text:
Assignment summaries
CAN A1 Two sides of the story
CAN 1 Assignment
CAN 1 Contacts
CAN 1 Tutor feedback
CAN 1 self-assessment
New perspective on CAN 1 Two sides of the story
CAN A2 Photographing the unseen
CAN A3 Putting yourself in the picture
Further reflection on assignment 3
CAN A4 A picture is worth 1,000 words
CAN A5 Making it up
Developing an idea for assignment 5
CAN 1 The photograph as document
CAN 1 Exercise 1.1 Citizen journalism
CAN 1 Research point 2.1 Inside/outside
CAN 1 Exercise 3.1 Colour vs black & white
CAN 1 Research point 4.1 Paul Seawright
CAN 1 Exercise 4.1 Sarah Pickering
CAN 1 Exercise 5.1 Composite image
CAN 1 Exercise 5.2 Technology and truth
CAN 1 Research point 5.1 Documentary photography
CAN 2 Narrative
CAN 2 Exercise 1.1 Briony Campbell & W Eugene Smith
CAN 2 Exercise 2.1 Write your own captions
CAN 2 Research point 2.1 Sophie Calle & Sophy Rickett
CAN 2 Exercise 2.2 Interpret a poem
CAN 3 Putting yourself in the picture
CAN 3 Exercise 1.1 Reflect on the works
CAN 3 Exercise 2.1 Nikki S Lee
CAN 3 Exercise 2.2 A childhood memory
CAN 3 Exercise 3.1 Gender and image
CAN 4 Reading photographs
CAN 4 Exercise 0.1 Other reasons for photos
CAN 4 Exercise 1.1 Elliot Erwitt image
CAN 4 Exercise 2.1 Comment on an ad image
CAN 5 Constructed realities
CAN 5 Exercise 1.1 Goodfellas character clues
CAN 5 Research point 1.1 Gregory Crewdson
CAN 5 Exercise 2.1 Nicky Bird Question for Seller
Learning log
Reflection on defining myself
Starting to think about sustaining my practice
Volunteering for the Brighton Biennial
My work as a Brighton Biennial volunteer
The Brighton Biennial study visit
First steps with colour management
Photography reading group hangouts
Reflection on my progress through CAN
Reflection on others
Ian Jeffrey: Photography
Austin Kleon: Steal like an artist
Roland Barthes: Mythologies
Reflection on Francesca Woodman
Reflection on copyright
Maria Short: Context and Narrative
Roland Barthes: Camera Lucida
Brighton Museum & Art Gallery: Gilbert & George
Towner Art Gallery Eastbourne: At Altitude
Robert Shore: Post-Photography
Bishopstone Railway Station: A Longer View
The Photography MA show at Brighton University
Susan Bright: Auto Focus
Howarth & McLaren: Family Photography Now
Scroll down for a continuous thread of all Assignment 5 posts, or view specific posts via the top menu bar.
Since completing assignment 3 a few months ago I've been playing around with a couple of ideas that might be suitable for assignment 5. Both of them revolve around questions of time, place and identity, but one is essentially an exploration of personal identity while the other focuses more on place, and after a lot of experimentation and deliberation I've decided to go ahead with the latter.
This idea stems from exploring the history of the 1850s Brighton flat that's been my home since the beginning of last year, which I've become conscious of through quirks of the building, taking guided architectural tours of the area, lease documents, googling, letters that arrive for people long gone, and the flat's aura of historical occupation. I searched in vain for a genuine photograph of the original owners, who built the house and owned it for two generations, so decided to use a photograph of another family from around the same period to represent them. I had carried out several experiments with printing on semi-translucent fabric for assignment 3, and felt that this could also offer a way to bring the family's presence into my flat, if I printed the image at full life size and hung it in the room as part of a scene which also included me. I made an A4 transfer print test on muslin.
I then decided to include inhabitants from a selection of other eras, and found a suitable family portrait from around the 1920s, but the 1960s was more challenging as it became apparent that by then nobody went to studios for family photos, so I used a photo of my own family from that time. I also wanted to include at least one person from the time since the house was divided into 10 flats in the 1980s, and I know that a dancer lived in this flat for a while, so found an image to represent him too.
I overlaid all the images in Photoshop, using various blending settings to allow each image to be seen without blocking the others. I then printed the composite image on muslin to see how it worked on the semi-transparent fabric. I also wanted to get an impression of what the effect would be of having the image as a life-sized backdrop to a scene in which I also appeared, so mocked that up in Photoshop.
I also explored the idea of projecting (rather than printing) the composite image onto a muslin or similar screen and discovered that this technique is in common use as a Halloween trick, but came to the conclusion that it required a much larger space than mine to achieve a life-size effect that I could also interact with, plus it only really works with cut-out figures, not full-width images like my composite.
I decided the next step should probably be to make some more considered images of myself, perhaps posing for my portrait in the same manner as the "ghosts", to see how they work with the composite image. I also thought about including myself as one of the layers of the printed composite image instead of hanging the print and shooting myself in front of it to create the final work, because it would emphasise my status as just one more of the cycle of inhabitants and avoid the possibility that the final image might just turn out to look like a photo of me sitting in front of a wall hanging. So I added a shot of my front room as a background layer to the composite to see what this would look like. I also experimented with making myself less opaque so that the transient nature of my own inhabitance was emphasised.
My present inclination is to get this version printed at a large scale, as close to life-size as I can have it done at a reasonable price, and make that print the final work rather than re-shoot the print in situ. But first this seems like a very good time to request peer feedback, so I've decided to ask for that at the next Sunday forum which takes place in a few days from now.
CAN 5 Making it up
The Looking Glass
A meditation on past and present, the real and the imagined, the physical and the spiritual, this image investigates the tangible and unavoidable sense of history and prior occupation that infuses the Kemptown flat in which I've lived for the past two years.
The house I live in was built in the 1850s and is situated in Kemptown, an area of Brighton created by Thomas Kemp to provide seaside homes for wealthy Londoners after the Prince Regent built his own retreat in the town. During the 20th century all but a few of these once-grand houses were divided into flats and bedsits, and most became neglected and run-down. Meanwhile Kemptown acquired a new identity as Brighton's foremost gay and alternative area.
This image aims to capture the history of the area in general and the spirit of my flat in particular. Its past inhabitants have left their traces in many ways, both visible and invisible, and the image is an attempt to document their once-physical presence. The blending effects I used to overlay the images evoke the analogue methods of portraying ghosts, fairies and ectoplasm used by photographers from Roger Fenton through William Mumler and Sybell Corbett to William Hope and the Crewe Circle (The Guardian, 2010 and 2012; Harding, 2013; National Science and Media Museum, nd; Timberlake, 2015) in Victorian times, when interest in the supernatural was at a peak of popularity – fuelled in part by Mme Blavatsky and her School of Theosophy (Blavatsky.net, nd) – and séances were held in the homes of even the most prominent members of society (Diniejko, nd). Indeed, it is highly likely that such rituals took place in many Kemptown rooms like mine, given that the area's residents included people like Lewis Carroll (My Brighton and Hove, nd), author of Alice in Wonderland and member of the Society for Psychical Research (LCSNA, nd).
I have been playing around with this project for several months now and have documented its development in a separate post. Since I wrote that post, the project has been discussed at an Open Forum Hangout, where I received some very useful and thought-provoking feedback from the hangout participants, especially @Alan515735 and @Kate513940. Alan identified something that I have been aware of but have repeatedly pushed out of my mind – that there is too much going on in the image, that it is too complex and that there's no hook to engage the viewer.
I have given this and all the other suggestions put forward in the hangout a great deal of thought in the past two days, and after wondering whether I should rethink the project entirely I decided to press on with it, for the following reasons. As a further expression of the ephemeral nature of the image's subject and my continuing interest in exploring fabric as a print medium, I plan to print the image onto a semi-translucent fabric, probably 115gsm polyester mesh, at life-size or as near life-size as is feasible taking logistical and cost considerations into account. My hope is that this large scale might bring the sense of historical presence that infuses this building and Kemptown as a whole to the image, and I think it's possible that the over-complex, over-busy effect might work better in such a large fabric print I. I am also hoping that some of the serendipitous interplays of the various overlaid images may come to the fore and provide interest that doesn't present itself at screen size.
Reflection before tutor feedback
This has been a very enjoyable project, something I've played around with over a longish period. I am aware that it doesn't "say" a lot and is not the most engaging of images, but I feel a certain connection to it and feel I would like to pursue it to the stage of large-format printing on fabric even if it ends up as a disappointment. The cutout of myself was originally intended only for use as a placeholder for a more considered image, perhaps one in which I would face the camera and thus take my place amongst the other residents. But I find that there are things I like about this throwaway image – the three-dimensionality of my slippers' placement on the carpet which seems to suggest that I'm standing at the entrance to a time portal, the fact that I seem to be confronting or addressing or photographing the previous residents, and the way my "athleisure" clothing makes me as much an archetype of the present as the others are of their own eras.
Before I commit myself to getting the large-format print made up I will now submit the project to my tutor for his feedback.
Update 24 November 2018
While awaiting tutor feedback I looked back on the work I'd done through the module and found myself drawn to the image I made for Exercise 3.2.2. I thought about what the 11-year-old me represented in that picture and the me of today might want to tell each other, and began to experiment with this idea. I found that adding just a few elements to the image significantly shifted its narrative to include personal insights that I would struggle to articulate verbally, as well as raising questions about the flow of time and space.
Feeling that it might be a better response for assignment 5 than my original submission, I informally asked a few people what they thought, and most favoured the new image. I have therefore decided to ask my tutor for his view when he comes to review the assignment. I have also tabled it for discussion at the 2 December forum-wide hangout, where I intend to ask: Which of the two is a better response to A5? Does the fact that the new image is based on one I made for an earlier exercise rule it out for this use? Do the two images have enough in common that I could use them both? I feel they both raise questions about personal identity so have a degree of shared subject matter, but is this reflected visually? Does adding a personally resonant motif (scissors) to the original image (see original and modified original images side by side immediately below this text) connect it more strongly to the new image? Is a pair of images both too many and too few to submit for the assignment?
Update 3 December 2018
Yesterday's hangout was extremely helpful and clarified a lot of the above questions. Opinion was unanimous on two points – that it was fine to adapt an image created for a module for use as an assignment submission, and that I should only submit one of the two images, as there was really nothing to connect them together. Thereafter views diverged, with a majority preferring the new ("clean") image to varying degrees and two preferring the original ("cluttered") one. Reasons given in support of the clean image included that it is more open-ended and offers more scope for interpretation, that it looks outward/forward rather than inward/backward, and that it has a surreal and uncanny feel. Those not in favour of the clean image cited its simplicity and lack of any sense of movement, and its resemblance to an advertisement mock-up. Reasons given for preferring the cluttered image included its greater complexity and scope for investigation and discovery, and the sense given by the feet on the carpet of entering a time portal. The new version of the cluttered image (with scissors) was preferred over the old version of that image.
I now await my tutor's feedback before making a final decision.
My tutor's initial (pre-tutorial) feedback included the comment that he didn't really agree with the hangout's verdict that the two images had nothing in common, so I got out the A3 prints I'd made of the two images and placed them side by side to see how they looked as a pair of prints. I immediately realised that they had different aspect ratios, so I made an amended version of the "cluttered" image with a greater width, which brings more of my room into view, including a copy of Susan Sontag's On Photography, which happens to have a front cover image by an unknown photographer from the 1850s, the same date that this house was built. It also brings in more of my empty shelving and a circular sticker, both of which increase the sense of connection between this and the "clean" image. When I look at the them together now, I find that these visual connections make the shared element of an exploration of personal identity stronger than it was without the change in aspect ratio. I will continue to look at them until my tutorial and see whether this grows or recedes.
Update 15 December: reflection after tutor feedback
In the online tutorial session we discussed the pros and cons of including both images in my submission. One key point that arose was the possibility that two such different images could set up a conflict when displayed closely together. We also discussed the more derivative nature of the "clean" image, including the fact that I had consciously bowed my head in the window shot in reference to Crewdson and his frequent use of this device to suggest shame, regret, shock and other post-traumatic responses. Between receiving my tutor's initial feedback and the tutorial, I had spent time considering which of the two images I would be most reluctant to lose, and concluded that the "cluttered" image was closer to my heart. For all these reasons I decided to drop the new "clean" image and keep the "cluttered" one.
I had originally made the image's aspect ratio as deep as possible in relation to the width due to the fact that in my original plan to print on fabric at a very large size, width was the constraining factor in terms of what print options were available, and the narrower I could make the width, the taller and closer to life-size the figures would appear. In the intervening period, however, I had realised that there was no longer sufficient time to have such a print made in time for submission for the March 2019 assessment date for which I had registered, so I was free to choose which of the two aspect ratios I preferred in A3 print form. After comparing them over a period of time I came to the conclusion that the wider version has a greater sense of space and three-dimensionality as well as emphasising my exploration of personal identity more strongly than the deeper one, so decided to submit that version.
I was uncertain whether or not to retain the scissors I had introduced to create a greater connection with the "clean" image, so I printed versions with and without, and lived with them side by side for a couple of days. My instinct was that I'd end up preferring the without-scissors version, but I actually found that they resonated in a way that felt appropriate and I felt their absence in the version without them. I therefore decided to retain them.
I have not abandoned the fabric print idea altogether, and may well return to it in future, alongside further consideration of the potential for projecting the image onto fabric. Although I concluded quite early in the project's development that I did not have the space in my own flat to project the figures at life size due to the need to place the projector outside the margins of the image plane to make it invisible, it might well be feasible to create a gallery installation in which the viewer would face a life-sized projection, either on a single screen or on multiple layered screens, each screen containing a single layer of the image.
Blavatsky.net (nd) Available at http://www.blavatsky.net [accessed 6.11.18]
Diniejko, A. (nd) Victorian Spiritualism. Available at http://www.victorianweb.org/victorian/religion/spirit.html [accessed 6.11.18]
LCSNA (nd) Lewis Carroll and religion. Available at
http://www.lewiscarroll.org/carroll/religion [accessed 6.11.18]
My Brighton and Hove (nd) Kemptown famous residents. Available at http://www.mybrightonandhove.org.uk/page_id__5909.aspx [accessed 6.11.18]
The Guardian (2010) Halloween hauntings: William Hope's spirit photographs. Available at https://www.theguardian.com/artanddesign/gallery/2010/oct/29/haunted-photographs-william-hope-halloween [accessed 6.11.18]
The Guardian (2012) Ghosts, giants and fairies: classic faked photographs – in pictures. Available at https://www.theguardian.com/artanddesign/gallery/2012/aug/29/classic-faked-photographs-in-pictures [accessed 6.11.18]
Harding, C (2013) G is for… ghosts: the birth and rise of spirit photography. Available at https://blog.scienceandmediamuseum.org.uk/photography-a-z-ghosts-spirit-photography [accessed 6.11.18]
National Science and Media Museum (nd) The spirit photographs of William Hope. Available at https://www.flickr.com/photos/nationalmediamuseum/sets/72157606849278823 [accessed 6.11.18]
Timberlake, H (2015) The intriguing history of ghost photography. Available at http://www.bbc.com/future/story/20150629-the-intriguing-history-of-ghost-photography [accessed 6.11.18]
Tutor's annotated pdf can be viewed here. Post-tutorial formative feedback form follows below.
Creating this composite image required me to considerably improve the pre-existing skills I had in cutting out and blending layers in Photoshop, so I took my laptop along to invigilation sessions and practiced during any quiet periods that arose throughout the month I was working as a volunteer at Brighton Biennial. I knew that working at the highest possible resolution would produce the best end-result, so size was the most important filter I used when searching for images to represent residents from different periods in history. Large image sizes were also vital in view of the intention I had to print the composite onto fabric at or near life size.
The composite image uses three found, one personal family archive and three specially shot images, and it took quite some time to adjust the size and position of each one such that the people were sufficiently matched in scale and the overlays fell so as to create interesting serendipitous effects like the matriarch with a floor-length skirt simultaneously appearing to be hitching it over her knees. I used different overlays and opacity settings for every layer, experimenting with these settings and with layer ordering until I achieved the effect I was looking for.
During the project's development I investigated the possibility of projecting the image at life size onto a fabric screen as an alternative to print, and learned that projecting onto polyester mesh fabrics can be very effective in creating ghostly images. Although I didn't end up going down this route, it is something I may well pick up again in the future, as is the large-scale print idea, which I dropped at a late stage due to time and financial constraints. I was also doubtful whether the 300 x 232 cm I was considering would be suitable for viewing in the assessment room. Again, however, looking into large-scale fabric printing was a learning curve that I believe will come in useful in the future. The presentation option I finally chose was to print the image on my newly acquired A3 Canon Pro 100-S inkjet printer, a process which entailed further large learning curves in screen calibration and printer settings.
From a creative point of view, I am fairly happy with the image and feel it expresses what I sought to capture, although I am aware that not everyone finds it engaging. I feel it also captures elements of my own exploration of personal identity in what has been an extended period of adaptation to enormous life changes for me. As with Assignment 3, this is not something I sought to include but something I noticed subsquently, and again I worked intuitively, building the image step by step rather than starting with a master plan, so this is one of the most important lessons of C&N for me – to work from my heart and not my head.
My self-assessment ratings for this assignment are as follows:
My IAP blog
For assessment
IAP assignment 1
IAP A1: battling dread and doubts
IAP A1: developing a concept
IAP A1: request for critique
IAP A1: adjusting my approach
IAP A1: assignment
IAP A1: contact sheets
IAP A1: reflection before tutor feedback
IAP A1: tutor feedback
IAP A1: reflection after tutor feedback
IAP A2: background, research and process
IAP A2: tutor-recommended research
IAP A2: developing a presentation for assessment
IAP A2: final for assessment
IAP A2: summary for assessment
IAP A4: assignment revised
IAP 1 coursework
IAP 1 exercise 1.1 historic portrait
IAP 1 exercise 1.2 background as context
IAP 1 exercise 1.3 portraiture typology
IAP 1 exercise 1.4 archival intervention
IAP 2 exercise 2.1 individual spaces
IAP 2 exercise 2.2 covert
IAP 2 exercise 2.3 same model, different background
IAP 2 exercise 2.4 same background, different model
IAP 3 exercise 3.1 mirrors and windows
IAP 3 exercise 3.2 aspects of personality
IAP 3 exercise 3.3 unhelpful portrayals
IAP 3 exercise 3.4 the gaze
IAP 4 exercise 4.1 decoding adverts
IAP 4 exercise 4.2 image and text
IAP 4 research point 4.1 anchorage & relay
IAP 4 exercise 4.3 storyboard
IAP 4 exercise 4.4 news captions
IAP 4 exercise 4.5 words and images
IAP 5 research point 5.0 storyteller or history writer?
IAP 5 research point 5.1 objects as metaphor
IAP 5 exercise 5.1 still life
IAP 5 exercise 5.2 exhausting a place
IAP 5 exercise 5.3 journey
Reflection on identity
Stopping and re-starting the course
IAP Reflection on inside/outside
Book: Eijkelboom, H. People of the Twenty-First Century
Magazine: Foam #55. Talent
Book: Bull, S. Photography
Video: Elina Brotherus student talk
Exhibition: 100 First Women Portraits by Anita Corbin
Exhibition: Deutsche Börse Prize 2020
Martin Parr on Zoom with Simon Bainbridge
Book: Usborne, M. I've Lived in East London…
Exhibition: Jan Svoboda
Book: Shore, S. Uncommon Places: The Complete Works
My CAN blog
My EYV blog
EYV 5 Viewpoint
EYV 5 Exercise 5.3
EYV 4 The language of light
EYV 3 Traces of time
EYV 3 Decisive Moment debate
EYV 3 research point
EYV 2 Imaginative spaces
EYV 1 From that moment onwards
EYV 5 Photography is simple
EYV 5 Photography is simple assignment
EYV 5 Photography is simple contact sheets
EYV 5 Photography is simple tutor feedback
EYV 4 Languages of light
EYV 4 Languages of light assignment
EYV 4 Languages of light contact sheets
EYV 4 Languages of light tutor feedback
EYV 3 The decisive moment
EYV 3 The decisive moment assignment
EYV 3 The decisive moment contact sheets
EYV 3 The decisive moment tutor feedback
EVY 2 Collecting
EYV 2 Collecting assignment
EYV 2 Collecting contact sheets
EYV 2 Collecting tutor feedback
EYV 1 Square mile
EYV 1 Square mile assignment
EYV 1 Square mile contact sheets
EYV 1 Square mile tutor feedback
2018 Deutsche Börse Prize exhibition
Charlotte Cotton: The Photograph as Contemporary Art
Stephen Shore: The Nature of Photographs
Tides: Photographing the seafront
Photographers and their work
Sally Mann: At Twelve/Immediate Family
Stephen Gill: Hackney Wick
Eddo Hartmann: North Korea (2014–17)
Henri Cartier-Bresson: L'amour tout court
Tony Ray-Jones (1941–1972)
Eadweard Muybridge: the first movie (1878)
Thomas Ruff: the JPEGS debate
Light & shade: Trent Parke & Brian Griffin
Composition: Alexander Rodchenko (1930)
Theory and reflection
Reflection on my progress through EYV
Working up to the EYV 5 assignment
Homages from my archive
Considering contexts
Lessons from Sally Mann's landscapes
My view of the Decisive Moment debate
Does B&W always reference the past?
The strange world of long exposures
Lightroom CC image editing tutorials
Focal points can differ in B&W vs colour
Experimenting with colour adjustments
The power of colour to evoke an era
Photographing the moon
A new perspective on deep depth of field
B&W can look more interesting than life
The path of the eye through an image
All text and images copyright © Julia Salisbury except where indicated otherwise. All rights reserved.


text:
Paris-Manhattan is a French comedy film, which premiered on 2 April 2012 at the Festival of French Cinema in Australia. This is the first feature film by writer-director Sophie Lellouche.

Plot

Alice Ovitz is a pharmacist from a Jewish family, who during her early years was introduced to and fell in love with Woody Allen's films. Growing up, she strongly desires a relationship, but the only man she ever loved was taken away from her by her own sister. On Alice's bedroom wall hangs a huge poster of Woody Allen, with whom she has long night conversations, and he talks back to her through excerpts of dialogue from his films.

Ten years go by. Alice has taken over her father's pharmacy after he retired, her sister is long married to the man she stole from Alice, and the poster still hangs over the bed. She is thirty, and lonely, and her family is trying its best to introduce her to unmarried men. She is having a hard time choosing from two emerging suitors, Vincent and Victor. Almost by accident, but with help of Victor, Alice eventually  meets Woody Allen on the streets of Paris. This time, the real Woody Allen, not the voice of the Poster, gives her personal advice, which happens to be exactly what Alice considered doing anyway.

Cast
 Alice Taglioni as Alice Ovitz
 Patrick Bruel as Victor
 Marine Delterme as Hélène
 Michel Aumont as Isaac Ovitz
 Marie-Christine Adam as Nicole Ovitz
 Louis-Do de Lencquesaing as Pierre
 Margaux Châtelier as Laura
  as Vincent
 Woody Allen as himself

Release
The film was released in Germany on 4 October 2012.

Reception
Reviews for Paris Manhattan have been mixed. Boyd van Hoeij of Variety noted its similarity to Woody Allen's own 1972 film Play It Again, Sam, stating that "This update-cum-ripoff might be aiming for witty and romantic, but it's mostly a hollow, rambling effort leavened with some stargazing".

References

External links

2012 films
Films about Jews and Judaism
French romantic comedy films
Cultural depictions of Woody Allen
Films set in Paris
2010s French films

redpajama_set_name: RedPajamaWikipedia


text:
Rosarium Virginis Mariae (Rosary of the Virgin Mary) is an apostolic letter by Pope John Paul II, issued on October 16, 2002, which declared from October 2002 to October 2003 as the "Year of the Rosary". It was published by Pope John Paul II in 2002 at the beginning of the twenty-fifth year of his pontificate.

Introduction

This apostolic letter deals with the Rosary and follows Pope Paul VI in viewing it as compendium of the Gospel message:
The Rosary, though clearly Marian in character, is at heart a Christocentric prayer. In the sobriety of its elements, it has all the depth of the Gospel message in its entirety, of which it can be said to be a compendium. ...Through the Rosary the faithful receive abundant grace, as though from the very hands of the Mother of the Redeemer.

In the 1569 papal bull Consueverunt, Pius V noted that "the Rosary or Psalter of the Blessed Virgin" is a "method of prayer" through which we "venerate Mary with the Angelical salutation repeated 150 times according to the number of David's psalms, and before every set of ten Hail Mary's we say the prayer of Our Lord with meditations that illustrate the entire life of the same Lord Jesus Christ".

The apostolic letter quotes Louis de Montfort:
<blockquote>"Our entire perfection consists in being conformed, united and consecrated to Jesus Christ. Hence the most perfect of all devotions is undoubtedly that which conforms, unites and consecrates us most perfectly to Jesus Christ. Now, since Mary is of all creatures the one most conformed to Jesus Christ, it follows that among all devotions that which most consecrates and conforms a soul to our Lord is devotion to Mary, his Holy Mother, and that the more a soul is consecrated to her the more will it be consecrated to Jesus Christ."</blockquote>

Luminous mysteries

As Christian history developed, in medieval spirituality, religious devotion developed a notable Christocentric orientation that was consolidated under the influence of monasticism which placed strong emphasis on the humanity of Jesus, seen in the mysteries of his earthly life. Thus, the affectus dilectionis'' (preferential love) warms Cistercian piety with Bernard of Clairvaux and William of Saint-Thierry, whereas Franciscan spirituality focuses on the tradition of the crib and contemplation of the passion. Dominican piety, with Albert the Great and Catherine of Siena, like Francis of Assisi sees the crucified Christ as the center of religious devotion.

In this letter John Paul II introduces the "Mysteries of Light" into the cycle of the mysteries of the life of Christ that are to be contemplated while praying the rosary. These five "luminous mysteries" focus devotion on the events of the public ministry of Jesus Christ:
(1) his baptism in the Jordan,
(2) his self-manifestation at the wedding of Cana,
(3) his proclamation of the Kingdom of God,
(4) his Transfiguration, and
(5) his institution of the Eucharist.
The document states that each mystery "is a revelation of the Kingdom now present in the very person of Jesus". Lengthy and diversified in content, the apostolic letter can be considered a practical pastoral instrument in various ways: How to pray the Rosary as a form of contemplative prayer, brief explanations of the mysteries, the meanings of the "Our Father", the ten "Hail Marys", the "Gloria", the concluding prayers, the beads, and the chain.

See also

 Christi Matri
 Marian papal encyclicals and Apostolic Letters
 Octobri mense
 Marialis Cultus

References

External links
 The International Marian Research Institute at the University of Dayton
 The Marian Library at the University of Dayton

Documents of Pope John Paul II
2002 documents
2002 in Christianity


text:
Associated Press Boston College Headlines NESN University NHL
Former Boston College Center Ferriero Signs With Sharks
SAN JOSE, Calif. — The San Jose Sharks signed former Boston College center Benn Ferriero to a two-year deal announced Tuesday.
The team also signed free agent forward Torrey Mitchell to a three-year contract and restricted free agent forward Brad Staubitz to a one-year contract.
Ferriero recently completed his senior season at Boston College, where he had 26 points in 37 games.
Mitchell missed the 2008-09 regular season with a broken leg but came back to play four games in a first-round playoff loss to Anaheim. Mitchell has 10 goals and 10 assists in 82 career games.
Staubitz played 35 games for the Sharks last year with one goal and two assists.
Carlos Beltran Back in Action With Single-A Cyclones
Rays Employee Arrested For Fake Bomb Before Wednesday's Game
Ryan LaMarre's Two-Run Double In 10th Lifts Red Sox To Win In Montreal
Court Orders Jerry Sandusky's Hefty Penn State Pension To Be Restored
Jordan Spieth Wins Tour Championship, $10M Bonus At FedEx Cup Finale
Serena Williams Squeaks By, Advances To Wimbledon Semifinals (Video)

redpajama_set_name: RedPajamaCommonCrawl


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We made a visit over to my mom's house today and took notice of the trees in her neighborhood. Fall is definitely here!
The changing colors of the leaves is definitely my favorite part of fall and this year it just seems like the colors are so bright. During our drive, there were a few trees that left us breathless. Just beautiful!
I didn't have my dslr camera on me, but luckily my Samsung Galaxy S3 was in the diaper bag so I snapped a quick shot. Having a great camera on my cell phone is definitely handy. Without it I would have missed this beauty!
*Disclosure: I have been provided a phone and service plan to use throughout the duration of this program, no other compensation was received. All thoughts and opinions are my own.
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National Lotteries Commission warns of illegal lotteries
National Lotteries Commission (NLC) Commissioner chairperson Professor Alfred Nevhutanda.
Image: National Lotteries Commission/Twitter
The National Lotteries Commission (NLC) has warned of illegal lotteries and has "declared war" on those impinging on the National Lottery.
The NLC is a regulatory body mandated to police lotteries and sports pools, together with protecting the public against illegal lotteries.
Illegal lotteries are lotteries that are not authorised in terms of the Lotteries Act.
The Commission is on a nationwide drive conducting workshops to educate citizens on compliance and it stopped in Irene in Pretoria on Wednesday warn about a number of internet sites that have mushroomed.
"These websites are often not regulated by countries whose lotteries are being offered. "These illegal lotteries are prevalent," said NLC commissioner Thabang Mampane.
She said participation in such lotteries may result in financial loss to players or gamblers without any recourse available.
"There is only one authorised National Lottery in South Africa which is operated by Ithuba Holdings."
According to the NLC chairperson Professor Alfred Nevhutanda, illegal lotteries are robbing good causes of valuable support from the Commission.
Nevhutanda said that illegal lotteries are debilitating the potential of the NLC to support good causes and that it's time for all stakeholders to work together to solve this scourge.
Nevhutanda said a joint task force, including the SA Police Service, has already been established and would like to see the NLC being given the mandate to "declare war" on those impinging on the National Lottery.
"It is my plea that the Department of Trade and Industry gives us teeth to bite," said Nevhutanda.
He added that the Lotteries Amendment Act, which brought the NLC into being, has a shortcoming in terms of enforcement.
"We need to look at regulatory imperatives to identify flaws within the South African legal framework and I believe we need to form a consortium of related entities which are all regulated under the same framework."
Meanwhile, the NLC and the National House of Traditional Leaders last week entered into a partnership that will see the Commission turn its focus from established organisations, mostly in urban areas, to development initiatives in the rural areas.
The days of well off establishments benefiting from nearly all of the funding from the NLC could be a thing of the past following the signing of this partnership.
The partnership was struck in the city of Polokwane in Limpopo with the signing of a Memorandum of Understanding.


Keeping in mind that every ounce matters during an extended hike, nothing is wasted in the making of this backpack for hikers. Other details like the advanced ventilation system and multi-gear attachment points make it ideal for long hikes. It even has an attachment point for your trekking poles, and of course it's hydration compatible! Vaude (Vau de) uses high quality materials as they strive for functionality, not 'thriftiness', but yet it's such a great price anyway... How do they do that?
To sum up the quality details of Vaude's hiking backpack, the Ultra Hiker is smoothly efficient. It is not your typical bulky full ruck 'live for a year' pack. Nor is it very much like a severely over crowded tactical pack with all sorts of accessory features. It's a simple design for a simple expedition. Perfect for carrying your hiking essentials and a little extra.
Why Vau de? All their products are very environmentally friendly and they take a great responsibility to nature and people. The outdoors is their passion. Check out their page for more ultralight backpacking equipment.


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Jormungrund
The Midgard Serpent is Real!
The Mid-Atlantic Ridge (MAR) is a mid-ocean ridge, a divergent or constructive plate boundary located along the floor of the Atlantic Ocean, and part of the longest mountain range in the world.
In the North Atlantic, it separates the North American from the Eurasian Plate and the African Plate, north and south of the Azores Triple Junction respectively. In the South Atlantic, it separates the African and South American plates. The ridge extends from a junction with the Gakkel Ridge (Mid-Arctic Ridge) northeast of Greenland southward to the Bouvet Triple Junction in the South Atlantic. Although the Mid-Atlantic Ridge is mostly an underwater feature, portions of it have enough elevation to extend above sea level, for example in Iceland. The ridge has an average spreading rate of about 2.5 centimeters (1 in) per year
In the 1950s, mapping of the Earth's ocean floors by Bruce Heezen, Maurice Ewing, Marie Tharp and others revealed that the Mid-Atlantic Ridge had a strange bathymetry of valleys and ridges, with its central valley being seismologically active and the epicenter of many earthquakes.
Ewing, Heezen and Tharp discovered that the ridge is part of a 30,000-mile-long essentially continuous system of mid-ocean ridges on the floors of all the Earth's oceans. The discovery of this worldwide ridge system led to the theory of seafloor spreading and general acceptance of Wegener's theory of continental drift and expansion in the modified form of plate tectonics. The ridge is central to the breakup of the hypothetical supercontinent of Pangaea that began some 180 million years ago.
If you look at the map of the world-wide oceanic ridge it encircles the entire planet. Beginning in the North Atlantic you can see the Midgard Serpent's jaws trying to devour Greenland. Iceland actually forms an eye in its head. It body coils down the center of the Atlantic Ocean and then turns east into the India Ocean, coiling once again up towards the Indian sub-continent and then down and around Australia and along the southern regions of the Pacific Ocean. its tail then swings up along the western coast of South and North America.
Force millenniums the Germanic Erulians believed the great Midgard Serpent lived at the bottom of the world's oceans where it was thrown by Odin. it grew until it encircled the entire planet. Imprisoned at the oceans' bottom it whirls and coils causing terrible earthquakes, tidal waves and volcanic eruptions which modern science contribute to the ridge that was pushed up from the pressure of moving tectonic plates make as they flow on a subterranean ocean of molten rock.
The ancient Germanic Erulians were the guardians of the knowledge and science that our ancestors possessed during the ancient golden age before it was destroyed by the corrupting influence of Gullveig and Loki. When their civilization, which is referred to by modern Russian archeologists as Aratta Civilization that existed around the Black Sea from 25,000 BCE to 5600 BCE, and was destroyed when the Black Sea flooded, much of their science and knowledge had been codified within their Lore and Myths.
We modern heathen Erulians must try and unlock the hidden knowledge. The Midgard serpent is one example of what I have discovered through meditation. I found that the Midgard Serpent really existed and that its meaning is in the great oceanic ridge that encircles the world.
It is this sub oceanic mountain range that causes underwater earthquakes at the bottom of a body of world-wide water. Like the Midgard serpent the ridge is the leading cause of tsunamis. Where the quakes occur they will cause damage and loss of life on land from fires, damaged structures, and flying objects; these submarine earthquakes alters the seabed, resulting in a series of waves, and depending on the length and magnitude of the earthquake, tsunami, which bear down on coastal cities causing property damage and loss of life.
Blumetti's discovery of the Midgard Serpent at the bottom of the oceans.


The Yoga Weekly Playlist offers musical guidance for your practice. I use this same playlist in my classes to enhance asana flow, ease of breath and encourage personal expression of movement. If you would like to be my guest and experience this music in a class, please email me. Namaste.


CKAY (AM), radio station in Duncan, now CJSU-FM.
CKAY-FM is a Canadian radio station that broadcasts a classic hits format at 91.7 FM, licensed to Gibsons, British Columbia with studios in Sechelt. The station targets Nanaimo and the Sunshine Coast.
Originally owned and operated by Westwave Broadcasting, the station was given approval by the CRTC on April 20, 2005.
CKAY previously had an adult contemporary format until June 2010, when the station switched to its current classic hits format. Although the signal is receivable in much of Greater Vancouver, the station does not target Vancouver, which is served only by CHLG-FM in terms of classic hits stations.
The station's transmitter is on Mount Benson, west of Nanaimo on Vancouver Island.
The station is now owned by Vista Radio.
Frequency is the number of occurrences of a repeating event per unit time. It is referred to as frequency, which emphasizes the contrast to spatial frequency. The period is the duration of time of one cycle in a repeating event, for example, if a newborn babys heart beats at a frequency of 120 times a minute, its period—the time interval between beats—is half a second. Frequency is an important parameter used in science and engineering to specify the rate of oscillatory and vibratory phenomena, such as vibrations, audio signals, radio waves. For cyclical processes, such as rotation, oscillations, or waves, in physics and engineering disciplines, such as optics and radio, frequency is usually denoted by a Latin letter f or by the Greek letter ν or ν. For a simple motion, the relation between the frequency and the period T is given by f =1 T. The SI unit of frequency is the hertz, named after the German physicist Heinrich Hertz, a previous name for this unit was cycles per second. The SI unit for period is the second, a traditional unit of measure used with rotating mechanical devices is revolutions per minute, abbreviated r/min or rpm.
As a matter of convenience and slower waves, such as ocean surface waves and fast waves, like audio and radio, are usually described by their frequency instead of period. Spatial frequency is analogous to temporal frequency, but the axis is replaced by one or more spatial displacement axes. Y = sin  = sin  d θ d x = k Wavenumber, in the case of more than one spatial dimension, wavenumber is a vector quantity. For periodic waves in nondispersive media, frequency has a relationship to the wavelength. Even in dispersive media, the frequency f of a wave is equal to the phase velocity v of the wave divided by the wavelength λ of the wave. In the special case of electromagnetic waves moving through a vacuum, v = c, where c is the speed of light in a vacuum, and this expression becomes, f = c λ. When waves from a monochrome source travel from one medium to another, their remains the same—only their wavelength. For example, if 71 events occur within 15 seconds the frequency is, the latter method introduces a random error into the count of between zero and one count, so on average half a count.
The Oxford Dictionary of English defines a slogan as a short and striking or memorable phrase used in advertising. A slogan usually has the attributes of being memorable, very concise and these attributes are necessary in a slogan, as it is only a short phrase. Therefore, it is necessary for slogans to be memorable, as well as concise in what the organisation or brand is trying to say, the word slogan is derived from slogorn which was an Anglicisation of the Scottish Gaelic and Irish sluagh-ghairm. Slogans vary from the written and the visual to the chanted and their simple rhetorical nature usually leaves little room for detail and a chanted slogan may serve more as social expression of unified purpose than as communication to an intended audience. George E. Shankels research states that, English-speaking people began using the term by 1704, the term at that time meant the distinctive note, phrase or cry of any person or body of persons. Slogans were common throughout the European continent during the Middle Ages, crimmins research suggests that brands are an extremely valuable corporate asset, and can make up a lot of a businesss total value.
With this in mind, if we take into consideration Kellers research and these include, name and slogan. Brands names and logos both can be changed by the way the receiver interprets them, the slogan has a large job in portraying the brand. Therefore, the slogan should create a sense of likability in order for the name to be likable. Dass, Kohli, & Thomas research suggests there are certain factors that make up the likability of a slogan. The clarity of the message the brand is trying to encode within the slogan, the slogan emphasizes the benefit of the product or service it is portraying. The creativity of a slogan is another factor that had an effect on the likability of a slogan. Lastly, leaving the name out of the slogan will have a positive effect on the likability of the brand itself. The original usage refers to the usage as a clan motto among Highland clans, marketing slogans are often called taglines in the United States or straplines in the United Kingdom. Europeans use the terms baselines, claims or pay-offs, sloganeering is a mostly derogatory term for activity which degrades discourse to the level of slogans.
Effective radiated power, synonymous with equivalent radiated power, is an IEEE standardized definition of directional radio frequency power transmitted from a theoretical half-wave dipole antenna. It is differentiated from effective isotropic radiated power mainly by use of antenna gain instead of absolute gain in the calculation. The term antenna gain is assumed to be absolute unless specifically stated to be relative, the gain is multiplied by the power actually accepted by the antenna to result in the actual ERP value. Power losses which occur prior to the antenna, e. g. in the line or from inefficiency in the generator itself are therefore not included in the calculation of ERP or EIRP. Antenna gain is closely related to directivity and often used interchangeably. However, gain is less than directivity by a factor called radiation efficiency. Whereas directivity is entirely a function of wavelength and the geometry and type of antenna, accelerating charge causes electromagnetic radiation per Maxwells equations.
Therefore, antennas use a current distribution on radiating elements to generate electromagnetic energy that propagates away from the antenna and this coupling is never 100% efficient, and therefore antenna gain will always be less than directivity by this efficiency factor. The receiver would not be able to determine a difference, maximum directivity of an ideal half-wave dipole is a constant, i. e.0 dBd =2.15 dBi. Therefore, ERP is always 2.15 dB less than EIRP, the ideal dipole antenna could be further replaced by an isotropic radiator, and the receiver cannot know the difference so long as the input power is increased by 2.15 dB. Unfortunately, the distinction between dBd and dBi is often left unstated and the reader is forced to infer which was used. For example, a Yagi-Uda antenna is constructed from several dipoles arranged at intervals to create better energy focusing than a simple dipole. Since it is constructed from dipoles, often its antenna gain is expressed in dBd, obviously this ambiguity is undesirable with respect to engineering specifications.
Adult contemporary is rather a continuation of the easy listening and soft rock style that became popular in the 1960s and 1970s with some adjustments that reflect the evolution of pop/rock music. Adult contemporary tends to have lush and highly polished qualities where emphasis on melody and it is usually melodic enough to get a listeners attention, and is inoffensive and pleasurable enough to work well as background music. Like most of pop music, its songs tend to be written in a basic format employing a verse–chorus structure, the format is heavy on romantic sentimental ballads which mostly use acoustic instruments such as acoustic guitars, pianos and sometimes an orchestral set. The electric guitars are normally faint and high-pitched, recent adult contemporary music may usually feature synthesizers. An AC radio station may play mainstream music, but it excludes hip hop, dance tracks, hard rock, and some forms of teen pop, as these are popular among adults. AC radio often targets the 25–44 age group, the demographic that has received the most attention from advertisers since the 1960s, a common practice in recent years of adult contemporary stations is to play less newer music and more hits of the past.
This de-emphasis on new songs slows the progression of the AC chart, over the years, AC has spawned subgenres including hot AC, soft AC, urban AC, rhythmic AC, and Christian AC. Some stations play only hot AC, soft AC, or only one of the variety of subgenres, therefore, it is not usually considered a specific genre of music, it is merely an assemblage of selected tracks from musicians of many different genres. Adult contemporary traces its roots to the 1960s easy listening format, a few offered 90% instrumentals, and a handful were entirely instrumental. Billboard first published the Easy Listening chart July 17,1961, with 20 songs, the chart described itself as not too far out in either direction. Initially, the vocalists consisted of such as Frank Sinatra, Doris Day, Johnny Mathis, Connie Francis, Nat King Cole, Perry Como. The custom recordings were usually instrumental versions of current or recent rock and roll or pop hit songs, some stations would occasionally play earlier big band-era recordings from the 1940s and early 1950s.
After 1965, differences between the Hot 100 chart and the Easy Listening chart became more pronounced, better reflecting what middle of the road stations were actually playing, the composition of the chart changed dramatically. As rock music continued to harden, there was much less crossover between the Hot 100 and Easy Listening chart than there had been in the half of the 1960s. Roger Miller, Barbra Streisand and Bobby Vinton were among the charts most popular performers and these middle of the road stations frequently included older, pre-rock-era adult standards and big band titles to further appeal to adult listeners who had grown up with those songs. Another big impetus for the evolution of the AC radio format was the popularity of easy listening or beautiful music stations, stations with music specifically designed to be purely ambient, hard rock had been established as a mainstream genre by 1965. From the end of the 1960s, it common to divide mainstream rock music into soft and hard rock.
Vancouver Island is separated from mainland British Columbia by the Strait of Georgia and Queen Charlotte Strait, and from Washington by the Juan De Fuca Strait.
The Great Seal of the Island of Vancouver and its Dependencies was designed by Benjamin Wyon, Chief Engraver of Her Majesty's Seals, c1849. The symbolic badge he designed are the basis for the flag of Vancouver Island, which is still unofficially flown today.
Celine Dion, referred to as the "Queen of Adult Contemporary", is one of the biggest international stars in music history, selling more than 220 million albums worldwide.
Johnny Mathis concentrated on romantic readings of jazz and pop standards for the adult contemporary audience of the 1960s and 1970s.
Latin artist Marc Anthony's self-titled English-language album released in 1999 had singles that crossed over to the AC charts.
A number of Michael Bublé's singles and albums topped the AC charts in the 2000s and 2010s.
Beginning of the Sunshine Coast trail at Sarah Point.
In 1995, FDA's assertion of authority to regulate tobacco drew heavy opposition from the tobacco community, which erupted into lawsuits and slogans urging "Keep FDA Off the Farm."
Four bay crossed-dipole antenna of an FM broadcasting station.


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Divine Advice
Tag Archive: Margot Robbie
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Divine Advice For Brie Larson
H. Seitz December 17, 2018 0 Divine Advice Amanda Heard, Amanda Peet, Amy Adams, Aquaman, Brie Larson, Captain Marvel, Disney, Get Out, Google, Hillary Clinton, Jenna Fisher, Jesus, Johnny Depp, Johnny Galecki, Justin Long, Margot Robbie, MCU, Pearl Jam, Satan, Sue Storm, The Invisible Girl, The Invisible Woman
Dear DA, No one seems to be able to decide whether I'm hot or not. I mean for a regular person, obviously I'm hot, but for a starlet, I'm kind of average and forgettable. I'm so replaceable I don't even remind anyone of anyone, like some of the other clones do (like Amy Adams and the Australian version, or whatsherface in Get Out and Amanda Peet). Anyway, what I'm really worried about is Captain Marvel. I think Disney may have overestimated the strength and duration of the SJW trend. Some of them are running around in ski masks now terrorising people, and that kind of look and behavior is difficult to rationalize, even for people who are used to being hypocrites. Meanwhile, Aquaman is blowing up in China. And that girl, Amanda Heard? What the hell? That isn't even fair, to have women who look like that running around. She's…
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Topic Business partner models
Digital consultants
As they explain cloud computing, providers try to duck a war of words
The lack of standard definitions to explain cloud computing leads to more than Twitter flame wars. Everybody loses when inconsistent language confuses customers.
Jessica Scarpati
The lack of standard definitions that explain cloud computing and other cloud services can lead to more than Twitter flame wars. Everybody loses when customers get confused. When one provider markets a service as private cloud, another brands the same offering as public cloud, and yet another calls it virtual private cloud, customers will get cynical.
"Service providers are going to have to get a lot more specific and transparent about what the service is," said Keao Caindec, chief marketing officer of the cloud business unit at Johannesburg-based Dimension Data. "I'm just waiting for someone to launch Service as a Service. It's getting that absurd."
Although cloud providers know customer education is essential, some say it's too easy (and counterproductive) to waste time negotiating vocabulary and miss the opportunity to highlight what really closes a sale: how the service meets a customer's business objectives.
"You don't start by talking about how many VMs you can spin up or the square footage in your data centers. We do eventually [talk about that], but that's not what makes the sale," said Michael Bucheit, CEO of FiberMedia Group, a data center operator and cloud provider based in Secaucus, N.J. "It's really important we break down the vagueness of the language and get down to the business issues."
Focus on business drivers, not semantics
As with many new technologies, it will take time for the industry to adopt standard language to explain cloud computing. But the concept of cloud computing is so multidimensional -- representing not just technology, but also various billing and business models -- that its definition has almost become subjective.
I'm just waiting for someone to launch Service as a Service. It's getting that absurd.
Keao Caindec
Chief Marketing Officer, Dimension Data
"There are providers that will say, 'I have a private cloud' or 'I have a virtual private cloud,' but it's really a public cloud offering that comes with a firewall and is still riding shared infrastructure," Caindec said.
This is an especially difficult issue of for large cloud-providers, Caindec said. Dimension Data attempts to be consistent in its service descriptions, but it's hard to know how well its 15,000 employees have maintained that consistency in conversations with its 6,000 clients, he said.
"The terminology is always a challenge when it comes to cloud," Caindec said. "But rather than spend a lot of time trying to share our own definitions of a public cloud, private cloud, virtual private cloud or hosted private cloud, we talk more about use cases to help the client figure out what it is they're trying to do and communicate how we can help them."
At FiberMedia, Bucheit also avoids starting a conversation with a glossary or asking customers whether they want public or private cloud services. Instead, he quizzes customers about what they're trying to accomplish, how mission-critical an application is and what their security or compliance requirements are.
"All of those questions are critical to define the profile of a customer's needs, which in turn drives the IT architecture -- not the other way around," Bucheit said.
Even among equipment vendors, the industry's inconsistent vocabulary has forced marketing strategies to adapt.
"Given the confusion around the term 'cloud,' we tend to use the words 'virtualization' and 'virtual infrastructure' more," said Eric Chiu, president and founder of Silicon Valley-based HyTrust, which sells virtual security appliances for enterprise private clouds. "It eliminates that confusion."
Cloud providers rely on NIST to explain cloud computing
In the absence of any formal missive from the major technical standards bodies (such as the IEEE or IETF) to define and explain cloud computing, many cloud providers are relying on the definition written by the U.S. government's National Institute for Standards and Technology (NIST). Unlike global standards bodies, NIST's standards are only canonical for U.S. federal agencies.
Dimension Data has aligned the nomenclature of its cloud services with NIST's cloud computing definition. The Cloud Security Alliance (CSA), a global nonprofit industry group, also said the CSA would align with NIST's definition "to bring coherence and consensus around a common language so we can focus on use cases rather than semantic nuance."
Mumbai-based network operator Tata Communications, which has several cloud services in its home markets, also uses the NIST language to explain cloud computing, according to John Landau, senior vice president of technology and service evolution at Tata.
Although "it's been a struggle" to avoid confusing customers that come in with various interpretations of cloud computing, standardizing Tata's service descriptions on NIST has made those conversations easier, Landau said. He also expects the terminology to continue to evolve.
"That's the case for any language and especially technology," added Landau."You need to have repeatable terms, so we usually do come right back to NIST or the Cloud Security Alliance and say, 'This is our reference model.' [Customers] usually get that."
Providers debate vocabulary and explain cloud computing less often
The good news, according to several cloud providers, is that this challenge has dissipated over time. Cloud providers say they've noticed a promising trend in the past few months: Fewer customers want providers to reconcile terms and explain cloud computing. They want to focus on the business drivers for cloud adoption.
Wendy White, vice president marketing for Tier 3, an Infrastructure as a Service (IaaS) provider based in Bellevue, Wash., has seen the conversation shift at trade shows recently.
More on how to explain cloud computing
Cloud computing defies one definition, so here are a few of the latest
Top 10 cloud computing definitions for cloud providers in 2011
The last cloud computing definition you'll ever need
"At this trade show last summer, there was a lot of 'What is it? What's a private cloud? What's a hybrid cloud? Where do you guys sit in the market?'" White said. "But in the last couple months at trade shows, we don't hear the 'what' anymore. We hear the 'how.' The conversation is starting to shift."
Landau noticed the same gradual change with Tata customers.
"When we first launched, we would include the NIST [visual model] in all of our presentations and place it very close to the front," he said. "We used to do that in almost every single discussion to align the language, and I was just reflecting a few weeks ago on the fact that we've taken them out of the [slideshow] decks. It wasn't a conscious decision or anything. We just didn't need [to go through] it anymore."
The language barrier has been less of an issue for San Mateo, Calif.-based cloud broker Appirio, whose customers have already been educated by its cloud provider partners. Even so, Appirio's senior director of strategy and business operations, Nara Balakrishna, agreed that customers have a more uniform understanding of cloud services.
"A couple years ago … we would spend the first half [of the sales pitch] explaining who we were and what the public cloud was, and we really haven't had to do that in the past year," Balakrishna said. "It seems like the market we're targeting has gotten beyond that point."
Let us know what you think about the story; email: Jessica Scarpati, Site Editor.
Dig Deeper on Traditional and emerging business partner models
Time to get real about cloud computing security architecture
By: (ISC) 2
What is private cloud? That depends on who's defining it
By: Jason Sparapani
Cloud computing definition in constant flux
By: Jeff Kaplan
Users ponder public and private cloud storage, ViPR at EMC World 2014
By: Sonia Lelii
The Life of the Cloud Architect Part 2: 3 Steps to a Hybrid Multicloud ... –NetApp
Choose the right cloud platform for each workload –DellEMC
Reduce Network Complexity and Empower Your Hybrid Cloud with a Modern, ... –IBM
Tata approaches U.S. cloud market with caution – SearchCloudComputing
Users ponder public and private cloud storage, ViPR ... – SearchStorage
The definition of cloud computing: Why it matters to ... – SearchCloudSecurity


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Starting September 28, 2018, the Emerson Rosemount 475 Field Communicator will no longer be available for sale. Existing communicators will be supported through October 2020. To ensure long-term support of your program, consider the AMS Trex Device Communicator.
Simplify your work in the field with the the intrinsically safe, rugged 475 Field Communicator. This built-for-purpose handheld communicator delivers universal support for HART and Foundation Fieldbus devices, a full-color graphical user interface, and a long-lasting Lithium-Ion power module.


One of the candidates is Prof. Hausi Muller, Dept. of Computer Science, University of Victoria.
Broadcast of Town Hall Webinar featuring the two candidates for the election of the President of the IEEE Computer Society. More information can be found at https://www.computer.org/web/membership/learning-webinar-series One of the candidates is Prof. Hausi Muller, Dept. of Computer Science, University of Victoria. His election site is https://sites.google.com/a/rigiresearch.com/muller-cs-president-elect/ He will come to the meeting room right after the webinar (around 11:00 am) to meet with us and to answer our questions in person. The meeting room is equipped with a projection screen and a sound system, so that we can all watch the webinar in a high quality setting.


Easter holidays; April-July, excluding June Half Term. September-October.
PLEASE NOTE THAT DUE TO INCREASING CLEANING AND LAUNDRY COSTS WE ALSO CHARGE A £50 CLEANING FEE.
* Low season and mid season discounts are available outside the school holidays for less than full occupancy. Please enquire.
Please contact us for special long weekend and short-stay rates in off-peak times.
Our changeover day is Friday. We ask guests to leave by 10am if possible and to arrive after 3pm.
We ask for a 20% non-refundable deposit with the balance payable four weeks before the holiday.


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There are many ways to earn a lot of airline miles in a hurry, but the fastest way is signing up for a co-branded airline or travel credit card. Doing so allows you to earn miles on your regular spending, plus you can usually earn a signup bonus worth a few free flights. Other ways to earn miles include: signing up for frequent flyer programs, consistently flying with your favorite airline, using airline and travel rewards shopping portals, and keeping your eye out for special promotions.
Amazingly though, there's one more way to earn miles — and it may just be the easiest. With airline dining rewards programs, you can earn miles for each dollar you spend when you dine at your favorite restaurants.
How do airline dining rewards programs work?
The concept of earning miles with dining programs is simple, although the rules that govern each independent dining rewards program can vary. Popular dining rewards programs include Southwest Rapid Rewards Dining, Delta SkyMiles Dining, United MileagePlus Dining, and American Airlines Dining, although other airlines run programs as well.
Each airline dining program works with participating restaurants nationwide, making it easy to find establishments in your area or when you travel. Once you sign up for a dining rewards account, all that's required is using a credit or debit card tied to your account when you dine at a participating restaurant. Once you do, the miles you earn will be credited to your account — usually in less than 60 days.
The number of miles you can earn depends on the program you decide to join, as well as other factors, but you should earn a minimum of one mile for each dollar you spend at a participating restaurant, and maybe more.
Some dining rewards programs let you earn more miles each time you dine out once you reach a certain threshold within the program. With Delta SkyMiles Dining, for example, you can become a "VIP Member" after dining 11 times or more within the program by the end of the year. With a VIP membership, you'll earn five miles per dollar you spend at participating restaurants within the program.
Southwest Rapid Rewards dining lets you earn three miles per $1 spent (as opposed to one mile per $2 spent) for dining members that agree to receive Rapid Rewards Dining emails. You can also earn more miles by opting into emails with the American AAdvantage Dining program or United MileagePlus Dining program and becoming a Select or VIP member.
Airline dining programs incentivize consumers to sign up by offering initial signup bonuses worth a few thousand miles. With Delta SkyMiles Dining, for example, you'll earn 3,000 bonus miles for signing up and spending at least $30 (including tax and tip) at participating restaurants within the first 30 days of membership. American AAdvantage, United MileagePlus, and Southwest Rapid Rewards Dining offer similar bonuses.
The best part about airline dining programs is that you can earn even more rewards by using a travel or airline credit card when you pay your restaurant bill. Remember that dining rewards are doled out on top of any points or miles you earn with a rewards credit card.
Most airline dining programs let you connect multiple credit and debit cards to your account, so make sure to connect all cards you use frequently. By connecting all credit cards you're likely to use, you'll never miss out on miles when you dine out.
With most dining programs, you can use any credit card you want to pay provided it's connected to your account. This means you don't have to use an American AAdvantage card when you're dining within American AAdvantage dining, for example. Instead, you can use a rewards card that gives you more miles or cash back for dining out.
If you think you could benefit from joining a dining rewards program for your favorite airline, you're probably right. Joining these programs is free and you could benefit more than you think if your favorite restaurants participate in your area.


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Aetna, Arkansas, may refer to:
Aetna, Craighead County, Arkansas
Aetna, Sharp County, Arkansas


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Current: Gray Squirrel
Wildlife Main Page
Learn About CT's Wildlife
Habitat Management for Wildlife
Nuisance/Distressed Wildlife
Maps and Access Information
Gray Squirrel Fact Sheet
Gray Squirrel
Habitat: The gray squirrel prefers upland hardwood forests but is often seen in urban parks and yards.
Weight: 1-1.5 pounds.
Length: 16-21 inches.
Food: Gray squirrels eat a variety of mast (hard fruit) including acorns, hickory nuts, beechnuts and butternuts, along with berries, mushrooms, maple seeds, and some field crops such as corn.
Identification: The gray squirrel is the largest and most common of the Connecticut squirrels. The back and sides of its coat are silver-gray in color and the underparts are white. Various color phases occur in this species, including several shades of black and red. Its broad, bushy tail is about the length of its head and body combined.
Range: Gray squirrels occur from southern Quebec, New Brunswick and Ontario to Florida, west into eastern Texas, and north into southern Manitoba. They have been introduced into Washington, British Columbia, and Vancouver Island.
Reproduction: Gray squirrels mate in late winter and spring. After a 44-day gestation period, females give birth to a litter of two to seven young. They are blind and helpless at birth but are weaned and somewhat independent at eight to 10 weeks of age. The second litter is usually born in July. The nest is often in a tree cavity or constructed of leaves suspended in the treetops. These leaf nests are also used for temporary protection against inclement weather or predators.
History in Connecticut: The gray squirrel has always been numerous throughout the state inhabiting deciduous woodlands, when abundant, yet able to adapt and disperse as these woodlands were cleared for houses, agriculture, and industry.
Interesting Facts: These tree-dwelling rodents are agile climbers and jumpers. They have keen senses of sight, smell, and hearing and are alert, nervous and wary, especially on the ground. When danger is near, they quickly retreat to the safety of the trees. Gray squirrels are somewhat sociable and can tolerate other squirrels nearby.
The gray squirrel is active year-round but needs tree cavities for shelter during harsh weather. In the fall, gray squirrels gather and bury, at random, a winter food supply. This food supply is usually recovered as needed, by sniffing the ground until a buried nut is found.
In a few years, populations of gray squirrels can change dramatically. During successive years of good acorn production, squirrel populations may reach high levels. If food supplies are low the population may decrease substantially. Historically, there have been reports of extensive migrations of squirrels. An extensive migration of gray squirrels in Connecticut was reported in 1933, when 1,000 or more swam across the Connecticut River between Hartford and Essex. Although the exact cause of these migrations is unknown, most likely it was a result of a limited food supply.
Management of Problem Squirrels: Most complaints about squirrels are from homeowners with squirrels in their houses. Squirrels will readily take up residence in a building if access to sheltered areas such as eaves and attic crawl spaces is available. Gnawing, scratching, and pattering sounds, in early morning or daylight hours, usually signal their presence. Balls of torn insulation, cardboard, and dried leaves and twigs may pinpoint nests, but nests and young may be totally concealed within eaves or wall spaces. Squirrels in house eaves and attics can damage insulation and electrical wiring and should be removed.
When blocking holes to prevent squirrels and other animals from gaining access, be sure that none are trapped inside. Adults can cause severe damage by chewing to regain entrance to reach their young. If chewing persists, heavy, half-inch wire mesh can be temporarily placed over the problem area. Trimming shrubs and vines and pruning overhanging tree limbs may discourage squirrels from causing problems in the home. In easily accessible areas, squirrels may be evicted by carefully applying an odor repellent like mothballs. Bright lights or noise from radios may also help.
Squirrels are highly excitable and can cause severe damage if trapped inside a building. When frightened, they tend to run around a room with reckless abandon, knocking over anything in their way. By quickly and quietly opening a door or window to the outside and leaving the room, you will give the squirrel its best chance to get out.
To free a squirrel trapped in a chimney, lower a heavy rope down the chimney to provide a means for the animal to climb out. Drop the other end of the rope to the ground to avoid another trip to the roof to retrieve it after the squirrel has left.
Another major complaint about squirrels is the disruption they may cause at bird feeders. Feeders should be placed in an area where squirrels cannot gain access to them, far away from shrubs and overhanging tree branches. Mounting the feeder on a metal pole at least six feet high and attaching a metal, cone-shaped baffle to the pole will help prevent squirrels from reaching it. Hanging feeders are not recommended, since squirrels will climb down the hanger wire or will shake the wire until the food falls to the ground.
Live-trapping gray squirrels, using metal box traps at least two feet long is often the most effective way to remove them. Place traps, baited with apple chunks, peanut butter, or various nuts, in heavily traveled routes or on rooftops, along porch railings, or within the attic. Once trapped, squirrels should be quickly removed from cages and released.
For more information on the management of problem squirrels or for a referral to a licensed Nuisance Wildlife Control Operator, contact the Wildlife Division at deep.wildlife@ct.gov or call 860-424-3011.
Game Status: Gray squirrels are a popularly hunted small game species in many parts of the United States. See the current Connecticut Hunting and Trapping Guide for hunting guidelines and information.
The Technical Assistance Informational Series is 75 percent funded by Federal Aid to Wildlife Restoration - Pittman-Robertson (P-R) Program. The P-R Program provides funding through an excise tax on the sale of sporting firearms, ammunition, and archery equipment. The remaining 25 percent of the funding is matched by the Connecticut Wildlife Division. (rev.12/99)


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America's Cup: Dean Barker named CEO, skipper of SoftBank Team Japan
America's Cup challenger SoftBank Team Japan will be led by Dean Barker (NZL), who has been appointed skipper and CEO
Scores tighten at A-Class Catamaran North Americans
Panama City, FL (May 20, 2015) – The 2015 A-Class Catamaran North American Championship delivered two more races today as
Volvo Ocean Race: The Main Course Lies Ahead
(May 20, 2015; Day 4) – The Volvo Ocean Race fleet today saw 'Life at the Extreme' if life was
World's First Ocean Cleaning System to be deployed in 2016
(May 20, 2015) – Boyan Slat, 20-year old founder and CEO of The Ocean Cleanup, today announced that the world's
Sailing: Don't take it too seriously
by Don Finkle, RCR Yachts All that has been said and written about the need for more fun in sailboat
Volvo Ocean Race: The secrets to success
At 52 years, Team Brunel navigator Andrew Cape (AUS) is now on his seventh lap around the world. With one
Top 12 High Schools to compete at Team Race Nationals
The Baker Championship to determine the top high school team race squad will be held in Chicago, IL, hosted by
College Sailing Finals Begin Next Week
The Intercollegiate Sailing Association's (ICSA) three national championships, Sperry Women's National Semi-Final and Final Championship, LaserPerformance Team Race National Championship,
Zennström 's Rán continues to set pace at 52 SUPER SERIES
Valencia, Spain (May 20, 2015) – Two second places today, both of them hard earned from intense, close boat-on-boat combat,
Kite foiling in Florida
Kiteracing in the Southeast is generally growing mostly due the recent advancements made in hydro foil boards. Combined with the


Set-up for this monitor couldn't be easier: we had it plugged in and working in under five minutes, and our hands-on parent testers overwhelmingly agreed that the Motorola MBP36XL monitor was easy to set up and start using in their own homes very quickly. The interchangeable power cords are a good length, which makes it that much easier to capture your baby at her best angle. The menu buttons on the parent unit are intuitive and not unnecessarily complicated.


Our Bury St Edmunds office have done a fantastic job of raising £373.39 for the Eastern Legal Support Trust!
The event by the Eastern Legal Support Trust is to raise money for vulnerable people who need legal support but for whom no legal aid is available. The bake took place on Wednesday 14th February and was organised by our Bury St Edmunds office. Last year we raised £240. We are looking forward to next year's sale already.


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package com.jeff.game.castlesmack.models.items;

import com.badlogic.gdx.graphics.g2d.TextureRegion;
import com.badlogic.gdx.physics.box2d.World;

public abstract class DamageAbleEntity extends Entity {

    public float maxHP;
    public float currentHP;

    public DamageAbleEntity(World world, float x, float y, float width, float height, TextureRegion texture, float maxHP) {
        super(world, x, y, width, height, texture);
        this.maxHP = maxHP;
        currentHP = maxHP;
    }

}

redpajama_set_name: RedPajamaGithub


Experience the latest innovation in non-laser skin resurfacing available at Blue Halo Med Spa. HydraFacial® is the only hydradermabrasion procedure that combines deep cleansing, exfoliation, hydration and antioxidant vitamin infusion in one treatment. The HydraFacial® visibly improves appearance of fine lines, wrinkles, brown spots, congested skin or enlarged pores, skin tone and much more. You can also enhance the results and increase collagen production by including photo rejuvenation. This is the most amazing treatment – you will see immediate results! And it will become your favorite treatment!
Healthy Start HydraFacial® – includes your choice of 7.5 or 15% glysal prep solution.
Maintenance HydraFacial® – includes 7.5, 15, or 30% glysal prep solution and your choice of either the Britenol or DermaBuilder Boost.
Premium HydraFacial® – includes LED red or blue light therapy and Growth Factors Boost, plus your choice of 7.5, 15 or 30% glysal prep solution and either the Britenol or DermaBuilder Boost.
ZO HydraFacial® featuring BrightAlive Booster Serum – Powered by ZO® Skin Health, HydraFacial Brightalive® Booster Serum is specifically designed to brighten skin and lessen the appearance of discoloration.
ZO Skin Health® and HydraFacial® pair beautifully, and both aim to make your skin the best it can be. When used together, HydraFacial® uses patented technology to cleanse, extract, and hydrate while Zo Skin Health® provides advanced skin health solutions to achieve total skin health restoration and to create your skin's brightest complexion!
Includes LED red or blue light therapy, your choice of 7.5, 15 or 30% glysal prep solution and BrightAlive Booster Serum.
HydraFacial® has you covered with bonus boosters. Taylor your treatment with award-winning super serums to address specific skin concerns.
DermaBuilder Peptide Complex Boost: Minimizes signs of aging and recharges skin with a patented combination of peptides.
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NEW! BrightAlive Boost: New from ZO Skin Health®, this comprehensive solution is designed to redefine overall skin health and increase rejuvenation. The serum will brighten skin tone and lessen the appearance of discoloration to create an instant, gratifying glow.


All the videos that I uploaded in vimeo were removed by the moderator of vimeo, sorry about this. And I deleted ZKG music page few hours ago, sorry again. I won't upload videos to vimeo and upload music here anymore. I will create a new music page but will list Zhenya's music information only.
ZKG videos channel in youtube, dailymotion and tudou will carry on but maybe one day they all will be disappear too, I don't know…after all, nothing is forever I think.
@xsleepingawakex, Thank you! You know vimeo is just like those on-line videos website, against copyright videos are not allowed to upload, but actually there are many violated copyrights videos in their channel too, just like youtube. If they don't find it then it's OK.
vimeo bring back the "Artistry on Ice Taipei 2011" videos me cause I filmed those videos myself, but those remix videos (Two Zhenya Special Montages and the videos with subtitle still are not allowed, anyway this channel for me is almost done.


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Q: How to solve a positive semidefinite system in general I was trying to solve a markov system over a graph transition process
and basically it is reduced into solving $Ax=x$ which is to solve
$(A-I) x = 0$ where $A$ is the transition matrix being real symmetric.
So we can have assumption that A is at least positive-semidefinite
I know how to solve a strictly positive definite system by algorithms such as Cholesky Decomposition or Conjugate Gradient method.
But I do not have assumption that A is non-singular.
However, I do know that this is a sparse matrix.
So here comes my question.
How do I generally solve an positive-semidefinite system? By solving I means to find an arbitrary solution or find the whole kernel of it.

p.s. I would like to avoid something like naive Gauss Jordan method because it is not time efficient.

A: What you are trying to do, is saerching for the eigenvector, that has the eigenvalue of 1. This makes $A-I$ singular.
You could use an iterative approach to solve for all eigenvalues at the same time (Langzos method, MATLAB can do this via eigs) and discard all other eigenvalues.
Similarly, you could use (since you know, where one eigenvalues must lie) inverse iteration. By this, you use an iterative approach with $(A-I)^{-1}$. But since that matrix does not exist, you could use $(A-0.9I)^{-1}$. This will (hopefully) give a non-singular matrix and will converge fast towards your eigenvector.

redpajama_set_name: RedPajamaStackExchange


The course is excellent for new starters. It was great to learn and re-fresh the content and details again. Definitely 3 days of fruitful training.
The course went really well last week – the delegates were very complimentary and found the course really useful, especially those who are newer into their roles.
Thanks so much for running this course. I cannot even begin to tell you how helpful it was for me. I now feel equipped with the tools I need to do a great job. Many thanks!
Well structured content and solid theory. Makes a massive difference when the presenters are passionate about their subject. Highly recommended for product managers of all abilities and experience.
The tools, templates and checklists provided are super useful. I love the fact that they're changeable so I can easily adjust them to my company's way of working.
We recently used Product Focus to deliver some excellent bespoke training to our Product and Marketing team and the feedback was really great – thank you!
Anyone who would benefit from understanding the role of product management should attend this course. One of the best training courses I have done, the pace was just right, it was very interesting and engaging. Never boring.
© Copyright Product Focus Ltd 2018, All rights reserved.
Product Focus offers world class product management training courses for technology-based products. We regularly run public training courses in London in the UK, Munich, and Berlin in Germany, Paris in France, Amsterdam in The Netherlands and New York in the USA.
Improve team performance, save travel costs and make the most of your time together. We specialise in on-site private product management training tailored to your needs and delivered worldwide.
Office Address: Ground Floor, Unit 302 Cirencester Business Park, Cirencester, Gloucestershire GL7 1XD, UK.


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Q: How to sort json in reverse alphabetical order using gulp-json-sort plugin With gulp-json-sort I was able to sort a JSON file in alphabetical order. But I don't understand how to use its API to sort in reverse alphabetical order. I tried the following with no avail, it's still sorting in alphabetical order as if I weren't using any function inside sortJSON():
sortJSON({
  function (a, b) {
    return a.key < b.key ? 1 : -1;
}})

A: I figured it out myself, according to their API I had to use it as follows:
sortJSON({
  cmp: function (a, b) {
    return a.key < b.key ? 1 : -1;
}})

It'd have been better if the README of the plugin provided an example! :)


Today marks 1 month since my procedure. Some notes of comparison of my 1st and 2nd procedures. This time staples were used (about 60) I do remember the sutures used the first time became quite annoying after a while and the staples this time were probably a little worse. By day 10, I was itching so bad that I was practically pulling them out by hand. It was very tight, however, the scar is looking very good at this point, so that's the tradeoff. It's worth it.Both donor and recipient areas have both been extremely numb for most of the first month. About the same as last time. My shed came at about the 2-3 week mark. Fast and furious. One minute you have transplanted hair, and a couple days later it's gone. Being prepared for this is a huge plus as the shed is a normal part of the process.Probably the biggest difference I noticed so far is this time around, I had almost zero swelling. I remember Dr Bloxham telling me when he was numbing me that the method he was using would cause a lot less swelling and he was right. The first time, I looked like the elephant man during days 3 thru 5. This time, barely any at all. That makes it a lot more bearable. I think the hardest part of all this (aside from paying for it) is the "ugly duckling" stage. Which is now for the next few months. Wearing a hat, hiding out, waiting for your shaved head to hopefully grow back. That said, I have my patience in check and will try to get comfortable for the next few months as I wait for new hair to grow in around the 4 month mark. I do have some prior transplanted hair that I started with, so it will be interesting to see if my "original" hair grows back first (which I'm hoping) and then steadily fills in. We shall see. I just recently shaved everything down to a #3 to even things out. I will post some photos periodically along the journey.


When did you start martial arts training?
I started training in Hung Gar Kung Fu, under Sifu Eddie Pugh, in 1994.
Why did you start martial arts training?
Like many other people, I started training because I was a victim of bullying in my school.
When I was 13, an uncle suggested that I attend the Kung Fu class that he trained in, to see if it would help build my confidence, and teach me some self-defence in case the bullying ever turned physical.
Throughout the rest of my school life, thanks to my Kung Fu training, my confidence increased; and although the bullying never really stopped, it did decrease significantly, because I never let it affect me any more.
When was Shi'hing Kung Fu establised?
It was the 7 January, 2003.
I opened the school following the passing of my Sifu, Eddie Pugh.
I have dabbled in several martial arts styles, but I found that they didn't really fit me. Some of the styles I have tried, are Karate, Brazilian Ju-jitsu and Savate.
It's rather difficult to describe my teaching style, as I am incredibly versatile to each and every student. One particular teaching style cannot be used for every student. Sometimes a student can be told / shown what to do, and they can do it without question… Other students need a different way of being told / shown what to do, and can take several weeks – or even months, before they can understand and perform the technique. I can usually devise which teaching method can work with any given student within just one class.
Do you have any techniques that you don't particularly like to teach?
Not really, but if I am being honest, I am not a fan of sparring. It is not in the Tian Kai system, and I prefer to stick to the heart of the style.
What is your greatest achievement in teaching Kung Fu?
I have a couple of great achievements, and I can't pick just one as the "greatest".
I have taught many people with some form of learning difficulty, and / or mental health problems; and I have managed to increase their confidence in dealing with issues in their lives because of my teachings. I have had a lot of feedback from the students themselves, and in some cases, their family members, stating that they (the student) are more comfortable in themselves due to the school.
Another example of a great achievement, is that one of my students attended several pattern (forms / Kata) competitions, and was invited to join a team to represent England in the World Championships (WKA). She (and I) then went to Karlsrue, Germany, to compete, and was placed 5th in the world, in her category of soft-style forms.
Never sit and watch. If you watch, you will only begin to doubt your abilities, as you are watching people who already have knowledge of the art – whether it's been several years or just a week. As they say – "you never know until you try".


text:
Write to us, we will source any Sri Lankan book that is in print.
Perera-Hussein was established in 2003 to encourage authors
who will inspire, provoke and entertain.
About the Author IMAGE
About the Author TEXT
Born in Sri Lanka, Shalini Wickremesooriya has two grown up children. A certified member of the Royal college of Speech and Language Therapists - UK and licensed by the Sri Lanka medical council, she has a doctoral degree from the University of Sheffield, UK. An independent practitioner who engages in research, clinical practice and teaching, she has extensive experience speaking at international conferences and liaising with professionals across the globe. She truly believes in knowledge sharing and makes every effort to disseminate information to varied audiences, using different platforms. She is also a firm believer that humans are lifelong learners and encourages people to evolve at every stage of their life.
Bay Owl Press
Alex Stewart is a counselor / psychotherapist who moonlights as a DJ, playing music from around the world at clubs and parties. Having developed a personal way of telling stories without words, his art-work reflects a deep love of miniature painting and medieval European book illustration. He divides his time between the UK and Sri Lanka where he exhibits regularly.
Popsicle Books
How the Squirrel Got His Stripes
Shamil Wanigaratne was born in Sri Lanka and attended St. Anthony's College Kandy. He studied psychology at the University of Nottingham and City University London. Following his post-graduate training, he started his career in clinical psychology in 1987 and worked in the National Health Service. With the help of Manjusri's son Kushan Manjusri, he has been working on this monograph for over a decade.
L.T.P. Manjusri: Artist and Scholar
Rukmini Attygalle was born in 1938 and was educated at Bishop's College Colombo; and interrupted her education at the University of Peradeniya to get married in 1960. She has 3 children. The family emigrated to the U.K. in 1971, during the JVP uprising. She has worked in the Civil Service, and after retirement did a diploma in Art and Design. Of Saris and Grapefruits is her first novel
Of Saris and Grapefruit
Shehan Karunatilaka is the award- winning author of Chinaman: The Legend of Pradeep Mathew. He is the father of two children and the author of four books.
Lalith Karunatilaka is a younger brother, ad-man and lapsed architect. He is the father of two naughty doggies and mother of none.
Papaya Books
Where Shall I Poop?
Author, Senior commissioning editor and co-founder of the Perera-Hussein Publishing House, Ameena Hussein is a sociologist whose essays and opinion pieces have been published internationally. Her work often reflects, celebrates or critiques little known aspects of the Sri Lankan Muslim community.
Ibn Battuta in Sri Lanka
Facets of Modern Ceylon History
Roo The Little Red Tuk Tuk
PHPH Manager
Nadishka Aloysius is a teacher, actor, author, and blogger. Being a teacher of Drama and English Language with 20 years experience, and a mother of two little sons who love story time, she finds inspiration in the little everyday details of life. Ronan's Dinosaur, her debut novel, was shortlisted for the State Literary Awards in 2019.
Roo is a little Tuk Tuk. From road races, to Polo tournaments, to animal rescues, this little vehicle has lived life to its fullest. Experience the joys and perils of Tuk Tuks on the streets, and learn many life lessons along the way with this courageous Tuk Tuk who is always ready to lend a helping hand and spread some cheer.
You are never too little to make a difference...
With seven full-page colour illustrations by Privanka Fernando
Author Nadishka Aloysius
Recommend this product to your Friend
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text:
Q: USB debugging in New Nexus 7 on one account I'm having a problem and i couldn't figure out the solution.
as we know New Nexus 7 comes with Android 4.3,
which we can create multiple account....
Now I have set my main account to enable usb debugging.
But then i figured if i could just create another account and have all of my apps in progress in that account.
I created that account, and settings developer options is nowhere to be found. I guess if i set main account for developer options, then other accounts must be enabled by default.
The problem is, every time i upload my apps via Eclipse, the apps uploaded to both of my accounts. I just want to upload it to my developer account, not my main account. How do i do this?

A: You can't - the multi-account feature only separates settings, not full app installations. The apps you install using the Play Store are also shared between accounts, for example. You cannot have multiple versions of the same app installed.


stone crusher andhra pradesh - coforwaasbl.org . stone crusher andhra pradesh stone crusher andhra pradesh . Please leave your information, we will have a professional contact you.This is of vital importance to us.Thank You.
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The City has drafted a Local Hazard Mitigation Plan which is a document outlining how the City plans to mitigate the risks of natural and man-made disasters. The Plan is required in order to be eligible for pre and post disaster federal funding and is available for public review and comment (click here to view). Comments can be emailed to the City at LHMPComments@lcf.ca.gov. Please direct any questions regarding the Local Hazard Mitigation Plan to Peter Castro, Public Safety Coordinator at (818) 790-8880.


This lavishly remodeled 3 bed/2.5 bath home features an open floor plan that flows with sophistication from the living and dining room to the immaculate gourmet kitchen with quartz counters & stainless appliances. The master suite features a stunning spa-style bathroom with glass shower, flawless tile work and a large soaker tub. This backyard includes a jaw-dropping covered patio and detached bonus room/art studio that is perfect for entertaining! Don't miss out! Check out the 3D Virtual tour!