their generosity and vision in creating this unique Fellowship, and we are proud to partner with FAIR in this important effort," said Joan Graff, President of LAS-ELC. "The Fellowship will strengthen our ability to provide critical legal services to lowwage workers while helping us fulfill our mission of mentoring and training the next generation of attorneys in this vital area." For information about the 2014 Sanford Heisler Public Interest Diversity Fellowship selection process, contact bryan@bryanschwartzlaw.com.
LAS-ELC, founded in 1916, protects the rights and economic self-sufficiency of low-income working people by providing a wide range of free legal services, and by engaging in policy advocacy, public education, and technical assistance. LAS-ELC addresses the full spectrum of employment-related issues for our clients, such as unpaid wages, denial of family and medical leave, denial of disability accommodations, and discrimination on the basis of race, national origin, immigration status, language,gender, sexual orientation, and disability.
FAIR is a California non-profit created by CELA's leaders in 2010 to increase diversity in the plaintiffs' employment Bar and to raise public consciousness about workers' rights.
Sanford Heisler is a national public interest law firm with offices in Washington DC, New York, and San Francisco, specializing in employment discrimination, wage and hour, qui tam, and consumer class action litigation. The firm has represented thousands of individuals in major class actions, and also represents individual clients in matters related to employment discrimination, sexual harassment, whistleblowing, public accommodations, medical malpractice, and personal injury. In May 2010, the firm won the largest jury award in the country in a gender discrimination class action against Novartis Pharmaceuticals Corporation—$ 253 million in compensatory and punitive damages. In 2012, the firm won court approval for a $99 million settlement in a wage and hour case on behalf of sales representatives employed by Novartis. For more information, contact Sanford Heisler at (202) 742.7777.


text:
Q: Filling An Array With random Integer Values I bought a JavaScript book and am working my way through. I've reached a part of the book that doesn't make sense. I'm hoping you guys and girls will be able to clarify as the book doesn't.
Please see the code below that generates 6 random numbers and renders them to a div with id=panel.
function init(){
var panel = document.getElementById('panel');
var i, rand, temp, str, num = [];

for (i = 1; i < 50; i ++){
    num[i] = i;
}

for (i = 1; i < 50; i ++){
    rand = Math.ceil(Math.random()*49);
    temp = num[i];
    num[i] = num[rand];
    num[rand] = temp;
}

str = 'Your six lucky numbers:<br>';
for (i = 1; i < 7; i ++){
    str += num[i];
    if (i !==6){str += ' - ';}
}
panel.innerHTML += str;

}
document.addEventListener('DOMContentLoaded', init, false);

The book says that the second loop (that initilizes the random variable) contains a sort algorithm that ensures no two elements contain the same number.
I'm not sure how this is possible, I don't see any code in there that stops rand containing a duplicate number and consequently having that value stored in num. The book doesn't really provide much of an explanation of what is going on.
Could someone please let me know how, if at all, loop two is preventing 'num` from containing the same number?
Thanks all
P.S. Sorry if this question doesn't adhere to Stack Overflow guidelines. I don't come on here often, only when I get really stuck and can't find an answer elsewhere.

A: You can think of the two loops as follows: the first one generates a deck of 49 "cards" (represented here by the numbers 1 through 49). The second loop then shuffles those "cards", by repeatedly swapping each card with a random one.
Note there are two issues with the code. First, it is unnecessary to shuffle the entire array when only 6 elements will be selected. So the second loop could end at 6 instead of 50.
But there is a more serious issue with the code, it uses the wrong algorithm to shuffle array elements. This algorithm does not produce all possible permutations of the elements with the same probability.
Here's the correct version:
for (i = 1; i < 50; i ++){
    rand = i + Math.floor(Math.random()*(50 - i));
    temp = num[i];
    num[i] = num[rand];
    num[rand] = temp;
}

The idea is to swap the current element in the loop, only with a subsequent element (including itself). Note that if you write the above loop to run backwards (i.e. from 49 to 1) it makes it slightly more simple and I prefer that approach.

A: This loop creates a sorted array from 1 to 49:
for (i = 1; i < 50; i ++){
    num[i] = i;
}

This loop reorders each position (i) of the array with another random position rand by swapping the two. It's not generating new random numbers, just randomly reordering existing numbers. rand is an index, not a value in this case. No two numbers can be the same because the first loop only placed one instance of each number in the array.
for (i = 1; i < 50; i ++){
    rand = Math.ceil(Math.random()*49);
    temp = num[i];
    num[i] = num[rand];
    num[rand] = temp;
}

A: This loops fills and array with 50 integers from 1 to 50.
Then it just mixes them. The rand variable is used to point a random index in the array.

A: The first for loop is just creating an array of 49 elements, with each array element being equal to its index:
num[1] = 1
num[2] = 2
etc.

The second for loop, which is the focus of your question, randomly shuffles this ordered array.
As an Example:
1st iteration of the for loop, rand gets the value of say 23, the logic in the loop then swops the value in num[23] with the value in num[1] so that you end up with:
num[1] being equal to 23 (because num[23] was equal to 23 as per above)
num[23] being equal to 1

2nd iteration of the for loop, rand gets the value of say 18, the logic in the loop then swops the value in num[18] with the value in num[2] so that you end up with:
num[2] being equal to 18 (because num[18] was equal to 18 as per above)
num[18] being equal to 2

This will happen 49 times.
This is also the reason for Math.random() being multiplied with 49, there is only 49 array elements with values.
TL;DR; Ordered array gets shuffled.

redpajama_set_name: RedPajamaStackExchange


This night's program features UM MFA candidate and Cutbank Poetry Editor, Georgia Dennison, and Pete Fromm, UM's Fall 2017 Distinguished Kittredge Writer.
Georgia Dennison is an MFA candidate in poetry and a writing instructor at the University of Montana. She was born in Plymouth, Massachusetts and received her B.A. in Creative Writing at the University of Florida. Her writing interests include clogged drains, empty rivers and sand dollars. In the last five years, she has lived in California, North Carolina, Maine and New York City. In Missoula, Montana, surrounded by mystical writers and yellow-gold mountains, she has found yet another home and a valley of refuge for her work.
Pete Fromm, our Fall 2017 Distinguished Kittredge Writer, is teaching a graduate fiction workshop and a multi-genre course called "Writing Into the Wilds." Fromm's latest book is the memoir The Names of the Stars (St. Martins, 2016). He is a five time winner of the Pacific Northwest Booksellers Award for his novels If Not For This, As Cool As I Am, and How All This Started, his story collection Dry Rain, and the memoir Indian Creek Chronicles. The film of As Cool As I Am was released in 2013. He is also the author of four other story collections and has published two hundred stories in magazines.


text:
Markets Australia
News: Rising House Prices Put Pressure on Sydney and Hobart Renters
Increasing house prices in Australia are putting pressures on renters as rental affordability in Sydney reached a record low.
The latest report from Rental Affordability Index found that despite the stability in some parts of the country, low- and moderate-income households are still largely priced out of all metro markets.
Sydney and Hobart are found to be the most expensive cities for renters while Melbourne and Perth are the most affordable. Sydney renters spend an average of 29 per cent of their household income on accommodation, while those in Hobart spend 28 per cent.
City Per cent of household income Six-month trend
Sydney 29 -3.8 per cent
Hobart 28 -5.4 per cent
Adelaide 25 -0.7 per cent
Brisbane 25 -0.3 per cent
Melbourne 24 -0.1 per cent
Perth 21 +6.2 per cent
Source: National Shelter, Community Sector Banking, SGS Economics and Planning
"Lots of frustrated renters can't get into home ownership and they stay in the rental market," said Adrian Pisarski, executive officer at Australia's peak housing body National Shelter.
"Those people tend to rent down as low as they can so they can save a deposit to meet the gap in terms of housing purchase, and what that does is displaces lower income households in the rental market."
The index found that despite the negative conclusions, rental affordability has remained stable in most parts of Australia.
"What we found overall nationally is that rental affordability has not improved, it hasn't declined overall either, except in Sydney and Hobart, where it is worse than it was six months ago," Pisarski said.
"For most of the rest of the country [it] is pretty stable, but having said that, rental affordability is very bad across the nation."
Tenants NSW senior policy officer Ned Crutcher said renters, who made up one-third of households in the state, were largely ignored by the government. "Rents are going up and wages are not. On top of that, renters have very little security of tenancy – they can be kicked out at any time," he said. "This stuff keeps people awake at night."
Housing, housing market, rental affordability


text:
Artistic journal indexed in Web of Science
scientific journal, artistic journal
archive,tag,tag-culture,tag-175,stockholm-core-1.1,select-child-theme-ver-1.1,select-theme-ver-5.1.8,ajax_fade,page_not_loaded,wpb-js-composer js-comp-ver-6.0.5,vc_responsive
03/12/2019 By Boris Brendza, Irena Dimova
On the art of memory (On poems by Dragan Jovanović Danilov)
Abstract This text is primarily concerned with woman's presence in some of the poetic texts written by the eminent Serbian author Dragan Jovanović Danilov. The very poems chosen here, we consider part of the heritage that proves that men can succeed in 'digesting' female nature. This
03/12/2019 By Zuzana Spodniaková
Vladimir Vysotsky: A Hamlet with a Guitar instead of a Sword
Abstract The study focuses on the re-enactment of the acting interpretation of the role of Hamlet based on the eponymous tragedy of William Shakespeare, as rendered by Vladimir Semyonovich Vysotsky (1938 – 1940), Russian actor, poet, and performer of his own songs, staged by the Moscow
28/04/2019 By Stephen Ogheneruro Okpadah
Towards a Transnational Indian Cinema
Abstract: The late 20th and 21st century was characterised by the rise in numerous transnational cultural processes. Global arts, economic and political landscapes continue to undergo structuring and reconfiguration by this new transnational trend. This recent trend has created an imbalance and reconfigured recent cinema
01/12/2018 By Jana Radošinská
Omnivore vs Univore: A Reflection on the Current Knowledge on Cultural Taste and Cultural Consumption
Abstract: As the contemporary debates on cultural taste and cultural consumption continue to develop, the term "cultural omnivore" is discussed by an increasing number of sociologists and other scholars specialising in cultural and media studies. The study's main objective is to offer a complex set of
01/12/2018 By Marzieh Mohammadmiri – Sayad Nabavi
Place in Photography: How photographers encounter place
Abstract: A photograph intercepts place from its surrounding space. Place has such a significant role in photography that we often want to know where a photograph was taken. Drawing on human geography theories on the concept of 'place', this study aims to investigate photographers' approaches to
30/04/2018 By Ladislav Bučko
Civilization that will survive
The article shows the situation of the Catholic Church in today's unit- ed socialist Vietnam. The author, a Slovak misiologist, does this on the basis of the experiment of life at the monastery of Vincentian brothers in Ho Chi Minh City as well as through
30/04/2018 By Muhammad Asghar
Familial nostalgia
Based on an ethnographic field research conducted in the do- mestic and public spheres of the province of Punjab (Pakistan), this paper discusses real images (the family photos) embedded in their narrative context. It contributes towards understanding the role play by photographs both in domestic
15/11/2017 By Eva Smetanová
Art. culture. language. (On some aspects of teaching english abroad)
The education system in Kazakhstan has been undergoing significant changes since the past years, driven by historical events and associated with political, economic and social changes in the world society. Kazakh universities and higher institutions keep in line with the Bologna Process to provide comparability
1/2013 1/2014 1/2015 1/2016 1/2017 1/2018 1/2019 2/2013 2/2014 2/2015 2/2016 2/2017 2/2018 2/2019
Art Culture History Interview Literature Media Obituary Photography Portfolio Profile Single picture Student profile
© European Journal of Media, Art c Photography, 2019. All right reserved
Proud published by University of Ss. Cyril and Methodius in Trnava, Faculty of Mass media Communication, Namestie Jozefa Herdu 2, 917 01 Trnava, Slovak Republic.
ISSN 1339-4940 | Contact: ejmap@fmk.sk


Ultimate full-size high-end SUV sector shows really gratifying in some markets when it concerns sale outcomes. It is a rather uninhabited section in Europe with just Mercedes GLS and Range Rover being its residents, apart from more rugged deal painted in Toyota Land Cruiser V8, however no one might argue their good sales figures. Just recently Bentley got in the video game, however due to its cost, it stands alone in the meantime in different tier, a minimum of till Lambo presents its long-awaited Urus and Rolls brings its rival, the Cullinan. On the other hand in the USA, the sector in concern was practically constantly thriving with a lot more gamers such as Cadillac Escalade, Lincoln Navigator, Lexus LX and Infinity QX80 as exceptional deal as well as more things as more mainstream options, consisting of Toyota Sequoia, Nissan Armada, GMC Yukon, Chevy Tahoe and Ford Explorer. Mercedes is inhabiting the section for more than a years, Land Rover for nearly 5 years, Audi is speaking about signing up with the video game, so BMW needs to follow and it will with 2018 BMW X7.
The X7 is tipped to utilize foundations from the 7 Series, and the brand name brand-new full-size SUV will boast 7 seats and correct Range Rover measuring up to high-end. In UK specification, it must get here on our coasts with 6 and 8 cylinder gas and diesel motor, plus an iPerformance hybrid. Entry level variations might cost simply under ₤ 70,000.
Our spy professional photographers have actually snapped the X7 a couple of times now, and we've got a healthy gallery of the brand-new big SUV using its production bodywork. BMW is still masking the X7 in heavy masking, however the car's high, blocky percentages and flat face are simple to make out, so our spy shots are still a great indicator of the general appearance and shape BMW is choosing with its high-end SUV.
Robertson likewise discussed the brand-new SUV's high-end appeal: "We will make a greater high-end variation of it too. So in the very same method as you take a 7 Series and you generate the Individual bespoke service just like Rolls Royce.
In its strateigic declaration launched in mid-March 2016, BMW stated "After leading the premium section for more than 10 successive years, the BMW brand name is now poised to reinforce its position on a sustainable basis on top end of its item portfolio, where rates of return are at their greatest".
X7 is going to obtain X5 platform, which will be encompassed serve its brand-new function. Because it is expected to fill section above, BMW has actually guaranteed that next to typically the very same foundations X7 is going to considerably distinguish from a smaller sized brother or sister, as numerous parts are going to get unique treatment for the brand-new design in concern.
Engine lineup is generally going to accompany one in X5, as deal there is almost ideal, however definitely, avoiding 25d 2.0-liter diesel variation, as 4 cylinder is extremely unsuitable for the class in concern. That leaves us with 3.0 d, 40d and 50d as diesel alternatives or 35i and 50i as gas choices, all varying from 258 hp in 30d to 450 horses in 50i, while powertrain deal may likewise consist of the very same hybrid setup from existing X5.
Pictures of test mule are not exposing much due to the heavy camouflage, however more timeless SUV shape appears. It will not appear energetic and vibrant as X5 is, rather more traditionally styled, with focus on measurements and high-end.
It is still BMW, so blocky appearance is not on the menu, as it is expected to be more complexly developed at the back than Escalade or Navigator, closer to GLS or Range Rover. For anything more we will need to await a long time as 2018 BMW X7 is not going to strike the streets previously well in the 2018 year.