I very much believe in rescuing animals, not buying them.
This is probably the most important, and the most difficult to follow piece of advice. You must make a decision about a dog based on who you can give the best home. You should never adopt or take on a dog because you feel sorry for them. If you choose the wrong dog because you felt sorry for them, you're going to end up letting them down. If you cannot truly help them, then another stressful experience in a home that cannot cope with them won't help.
You must always think "can I offer this dog the best home for them"? If you can't, then they aren't the right dog for you, and you aren't the right person for them.
There's no point taking on a dog with severe separation anxiety if you're out for extended periods of time. You wouldn't be the best home for that dog. If you have cats, and this dog hates cats, it doesn't matter how sorry you feel for them – it wouldn't be right for your dog or the cats. If a dog is scared of children, and you have lots of visiting children, it seems obvious that your environment isn't the best one for that dog.
These things all may seem obvious, but you'd be surprised how many people let themselves ignore the obvious things because they are making a decision based entirely on the desire to 'save' a dog. There are so many rescue dogs out there looking for homes, that the right dog is out there. If you take the wrong one, not only are you putting the wrong dog in the wrong home so that both the owner and the dog is unhappy, but you've perhaps overlooked the dog who would love you, your house and environment so you could all be happy.
And, if you choose the wrong dog, who is to say the right person for that dog wasn't the next one to visit?
If a dog has to go back to the rescue because you made the wrong choice, the rescue has to explain to anyone else interested that this dog has gone to a home and come back again. Some people understand that these things sometimes can't be avoided, but others may think there's a hidden reason this dog was returned, and not consider them at all.
So, think carefully because the wrong decision can have a big impact on the future of the dog.
Don't 'dress up' to make a positive impression on the people at the rescue – rescues are always wary of people who come dressed inappropriately. If you're wearing high heels and a short skirt, how will you be able to take a dog for a walk? If you're wearing designer jeans and an expensive jacket, how will you react if a dog splashes in a puddle, jumps up and gets mud all over you?
There's always a sense of dread that we feel if a family arrive to meet a dog dressed up to the nines. We've had people arrive in full-length designer cream coloured wool coats – in the middle of winter! People have arrived as though they were ready to go out to a nightclub rather than meet a potential new friend. As a rescue, you have to take into consideration that if potential owners don't know what's appropriate when meeting a dog, are they really ready to have a dog at all?
If you're wanting to add a dog to your family, you need to be practical. Dress as though you were off for a walk in the country, expecting to get mud or paw prints on you. If you dress appropriately, you'll be relaxed. If you're relaxed, the dog you're meeting will know you're relaxed.
Assume that you will get dog hairs on you – assume you will have to pick up dog poo, and assume that you will get muddy paw prints on your clothes. All of these things will happen if you're a dog owner, so you may as well get used to the idea from the first moment you decide to have a new friend.
So, be prepared, and when meeting a dog, don't dress as though you're heading out to the catwalk!
Many people think that when they meet the dog for them, it will be an instant bond. Immediately there will be a moment where time slows down, and dog and human fall into each other's arms.
This really doesn't happen all that often. Some of the strongest bonds come when the human has proved to their dog that they can be trusted. For some dogs this can take a long time, but when that bond has been created through a lengthy period of trust, it is one of the strongest bonds you can ever have.
On many occasions we've seen people declare that our own dog Jack is the perfect dog for them because 'we felt an instant bond to him'. Whilst that's how they felt, it isn't how Jack feels. Jack, for want of a better phrase, is a tart. He'll cuddle and play with anyone. He'll make you feel like you're the only person in the world that makes him play like this… until someone new arrives. And when 'new blood' arrives, he does the whole thing all over again with someone new. He's a serial philanderer. He has no special ties to anyone in particular, but makes those people feel like it for the time he's interested in them.
On the other hand, Rags is the complete opposite. He will not interact with people very much. Sometimes he'll let them stroke him, but he seems like a loner who wouldn't have a bond to anyone. However, of all our dogs, we know that Rags is the one who keeps the sharpest eye on where we are and what's going on. If he thinks any dog is getting out of hand, he runs in like the 'referee' to deal with it. You know instinctively that Rags would be the dog who would defend you in a scary situation and make sure you're safe, whereas Jack would present your attackers with a toy.
A relationship and trust must be earned. Even if you do get that 'hearts and flowers' moment, you must make sure that you build that bond. It's more difficult to get Jack away from strangers picnic baskets over the park than it is for Rags. If the dog you choose is a bit of a floosie like Jack, it's even more important that you work at being more interesting than everything else around you, or he'll never listen to you, and you'll spend your walks tearing your hair out because they are spending more time and paying more attention to everyone else but you.
Some people think that in order to make a good impression at a rescue, they need to show how much skill they have in training a dog. As soon as they've got their hands on the canine in question, they start pulling them around, and trying to get them to 'sit', 'stay', 'give paw'.
The dog they have just met doesn't know them. They have no reason to trust or listen to this person. So, if the first actions of this person are to boss them around, for the wrong dog, it can have some very unfortunate consequences. Don't push things – let a dog get to know you in their own time. When they like you, and trust you, they will want to do things for you.
Despite knowing nothing about the dog in front of them, some people insist on behaving like a Dog Show Judge, pulling the dog's mouth up to see their teeth and gums, running their hands all over the dog's body as though having a medial exam, and prodding and pulling ears.
If a stranger came up to another human and started prodding and poking us, we'd get very angry very quickly. But some people think they can do this with a rescue dog just because they want to look like they know what they are doing.
If that dog nips or even bites that person for pulling them around, it will be the dog who gets labelled as a 'problem' dog, or an 'aggressive' dog.
At the end of the day, we as humans (the supposed intelligent species) shouldn't be putting a dog in an uncomfortable situation where they feel that they need to defend themselves or tell a human to back off.
If you want to see their teeth, and ask other health questions, ask for an experienced member of staff or volunteer who is familiar with the dog – and more importantly – who the dog is familiar with.
Don't ruin the possibility of a new friend by pushing things too far, too soon.


5 Responses to "I Was Misdiagnosed But Now I've Been Correctly Diagnosed and Cleared for Pilates"
The pain went away for 4 weeks and then as soon as I started trying to get active again, the pain came back WITHIN HOURS. I've got a second cortizone shot scheduled for tomorrow but so nervous that I might have something worse than bursitis. Really hopeful that I can figure out what is going on sooner than later. Please keep us all posted on your progress and recovery!
Hi Brittany, thanks so much for your comment. I'll be posting updates, and good luck with everything!
I have been through this for over a year now.
Went to the er from work after hearing a pop, feeling the pop and the burning pain and waking up the next morning unable to stand on my right leg and some kind of crunching in my lower back.
Was sent to ortho doc who dismissed me to a spine specialist.
After 6 months the spine specialist says, "you know… I think its yor hip"!
Of course to this he agreed, and then sent me back to the same doctor that had previously dismissed me!!! I was mortified!!!
But by the grace of God he had the foresight to order the MRI again and this time INCLUDED THE RIGHT HIP!!!
The dismissive Dr. acknowledged the two labral tears, one of which is half of the distance around, and politely diagnosed me with bursitis!!!
Congradulations on working through your injury.
God loving woman and have faith that the good Lord will find a new life for me.
Loved reading your story and makes me feel so normal with the anxiety and depression I have dealt with before and now again during this stage of change in my life.


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Home » La Morra
Population: 2.400; altitude: 513 m.asl; area: 2.434 ha and 43 ares; it comprises the villages of: Annunziata, Berri, Rivalta, S. Maria. Zip Code 12064
In southern Piedmont there is a magnificent natural quadrilateral region that borders and embraces Liguria; from the Ligurian border this small region overlooks the sea from which it draws the gentleness of its climate.
The Langhe, a quadrilateral shaped region that offers beautiful scenery and art, in turn encloses a portion of gentler rolling hills that gradually descend towards the Turin plain and on whose slopes man has left its mark since ancient times: the vineyards.
In this region, famous for its wines and castles, stands La Morra.
Situated at the top of an imposing promontory, on one side La Morra overlooks the Po valley against the backdrop of the Alps and the Monviso.
On the other side, a succession of hills, fully covered by rows and rows of grapevines similar to huge waves, forms a man-made amphitheatre of rare beauty: from the top of the village square the view is breathtaking.
When, at the dawn of the second millennium, men began to move up the hills from the nearby Roman town of Alba Pompeia, ploughing the land to get new crops, here, where now stands La Morra, there probably was a stockyard run by the communities of Benedictine monks, as we may infer from the name Murra which means "fence" for the beasts.
In 1296, La Morra was given in fief to Sordello from Goito, Knight of Charles of Anjou and minstrel mentioned in Dante's Purgatory; in 1340 it passed under the control of the Falletti family; in 1402 it established its own Statutes; in 1435 it was ceded to the Duke of Milan and after various events under French and Spanish dominion, in 1631 it passed to the Savoy family.
The Ratti Museum It is located in the cellars of t...
The tour starts from Piazza Castello, with its imp...
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Bilingual Administrative Assistant We are looking for a responsible Bilingual Administrative Assistant to perform a variety of administrative and clerical tasks. Duties include providing support to attorney; assisting in daily office needs; managing our company's general administrative activities; using the Florida Courts e-filing portal, using the Thirteenth Judical Circuit JAWS portal; word processing with Mac Pages: interpreting Spanish / English; Eligible candidate must be comfortable working under a fast paced environment and will be responsible and able to multitask a voluminous case load for a very busy attorney. Must have 5 years experience. Salary commensurate with experience. Friendly work environment. All qualifying candidates please email your resume in PDF. No phone calls. No agencies. Ronald S. Tulin, PL.


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Home › Arthur Braverman › Final Lesson, by Arthur Braverman
Final Lesson, by Arthur Braverman
By Buddhism Now on 18 October 2011 • ( 3 )
I'm sitting on my cushion in the morning before going to work and that feeling of openness comes, — not a thought-free feeling but one of awareness of being there, on the cushion, and of being content with just that. Then there is a feeling of gratitude for being taught a zazen with no strings attached—no elaborate initiation, no progress reports, and no conclusions. But there is a personal mystery that shrouds my feeling of gratitude. Why have I felt such ambivalence for the man who introduced me to and guided me through this practice? I feel that I must contact him again and work through these feelings and put some kind of closure to our relationship. The man is Uchiyama Kôshô Roshi and he was abbot of Antaiji from the time of his teacher's death in 1965 until his own retirement in 1975. During his ten years as abbot of Antaiji, Uchiyama set up a temple where clergy and lay people, Japanese and westerners, men and women, could practise zazen together in as accommodating an atmosphere for practice as one can imagine in a temple in Japan.
So why the ambivalence?
It's fall of 1970. Lunch is over and the monks, three lay western students including myself, and Roshi are sitting on the verandah relaxing. Roshi is looking at a book on origami (Japanese paper folding) given to him by one of the monks. Some conversation ensues and Roshi gets up and goes into his room. A few minutes later he comes out with a bunch of little paper folded animals. More conversation, none of which we relatively recently arrived westerners understand, and then, through Dôjin, a disciple who speaks a little English, Roshi brings us into the conversation.
Roshi holds up the book and shows us the instructions for folding a pig. Through Dôjin he says to us, 'To make this pig, two pieces of paper.' Then he picks up his own beautifully folded pig and says, 'This, only one paper.'
The monks laugh what feels to me to be a bit of a nervous laugh. I smile. Then a rat from the book is shown, followed by two of the Roshi's beautifully folded silver and gold rats. Again the same spiel: the book shows how to make it with two pieces of paper and the Roshi points to his and says, 'Only one piece,' and what I imagine to be some more nervous laughter. The reason the rats are silver and gold is that Roshi was born in the year of the rat. Then a few more animals are brought out and a similar discussion follows and then Roshi brings all the animals back to his room. Everyone disperses and I sit there thinking that roshis should act more humbly.
It's spring of 1974 and I'm in Roshi's room and the talk comes around to Sodô san, Roshi's older brother disciple of Sawaki Roshi. Sodô san sits by himself in a town called Komoro in the Japan Alps of Nagano Prefecture. He composes poems and songs, produces beautiful calligraphy, plays songs he composes on the leaf, and sits zazen, usually alone, in a corner of Kaikoen Park in Komoro. He has one disciple whom he accepted reluctantly. The disciple works in a miso factory in town while Sodô san does his work of playing the leaf for travellers who pass by his spot during the day. I've watched these two old teachers tease each other when they've got together at memorial ceremonies for their teacher Sawaki Roshi and I've felt a mutual warmth when they got together at those times. So when I suggest to Roshi that Sodô san has the true spirit of Bodhidharma, I am a bit taken aback when his response is, 'I believe I have more of the spirit of Bodhidharma then he does.'
After Roshi's retirement from Antaiji, I visit him several times at various homes that were lent to him by people who are in some way connected to him, lay disciples perhaps. The conversation is lively and friendly and relaxed. However, I usually sense in his remarks some insecurity that I didn't believe a 'roshi' should have. He would say how he always said he would make history or some other very 'un-roshi' type thing.
But here I am sitting in my room feeling nothing but gratitude for this man who was my teacher during my seven years in Japan, for whom I am expressing these misgivings. When I add up all the remarks Roshi has made that I have felt disappointment over because they don't fit with my expectations for a 'roshi,' they might add up to a short afternoon conversation. . And they all refer to things that might be considered quirks in his personality, if my perceptions were accurate. What was happening all the rest of the time? What was Roshi doing and teaching us during our stay at Antaiji?
He set up Antaiji Temple as no other temple in Japan—as a place to support sitting with as few frills as possible. He sat with us during all the sesshins, teaching us through doing rather than talking. He lectured, but never during sesshin. He met with us individually, but there were no formal meetings during sesshin. The reason he gave for this diversion from the traditional teaching was that he didn't want to disturb his own zazen. Was this a selfish statement or just another affirmation of his belief in zazen? He never sat facing us as most other teachers did. He faced the wall as we did, and his head sometimes bobbed as did ours. And he told us to look at zazen and not at him as our teacher. It's almost as if he knew some of us would become disappointed in him and he didn't want our disappointment to carry over into our zazen.
Sesshins at Antaiji were unlike any others I have experienced in Japan or America. No one was ever turned down from joining the practice for lack of space or lack of funds. A temple that could comfortably hold about thirty people, Antaiji would swell up to accommodate over one-hundred people on occasion. I'm reminded of the 'Farmer Gray' animation I watched on TV as a kid. The mice used to go on picnics after emptying Farmer Gray's house of cheese and other goodies. Then they would get in a tiny bus, hundreds of mice. As they got into the bus in great numbers the bus would start to swell up many times its original size. When the mice got to the picnic grounds, they would pour out of the bus and it would shrink down almost to nothing. That's what happened at Antaiji sesshins, especially the ones around the new year.
Japanese people traditionally go to pray at temples and shrines over the new year. Those who practise zazen like to sit over the new year. Many are working people who can't leave their jobs to sit a whole sesshin. The new year sesshin would start two days before the new year and end two days after. On December 31st people would start pouring into the temple ready to sit and spend the night. The zendo would fill with rows and rows of people covering every inch of floor space. Cushions would appear and people would make room so that all of the space was used. A guest sleeping room which could accommodate eight to ten sleeping mats would sometimes have over twenty people sleeping in it. People who never saw each other before were squishing their bodies together to make room for newcomers who seemed to keep coming. All this done in relative silence. It was the strength of this one man and his will to make a place where all could practise that made it possible.
Uchiyama Roshi had an independent spirit and he wanted his students to develop that same independent spirit. He clearly saw the danger of students looking for an authority to tell them how to be; of how they flounder when their teacher is no longer there for them. I'm sure this was brought home to him in his relationship with his teacher. It was his teaching an independent practice, one which needed neither teacher nor support group but could accommodate both, that I learned to appreciate most. You could find no excuse not to sit other than that you didn't want to. And it was my appreciation of this practice that made me feel that I wanted to thank Uchiyama Roshi.
I had visited Japan at least five times in the last seven years and always managed to avoid visiting him. I think that I didn't want to muddy my good feeling for an old teacher by a conversation that might bring back disappointment. I was afraid of being disappointed by the man who warned us all that if we depend on anybody other than ourselves we will be heading for disappointment. I felt that I understood that lesson when I had the time to put it into perspective, but had I learned it well enough to feel it in the moment? Anyway, I wanted to tell him what I was feeling and I mentioned so in a letter to Tom Wright, a friend of mine and a long-standing disciple of Uchiyama. This was the Winter of 96. Tom responded, saying Roshi was dying and probably wouldn't regain enough awareness to read a letter if I wrote to him.
That spring Roshi miraculously recovered. I was visiting Japan the following summer and made plans to visit him when Tom and another disciple were scheduled to visit. Some business got in the way and I couldn't make it that day. I started to wonder whether I would make this another visit to Japan in which I would avoid seeing him. I was writing a story about my years at Antaiji when Uchiyama was abbot and knew I had to see him. But mostly I wanted to thank him for the precious practice he taught me.
One day on my way back to my Japanese home in Osaka, I found myself about an hour away from Shiojiri, a small town where Roshi spent his summers to escape the heat of Kyoto. I picked up the phone and called. His wife Keiko answered,
'Hello.'
'Hello, this is Arthur. I studied at Antaiji when Roshi was there. We've met several times since Roshi's retirement.'
'Yes, I remember you. How are you?'
'Fine, thank you. I called to make an appointment to see Roshi. It's already late, so another day would be fine.'
'Where are you?'
'I'm at Nagano station.'
'That's less than an hour from here. It's only four o'clock. Please come now. Roshi has spent the day in bed. When visitors come it gives him energy.'
'O.K., I'll come right over.'
Keiko gave me directions and with feelings of excitement and anxiety I started on my way to their house. I don't really know why the anxiety was there. Uchiyama Roshi has always been a warm host and a lively conversationalist. It must have been the old ambivalence aroused and the ensuing guilt that made me apprehensive. But the excitement of seeing an old teacher and friend predominated as I made my way to his house. Shiojiri like so many Japanese towns was dense with houses and stores that looked much alike and I got lost twice. I finally made it to his house with the help of a friendly citizen of the town. Keiko met me at the door and led me to a room adjacent to a verandah. The verandah faced a small Japanese garden with a pond, pine trees, patches of moss and some shrubs. We were shaded from the sun and a cool late afternoon breeze made the spot quite pleasant. Roshi was just getting out of bed and Keiko brought me a cool drink and asked me to make myself comfortable while I waited. I gave her some cakes I had picked up at the Shiojiri station and sat down and enjoyed the breeze and the view.
Roshi was now eighty-five years old; he had had failing health for the twenty-eight years I had known him. He was a frail man all his life who looked as though a good wind would knock him over. I hadn't seen him in over seven years. When he joined us, I was shocked at how much he'd aged. Jôkô, a one-time disciple of Roshi, whom I had visited a week before my visit to Shiojiri, and who had recently visited Roshi, warned me that he'd aged, but I was still surprised. Most of his teeth were out, he had a special hearing device that he carried in his pocket, and walking was difficult for him. But when he began to talk, a youthfulness I remembered well took over.
'It's been a long time, Arthur, How are you?'
'Yes it has. I'm fine. How have you been?'
'I'm okay now. I died once but I've come back.' (Roshi laughs) He continued describing a period of about a month, the previous autumn, when he lay in bed barely conscious.
I wanted to ask him about old Antaiji and his relationship with Sodô san and Ikebe Sensei, two teachers and friends of his whom I was writing about. But it became clear pretty soon that he wasn't interested in talking about old friends or bygone years.
'Roshi, when we were training at Antaiji . . .'
'I'm not interested in the past,' he cut me off. 'I'm interested in the future, which for me means death. I could die at any moment. I did die once,' he repeated. 'The fact that I could die at any moment interests me greatly.'
'I remember the first talk I ever heard you give. It was in 1970. What stood out in my mind then was what you said about death. You said you might die tomorrow or you might live many years, but it was all the same.' I wasn't consciously attempting to bring him back to that period, but had I, it wouldn't have worked.
'I've spent my life talking about death,' he said and continued, 'But never with the understanding and immediacy I feel now.'
There was no morbidness in what he said or in the way he said it. It was truly the wonder of a new awareness and a new nearness to death.
'Since life and death are one and the same, my life is rich for my understanding of death.'
He paused for a moment and then continued, 'The zazen I did most of my life has prepared me for old age. Old age is constant zazen. Most people have difficulty with old age because they are experiencing it for the first time. They haven't experienced it in youth, as I have through zazen.'
He repeated over and over that zazen and old age were the same.
'I wish my father had your spirit with regard to death.'
'Let me get you something I wrote recently about dying. Please give it to your father.'
Keiko served the cakes and we started eating them. I became concerned whether Roshi, with his two remaining teeth, would be able to eat them, but he was champing away.
'These cakes are very good Arthur.'
'I bought them at the Shiojiri Station. The woman behind the stand said you would like them.'
I talked a bit with Keiko about Kyoto, where she grew up, and listened to her lament having had to live away from the old capital in order to be with Roshi, how she missed her friends and family there. It was a bit like talking to someone from ancient Japan, during a period when exile from the capital was a fate worse than death. Then she went away, either into the kitchen or the garden to do some work. Roshi talked about a recent TV appearance he made and how he spent most of the programme talking about death.
It was getting dark and I thought I should prepare to say goodbye. A man named Shimizu who I gather donated this house to Roshi for the hot summer months usually dropped by after work to have a few words. After talking a bit with Mr. Shimizu, Roshi would retire. It was a little routine Roshi must have become accustomed to.
'I wonder why Shimizu hasn't come yet?' Roshi muttered to himself.
Then a few minutes later, 'Keiko, Mr. Shimizu hasn't arrived yet?'
'Not yet.'
'He's usually here by now.' Roshi spoke half to himself and half to me.
I started rehearsing my goodbyes. 'You must be tired Roshi, so I'll take my leave.' or 'Thank you for taking the time to talk with me. It's getting late and you must be tired.' And then I wondered if I should wait a little longer for Mr. Shimizu to show up. But nothing came out of my mouth.
Roshi then turned the conversation to a fellow, one of his first American students, who had recently come to Japan to visit him after moving to Hawaii. This man came every day for almost a month to see Roshi and be of help in however he could.
'Arthur, do you know that fellow Fred?'
'I know the name and a little about him. He came to Antaiji a year before I did.'
'He visited me recently. He would come every day and give me wonderful massages.' Roshi stared out into the garden and then, perhaps feeling ready to retire, looked around and said, 'Where is Mr. Shimizu? . . . Keiko, Mr. Shimizu hasn't come yet?'
'He's quite late isn't he? Maybe he's not coming.'
I thought I'd better thank him and leave, but I couldn't say anything. Then I mumbled it was getting late and perhaps I should leave but I don't think he heard me. The next moment Roshi said, 'I guess Mr. Shimizu isn't coming. You had better go now Arthur, I'm getting tired.'
The realization that it was time for me to leave was in both our minds but Roshi had a much easier time expressing it than I did. Roshi and his wife saw me off at the door, thanked me for coming and asked me to come again. We bowed to each other and I walked quickly to the train station.
On the train back to Osaka I thought about our meeting. I was uncomfortable some of the time, but in no way did Roshi make me uncomfortable. He was gracious as ever and still full of life. I came with all kinds of questions and didn't get a chance to ask any of them. My main purpose, I thought, was to thank him for the years of teaching and to let him know that I now, after 28 years, see the true wisdom in his approach to zazen. Then I realized that if I really understood what he was saying all those years, I would also realize that my intentions before seeing him weren't very important. But seeing him was. He is very human and he never stopped letting us know that. Many times he told of how his teacher, Sawaki Kôdô Roshi was misunderstood because he had a very charismatic personality and people were impressed with his charisma and missed his Buddhism. Uchiyama Roshi had the most profound approach to Buddhism that I have ever encountered. But I was so caught up with his personality that I was missing his Dharma. In a very subtle way he was reminding me of my tendency to let his personality get in the way of his Dharma. His personality was not bad—he was charming, funny, interesting and a good host. But he wasn't perfect and as long as I probed his personality instead of just listening to his teaching , I would find some imperfection. I am reminded of Roshi's remarks about his teacher Sawaki Roshi in an interview about a month before Uchiyama's death. He said:
'Sawaki Roshi was not my "true teacher". Sawaki Roshi, too, was a bombu (a deluded person).'
This statement taken out of context might make one feel that he was ungrateful to the man he studied under for over twenty-five years.
He added, however, 'I've always told my disciples that the true teacher is inside each of them and that they should search for him there.'
I believe that he saw the danger when one idolizes another, as he may have done at some time with his teacher. Perhaps he wanted to prepare his students for the fact that we are all basically alone. And I might add, we can help each other in our aloneness, and that is where we are connected. When Uchiyama Roshi faced the wall during sesshin, neither lecturing nor holding private meetings, he was giving us his most profound teaching. Do zazen, depend on nobody and I too will join you in this practice.
On March 14th, I received a call from one of Roshi's disciples, Dôyû Takamine, saying the master died peacefully in his sleep the previous day. A week later my friend Michael Hofmann another old Antaijiyte wrote telling me about the funeral.
. . It was the start of the last zazenkai (March 14) that Doyû informed us of Uchiyama Roshi's death. Doyû and his wife Hideko went to Uji and spent the night there.
It seems Roshi had a sense his death was coming and had been making some final preparations during the previous week. The day of his death he had been up and around . . .
The funeral was Monday, the 16th, and the ceremony took place inside his house with about forty people in the room and another forty standing outside.
You would have recognized most of the monks—the twenty-five years since most of them had been together slipped away, they all seemed like unsui (floating clouds), keeping in the background (some even wearing samue, monk's work clothes), but allowing everything to move along with dignity and great feeling. Kôhô san (the head monk) never left Uchiyama Roshi's wife's side.
The brief ceremony ended with a period of zazen and then three bows. Roshi's open casket was brought out to the veranda and everyone formed a line to place a flower on his body and make a final bow . . .
Arthur Braverman
This article first appeared in Buddhism Now.
Other posts by Arthur Braverman
‹ Western Cultural Accretions, by Diana St Ruth
Forest and the Way Out, by Ananda Maitreya ›
Categories: Arthur Braverman, Chan / Seon / Zen, Encyclopedia, History, Mahayana
Tags: Antaiji, Sawaki Roshi, Sodô san, Uchiyama Kôshô Roshi
Joseph Kopfinger
23 September 2017 • 5:26 pm
I appreciate this profound and subtle teaching that he was finally able to realize from his teacher. Thank you for this sir.
26 June 2014 • 6:11 am
Great article, thanks!
execnet
12 May 2012 • 12:29 pm
Thank You 4 sharing. Gassho


Lectors assist the priest celebrant in proclaiming the Word of God during the celebration of the Mass and other liturgical celebrations.
The Lector Ministry is currently comprised of 30 proclaimers. Generally we are assigned to proclaim the Word of God at one of the five weekly Masses, usually at the time we regularly attend Mass. Parishioners with all sacraments intact that have a desire to proclaim the Word of God, need to fill out an application and be interviewed and endorsed by the Pastor. Once that is completed, training and resource material will be issued.
Lectoring is a wonderful way to enhance our faith journey. Participating in the Liturgy is an honor and privilege that is held dear by every lector. Julia Cabatu, if not the longest active lector, is very close to it. She proclaims the Word of God very effectively at the Sunday morning 8:30 A.M. Mass. Phillip Cyr is another outstanding lector. Phillip is in his third year as a lector. He proclaims the Word of God at the Sunday afternoon 5 P.M. Mass. Here are some insights they shared.
including clubs, ministries and retreats. Cursillo, especially inspired her and her husband to be more involved in God's work. Balancing family responsibilities with children became a little more manageable as the children grew. Back when Julia began, lectors not only had to proclaim the Word, but afterwards, had to explain in their own words what the readings meant. She could not overemphasize the stress that presented. She took it upon herself to join Toastmasters in addition to going to church trainings and workshops to help her be the best lector she could be. She shared that one of her most memorable experiences was lectoring at Bishop Ferrario's installation mass at the Blaisdell Center. Julia has been a leader and dedicated an amazing 44 years to the Lord as a lector in our Parish, and still going! In Julia's words, "It is not hard because God is at my side at all times. Time flies when doing the Lord's work." We are blessed to have her.
Phillip is a sophomore majoring in accounting at UH Manoa. He became a lector in 2014 while still a junior in high school. Phillip heard the call to be lector during his Confirmation Mass. Encouraged by our Youth Director Laurie Munoz to try it. He did and he does it well. In his own words Phillip said "Being a lector has been a rewarding experience since it has allowed me to stay connected to my faith throughout some of the busiest years of my life. Additionally, it is my way of giving back to the community that I have been a part of since I was a child. I encourage any youth, young adults or other parishioners to also consider becoming a lector both to further their own faith and to help out the community that they belong to."These are just two of the dedicated servants of the lector ministry. Might you be the next?


text:
Q: Oracle Express 18c log on from Java jdbc application new Oracle Express user here,
I did the db install w/o problems in my Win 64 environment,
used sqlplus from terminal to create user and grant him roles and privileges,
and finally this user works fine with the local db from Oracle SQLcl utility -
tables, queries etc.
The problem comes when I try to use the provided boilerplate code from Oracle for Java.
In Eclipse, in new project, with added jdbc8 jars the tested in SQLcl user creadentials
are rejected with exception: java.sql.SQLException: ORA-01045: user C##DBUSER lacks CREATE SESSION privilege; logon denied.
Here is the Oracle boiler code used, with my local details :
  OracleDataSource ods = new OracleDataSource();
  ods.setURL("jdbc:oracle:thin:@//localhost:1521/XEPDB1");
  ods.setUser("c##dbUser");
  ods.setPassword("dbUserPassowrd");
  Connection conn = ods.getConnection();

  PreparedStatement stmt = conn.prepareStatement("SELECT 'Hello World!' FROM dual");
  ResultSet rslt = stmt.executeQuery();
  while (rslt.next()) {
    System.out.println(rslt.getString(1));
  }

Would appreciate your help, thanks!

A: Correct connection string had to be: "jdbc:oracle:thin:@//localhost:1521/XE",
to account for the DB name where user was created and granted priviliges.

A: As Oracle says:

user C##DBUSER lacks CREATE SESSION privilege; logon denied.

Connect to the Oracle database as a privileged user (such as SYS) and
grant create session to c##dbuser;

(or whichever user name it really is).

redpajama_set_name: RedPajamaStackExchange


Muslims in Albania sheltered Jews from the Nazis in a little-known secret of World War II.
Johanna Neumann is on a journey more than 70 years in the making . . . a journey that started in Germany. She left Hamburg when she had just turned 8.
She remembers it because, she says, "this was such a dramatic experience."
Her life changed in the violent darkness of November 9, 1938, during Kristallnacht - the Night of Broken Glass. It was when the Nazis launched a vicious assault on Jewish communities - looting homes, destroying businesses, burning synagogues. It was an ominous preview of the horrors to come.
"He had all of this correspondence and photography, photographs and so on of his youth, of his life," she said. "And he had made arrangements with the superintendent of the house that he could burn his things in the furnace. And you know, like every piece that he burned was like a piece of his life being thrown away. It's a whole life that you're putting on fire."
A few months later, little Johanna and her parents were gone, leaving Germany for good.
But on this day, Johanna's journey won't take her back to Germany. Instead, she's returning to an unlikely safe haven . . . and a reunion with her improbable family.
Edip Pilku is anxiously waiting to greet the woman he hasn't seen in about 62 years, but he clearly hasn't forgotten her: "Memories are forever."
"Will we cry or not? Will we kiss or not?" he pondered.
You could say Edip is Johanna's brother . . . at least, that's what they told the Nazis.
"The families surrounding us didn't know that we were sheltering Jews," Pilku said. "My mother had spread the word that they were her relatives from Germany."
"That was the cover story?" Axelrod asked.
"That was the cover story: We're Germans from Germany, and we were her family."
There are a number of extraordinary examples of people around the world who risked, and sometimes lost, their lives hiding Jewish families during the Nazi occupation. But the Pilkus were in Albania, a 70% Muslim country in southeastern Europe.
"The gem of this story is that Albania took in refugee Jews," said Deborah Dwork, who has written a book about Jewish refugees during World War II.
"Europe 1938, '39, '40, even '41, we see it as a totally closed universe," she said. "and Jews in that closed universe, they were looking for holes, for openings. People began to whisper: 'I hear if you get to Albania, you will be safe.'"
Safe, because of a cornerstone of Albanian culture known as Besa - the promise to treat strangers as if they were family . . . and guard them with their lives.
"It has to do with a certain sense of honor, an honor code that they take very seriously," said Dwork. "It's not simply to give someone something -a bed for a night, a hot meal. It's really to offer protection, full protection. They judged themselves by that code, and they also knew that their neighbors judged them by that code."
Like their neighbors, the Pilkus adhered closely to Besa . . . and to their Muslim beliefs that also emphasize the protection of others.
"The role of Albanian culture and traditions and the religious influence of Islam came together," Dwork said. .
Although Edip's mother was of German heritage, she embraced Besa and Islam, especially after the Nazis occupied Albania.
"They saluted her and left!"
Through all this, remember, Johanna and her parents were hiding in plain sight.
"And here you are coming in contact with German soldiers. Were you scared? Was it hard for you to look them in the eyes to talk?" Axelrod asked. "You also had to make sure they didn't find out you were Jewish.
"Right. Well, I think scared is probably the right word," Neumann said. "I certainly was during the occupation very much afraid that I wouldn't live the next day."
According to the International School for Holocaust Studies, Albania did not turn over a single Jew to the Nazis.
Instead, when the Germans demanded the Albanians provide lists identifying Jews in their country, the Albanian government not only didn't comply, it even warned Jews to hide and urged its citizens to help.
In fact, after the war, there were more Jews living in Albania than there were before.
It's an extraordinary record. So how is it that so few people know about it?
"Because of the shutters that went down on Albania so soon after 1945 and the draconian Communist regime," said Dwork. "For the next half century, Albania was completely cut off from everyone, even from other Communist countries. And by the time the shutters lifted, what happened half a century ago was not so urgent as people's everyday needs right then and there."
As seen in the upcoming documentary, "God's House," photographer Norman Gershman traveled to Albania to document surviving members of families that saved Jews during the Holocaust.
Gershman said, "I had to find out what these people did."
Among them: Edip Pilku. He's pictured holding a plaque indicating his mother and father were honored as "righteous among nations."
"Johanna and her family gave testimony that 'Yes, this family saved our lives.'"
And Johanna says her own parents, who both died in 1961, always wanted to make up for the way they parted with the Pilkus all those years ago.
Edip said their parting was very hard for him, too: "I don't even know how they left. My mother pulled me to the other side as she didn't want me to get sad, I wouldn't know. They left … hastily."
The Allies whisked 14-year-old Johanna and her parents out of Albania in September of 1945.
"We were told that we cannot even go and say goodbye," Johanna said, "because there was danger that we might get arrested. It was much to my parents real regret. Terrible regret . . .No chance to say 'thank you.'"
Finally, decades later, she had her chance. This was Johanna's journey.
"When you saw him again, sixty two years later, can you describe that reunion?" Axelrod asked.
"Well, in a way, it was a little bit strange," Johanna said, laughing, "because I left a little boy, and here was an old man! It was very emotional, there's no question about it."
After the war, Johanna's family settled safely in the United States. But in newly-Communist Albania, a very different fate awaited the Pilkus. They quickly went from being the protectors to the oppressed. And their life together as a family ended in tragedy when Edip Pilku's father was arrested and executed by the Communist regime.
"Here was such a good human being," Johanna said. "He was shot for what? I don't know for what."
Johanna Neumann spent years trying to honor the family that saved hers. Her deepest satisfaction came only recently in a conversation with Edip Pilku's daughter.
"I got my reward," Neumann said. "She said, 'I am so proud to know what my grandparents did.' And that was really my main purpose, because he was executed by the Communists so, 'What do the grandchildren think?'"
"I see a very modest son, very proud of his family and proud of what they did and seeking nothing, nothing other than saving people who were desperate," said Gershman.
"These people were courageous," said Neumann. "They were righteous. And they were just wonderful people."


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I see the world with different eyes. I speak French and I love the arts; I am Laurend. Those who have experienced my artistic highs understand why I devote so much time to observing, creating and experimenting. When I first thought of fragmentation, I had in mind techno-realistic sets of patterns. But as the movement evolved, I realized I could convey a stronger message by mixing techno-realism with free hand expressionism.
1985: I arrived in the USA as an exchange student from "Institut des Petites et Moyennes Entreprises de Paris" (Small Business Institute of Paris, France). Our program took place in San Rafael, CA and lasted approximately 3 months. Thereafter, I moved to San Francisco, CA where I had contracted an internship with Bechtel Power Corporation. During that period, painting had vanished from my life. I was more pre-occupied with my school work. My immediate concerns dealt with the "Where" and "How" of life. In the end, I would earn a Bachelor of Science in Business Administration, from Ball State University in Muncie, Indiana.
1988: I was two quarters away from graduating and still had room for a few electives. I enrolled in drawing 101 and drawing 102; I aced both courses; however, I learned never to mess with pastel or charcoal again. This was the extent of my art education. Today my classroom consists of a few art books. I've accepted and nurtured my denomination as a self-taught artist; my styles are conceived without boundaries or restrictions. What I do is purely a product of my own genius; not a copy of someone else's skills. This has helped me rediscover the true meaning of figurative artistic expression.
1988 through 1990: These were purely academic years, as I worked towards my Master in Business Administration at Roosevelt University in Chicago. I graduated in August 1990; a few months later, I was working in France. I had forgotten all about art, except art had not forgotten about me. Art is truly my refuge when the going gets tough. The going was getting tough, indeed, but that's another story... Back in the USA in 1991, economic prospects were bleak; the Gulf-War had taken its toll; we were in the middle of a recession; nevertheless, I managed to land a well paying contract assignment with Information Resources Inc. as a translator. I translated computer user documentation from English to French; the assignment lasted one year. Once the contract ended, things changed; again. Faced with adverse reality, I decided to turn my passion into a lucrative venture. Was it easy? Certainly not. Is it easy now? Definitely not. Will it ever be easy? I think not, but I am enjoying the journey.
November 1993: I started a new job at Delta Dental of Illinois, making $5.00 an hour. At home, I did freelance translation jobs to supplement my meager income, and I painted to give myself a purpose. It's in that environment that Françoise Johnson, a French lady, introduced me to Nicole. I had four 9"x12" paintings on hand. Nicole Gallery was on the second floor at 700 N. Wells. One couldn't see the gallery from the street but it was nevertheless beautiful inside. A few months down the road, the gallery sold one painting, then a second… We've been working together ever since. The Wells Street gallery must have realized some decent profit for the new one on 230 West Huron was at street level and twice as big; it was also more elaborate and beautiful. In the meantime, I had become an underwriter at Delta Dental. I was given that opportunity by our then Vice President of Underwriting, Mrs. Patricia Vance. I worked for Delta until April of 1999 then transferred to Blue Cross & Blue Shield as a case underwriter under Steve Barr, my hiring manager.
1998: Significant events started to occur in my art world. I developed a portfolio and each painting was carefully crafted for the long haul. The following year, Nicole Gallery moved five of my paintings in one showing.
2000: I participated in my first ever group show in February. We sold a little more than half of the twenty pieces I had on display. I received great support from some of my managers and coworkers from Blue Cross and Delta Dental. It was a great evening and the beginning of new things to come.
2001: Crossroad period in search of style and identity. This year's show was less impressive visually although it generated comparable revenues.
2002: Official introduction of my Fragmentation painting style. The style was well received by the public and appreciation translated into sales. The painting prices have risen substantially over the years and will keep rising as demand increases. Techno-Realism with Traditional Values was born and started to evolve.


Transform your living space into an elegant dream with this Lavilla pink velvet accent chair. Soft velvet upholstery and plush cushions please the senses, while its roomy design provides ample room for you to rest. Curved arms offer support while you sit and sip your favorite hot tea or read a good book, and gold legs complement the dreamy cream-colored upholstery, making this chair the embodiment of perfection for any contemporary living room, bedroom, or den.


text:
Home Food Go Whole Hog
Go Whole Hog
by Stephanie Ganz
The timeless tradition of pig pickin'.
Photography by Tyler Darden
A plume of smoke lingers in the humid air, scented with the savory smells of charred hickory and roasting pork, heralding a Southern tradition that dates back to Colonial times: It's a good old-fashioned pig pickin'. Never has a gerund been so wont to lose its 'g' than in this case, the kind of event that favors festivity over formality every time.
A small crowd gathers around a 7-foot folding table. A little girl perches on her dad's shoulders, holding a stuffed bunny in one hand and sucking her thumb as she watches the proceedings with wide, curious eyes. In the middle of a table is an 80-pound pig, charred to a deep muddy color—all dressed up with no place to go but onto the plates of the people hovering in anticipation. This is dinner, the star of the show and the result of nearly 12 hours of well-controlled cooking and more than 200 years of tinkering.
Craig Hartman, chef-turned-pitmaster and the owner of BBQ Exchange in Gordonsville, knows this scene well. Hartman paid his dues in the fine dining kitchens of Virginia, most notably Keswick Hall, before hanging up his toque and pulling on a cayenne-smudged apron. He had always dreamed of having his own barbecue joint—something simple, he would say to his wife Donna, a place where he could work in the sun for a change, sweating over the smoldering coals of a barbecue pit instead of under the hot lights of an expo line. In 2010, Hartman found a little building that would house his vision, and BBQ Exchange was born.
On this lazy summer Sunday, perfect for a pig pickin', you can hear the twang of banjos and the sound of pork drippings sizzling on the hot coals. Kids run underfoot, and good friends share old stories, their mason jars of sweet iced tea sweating in the August heat. It seems as though it's always been this way. And with the exception of the people posting their pig pics on Instagram, this could be almost any time in American history.
Craig Hartman
Pig Pickin' is a tradition that has grown with the country. First an aristocratic affair, closely tied to the politics of the early republic, these gatherings eventually became more egalitarian, changing to reflect the times. During the 1820s, the men who participated in these barbecues would read the Declaration of Independence and the Constitution aloud and toast to the virtues of the young country with long speeches.
Pig pickin' was often used by political candidates looking to 'treat' voters, and were thus dominated by land-owning men.
Because hogs were the easiest and most efficient livestock to raise due to their ability to roam and forage for their own food, pork was plentiful at this time, and pork barbecue became the standard.
These events were also known for attracting a rowdy crowd, and drinking and fighting were commonplace.
But pickin' reformed during the 1830s, as women were welcomed to the table—seen as a way to influence their husbands to vote for a particular party—curtailing some of the unsavory behavior that had characterized the events' early days.
As the country approached the Civil War, slaves were often the pitmasters, creating many of the techniques and oral recipes that have been passed along through the years.
Big on the Pig
In the quest for Virginia's culinary identity, you have your hams and your peanuts, and then there's barbecue. From the first moments of the nascent nation state, the practice of cooking slowly over a low-burning fire has been a part of Virginia's culture—American barbecue was born in Virginia, after all. But unlike the smoked brisket of Texas and the saucy ribs of Kansas City, Virginia barbecue is more elusive, more difficult to pin to a single concept. Rather, the common thread seems to be the meat itself. Though chicken, beef and even goat were all on the table in the early days, pork has always been king. Other recurring elements include a simple salt-and-pepper rub and a slightly sweet, moderately spiced sauce, added at the diner's discretion.
This tradition informs the barbecue for which Hartman has developed a reputation and a following. "For us, we feel like the historic part is a very neutral cooking method for the pork, instead of getting real fancy and doing spices, rubs and injections," he says, "and then we put the sauces on the table and let folks dress it up how they like it."
John Norwood holds meat fresh from the smoker at BBQ Exchange.
A self-taught culinary historian, Hartman is constantly seeking a cuisine that is uniquely Virginian, and for him, that means barbecue: "We wanted to have a restaurant that really fitted with the landscape." Hartman takes that literally. Just as the barbecue pits of colonial days were dug out of the earth, so too is The Beast, BBQ Exchange's smoker, which rests in an old charcoal bin dug into the ground back when the property was still an electrical plant.
When it comes to The Beast, everything is done by hand. There's no automation, no buttons to push, just charred wood fed into the smoker every 45 minutes. When a hog roasts overnight, a cook is there, on-site, opening and closing the dampers, feeding the fire, and waiting patiently. "When you're in a pit cooking, there are all kinds of outside elements fighting you—snow, rain, wind, low pressure, the wood itself," Hartman explains. "Sometimes the wood comes in six inches thick. Sometimes it's smaller with more bark. To master that pit is a chore and super challenge. It's all the little things it takes to keep that fire going.
What that means, says Hartman, is "when you're cooking barbecue, every time, you're cooking from your soul."
As the sun sets on this particular Sunday, I watch a young man go back for seconds or maybe thirds, scooping a glistening mound of barbecue onto his heavy-duty paper plate. He drops a square of cornbread on top and squeezes a stream of Hartman's Virginia Sweet sauce over everything. He doesn't know that the sauce has been plucked from history, revisiting a recipe that Hartman discovered in a cookbook from the 1800s. All he knows is that the combination of sweet Virginia apple butter and roasted onions with the juicy, smoky pork makes for some darn good barbecue, just like it always has.
This article originally appeared in our Smoke & Salt 2018 issue. For ideas on the perfect side dishes for a pig pickin', click here.
Barbecue Entertaining Culture pig pickin' Food History Traditions Smoke & Salt


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Home > Society > Indian Food > History of Indian Food > Food and divinity in Man
Food and divinity in Man
The purity of food is required in realizing the divinity of man.
One basic principle of Indian Culture is that it can be seen that the manifestation of God not only exists in the external universe but also within man. In the first stage of brahmacharya the student was dependent for his food on the householder. The householder by providing food to the students, the guests and the hermits not only discharges his duty as a householder but is also trying to realize the divinity in him. Of the four basic aims of human existence namely dharma, artha, kama and moksa he neglects none. He earns wealth and enjoys the worldly pleasures. But both these activities of his are circumscribed by dharma i.e. discharge of his duties as an individual and as a member of the society. Only when he enjoys the pleasures of life in this way can he hope to get salvation. Thus food also became a means of realizing the divinity in man. It was not simply to satisfy his desire for eating delicacies that he cooked food. It is for developing all his faculties to enable him to discharge his duty towards all human beings and living creatures that he cooks food. It is food that is the vital force so it was raised to the status of a divinity. It is clearly stated in the Katha Upanishad that one who does not feed a learned guest cannot expect either pleasures such as sons and cattle in this world or salvation after death. In the Chandogya Upanishad it is clearly stated when there is purity of food then the mind becomes pure, when the mind is pure them follows firm remembrance of God when the last is secured all knots that bind the soul to this world are loosened.
All food articles were neither considered suitable for all stages of an individual's life, nor for all classes of society nor for all seasons and for all regions of the country. It was for this reason that the early lawgivers prescribed food articles suitable for different stages in life and for different varnas according to their temperament and professions. Food habits of Indians were also modified by the contact of different cultures. They reflect the synthetic nature of Indian culture. The authors of medical treatises prescribed different food preparations for residents of different regions of the country and for different seasons. The regional variations in food reflect the variety of its culture.
The lawgivers prohibited the use of certain food articles, which were considered hygienically unsuitable for human consumption. One other major consideration is imposing restrictions on some food articles was to safeguard the high ethical standards of the society. For this reason food was not accepted from undesirable persons. Some restrictions on food were prescribed to maintain the ritual purity of the brahmanas and to segregate the persons who were culturally at a low level from those who were culturally advanced. Some prohibitions were based on superstitions and some aimed at avoiding all food articles that were considered exotic. Meat eating and drinking of liquors were generally avoided by those who aimed at realizing the divinity within them.
The most important cause which prompted these men to give up meat eating and drinking liquors seems to have been 'the metaphysical conception that one Supreme Entity pervades the whole universe, that all life was one and the meanest insect was a manifestation of the divine Essence and that philosophical truths would not dawn upon the man who was not restrained, free from crude appetites and had not universal kindliness and sympathy.'
Moderation in food was prescribed for the proper development of an individual's faculties. These early brahmanical lawgivers also laid down some rules with a view to maintaining the purity of food articles and kitchen accessories. The etiquette or rule prescribed reflects the cultural level of a society. So rules were laid down that all persons might follow them to be able to realize their basic aims in life.
The above survey shows that food occupied a very important place in the life of ancient Indians. It was rather regarded as a means of realizing the divinity in man for there was a firm belief that it was purity of food which alone could enable a man to discharge efficiently his duties as an individual and as a member of the society. By doing so, it was believed, one could realize the four basic aims of an individual's life. Just as in Ancient India, art was worshipped in order to deepen the consciousness of the soul and awaken it to a new sense of spiritual joy and nobility. The purity of food was also insisted upon in order to awaken the divinity within him.
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Fly By was a live, 15 minute, site-specific multimedia performance for dancers, telematic avatar performers, musicians, video installation and drone camera pilot. Performed on May 31st, 2014, it was part of the outdoor art exhibition: ONE Night: EZTV, LA ACM SIGGRAPH and Digital Art in West Hollywood. This exhibition was the finale of the three-month long retrospective series about EZTV's history, presented by ONE Museum and Archives at USC.
A collaboration between EZTV, Donna Sternberg & Dancers, Vanessa Blaylock & Co., David Raiklen, Nina Rota, Prof. Gregory Tarle of Univ. of Michigan and Dr. Brian Nord of Fermi Lab.
Sponsored by the City of West Hollywood, BARCO Projectors, ONE Archives USC, LA ACM SIGGRAPH. Additional support from ARC Grant, MCubed Grant, U of Michigan.


To stay with Olympus, or move to full frame Sony?
A year or so ago I sold my Nikon D90 and collection of fairly old lenses, left the Nikon fold which I'd been in since my film shooting days, and bought an Olympus OM-D EM-5 kit. I wanted something that I could put in a rucksack and take up into the hills when out walking or covering events with RAYNET. The Nikon was bulky and I was worried about bad weather, so the small weatherproof Olympus seemed ideal.
The kit, shown here with the 17mm f/1.8 lens, is small though fairly heavy with its metal construction. This is the kit used to take many of the other photographs used in this post.
My other consideration at the time was the Fuji X-T1 with its lovely user interface. I don't know whether I'd have enjoyed the shutter dial with its 1 stop settings, but the controls are reminiscent of my old film SLR. I shoot RAW, so all the controls I care about at time of capture are exposure and focus. Other things come in post processing.
The X-T1 at the time I was looking had focus performance issues, later fixed in a firmware update. It lacks in-body stabilisation which is a great feature of the Olympus. I really noticed its absence when I left it turned off once. The X-T1's viewfinder is amazing and I especially liked the depth of field indication when manual focusing. The simple controls would be great for teaching my son about cameras. Olympus' two customisable dials with functions that change depending on mode are not beginner friendly.
The X-T1 and the then new EM5 MkII were expensive. My plan was to try the cheaper EM-5 and wait for an update to the EM-1. That update has since arrived, but the cost! The EM1 MkII currently sells for £1850 for just the body! And why not use a back illuminated sensor for that price?
For £1600 I can buy the Sony a7ii and 14-70mm kit lens. Sony were running a £250 rebate bringing that to £1350 and may do so again. I'd likely prefer to buy the body and a better lens such as the 24-70 f/4 or 55 f/1.8. This would give me a full frame camera with image stabilisation, 1 stop equivalent boost in speed on zoom lenses, and still quite compact form.
Why stay? What are the advantage of Micro 4/3?
A big advantage of Micro 4/3 is size. This is mitigated to some extent by the Sony which brings full frame into something of a similar size to the old 35mm film cameras. With modern mobile phones producing pretty good images there is less need for a small camera. More and more of my photos are taken on my phone. It can't come close to the EM-5 in challenging lighting or allow the creative freedom of interchangeable lenses, but it can work well and is always there. An Olympus PEN with a small prime is really quite pocketable, giving amazing results for its size and a second body to an EM-1.
The other advantage of Micro 4/3 is the lenses. I have the Olympus 12-40 f/2.8 PRO which is a lovely lens. It gives me the same range as 24-80 on the Sony in a similar space to the 24-70 f/4. The 17 and 45mm primes are also very nice, making those three my lenses of choice.
The Sony's smaller f/4 aperture allows a lens of similar size and cost to the Olympus. This pattern appears consistent. For example compare the new Olympus 25 PRO f/1.2 with a full frame 50 f/1.8. However the micro 4/3 primes are generally quite small.
Full frame has better noise performance at a given ISO setting, and more dynamic range than Micro 4/3. I'd hoped that improving sensor technology, for example back illuminated sensors, would keep Micro 4/3 competitive. Adorama claim that this technology can give a stop or so improvement. As it works by increasing the effective light collecting area, that improvement acts on shot noise. That is the unavoidable limitation of small sensors. The results in mobile phone tiny sensors are impressive. I've seen digital sensors improve significantly since my first DSLR.
So what do I have now with the EM5?
A street scene from the EM-5. I've brought up shadow details here, but artistically may prefer to allow them to be dark. Still, the EM-5 has captured detail quite well.
This shot perhaps benefits from the in camera stabilisation and slow moving subject allowing a relatively long exposure. I believe I asked the camera to spot meter on the vendor's face. It has captured the wide range well. Yes there is noise in the shadow areas, but there is a lot of detail too.
I've recently taken a series of black and white photos in pantomime rehearsal, choosing black and white due to less interesting colour. Black and white allowed me to use techniques reminiscent of my work in film, throwing up the contrast and using dodge and burn to bring in details. This tests the dynamic range of the "film", but the photos printed incredibly well on 9×6 matt paper.
This is a 100% crop from a daylight image at base ISO +2 stops adjustment in Lightroom.
This is a 100% crop representing a small part of an image near the centre. It is testament to the lens that I have this much detail, which is also replicated at the edges. This foggy low contrast scene emphasises noise, and the frost upset the auto metering. (I thought I'd dialed in 1 stop, so auto was 3 stops down!).
This is the full image. The man and dog are in the centre, very small.
Grain is visible in skin tones, and I wonder if the grain gives a flatter sense to the photos, though it is not clear at the sizes I print.
An f/2.8 full frame lens is huge, and incredibly expensive. But it may not be needed thanks to the effect of equivalence. My f/2.8 lens gives a similar out of focus blur to an f/5.6 lens on full frame, but that f/5.6 lens captures only a quarter of the density of light so the full frame camera will have to use a higher ISO setting to maintain a desired shutter speed. The full frame sensor has four times the surface area so the total light captured will be the same as the more intensely illuminated Micro 4/3, so if sensor technology is equal and neither system is saturated then noise performance should be the same.
45mm f/1.8 in Micro 4/3 is much like owning a 90mm f/3.6 in full frame.
A 90mm f/1.8 in full frame would be like a 45mm f/0.9 in Micro 4/3.
If I'm shooting for minimum depth of field then full frame wins here. It's easy to get hold of an f/1.8 prime. Amongst the zooms the f/4 enthusiast offering is a similar cost and size to the f/2.8 Olympus PRO but effectively a stop faster. How do I calculate this? The following settings give equivalent depth of field, field of view and exposure. I've assumed that I want to keep the shutter speed constant to freeze subject of camera movement.
The increase in ISO of the full frame system increases noise in that system, so compensating for the full frame advantage. But the Sony lens will give me f/4 if I desire or am willing to accept shallower depth of field, or I can reduce shutter speed.
It's not all win for the Full Frame. I've found that f/2.8 gives quite good results and have found myself stopping down when photographing groups to ensure that all of them are in focus.
These two give the same field of view and impressive hyperfocal range. In both cases you can turn your focus dial to 4.5m and have anything more than a couple of strides away appearing in focus. f/4 and f/8 are chosen as the sweet spot in both systems. If you can afford to reduce shutter speed then you can take advantage of the lower ISOs on professional cameras and the improved performance at base ISO of the Sony. Though the modern Olympus cameras are very good at base ISO, and the temporal averaging of Olympus' High Resolution shot gives very competitive noise performance.
Another reason to reduce aperture is to achieve low shutter speed, either because light is very bright or to deliberately blur motion. The limit in both systems is diffraction, and it occurs at different points. Here Full Frame has the edge with a diffraction limit two stops narrower than Micro 4/3. The depth of field is the same for both systems at their diffraction limit, but the Micro 4/3 system may have you reaching for the neutral density filter sooner. (Or the electronic shutter on modern cameras).
Thanks to equivalence, the useful range of micro 4/3 lenses would have f numbers half the size of those for full frame – all else being equal. At the upper end diffraction becomes significant around f/11 for Micro 4/3, so should be around f/22 for full frame. The sweet spot would be f/4 and f/8 respectively. At the wider end it is possible to buy f/0.9 in Micro 4/3, but f/1.8 is common for primes, f/2.8 for premium zooms. Full frame has the edge here with readily available primes at f/1.2 (f/0.6 equivalent in Micro 4/3).
On the other hand, the premium Olympus lenses really are very good. Those promoting Micro 4/3 credit tele-centricity, an advantage of projecting the image onto a smaller sensor giving more parallel rays. This, they say, allows them to make lenses that give great quality across the image and do so at their widest aperture setting. I can use my 12-40 PRO at f/2.8 and on my current 16MPixel sensor it's as sharp as can be. My 17/1.8 can be used at 1.8 with a little chromatic aberration, easily removed, but it's amazingly clear.
It is said that the full frame lenses tend to need stopping down to be good, but the Olympus lenses can take advantage of that wide aperture and the ability to use a lower ISO setting. Here less shallow depth of field can be a help if you need more subject in focus in your shot. I remember encountering other aspects of a premium lens when I bought a second hand manual lens for my Nikon and noticed improved colours over my kit lenses.
I can look at the line-up of premium Micro 4/3 lenses in the shop window and not that I could fit a fair number of them into my old camera bag. Yes in some cases the Olympus are large, because making an f/1.2 25mm lens requires some size and ends up similar to the f/1.8 50mm it competes with. But I can carry a premium 150mm (300mm equivalent) zoom in a small bag. A budget version which isn't that bad but a little too slow for indoor sports fits in a large coat pocket.
Two prints, one from the EM-5 in low light, the other from a mobile phone. The mobile phone shot is clearly blotchy due to noise, exaggerated by bringing the subject out of silhouette. It is still valuable as a family photo.
In the end I have to ask what the photos are for. I do enjoy the technical aspects of photography, but a picture depends on so much more than the camera. What I have now with my EM-5 is far more advanced, looking at old photos, than the film I had in the 80s and 90s. I believe my technique has improved since then too, at least in the dark room. When I look back at old images I don't look at the technical aspects. I just see the photo. I'm only hyper-critical when I take them. Would I enjoy full frame more? I don't know. I do enjoy the Olympus lenses.
My current plan is to wait and see. I'd like to hire a Sony to see what the difference is, both in terms of usability and results. The viewfinder on the older a7 I tried is nice, but any modern Olympus will also be better than the old EM5. I don't plan to buy any more Olympus equipment at the moment (which means resisting a tempting offer on a second hand lens at the local camera shop!). I may instead look to investments like a lighter weight tripod. There is a limit to image stabilisation's power and my old Manfrotto is heavy and bulky and tends to stay at home. I can still enjoy my EM-5 and practice trying to take great images with it. I see Micro 4/3 images on FlickR which are really good.
The EM-5 MkII is already a lot cheaper than when released. The same may happen for the EM-1 MkII. Phase based auto-focus is a requirement for my next camera, making the EM-5 MkII not a likely upgrade.
The EM1 is now available as a kit with the 12-40 and 40-150 for about £2000. That's cheaper than buying both of those lenses without the camera! It doesn't have the teleconverter sadly.
This entry was posted in Photography and tagged cameras, micro-4/3, Photography. Bookmark the permalink.
1 Response to To stay with Olympus, or move to full frame Sony?
I was able to download sample RAW files for the EM1, EM1 Mk II and Sony A7ii and A7rii from https://www.photographyblog.com. Full Frame does not eliminate noise. That should be obvious. I could bring faces out of shadow on the Sony files but they showed the kinds of noise I see on my E-M5. Maybe the Sony has more dynamic range, but moving to full frame is not going to eliminate it.
It would be nice to show some of the JPEGs from my RAW explorations, though that would be unfair to PhotographyBlog.


Five years after the launch of video, Instagram introduces IGTV. They believe it's the the next generation of video. The new app is designed for watching long-form, full-screen vertical videos from your favourite Instagram creators. The videos can be up to an hour long and can also be viewed from within the main Instagram app. While there's a stand-alone IGTV app, you'll also be able to watch from within the Instagram app.
Videos aren't limited to one minute. Instead, each video can be up to an hour long.
Just like turning on the TV, IGTV starts playing as soon as you open the app. You don't have to search to start watching content from people you already follow on Instagram and others you might like based on your interests.
Also like TV, IGTV has channels. But, in IGTV, the creators are the channels. When you follow a creator on Instagram, their IGTV channel will show up for you to watch.
Anyone can be a creator — you can upload your own IGTV videos in the app or on the web to start your own channel.
What does this mean for your business or organisation? Since Instagram is currently the most engaging social media platform, you now have more time to introduce extra value to your audience. By 2021, mobile video will account for 78% of total mobile data traffic, so why not seize the moment?
Abraham Ologundudu is a brand and digital strategist. As the lead strategist at Bramo Digi, he works with leaders to simplify the process of using digital media and technology for profit and impact.


text:
Running Wild - "Rapid Foray" (CD)
"Rapid Foray" track listing:
1. Black Skies, Red Flag
2. Warmongers
4. Rapid Foray
5. By The Blood In Your Heart
6. The Depth Of The Sea - Nautilus (instr.)
7. Black Bart
8. Hellestrified
9. Blood Moon Rising
10. Into The West
11. Last Of The Mohicans
Reviewed by CROMCarl on August 29, 2016
"[I]f you still find those choruses sticking in your head…those riffs still make your hair stand up….and hearing that patented guitar tone forces an automatic rush of metallic pride to well up in your soul, then Rolf still has it."
It's no secret that I've been a lifelong fan of Germany's Running Wild. It is a musical love affair that transcends the boundary of reviewer and material. Running Wild was a way of life growing up – a lust for guitar, the wind of freedom in your hair and rock 'n' roll. Since the return to creating albums has come, Rock 'n' Rolf has been steadily steering the ship so the wind is at his back. There is no question that "Shadowmaker" and "Resilent" have been met with criticism, but always with an eye towards past comparisons without understanding Rolf as a songwriter in those times. The albums were excellent regardless, just not the "Black Hand Inn" that many were waiting for. "Rapid Foray" may finally bring it all back to where we started.
In 2016, Running Wild faces the same issues that plague all veteran bands: do you write songs for you, and damn the consequences or do you try to write in the same style you did half your age with the risk of sounding like recapturing the past. It seems like a no-win scenario with many fans and critics. For "Shadowmaker" it was clearly a product of the times, with Rolf desiring to write solid rock songs at a time when his dueling side project Giant-X was taking shape. Understanding this, "Shadowmaker" is a much better album than reviews gave it credit for, and "Black Hand Inn" it was not.
With "Resilient" there was a little of both, with Rolf making greater strides towards the past. On "Rapid Foray," the material is firmly back on track with the past, as much as can be expected. Rolf stands waiting judgment as either a guy who still has it, or just another old musician failing to recapture his youth. For your author, Running Wild has a special pedestal in history that demands respect and that old mantra "good music is just good music" always prevails.
As on all Running Wild releases, there is a mix of power metal and rock anthems. Hard rocking rhythmic paces stand side by side with blistering speed that conjures pirate ship imagery regardless of its actual lyrical content. "Black Skies, Red Flag" sets the pace and "Warmongers" rams it home. At this point, I can hear Running Wild fans scream "Rolf is back!" Then you get into the point of every Running Wild album where the mid-paced tunes either sustain the release until the pace quickens or falls into the treasure chest of mediocre. As big of a fan as I am, there are a lot of songs that fall into that chest over the years. "Stick to Your Guns" is a foot tapping rocker that is nothing special – a bit of a "raw Ride" feel on the riff but not nearly as brilliant. It's serviceable until the much more classic title track.
The stand out mid-pacer is "By the Blood In Your Heart" – which fans will either love or hate. The rare instrumental follows ("The Depth of the Sea – Nautilus") until the album's stand out song "Black Bart." Here is a song that embodies the spirit of Running Wild and is the best track Rolf has written since "Jenning's Revenge." "Hellestrified" (whatever that means) keeps up the pace and interest level as does "Blood Moon Rising" (another album favorite). "Into the West" falls right behind "Black Bart" as the top song on "Rapid Foray" – an instant classic. This brings us to the closing near 12 minute epic – "Last of the Mohicans" – falling perfectly in line with the typical Running Wild formula of a closing track enriched with history. "Rapid Foray" has every single element that comprised Running Wild's most classic albums.
Capturing new fans might be a bit of a problem for Rolf, as times sure have changed and musical tastes more so. Keeping to the tried and true is exactly what I expect and I suspect Rolf cares even less about current trends. There comes a point after 37 years when expectations have to fall in line with what Running Wild is all about. Sudden and drastic changes will never happen and sounding precisely as in the days of "Port Royal" is out. For this reason, when you listen to "Rapid Foray" you certainly will not be shocked and you will have most definitely heard it all before. However, if you still find those choruses sticking in your head…those riffs still make your hair stand up….and hearing that patented guitar tone forces an automatic rush of metallic pride to well up in your soul, then Rolf still has it. "Rapid Foray" is the best of the post-break up era and even easily topples some earlier albums.
Highs: If there ever was a return to glory in the post-break up era, this is it.
Lows: Everything remains the same as it always has.
Bottom line: Running Wild finally makes that complete return and "Rapid Foray" into the hearts of diehard fans.
Get more info including news, reviews, interviews, links, etc. on our Running Wild band page.


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Research Reports/
2014 Research Report
FUEL CELL MODELING
Manufacturer refines software to simulate heat, chemical, flow traits
Above: LG Fuel Cell Systems Inc. has developed a multi-physics code for performance calculations of its solid-oxide fuel cell structures. The code is based upon an enhanced computational fluid dynamics software package that allows for coupled simulations of the fluid flow, porous flow, heat transfer, chemical, electrochemical and current flow processes that occur in solid-oxide fuel cells.
High-temperature, solid-oxide fuel cells (SOFCs) are efficient electrochemical devices that produce electrical power from hydrocarbon fuels. SOFCs have received increasing attention in recent years as a clean and efficient power source for use in distributed power-generation applications.
LG Fuel Cell Systems Inc. (LGFCS) is developing a megawatt-scale hybrid SOFC stationary power-generation system based upon its patented design.
To support product design and development activities, LGFCS has developed a SOFC multi-physics code (MPC) for performance calculations of its fuel cell structure. The MPC is based upon a computational fluid dynamics (CFD) software package, which has been enhanced with new models that allow for coupled simulations of the fluid flow, porous flow, heat transfer, chemical, electrochemical and current flow processes that occur in SOFCs. Simulations of single-cell, five-cell, substrate and multi-cell models have been validated successfully against LGFCS' experimental data. The MPC provides invaluable performance information, which drives design improvements, as well as enhancement in the fuel cell components, substrates, multi-cells and peripheral stack components.
"LGFCS has been running the larger MPC models on Ohio Supercomputer Center systems. Typically, these MPC models are between one- and ten-million grid cells in size and are run in parallel using between 12 and 96 cores," said Carlos Martinez Baca, Ph.D., a CFD engineer with LGFCS. "A wide range of simulations have been run, from highly detailed models of electrochemistry and SOFC design to models of the peripheral components inside the LGFCS system."
To date, one of the most involved models is of a multi-cell simulation, which consists of a collection of six ceramic substrates with a printed cell pattern that includes hundreds of interconnected cells. Each of these interconnected cells comprises two porous electrodes (an anode on the fuel side and a cathode on the air side) that are separated by a gas-tight solid-oxide electrolyte layer. This multi-cell simulation also contains two main flow streams, a fuel-gas mixture rich in hydrogen flowing inside the substrates and a separate air stream flowing over the outside. The fuel-gas mixture diffuses through the porous substrate from the internal flows, and oxygen is supplied from the outside air stream.
Electrochemical and chemical reactions occur in each cell and generate electrical power and heat.
Multi-cell simulations run at OSC have been used for a variety of purposes, including verifying on-design operation, analyzing off-design transients and performing analysis of new designs and operating modes.
Project Leads: Carlos Martinez Baca and Ben Haberman, LG Fuel Cell Systems Inc.
Research Title: High temperature solid oxide fuel cell development in Ohio
Funding Source: Department of Energy
Website: http://www.rolls-royce.com/energy/energy_products/fuel_cells/
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John Strawn
jstrawn@oh-tech.org
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