text:
Q: Filter by group and multiple conditions, dplyr I am trying to filter Countries, across the years 2000 to 2016, where indic.no must equal 10 across ALL years.
I have tried using different filtering using multiple conditions, but never seem to get the expected results.
#subset of df
structure(list(ISO3 = c("ABW", "ABW", "ABW", "ABW", "ABW", "ABW",
                        "ABW", "ABW", "ABW", "ABW", "ABW", "ABW", "ABW", "ABW", "ABW",
                        "ABW", "ABW", "ABW", "ABW", "ARE", "ARE", "ARE", "ARE", "ARE",
                        "ARE", "ARE", "ARE", "ARE", "ARE", "ARE", "ARE", "ARE", "ARE",
                        "ARE", "ARE", "ARE", "ARE", "ARE", "AUS", "AUS", "AUS", "AUS",
                        "AUS", "AUS", "AUS", "AUS", "AUS", "AUS", "AUS", "AUS", "AUS",
                        "AUS", "AUS", "AUS", "AUS", "AUS", "AUS", "BRB", "BRB", "BRB",
                        "BRB", "BRB", "BRB", "BRB", "BRB", "BRB", "BRB", "BRB", "BRB",
                        "BRB", "BRB", "BRB", "BRB", "BRB", "COL", "COL", "COL", "COL",
                        "COL", "COL", "COL", "COL", "COL", "COL", "COL", "COL", "COL",
                        "COL", "COL", "COL", "COL", "COL", "COL", "FJI", "FJI", "FJI",
                        "FJI", "FJI", "FJI", "FJI", "FJI", "FJI", "FJI", "FJI", "FJI",
                        "FJI", "FJI", "FJI", "FJI", "FJI", "FJI", "FJI", "KIR", "KIR",
                        "KIR", "KIR", "KIR", "KIR", "KIR", "KIR", "KIR", "KIR", "KIR",
                        "KIR", "KIR", "KIR", "KIR", "KIR", "KIR", "KIR", "PNG", "PNG",
                        "PNG", "PNG", "PNG", "PNG", "PNG", "PNG", "PNG", "PNG", "PNG",
                        "PNG", "PNG", "PNG", "PNG", "PNG", "PNG", "PNG", "PNG", "VCT",
                        "VCT", "VCT", "VCT", "VCT", "VCT", "VCT", "VCT", "VCT", "VCT",
                        "VCT", "VCT", "VCT", "VCT", "VCT", "VCT", "VCT"),
                        NAME_0 = c("Aruba", "Aruba", "Aruba", "Aruba", "Aruba", "Aruba", "Aruba", "Aruba",
                        "Aruba", "Aruba", "Aruba", "Aruba", "Aruba", "Aruba", "Aruba",
                        "Aruba", "Aruba", "Aruba", "Aruba", "United Arab Emirates", "United Arab Emirates",
                        "United Arab Emirates", "United Arab Emirates", "United Arab Emirates",
                        "United Arab Emirates", "United Arab Emirates", "United Arab Emirates",
                        "United Arab Emirates", "United Arab Emirates", "United Arab Emirates",
                        "United Arab Emirates", "United Arab Emirates", "United Arab Emirates",
                        "United Arab Emirates", "United Arab Emirates", "United Arab Emirates",
                        "United Arab Emirates", "United Arab Emirates", "Australia",
                        "Australia", "Australia", "Australia", "Australia", "Australia",
                        "Australia", "Australia", "Australia", "Australia", "Australia",
                        "Australia", "Australia", "Australia", "Australia", "Australia",
                        "Australia", "Australia", "Australia", "Barbados", "Barbados",
                        "Barbados", "Barbados", "Barbados", "Barbados", "Barbados", "Barbados",
                        "Barbados", "Barbados", "Barbados", "Barbados", "Barbados", "Barbados",
                        "Barbados", "Barbados", "Barbados", "Colombia", "Colombia", "Colombia",
                        "Colombia", "Colombia", "Colombia", "Colombia", "Colombia", "Colombia",
                        "Colombia", "Colombia", "Colombia", "Colombia", "Colombia", "Colombia",
                        "Colombia", "Colombia", "Colombia", "Colombia", "Fiji", "Fiji",
                        "Fiji", "Fiji", "Fiji", "Fiji", "Fiji", "Fiji", "Fiji", "Fiji",
                        "Fiji", "Fiji", "Fiji", "Fiji", "Fiji", "Fiji", "Fiji", "Fiji",
                        "Fiji", "Kiribati", "Kiribati", "Kiribati", "Kiribati", "Kiribati",
                        "Kiribati", "Kiribati", "Kiribati", "Kiribati", "Kiribati", "Kiribati",
                        "Kiribati", "Kiribati", "Kiribati", "Kiribati", "Kiribati", "Kiribati",
                        "Kiribati", "Papua New Guinea", "Papua New Guinea", "Papua New Guinea",
                        "Papua New Guinea", "Papua New Guinea", "Papua New Guinea", "Papua New Guinea",
                        "Papua New Guinea", "Papua New Guinea", "Papua New Guinea", "Papua New Guinea",
                        "Papua New Guinea", "Papua New Guinea", "Papua New Guinea", "Papua New Guinea",
                        "Papua New Guinea", "Papua New Guinea", "Papua New Guinea", "Papua New Guinea",
                        "Saint Vincent and the Grenadines", "Saint Vincent and the Grenadines",
                        "Saint Vincent and the Grenadines", "Saint Vincent and the Grenadines",
                        "Saint Vincent and the Grenadines", "Saint Vincent and the Grenadines",
                        "Saint Vincent and the Grenadines", "Saint Vincent and the Grenadines",
                        "Saint Vincent and the Grenadines", "Saint Vincent and the Grenadines",
                        "Saint Vincent and the Grenadines", "Saint Vincent and the Grenadines",
                        "Saint Vincent and the Grenadines", "Saint Vincent and the Grenadines",
                        "Saint Vincent and the Grenadines", "Saint Vincent and the Grenadines",
                        "Saint Vincent and the Grenadines"), Year = c(2000, 2001, 2002,
                                                                      2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013,
                        2014, 2015, 2016, 2017, 2018, 2000, 2001, 2002, 2003, 2004, 2005,
                        2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016,
                        2017, 2018, 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008,
                        2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2000,
                        2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011,
                        2012, 2013, 2014, 2015, 2016, 2000, 2001, 2002, 2003, 2004, 2005,
                        2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016,
                        2017, 2018, 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008,
                        2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2000,
                        2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011,
                        2012, 2013, 2014, 2015, 2016, 2017, 2000, 2001, 2002, 2003, 2004,
                        2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015,
                        2016, 2017, 2018, 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007,
                        2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016), indic.no = c(10,
                        10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10,
                        7, 7, 10, 10, 10, 10, 10, 10, 9, 9, 9, 9, 9, 9, 9, 9, 10, 10,
                        10, 7, 7, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10,
                        10, 10, 10, 10, 7, 7, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10,
                        10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10,
                        10, 10, 10, 10, 10, 10, 10, 10, 7, 7, 10, 10, 10, 10, 10, 10,
                        9, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 7, 7, 10, 10, 9, 9,
                        9, 10, 9, 9, 8, 8, 8, 8, 8, 8, 9, 9, 9, 7, 8, 8, 8, 9, 9, 9,
                        9, 9, 10, 9, 10, 10, 9, 10, 10, 9, 10, 7, 7, 8, 8, 8, 8, 8, 8,
                        8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8)), row.names = c(NA, -166L), class = c("tbl_df",

Plot of countries and indic.no across years
#Want countries, that have indic.no = 10 across ALL years between 2000 to 2016
#Here I thought I am selecting all years between 2000 to 2016 AND where indic.no equals 10

df2 <-df %>%
  group_by(ISO3, NAME_0)%>%
  filter(all(Year %in%(2000:2016)) & indic.no == 10)

However, it only seems to give me "BRB", where I would expect to also have "ABW", "AUS"& "COL".
Filtered data plot
I have spent so much time on this one filtering issue, and cannot see where I am going wrong.

A: Here is the most easiest way.  After grouping by 'ISO3' and 'NAME_0', use a single filter by subsetting the 'indic.no' that are within the 'Year' range and check whether the all the values are 10
library(dplyr)
df2 <-  df %>%
   group_by(ISO3, NAME_0)%>%
   filter(all(indic.no[Year %in% 2000:2016] == 10))

unique(df2$ISO3)
#[1] "ABW" "AUS" "BRB" "COL"

A: My approach would be:
df <- tibble::tibble(ISO3 = c("ABW", "ABW", "ABW", "ABW", "ABW", "ABW",
                        "ABW", "ABW", "ABW", "ABW", "ABW", "ABW", "ABW", "ABW", "ABW",
                        "ABW", "ABW", "ABW", "ABW", "ARE", "ARE", "ARE", "ARE", "ARE",
                        "ARE", "ARE", "ARE", "ARE", "ARE", "ARE", "ARE", "ARE", "ARE",
                        "ARE", "ARE", "ARE", "ARE", "ARE", "AUS", "AUS", "AUS", "AUS",
                        "AUS", "AUS", "AUS", "AUS", "AUS", "AUS", "AUS", "AUS", "AUS",
                        "AUS", "AUS", "AUS", "AUS", "AUS", "AUS", "BRB", "BRB", "BRB",
                        "BRB", "BRB", "BRB", "BRB", "BRB", "BRB", "BRB", "BRB", "BRB",
                        "BRB", "BRB", "BRB", "BRB", "BRB", "COL", "COL", "COL", "COL",
                        "COL", "COL", "COL", "COL", "COL", "COL", "COL", "COL", "COL",
                        "COL", "COL", "COL", "COL", "COL", "COL", "FJI", "FJI", "FJI",
                        "FJI", "FJI", "FJI", "FJI", "FJI", "FJI", "FJI", "FJI", "FJI",
                        "FJI", "FJI", "FJI", "FJI", "FJI", "FJI", "FJI", "KIR", "KIR",
                        "KIR", "KIR", "KIR", "KIR", "KIR", "KIR", "KIR", "KIR", "KIR",
                        "KIR", "KIR", "KIR", "KIR", "KIR", "KIR", "KIR", "PNG", "PNG",
                        "PNG", "PNG", "PNG", "PNG", "PNG", "PNG", "PNG", "PNG", "PNG",
                        "PNG", "PNG", "PNG", "PNG", "PNG", "PNG", "PNG", "PNG", "VCT",
                        "VCT", "VCT", "VCT", "VCT", "VCT", "VCT", "VCT", "VCT", "VCT",
                        "VCT", "VCT", "VCT", "VCT", "VCT", "VCT", "VCT"),
               NAME_0 = c("Aruba", "Aruba", "Aruba", "Aruba", "Aruba", "Aruba", "Aruba", "Aruba",
                          "Aruba", "Aruba", "Aruba", "Aruba", "Aruba", "Aruba", "Aruba",
                          "Aruba", "Aruba", "Aruba", "Aruba", "United Arab Emirates", "United Arab Emirates",
                          "United Arab Emirates", "United Arab Emirates", "United Arab Emirates",
                          "United Arab Emirates", "United Arab Emirates", "United Arab Emirates",
                          "United Arab Emirates", "United Arab Emirates", "United Arab Emirates",
                          "United Arab Emirates", "United Arab Emirates", "United Arab Emirates",
                          "United Arab Emirates", "United Arab Emirates", "United Arab Emirates",
                          "United Arab Emirates", "United Arab Emirates", "Australia",
                          "Australia", "Australia", "Australia", "Australia", "Australia",
                          "Australia", "Australia", "Australia", "Australia", "Australia",
                          "Australia", "Australia", "Australia", "Australia", "Australia",
                          "Australia", "Australia", "Australia", "Barbados", "Barbados",
                          "Barbados", "Barbados", "Barbados", "Barbados", "Barbados", "Barbados",
                          "Barbados", "Barbados", "Barbados", "Barbados", "Barbados", "Barbados",
                          "Barbados", "Barbados", "Barbados", "Colombia", "Colombia", "Colombia",
                          "Colombia", "Colombia", "Colombia", "Colombia", "Colombia", "Colombia",
                          "Colombia", "Colombia", "Colombia", "Colombia", "Colombia", "Colombia",
                          "Colombia", "Colombia", "Colombia", "Colombia", "Fiji", "Fiji",
                          "Fiji", "Fiji", "Fiji", "Fiji", "Fiji", "Fiji", "Fiji", "Fiji",
                          "Fiji", "Fiji", "Fiji", "Fiji", "Fiji", "Fiji", "Fiji", "Fiji",
                          "Fiji", "Kiribati", "Kiribati", "Kiribati", "Kiribati", "Kiribati",
                          "Kiribati", "Kiribati", "Kiribati", "Kiribati", "Kiribati", "Kiribati",
                          "Kiribati", "Kiribati", "Kiribati", "Kiribati", "Kiribati", "Kiribati",
                          "Kiribati", "Papua New Guinea", "Papua New Guinea", "Papua New Guinea",
                          "Papua New Guinea", "Papua New Guinea", "Papua New Guinea", "Papua New Guinea",
                          "Papua New Guinea", "Papua New Guinea", "Papua New Guinea", "Papua New Guinea",
                          "Papua New Guinea", "Papua New Guinea", "Papua New Guinea", "Papua New Guinea",
                          "Papua New Guinea", "Papua New Guinea", "Papua New Guinea", "Papua New Guinea",
                          "Saint Vincent and the Grenadines", "Saint Vincent and the Grenadines",
                          "Saint Vincent and the Grenadines", "Saint Vincent and the Grenadines",
                          "Saint Vincent and the Grenadines", "Saint Vincent and the Grenadines",
                          "Saint Vincent and the Grenadines", "Saint Vincent and the Grenadines",
                          "Saint Vincent and the Grenadines", "Saint Vincent and the Grenadines",
                          "Saint Vincent and the Grenadines", "Saint Vincent and the Grenadines",
                          "Saint Vincent and the Grenadines", "Saint Vincent and the Grenadines",
                          "Saint Vincent and the Grenadines", "Saint Vincent and the Grenadines",
                          "Saint Vincent and the Grenadines"),
               Year = c(2000, 2001, 2002,
                        2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013,
                        2014, 2015, 2016, 2017, 2018, 2000, 2001, 2002, 2003, 2004, 2005,
                        2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016,
                        2017, 2018, 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008,
                        2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2000,
                        2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011,
                        2012, 2013, 2014, 2015, 2016, 2000, 2001, 2002, 2003, 2004, 2005,
                        2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016,
                        2017, 2018, 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008,
                        2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2000,
                        2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011,
                        2012, 2013, 2014, 2015, 2016, 2017, 2000, 2001, 2002, 2003, 2004,
                        2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015,
                        2016, 2017, 2018, 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007,
                        2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016),
               indic.no = c(10,
                            10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10,
                            7, 7, 10, 10, 10, 10, 10, 10, 9, 9, 9, 9, 9, 9, 9, 9, 10, 10,
                            10, 7, 7, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10,
                            10, 10, 10, 10, 7, 7, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10,
                            10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10,
                            10, 10, 10, 10, 10, 10, 10, 10, 7, 7, 10, 10, 10, 10, 10, 10,
                            9, 10, 10, 10, 10, 10, 10, 10, 10, 10, 10, 7, 7, 10, 10, 9, 9,
                            9, 10, 9, 9, 8, 8, 8, 8, 8, 8, 9, 9, 9, 7, 8, 8, 8, 9, 9, 9,
                            9, 9, 10, 9, 10, 10, 9, 10, 10, 9, 10, 7, 7, 8, 8, 8, 8, 8, 8,
                            8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8)
           )

library(dplyr)
df %>%
  filter(between(Year, 2000, 2016), indic.no==10) %>%
  select(ISO3, NAME_0) %>%
  distinct()

A: The easiest way to get "countries that have indic.no = 10 across ALL years between 2000 to 2016" (assuming you don't need to keep the other data for any reason) is to separate the filtering steps and use the all around indic.no:
library(dplyr)
df %>%
  group_by(ISO3, NAME_0) %>%
  filter(between(Year, 2000, 2016)) %>%
  filter(all(indic.no == 10)) %>%
  ungroup %>%
  pull(ISO3) %>% unique()

[1] "ABW" "AUS" "BRB" "COL"

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text:
Q: ASSERT(::IsWindow(m_hWnd)) issue, not sure what's wrong I'm having a bug in my code that's kicking my ass, so after much attempted debugging I finally decided to see if anyone else knew what my issue was.
I'm trying to add a grid object to a dialog that I have, but I keep hitting the assert mentioned in the title and I don't know why.
LONG myDialog::OnInitDialog(UINT wParam, LONG lParam)
{
    BOOL bRet = super::OnInitDialog();

    InitGridControl();
    InitLayout();

    myApp.ActiveDocChangeEvent->Attach(
    RefMemberDelegate1(*this, &myDialog::OnNewDoc), this); // attach to event so I know when document is created

    return bRet;
}

void myDialog::OnNewDoc(CDerivedDocument* pNewDoc)
{
    pNewDoc->SetMyDialog(this); // when new document is created, set pointer to dialog
}

void myDialog::InitGridControl()
{
    CRect rect;
    // Get the grid area rectangle and set it up.
    GetDlgItem(IDC_GRID)->GetClientRect(rect);
    GetDlgItem(IDC_GRID)->MapWindowPoints(this, &rect); // replacing dummy image with the grid

    m_Grid = new myGridCtrl;
    bool result = m_Grid->Create(WS_CHILD | WS_BORDER | WS_VISIBLE | WS_TABSTOP, rect, this, IDC_GRID);

    // Set the appropriate options
    //...options...

    m_Grid->InsertColumn(0, _T("Name"), 100); // doesn't seem to crash here, which means grid is created okay?
}

void myDialog::PopulateGridControl(BOOL bRedraw, CDerivedDocument * pDoc)
{
    if (GetSafeHwnd() == NULL)
        return;

    // get handles to document and stuff

    m_Grid->SetRedraw(FALSE); // ** ASSERT() CALL IS HERE **
    m_Grid->RemoveAll();

    // other stuff..
}

/////////////////////

// In CDocument, once it is created...

CDerivedDocument::SetMyDoc(myDialog * pDlg)
{
    pDlg->PopulateGridControl(true,this);
}

Any idea what's going on? I mean, I only create the dialog once everything has been initialized, so there shouldn't be a problem there. m_Grid.Create() returns true, so creation is successful. Why is SetRedraw() hitting the assert that the m_hWnd isn't a handle to a window? Where does m_hWnd get set anyway?
Thanks for any help you can offer.
Cheers

A: Are you sure the dialog is created when you call
CDerivedDocument::SetMyDoc(myDialog * pDlg)?
What I see is that you are loading the grid (& dialog) from document, you should rather load the dialog and grid from the view using the document.
This may not be the direct cause of your assert trouble but nevertheless an improvement. It might just put things in the right order and fix this issue.


Install Kolab 16 on Plesk 12.5 possible?
i was unable to get Kolab 16 running under an Plesk 12.5 Virtual Server on CentOS 7.
The install went fine so far after replacing php-mysql with php-mysqlnd.
But the setup was not possible to get access to the MariaDB because Plesk renames the mysql root account to admin and i couldnt find a way to tell Kolab to use admin instead of root.
Is there a way to tell the setup to use admin as the mysql user?
You could just add new MariaDB user "root" with full access.
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I already tried to add root user with full access but didnt work.
Where do i find that installation script? Already tried to find it but without luck.
Full integration is not needed, its more that i want to run Kolab as a collaboration suite under a subdomain and use Plesk for other websites hosting configuration.
You are right, I am not a Linux pro (yet ) but wanted to try it anyway as Kolab looks really good and fresher than egroupware.
Hmm. could you show kolab install logs?
Well, i tried again and was able to install and configure.
Damn, thats a tricky one.
Hmm, i thought it might be a problem of missing pecl_http and installed it but this didnt change anything.
but something goes wrong, if you have this error.
Could you look kolab install log?
i was able to install the missing modules.
Could it be that the nginx configuration is outdated or not working with nginx php-fpm in front of apache?
I am trying to get it running but without luck so far.
Kolab use Apache by default. Try to map apache to another port ( for example 8080) and test kolab admin app with this port. If it works you could try use nginx as front-end or main web server for kolab. I mean that it requires step-by-step solution and finding problems. Because kolab imho is very moody.


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Categories: Female Authors - Francophone Authors - Poets - Authors of Juvenile Fiction; - Novelists - North
Source: Author
Édith Bourget was born in Lévis, Quebec, and now lives and creates in Edmundston, New Brunswick, through her writing, painting, and travelling. As a creator, she has chosen to sing the praises of life with the hope that it will inspire others to protect it.
From poetry collections to novels and albums, Bourget has published several books for young people. She has also illustrated some of these books, including Des oiseaux et des plumes. Her first poetry collections, Autour de Gabrielle and Les saisons d'Henri, were finalists for the Governor General's Literary Awards. She received the Prix France-Acadie for Autour de Gabrielle in 2004. She also received grants from the Canada Council for the Arts, the New Brunswick Arts Board, the Société Nationale de l'Acadie, and the Communauté Wallonie-Bruxelles. She has been asked to participate in festivals and tours in Canada (WordFest, Vancouver International Writers Festival, Blue Metropolis, Fry Festival, Lire à tout vent, Idélire) and abroad (La Bataille des Livres, Switzerland). She has participated in 150 exhibitions in Canada and abroad. In art and in life, she has an appreciation for the sincerity of actions and words.
How has New Brunswick influenced your work?
I have lived in New Brunswick since 1985, but I consider myself a citizen of the world. I talk about many places in my books, and New Brunswick is one of them. In Lola et le fleuve (Bouton d'or Acadie), our province takes centre stage. Lola, a young Parisian, comes to spend a year in Edmundston with her parents. She discovers another culture and friendship, and learns that she has brothers and sisters all over the world.
What is your favourite New Brunswick book, and why?
I really enjoy everything that Hélène Harbec writes. Her literary approach can be best described as intelligent and sensitive. For children's literature, Annie a deux mamans by Denise Paquette was an important book. Published in 2003 by Bouton d'or Acadie, this novel deals with female homosexuality, a subject that is rarely discussed.
What do you consider to be the highlight of your career so far?
Being nominated for the Governor General's Literary Awards for Autour de Gabrielle and Les saisons d'Henri, receiving the Prix France-Acadie pour Autour de Gabrielle, being nominated for the Prix TD de littérature canadienne pour l'enfance et la jeunesse for the collaboration Oh! La vache! Were thrilling moments for me. The GG and the TD are the largest prizes in Canadian children's literature.
Selected, Communication-jeunesse - 2012
In recognition of: Des oiseaux et des plumes
Nomination - PRIX TD - 2011
In recognition of: Oh ! la vache !
In recognition of: Le royaume de Nedji
Nomination - Hackmatack Children's Choice Book Award - 2010-11
In recognition of: Poèmes des villes / poèmes des champs
Nomination - Prix littéraire Tamarack Express - 2010-11
Prix du salon du livre d'Edmundston - 2010
In recognition of: Personnalité du Mois de Mars
Selected, Bataille des livres - 2009
In recognition of: Les saisons d'Henri
Hackmatack Children's Choice Book Award - 2008-09
In recognition of: Le roi de la cour
Nomination - Governor General's Literary Awards, Children's Literature - 2006
Prix France-Acadie - 2004
In recognition of: Autour de Gabrielle
Fifth Prize, concours de nouvelles, Foyer culturel de Milly-la-Forêt - 2003
In recognition of: « Treize tableaux »
Third Prize, concours de nouvelles, Hématomes Crochus - 1999
In recognition of: « Ce sourire »
Shortlisted, concours Sol'Air - 1995
In recognition of: « L'escrivain »
Poèmes des mers
Le bateau de ma vie
où m'amènera
le bateau de ma vie.
Quand j'aurai grandi,
je larguerai mes amarres
et suivrai ma bonne étoile,
au hasard des vents,
suivant les courants.
J'explorerai les mers,
la cale de mon navire
chargée de rêves et de beautés
que je distribuerai
au fil de mes voyages
à de nouveaux amis.
Heureuse, je partirai.
Toujours, je reviendrai.
Mon cœur est un bateau
ancré en Acadie.
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Nissen-Lie, H., Havik, O., Hoglend, P., Monsen, J., & Ronnestad, M. (2017). The contribution of the quality of therapists' personal lives to the development of the working alliance. Journal of Counseling Psychology, 60 (4), 483-495.
Much research has pointed to the individual therapist as an important factor influencing the process and results of psychotherapy. Few studies, however, have examined the relationship between therapists' personal experiences and the quality of their therapeutic work. Thus, the current study aims to investigate the effects of therapists' personal lives, such as how satisfied they are with their personal lives and also the degree of personal burden they are experiencing, on the development of the therapeutic relationships with their clients.
A subset of data from the Norwegian Multisite Study of the Process and Outcome of Psychotherapy (NMSPOP; Havik et al., 1995) were used in this study. This study included 227 clients, ranging in clinical presentation and functioning, from outpatient clinics in the Norwegian public mental health care system. Clients varied in their time in treatment, with 48% having between 20 and 40 sessions. The therapist sample consisted of 70 psychotherapists, ranging in age and experience, and with the majority of utilizing a psychodynamic therapeutic orientation.
The study focused on working alliance as a measure of therapeutic effectiveness; both the client and the therapist reported on "the degree of collaboration between the therapist and client in terms of agreement of the tasks and goals of therapy and the quality of the emotional bond between the two.
The Working Alliance Inventory (WAI; Horvath & Greenberg, 1989; Tracey & Kokotovic, 1989) was filled out by both the therapist and client at the end of the third therapy session, then after session 12, 20, and every 20th session thereafter.
The DPCCQ survey (Orlinsky et al., 1999) was used to capture a wide range of therapists' experiences, including professional training, experiences, current and overall career development, current work experiences as a therapists, and also personal characteristics. Therapists completed the DPCCQ survey a maximum of 6 times during the project.
Quality of therapists' personal lives was also evaluated, specifically looking at personal satisfaction and personal burdens.
Diagnostic assessments were administered to capture client diagnosis and functioning; in addition, client filled out several self-report questionnaires measuring levels of interpersonal distress at multiple time points throughout treatment.
Overall, a robust relationship between therapist quality of life and alliance development was found in this study. Number of treatment sessions for each client were controlled for and results show that treatment time did not affect alliance levels or growth.
Therapists' reports of personal conflicts and burdens had little effect on their own alliance ratings, however, these ratings were strongly, inversely related to working alliance development over time when the alliance was rated by clients.
Therapists' reports of high life satisfaction, including unreserved joy, satisfying intimacy, and emotional support contributed to higher therapist ratings of the working alliance, but this factor had little influence on clients' ratings of the alliance.
The results of this study support past literature showing that therapist differ in their ability to foster a working alliance with their clients (i.e., Crits-Christoph et al, 2009 & Dinger et al., 2008). Specifically, this study demonstrates that therapists' reports of their quality of personal lives and private relationships act as a predictors of the working alliance they are able to develop with their clients as measured by both the therapists and clients. This indicates that therapists' quality of life influences the way they relate to their clients in the therapy room. More explicitly, the study found that differences in rater perspective were important, with therapists' positive quality of life ratings having a trivial impact on their clients' view of the working alliance. On the other hand, when therapists had high levels of burden or conflict in their lives, it seemed to negatively impact their clients' rating of the working alliance. Therefore, it seems clear that therapists' personal lives do have the potential affect their ability to have relationships with their clients; it appears that the positive aspects of the therapists' life do not have a direct impact on their clients' views of the relationship, but do affect their own self-efficacy as therapists, whereas the negative aspects of therapists' lives may be able to be picked up on by clients' and be detrimental to the working alliance.
Given the quasi-therapeutic nature of mentoring relationships, parallels are frequently made between mentoring and therapeutic relationships; thus, the findings of this study have implications for youth mentoring, particularly in regard to the impact of mentors on their mentees. It may be important for mentors to know that negative experiences, dissatisfaction and/or burdens that are occurring in the their lives may affect their emotional availability and subsequently harm the closeness of the mentor-mentee relationship; accordingly, youth may be attuned to picking up on these negative experiences and/or may interpret signs of unavailability as rejection, particularly in already relationally vulnerable youths. This is certainly not to say that mentors who are experiencing distress in their lives are unable to effectively mentor youths, but it may be an important consideration in the training of mentors that understand the importance of developing their own positive coping techniques to deal with stressors in their personal lives so they do not carry over and impact the quality of the mentoring relationship or alliance and subsequently the youth.
Why are some therapists better than others: Implications for mentors What clients find helpful in psychotherapy: Implications for mentoring relationships Study suggests that teens prefer adult mentors to peer mentors Study shows most teenage friendships doomed to fail: But whose fault is that?
MENTOR releases new report entitled "The Power of Relationships"


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Watch our trailer of trailers. A bored married couple is surprised to learn that they are both assassins hired by competing agencies to kill each other.
She has chosen him as a decoy, making believe that he is her lover who is wanted by police. Not only will they need to evade the police, but also the mobster whose money her lover stole.
Written by Douglas Young the-movie-guy. Thanks to a lot of negative reviews, my hopes on enjoying this movie were pretty slim Yeah, it was not hard to guess the "twist" near the end, but it was an enjoyable, mellow ride.
Kind or like the hit "Charade," except this movie is much more low key. Despite mostly dialog-driven, Angelina Jolie and Depp have star-power faces that will have you involved as does the great European scenery and photography, which is first rate on a Blu-Ray.
Keep track of everything you watch; tell your friends. Full Cast and Crew. Revolves around Frank, an American tourist visiting Italy to mend a broken heart.
Elise is an extraordinary woman who deliberately crosses his path. Florian Henckel von Donnersmarck. Watch Our Favorite Trailers of the Week.
Share this Rating Title: Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 3 Golden Globes.
Learn more More Like This. A CIA agent goes on the run after a defector accuses her of being a Russian spy. As for Depp, his character makes so little sense that he can hardly be blamed for blinking his way through the movie with an expression of blank-faced puzzlement that recalls Dan Quayle in the vice-presidential debate.
Some movies sound too good to be true. The Tourist is one of them. The Tourist merely asks you to sit back and enjoy the ride, and then makes that task a breeze.
A silly inane story lacking strong characters and ay sense of adventure. A creaking "star vehicle" for two stars who should have known better, and maybe had a little chemistry.
Overall an interesting and at times very gripping film, but one that perhaps could have done with taking a few more risks. Venice is the postcard backdrop, along with snazzy hotels and parties and glitterati dressed to the nines.
A couple of Bond actors show up to solidify the connection, should one have missed it. Depp seems to be playing an entirely different movie than everyone else onscreen.
Did the director assign this role, or did Depp choose it? Whatever is going on, its as if he could care less what is going on about him, and soon you agree with him.
The movie was never intended to have any value. There is no way that this script would have been brought to life without those names attached.
Speaking of the attached star power, this is just a phoned in performance by Depp and Jolie. They play the same roles that they always do.
Brace yourself for this one, Angelina Jolie is engaging in espionage! Strangely enough, with as much practice as she gets in these roles, she never turns in a believable performance.
Then again, you have to remind yourself that nobody making the movie cared if it was entertaining. Then it all makes sense. More Top Movies Trailers.
Post Share on Facebook. When Frank met Elise Angelina Jolie on the train, he thought it was a chance encounter.
Little did Frank realize it was all part of a much bigger plan, one that would soon find him dodging bullets through both the historic streets of Paris and the winding canals of Venice.
Now, the faster Frank and Elise run, the more intense their romance grows. Florian Henckel von Donnersmarck. Johnny Depp as Frank Tupelo.
Angelina Jolie as Elise Clifton Ward. Paul Bettany as Inspector John Acheson. Timothy Dalton as Chief Inspector Jones. Steven Berkoff as Reginald Shaw.
Rufus Sewell as The Englishman. Christian De Sica as Colonnello Lombardi. Alessio Boni as Sergente Cerato. Daniele Pecci as Tenente Narduzzi.
Giovanni Guidelli as Tenente Tommassini. Raoul Bova as Conte Filippo Gaggia.
Florian Henckel von Donnersmarck. Watch Our Favorite Trailers of the Week. Share this Rating Title: Use the HTML below. You must be a registered user to use the IMDb rating plugin.
Nominated for 3 Golden Globes. Learn more More Like This. A CIA agent goes on the run after a defector accuses her of being a Russian spy.
The Lone Ranger Pirates of the Caribbean: On Stranger Tides The Demon Barber of Fleet Street Edit Cast Cast overview, first billed only: Frank Tupelo Angelina Jolie Elise Clifton-Ward Paul Bettany Inspector John Acheson Timothy Dalton Chief Inspector Jones Steven Berkoff Reginald Shaw Rufus Sewell The Englishman Christian De Sica Colonnello Lombardi Alessio Boni Sergente Cerato Daniele Pecci Tenente Narduzzi Giovanni Guidelli Tenente Tommassini Raoul Bova Conte Filippo Gaggia Bruno Wolkowitch Capitaine Courson Marc Ruchmann Brigadier Kaiser Julien Baumgartner It all started when he met a woman.
Edit Details Official Sites: English French Italian Russian Spanish. Edit Did You Know? The other was, Salt which was also released by Sony earlier in the Summer.
Quotes Italian policeman 2: You wish to report a murder. Not when you downgrade it from murder. Little did Frank realize it was all part of a much bigger plan, one that would soon find him dodging bullets through both the historic streets of Paris and the winding canals of Venice.
Now, the faster Frank and Elise run, the more intense their romance grows. Florian Henckel von Donnersmarck.
Johnny Depp as Frank Tupelo. Angelina Jolie as Elise Clifton Ward. Paul Bettany as Inspector John Acheson. Timothy Dalton as Chief Inspector Jones.
Steven Berkoff as Reginald Shaw. Rufus Sewell as The Englishman. Christian De Sica as Colonnello Lombardi. Alessio Boni as Sergente Cerato.
Daniele Pecci as Tenente Narduzzi. Giovanni Guidelli as Tenente Tommassini. Raoul Bova as Conte Filippo Gaggia. Bruno Wolkowitch as Capitaine Courson.
Marc Ruchmann as Brigadier Kaiser. Julien Baumgartner as Brigadier Ricuort. Clement Sibony as Brigadier Rousseau. Jean-Claude Adelin as Brigadier Cavillan.
Mhamed Arezki as Courier Achmed Tchebali. Igor Jijikine as Virginsky. Vladimir Orlov as Lebyadkin. Vladimir Tevlovski as Liputin.
Alec Utgoff as Fedka. Mark Zak as Shigalyov. Maurizio Casagrande as Waiter Antonio. Nino Frassica as Brigadiere Mele. Gwilym Lee as Senior Technician Mountain.
Steven Robertson as Junior Technician Pinnock. Renato Scarpa as Arturo the Tailor. Giovanni Esposito as Interpreter Coppa.
Bruno Bilotta as Sniper Chief Giordani. Ralf Moeller as Jail Bird Lunt. True Grit pictures, Hours video and more. Dec 10, Rating: Dec 10, Full Review….
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I've been paring things back and removing a ton of wonderful distractions lately as I double-down and focus on the growing needs of my startup (I mentioned this yesterday).
I say "wonderful" because they were, in fact, wonderful distractions that helped fuel a lot of creativity and even revenue.
I say "we" because my 11-year old and I had partnered on this project and it was revenue generating and allowed her to learn a host of skills – content and revenue generation, business building, and the fundamentals of work, which is nothing more than showing up and grinding, day after day after day after day.
It was good to make money but it was boring having to do the same thing over and over and over again.
I'm glad she's learning this truth earlier in life than later.
Although this particular project is gone I'm brainstorming with her on another project that she and I can work on that can connect a few other "dots" for her as she grows into a young professional. My hope is to involve her more deeply into blockchain and the technologies surrounding that growing industry… it shouldn't be hard to find something suitable.
Throwing away a decent revenue generating project so that I can focus and so that she can accelerate her growth in other areas is perfectly acceptable in my book. I consider this part of her education in hacking school.


...I gotta prolong this hiatus. Too much going on right now. Got a business that's starting to take off and the rest of the time I'm teaching sci-fi literature for a Humanities course at York University. But I am going to continue to hack away at Norm Walsh's blogware, which I decided was the right package for me. I will be back in April some time, after teaching ends and I have time to turn my intellect to something other than aliens and time travel.
I am not stopping for good! The idea here is to integrate blogging into your productive life. The asweknowit project will always be an open-source research project. It's just being crowded out by sports stats and sci-fi right now.
And if anyone can help me figure out how to get saxon to work via Walsh's Makefile, I'd greatly appreciate it.
I need to switch blogware. I'm using very out-of-date software but it was, at the time, the only one which offered the kind of categorization I'm interested in. Now that Userland seems capable of incoporating topics I'm going to jump ship. This will take time away from posting to this blog. I may, however, write about my requirements and how they are, or are not, being met.
Jonathan Druy has done it again. A great memorial web site for Neil Postman. A collection of eulogies, obits, etc. You'll remember I blogged his Ong site last summer.
This has little to do with "the evolution of culture, technology and knowledge" but it happens to be the business I'm in. Introducing Statsology, "tracking innovations in sports data processing". Then again, when I get around to reading Moneyball this Christmas, I might be able to make the connection i.e. how are computing machines revolutionizing the sports world? That's good media ecology and fodder for this here blog. It's also a preoccupation with Statsology. Check it out.
I should mention the good work Ian Glendinning is doing over at Psybertron. Not just because he's always blogging me but because we're working on similar problems from different approaches. Ian's one of the KM people (and an engineer with over 20 years' experience) whom it never occured to me would be interested in asweknowit. In my ignorance, I didn't realize how philosophical some KM types were. So if you want to know what Rorty and Nietzsche have to do with business knowledge, have a visit. If you like the problem raised in his manifesto--as I understand it: How can we better understand what we do given we never know precisely what it is we are doing--then have a visit. Check out my blogroll (finally back up after some kind of DNS snafu) for more KM with a philosophical bent from the likes of Dave Pollard and Ton Zijlstra.
Although I was only there for the Saturday, I had a great time at NYSCA. Saw two panels apart from my own and attended the memorial for Neil Postman. For details on the people I mention and the titles of their talks, check the link provided to the NYSCA programme.
Lance Strate gave a fun talk on the Tolkien panel comparing Tolkien to McLuhan. Both were Oxbridge-educated, colonial, Catholic converts with anti-modernist sentiments who were big in the '60s. The two shared a fascination with speech, grammar and language. Tolkien said "All my work is philological"; McLuhan's doctoral dissertation was on the history of the trivium (grammar, rhetoric and the dialectic) in Western education. Mcluhan took the side of the Grammarians and so, it seems, did Tolkien whose Treebeard says "My name is like a story". Next up was Susan Jacobson who demonstrated her Countless Stories production of testimonies from Tolkein fans. This is a non-linear story engine developed to accomodate open-ended narrative. You can see for yourself here. Type "treebeard" into the search engine for the Strate dope. Paul Levinson, who's been blogged more than once here, spoke after Susan. His "Confessions of a Science Fiction Chauvinist'" delved into the differences between sci-fi and fantasy. Although no fan of the latter, Levinson was taken by the Ring movies and suggested they might be science fiction after all.
My last panel of the day was "Media: The Dark Side". Lily Alexander discussed notions of shame and transgression in the context of the public trials of celebrities like Gary Condit, Bill Clinton, O.J. Simpson, etc. She noted the historical link between shameful acts and drama. All those Greek plays--or at least the ones we know--are about vile behaviour. Paul Grosswiler spoke about student plagiarism and the Internet. It's been 36 years since McLuhan wrote: "Take any books on any subject and custom-make your own book by simply xeroxing a chapter from this one, a chapter from that one--instant steal!" (The Medium is the Massage) Grossweiler updated this analysis ("substitute 'downloading' for 'xeroxing'") and discussed and discussed McLuhanesque concepts like patchwriting.
The Postman memorial left no doubt Postman was a great teacher who made a strong impression on the lives of his students. Many spoke at the memorial. Having met Neil only once, I didn't speak. But I thought afterwards that, being one of the few Canadians in attendance, I might have acknowledged how he helped keep McLuhan's legacy alive. The Media Ecology Association is a continuation of Postman's efforts to teach us that the medium matters.
This is the title of a talk I gave at the annual convention of the New York State Communications Association last October 25. Nothing innovative, just a synthesis of state-of-the-art thinking on blogs. The idea was to give a sophisticated understanding of the blog world to smart but non-techie communications scholars.
Abstract: Blogs cause a shift in the balance of power between writer and reader. Blog research and press coverage focuses too much on the supply side (writers), ignoring the two other main players in the blogosphere: readers and machines. The outlook for blogs depends as much upon innovation in reading tech (RSS aggregators) as in writing tech (blogware). Evolutionary trajectory of this medium is toward a relevance-switched content network. Current pre-occupation with "bloggers versus journalists" is an example of McLuhan's rear-view mirrorism. But misunderstanding new technologies is unavoidable, interesting and revealing.
Following the common definition, thanks to Quick and Hiler: blogosphere is more than just blogs; it is the system or ecology within which blogs thrive.
Can be understood as a system of relationships between writers, readers and machines.
Too much research focuses on blog writers and not enough on readers and the technologies that facilitate contact between reader and writer.
Most important technology in this regard is RSS. It's a protocol for creating a machine-readable version of a blo . Causes loss of control by writer over presentation. My own site has, unknown to me, been re-presented elsewhere.
RSS readers aggregate summaries of blog content. In this context The Manchester Guardian and J. Random Blogger are on equal ground. Only difference is the Guardian has more subscribers. Bloggers should be promoting RSS readers as much as they promote blogging.
Without RSS aggregators supply will exceed demand. RSS readers allocate attention resources more efficiently. You can track 618 sites in 34 minutes! You can defend yourself against the remotely-defined interface. The reader calls the shots.
The reader's increase in autonomy is balanced by the writer's increased assurance of an audience. Ultimate goal is the relevance- switched content network. I don't care if more people subscribe to the Guardian than asweknowit. I just want to get to the right 50 people.
If all that matters is writers finding readers, and readers finding stuff, then "blogs versus newspapers", and every other current controversy surrounding blogs, is a sideshow distraction. It's a sign of early- stage misunderstanding of a technology.
But the hype and misunderstanding will persist. The blogosphere's creators are adept at the wishful metaphor, be it "memes", "neurons", or the alteration of "flows" (see #9). None of these are strictly true. Yet neither are they untrue, because technology is the embodiment of ideas and ideas guide the transformation of the material world. The blogosphere is a work in progress. We must learn to understand the role of hype, not condemn it.
Hype is not always a bad thing and to prove it I will show you my favourite example of 14th c. Italian media hype. This is the poet Boccacio writing about the painter Giotto: "There is nothing which Giotto could not have portrayed in such a manner as to deceive the sense of sight." Here is a Giotto. Not too real, is it. But Boccacio only knew about what came before Giotto. He couldn't have known what was to come. Neither can we. We will continue to creatively misunderstand the medium.
I'm at AoIR 2003 in the second blogging session. Wireless just came on. Listening now to Taso Lagos. Just thought I'd do my first post straight from a con. If any of you are here, watch for me. Or email me and we can arrange to meet.
A long and very good memorial by Jay Rosen.
I have no count, but I sense a dwindling number of people in the academic world who are unclassifiable. Neil Postman, who died Sunday, was one, and now we can say he will always be one. Such figures with reputation but no real discipline have a tendency to make people think. Postman had that.
He was expert in nothing. Therefore nothing was off limits. Therefore ones mind was always at risk, from a joke, a headline, an idea, a person walking through the door. The only way to respond to such strange conditions was with ready humor. And humor would bring you more ideas. Now what discipline, what department is that?
Another great media ecologist has died. We mourn the loss. He will be sorely missed.
"Technological change is neither additive or subtractive. It is ecological. I mean "ecological" in the same sense as the word is used by environmental scientists. One significant change generates total change. If you remove the caterpillar from a given habitat, you are left not with the same environment minus caterpillars: you have a new environment, and you have reconstituted the conditions of survival. . . In the year 1500, fifty years after the printing press was invented, we did not have old Europe plus the printing press. We had a different Europe. After television, the United States was not America plus television; television gave a new coloration to every political campaign, to every home, to every school, to every church, to every industry.
I had worked hard for nearly two years, for the sole purpose of infusing life into an inanimate body. For this I had deprived myself of rest and health. I had desired it with an ardour that far exceeded moderation; but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart.
Frankenstein already knew the dangers of possession when he warned the would-be polar explorer Walton: "Unhappy man! Do you share my madness? Have you drank also of the intoxicating draught? Hear me, -- let me reveal my tale, and you will dash the cup from your lips!" And also: "Learn from me, if not by my precepts, at least by my example, how dangerous is the acquirement of knowledge, and how much happier that man is who believes his native town to be the world, than he who aspires to become greater than his nature will allow."
"A human being in perfection ought always to preserve a calm and peaceful mind, and never to allow passion or a transitory desire to disturb his tranquillity. I do not think that the pursuit of knowledge is an exception to this rule. If the study to which you apply yourself has a tendency to weaken your affections, and to destroy your taste for those simple pleasures in which no alloy can possibly mix, then that study is certainly unlawful, that is to say, not befitting the human mind. If this rule were always observed; if no man allowed any pursuit whatsoever to interfere with the tranquillity of his domestic affections, Greece had not been enslaved; Caesar would have spared his country; America would have been discovered more gradually; and the empires of Mexico and Peru had not been destroyed."
Yet the book also has a tendency to glorify the scientist-- "the modern prometheus" of the book's subtitle--as an anti-hero. He is like Milton's fascinating rebel Satan. There is also something inhuman about Dr. Frankenstein: his love of desolate landscapes, his lonely brooding. He is like Coleridge's poet in the last part of Kubla Khan--someone to be wary of, yet the Romantic hero through and through. The romantics were all for striving beyond the human and the book leaves it open whether or not the pursuit of knowledge is indeed compatible with a balanced mind. A cautionary tale?
One obvious victim of Apollo is Oedipus, who gets done in after he does the sphinx in. Seeking knowledge of his origins as a young man, he is shunned by the Apollonian Oracle at Delphi. Later, in the part of the story taken up in Sophocles's drama, we see him single-mindedly, if deludedly, pursuing the answer. He does so with considerable skill, using the talents which served him in his confrontation with the sphinx. He mocks the blind soothsayer Teiresias and ignores his warnings. But wise Teiresias knows that it is Oedipus's own greatness that is his undoing. It is as if the original mystery of his birth has set in motion his considerable mental powers.
She says, "Oh, as thou carest for thy life, give o'er this quest."
"I cannot; I must probe this matter home," he answers.
"Ah mayst thou ne'er discover who thou art!"
His acumen is short-sighted but effective at uncovering truth. Always questioning, always pursuing some blinding hypothesis: that Creon is the guilty party, that the Shepherd will only reveal his low birth. Then the moment of truth and off he runs. When he returns the Chorus asks him what made him pluck his own eyes out: "Apollo! oh, my friends, the God, Apollo! Who worketh all my woes yes, all my woes."
Oh boy, another series, just like "We Are Stupid For a Reason, Parts I-V". This one requires some explanation, however. For starters, we need to establish there is such a thing and that it is as powerful as the more familiar Dionysian possession. Apollo is, after all, the god of rational detachment, order, good government, etc. Possession suggests a frenzy that is anything but those things.
The Apollonian frenzy, on the other hand, happens when one is taken by the vision of things woven together in abstract harmony. The promise of new powers and a new day beyond the present one, the attainment of which requires great sacrifice. That is Apollo's promise. Those possessed might be visionaries, so certain of the outcome of things, or those who monomaniacally pursue truth and knowledge or a political cause.
The cases of Asclepius and Coronis mentioned above are instructive. Asclepius was an ancient Dr. Frankenstein who "had dared to bring a dead man back to life, so Zeus struck him with a thunderbolt. And, just that once, Apollo cried." (59) His mother Coronis preferred a mere mortal, Ischys, to Apollo.
There are strong parallels between Ischys and Theseus, says Calasso. Theseus belongs to the age of heroes, of men acting like gods, adopting the strength of gods. "With the heroes, man takes his first step beyond the necessary: into the realm of risk, defiance, shrewdness, deceit, art." (70) Once he could detach himself from his environment, he could also detach from himself and conquer that self; he could ask for more. The monster the hero slays is the given, the old order which conspires against the possible. Apollo, who killed Python and took over the Delphic cult, was the first slayer of monsters, the first model for the heroes.
The heroic impulse strives to clear some breathing room, to escape the old circumscriptions of fate. But it requires not only turning against the divine order but against ourselves: "It is part of the hero's civilizing work to suppress himself, because the hero is monstrous. Immediately after the monsters, die the heroes." (70) The hero dies because he is unable to appreciate that he is also doing battle with himself. Had he known that he probably would not have embarked on the adventure in the first place. The hero is therefore tragic, unable to know what he is doing until it is too late. Yet the hero is stupid for a reason, a good evolutionary reason: the hero builds culture. His sacrifice is good for us all.
The Dionysian impulse dissolves the ego, alters the self to attain union with the other, or with nature. The Dionysian accepts the world as given, the Apollonian remakes the world. The Apollonian impulse adapts the world to man. But a new world means a new man of unknown fate. In both cases an alignment and dissolving of boundaries is sought. This blog is concerned with the Apollonian impulse because it is based on a fascinating paradox: the god of order and detachment is really the god of a different kind of intoxication.
But Isn't the Hype Necessary?
This one relates to recent comments from Jean-Luc Delatre. Harvard Business School prof. Henry Chesbrough makes the point that "the most valuable use of a technology by a customer or user is often very hard to foresee". He cites the VCR: originally intended for time-shifted viewing but no one foresaw the video rental market. Hollywood originally feared it but later adapted and profited.
So the emotional responses to innovation of "fear" and "replacement" are based on a misconception: the idea that the likely impact of a technology is readily foreseen at the outset. The reality is that extensive experimentation and trial and error may have to occur before the best use of a new technology can be discovered. And the creator of the technology may not even know what this best use might be.
This suggests that managers ought to downplay the hype about the enormous potential of a new technologyuntil some compelling uses begin to emerge - both to keep investor expectations down, and to reduce the possible consumer fear factor associated with that new technology.
This sounds unrealistic. Will the primitive and over-priced early version of a technology ever attract interest without hype, without an emphasis on potential over actuality? Innovators are risk takers, how can we expect them to exercise caution in their claims for their gadgets? And lastly, isn't the demand for attention so high, and the supply so rare, that the only way to attract investors is through attention-grabbing hype? Innovation practically requires hype and there's a built-in inflationary tendency in the development of new technology. Compelling uses later emerge for the successful mistakes. But has any modest technology ever made it that far?
One experiment of Gilbert's had students in a photography class at Harvard choose two favourite pictures from among those they had just taken and then relinquish one to the teacher. Some students were told their choices were permanent; others were told they could exchange their print after several days. As it turned out, those who had time to change their minds were less pleased with their decisions than those whose choices were irrevocable.
This reminds me of Samuel Johnson's famous quote: "I believe marriages would in general be as happy, and often more so, if they were all made by the Lord Chancellor, upon a due consideration of characters and circumstances, without the parties having any choice in the matter." Found here. Choice does not necessarily lead to greater happiness.
Happiness is a signal that our brains use to motivate us to do certain things. And in the same way that our eye adapts to different levels of illumination, we're designed to kind of go back to the happiness set point. Our brains are not trying to be happy. Our brains are trying to regulate us.
Maybe our caricatures of the future--these over-inflated assessments of how good or bad things will be--maybe it's these illusory assessments that keep us moving in one direction over the other. Maybe we don't want a society of people who shrug and say, "It won't really make a difference." Maybe it's important for there to be carrots and sticks in the world, even if they are illusions.
A curious story about a data network developed in Allende's Chile by Stafford Beer. To run an economy of newly nationalized industries the government needed lots of information, fast. Beer's network could achieve in a day what took months in the developed world. The article suggests the network was not biased toward centralized control and was meant to establish a socialistic peer relationship between bureaucrats and managers (it's uncertain where the workers came in to this). Apparently Pinochet's people had it destroyed, so radical was its design. As expected, the comparison is made to the Internet and its egalitarian bias even though Cybersyn, as it was called, hardly resembles the net at all. All told, a very interesting story but also a good example of the association of a communications network with far-left politics. I've therefore categorized this story in tech ideology, or perhaps I should start a separate category for Latin American dot- communism.
Until now, obtaining and processing such valuable information - even in richer, more stable countries - had taken governments at least six months. But Project Cybersyn found ways round the technical obstacles. In a forgotten warehouse, 500 telex machines were discovered which had been bought by the previous Chilean government but left unused because nobody knew what to do with them. These were distributed to factories, and linked to two control rooms in Santiago. There a small staff gathered the economic statistics as they arrived, officially at five o'clock every afternoon, and boiled them down using a single precious computer into a briefing that was dropped off daily at La Moneda, the presidential palace.
I recently had the honour of inclusion in a prestigious list of favourite Canadian blogs. The author of the list, Dave Pollard, has unleashed the interview game and I'm in for the usual reasons of fun and egotism. Besides, I never get personal here at asweknowit.ca. If you'd like to participate, see the rules at the bottom. Dave sent me the following questions and although my answers are short I laboured long over them.
1. What one thing do you most hope to be remembered for after you die?
I think the best I can hope for is to have descendants who will acknowledge me as a link in the chain. The chances of being remembered for anything long after you are dead are pretty slim. But that's what motivates greatness, I suppose.
2. What do you think is the single greatest threat to the survival of the world today, and what do you think is the greatest hope?
I do not believe there is any great threat to the survival of the world. I think alarms over "world survival" are part of an evolved mechanism which is well-calibrated to ensure our future. Most of these problems are knowledge problems. The things we now worry most about--say, global warming-- arose because we developed tools like computers to monitor ourselves. I believe global warming is preventable, but only if we get good and scared about it. So go ahead and sound the alarms. I think I've already answered the second part of your question. A lot of people think I'm cynical but I have a lot of faith in humanity.
3. What single life lesson do you think is most important for young people to learn?
George Kennan once complained about "the curses of egotism, romanticism, day-dreaming, introspection, and perplexity which befall the youth of bourgeois countries." Breaking out of that fantasy realm of the self is probably the most important step toward maturity.
4. Of all the people alive today, who do you think would make the best Prime Minister of Canada? Why?
5. If you had a million dollars, what would you spend it on?
A school for people who are truly interested in learning, not in advancing their career or seeking shelter from the real world. It would be modelled on Black Mountain College.
1. Leave me an email, saying you want to be interviewed.
4. You'll include this explanation, and acknowledge me as the interviewer.
asweknowit.ca is about the relationship between technology and knowledge. We are what we know.
Mind-Culture Coevolution: Major Transitions in the Development of Human Culture and Society. A collection of writings by William L. Benzon & David G. Hays.


Summary: Have you ever felt caught up in the many notes in Bach fugues? Here is a practice technique to better understand and hear the colors, nuances, and chords with multiple voiced fugues.
The act of holding (continuing the sound of) a note while other fingers start new notes is not a passive act, it is positive act no different than pushing a note down the first time to begin sounding it. It is more an act of re-playing than of holding.
Literally re-play a note being held every time a note in any other voice begins to sound. If it is a three voice fugue then, once the third voice has joined the other two, you would be playing a three-note chord each time a new note began in any of three voices. Similarly, with four note chords, for a four voice fugue.
The process is even useful in a two voice situation, for it calls attention to the interval that sounds between the stationary voice and moving voice.
Here is an example, using three voices. As for the rhythm, the longer notes are followed by an underscore (__) and are twice as long as the remainder of the notes.
We have in effect created a "chorale." I refer to this technique as doing vertical slices through a piece, so that at every moment I know what note is sounding (or continuing to sound) in what voice.
– There is less decay (diminuendo) in the longer sounds; the overall sound is constant in each voice.
– I become aware of simultaneous sound relationships between voices that before remained unnoticed by me.
– I hear how a single sustained sound in any voice can change character and emotional flavor two or more times before it stops sounding, simply because of the other notes that are sounding with it.
– I become far more aware of the continued presence of voices when they are intoning long notes. My ear can now follow with greater ease the continuity of each voice separately because the voice is constantly being updated. I don't lose interest in a voice because it is holding a note and the sound is dying away, and I am distracted by other notes that have started in the meantime.
– When it is time for that voice to change pitch I am clear about the connection between the pitches, because the note is still alive in my ear (or in my imagination) and I can manipulate the aesthetic character of the interval by which the voice changes pitch.
– I hear a series of chords or harmonies rather than notes. I listen to the aural equivalent of a constantly changing kaleidoscope of colors and patterns. Many of these chords have surprising sounds, often very dissonant and emotional, but ordinarily heard only peripherally or subliminally. The full reality of the piece is forced upon our ear. The sound of the piece through time is vibrant, pulsating, and alive due to change. I don't get detoured suddenly into just one or two voices. I stay less with a feeling of constancy in the mood and character of the piece and more in a volatile, constantly changing reality of sound. I don't "summarize" anymore. Everything is taken into account.
– The held notes are less a cause of stasis than they are the cause of constant change.
– The hand never looses its feeling of being centered and in equilibrium. Holding one note and having to reach for another throws nothing momentarily out of quilter.
I believe that whatever is not heard by the pianist is played haphazardly and without control.


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Experimenting with song
Wilco's Glenn Kotche, Assoc. Prof. Steven Rings collaborate on composition course
Story by Andrew Bauld | Photo by Jean Lachat | Video by UChicago Creative
Glenn Kotche is used to playing for thousands of fans as drummer of the Grammy award-winning rock band Wilco. But on a recent winter morning, he waited behind his drum kit for 10 undergraduate and graduate students—some trained singers, others musical neophytes—to arrive. Class was about to begin.
The student assignment that day was taking a recorded piece of spoken voice and repeating it over and over again, digitally manipulating it to uncover the melody and rhythm latent in the words. With each strange sample, some high-pitched and mechanical, others slow and resonant, Kotche listened for an instant and then launched into an improvised groove. A clip from an academic lecture inspired a punk rock beat. Another set the drummer into a jazz waltz.
Kotche and Assoc. Prof. Steven Rings developed the course "VoiceGrooveSong" through UChicago's Richard and Mary L. Gray Center for Arts and Inquiry, seeing it as a way to explore popular song structures in contemporary classical composition. As the final voice loop played in class, Kotche started drumming, and Rings rushed to a whiteboard to scribble the notation of the rhythm. Soon Kotche joined him at the board to explain the notes that corresponded to the cymbals and bass and snare drums.
Assoc. Prof. Steven Rings' research centers around popular music and voice, and for the last several years he has studied the music of Bob Dylan. (Photo by Jean Lachat)
"The point of the course is to illuminate things we want to concentrate on in an ongoing project," Kotche said. "For me at least, it's about finding a way to incorporate language into my solo composition in an effective way that is hopefully arresting to people."
Kotche and Rings embraced the experimental nature of the course—something that the Gray Center makes possible between artists and scholars. Students had the chance to talk with Wilco lead singer Jeff Tweedy, Radiolab's Jad Abumrad and Radiohead's Ed O'Brien about the creative process behind songwriting and composing during the course, which met at the Gray Center Lab, an intimate, loft-style space in UChicago's Midway Studios.
"How I thought as we were drafting the syllabus was once you get enough points of entry, there are multiple places where sparks can happen, and then we will decide this is really where we're going to focus," Rings said.
"In the class we don't know where we're going to end up. Everyone is excited to just go along for the ride."
—Assoc. Prof. Steven Rings
A space for experimentation
Kotche and Rings met last year and found themselves "geeking out" over music and voice, percussion and song. In a recent class, they ping ponged ideas off each other, moving from the Beach Boys to Austrian composer Anton Webern to Johnny Cash in a single exchange.
The connection between the drummer and the professor started with former Gray Center curator Leslie Danzig. Kotche, an accomplished solo composer experimenting in avant-garde percussion, met Danzig while working with the Chicago-based ensemble Third Coast Percussion. She realized the Gray Center, positioned at the intersection of artistry and scholarship, provided a unique opportunity for Kotche to explore his interests and his own desire to experiment and collaborate.
"I got to know Glenn and gained an appreciation for the breath of his work," said Danzig, an assistant professor of practice in the arts at UChicago. "He's a fascinating musician and composer, and I got the sense that he is quite experimental and a curious mind. For as incredibly accomplished as he is, he is still working on questions and figuring stuff out in his own practice."
Glenn Kotche diagrams how percussion corresponds with the notes in a piece of music. (Photo by Jean Lachat)
Rings was introduced to Kotche to help him find a collaborator at the Gray Center. Rings' research includes popular music and voice, and for the last several years he has studied the music of Bob Dylan. Rings and Kotche quickly decided to establish their own partnership and landed on the idea of a class that would essentially seek to decompose popular songs.
"Any time you spend with some bit of expressive culture, whether it is a song or a painting, you're trying to figure out, 'Why does it work? Where does its efficacy reside, and for whom?'" Rings said. "It's an unpredictable alchemy."
A home for unlikely partnerships
VoiceGrooveSong is part of a project through the Gray Center's Andrew Mellon Collaborative Fellowship for Arts Practice and Scholarship program, which seeks to foster collaborations between artists and scholars. Past participants have included cartoonist Alison Bechdel and actor Denis O'Hare.
The course, like the project, is about exploration without expectations—something the Gray Center encourages.
"The Gray Center seems really open-minded, and for lack of a better term, just cool about understanding that, 'yeah, you can't define something before it exists,'" Kotche said.
"These are things I've never read about, I've never thought about, I have no experience with. I'm kind of the teacher, but I'm also a student, which is great."
Although feeling like 'a fish out of water' at times in the classroom, Kotche had abundant enthusiasm for the new challenge. "These are things I've never read about, I've never thought about, I have no experience with. I'm kind of the teacher, but I'm also a student, which is great," he said.
Back in class that winter morning, students were in for a surprise after working through the spoken word loops. As an assignment, they had been given a set of mystery lyrics and were asked to set them to music. Each of the students shared a completely unique version. One was dark and electronic; Kotche called it "demonic." Another was compared to an Adele ballad.
The course VoiceGrooveSong at the Gray Center Lab included a mix of 10 graduate and undergraduate students. They had the chance to talk with Wilco lead singer Jeff Tweedy, Radiolab's Jad Abumrad and Radiohead's Ed O'Brien about their creative process. (Photo by Jean Lachat)
Fourth-year Corson Barnard, a Theater and Performance major, had written music for other people's lyrics before, but never in an academic setting. "I had never thought about things like, if you delay it two beats, it has this whole new connotation. Hearing everyone's pieces spoke a lot to interpretation," she said.
After hearing various renditions, Kotche revealed the lyrics are from a rarely circulated track recorded by one of Kotche's old bands, birddog, along with singer-songwriter Elliott Smith in the 1990s. Kotche hit play to reveal the country-waltz swing of the original. The class discussed the elements that resulted in such variation, sounding more like chemists than musicians in their analysis.
"In the class we don't know where we're going to end up," Rings said. "Everyone is excited to just go along for the ride."
Originally published on March 21, 2017.
More on VoiceGrooveSong
Richard and Mary L. Gray Center for Arts and Inquiry
'VoiceGrooveSong' student tracklist on SoundCloud
Wilco's Glenn Kotche, UChicago's Steven Rings deconstruct music in UChicago course
'Steven Rings shares his research on Bob Dylan'
Glenn Kotche website
Third Coast Percussion performs Glenn Kotche's 'Wild Sound'


After a taste of their skills on the last 'Smiley Goes to Sonar' compilation, Marco Tegui, Audictive & Depaack are back with a single titled 'Tuetano a Ceniza'. This suggestive and spiritual track comes with smashing remixes by Larry Cadge, Israel Vich and Adam Helder.
Kicking off with the original laidback affair, ''Tuetano a Ceniza'' sets the tone introducing short snippets of deep instrumentals to spice things up.
Larry Cadge is first up on remix duties, picking things up with his distinctive House infused vibe, while Israel Vich adds an infectious synth melody which together with the short vocal snippets elevates the track to the next level.
Adam Helder rounds off the release with a brooding rework - led by swirling pads, snaking bass tones and low pitched vocal murmurs - offering up a dub-infused workout to complete the release.
Release Date: 14th December 2015.


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Tom Watson MP: Internet giants should make public if they gave data to the NSA
By Paul Cooper 2013-11-01T12:30:16.304Z
Major telecoms firms should make public whether they were obliged to give spies access to their networks, according to Labour MP Tom Watson.
"Let me be clear," Watson told MPs in a fiery debate that took place in Westminster Hall. "Telecoms companies have been illicitly aiding the security services to tap into data being processed by internet companies with whom they have a commercial relationship."
"These telecoms companies, who are the backbone of this wonderful thing called the internet, that has allowed two decades of free expression and creativity to explode into the lives of our citizens, have been operating in the shadows, to allow our security services to tap all of it."
The American NSA and the UK's GCHQ are accused of participating in a programme codenamed "MUSCULAR", which involved copying entire data flows that pass between the fibre-optic cables carrying information between data centres belonging to Silicon Valley tech giants.
The leaked documents even contained a jaunty post-it style sketch detailing the invasive and sprawling nature of the NSA's data collection. The sketch came replete with a "smiley" emoticon at the point where data was gathered by the three-letter agency.
A relatively obscure figure until recently, Tom Watson rose to prominence as a privacy activist when he questioned Rupert and James Murdoch, along with former News of the World editor Rebekah Brooks as a member of the Culture, Media and Sport Committee in July 2011.
Watson went on to say that "the security services have clearly made the trade-off that intelligence obtained is worth the invasion of privacy," while acknowledging that those agencies "are judged on the quality of the intelligence they obtain and little else."
However, large Internet firms are a different matter, he argued.
"I want to know if the telecoms companies have voluntarily entered into this agreement or if they have been obliged to under UK or USA law."
Watson added some comments on the validity of the actions of mega-leaker Edward Snowden, The Guardian, and its journalist Glenn Greenwald.
"We only know of the existence of the TEMPORA programme because of Edward Snowden and the Guardian newspaper," Watson added. "I think they have acted courageously in the public interest."
Google earlier released a statement in response to the MUSCULAR accusations:
"We have long been concerned about the possibility of this kind of snooping, which is why we have continued to extend encryption across more and more Google services and links."
The search giant went on to claim that "we do not provide any government, including the US government, with access to our systems."
Watson's calls were echoed by Conservative MP Dominic Raab, who argued that the legal justification for the GCHQ TEMPORA programme was "thin at best".
Concerning his own party leader, David Cameron, threatening the possibility of legal action against The Guardian for its role in publishing the leaks, Raab questioned:
"If national security were materially breached, why hasn't anyone at the Guardian been charged or even arrested since the search of their offices back in July?"
Lib Dem MP Julian Huppert joined the chorus, warning Britain was in danger of "sleepwalking" into a surveillance state.
Image: Flickr (Roger Lancefield)


text:
Faith Hill And Tim Magraw
She's a little bit soul and he's a little bit country, but when Faith Hill and Tim McGraw get on a stage together, pure chemistry becomes their genre. The superstar couple brought their latest.
Listen up, country music fans! Faith Hill and Tim McGraw will release their first-ever album together, The Rest of Our Life, on Nov. 17. The two Grammy-winning artists announced the news on Oct. 6,
Country music's king and queen, Tim McGraw and Faith Hill, sat front and center at the 52nd Annual Academy. (They're also adopting a second kid from Africa.) More from AOL.com:
Faith Hill and Tim McGraw are celebrating their 21st wedding anniversary with the announcement of their first collaborative album The Rest of Our Life. The country music power couple have also shared.
Enter a 10-digit Phone Number. Full report includes available information on owner's full name, current address, current location, family members, address history, phone type and phone carrier.
Hill and McGraw hired McAlpine, an architecture–and–interior design firm that had previously worked on their homes in Nashville and Franklin, Tenn. Architect Bobby McAlpine, who designed the compound.
Citation Date Parties; 29 Mass. App. Ct. 1: July 18, 1990: COMMONWEALTH vs. JEFFREY CROWLEY. 29 Mass. App. Ct. 11: July 18, 1990: TRUSTEES OF PAUL REVERE REALTY TRUST.
The Soul2Soul Tour touched down at Mohegan Sun Arena on Friday night with country stars Tm McGraw and Faith Hill sharing the spotlight over the course of a two hour performance in front of a sold out.
It's no secret that Tim McGraw and Faith Hill represent major #couplegoals, but now the country music stars are opening the doors to their Bahamas island retreat and giving us serious home decor envy.
Spiritual Numbers 444 Aug 24, 2016. Those who are not willing to see the real meaning of number 444 are also not willing to unlock their spiritual side which can help them achieve. Luke Daugherty, who has known Jaynes since they were pastors more than a decade ago, called Jaynes a "spiritual predator. deaths in the U.S. in
Religion In Russia Before Christianity Islam: Contemporary figures for Islam are usually between 1 billion and 1.8 billion, with 1 billion being a figure frequently given in many comparative religion texts, probably because it's such a nice, round number.That figure appears to be dated, however. Relatively high birth rates in Muslim countries continue to make Islam a fast-growing religion. Baptist
Faith Hill and Tim McGraw have shared the lyrics and music for their new duet, "Keep Your Eyes on Me." McGraw stars in the upcoming film The Shack, which hits theaters in March. McGraw plays the.
Faith Hill and Tim McGraw are used to being a dream team. So what happened when Jimmy Fallon pit these two country superstars against one another? Cuteness obviously! The pair split up for a Tonight.
Faith Hill and Tim McGraw are their leaving their previous record labels to join Sony Music Entertainment. Hill's move ends a 20-plus-year relationship with Warner Music and McGraw had been with Big.
Faith Hill and Tim McGraw felt the love Sunday night. The reigning first couple of country music brought the heat to the 52nd annual Academy of Country Music Awards with the first performance of.
The Oldest Christian Religion Spiritual Numbers 444 Aug 24, 2016. Those who are not willing to see the real meaning of number 444 are also not willing to unlock their spiritual side which can help them achieve. Luke Daugherty, who has known Jaynes since they were pastors more than a decade ago, called Jaynes a "spiritual predator. deaths in
Presbyterians constitute one of the major denominational families of the Protestant branch of the Christian faith. Scotland's state church, the Church of Scotland, is Presbyterian.
Getting glam is getting boring for Faith Hill and Tim McGraw. After a zillion years in the biz, a photo shoot ain't what it used to be for the country music superstars. On Wednesday, the adorable pair.
We didn't think it was possible, but Faith Hill and Tim McGraw just made us fall even more in love with them. The couple released the music video for their latest single, "Speak to a Girl," which they.
More Than $58.4 Million In Prizes Awarded In November. Missouri Lottery players took home more than $58.4 million in prizes during the month of November.
When it comes to country music, Faith Hill and Tim McGraw are pretty much royalty. The duo has individually dominated both the country and top 100 charts with songs, like "This Kiss" and "Just to See.
Let's get real, we could watch Faith Hill and Tim McGraw's 2017 CMA Awards performance of "The Rest of Our Life" for the rest of our lives. The longtime duo, who have been married since 1996, were.
SALT LAKE CITY — As Tim McGraw and Faith Hill sang the final notes of their hit duet "I Need You" during their encore, the audience of the newly renovated Vivint Arena roared. And as the couple walked.
Dust off the cowboy boots and bust out the flannel. There's a summer tour that country music fans cannot wait for. As Faith Hill and Tim McGraw followers know, the Hollywood couple is hitting the road.
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Passengers suffered fractures in smash after police chase - but refused to help prosecution
Drug driver from Bishop Auckland hit tree trying to flee police
By Bruce Unwin @BruceNEcho Crime and Court Reporter
Patrick Williams, given 12-month custodial sentence over driving which led to collision with tree
AN unlicensed teenage driver's attempt to evade police had devastating consequences for him and his two passengers.
Durham Crown Court heard that Patrick Williams, 19, who had taken cannabis, was driving an MG7S which came to police attention as the front seat passenger was not wearing a seat belt, on Sawmills Lane, Brandon, at 4pm on March 4, this year.
Rachel Butt, prosecuting, said as the police vehicle turned and its blue lights and siren were deployed, Williams accelerated and overtook vehicles on the wrong side of the road, causing an oncoming car to make an emergency stop.
Emerging from a traffic-calming chicane, Williams lost control of the MG, as its rear fish-tailed.
It narrowly missed a car, before colliding with a tree, near a bus stop.
A passenger was seen fleeing from the rear of the badly damaged vehicle, while the driver's door opened and Williams fell to the ground.
Miss Butt said the front seat passenger was screaming for help as his legs were trapped against the dashboard.
Firefighters arriving at the scene put out smoke and flames, before cutting the front seat passenger free.
Williams gave two blood samples at hospital, confirming the presence of cannabinoids three-and-a-half times above the limit to drive.
Miss Butt said Williams suffered a broken leg, his front seat passenger fractured both legs and the rear passenger had a fractured shoulder.
She told the court neither passenger was prepared to assist the prosecution.
Williams gave "no comment" replies when interviewed by police, in July.
But, the defendant, now 20, of East Parade, Bishop Auckland, admitted dangerous driving, drug driving, and without a full licence or insurance at a recent hearing.
The court heard he has a previous conviction for no insurance and licence.
Amrit Jandoo, for Williams, who has underlying ADHD, said he only bought the vehicle days earlier and was driving with his bother and a close friend but lost control through inexperience.
Imposing a 12-month custodial sentence, Judge James Adkin said his previous motoring conviction should have proved, "a shot across the bows", for Williams.
He said the extent of damage to the car showed how lucky Williams and his passengers were that their injuries were not more serious.
Judge Adkin also banned Williams from driving for 18 months.


Steve@ahtech needed a new logo design and created a contest on 99designs.
A winner was selected from 88 designs submitted by 41 freelance designers.
We are looking for a sleek new logo to go with a new ecommerce website that is being built. Logo should be eye catching and say "hitech"
We are a reseller of high end networking equipment with a focus on CISCO and Juniper hardware. The logo will be the new face of our company website and business brochures. We are open to creative designs.
- Must have "AH Tech Solutions" of course. lower case or upper case doesnt matter.
- wants logo to say "web 2.0"
- website will be designed around logo.


This is the second project in our #SBIDinspire series featuring finalists from the SBID Awards to showcase our talented members and subscribers. SBID interviews the imaginative minds behind the projects to give an insight into their creative process and how they tackled some of the industry's biggest and best projects.
Entries to the SBID Awards 2017 are now open and accepting your submissions, to find out more and enter Click Here.
This private client sought an impressive boutique hotel quality in this family home intended for use for just a portion of the year. Specific elements of the brief were to retain the existing wardrobe joinery and refurbish it, and the art was to be sourced post-completion to complement the design scheme. Overall this brief was a uniquely open one, with the client placing their trust in Elicyon to create something magnificent through a refurbishment harmonious with the grand mansion building.
Located in an iconic and grand mansion block in Bayswater, Elicyon undertook the refurbishment of this apartment and created an exquisite finish to superlative standards in line with the building style. The combination of breath-taking views over Hyde Park and an interior dominated by a sophisticated, subtle colour palette of dove greys and sumptuous, soft metallic materials make this four-bedroomed apartment a testimony to luxurious city living.
Working with the existing base build of the property; we inherited the wardrobes for example, which were finished in a dark mahogany. To integrate them into the scheme we had them spray painted, adding a shagreen wallpaper inlay and bespoke hammered metal handles, thus cost effectively transforming them.
The brief was met through an adept combination of sourcing the finest materials and designing bespoke furnishings to create a truly exquisite finish. The exclusivity of the property culminates in the bespoke artwork, specially commissioned and individually handpicked to complement the shades of the colour palettes. The team particularly enjoyed designing the customised furniture to complement the space and layout.
We see gaining recognition in the awards as an accolade, as the SBID International Design Awards has firmly established itself as one of the most prestigious events in the design industry calendar.


Join us in ifarm's beautiful, historic farmhouse for an evening of knitting, purling and chatting. Bring your current project and sit by the fire with other knitters. Whether you're a veteran knitter working on a cabled sweater, or a brand new knitter starting their first washcloth, all levels of experience are welcome.
Light refreshments will be provided. Pre-registration preferred, walk-ins welcome. This event takes place the third Thursday of every month.