text:
NHS Logo Silverdale Medical Practice Pendlebury Health Centre, 659 Bolton Road, Pendlebury, Swinton, M27 8HP | Tel: 0161 983 0940
About Our Surgery
Back to About Our Surgery
It is a contractual requirement for practices to publish their mean average earnings for 2019/20. Practices must;
Publish details on their website by 31 March 2021.
If asked this must also be available in paper copy or you can show the patient the information posted on the website.
The calculation excludes certain types of income and the rules are complex and open to interpretation.
Full time GP's are defined in the guidance as working eight sessions or more. The number of GP's includes salaried GP's and locums who worked full or part time for 6 months or more.
The required disclosure for your practice is shown below. However, it should be noted that the prescribed method for calculating earnings is potentially misleading because it takes no account of how much time doctors spend working in the practice, and should not be used to form any judgement about GP earnings, nor to make any comparison with any other practice.
All GP practices are required to declare the mean earnings for GPs working to deliver NHS services to patients at each practice.
The average pay for GPs working in Silverdale Medical Practice in the last financial year was £51174 before tax and National Insurance. This is for 1 full time GP and 6 part time GPs and 2 locum GPs who worked in the practice for more than six months.
EARLY WARNING FOR 2019/20
A new contract term means that anyone earning above £150,000 will need to declare income separately. The rules and method for doing this have yet to be agreed between NHS England and the BMA so no further information is available at this stage.
Silverdale Medical Practice
Pendlebury Health Centre,
659 Bolton Road,
Pendlebury,
Swinton,
M27 8HP
silverdalemedicalpractice@nhs.net
Mo,Tu,We,Th,Fr 8:00 am – 6:30 pm
© Copyright, Silverdale Medical Practice 2023


We're thrilled to share Summit Medical Group has officially opened the new Summit Medical Group MD Anderson Cancer Center in Florham Park, NJ. The 130,000 sf outpatient cancer facility brings world-renowned treatment protocols, select clinical trials and cutting-edge research to residents of Northern New Jersey and surrounding region.
"When it comes to fighting cancer, we're arming our patients with everything we've got. Summit Medical Group MD Anderson offers a powerful, integrated partnership that features an extraordinary collective of oncology expertise and innovation that will transform cancer care in our community" Jeffrey Le Benger, M.D., chairman and chief executive officer of Summit Medical Group said at building's opening.


Gritting and Snow clearing services, operating in Oban, Argyll and the surrounding area.
A&M Colthart Ltd have 8 years' experience in commercial/private gritting and snow clearing operations . We provide winter maintenance for Tesco, Scottish Government Buildings, Aldi and other local business and private clients. All work is insured and carried out by trained staff.
Gritting services delivering the exact amount of material required of the appropriate conditions.
We closely monitor data from the Met Office ensuring our snow clearing services are deployed at the correct time when snow is most likely.
We provide a 7 day week tailor made service, specific to customer requirements.
© Copyright 2016 - A&M Colthart Limited.


Tilara is a beautiful intelligent, mischievous 5 year old little girl who lives in Midleton Cork.
At the age of 12 months we received the devastating diagnosis of Spastic Diplegia Cerebral Palsy.
This condition of Tilara's restricts her movement for activities such as walking, sitting, crawling, rolling and in general all activities most other 5 year old little girls and their parents take for granted.
Tilara's greatest challenge is that she experiences ongoing chronic pain which she suffers each and every day. These painful spasms continue into every night which affects her ability to sleep.
Tilara has been accepted by Dr. T.S. Park to undergo a life changing opportunity to have SDR surgery in the USA.
SDR is a complex spinal surgical procedure that involves cutting some of the nerve fibres that cause the Spasticity in Cerebral Palsy.
SDR is a very individual and expensive surgery and requires a lot of aftercare.
For Tilara the outcome we hope for is a 'pain free life'.
The possibility of improved mobility, independently sitting or the ability to stand or walking for short durations with the aid of functional devices are all things that may be possible, but we don't dare to dream of them, yet.
To undergo SDR we must commit to 2 years of a rehabilitation process which includes intensive physiotherapy hydrotherapy, hippo therapy and the need for specialised equipment to maximise the outcome.
We are realistic about the attainable goals which will be set for Tilara and her future. We have thought long and hard about SDR and realise that this is the only option for Tilara to live a pain free life.


Quick Links: Anyone know of an app only remote start ? Any one have these tow mirrors? Thoughts? For those with flags on their trucks Switch blade key fob Request for your wisdom... Front end "clunk" noise on 2015 Tundra LE crew cab - ABS brakes pressurizing?
Discussion in 'General Tundra Discussion' started by tundras00, Aug 10, 2018.
Anyone has seen these valves before or using them? They're made in Germany, they're short, and include a safety cap just in case. The reason why Fumoto valves never attracted me was the open end valve.
GNTundra, Prostar 190, myt1 and 3 others like this.
That's cool! No mess oil change for sure.
Looks really nice. Guessing drain time may be a bit longer, but worth it if no mess.
Anyone have an idea which one will fit the Tundra?
Nice design. Been looking at those Fumoto Valves and saw they have a shorty version that has an adaptor hose fitting like this one. Not sure about pulling the trigger on any of these yet. Something doesn't settle with me on pulling away from conventional bolts. Great idea. Thanks for sharing.
I think it is M12x1.25 but check me on that.
Damn that would be prefect on my cub cadet mower, wonder if I can get one to fit the Kawasaki engine?
6112-5160's, airbags with cradles, toytec shackles, 275-70-18 michelin at 2's, tonno pro tri fold, trd duals, trd cai, curt a16 5thwheel hitch, toyota bed mat [from last tundra], tinted windows and white paint cuz its the fastest color!
M12x1.25x12mm, according to the folks at stalhbus US.
Wow I think I can going to order one. Thanks for the share OP.
Years ago, Fram marketed them as Sure Drain. They work well until you can't find the hose, which is why I switched to Fumoto.
If others are getting it, roll it up and put it in an easy to see place in the garage. Or maybe even keep it in the truck in case you need to have it serviced at the dealer and they need it to drain the oil for some reason.
Honestly, I'm still torn if I am getting one or not.
FWIW 3/8 cap works to cover the end of a Fumoto and can be picked up at a hardware store for $1.
Same here. Now that my hand model career has ended, I'm not too worried about dirty oil under the nails. Great concept. If I had to chose I'd give the nod to Fumoto (shorty version).


text:
Ekimczan – osiedle typu miejskiego w Rosji, w obwodzie amurskim. W 2010 roku liczyło 1212 mieszkańców.

Przypisy

Osiedla typu miejskiego w obwodzie amurskim

redpajama_set_name: RedPajamaWikipedia


For first birthdays, flower girls, bridesmaids and for any special occasion, this petite flower earrings and necklace set with central blue cz, on your choice of chain length, will be worn for many events and occasions in her young life. Choose from sterling silver chains: 12" (baby) 13" (toddler) 14" (Preschooler) 15" to age 10 or 16" to teens. Blue Sapphire is the birthstone for September. Also available in Emerald cz for May birthday girls.


As we celebrate the first anniversary of our Specialist Health and Work Service, recent research has suggested that 18% of people diagnosed with cancer face discrimination when returning to work. Also that one in four cancer patients in Scotland feel pressure in returning to work before they are ready, while 23% give up altogether.
For the past year Beatson Cancer Charity has been actively supporting patients and families with these issues and is continuously aiming to improve outcomes for those employees living with cancer.
The Specialist Health and Work Service is made up of a team of NHS practitioners experienced in health and work issues, particularly for those who have been affected by cancer. The service supports patients who are remaining in work, returning to work or looking for a new job. They will be given advice and guidance through every stage. Here are a few ways they can help patients.
• Work with patients and their employer where required to agree a return to work plan.
• Advice on any adjustments that may be needed to make sure their return to work is as smooth as possible.
• Support patients making decisions regarding their working future.
• Attend or advise on return to work meetings that will help employers understand the patients' needs.
• Identify employability services which can help patients to find new employment opportunities.
The service has been continuing to grow over the past year and since November 2015 we have supported 164 patients and families in the west of Scotland with their work related issues. Thanks to our health and work service specialists we have been able to provide comprehensive assistance in various areas such as returning to work in the form of prioritisation of key issues, work readiness, raising employers awareness, job requirements and capacity.
Our aim is to raise awareness of how health and work has been successful, we are aquatinting employees with the Equality Act and assisting with work adjustments, phased returns, accrued leave, altered hours, amended duties and many more. Our services also include confidence building, fatigue management and motivational support.
Former patients Stephen and Frances explain in their own words how the service has supported them.
We can provide levels of support to patients in a way that best suits them, with options of a telephone call and face to face meetings. Patients are assigned a practitioner who works closely with the patient to help focus them on returning to work, staying in work or making work-related decisions. They can also support if there are areas of conflict.
This incredibly worthwhile service is entirely funded by Beatson Cancer Charity. It is a hugely important service which already supports so many patients and their families, and we will do all that we can with the service staff to ensure many more patients receive the support they deserve.
In order to continue supporting innovative service developments like the Specialist Health and Work Service, Beatson Cancer Charity needs you.
Get involved by donating, fundraising or find out more.


Cast member Eris Baker of the Emmy Award-winning NBC drama This Is Us sat down with EBONY to discuss the hit series and her character, Tess, coming out to her parents , played by Sterling K. Brown and Susan Kelechi Watson, this season.
To prep, the 12-year-old actress did research on young LGBTQ people of color coming out to their families, in particular, drawing from one friend's personal experience.
Baker also took the character development as an opportunity to spread the message of loving others despite our differences.
The rising star also discusses her Hollywood journey (so far), what she's learned from her TV parents and new short film, Dispel.


text:
← I Here Your Song
A Sense Of Self (Mystery Short Story) →
How To Write Thrilling Horror Stories That Will Keep Your Readers Terrified.
Lately, I have been attempting to write more Horror stories. If I am any good, only you guys can tell me. I have been doing a lot of research on the horror genre and below are two articles that I found beneficial. I have always loved reading the horror genre, but I am a rookie when it comes to writing it. I feel like I use too many clichés in my writing, but I am working diligently on reversing that. Hopefully, everyone finds this post as helpful to them as it was for me writing it and putting it together. There is some excellent advice within these articles, and if you are thinking about getting into the horror genre, then you have stumbled across a great starter course to learning everything you need to know. There is also a short video on Horror Flash Fiction below from a great YouTuber that I found very interesting since this is what I have been concentrating on before I attempt to write a horror novel. Hope you enjoy and put to use what you learn😉
Scare Tactics: 7 Tricks for Writing Terrifying Horror Fiction & Monster Stories
By: Jessica Page Morrell
The bottom line for all fiction is that the story is a lie the reader can believe in, with characters he comes to know and care about. In horror fiction and monster stories, the bottom line is that the reader will believe and be afraid. The monster scares him, the villain's powers and agenda scare him, and the characters' own vulnerabilities scare him. The best horror stories force the reader to turn the pages with growing dread and prickling anxiety. These tales make the reader feel terrifyingly alone and ask how much control humans have over their fate.
So let's get down to brass tacks on how to successfully achieve fear and believability when crafting tales of terror, especially those with monstrous antagonists:
1. INTRODUCE THE FRIGHTENING ELEMENTS EARLY.
Most horror and monster stories start fairly briskly, introducing the horror early or at least hinting at or establishing a pinprick of foreboding. For example, in the opening scenes of The Exorcist, the family hears a scratching noise from the walls and thinks they might have a rat infestation. As in The Exorcist, the characters might not take the threat seriously at first, but the neck hairs of moviegoers and readers are starting to prickle.
Plausible Scares: Blending the Real and Unreal in Horror Fiction
6 Resources for Horror Writers
2. USE DELAY TACTICS TO ELEVATE THE TENSION AND SUSPENSE.
While the threat appears early, fear of the unknown is delicious, and you also must delay the ultimate dustup with the monster. Delay any questions nagging at the reader to create suspense. After all, before Little Red Riding Hood meets the Big Bad Wolf, she must walk alone in the dark woods. The reader must hear her hesitant footsteps and the wind sighing and moaning in the trees, see the deep shadows cast by the giant firs as she draws closer and closer to the wolf 's razor-sharp fangs, and feel that the world is eerily off-kilter and dangerous.
But don't delay too long. While delay can be delightful, depending on the length of your story, typically by the end of Act 1 the reader must be fully involved with the physical reality and threat of the monster.
3. MAKE SURE THE MONSTER OR THREAT APPEARS TO HAVE THE UPPER HAND AND IS UNSTOPPABLE.
In stories where a monster is on the loose, the humans are all vulnerable, at risk and trapped in a nightmare that appears as if there is no escape. In every dangerous encounter and around every creepy corner, the reader needs to be reminded of death and the fear of death. Often, the cauldron for your story—the vast ocean if it's a sea monster, or a creepy castle if it's a ghost story—must also give the monster some advantage.
4. TURN UP THE HEAT WITH PLOT TWISTS, SURPRISES AND REVERSALS THROUGHOUT THE STORY.
A story with a monster must depict what we rarely or never want to meet in real life. Keep in mind that all writing requires a series of twists and surprises while taking the reader where he doesn't want to go. The reader wants your character to stay home tucked safely in bed, locked away from the sociopathic creep who is murdering women in the small town. So what does the character do? She spots a mysterious light flickering in the woods behind the house and sets out to explore, while the reader is yelling, "Get back into the house and bolt the door!" The reader is worried about what might leap out in the gloomy woods, but what if you sent the story in an even more sinister direction? What if the character is in layers of trouble, and not only is there a serial killer in her midst, but also something supernatural lurking right behind her?
5. USE THE STORY AS A TEST OF CHARACTER.
Most horror stories require the protagonist or victims of the monster to rise up to an extreme challenge or test of character. As in action stories, characters will manifest bravery and bravado. Because characters are oft en fueled by desperation and face overwhelming odds, including the unknown and the unexpected, the reader admires them just for surviving. A monster story provides writers with a particular showcase for a character's primary traits. A courageous person will likely act courageously, and a coward might wimp out. The point is that this story type is perfect for unveiling characters and making the reader care about the outcome.
6. MAKE THE SETTING ATMOSPHERIC.
Following in the Gothic traditions from where it began, horror story settings must crackle with tension and danger and also create a world the reader can believe in. When a world that we know, with its smells of coffee and toast and bacon, is invaded by a monster, the results are deliciously involving. In horror stories, the world is unsettling and realistic at the same time. Language and sensory details are key to creating an atmosphere of tension and threat. However, the world must be tangible and believable. If the story world feels realistic, then when incredible events or never-before-seen creatures arrive on the scene, the incredible element will be more easily believed.
7. PROVIDE THE READER WITH AN EXTRA DOSE OF CATHARSIS IN THE ENDING.
Fiction endings generally provide catharsis, but in horror stories, when the monster or antagonist is driven back or destroyed, the catharsis is enormously relieving. Stories with monsters provide a kind of safety valve from the stresses of everyday life. There are so many shadow traits in the monster that it is no longer seen as redeemable. Typically, a monster must be destroyed and the protagonists must triumph because of determination, goodness, ingenuity, a tool or some solely human solution.
Horror fiction explores our primal fears and acknowledge the violence, lust and beastliness of human nature. But the best fiction sheds light on some aspect of humanity, opens our minds and gives our imaginations a workout. When you write to frighten, the story and themes must explore realms of humanity, loss and emotion. It's part thrill ride, part waking nightmare, part contemplative tale. Make your antagonists and monsters deadly, but also make them fascinating—not merely killing machines.
https://www.writersdigest.com/writing-articles/by-writing-genre/horror-by-writing-genre/scare-tactics-7-tricks-for-writing-terrifying-horror-fiction-monster-stories
How to write a horror story: 6 terrific tips
This guide to how to write a horror story covers the basics. First, read a definition of horror and common elements of horror fiction. Then read 6 tips on writing horror stories that you can use to evoke intense feeling in your readers, even if you don't exclusively write horror:
Defining horror
The word 'horror' means 'an intense feeling of fear, shock or disgust' (Oxford English Dictionary). The word comes from the Latin horrere, meaning 'to tremble or shudder'.
5 common elements of the best horror stories
The best horror stories share at least five elements in common:
They explore 'malevolent' or 'wicked' characters, deeds or phenomena.
They arouse feelings of fear, shock or disgust as well as the sense of the uncanny – things are not what they seem. There is a heightened sense of the unknown and/or mysterious.
They are intense (as the dictionary definition reminds us). Horror books convey intense emotion, mood, tone and environments. Together, these produce the sense that everything is charged with ominous possibility.
They contain scary and/or shocking and scintillating plot twists and story reveals (unlike episodes of the cartoon Scooby Doo, in which the bad guys are typically conniving realtors dressed as paranormal beings – ghosts, werewolves). In horror the ghosts and werewolves are very, very real.
They immerse readers in the macabre. Horror tends to deal with morbid situations, from repetitive cycles of violence to death-related uncanny scenarios. Zombies march, vampires make you join their legion, or (in subtler scenarios) long-dead friends or relations pay unexpected visits.
How do you write a horror story or novel like Stephen King, Clive Barker or (looking further back in the genre's history) Edgar Allan Poe? Start with these six tips:
1: Learn how to write horror using strong, pervasive tone
Tone and mood are two elements that contribute to how your story feels. Great tone and mood can have readers' spines tingling before a single character has even spoken or made a terrible decision.
How you describe settings, character movement and actions creates an overarching tone. In horror writing, a dark or frightening tone is often pronounced. Take this example from Clive Barker's The Thief of Always:
'Half closing his eyes, he crossed to the window and fumbled to slam it, making sure that the latch was in place this time.
The wind had started his lamp moving, and when he turned back the whole room seemed to be swinging around. One moment the fight was blazing in his eyes, the next it was flooding the opposite wall. But in between the blaze and the flood it lit the middle of his room, and standing there – shaking the rain off his hat – was a stranger.
He looked harmless enough. He was no more than six inches taller than Harvey, his frame scrawny, his skin distinctly yellowish in colour. He was wearing a fancy suit, a pair of spectacles and a lavish smile.'
The scene is suffused with a sense of the unsettling. Objects that should be stationary move. The room itself seems to move. The viewpoint character is disoriented. A peculiar character seems to materialize out of nowhere.
Barker also creates an ominous tone through indirect means. 'He looked harmless enough' draws our attention to the possibility the man could in fact be harmful. The 'scrawny' frame and 'yellowish' skin both make the stranger unsettling and increase the sense of unfamiliarity.
Whether you are an aspiring horror author or not, work at creating consistent mood and tone. If you want to write a scary novel, focus on ways you can make actions and descriptions work together to establish an uneasy atmosphere.
2: Read widely in your genre
Whatever genre you write in, whether psychological or paranormal horror read as many books by respected authors in your genre as possible. Examples of celebrated horror authors include Stephen King, Edgar Allan Poe, H.P. Lovecraft, Clive Barker, Bram Stoker, Neil Gaiman, Chuck Palahniuk, John Lindqvist and more.
As you read authors in your genre, make notes on what aspects of your genre the author excels in. Is it great, spooky settings? Copy out your favourite quotes that create an eerie sense of place and re-read when trying to make your own settings more vivid. Actively learning from great authors will improve your mastery of the horror genre.
3: Give wicked characters better, credible motivations
When you write a horror novel, it shouldn't read as though a malevolent force is sitting at a bus stop, waiting to infiltrate your unsuspecting characters' world 'just because'. Give every malevolent character a strong, clear motivation. Revealing exactly what the motivation is can be part of the mystery that sustains your story and keeps readers guessing why unsettling things keep happening.
If there's a malevolent force, being or stranger in your horror novel, make their motivation similar in magnitude to the character's actions. Readers will scoff if a creepy doll goes on a murderous rampage in your novel simply because somebody took its batteries out.
4: Use the core elements of tragedy
This is excellent horror-writing advice from Chuck Wendig's blog Terrible Minds. As Wendig puts it:
Horror is best when it's about tragedy in its truest and most theatrical form: tragedy is born through character flaws, through bad choices, through grave missteps.
The horror genre uses the core elements of tragedy so nakedly that some of these have become clichés. 'Don't go in that house, idiot,' you might shout at the screen while watching American Horror Story, because the character has the tragic flaw of being oblivious to personal danger.In horror stories, we get scared because, as readers, we see the signs foolhardy characters don't.
At its heart, tragedy teaches some important lessons, for example:
The destructive, rippling cause and effect acts of cruelty can set in motion (the frightening way the title character of Stephen King's novel Carrie unleashes her powers due to bottling sustained psychological abuse is a good example)
The value of seeing situations and scenarios from multiple perspectives (e.g. You could tell yourself, 'That house is abandoned because the property market fell'. But also: 'That house is abandoned because something terrible happened there (and keeps happening there) and people are afraid of it.')
The lesson that bravery means making a choice in full awareness of danger, whereas making choices in blissful unawareness of their potential consequences leaves people vulnerable
To write a credible horror novel, in other words, show that the horror-filled situation is dependent on a network of character choices, past or present. At its heart, horror fiction reminds us that cause and effect is real, even in the fantastical realm of storytelling.
5: Write scary novels by tapping into common human fears
If the point of horror writing (and horror elements in other genres such as paranormal romance) is to arouse fear, shock or disgust, think of the things people are most commonly afraid of.
Live Science places an interest choice at number one: The dentist. It's true that you can feel powerless when you're in the dentist's chair. Couple this with the pain of certain dental procedures and it's plain to see why a malevolent dentist is the stuff of horror nightmares.
Making readers scared creates tension and increases the pace of your story. Even so there should be a reason for making readers fearful. A terrifying situation should be central to the plot and should be driven by some or other cause (even if the reader can only guess, ultimately, what the precise cause is).
Here are some of the most common fears people have. As an exercise, list the reasons why we might find these things terrifying. Most relate to physical and/or mortal danger, but you can also drawn on other common fears. Fears such as fear of humiliation, inadequacy or failure:
Most common fears – fodder for horror novel writing
Fear of animals (dogs, snakes, sharks, mythical creatures such as the deep sea-dwelling kraken)
Fear of flying (film producers combined the previous fear and this other common fear to make the spoof horror movie Snakes on a Plane)
The dark – one of the most fundamental fears of the unfamiliar
Perilous heights
Other people and their often unknown desires or intentions
Ugly or disorienting environments
Think of how common fears can be evoked in your horror fiction. Some are more often exploited in horror writing than others. A less precise fear (such as the fear of certain spaces) will let you tell the horror story you want with fewer specified must-haves.
6: Terror vs horror: Learn the difference
To learn how to write horror novels, it's useful to understand the difference between horror and terror. Both have their place in horror writing. 'Terror' describes a state of feeling. Oxford Dictionaries simply define it as 'extreme fear'. To 'terrorise', means to use extreme fear to intimidate others. Horror, however, also suggests elements of disgust and surprise or shock. Thus the word 'horror' describes not only extreme fear but also revulsion and a sense of surprise and the unexpected.
Horror writers share different ways to understand the difference between terror and horror:
For Stephen King, terror is a feeling the author tries to evoke in the reader before resorting to shock tactics such as surprising with the extreme or unpleasant:
'I'll try to terrify you first, and if that doesn't work, I'll horrify you, and if I can't make it there, I'll try to gross you out. I'm not proud.'
King's quote suggests that if you can create terror in the reader before there's even a gross-out moment or sickly reveal in your horror novel, you're winning.
Join Now Novel to brainstorm ideas and settings for your own horror novel and get constructive ongoing guidance and feedback.
https://www.nownovel.com/blog/how-to-write-horror-story-tips/
This entry was posted in Thoughts and Observations and tagged creative process, creative writing, creativity, Flash fiction, Flash Fiction Advice, Flash Fiction Tips, Horror, horror fiction, Horror Flash Fiction, Horror Novel, Horror Short Story, improve creative writing, improve writing, terror. Bookmark the permalink.
2 Responses to How To Write Thrilling Horror Stories That Will Keep Your Readers Terrified.
Jesse B says:
Good resources. I think good horror is underrated as a genre by most. It's also assumed to need a lot of 'extras' like monsters or technology or situations or scenarios. Poe still gives me more goosebumps than most modern writers on a dark night, despite having only a few characters and sparse settings throughout much of his work.
Absolutely agree. Poe & Lovecraft, while very different in their approaches and execution, are by far the masters of modern horror. In my opinion.

redpajama_set_name: RedPajamaCommonCrawl


text:
#include "renderer2d.h"

namespace fs
{
	/************ BasicRenderer2D ************/

	void BasicRenderer2D::Submit(const Renderable2D* renderable)
	{
		m_renderQueue.push_back(renderable);
	}

	void BasicRenderer2D::Flush()
	{
		while (!m_renderQueue.empty())
		{
			const Renderable2D* renderable = m_renderQueue.front();
			renderable->GetVAO()->Bind();
			renderable->GetIBO()->Bind();

			renderable->GetShader().SetUniform("modelMatrix", Matrix4f::Translation(renderable->GetPosition()));
			glDrawElements(GL_TRIANGLES, renderable->GetIBO()->GetCount(), GL_UNSIGNED_SHORT, nullptr);

			renderable->GetIBO()->Unbind();
			renderable->GetVAO()->Unbind();

			m_renderQueue.pop_front();
		}
	}
}

redpajama_set_name: RedPajamaGithub


text:
Q: Entire system freezing after pressing "Suspend" So I just installed Ubuntu, and I love it. I don't think it's going to replace Windows 7 for me, and it has a few problems that I'm probably going to end up fixing when I figure out how to use WINE, but it's still awesome.
My main problem now is that whenever I put Ubuntu in to suspend, the entire thing freezes. The monitor is still on, but is only black, and there is no reaction to any buttons.
While I don't mind pressing Shut Down since Ubuntu loads up rather fast in comparison to Windows 7, it can get annoying and inconvenient.
Thanks for any help!

A: OK after a bit of work I modified the scrips above from the other suggestions. Thank you @wangdw! Here is the following bad ass script (don't forget as before to create a file using sudo gedit /etc/pm/sleep.d/20_custom-ehci_hcd and also to set the read permissions using sudo chmod 755 /etc/pm/sleep.d/20_custom-ehci_hcd):

  #!/bin/sh
  #inspired by http://art.ubuntuforums.org/showpost.php?p=9744970&postcount=19
  #...and http://thecodecentral.com/2011/01/18/fix-ubuntu-10-10-suspendhibernate-not-working-bug
  # tidied by tqzzaa :)

  VERSION=1.1
  DEV_LIST=/tmp/usb-dev-list
  DRIVERS_DIR=/sys/bus/pci/drivers
  DRIVERS="ehci xhci" # ehci_hcd, xhci_hcd
  HEX="[[:xdigit:]]"
  MAX_BIND_ATTEMPTS=2
  BIND_WAIT=0.1

  unbindDev() {
    echo -n > $DEV_LIST 2>/dev/null

  for driver in $DRIVERS; do
    DDIR=$DRIVERS_DIR/${driver}_hcd
    for dev in `ls $DDIR 2>/dev/null | egrep "^$HEX+:$HEX+:$HEX"`; do
      echo -n "$dev" > $DDIR/unbind
      echo "$driver $dev" >> $DEV_LIST
    done

  #for bus in $EHCI_BUSES; do
     echo -n $bus > /sys/bus/pci/drivers/ehci_hcd/unbind
 # done

  done

}

bindDev() {
  if [ -s $DEV_LIST ]; then
    while read driver dev; do
      DDIR=$DRIVERS_DIR/${driver}_hcd
      #for bus in $EHCI_BUSES; do
          echo -n $bus > /sys/bus/pci/drivers/ehci_hcd/bind
      #done
      while [ $((MAX_BIND_ATTEMPTS)) -gt 0 ]; do
          echo -n "$dev" > $DDIR/bind
          if [ ! -L "$DDIR/$dev" ]; then
            sleep $BIND_WAIT
          else
            break
          fi
          MAX_BIND_ATTEMPTS=$((MAX_BIND_ATTEMPTS-1))
      done

    done /dev/null

  chvt 1
  chvt 7
}

  EHCI_BUSES="0000:00:1a.0 0000:00:1d.0"
  case "$1" in
    hibernate|suspend)
    unbindDev;;

    resume|thaw)
    bindDev;;

    esac

A: I've been experiencing the same problem. It seems that Ubuntu attempts to suspend itself but some hardware doesn't want to comply. Here are some repairs that might work:
1. open a terminal by holding ctrl+alt+t;
2. type: sudo gedit /etc/pm/sleep.d/20_custom-suspend;
3. press Enter and authenticate;
4. put the following text into the created file; save it and exit.
5. reboot and see if it works.

This little script comes from somewhere on the Internet but I cannot find the source...
EHCI_BUSES="0000:00:1a.0 0000:00:1d.0"
case "${1}" in
    hibernate|suspend)
        # Switch USB buses off
        for bus in $EHCI_BUSES; do
            echo -n $bus > /sys/bus/pci/drivers/ehci_hcd/unbind
        done
        ;;
    resume|thaw)
        # Switch USB buses back on
        for bus in $EHCI_BUSES; do
            echo -n $bus > /sys/bus/pci/drivers/ehci_hcd/bind
        done
        ;;
esac

Please try this out and tell me your findings!
If that script doesn't work, you might want to try another:
#!/bin/sh
#inspired by http://art.ubuntuforums.org/showpost.php?p=9744970&postcount=19
#...and http://thecodecentral.com/2011/01/18/fix-ubuntu-10-10-suspendhibernate-  not-working-bug
# tidied by tqzzaa :)

VERSION=1.1
DEV_LIST=/tmp/usb-dev-list
DRIVERS_DIR=/sys/bus/pci/drivers
DRIVERS="ehci xhci" # ehci_hcd, xhci_hcd
HEX="[[:xdigit:]]"
MAX_BIND_ATTEMPTS=2
BIND_WAIT=0.1

unbindDev() {
  echo -n > $DEV_LIST 2>/dev/null
  for driver in $DRIVERS; do
    DDIR=$DRIVERS_DIR/${driver}_hcd
    for dev in `ls $DDIR 2>/dev/null | egrep "^$HEX+:$HEX+:$HEX"`; do
      echo -n "$dev" > $DDIR/unbind
      echo "$driver $dev" >> $DEV_LIST
    done
  done
}

bindDev() {
  if [ -s $DEV_LIST ]; then
    while read driver dev; do
      DDIR=$DRIVERS_DIR/${driver}_hcd
      while [ $((MAX_BIND_ATTEMPTS)) -gt 0 ]; do
          echo -n "$dev" > $DDIR/bind
          if [ ! -L "$DDIR/$dev" ]; then
            sleep $BIND_WAIT
          else
            break
          fi
          MAX_BIND_ATTEMPTS=$((MAX_BIND_ATTEMPTS-1))
      done
    done < $DEV_LIST
  fi
  rm $DEV_LIST 2>/dev/null
}

case "$1" in
  hibernate|suspend) unbindDev;;
  resume|thaw)       bindDev;;
esac

A: i have the same problem. try this:
http://thecodecentral.com/2011/01/18/fix-ubuntu-10-10-suspendhibernate-not-working-bug
work like a charm for me...

A: I found that installing  the "dell firmware addon" package fixed the issue during the development cycle.

redpajama_set_name: RedPajamaStackExchange


Home is on a permanent foundation, 7+ acres, out building conveys, very private. Large Kitchen with Island, Master Bedroom split from bedrooms 2 & 3 with Master Bath and large walk in closet. Fireplace is Wood burning, Home has a large formal dinning area. Large deck on Front of home.
NOTICE: The information contained in this electronic mail and any attachments are intended for the exclusive use of the addressee(s) and may contain confidential, privileged, and/or proprietary information. Any other use of these materials is strictly prohibited. If you have received these materials in error, please notify me immediately by telephone and destroy all electronic, paper, or other versions. Unauthorized interception of this email is a violation of federal criminal law.


Italian company Novarossi have introduced the 2019 edition of the legendary P5 called S21P5XLT/19. The long–stroke 5-port engine has been updated wit a 14.5mm crankshaft with silicone and a 26mm bearing.
Novarossi Mephisto nitro engine soon at Absolute Hobbyz!
The new Novarossi Mephisto .21 nitro engine will be available in the next two weeks at Absolute Hobbyz. The Mephisto features a 4 ports design to supply a linear power output and to keep fuel consumption low and comes with the crankshaft with DLC coating to improve durability, a new R4/18 conrod made with a special aluminum alloy that allows it to have a high resistance and with the new head cooling is redesigned to improve the flow of air and thus increase cooling and ensuring an optimal center of gravity. The engine will be available with rear high quality ceramic and steel rear ball bearings versions and also a pre-run ceramic version.
Novarossi have introduced the new Mephisto .21 nitro engine. The Mephisto features a 4 ports design to supply a linear power output and to keep fuel consumption low. The new crankshaft with a larger bore intake to increase the mixture flow and has a special shape to optimise gas-flows in the engine and it comes with DLC coating to improve durability. The new R4/18 conrod is redesigned and made with a special aluminum alloy that allows it to have a high resistance while maintaining the lightness and performance of the previous R4/17. The carburettor features three tuning needles giving a better idle and improves the ability of the engine to return to low rpm after throttling. The new head is redesigned to improve the flow of air and thus increase cooling and ensuring an optimal center of gravity. The engine is available with rear high quality ceramic or steel rear balls bearing.
Novarossi have introduced the new EFRA 2135 tuned pipe made by Hipex. This 3 chamber EFRA homologated pipe is more progressive at low speeds and offers good top speed with very low fuel consumption.
Novarossi have introduced a new version of the Mantra 3.5cc engine now available with a rear ceramic bearing. This square stroke (16.42mm x 16.42mm) engine features a 4-port design, a 14mm shaft and new piston/cylinder configuration. It provides an elastic and linear power feel, and more torque in medium/high rpm with really low fuel consumption.
Last weekend was held the third and final round of Argentinian off-road National championship at El Condor track in Mendoza. In the 45minute Buggy Pro final it was Novarossi driver Agustin Cutini who took the win from Federico Davico in second and JQ owner Joseph Quagraine in third.
Novarossi have introduced their new Karma Limited Edition nitro off-road engine. this square stroke engine features a sleeve with four transfer ports to supply a linear power output and to keep fuel consumption low. The combustion chamber is supported by an O-Ring which is placed between the combustion chamber and the crankcase to reduce the vibrations of the combustion chamber. The carburettor is made from plastic and have a sliding throttle valve (reverse type).


Have you missed him? Skrillex has been out of the news for a couple of days but now he's back, like a well-timed round of mono during freshman orientation at your local community college.
It's all good though, because Skrillex has been spotted multiple times hanging around with underground UK rapper Tempa T.
A tweet on April 18th showed Skrills jamming out to Tempa's hit "Next Hype," while a couple of instagram posts from earlier this week show them in the studio together.
Now, Tempa T has a debut album titled It's Bait, It's Bait scheduled for July 7, and Skrillex has been known to collaborate with a lot of "out there" people, so it's not inconceivable that we'll see "ft. Skrillex" on the tracklisting. Nothing has been confirmed or released, though, so don't go counting your chickens before they hatch.
The possibility also exists that Tempa T will be featured on Skrillex's next release, too.


text:
Matt Redman: We need more worship songs about the holiness of God
By Matt Redman, Worship leader2021-01-25T00:00:00+00:00
In looking at the Church's music, Matt Redman wonders if we're in danger of overlooking an integral part of God's character
Everybody worships. Whether Christian or atheist, you will find someone or something upon which to spend your heart, mind and soul. The question has never been if we will worship. Instead, we must ask who we will worship.
Human beings have been created to worship the living God – as Psalm 150:6 says: "Let everything that has breath praise the Lord." The Westminster Shorter Catechism says a person's "chief end" is to "glorify God, and to enjoy him forever". Augustine noted that our hearts are restless until they find their home in God, and CS Lewis warned us of the dangers of any other approach – "idols always break the hearts of their worshippers".
Whenever the biblical writers have a vision of the heavenly throne room, God is always at the centre, and everything else arranges itself around him. The angels encircle him, and every creature present takes their cue from his greatness and glory. When we say: "Let it be 'on earth as it is in heaven'" (Matthew 6:10), this is essentially what we are asking for. We are asking that Christ would be at the centre, and everything else – our lives, homes, towns and even nations – would be arranged around him and his majesty. True worship, then, is a life that prioritises the worth of God above all else, and then demonstrates that worth through all of our thoughts, words and actions (see Romans 12).
Don't make it up
One of the most striking aspects of our worship is that we worship a God of self-revelation. Imagine how complicated it would be to worship a god who hasn't already revealed themselves. A god like the one Paul finds in Acts 17.
In Athens he comes across an inscription to an 'unknown god'. You wouldn't know where to start with worshiping a godlike that. You'd have no idea how to address him, her or it. You wouldn't know how to approach, how to behave or what might possibly be a pleasing offering. But when it comes to worshiping the Father, Son and Holy Spirit, it's a whole different story. We are given an abundance of information about the kind of worship to bring, and how he would have us bring it. God has given us a whole book of self-revelation– the scriptures – where page after page describes in detail his nature, his character, his names, his ways and his story. He tells us what honours him, and what dishonours him. He gives us guidance on worship in the layout and intricate designs of the temple and tabernacle. He unveils glimpses of the heavenly throne – where we're able to see a pure, untainted example of what holy and heavenly devotion really looks like. In the Bible, there's an astonishing amount of information to help us.
Like it or not, we don't get to make any of this 'worship thing' up. We don't get to go renegade and decide how worship might suit us best, or how it could be adapted to make us more comfortable. We don't get to ignore the revelation set before us, or pick and choose the parts we like and don't like.
It goes without saying that we'll never be able to fully convey or describe God, and here on earth our worship will always remain a small glimpse of the full force of who it is we are approaching. But it's essential we endeavour to take a deep-dive, and as best as we know how, to sing worship songs that reflect the God we find described in scripture. Weak revelation ultimately leads to weak response, and dumbed-down songs in the end lead to diluted discipleship.
The missing piece
One hole in much of our congregational worship today is the holiness of God. Without holiness in the mix, I don't even know if we can call it 'worship'. It may be admiration, even adoration of some kind – but can it truly be worship if there is no element of awe and astonishment? An essential ingredient of all biblical worship is an acknowledgement of the 'set-apartness' of God – that he is holy through and through, and completely off the charts of anything that we could ever fathom or imagine. As the New York-based pastor Jon Tyson reminds us, in his insight into the worship responses of the angels in heaven: "The angels have been locked in a room with God for thousands of years and they still haven't gotten past the word holy."
Yes, we get to worship our God as father and friend. Yes, we run into his arms of grace, singing of freedom, joy and healing. We live under this new covenant and the beautiful measure of grace that Christ poured upon us – where we not only get to draw near to God, but we can even do so with confidence (Hebrews 4:16). These are all really important parts of our devotion. But they can never be the whole picture. The holiness of God must always be kept in view.
The glory of Christian worship is found in this mystery: that a God so unfathomably holy and righteous calls us to know him deeply and to draw near to him.
The late translator of The Message, Eugene Peterson, reminded us how awe and closeness are both equally important parts of the equation. In Living the Resurrection (NavPress) he wrote: "The acts of reverence and intimacy need each other. The reverence needs the infusion of intimacy lest it become a cool and detached aesthetic. The intimacy needs to be suffused in reverence lest it become a gushy emotion." AW Tozer unpacked this dynamic beautifully too in The Knowledge of the Holy (HarperOne): "The greatness of God arouses fear within us, but the goodness of God encourages us not to be afraid of Him. To fear and not to be afraid – that is the paradox of faith."
The most honouring and healthy worship seeks to include both the immanence and the transcendence of God. The transcendence – that Godis 'otherly' and infinitely higher than our reason could ever comprehend, and the immanence – that he gets up close and personal, and deeply involved with our lives. If we ever claim to draw near to Jesus, but all we find is a tame, ordinary, manageable God, we're probably not half as close as we'd like to think. When we truly draw near to Christ, it's not just our sense of his grace and kindness that increases in measure. Our awareness of his holiness and majesty will be on the increase too.
The theologian Dr Darrell Johnson explores this theme brilliantly. He teaches us to compare and contrast the heavenly throne scene we find in Isaiah with the one described to us in the book of Revelation since the introduction of the new covenant. In the first scenario, written around 740 BC, we're told of the seraphim, who have six wings – and who use two of these to cover their faces (Isaiah 6:2). Then we fast-forward to around AD 92, and are presented a second heavenly worship scene. Here, everything is so similar, and yet there are some remarkable differences. We again encounter these creatures with six wings – but this time there's something strikingly different about them. There is absolutely no mention of them covering their eyes – in fact, this time we're told that they are instead "covered with eyes" (Revelation 4:8). As Johnson points out, there has been a seismic change– and something game-changing must have happened to allow these worshiping creatures to now behold holiness. It is the transcendence and immanence of God, interweaved in a beautiful divine mystery.
Holiness vs helpfulness
One trend worth noting in our current worship lyrics is the tendency to only write and sing about the attributes of God that are directly helpful to us – and perhaps neglect other aspects of his worth because they do not appear to be directly beneficial to our own lives. It is perhaps 'holiness versus helpfulness'. The challenge we face is to not only sing about God as shepherd and fortress, or other qualities that we recognise as being advantageous for us. We must also sing of him as the holy one, and marvel at those aspects of his nature and character that are worthy of the highest praise, whether or not we are in the picture in any way.
It's a whole other level of praise when we worship God for his infinite worth in and of itself – irrespective of whether or not it enriches our lives. The call in these days is fora few more worship songs where the personal pronoun "I" doesn't even feature. Songs that exist not to reassure us, or to comfort us – but that simply exist to exalt God for the righteous, radiant and holy King that he is. We must make sure to praise him for his holiness– not just for his helpfulness.
There are many other theological pitfalls that we must watch out for as we create and shape our congregational worship responses in 2021, but I believe a lack of emphasis on the holiness of God is our most acute problem.
Tozer once wrote that "our gains are almost all external, and our losses are wholly internal". Looking back over the last couple of decades, it's easy to see how we've taken some big strides forward externally in our gathered worship expressions. For example, in many streams of the Church, production levels have increased hugely. Musicality and creativity have seen some healthy growth too. Many congregations around the world are writing, leading and even recording high-quality worship music. It's easy to see how we've made some improvements in the external expressions of our worship. But what of the internal side of things? Where are we at when it comes to the heart of the matter? Is our theology deepening? Is our spirituality growing? Are healthy disciples being made? Are lives being shaped by a healthy scripture-based worship diet? Is there a wholehearted pursuit of the presence of God? Perhaps in this season we might benefit from taking our foot off the pedal of all things 'excellence' and 'external', and apply ourselves more intentionally to going deeper than ever in the internal side of things.
The year 2020 is one we'll never forget – the amount of disruption and disturbance to our normal way of going about things has been immense – including in the area of our congregational worship. Not being able to gather in person has been painful at times. But alongside the discomfort and the chaos, maybe there's also been a pruning – an opportunity to come out of this moment spirituality sharper than ever before – and focused once again on the things that carry the most importance. Everything has been stripped back, and we're forced to think through once again what is our highest priority with worship, and what is peripheral. And, indeed, what is missing. Personally it has taken me back to some simple lyrics I wrote more than two decades ago: "I'm coming back to the heart of worship/ And it's all about You / It's all about You Jesus.
This article is taken from the February 2021 issue of Premier Christianity. Read more articles on culture, faith and apologetics for only £3.95/month
ONLY £5 for the first 3 months
Unlimited access to all the opinion, stories and features on the Premier Christianity website
PLUS Instant access to the magazine on your mobile device on the Premier Christianity app
PLUS Print edition of the magazine in all its beautifully designed glory
I wrote a worship song which said 'let the darkness fear'. But now I'm embracing it
Darkness isn't all bad, says Rend Collective's Chris Llewellyn
KXC's Tom Eccleshall: My top 8 songs
Tom has overseen worship at KXC, an Anglican church in King's Cross, London, for the past twelve years. KXC have released a number of recordings and their songs are sung internationally
Editor's picks: 15 best features from 2022
Premier Christianity has been at the forefront of unpacking all the big stories of 2022 from a distinctly Christian perspective. Here's a round-up of our favourite long-reads the year
Vicky Walker
Vicky Walker is a writer and speaker, among other things. She writes about life, arts and culture, faith, and awkward moments in the form of books, articles, stories, and more, and she tweets a lot.
Tom Holland is an award-winning historian, biographer and broadcaster. He is the author of a number of books, including most recently, Dominion: The making of the Western Mind (Little, Brown). He has written and presented a number of TV documentaries, for the BBC and Channel 4,on subjects ranging from ISIS ...
Tola Mbakwe
Tola Mbakwe is a multimedia journalist for Premier.


We were dying to visit Somerset House and did so just before Christmas. If you don't know, Somerset House is a spectacular 18th century house on London's embankment. Famous for its ice rink at Christmas but also featuring the magnificent Courtauld Gallery with its permanent collection of old Renaissance greats and modernist 20th century painting. The Gallery is particularly renowned for its unrivalled collection of Impressionist and Post-Impressionist paintings, including masterpieces by Monet, Van Gogh, Kandinsky and Gauguin, and the largest collection of Cézannes in the UK.
They are currently hosting two small, intimate exhibitions and we went to see both of them: works by renowned artists, Bridget Riley and Peter Lanyon.
Bridget Riley's exhibition focuses on a really interesting angle of her work, about how it started and how she found inspiration from French post-impressionist painter, Georges Seurat (well known for his Pointillist technique). Bringing together seven of her earliest paintings alongside Seurat's 'Bridge at Courbevoie' you can see how she explored his concepts of colour and perception. Riley worked continuously to make copies of Seurat's famous painting until she made her early 1960's breakthroughs of repeated geometric forms – a transformation of his marks. Riley then reintroduced colour with her stripe paintings, radically extending Seurat's approach.
Meanwhile Peter Lanyon (1918-64) sought to create a new vision of landscape painting for the modern era following the Second World War. During the 1950's he produced radical, near-abstract paintings of the tough coastal landscape of his native West Cornwall.
What I like best about Lanyon is his ability to find a language of painting that expressed his direct experience of the landscape rather than just simply looking at it. He was fuelled by a desire to experience that landscape as completely as possible. Gliding freed him from a land-bound perspective and he poured his new gliding experiences into his art. You can see his thrilling encounters with the land, sea and air, encapsulating multiple perspectives of his flights into each new painting. You can also make out the character of the air – its different movements, textures and forces. Not simply happy using paint he also incorporated found materials in his paintings and sculptural objects.


Jeff Kuncelman is the Co-Owner of SERVPRO of Indiana County. His certifications include ECTP-Employee Certification Training Program as well as AMRT-Applied Microbial Remediation Technician, ASD-Applied Structural Drying Technician, OCT-Odor Control Technician, RRRP-Lead-Based Paint Activities and Renovation, SRT-Fire and Smoke Damage Restoration Technician, and WRT-Water Damage Restoration Technician from the Institute of Inspection Cleaning and Restoration Certification (IICRC). Jeff also has OSHA-30-Hour General and/or Construction Industry Training Program Certification.
Ben Weaver is the Co-Owner and Sales Marketing Manager of SERVPRO of Indiana County. His certifications include ECTP-Employee Certification Training Program as well as WRT-Water Damage Restoration Technician from the Institute of Inspection Cleaning and Restoration Certification (IICRC).
Kaley is the Operations Manager for SERVPRO of Indiana County.
Keith is The Production Manager at SERVPRO of Indiana County.
Allan is a The Reconstruction Project Manager at SERVPRO of Indiana County. His certifications include ECTP-Employee Certification Training Program as well as EPA Lead Certified, WRT-Water Damage Restoration Technician from the Institute of Inspection Cleaning and Restoration Certification (IICRC).
Evan is an Estimator at SERVPRO of Indiana County. His certifications include ECTP-Employee Certification Training Program as well as WRT-Water Damage Restoration Technician from the Institute of Inspection Cleaning and Restoration Certification (IICRC).
Randy is a Crew Chief at SERVPRO of Indiana County. His certifications include ECTP-Employee Certification Training Program as well as EPA Lead Certified, WRT-Water Damage Restoration Technician from the Institute of Inspection Cleaning and Restoration Certification (IICRC).
Charles is a Crew Chief at SERVPRO of Indiana County. His certifications include ECTP-Employee Certification Training Program as well as WRT-Water Damage Restoration Technician from the Institute of Inspection Cleaning and Restoration Certification (IICRC).
Kyle is a Crew Chief at SERVPRO of Indiana County. His certifications include ECTP-Employee Certification Training Program as well as WRT-Water Damage Restoration Technician from the Institute of Inspection Cleaning and Restoration Certification (IICRC).
Kevin is a Sales and Marketing Representative at SERVPRO of Indiana County.
Alexander is a Sales and Marketing Representative at SERVPRO of Indiana County.
Tim is a Skilled Laborer at SERVPRO of Indiana County.
Ken is a Skilled laborer at SERVPRO of Indiana County.
Caleb is a Skilled laborer at SERVPRO of Indiana County. His certifications include ECTP-Employee Certification Training Program.
John is a Production Technician at SERVPRO of Indiana County. His certifications include ECTP-Employee Certification Training Program.
William "BJ" is a Production Technician at SERVPRO of Indiana County.
Robert is a Production Technician at SERVPRO of Indiana County.
Chris is a Production Technician at SERVPRO of Indiana County.


text:
Book | Congregation and Community by Nancy Ammerman
by SteveT2018 | Aug 19, 2013 | Books - Missional Church | 0 comments
Ammerman, Nancy Tatom, and Arthur Emery Farnsley. Congregation & Community. New Brunswick: Rutgers University Press, 1997.
Dr. Nancy Ammerman has spent much of the last decade studying American congregations. Her most recent book, Pillars of Faith: American Congregations and their Partners (University of California Press, 2005), describes the common patterns that shape the work of American's diverse communities of faith. Her 1997 book, Congregation and Community, tells the stories of twenty-three congregations that encountered various forms of neighborhood change in communities around the country. Along with a team of others, she edited and contributed to Studying Congregations: A New Handbook, published in 1998 by Abingdon. Prior to her work on congregations, she wrote extensively on conservative religious movements, including Bible Believers: Fundamentalists in the Modern World, a study of an independent Baptist church in New England, and Baptist Battles: Social Change and Religious Conflict in the Southern Baptist Convention, which received the 1992 Distinguished Book award from the Society for the Scientific Study of Religion.
Nancy has also been active in attempting to educate a larger public audience about American religion. In 1993, she served on the panel of experts convened by the U. S. Departments of Justice and Treasury to make recommendations in light of the government's confrontation with the Branch Davidians at Waco. In 1995, she testified before the Senate Judiciary Committee on the same subject, and in 1997 she lectured in Israel under sponsorship of the U. S. State Department.
Prof. Ammerman's current research, funded by the Templeton Foundation, is the "Spiritual Narratives in Everyday Life" project. Begun in the summer of 2006, it is exploring whether and how religious belief and action are present in the stories people tell about their everyday lives. Participants in Boston and Atlanta were selected to represent a cross-section of religious traditions (as well as non-religious people). They participated in an initial oral religious life history interview, and researchers observed their religious communities (for those involved in a church or synagogue). They also kept an oral diary for two one-week periods and photographed important places in their lives. Their stories about those places proved critical to understanding how religion is present in these particular modern lives.
From the Back Cover
Change- in population, economy, and culture-is sweeping through American communities. Corner groceries are stocking new foods. New roads are being built and Main Streets abandoned. Schools have come and gone, and old friends move away as strangers arrive. But in every community, no matter how volatile, religious institutions provide for their members places of moral guidance and spiritual nurture, civic participation, and identity.
How do congregations react to significant community change? Why do some religious institutions decline in the face of racial integration while others adapt and grow? How do congregations make sense of economic distress? Do they provide havens from community upheaval or vehicles for change? Congregation and Community is the most comprehensive study to date of congregations in the face of community transformation. Nancy Ammerman and her colleagues include stories of over twenty congregations in nine communities from across the nation, communities with new immigrant populations, growing groups of gays and lesbians, rapid suburbanization, and economic dislocations.
With almost half of the nation's population attending religious services each week, it is impossible to understand change in American society without a close look at congregations. Congregation and Community will exist as a standard resource for years to come, and clergy, academics, and general readers will benefit from its insights.
Review by Van Gelder
In this century, an established tradition of the sociological study of congregations began especially with the work of H Paul Douglass in the 1920s This work has continued through the past four decades in the research of such scholars as Peter Berger, Jackson Carroll, Carl Dudley, Roger Finke, Kirk Hadaway, Dean Hoge, Wade Clark Roof, David Roozen, Rodney Stark, and Robert Wuthnow. Most studies in this tradition indicate the strong influence of "contextual factors" over "institutional factors" in shaping the fortunes of congregations In other words, congregations tend to live or die primarily in relationship to the compatibility between their present membership and a substantial proportion of residents in the community where they are located
Nancy Ammerman, and the cadre of researches who joined her in a Lilly-funded study in the early 1990s, sought to test this established thesis in light of the dynamic changes that have cascaded through our culture and local communities over the past 20 years Careful attention was given to developing a database of congregations that represented diversities of region, urban location, size, denomination, ethnicity, and lifestyle Nine communities across the country were selected and 23 intensive case studies were conducted and evaluated Significant social-contextual change in the communities they served was the factor common to all congregations selected
The core conclusion of this study makes this volume ground-breaking in the field of congregational studies "With no governmental regulation or subsidy to keep outmoded religious institutions in place, the social processes of community formation govern the rise and fall of congregations, and the spiritual energies generated in congregations help to shape the social structures of communities" (2-3) Thus in the face of dramatic contextual change, some characteristics often referred to as "institutional factors" can function as significant independent variables in determining congregational survival and success Furthermore, it was found that these characteristics may function within congregations across a wide spectrum of theological orientation
The researchers identified three primary patterns of congregational response to substantial social-contextual change The first is "relocating," carried out either through physically moving the congregation to a new setting or through establishing a focused niche of ministry The second is "adaptation," carried out either through intentionally intégrâting diverse ethnic or lifestyle population groups or through creating new internal structures for ministry The third is "innovation," implemented through birthing a new style of ministry or through rebirthing the congregation as a whole.[1]
On Conflict
"Perhaps most striking in the processes of change we have observed is the association of conflict with change. Most congregations are accustomed to thinking about conflict as a sign of distress, perhaps even as a sign that they are drifting from their proper mission. Quite the contrary. Congregations that systematically avoid conflict are also very likely to avoid changing. So long as they have a stable constituent environment, that may be perfectly healthy. But in any situation that disrupts the congregation's relationship to its constituents, calling into question its location, its structures, and its ministries, conflict is nearly inevitable. Part of the need for a strong pastor and educationally skilled participants is the need for persons willing and able to engage in debate and conflict. In the larger scheme, the rich and diverse ecology of congregations in a community makes division within a given congregation less onerous, perhaps even welcome.
"Adaptation can take many forms, but it is not an easy process. It requires determined effort at finding resources, establishing new partnerships, and developing new leaders, new programs, and new ideas, and often involved fighting among people who love each other."[2]
Congregations and Modern Community Life: "religious congregations, including the small groups they house and sponsor, are then a space of sociability where real commitments are made (even if temporary and partial) and where persons are thereby formed and transformed."[3]
Congregations as Particularist Spaces of Sociability: "Particularity clearly exists among us. Whether by ethnicity, gender, or religious tradition, various collectivities are declaring and celebrating their difference. While such differences can divide and alienate people no less than unwarranted universalisms can silence the voices of outsider, they need not…Brueggemann argues that people of faith need to be bilingual, an argument that might be applied beyond faith communities. Any community that wishes to sustain itself must have space (behind the wall) and language for telling its own primal narrative and imagining its own view of the future. Such views and practices need not be dysfunctional…they are essential for a society in which critical perspectives can be brought to bear on the issues that confront us."[4]
Congregations as Connected Communities: "Congregations not only prevent congregational isolation, they also are the web of relationships out of which community structure is created and maintained. Congregations are a significant part of that web. The social order is made up of both informal ties and formalized organizations, of norms and practices that make the production of goods and the delivery of services possible. While congregations are rarely in the business of producing material goods, they are central to the structures that deliver services, facilitate informal ties, and inculcate norms of sociability. In short, congregations are key institutions in local social structures and beyond."[5]
Congregations as Generators of Social Capital: "Congregations and other voluntary organizations, then, generate the basic social capital of association, along with the civic capital of communication and organizational skills…so the material resources of congregations and other voluntary organizations provide an infrastructure for doing the work of the community, an infrastructure often most visible in times of crisis."[6]
The Moral and Spiritual Capital of Congregational Life: "The ideas and ways of life nurtured in congregations can shape other aspects of everyday life in both direct and indirect ways. In congregations, we voice collective grievances, envision solutions, seek divine sanction, gather material goods, build networks, invest time and energy. As an ongoing institutional presence in the community, congregations provide the stability within which cultural traditions are preserved and sometimes created anew."[7]Ammerman, Nancy Tatom, and Arthur Emery Farnsley. Congregation & Community. New Brunswick: Rutgers University Press, 1997.
[1] Craig Van Gelder, "Congregation and Community," Missiology 28, no. 2 (2000): 224-225.
[2] Nancy Tatom Ammerman and Arthur Emery Farnsley, Congregation & Community (New Brunswick: Rutgers University Press, 1997), 344-345.
[3] Ibid., 354.
[6] Ibid.,365-366
Reading List for Comprehensive Exams August 19, 2013 at 11:58 am
[…] Nancy Tatom, and Arthur Emery Farnsley. Congregation & Community. New Brunswick: Rutgers University Press, […]
Why My Blog Is Titled "Following the Cloud"
A Cartoonist's Guide to the Good Samaritan in Luke 10:25-37
A Cartoonist's Guide to Luke 15 | Parables of Lost and Found
Experiencing God at Mt. Carmel
Another Day Off Doodle – Dumbledore Caricature
Categories Select Category Art (200) Animation (47) Caricatures (32) character design (3) Children's Books (7) Illustration (29) Live Art (11) Narrative Lectionary Painting Project (5) Painter (2) Projects (5) Sketches (55) Technique (13) Bible (692) Bible Doodle (30) Devos (318) Through the Bible in a Year (223) Books (101) Books – Adult Learning (8) Books – Epistemology/Hermeneutics (14) Books – Missional Church (23) Books – Organizational Theory (1) Books – Preaching (1) Books – Religious Education (3) Books – Spirituality (18) Books – Suburban Studies (13) Books – Trinity (26) Conversations (5) Living with Asperger's Syndrome (1) Living with Disagreement (4) Dissertation (120) Personal Journal (106) Research Findings (3) Research Methods (7) Technology for Academics (6) News (39) Personal Updates (134) Candidacy (10) fun stuff (42) Guatemala (7) Haiti (9) Public Speaking (11) vlog (3) Sermons (255) sermons2009 (3) sermons2010 (2) sermons2011 (21) sermons2012 (11) sermons2013 (27) sermons2014 (19) sermons2015 (26) sermons2016 (24) sermons2017 (22) sermons2018 (26) sermons2019 (11) Spiritual Formation (263) Family Faith (8) ministry (34) The Journey (7) Youth Ministry (51) How Do I Fit Project (5) Questions from the Basket… (1) Youth News (2) Theology (298) Adult Learning (17) Building Community (3) Cognitive Development and the Evolving Self (12) How Do We Think? (18) Law and Gospel (13) Lecture Notes (16) Religious Education (7) Spirituality in Adult Learning (4) Suburban Studies (27) The Missional Church (38) The Trinity (83) Theories of Adult Learning (3) Thketches (21) Uncategorized (2) Writing (14) Fiction (6) Non-Fiction (4)
Archives Select Month July 2019 (2) June 2019 (6) May 2019 (6) April 2019 (7) March 2019 (10) February 2019 (8) January 2019 (11) December 2018 (9) November 2018 (11) October 2018 (8) September 2018 (12) August 2018 (5) July 2018 (5) June 2018 (9) May 2018 (7) April 2018 (10) March 2018 (15) February 2018 (15) January 2018 (17) December 2017 (16) November 2017 (17) October 2017 (9) September 2017 (11) August 2017 (15) July 2017 (14) June 2017 (5) May 2017 (15) April 2017 (13) March 2017 (16) February 2017 (13) January 2017 (17) December 2016 (14) November 2016 (13) October 2016 (10) September 2016 (9) August 2016 (16) July 2016 (9) June 2016 (14) May 2016 (12) April 2016 (10) March 2016 (14) February 2016 (17) January 2016 (19) December 2015 (14) November 2015 (21) October 2015 (15) September 2015 (18) August 2015 (13) July 2015 (14) June 2015 (14) May 2015 (32) April 2015 (31) March 2015 (32) February 2015 (26) January 2015 (36) December 2014 (15) November 2014 (19) October 2014 (20) September 2014 (21) August 2014 (32) July 2014 (17) June 2014 (18) May 2014 (12) April 2014 (18) March 2014 (21) February 2014 (13) January 2014 (13) December 2013 (11) November 2013 (12) October 2013 (14) September 2013 (28) August 2013 (30) July 2013 (10) June 2013 (18) May 2013 (12) April 2013 (7) March 2013 (18) February 2013 (14) January 2013 (17) December 2012 (26) November 2012 (49) October 2012 (21) September 2012 (9) August 2012 (4) July 2012 (8) June 2012 (5) May 2012 (9) April 2012 (1) March 2012 (7) February 2012 (9) January 2012 (6) December 2011 (14) November 2011 (4) October 2011 (3) September 2011 (10) August 2011 (6) July 2011 (4) June 2011 (9) May 2011 (12) April 2011 (14) March 2011 (16) February 2011 (10) January 2011 (9) December 2010 (17) November 2010 (28) October 2010 (27) September 2010 (26) August 2010 (19) July 2010 (25) June 2010 (10) May 2010 (23) April 2010 (23) March 2010 (30) February 2010 (23) January 2010 (23) December 2009 (3) November 2009 (3) October 2009 (3) September 2009 (4) August 2009 (3) July 2009 (3) June 2009 (2) May 2009 (1) April 2009 (4) March 2009 (2)
acts advent animation baptism bible bible study book review caricature devo ephesians exodus Genesis gospel hermeneutics holy spirit ipad Jesus Job John lent love Luke mark matthew missional missional church narrative lectionary paul phd prayer prezi procreate psalms richard rohr Romans sermon social trinity Spiritual Formation spiritual formation spirituality theology trinity video visual notes worship
Select list(s): Daily Posts Monthly Newsletter Weekly Highlights
Subscribe to my newsletter and join 466 other subscribers.
Bible Stuff
A Cartoonist's Guide to the Bible
What is The Bible?
The Bible Study Tool Box
Spiritual Stuff
The Overflow Principle
7 Habits of Spiritual Formation
Using Personality Type Indicators
Art Stuff
The Nectar Trilogy
Art Home Page
Inktober 2018 Gallery
Theology Stuff
Introduction to Theology
Missional Church
Luther's Small Catechism
My Dissertation
Sketching through a Ph.D.
Free You Up, Inc 2019


text:
Bülowsvej er en gade på Frederiksberg i København, der går fra Gammel Kongevej i forlængelse af Madvigs Allé til Åboulevard i forlængelse af Brohusgade. Den vestlige side domineres af Københavns Universitets Frederiksberg Campus med den store hovedbygning fra 1895. På den østlige side ligger et af Danmarks ældste parcelhuskvarterer.

Historie

Gaden er opkaldt efter Ladegårdens inspektør Frederik Christoffer Bülow. Da demarkationslinjen blev flyttet fra Jagtvej til Søerne i 1852 erhvervede han store arealer, både mellem Ladegårdsåen og Gammel Kongevej på Frederiksberg og ved Blågård på Nørrebro. Området på Frederiksberg udstykkede han i grunde med servitutter gældende til 1925, der sikrede, at de kun blev brugt til lave private villaer. Bülow foreslog, at H.C. Ørsteds Vej blev forlænget hele vejen til Gammel Kongevej, men det blev forkastet. I stedet anlagde han Bülowsvej på sin egen jord og opkaldte den efter sig selv.

I 1858 blev Den Kongelige Veterinær- og Landbohøjskoles nye hovedbygning opført på den vestlige side af gaden til erstatning for den gamle ved Sankt Annæ Gade på Christianshavn. I 1864 blev Vestbanen til Roskilde omlagt, så den kom til at krydse gaden. I 1902 åbnede Paul Bergsøe en metalvarefabrik på den østlige af gaden ved jernbanen. Den blev revet ned i 1945. Jernbaneoverskæringen forsvandt, da banen blev omlagt til sit nuværende forløb i 1911.

Bygninger og beboere

Den mest bemærkelsesværdige bygning er hovedbygningen for Københavns Universitets Frederiksberg Campus i nr. 17. Dets nuværende udseende skyldes en udvidelse tegnet af Johannes Emil Gnudtzmann i 1895. Nord for den gamle hovedbygning, på den anden side af Thorvaldsensvej, er Copenhagen Plant Science Centre under opførelse. Det kommer til at bestå af fire cylinderformede bygninger tegnet af Lundgaard & Tranberg.

I nr. 27 ligger DTU Veterinærinstituttet, en del af DTU, der forsker i infektiøse dyresygdomme. Instituttet er resultatet af en fusion mellem Den Kongelige Veterinær- og Landbohøjskoles Serumlaboratorium (grundlagt i 1908) og Statens Veterinære Institut for Virusforskning (grundlagt i 1926) i 2002 under navnet Danmarks Veterinærinstitut. Det har været en del af DTU siden 1. januar 2007.

Den neobarokke etageejendom i nr. 40 ved hjørnet af Rosenørns Allé er fra 1905 og tegnet af Axel Preisler og Povl Baumann.

Området på den østlige side af gaden udgør Danmarks ældste kvarter af parcelhuse. Det omfatter blandt andet sidegaderne Uraniavej, Lindevej, Kastanievej og Amalievej.

Noter

Eksterne henvisninger

Gader på Frederiksberg


It's now the first week of November. Several members of our OpenStack team are currently in Paris attending the OpenStack Summit and our restricted beta test has finally started on our future production platform. We'll tell you all about both of these things soon, but first we look back at what has been achieved last month.
On 19 September, the OpenStack Benelux Conference took place in Bussum, at which our CTO Tjebbe de Winter had been invited by Arista Networks to talk about our OpenStack implementation. The complete presentation can be seen on Youtube. If you're curious about the way we're designing our platform, be sure to have a look.
Vorige week woensdag kwam er een ernstig beveiligingslek in de Bash command interpreter aan het licht die de naam Shellshock heeft gekregen. Door de ontdekte kwetsbaarheid werd het kwaadwillenden mogelijk om misbruik te maken van Linux/Unix-gebaseerde omgevingen.
A wrap-up of some of the things our OpenStack team has been up to in the past month. Our OpenStack project team is currently working with a number of environments. We've got several testing platforms, for both administrators working on building the final product and internal users beta testing functionality and working on how-to's and tutorials.


text:
/* $NetBSD: t_proc1.c,v 1.1 2009/02/20 21:39:57 jmmv Exp $ */

/*-
 * Copyright (c) 2002, 2008 The NetBSD Foundation, Inc.
 * All rights reserved.
 *
 * This code is derived from software contributed to The NetBSD Foundation
 * by Luke Mewburn and Jaromir Dolecek.
 *
 * Redistribution and use in source and binary forms, with or without
 * modification, are permitted provided that the following conditions
 * are met:
 * 1. Redistributions of source code must retain the above copyright
 *    notice, this list of conditions and the following disclaimer.
 * 2. Redistributions in binary form must reproduce the above copyright
 *    notice, this list of conditions and the following disclaimer in the
 *    documentation and/or other materials provided with the distribution.
 *
 * THIS SOFTWARE IS PROVIDED BY THE NETBSD FOUNDATION, INC. AND CONTRIBUTORS
 * ``AS IS'' AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED
 * TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR
 * PURPOSE ARE DISCLAIMED.  IN NO EVENT SHALL THE FOUNDATION OR CONTRIBUTORS
 * BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR
 * CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF
 * SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS
 * INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN
 * CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE)
 * ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE
 * POSSIBILITY OF SUCH DAMAGE.
 */

#include <sys/cdefs.h>
__COPYRIGHT("@(#) Copyright (c) 2008\
 The NetBSD Foundation, inc. All rights reserved.");
__RCSID("$NetBSD: t_proc1.c,v 1.1 2009/02/20 21:39:57 jmmv Exp $");

/*
 * this also used to trigger problem fixed in
 * rev. 1.1.1.1.2.13 of sys/kern/kern_event.c
 */

#include <sys/param.h>
#include <sys/event.h>
#include <sys/wait.h>

#include <err.h>
#include <stdio.h>
#include <stdlib.h>
#include <unistd.h>
#include <inttypes.h>

#include <atf-c.h>

#include "../../h_macros.h"

static int
child(void)
{
	pid_t ch;
	int status;
	char *argv[] = { NULL, NULL };
	char *envp[] = { NULL, NULL };

	if ((argv[0] = strdup("true")) == NULL)
		err(EXIT_FAILURE, "strdup(\"true\")");

	if ((envp[0] = strdup("FOO=BAZ")) == NULL)
		err(EXIT_FAILURE, "strdup(\"FOO=BAZ\")");

	/* Ensure parent is ready */
	(void)sleep(2);

	/* Do fork */
	switch (ch = fork()) {
	case -1:
		return EXIT_FAILURE;
		/* NOTREACHED */
	case 0:
		return EXIT_SUCCESS;
		/* NOTREACHED */
	default:
		wait(&status);
		break;
	}

	/* Exec */
	execve("/usr/bin/true", argv, envp);

	/* NOTREACHED */
	return EXIT_FAILURE;
}

ATF_TC(proc1);
ATF_TC_HEAD(proc1, tc)
{
	atf_tc_set_md_var(tc, "descr", "Checks EVFILT_PROC");
}
ATF_TC_BODY(proc1, tc)
{
	struct kevent event[1];
	pid_t pid;
	int kq, want, status;

	RL(kq = kqueue());

	/* fork a child for doing the events */
	RL(pid = fork());
	if (pid == 0) {
		_exit(child());
		/* NOTREACHED */
	}

	(void)sleep(1); /* give child some time to come up */

	event[0].ident = pid;
	event[0].filter = EVFILT_PROC;
	event[0].flags = EV_ADD | EV_ENABLE;
	event[0].fflags = NOTE_EXIT | NOTE_FORK | NOTE_EXEC; /* | NOTE_TRACK;*/
	want = NOTE_EXIT | NOTE_FORK | NOTE_EXEC;

	RL(kevent(kq, event, 1, NULL, 0, NULL));

	/* wait until we get all events we want */
	while (want) {
		RL(kevent(kq, NULL, 0, event, 1, NULL));
		printf("%ld:", (long)event[0].ident);

		if (event[0].fflags & NOTE_EXIT) {
			want &= ~NOTE_EXIT;
			printf(" NOTE_EXIT");
		}
		if (event[0].fflags & NOTE_EXEC) {
			want &= ~NOTE_EXEC;
			printf(" NOTE_EXEC");
		}
		if (event[0].fflags & NOTE_FORK) {
			want &= ~NOTE_FORK;
			printf(" NOTE_FORK");
		}
		if (event[0].fflags & NOTE_CHILD)
			printf(" NOTE_CHILD, parent = %" PRId64, event[0].data);

		printf("\n");
	}

	(void)waitpid(pid, &status, 0);
}

ATF_TP_ADD_TCS(tp)
{
	ATF_TP_ADD_TC(tp, proc1);

	return atf_no_error();
}


text:
May 26, 2020 By Andres Ocon Leave a Comment
Well, So How Does Hydroponics Work?
Hydroponics how it works is an interesting and unique way of growing plants and fruits without soil. But is it a new way of growing food, or is it an ages-old viable one?
You will see that growing plants hydroponically is more than just a great way of producing fruits and vegetables for you and your family, or maybe even for a local business that supplies sustainable food to the community. Getting started is easier than you think too.
The word Hydroponics comes from Latin and means working water. Most people think of plants growing in water with nothing else, such as when you take a cutting from a friend's plant to make your own. However, it's more involved than putting a plant in water and waiting for it to grow roots.
Plants need more than just water to grow as they need something to anchor the roots and nutrients to thrive. In traditional gardening, soil anchors plants and provides many of the micronutrients required for proper growth. Hydroponics gardening gives plants everything they need to flourish.
This method offers gardeners, and the plants themselves, many benefits. Some of these include:
Higher yields than traditional soil gardening
Eliminating the need for pesticides, which pollute soil and water
Provides year-round fresh food in areas with harsh climates
Healthy Growing Hydroponic Lettuce
History of Hydroponics
Who hasn't heard of the ancient Hanging Gardens of Babylon that King Nebuchadnezzar had constructed for his wife, Amytis in the Sixth Century B.C.? What you probably never realized is that those gardens were a form of early hydroponics as the Babylonians used a pulley-system to draw water from the Euphrates River. The ancient Chinese had this water-based growing system too as explorer Marco Polo noted that during his travels to the Far East he found "floating gardens" with plants placed on platforms on top of fields of water.
The ancient cultures had some form of gardening without soil too. The University of Florida Extension notes that the ancient Egyptians also propagated plants in the water while the Aztecs devised floating gardens called "chinampas" to grow vegetables.
Modern-day hydroponics gardening got its start in the 19th century, according to Valentina Lagomarsino of Harvard University, German botanist Julius Sachs of the University of Wurzburg found that plants didn't need to grow in soil but merely required the nutrients that soil provided to grow. Sachs published a nutrient solution for growing plants in water, establishing the foundation for modern hydroponic culture.
Lagomarsino notes that the hydroponic industry got a further boost in 1937 when research by American Dr. W. E. Gericke indicated that plants grown in water could uptake nutrients more efficiently than those grown in soil, allowing them to grow larger in a shorter amount of time. That was the beginning of the modern hydroponic industry with scientists developing new and better solutions of nutrients to help hydroponically grown plants flourish.
Lettuce in a hydroponic garden
Hydroponics How it Works For Our Future?
Given the concern for the future of the plant, gardening hydroponically is considered by many to be the wave of the future. While it probably won't replace conventional farming and gardening as a means of food production, it offers many advantages to home gardeners that make it an attractive alternative to traditional soil gardening. For one, it can be achieved indoors or outdoors as long as you have an area that is level without excessive wind that has access to electricity. Hydroponic means of growing fruits and vegetables could be means for supplying future astronauts on space missions for fresh fruits and vegetables, according to the University of Nevada. Gardening hydroponically works so well because scientists have figured out the exact level of water and nutrients that plants need to thrive.
You Can Garden Hydroponically
Some gardeners have the misconception that gardening hydroponically is incredibly complicated. Yes, it can be, but the system itself is quite simple. You only need light air, water, nutrients, heat, and space to grown fruits and vegetables in this manner.
The University of Nevada classifies hydroponic systems into two types: water-culture and medium-culture.
Three techniques are common to water-culture systems:
Nutrient film technique (NFT), where plant roots live in a small tube or trough with the nutrient system flowing freely across the roots
Raft or floating system where styrofoam sheets support sitting atop an aerated nutrient solution support plants
Aeroponics, which has plants placed in a container with the roots suspended in the air and periodically misted with a nutrient solution
Medium-culture also has three prime methods. These are:
Ebb-and-flow, also known as flood-and-drain, is where the nutrient solution is pumped into the growing bed to flood the medium and then flows back into a reservoir
Drip system, with nutrients supplied into the medium by drip irrigation
Sub-irrigation system that uses a porous medium where nutrients are transported to the roots through capillary action
While medium-culture systems are the only types that require a substrate, per see, to hold the roots, all systems require other elements that gardeners must deliver in sufficient quantities so their crops can flourish.
Your Plants Don't Want to Drown or Feel Like They Live in a Desert
Plants process a lot of water daily, especially mature ones. Douglas B. Gucker and Candice Hart of the University of Illinois note that large tomato plants can each require as much as two to three gallons of water per day. When you're supplying your crops with such an amount, it's a good idea to have your water tested to ensure that they aren't receiving high amounts of chemicals that can affect growth.
Keep the Lights On
Although you don't need to bathe your plants with light continually, fruiting plants like tomatoes, peppers and corn need eight to 10 hours of sunlight per day, according to the Alabama Cooperative Extension System. Light requirements vary amount plant species, yet one of the biggest mistakes of new hydroponic gardeners is not providing enough light. Make sure you have sufficient artificial light for your plants, especially in winter.
Are Your Plants Warm Enough?
Most plants perform best when the temperature is between 70 and 80 degrees Fahrenheit during the day and 60 to 70 degrees Fahrenheit at night. Cool-season plants need temperatures that are about 10 degrees lower. When the air is too hot or too cold, you'll experience a dip in performance.
Yum, It's Time to Eat
We're talking about food for your plants, not you! Along with providing your plants with enough water, the nutrient solution is a critical factor in ensuring the success of a hydroponic garden. Feeding your plants properly means having enough of the following nutrients:
Some plants also require micronutrients such as iron, manganese, boron, molybdenum, zinc, copper, or chlorine, which are sometimes present in water or in solid substrates.
Plants Live in a Suitable Growing Medium?
As medium-culture systems are easier to create and maintain, hydroponic gardeners must include a suitable medium, also known as a substrate, that is capable of supporting root systems while also holding moisture and nutrients. The media you choose should be inert and free of insects and disease, while also allowing for adequate aeration and drainage. Insufficient drainage results in the "drowning" of plants, which can lead to decreased growth and discoloration of leaves.
Commonly used media include perlite, vermiculite, rockwool, river sand and gravel, all of which you can easily find in gardening centers. Hydroton, made of manufactured clay pebbles, as well as coco coir and pumice, are other suitable media. If you use sand or gravel, make sure that you wash it thoroughly to remove impurities before including it in a hydroponic system.
According to the University of Nevada, rockwool is the most popular growing medium as it helps plants proliferate and limits diseases. For growing tomatoes, cucumbers and peppers, the University of Arizona indicates that rockwool along with perlite are the two best media. Both are lightweight and easier to handle and sterilize than other aggregates.
Rockwool is made from basalt rock, and either looks like fiberglass or granules and has a superior capacity for holding water as well as aeration. Growers can commonly find it in prepackaged "slabs" or in granules for use as soilless media. According to the Virginia Cooperative Extension, flood-and-drain systems using rockwool are the most popular hydroponic growing systems.
Perlite is a form of volcanic glass that has an unusual property that allows it to expand greatly when heated. This inert media also provide excellent aeration and water holding capacity and may be sterilized and reused.
Closed hydroponic systems using rockwool and perlite pose some concerns of which gardeners should be aware. You must avoid the buildup of toxic salts and keep the system free of nematodes and soilborn diseases, emphasizing the need for sterilization.
hydroponics vegetables growing on water
Get Creative by Building Your Own Hydroponics System
If you like a bit of a challenge you can create a passive DIY drip system on your own. The University of Ilinois recommends you buy the following supplies to make a simple passive hydroponic system:
Lidded plastic container
Plastic net pots
Aquarium air pump and tubing
Air stone
Supplemental lighting
Ph test strips and EC meter
If you would rather see someone making one, this short video from Purdue University Agriculture gives you a step-by-step introduction to constructing a similar system. You'll see just how easy as well as inexpensive it is to make a home hydroponic setup.
Hydroponics How It Works, Ready, Set, Grow
Now that you have an idea of what hydroponic gardening is and realize that Hydroponics How it works is much easier than you thought, it's time to get growing. Some plants, particularly greens, grow easier than others in a hydroponic environment. Take a look at the following vegetables and fruits to see which ones you would like to grow in a soulless environment. You might just surprise yourself at how well you do.
Best Vegetables
Vining plants like tomatoes are great for hydronic culture even though they can become quite large as they grow vertically and can be trained to reach the ceiling. Texas A&M University recommends growers take care of which variety they choose as the selection of the right seeds will produce better plants.
Other vegetables that do particularly well in this environment are cucumbers and lettuce. Again, Texas A&M recommends certain varieties. For cucumbers, try sweet slice or brucona; for lettuce, try crisphead varieties such as ostimata, salina, Bizet or brenado.
As lettuce grows well, it only makes sense that spinach would also. If you have had success with other leafy greens, chances are they'll also do well for you in a hydroponic environment. Other easy-to-grow vegetables include green onions and peppers, while herbs such as coriander and basil are also good choices.
Best Fruits
If fruits are more your style, Easy Grow suggests strawberries and blueberries. Strawberries love wet conditions and will provide bigger fruit than when grown in soil. Blueberries require high acidic conditions, so controlling the pH content and nutrients will also result in a better yield.
Hydroponics How it Works is Fun and Easy
By now you should have a good idea of how Hydroponics and how it works. If your head is spinning from all of the possibilities as well as the requirements of this method of growing, relax because it's not as complicated as it seems. Start small with an inexpensive system and packaged supplies to grow greens and learn as you go. Chances are you'll even find a local master gardener familiar with the method who will be more than willing to help you on your new gardening journey. Once you have even a little bit of success, you'll be hooked and will most likely expand your operations.
Think of the benefits of gardening hydroponically. You can have freshly grown produce and greens all year long. Once you recoup your initial investment of growing supplies, you'll end up saving money on food. Perhaps the most significant benefit of all, you'll grow your own food without pesticides and dangerous chemicals. The environment will thank you.
Should I Buy or Make My Own Hydroponic Nutrients? Many of you have … [Read More...]
Temperature in the Grow Room
Indoor grow rooms should recreate the conditions of the outdoors so that … [Read More...]
Hydroponics vs. Climate Change – Part 1: It's The End of the World as We Know It…
Climate change is a threat to our food supply, as shown by projections for … [Read More...]