text:
Q: How to deal with related and computed fields in Transient Models in Odoo 8? I have a problem which I am not able to understand. I have added two new fields to the model stock.production.lot. These fields are computed floats, and work perfect. Their names are current_qty and expected_qty.
Then, I have created a Transient Model. In this one, I created a many2one field lot_id which points to the model stock.production.lot. And I have added two float fields, also named current_qty and expected_qty, which are related to the respective ones I mentioned above.
The problem is that only current_qty is getting the right value (the other one gets always zero).
Example:
I create a lot. When I do this, current_qty is computed and values 10.000, and expected_qty is computed too and values 5.000.
Now I open the Transient Model, and current_qty gets 10.000, which is right, but expected_qty gets False. Why?
Even I have added other field to the Transient Model. This one is a computed char which should show the next: current_qty (expected_qty), following the values of this example, it should be 10.000 (5.000). But it also takes False value (it does not write the current_qty neither). Besides, I write log messages inside the compute method to check if the method is called and which values it takes. And surprisingly, the values of current_qty and expected_qty shown in the log are right! (10.000 and 5.000).
Python code
class ProductLotAvailable(models.TransientModel):
    _name = 'product.lot.available'

    @api.multi
    @api.depends('current_qty', 'expected_qty')
    def _compute_beautiful_qty(self):
        for available_lot in self:
            current_qty = str(available_lot.current_qty)
            _logger.info(current_qty)
            expected_qty = str(available_lot.expected_qty)
            _logger.info(expected_qty)
            available_lot.beautiful_qty = current_qty + '(' + expected_qty + ')'

    lot_id = fields.Many2one(
        comodel_name='stock.production.lot',
        string='Lot',
        readonly=True,
    )
    current_qty = fields.Float(
        related='lot_id.current_qty',
        string='Current lot quantity',
        readonly=True,
        digits=dp.get_precision('Product Unit of Measure'),
    )
    expected_qty = fields.Float(
        related='lot_id.expected_qty',
        string='Expected lot quantity',
        readonly=True,
        digits=dp.get_precision('Product Unit of Measure'),
    )
    beautiful_qty = fields.Char(
        compute='_compute_beautiful_qty',
        string='Current lot quantity',
        readonly=True,
    )

XML code
<field name="product_lots_available" nolabel="1">
    <tree create="false" delete="false" editable="bottom">
        <field name="current_qty" invisible="0"/>
        <field name="expected_qty" invisible="0"/>
        <field name="beautiful_qty"/>
        <field name="lot_id"/>
    </tree>
</field>

Can anyone help me with this? It is possible that there is a simple error in my code which I was not able to see for the last hours.

A: The only reason what I am thinking is because it's related fields, so the value in that field will be placed only after you save that record. And because this model is transient model so wizard is getting opened but you can't open the same record again to verify that result.
To verify it if go to the database and check the record you will get the value there. For double sure just keep those both fields functional Store=False, so value will always be there.
I didn't found any other problem in your code.

A: I found the problem: I had another module installed which was overwriting the method which loads the default values for the Transient Model. This method was filling in the current_qty, but not the expected_qty. And same problem with beautiful_qty.
So despite I was introducing the values I needed, they were being overwritten by the other module.


A minty mint 67k engine straight out of wazza16valvers old hybrid... Engine ran super smooth, since taken out has had a polished roacker put on, cambelt change, new water pump, performance clutch and new rocker gasket... Since this has been done the engine has sat in a garage!!
The engine has been remapped by BB tuning and ran 149.5 bhp with 141 lb/ft or torque with RR'd graphs to prove! Many people who know wazza can back this up!
Other parts avaliable eg bumpers etc but are by no means good condition! Please ring 07843258484 or PM for parts!!
Feel free to send offers i can only say 'Noooo'!
Could be intrested in the interior!
are your doorhandles color coded?
How much inc postage for the Magnecores?
Haven't got any PMs from you!
have you still got the engine and gearbox? If so whats the lowest you will take and how much for postage? Does it have service history etc etc?
would you split the interior?
Would you sell the gearbox on its own and if so how much?
Sorry guys gearbox was kept as a spare... car is now gone, thanks for your interest!!


text:
La chiesa di San Savino Vescovo è un edificio di culto cattolico situato a Fellegara, frazione di Scandiano, in provincia di Reggio Emilia e diocesi di Reggio Emilia-Guastalla; fa parte del vicariato della Valle del Secchia. Essa possiede una chiesa sussidiaria, la chiesa della Beata Vergine della Neve, sita nella stessa frazione.

Storia
Notizie dell'esistenza di una cappella in onore di San Savino risalgono al 1152. La costruzione dell'edificio attuale è del 1906, su progetto del perito Pietro Ferrari e di Venerio Zuccoli. La primitiva cappella era soggetta alla pieve di Fogliano.

Architettura
La facciata della chiesa è suddivisa in tre parti, con il portale centrale sormontato da una bifora con vetrate policrome. Sotto al cornicione è presente un'iscrizione dedicata al santo titolare. L'edificio presenta un'unica navata, con cappelle laterali. Sulle pareti laterali si alternano arcate alte, che inquadrano le cappelle, e arcate basse, che si aprono su piccoli vani quadrati. La volta a sesto ribassato è stata decorata negli anni quaranta del Novecento dal pittore Anselmo Govi. Il presbiterio è rialzato di due gradini e termina con un'abside semicircolare, con al centro l'altare maggiore. Sull'abside è presente la figura dipinta di San Savino.

Note

Altri progetti

Collegamenti esterni

Savino
Chiese di Scandiano

redpajama_set_name: RedPajamaWikipedia


Anyone with kids knows that their "stuff" can get out of hand quickly, especially after a birthday, or holiday. Even with donating away kids' gear as fast as I can, we have entered into a new era of toys that will be with us for a couple years. It became clear that we needed to expand our storage while still keeping it accessible to the little ones.
This project started as most of them seem to do these days, over a bleary-eyed cup of coffee and a discussion with the wife. We volleyed ideas such as additional shelving in the living room, but we really did not want to see the "stuff." Of course there were also concerns of growing boys climbing the shelves and the added work of having to clean more surfaces.
We decided that a cabinet should cover our needs, but it would take a special piece to blend in with our limited selection of furniture. After shopping all the local thrift stores and coming up short, we decided to go to the next best thing, Ikea.com. We opted for the playful, PS cabinet in white. The reasonable price point allowed for part of the budget to go towards modifying the piece.
The metal cabinet was a good start and did not require a whole lot of work. I reinforced the thin, interior shelves with 1/4" MDF panels. After living with the piece for a week, I decided that the all white cabinet was too stark and should have a wood top to visually add warmth to the piece, as well as additional strength.
The only remaining issue was the door locks. The integrated locksets do not allow you to leave the cabinet unlocked, unless you leave the keys in the door. I did not buy this cabinet as a locker and aesthetically this was unacceptable. This is an Ikea product after all, and you could literally pull the thing apart with very little force, rendering such locks pointless.
Another issue that coincides with the lock problem, was the lack of handles for the doors. In order to resolve the two issues, I drilled out the cylinder and ran a bolt through a spacer on the exterior to act as a simple drawer pull. It is still subtle enough as not to detract from the minimalist form.
With the PS cabinet fully modified, it feels like we have always had this piece in our furniture collection. The cabinet did end up stealing the footprint of a vintage Ikea floor lamp. We have had the matching pair for over a decade and need them both to adequately light the room. We decided to convert one of the floor lamps into a table lamp. This was easily achieved with a simple pipe cutter and NPT tap, adding another custom element to the space.
I love the way you transformed the piece and would love to have a go of this myself! How to you attach the wood on top?
I mounted the wood top onto the cabinet from underneath. I removed the metal top of the cabinet for easy access, then laid it upside down on the wood board.
Make sure your hardware is shorter than the thickness of the wood so it does not pierce through the top of the wood. I also recommend using washers with the screws because the sheet metal is rather thin.
The wood top is pine, it is pretty soft and prone to marks. Any species would work. Lowes sells large pine boards like this one.
How many pieces of pine did you have to use for the top, and how did you attach them together? I love this and plan on trying it this weekend.
The top piece consists of just one large pine board, so no joinery was involved. Actually, if I recall correctly, there was no cutting at all, the board had just enough overhang to look right.
Can you show the detail (front and back of door) for the bolt/pull? Thanks.
Mike, thanks for your interest, the cabinet is currently in storage and I do not have any detail shots of the pull. I do recall that it was a rather simple fix though. I removed the screw and latch from the back of each lock, and drilled a hole all the way through to accept the new bolt.
I keep a variety of hardware on hand, so I chose a flat, hex bolt from an old futon to act as the pull. I threaded it through an aluminum spacer to add depth, and then through the lock face and out the back. I used a flush nut on the interior that allowed me to snug up the assembly without sharp edges. You could also use a cabinet knob following the same procedure, I hope that helps.


text:
Uber driver's 'honest' request to woman to cancel ride impresses people | Trending
Home/Business/Piramal Enterprises Surges Over 13%, Hits 52-Week High On Q4 Earnings
Piramal Enterprises Surges Over 13%, Hits 52-Week High On Q4 Earnings
insidetrack IndiaMay 15, 2017
Shares of Ajay Piramal led Piramal Enterprises Ltd surged as much as 13.48 per cent to hit fresh 52-week high of Rs. 2,949.90 on the National Stock Exchange after the Mumbai-based healthcare and financial services company post market hours on Friday reported robust earnings in the quarter ended March 2017. Piramal Enterprises in a notification to the Stock Exchanges said that its net profit in the period under review rose 61 per cent on account of improved performance across business segments and lower R&D expenses.
Piramal Enterprises' consolidated net profit came in at Rs. 310.96 crore compared wirth Rs. 193.07 crore during the same period last financial year. Its total income from operations rose to Rs. 2,462.26 crore from 1,691.03 crore in March 2016. For the full financial year 2016-17 Piramal Exterprises' net profit rose 38 per cent to Rs. 1,252.33 crore from Rs. 904.74 crore in FY2017-18.
Ajay Piramal, chairman of Piramal Enterprises, said "We are pleased to announce that Piramal Enterprises has achieved robust revenue and profitability for the year. The Company has delivered Rs. 8,547 crores of revenues for the year, recording a 34 per cent growth; and net profits of Rs. 1,252 crores for FY2017, up 38 per cent over last year. Strong growth across all businesses during the quarter enabled us to deliver the best quarterly performance over the last few years. We remain steadfast in our commitment to generate year-on-year improved performance and to drive innovative strategic business initiatives that bolster growth, strengthen our market leadership and consistently create long-term value for our shareholders."
Revenue from pharma business was 31 per cent higher at Rs. 1,214 crore in Q4 FY2017 and 12 per cent higher at Rs.3,893 crore in FY2017, Piramal Enterprises said in a press release.
It added that its revenue from global pharma business rose 29 per cent to Rs. 1,103 crore on the back of addition of new products, strong order book and deliveries across all key segments of the business.
Income from its financial services was 81 per cent higher at Rs. 999 crore and revenues from information management business grew by 8.8 per cent to Rs. 227 crore in the March quarter, added the Mumbai-based company.
Piramal Enterprises' loan book grew by 87 per cent to Rs. 24,400 crore in financial year 2016-17 compared with Rs13,048 crore in the previous financial year.
As of 11:14 am, shares of Piramal Enterprises traded 11 per cent higher at Rs. 2,887, outperforming the Nifty which was up 0.4 per cent.
Gold and silver prices today: Check latest rates in your city ahead of Dhanteras
Rupee depreciates 6 paise to hit record low of 83.06 against US dollar
Apple isn't done with 2022 launches: new iPad, iPad Pro and Apple TV 4K incoming
Petrol and diesel prices unchanged today. Check rates in your city on Oct 19
Will India face Sri Lanka, Pakistan-like economic crisis? Raghuram Rajan's reply
The wicket surprised us, says Hardik Pandya January 28, 2023
India suffered a 21-run loss in the first T20I at the hands of New Zealand at the JSCA International Stadium Complex in Ranchi. India captain Hardik Pandya said they were left "surprised" by the grip and turn the pitch offered but admitted the team paid the price for allowing New Zealand to walk away with […]

redpajama_set_name: RedPajamaCommonCrawl


text:
The Giant Planets
Exploring the Outer Planets
Provide an overview of the composition of the giant planets
Chronicle the robotic exploration of the outer solar system
Summarize the missions sent to orbit the gas giants
The giant planets hold most of the mass in our planetary system. Jupiter alone exceeds the mass of all the other planets combined (Figure 1). The material available to build these planets can be divided into three classes by what they are made of: "gases," "ices," and "rocks" (see Table 1). The "gases" are primarily hydrogen and helium, the most abundant elements in the universe. The way it is used here, the term "ices" refers to composition only and not whether a substance is actually in a solid state. "Ices" means compounds that form from the next most abundant elements: oxygen, carbon, and nitrogen. Common ices are water, methane, and ammonia, but ices may also include carbon monoxide, carbon dioxide, and others. "Rocks" are even less abundant than ices, and include everything else: magnesium, silicon, iron, and so on.
Table 1. Abundances in the Outer Solar System
Approximate % (by Mass)
Gas Hydrogen (H2) 75
Gas Helium (He) 24
Ice Water (H2O) 0.6
Ice Methane (CH4) 0.4
Ice Ammonia (NH3) 0.1
Rock Magnesium (Mg), iron (Fe), silicon (Si) 0.3
Figure 1. Jupiter: The Cassini spacecraft imaged Jupiter on its way to Saturn in 2012. The giant storm system called the Great Red Spot is visible to the lower right. The dark spot to the lower left is the shadow of Jupiter's moon Europa. (credit: modification of work by NASA/JPL)
In the outer solar system, gases dominate the two largest planets, Jupiter and Saturn, hence their nickname "gas giants." Uranus and Neptune are called "ice giants" because their interiors contain far more of the "ice" component than their larger cousins. The chemistry for all four giant planet atmospheres is dominated by hydrogen. This hydrogen caused the chemistry of the outer solar system to become reducing, meaning that other elements tend to combine with hydrogen first. In the early solar system, most of the oxygen combined with hydrogen to make H2O and was thus unavailable to form the kinds of oxidized compounds with other elements that are more familiar to us in the inner solar system (such as CO2). As a result, the compounds detected in the atmosphere of the giant planets are mostly hydrogen-based gases such as methane (CH4) and ammonia (NH3), or more complex hydrocarbons (combinations of hydrogen and carbon) such as ethane (C2H6) and acetylene (C2H2).
Exploration of the Outer Solar System So Far
Eight spacecraft, seven from the United States and one from Europe, have penetrated beyond the asteroid belt into the realm of the giants. Table 2 summarizes the spacecraft missions to the outer solar system.
Table 2. Missions to the Giant Planets
Spacecraft[1]
Encounter Date
Jupiter Pioneer 10 December 1973 Flyby
Pioneer 11 December 1974 Flyby
Voyager 1 March 1979 Flyby
Voyager 2 July 1979 Flyby
Ulysses February 1992 Flyby during gravity assist
Galileo December 1995 Orbiter and probe
Cassini December 2002 Flyby
New Horizons February 2007 Flyby during gravity assist
Juno July 2016 Orbiter
Saturn Pioneer 11 September 1979 Flyby
Voyager 1 November 1980 Flyby
Voyager 2 August 1981 Flyby
Cassini July 2004 (Saturn orbit injection 2000) Orbiter
Uranus Voyager 2 January 1986 Flyby
Neptune Voyager 2 August 1989 Flyby
The challenges of exploring so far away from Earth are considerable. Flight times to the giant planets are measured in years to decades, rather than the months required to reach Venus or Mars. Even at the speed of light, messages take hours to pass between Earth and the spacecraft. If a problem develops near Saturn, for example, a wait of hours for the alarm to reach Earth and for instructions to be routed back to the spacecraft could spell disaster. Spacecraft to the outer solar system must therefore be highly reliable and capable of a greater degree of independence and autonomy. Outer solar system missions also must carry their own power sources since the Sun is too far away to provide enough energy. Heaters are required to keep instruments at proper operating temperatures, and spacecraft must have radio transmitters powerful enough to send their data to receivers on distant Earth.
The first spacecraft to investigate the regions past Mars were the NASA Pioneers 10 and 11, launched in 1972 and 1973 as pathfinders to Jupiter. One of their main objectives was simply to determine whether a spacecraft could actually navigate through the belt of asteroids that lies beyond Mars without getting destroyed by collisions with asteroidal dust. Another objective was to measure the radiation hazards in the magnetosphere (or zone of magnetic influence) of Jupiter. Both spacecraft passed through the asteroid belt without incident, but the energetic particles in Jupiter's magnetic field nearly wiped out their electronics, providing information necessary for the safe design of subsequent missions.
Pioneer 10 flew past Jupiter in 1973, after which it sped outward toward the limits of the solar system. Pioneer 11 undertook a more ambitious program, using the gravity of Jupiter to aim for Saturn, which it reached in 1979. The twin Voyager spacecraft launched the next wave of outer planet exploration in 1977. Voyagers 1 and 2 each carried 11 scientific instruments, including cameras and spectrometers, as well as devices to measure the characteristics of planetary magnetospheres. Since they kept going outward after their planetary encounters, these are now the most distant spacecraft ever launched by humanity.
Voyager 1 reached Jupiter in 1979 and used a gravity assist from that planet to take it on to Saturn in 1980. Voyager 2 arrived at Jupiter four months later, but then followed a different path to visit all the outer planets, reaching Saturn in 1981, Uranus in 1986, and Neptune in 1989. This trajectory was made possible by the approximate alignment of the four giant planets on the same side of the Sun. About once every 175 years, these planets are in such a position, and it allows a single spacecraft to visit them all by using gravity-assisted flybys to adjust course for each subsequent encounter; such a maneuver has been nicknamed a "Grand Tour" by astronomers.
The Jet Propulsion Laboratory has a nice video called Voyager: The Grand Tour that describes the Voyager mission and what it found.
Engineering and Space Science: Teaching an Old Spacecraft New Tricks
By the time Voyager 2 arrived at Neptune in 1989, 12 years after its launch, the spacecraft was beginning to show signs of old age. The arm on which the camera and other instruments were located was "arthritic": it could no longer move easily in all directions. The communications system was "hard of hearing": part of its radio receiver had stopped working. The "brains" had significant "memory loss": some of the onboard computer memory had failed. And the whole spacecraft was beginning to run out of energy: its generators had begun showing serious signs of wear.
To make things even more of a challenge, Voyager's mission at Neptune was in many ways the most difficult of all four flybys. For example, since sunlight at Neptune is 900 times weaker than at Earth, the onboard camera had to take much longer exposures in this light-starved environment. This was a nontrivial requirement, given that the spacecraft was hurtling by Neptune at ten times the speed of a rifle bullet.
The solution was to swivel the camera backward at exactly the rate that would compensate for the forward motion of the spacecraft. Engineers had to preprogram the ship's computer to execute an incredibly complex series of maneuvers for each image. The beautiful Voyager images of Neptune are a testament to the ingenuity of spacecraft engineers.
The sheer distance of the craft from its controllers on Earth was yet another challenge. Voyager 2 received instructions and sent back its data via on-board radio transmitter. The distance from Earth to Neptune is about 4.8 billion kilometers. Over this vast distance, the power that reached us from Voyager 2 at Neptune was approximately10–16 watts, or 20 billion times less power than it takes to operate a digital watch. Thirty-eight different antennas on four continents were used by NASA to collect the faint signals from the spacecraft and decode the precious information about Neptune that they contained.
Enter the Orbiters: Galileo and Cassini
The Pioneer and Voyager missions were flybys of the giant planets: they each produced only quick looks before the spacecraft sped onward. For more detailed studies of these worlds, we require spacecraft that can go into orbit around a planet. For Jupiter and Saturn, these orbiters were the Galileo and Cassini spacecraft, respectively. To date, no orbiter missions have been started for Uranus and Neptune, although planetary scientists have expressed keen interest.
Figure 2. Galileo Probe Falling into Jupiter: This artist's depiction shows the Galileo probe descending into the clouds via parachute just after the protective heat shield separated. The probe made its measurements of Jupiter's atmosphere on December 7, 1995. (credit: modification of work by NASA/Ames Research Center)
The Galileo spacecraft was launched toward Jupiter in 1989 and arrived in 1995. Galileo began its investigations by deploying an entry probe into Jupiter, for the first direct studies of the planet's outer atmospheric layers.
The probe plunged at a shallow angle into Jupiter's atmosphere, traveling at a speed of 50 kilometers per second—that's fast enough to fly from New York to San Francisco in 100 seconds! This was the highest speed at which any probe has so far entered the atmosphere of a planet, and it put great demands on the heat shield protecting it. The high entry speed was a result of acceleration by the strong gravitational attraction of Jupiter.
Atmospheric friction slowed the probe within 2 minutes, producing temperatures at the front of its heat shield as high as 15,000 °C. As the probe's speed dropped to 2500 kilometers per hour, the remains of the glowing heat shield were jettisoned, and a parachute was deployed to lower the instrumented probe spacecraft more gently into the atmosphere (Figure 2). The data from the probe instruments were relayed to Earth via the main Galileo spacecraft.
The probe continued to operate for an hour, descending 200 kilometers into the atmosphere. A few minutes later the polyester parachute melted, and within a few hours the main aluminum and titanium structure of the probe vaporized to become a part of Jupiter itself. About 2 hours after receipt of the final probe data, the main spacecraft fired its retro-rockets so it could be captured into orbit around the planet, where its primary objectives were to study Jupiter's large and often puzzling moons.
The Cassini mission to Saturn (Figure 3), a cooperative venture between NASA and the European Space Agency, was similar to Galileo in its two-fold approach. Launched in 1997, Cassini arrived in 2004 and went into orbit around Saturn, beginning extensive studies of its rings and moons, as well as the planet itself. In January 2005, Cassini deployed an entry probe into the atmosphere of Saturn's large moon, Titan, where it successfully landed on the surface. (We'll discuss the probe and what it found in the chapter on Rings, Moons, and Pluto.)
Figure 3. Earth as Seen from Saturn: This popular Cassini image shows Earth as a tiny dot (marked with an arrow) seen below Saturn's rings. It was taken in July 2013, when Saturn was 1.4 billion kilometers from Earth. (credit: modification of work by NASA/JPL-Caltech/Space Science Institute)
The outer solar system contains the four giant planets: Jupiter, Saturn, Uranus, and Neptune. The gas giants Jupiter and Saturn have overall compositions similar to that of the Sun. These planets have been explored by the Pioneer, Voyager, Galileo, and Cassini spacecraft. Voyager 2, perhaps the most successful of all space-science missions, explored Jupiter (1979), Saturn (1981), Uranus (1986), and Neptune (1989)—a grand tour of the giant planets—and these flybys have been the only explorations to date of the ice giants Uranus and Neptune. The Galileo and Cassini missions were long-lived orbiters, and each also deployed an entry probe, one into Jupiter and one into Saturn's moon Titan.
Both the Ulysses and the New Horizons spacecraft (designed to study the Sun and Pluto, respectively) flew past Jupiter for a gravity boost (gaining energy by "stealing" a little bit from the giant planet's rotation). ↵


A lawsuit has been filed against a respected family doctor by seven women alleging several instances of sexual harassment.
The female patients, clinicians, and nurses filed the lawsuit against Dr. Blowers, a Minnesota doctor at an Allina Clinic.
· He talked about "playing with himself" on many occasions.
· He put his fingers in patients' vaginas and "moved them around inappropriately.
The lawsuit seeks unspecified damages of an undisclosed amount.
The lawsuit claims that in the plaintiffs' investigation, they learned there have been allegations against the doctor going back ten years.
According to the lawsuit, the bosses at the clinic dismissed the complaints the women made, telling them that Dr. Blowers was just kidding and that they were too timid. He told them they should ignore it or let it go.
The lawsuit also claims that the plaintiffs discovered an internal memo between doctors saying that Allina was covering up for the doctor the same way the Catholic Church covers up for its pedophiles.
A spokesperson for the Allina facility said it is conducting its own internal investigation into the matter.
If you or a loved one has been the victim of sexual harassment, do not forfeit your legal rights. Please contact us today for a complimentary case evaluation by an experienced sexual harassment attorney. We can examine your case thoroughly, answer your questions, and help you determine if you are eligible to recover compensation and punish the perpetrator.


text:
Imperial Medicine Blog
Building a heart, one cell at a time
Michela Noseda
National Heart and Lung Institute
Dr Michela Noseda took cardiac cells to the stage at her recent TEDx talk on how scientific approaches she uses can help us understand how to beat one of the biggest killers of our time – heart attacks.
Heart attack (myocardial infarction) remains the foremost killer worldwide. The prevalence remains high despite the fact that we have been reducing risk factors; stopping smoking, eating a healthy diet and exercising. In fact, the persistence of myocardial infarction as the most frequent cause of death is related to an ageing population and the move of people towards big cities. (more…)
Read Building a heart, one cell at a time in full
Injury time: shoot-outs and sudden death
Ahead of the 2018 FIFA World Cup kick off, Dr Peter Wright explores how the stress and excitement of watching football isn't all fun and games for our cardiovascular health.
Since time immemorial, sport has functioned as a useful substitute for direct physical conflict between, tribes, towns and nations. This year all eyes turn towards Russia, where the 21st edition of the FIFA World Cup will take place. The Russian word 'mira' may translate as both 'world' and 'peace', but as the pre-eminent competition of humanity's favourite sport, 'Чемпионат мира по футболу 2018' is likely to be anything but relaxing for the players, officials and millions of spectators worldwide. (more…)
Read Injury time: shoot-outs and sudden death in full
Change of heart: will advanced therapeutics replace heart transplants?
Sian Harding
To mark the 50th anniversary of the first UK heart transplant, Professor Sian Harding looks at the future of transplantation in this post.
Fifty years ago, history was made at the National Heart Hospital in London with the first heart transplant performed in the UK. Half a century later, transplantation continues to the be the gold standard treatment for a failing heart. However, the growing number of people on the waiting list for a new heart, coupled with the risky and complex nature of the procedure is resulting in scientists exploring alternatives to transplantation. One of these alternatives is gene therapy. (more…)
Read Change of heart: will advanced therapeutics replace heart transplants? in full
Survival of the fitness: from Ancient Greece to modern day preventive medicine
Tim Grove
With London's biggest running event of the year upon us, sport-expert Tim Grove gives a low down on the benefits of running for a healthy heart.
Is physical activity good for us?
London Marathon – the biggest sporting spectacle of the year – is fast approaching. This Sunday will see over 40,000 runners take part in the gruelling 26.2-mile course starting at Blackheath and finishing in front of Buckingham Palace. The event is highly televised with elite runners, celebrities, politicians and fundraisers all taking part together. The London Marathon has gained popularity since its inception in 1981 and has raised over £450 million for charity, making it the world's largest annual fundraising event. With its high media profile, the London Marathon certainly sparks the enthusiasm of the general public with many taking to streets in the bid to train for next year's event or for shorter distance races. (more…)
Read Survival of the fitness: from Ancient Greece to modern day preventive medicine in full
Cracking the genetic code of cardiomyopathy in Egyptians
Mona Allouba
In the post, PhD student Mona Allouba, calls for a better understanding of the genetics of Egyptians in a bid for personalised treatments for cardiomyopathy patients
Over the past decade, several institutions in Egypt have been making huge scientific progress that is steadily reaching worldwide recognition. It is under these circumstances that I have been fortunate to join the Magdi Yacoub Foundation (MYF), which is recognised as one of Egypt's most prominent charity organisations. The Aswan Heart Centre – located along the banks of the Nile in Aswan – is an integral part of MYF, offering state-of-the-art medical services for the underprivileged. It focuses on expanding the research on heart disease across the Middle East and beyond to contribute to the world's scientific knowledge. (more…)
Read Cracking the genetic code of cardiomyopathy in Egyptians in full
Big hearts and giant genes: What lies at the end of the yellow brick road?
Upasana Tayal
Science writing
Upasana Tayal was shortlisted for the MRC Max Perutz Science Writing Competition 2017 for the following article on her research into a heartbreaking disease called dilated cardiomyopathy.
"Hearts will never be practical until they can be made unbreakable", said the Wizard of Oz. "But I still want one", replied the Tin Woodsman.
Your heart makes you human, makes you love, and keeps you alive. In just one year, it will beat 40 million times, without rest or time off for good behaviour. A pretty impressive piece of machinery you might agree, no wonder the Tin Man wanted one so much.
And like many things in life, he may have wished for a big heart at the end of the yellow brick road. (more…)
Read Big hearts and giant genes: What lies at the end of the yellow brick road? in full
Understanding our achy breaky hearts
Liam Couch
PhD student Liam Couch unravels the science behind breaking heart syndrome and explains how his research is helping to understand the unknowns of this condition.
Broken heart syndrome, officially known as takotsubo syndrome, is an acute type of heart failure, where the bottom of the heart stops beating in situations of extreme stress. A condition predominantly affecting post-menopausal women, it has been dubbed broken heart syndrome owing to the frequent occurrence during bereavement after the loss of a loved one. However, this is just one example of the various circumstances in which takotsubo syndrome can occur. Indeed, any stressful event can lead to a surge in adrenaline which can result in takotsubo syndrome. This could be physical or emotional, and includes trauma such as car accidents, drug abuse, and even happy events such as weddings! (more…)
Read Understanding our achy breaky hearts in full
World Heart Day: Building new hearts at the BHF Regenerative Medicine Centre
On World Heart Day, Sian Harding Head of the BHF Centre of Regenerative Medicine looks at how the Centre's cutting-edge science is working towards building new heart muscle.
We are excited by the news that our BHF Regenerative Medicine Centre has been renewed for another four-year term from 1 October 2017! At Imperial we have been concentrating on the big challenge of producing new muscle for the damaged heart, along with our partners in the Universities of Nottingham, Glasgow, Hamburg and Westminster.
The heart has a very limited capacity to repair itself after a heart attack, or during the more insidious damage from high blood pressure, diabetes or chemotherapy. We have been looking at various kinds of stem cells to explore their power to become new cardiac muscle cells – one of the big successes of the current Centre. Pluripotent stem cells – those which have the capability of turning into any cell type in the body – can now be turned very efficiently into beating heart muscle in the laboratory dish, and made into strips of engineered heart tissue. Our partner, Professor Chris Denning, at the University of Nottingham has automated the process of making the cells and Professor Thomas Eschenhagen in Hamburg has contributed his technology for converting this into muscle. (more…)
Read World Heart Day: Building new hearts at the BHF Regenerative Medicine Centre in full
Department of Brain Sciences
Department of Immunology and Inflammation
Department of Infectious Disease
Department of Metabolism, Digestion and Reproduction
Department of Surgery and Cancer
Institute of Global Health Innovation
Academic life Alcohol Blood Brain science Cancer Cardiovascular Career Clinical trials COPD COVID19 Diet Disease awareness Diversity Early career researcher Endocrinology Epidemiology Equality Genetics Global health Gut Heart HIV Immunology Infectious disease LGBTQ+ Lungs Medical school Medical student Mental health Microbiome NHS Nutrition Obesity PhD Policy Public health Research Smoking Surgery Teaching Three Wise Women Transplantation Vaccination Vaccine Women in science


In May 1919, a young woman called Mary got married in Glasgow to an American by the name of George. He had served in the Canadian Forces during the war, and was a chauffeur. Four months later, they went to Canada, to cross the border into George's home city of Detroit. For a while, they lived there, but it would appear that Mary had soon contracted tuberculosis - if not already back in Glasgow.
In June 1922, Mary filled out a passport application to return to Scotland to visit her parents. The application stated that she was to return within two years. As was the case in those years, her husband was also named, although he did not travel with her. Mary was booked on SS Metagama to sail from Montreal to Scotland. In May 1923, Mary sadly died in the home where she was born some 27 years before, of tuberculosis. Seven months later, her sibling Margaret also died of TB. The story goes that they shared the same room for a year, slowly succumbing to their illness.
I have seen a portrait photograph of Mary, looking gaunt, ill and obviously suffering from consumption. I have looked into George's life after his wife departed for Scotland, and it does not present a handsome picture. At all.
You may ask the relevance of this story in relation to the SS Metagama.
Well, in April 1923, 260 islanders departed Stornoway for a new life in America on board this ship. Circumstances in the island were depressed, following the heavy loss of life in the sinking of HMY Iolaire (where over 180 islanders drowned upon returning from the war) and the lack of employment. They were so excited at the prospect of a new life out west.
A year before, a young woman had embarked SS Metagama to return from her new life in America, which, by all appearances, had not been what she might have expected it to be. She came to die in the bosom of her family.
Last Thursday, 14 July, I visited Lews Castle which has been opened to the public for the first time in many years. Since the 1980s, the Castle had lain empty and unused, and was slowly falling into disrepair. A few years ago, a £19 million refurbishment programme was started and after many delays, the Castle was opened today.
Lews Castle, the country mansion of erstwhile landowner Sir James Matheson, was built in the middle of the 19th century for £60,000, which equates to £7 million in today's money. His fortunes came from the opium trade with China, something that even sparked a war between China and Great Britain. Sir James is credited with spending £329,000 (about £40m now) on the island of Lewis, with a road building programme and 'improvement'. Sir James's memory is tarnished by assisting 1,771 islanders to leave for Canada, America and Australia. They were removed as unable to pay the rent. The 1851 diary of his chamberlain (we'd call John Munro Mackenzie a manager today) shows cold contempt for the crofters, cottars and others who were unable to keep up payments. Rather than improve their lot on the ground, they had to emigrate. And when things did not go according to plan, it all became rather a nuisance.
Lews Castle today is resplendent in its former glory, but the contrast with the lot of Matheson's tenantry in the 19th century is excruciatingly jarring. One islander whom I accompanied on this visit was moved to tears. The rooms I visited were mostly completely empty, with the exception of the Ball Room, where dining tables were set out. The Castle also has a cafe and a small shop.
In a separate, newly built wing, the Western Isles Museum is housed. It has most of the exhibits on show that were featured in the old premises on Francis Street, but has moved in the 21st century with audio-visual and interactive displays. Full marks for that.


Categories: Mammoth Ivory Animal Netsuke, Mammoth Ivory Netsukes, Netsuke. Tags: carved ivory, ivory, Ivory Tusk, japanese art, mammoth, netsuke.
Look at this amazing Mammoth Ivory Netsuke – 3 Frogs on a raft. This Netsuke is Hand carved by Master Carver to perfection.


Here are pictures throughout their journey that I was lucky enough to document!
When Sarah suggested we try a Marina for her and Scott's engagement session, I quickly jumped on it! They're by far my favorite place to photograph at - even when it's a windy and cold morning :) We had a wonderful time wandering Holland and it made me all the more excited to shoot their wedding in the Spring!
Truly not enough words to explain how wonderful this day was. From Hailey's 'bride tribe' to the tacos at dinner - everything was magical. Saugatuck's Felt Mansion played the perfect backdrop for this elegant affair. We danced, cried happy tears and laughed the night away. 10/10 would agree that this wedding was the DREAM!


text:
Journal of Birjand University
Birjand University of Medical Sciences
Journal of Birjand University of Medical Sciences
Chairman: Kazem Ghaemi, MD
Editor-in-Chief: Mahdi Balali Mood, MD, PhD
Associate Editor: Tuoba Kazemi, MD
Administrative Manager: Zoya Tahergorabi, PhD
Statistical Consultant: Golamreza Sharifzadeh, MSc
Scientific Editor: Mohsen Foadoddini, PhD
Literature Editor (English): Mahdi Heidari
Literature Editor (Persian) and Layout: Fahime Arabi Ayask, BSc
Citation Editor: Fahime Arabi Ayask, BSc
Executive Experts: Batool Behjatnia
Editorial Board:
Mohammad Abdollahi: PhD, Professor of Toxicology, Tehran University of Medical Sciences, Tehran, Iran.
Mohammad Afshar: PhD, Professor of Anatomy, Birjand University of Medical Sciences, Birjand, Iran.
Narjes Akbari: M.D., Assistant Professor of Dentistry, Birjand University of Medical Sciences, Birjand, Iran
Mahdi Balali Mood: MD, PhD, Professor of Medicine and Clinical Toxicology, Newcastle University, UK.
Peter G Blain: MD BCE, Professor of Medicine, Newcastle, UK.
A.H. Dawson: MD, Professor of Pharmacology, Kandy, Sri Lanka.
C. Dishovski: MD, PhD, Professor of Toxicology, Sofia, Bulgaria.
Azadeh Ebrahimzadeh: M.D., Associate Professor of Infectious disease, Birjand University of Medical Sciences, Birjand, Iran
Alireza Fazel: PhD, Professor of Anatomy, Mashhad University of Medical Sciences, Mashhad, Iran.
Mohsen Foadoddini: PhD, Associate Professor of Physiology, Birjand University of Medical Sciences, Birjand, Iran.
Kambiz Forghanparast: PhD, Associate Professor of Microbiology, Guilan University of Medical Sciences, Rasht, Iran.
Touba Kazemi: MD, Professor of Cardiology, Birjand University of Medical Sciences, Birjand, Iran.
Mahmoud Mahmoudi: MD, PhD, Professor of Immunology, Mashhad University of Medical Sciences, Mashhad, Iran.
Seyyed Mostafa Mahmoudi: Assistant professor of dentistry, Birjand University of Medical Sciences, Birjand, Iran.
Abolfazl Mahyar: MD, Professor of Pediatrics, Qazvin University of Medical Sciences, Qazvin, Iran.
Mohammad Malekaneh: PhD, Associate Professor of Biochemistry, Birjand University of Medical Sciences, Birjand, Iran.
Mohammadreza Miri: PhD, Associate Professor of Public Health, Birjand University of Medical Sciences, Birjand, Iran.
Ebrahim Miri Moghaddam: Associate Professor of Genetics, Birjand University of Medical Sciences, Birjand, Iran.
Mahyar Mohammadi-Fard: MD, Associate Professor of Radiology, Birjand University of Medical Sciences, Birjand, Iran.
Gholamreza Mortazavi Moghadam: MD, Associate Professor of Medicine, Birjand University of Medical Sciences, Birjand, Iran.
Mohammad Hasan Namaei: Associate Professor of Department of Microbiology, Birjand University of Medical Sciences, Birjand, Iran.
Ahmad Nasiri: Ph.D., Associate Professor of Nursing, Birjand University of Medical Sciences, Birjand, Iran
Monire Pourjavad: MD, Professor of Gynecology & Obstetrics, Mashhad University of Medical Sciences, Mashhad, Iran.
Masood Salehi Shaban: MD, Associate Professor of Infectious diseases, Zahedan University of Medical Sciences, Zahedan, Iran.
Gholamreza Sharifzadeh: MSc, Asistant Professorof Public Health, Birjand University of Medical Sciences, Birjand, Iran.
Homayoon Sheykholeslami: MD, Associate Professor of Medicine, Qazvin University of Medical Sciences, Qazvin, Iran.
Abdorrasool Sobhani: PhD, Professor of Pharmacology, Guilan University of Medical Sciences, Rasht, Iran.
Ahmadreza Taheri: M.D., Associate Professor of Dermatology, Birjand University of Medical Sciences, Birjand, Iran
Asghar Zarban: PhD, Associate Professor of Biochemistry, Birjand University of Medical Sciences, Birjand, Iran.
Address: Birjand University of Medical Sciences Journal Office, Ghaffari, Ave., Birjand, I.R. Iran.
P.O. Box. : 97175-379
Tel: (+98) 5632443041-9 (1203)
E-mail: info.journal@bums.ac.ir & bumsjournal@gmail.com
Web Site: http://journal.bums.ac.ir
View: 5931 Time(s) | Print: 1519 Time(s) | Email: 240 Time(s) | 0 Comment(s)
Click here to see all texts in Editorial Board topic.
Physiology, Environmental Health, Health Education, Toxicology,


text:
Genesee Brewery becoming greener with RIT's help
James Goodman
@goodman_dandc
The Genesee Brewery is the oldest beer producer in the state — dating to 1878 — but the company is changing with the times.
Early this year, brewery officials contacted the New York State Pollution Prevention Institute of the Golisano Institute for Sustainability at Rochester Institute of Technology to get some advice on what additional environmental measures could be taken.
"We were good at recycling, but we wanted to go to the next level," said Mark Minunni, manager of the local brewery.
The prevention institute sent a four-member crew to the brewery in February, where it did an environmental assessment, with a report making some recommendations.
"We looked at their operations and made suggestions about what they could do," said Charles Ruffing, director of the prevention institute.
► MORE: Genesee Brewing details a major eco-upgrade
These suggestions are at various stages of implementation, and while it's not clear whether all of them can — or will — be implemented, a good deal more waste is being recycled.
From February through July, Genesee diverted 32 additional tons from the landfill, bringing the total amount of non-food waste that is recycled by the brewery from 73 to 78 percent.
New mandates
The impetus for the change is the brewery's parent company for the past three years, Florida Ice & Farm Co. (FIFCO). FIFCO, which is a Costa Rican-based food and beverage company, gave the brewery a new set of priorities.
North American Breweries is the umbrella under which Genesee now produces beer. The NAB family includes Pyramid and Magic Hat breweries.
But not only does the bottom line still count, FIFCO wants the brewery to step up community involvement and environmental stewardship.
"We have a little more freedom to do things that don't just depend on payback," said Minunni.
The environmental changes are part of a $39 million modernization being undertaken by the brewery.
► Beer talk: Genesee becomes local craft's big brother
Amy Johnson, continuous improvement specialist at the brewery, began implementing some of the changes right after the prevention institute's visit — most noticeably getting more recycling bins, color coding them so that workers would have no confusion of what goes in them, and putting the bins closer to the assembly lines.
The brewery, which also owns the Genesee Brew House on Cataract Street, switched suppliers for the restaurant's potato chips to one that uses recyclable bags.
Another supplier to the brewery stopped using a kind of black plastic to wrap around the cardboard brought to the brewery on large pallets, and switched to a plastic that has a market for recycling.
But there is still more that might be done.
The brewery has long sold large amounts of its spent grain — what's leftover after the malt used for producing beer is extracted — to farmers at a profit for cattle feed.
But the bags for hops, which have metal foil in them to help preserve the dried ripe cones of female flowers, cannot be recycled. It would take the suppliers to come up with recyclable containers.
And the food waste — about 250 pounds a day — from the Brew House is not being composted. Rather, it ends up in the landfill.
Minunni says composting remains a possibility. "We're just not there yet."
He is concerned that the waste to be composted, which would be kept in containers until it is picked up, might attract insects or rodents if not properly stored.
Nationwide, most restaurants don't compost, but a small number do, according to a report by the Food Waste Reduction Alliance.
Genesee Brewery is one of about two dozen businesses that the prevention institute helps during the course of a year. Commonly known by the shorthand NYSP2I, the institute is considered an investment in improving business practices.
"The companies, like New American Breweries, are taking on the burden of this waste," said Patricia Donohue, the senior environmental engineer who led the prevention institute review.
Genesee Brewery plans to Tap it Forward
Creating less waste to be landfilled can save money because a company won't have to pay for taking the trash to the landfill.
And if environmentally-friendly alternatives can be found for toxic chemicals that are expensive to dispose of, a business can avoid being subjected to regulations that incur these costs.
While the definition of creating a product that is "zero waste" varies, some consumers look for such labels. It's a way a company can broaden the customer base.
MillerCoors now clams that eight of its major breweries and two of its major manufacturing facilities are "landfill-free."
Minunni said that Genesee Brewery eventually wants to qualify for such a designation.
Prevention Pollution's services
Established in 2007, the prevention institute receives almost all of its funding — now $4 million a year — from the state Department of Environmental Conservation.
The companies helped are asked to enter into a cost-sharing agreement, paying for 10 to 50 percent of the the costs of the review.
Bigger companies, such as Genesee, pay the highest percent — in this case $12,000.
Reducing food waste has become a priority because nationwide, according to the Environmental Protection Agency, up to 40 percent of food in the United States goes to waste.
The prevention institute has a staff of 12, and with demand for its services growing, two additional staff members will be added.
It can also draw upon the rest of the staff of the Golisano Institute as well as three colleges that are affiliated with the prevention institute: Clarkson University, the State University of New York at Buffalo and Rensselaer Polytechnic Institute. The review can take any number of forms.
The prevention institute also has an educational role.
It is promoting "wet cleaning," telling of the benefits of switching from traditional dry cleaning that uses the toxic chemical perchloroethylene (perc) to a method that uses water, detergents and computer-controlled washers and dryers that can clean items labeled "dry clean only."
The prevention institute also awards grants to community-focused prevention initiatives. Thirteen such grants — each for as much as $15,000 —were awarded statewide in its latest round.
Among the recipients were The Lost Bird Project, a local group, to develop pollution-prevention learning materials for young filmmakers creating movies with environmental themes, and Grassroots Environmental Education Inc., which is based in Port Washington, Nassau County, to provide materials and strategies to reduce environmental risks in schools.
"The grants hope to amplify the pollution-prevention message across the state. Reduce the use of hazardous chemicals, reduce waste and conserve energy," said Ruffing.
JGOODMAN@Gannett.com


text:
Busoni Featured
Bach, Busoni, Segovia, and the Chaconne
Christopher Berg
Dec 28, 2015 • 14 min read
I'm interrupting my "Thinking About Practice" series to update a post I rattled off in August 2009 on my Pristine Madness blog about the relationship between Andrés Segovia's guitar "transcription" of J. S. Bach's famous Chaconne from the Partita in d minor, BWV 1004, and Ferruccio Busoni's more famous arrangement of it for solo piano. As I'll be performing the piece in 2016, I figured I should update the post and move it over to my Guitar Whisperer Blog, which I'm reserving for musical topics only.
The "Modern Problem"
During my talk on "The Re-Imagination of Performance" at the 2009 Guitar Foundation of America's International Convention and Competition at Ithaca College I tried to show that performers who came of age before the 1930s or 1940s exercised more freedom in their relationship to their scores than today's performers do: these earlier performers inherited a tradition that saw no conflict between musical individuality and the realization of a composer's "intentions." Until the ubiquity of Urtext scores, there was no meaningful distinction between interpreting a piece of music and interpreting a composer's intentions. These musicians, as Richard Taruskin has written about Pablo Casals, "did not have to face the 'modern problem,' so memorably defined by Auden, in his great essay on Yeats, as that of being 'no longer supported by tradition without being aware of it.'"[1] Performers born in the late nineteenth century could simply exist in and excel in one style.[2]
Taruskin argues that the concept of historic authenticity in the performance of early music developed concurrently with modernism and shares its values. He writes in the essay "The Modern Sound of Early Music" in Text and Act, "historically-authentic performance," "historically-aware," "historically-informed," or "historically-accurate," whichever you wish to call it—each of these terms has been used at various times by those whom Taruskin calls the "Early Musickers"—is actually a modern construct that is "implicitly projected back into historical periods that never knew it."[3] (Taruskin's essay originally appeared in The New York Times under the title, "The Spin Doctors of Early Music" in July 1990.)
The terms don't matter to me—Taruskin refers to them all as "ersatz shibboleths"—but I am interested in how "early music values" have affected our attitudes towards arrangements of baroque music made by musicians in the relatively recent past—say, ninety-to-a-hundred (or more) years ago—and the performance freedoms that accompanied these arrangements.[4]
Modern Constructs
What are these modern constructs that we might be projecting backward? Here are two of the characteristics of modernism in the performance of classical music as put forth by Taruskin in his book Text and Act:[5]
It is text-centered, hence literalistic.
It is impersonal, hence unfriendly to spontaneity.
Text-Centered
The text-centricity of early music can be seen in the proliferation of Urtext editions. I find these editions invaluable, yet often the sound of a modern, historically informed performance based upon them "presents the aural equivalent of an Urtext score: the notes and rests are presented with complete accuracy and an equally complete neutrality."[6] This is both literal and impersonal, a privileging of standardization, virtuosity, accuracy, perfection, and patterns of conformity above experimentation, idiosyncrasy, interaction, individuation, and creative play.[7] And it is anathema to the modern performer to add notes to a historic score.
Clive Brown calls this "cult of the urtext":
…too great a reliance on such 'pure' texts creates its own dangers. The publication of durchgesehene kritische Gesamtausgaben (revised critical complete editions) in the second half of the nineteenth century sowed the seeds of a tendency which has achieved its full flowering in the second half of the twentieth century. Despite the counter-currents of heavily edited 'classics' from Ferdinand David and Hugo Riemann in the nineteenth century to Carl Flesch, Arthur Schnabel, and many others in the twentieth century, the cult of the urtext [italics mine] has grown slowly but steadily until many modern musicians, including advocates of period performance, have invested these editions with a mysterious, almost sacrosanct quality, as if the more literally the notes, phrasings, dynamics, and so on, which constitute the composer's latest ascertainable version of the work, are rendered, the closer the performance will be to the ideal imagined by the composer.[8]
As we'll see, a prescient Ferruccio Busoni complained about the rise of literalism in performance over a hundred years ago.
Impersonal
Taruskin sums up the impersonalism of early music nicely:
The impersonalism of Early Music has resulted in performances of unprecedented formal clarity and precision. It has also resulted in a newly militant reluctance to make the subtle, constant adjustments of tempo and dynamics on which expressivity depends…[9]
Ferruccio Busoni (1866-1924) in his Sketch for a New Esthetic of Music[10] from 1911 thought that music notation was simply an expedient device to capture the composer's inspiration for the purpose of releasing it later. But Busoni was concerned that the musical "lawgivers" (his term) were now requiring performers to reproduce the rigidity of the signs. The more closely they did so, complained Busoni, the closer performers were persuaded they could achieve perfection. Busoni maintained that performers were obligated to use their own inspiration to turn the rigid signs back into emotion and to make the work manifest. Busoni saw this as the essence of creativity in performance: "What the composer's inspiration necessarily loses through notation, his interpreter should restore by his own."[11] The performer's inspiration (read: individuality) was a necessary catalyst for releasing the composer's inspiration.
What Busoni saw before anyone else was the early stage of a shift from the work existing primarily as a performance to the work existing primarily as a written text: the notation was beginning to stand for musical art itself. And as the century progressed, so did the rise of literalism and impersonalism. Toscanini demanded that his musicians "play what was set before them exactly as written regardless of 'tradition,'" and Stravinsky railed "against 'interpretation," and wanted his performers to be obedient 'executants' of his will."[12] These positions typified a performance aesthetic that was gathering strength in the 1920s and 1930s and was the dominant performing style by the 1940s and 1950s.
Peter Kivy summed it up in 1998 when he wrote that "the driving force behind the historical performance movement is the desire to collapse performance into text."[13]
A Cosmos In Itself
Carl Flesch, the great violin teacher, said of the Bach Chaconne: "Only a fool would maintain that the Chaconne, this cosmos in itself, could be visioned through a single prism."[14] Since its publication by Simrock in 1802, the work has been refracted through innumerable prisms:
Mendelssohn (1847) and Schumann (1854) each wrote accompaniments to the violin part, turning it into a duet; pianists Joseph Raff (1822–1882) and Ernst Pauer (1826–1905) each published versions for solo piano in 1867 (Pauer adds a cadenza before the final eight bars); Brahms made a piano version for left hand alone in 1879; and Busoni's arrangement was first published in 1897 in Leipzig. There have been other arrangements for piano, orchestra, orchestral accompaniment to the solo violin, piano four-hands, two pianos, string quartet, string quartet with piano, and solo guitar.
Franz Liszt mentions the piece several times in his letters and on February 8, 1884, wrote to Otto Lessman: "On a previous occasion I also heard at Meiningen Bach's celebrated Chaconne played in unison with a real virtuosity by some ten violins."[15]
Can the light refracted by these Romantic prisms reveal anything to us? Can a Romantic approach to Bach ever gain historic legitimacy of its own? If so, when? When I was a student early recordings were simply old-fashioned; now they're studied as historic documents. What's changed, other than the passage of time? Can something similar happen to these capacious prisms, or are they forever to be the eight-track tapes and betamaxes of music history?
Guitarists and the Bach Chaconne
Many of today's concert guitarists prefer to play the Chaconne directly from the violin score, and the piece works fine that way, but Andrés Segovia (1893-1987) didn't simply transcribe the violin score. He transcribed something in the 1920s, published it in 1934, performed it in Paris in June of 1935, and recorded it in 1955, but it wasn't based exclusively upon Bach's violin score. Segovia "transcribed" parts of Ferruccio Busoni's arrangement of the Chaconne, an arrangement made in 1891-1892 while Busoni was living in Boston, and premiered by him in that city in 1893. In addition to the Leipzig publication of 1897, Busoni published new editions of it in 1902, 1907, and 1916, continually refining his ideas.
What Segovia transcribed is important, because although many amateur guitarists once perceived Segovia's transcription as the sine non qua of the guitar repertoire, most professional concert artists reject it for its failure to meet modern criteria for Baroque performance practice and find all the added notes at odds with an "Urtext aesthetic."
Segovia's usual transcription process was to eliminate notes (and sometimes change them) to get a piece to work on the guitar, especially when transcribing keyboard music. In his Bach transcriptions of music for solo 'cello or violin, e.g., the courante from BWV 1009 or the bourée from BWV 1002, he would add bass notes and fill in harmonies, but he never added material to the extent he did in his edition of the Chaconne.[16]
Although Segovia considered his version of the Chaconne a "transcription" (it says so right on the music), every piece that Segovia played on the guitar that was originally composed for another instrument, was labeled by him a "transcription." Busoni used the word "Bearbeitung" (to edit or adapt) for his version, as opposed "Übertragung" (to carry over or transcribe) on his score: his version was clearly an arrangement, and according to Busoni, a necessary one:
I start from the impression that Bach's conception of the work goes far beyond the limits and means of the violin, so that the instrument he specifies for performances is not adequate for its realization.[17]
Historic or simply old-fashioned?
It's one thing to reject something on the grounds that it lacks "historic authenticity," or, more correctly, fails to meet a modern criterion, a criterion that had yet to develop when Busoni made his arrangement, and betrays the modernist disdain for adding notes and expression markings where there were none in the original; and it's quite another to reject a Romantic tour de force. Busoni's dynamic and atmospheric transcription made no claim to historic authenticity, so why should we ascribe such a claim to Segovia's arrangement, which was based upon Busoni's work? If we accept there is no claim to historic authenticity in Segovia's transcription, then perhaps we can place it in a different context and see it more clearly.
Would we have a different reaction to Segovia's version of the Chaconne if it had been published as being based upon Busoni's arrangement? Incidentally, this wasn't the only time Segovia failed to correctly attribute the source of his work: Segovia based his 1945 edition of twenty studies by Fernando Sor on a nineteenth-century edition by Napoleon Coste.[18]
We should neither accept Segovia's Chaconne "transcription" out of unquestioned loyalty to Segovia, or out of some sort of "Maestro inerrancy," to which many amateur guitarists used to subscribe, nor should we reject it out of hand as being out of step with the times. Instead, we can view this piece as belonging to separate genre: not exactly Bach's Chaconne, but not a failed arrangement either. What we have is a beautiful and effective concert piece and a wonderful Romantic masterpiece. Busoni's piano transcriptions of Bach's works have been returning to the concert stage and have been showing up on disc, why not Segovia's Busoni-influenced version of Chaconne? After roughly a hundred years, might not this genre acquire its own historic status?
I am not suggesting that performers who choose to play from the violin score should take up Segovia's transcription instead—I don't see this as an either/or situation. I am suggesting that Segovia's version falls into a category of repertoire that has been ignored by today's guitarists and which embodies a nineteenth-century approach to Baroque music. This genre is small and includes only a handful of Bach pieces arranged by Francisco Tárrega (1852-1909) in addition to Segovia's Chaconne arrangement, but that it includes one of the finest solo instrumental pieces in the Western musical canon makes the genre significant. To reject this genre because it doesn't fit our idea of Baroque performance practice is to miss the point. As Alan Walker has written about Liszt's arrangements of Schubert Lieder:
The crime of an arrangement now was that it was an arrangement. It had no interest in preserving original sound. Moreover, it often played fast and loose with the notes. Since it flouted the Urtext it had to be condemned as second-class music. Between the two World Wars, few pianists ventured onto the concert platform to play a Liszt arrangement. Out of temper with the times, a whole repertory of wonderful music was hushed up and forgotten.[19]
To my knowledge, Segovia never indicated that he based his work on Busoni's, and we have no statements to that effect, but we have the music, so let's look at that.
Musical Evidence
Let's compare just a few excerpts from the two versions, occasionally looking at Bach's original. We'll start with something simple. Octaves are indicted by International Pitch Notation (IPN).
In measure 4, Bach accompanies the melody with a single note, d4:
Busoni lowers the accompaniment an octave and adds a fifth (note that the upper stave is in bass clef):
Segovia does the same thing and with the same voicing:
In measure 29 (and elsewhere), Busoni creates a bass pedal derived from the rhythm of the opening bars:
Segovia does the same, although he limits himself to one bass note because of the compressed range of the guitar:
In measures 33–35 Bach presents the illusion of two voices from a single line, the harmonies for which are not explicit:
Busoni fills out the harmonies:
and Segovia follows suit with the same harmonies:
Notice also that Segovia's dynamic markings reflect Busoni's.
Sometimes common errors can be evidence of links between scores. Bach writes an a4 pick-up to measure 137:
Busoni's score has a misprint which has moved the a4 down a line to an f♯4, a not uncommon type of error in engraved music (note that the upper stave is in the bass clef):
(Busoni has added five measures to the piece so the comparable bar in his score is m. 142.)
Segovia's transcription has the same error:
It turns out that many early editions had the f♯4 misprint: Mendelssohn's version had it (but not Schumann's) as did both the Raff and Pauer transcriptions. There must have been an early publication that had the misprint (perhaps the 1802 Simrock edition had it, but I've not seen it). So, this misprint by itself may not mean much. The Breitkopf und Härtel edition from 1879 had the correct note.
Finally, in measure 168 of Busoni's score he picks up on a three-note motif introduced by Bach (in m. 163) in the upper voice,
and answers it in the bass (in octaves):
(This section starts earlier and I've not marked all instances of Busoni's additions.)
Busoni probably picked this up from Mendelssohn's 1847 version:
Nonetheless, Segovia once again follows Busoni's example, although without the octaves:
Chaconne à Son Goût?
Busoni certainly did things in his piano version that would not be possible or convincing on the guitar: larger chords, thicker textures, extended octave passages, and Segovia navigates those sections convincingly in his arrangement. I maintain, however, that there is more Busoni in the guitar arrangement than there is Segovia.
Whether Segovia was strongly influenced by Busoni, whether he worked directly from Busoni's score, or whether he used both the violin score and Busoni's arrangement matters little. (The latter is the most likely as Segovia did not include the five extra bars that Busoni added to the piece.) Almost all of Segovia's added notes and harmonies were predicated on what Busoni did. And most of Segovia's tempo and interpretive indications, while being only a fraction of what Busoni included, are either identical to Busoni's or convey the same character.
Busoni's transcription of Bach's Chaconne is a masterpiece of Romantic performance style and there is much to be learned from studying it, either in the original piano score or through the filter of Segovia.
Give (the) Piece A Chance
I'm not suggesting guitarists emulate Segovia's playing—I don't think I've heard his recording of the piece since the 1970s—but the score is there, misunderstood in large part to the way Segovia presented it to the public in the 1930s, and it deserves a hearing.
It's also gratifying to play. I'll be performing it in Columbia, SC on January 31, 2016, at 3:00 p.m. in the Recital Hall of the School of Music at the University of South Carolina. If you're in the area, drop by. The concert is free.
Another Note
For an interesting and intelligent conversation about the Bach Chaconne on the Watson Institute's Open Source program between Christopher Lydon and violinist Arnold Steinhardt, listen to the January 1st, 2007 edition of the show and read the Open Source blog.
Richard Taruskin, Text and Act: Essays on Music and Performance, (New York: Oxford University Press, 1995) 302. ↩
This was before Wimsatt and Beardsley published their 1946 article, "The Intentional Fallacy," in the Sewanee Review, which either reflected or engendered an outbreak of second thoughts for those who dealt with the interpretation of texts. ↩
Taruskin, 91. ↩
I love early music and stopped playing the guitar for over five years to devote myself exclusively to the study of the lute. I was not content to play the lute with a modified guitar technique and mastered what is known in the lute business as "thumb-under" technique. I've given scores of solo lute recitals as well as concerts with soprano/lutenist Hazel Ketchum, my partner in The Rossignol Duo. ↩
Taruskin, 167. ↩
Ibid., 72. ↩
Ibid., 170. ↩
Clive Brown, Classical and Romantic Performing Practice 1750-1900, (Oxford University Press, 1999) 4. ↩
Taruskin, 167–168. ↩
Ferruccio Busoni, Sketch of a New Esthetic of Music, (New York: Schirmer, 1911). ↩
Ibid., 15, 16. ↩
Peter Kivy, Authenticities: Philosophical Reflections on Musical Performance, (Cornell University Press, 1998) 276. ↩
Carl Flesch, The Art Of Violin Playing, Book Two, (New York: Carl Fischer, Inc., 1930), 149. ↩
La Mara, (trans. Constance Bache), Letters of Franz Liszt, Vol. II, (London: H. Grevel & Co., 1894) 443. ↩
One might argue that he did add a comparable amount material in his "transcription" of the bourées from BWV 1009, which he recorded, but this arrangement was not his: it was by Tárrega. Tárrega's version, as well as recordings of it by both Barrios and Segovia, were issued under the erroneous title of "Loure." Why the title was never corrected in the recordings is beyond mysterious. ↩
Paul Banks, "Preface" to Bach-Busoni: Chaconne, (London: Edition Peters, 1997), 3. ↩
I don't think guitarists are particularly larcenous, but at least one (Ständchen) of the six Schubert lieder "übertragen" by Johann Kaspar Mertz (1806–1856) was really an arrangement of Liszt's piano arrangement. For information on the Sor-Coste-Segovia connection, see: Erik Stenstavold, "Coste's Contribution to the Twenty Studies By Sor," Soundboard, Vol. XI, No. 2, (1984): 136-140. ↩
Franz Liszt, The Schubert Song Transcriptions for Solo Piano/series III: The Complete Schwanengesang, Introduction by Alan Walker, (Dover Publications, 1999). ↩
The Re-Imagination of Performance
Note: This article was published in the Winter 2009 issue of the Guitar Foundation of America's Soundboard. My original intention was to write a four-part series of articles that explored aspects of performance—portamento, rubato, tempo modification, accent and articulation—that are often neglected in the training of guitar
Jan 12, 2023 35 min read
John Locke's Idiots and Madmen
I don't usually toss around invectives about others as a matter of routine, but in this blog post I'll need to use the word "idiot," and the discussion will make more sense if I define it. It's derived from the Greek word meaning a "person lacking professional
Practicing Music by Design: Historic Virtuosi on Peak Performance
Christopher Berg's new book explores pedagogical practices for achieving expert skill in performance. It is an account of the relationship between historic practices and modern research.


text:
← REPEAL AND SAVINGS (COMPANIES ACT, 2013)
FRAUD AND OTHER PUNISHMENTS →
SPECIAL COURTS AND MEDIATION & CONCILIATION PENAL
Special courts are one most commendable constitute introduced by this Act. This is trend recently to constitute special courts for every single legal constitute. The main reason for establishment of such special court is technicalities involved in these technical matters.
ESTABLISH OF SPECIAL COURT (SECTION 435):
The Central Government may for the purpose of providing speedy trial of offences under this Act, by notification establish or designate Special Courts.
A Special Court shall consist of a single judge appointed by the Central Government. The Judge shall be appointed with the concurrence of the Chief Justice of the High Court within whose jurisdiction the judge to be appointed is working.
A person shall not be qualified for appointment as a judge of Special Court unless he was holding a Sessions Judge or an Additional Sessions Judge.
OFFENCES TRIABLE BY SPECIAL COURTS (SECTION 436):
All offence under the Companies Act shall be triable only by the Special Court for the area in which the registered office of the company in relation to which the offence is committed.
Where a person accused of or suspected of the commission of an offence under the Act is forwarded, a Judicial Magistrate may authorise the detention of that person for fifteen days or an Executive Magistrate for seven days. Where the Magistrate consider that the detention of the person upon or before the expiry of the period of detention is unnecessary, he shall order such person to be forwarded to the Special Court having jurisdiction.
The Special Court may exercise the same power which a Magistrate having may exercise under Section 167 of the Code of Criminal Procedure, 1973 in relation to an accused person who has been forwarded to him.
A Special Court may upon perusal of the police report of the facts constituting an offence under this Act or upon a complaint, take cognizance of the offence without the accused being committed to it for trial.
When trying an offence under this Act, a Special Court may also try an offence under the Code of Criminal Procedure, 1973 in a same trial.
The Special Court may try in a summary way any offence under this Act which is punishable with imprisonment for a term not exceeding three years. In case of summary trial, a sentence of imprisonment for a term exceeding one year shall not be passed. Where the Special Court think it is undesirable to try the case summarily, the Special Court shall record an order to that effect and thereafter recall any any witness who may have been examined and proceed to hear or rehear in regular trial.
APPEAL AND REVISION (SECTION 437):
The High Court may exercise all the powers conferred by Chapter XXIX and XXX of the Code Criminal Procedure, 1973 on a High Court as if a Special Court were a Court of Session trying cases.
APPLICATION OF CODE TO PROCEEDING BEFORE SPECIAL COURT (SECTION 438):
The provisions of the Code of Criminal Procedure, 1973 shall apply to the proceedings before a Special Court. The Special Court shall be deemed to be a Court of Session and the person conducting a prosecution before a Special Court be deemed to be a Public Prosecutor.
OFFENCES TO BE NON – COGNIZABLE (SECTION 439):
Every offence under this Act except the offences referred to in sub – section (6) of Section 212 shall be deemed to be non – cognizable within the meaning of the said code.
No court shall take cognizance of any offence under this Act except on the complaint of –
(a) the Registrar in writing,
(b) a shareholder of the company,
(c) a person authorised by the Central Government.
The court may take cognizance of offences relating to issue and transfer of securities and non – payment of dividend on complaint in writing by a person authorised by the Securities and Exchange Board of India.
Where the complainant is the Registrar or a person authorised by the Central Government, the presence of such officer before the Court trying the offence shall not be necessary. The court may require personal attendance of these complainants at the trial.
TRANSITIONAL PROVISIONS (SECTION 440):
Until a Special Court is established, any offence triable by a Special Court shall be tried by a Court of Session.
COMPOUNDING OF CERTAIN OFFENCES (SECTION 441):
Any offence punishable under this Act with fine only, may either before or after the institution of any prosecution be compounded by –
(a) the Tribunal; or
(b) where the maximum amount of fine which may be imposes for such offence does not exceed five lakh rupees, by the Regional Director or any officer authorised by the Central Government,
on payment or credit, by the company or the officer to the Central Government of a sum as the Tribunal or the Regional Director or officer may specify. This sum shall not exceed the maximum amount of the fine which may be imposed for the offence so compounded. The sum if any, paid by way of additional fee shall be taken into account.
Any offence shall not be compounded if the investigation against such company has been initiated or is pending under this Act.
An offence cannot be compounded within a period of three years from the date on which a similar offence committed by it or him was compounded.
Every application for the compounding of an offence shall be made to the Registrar who shall forward the same, together with his comments thereon, to the Tribunal or the Regional Director or any officer authorised by the Central Government.
Where any offence is compounded, its intimation shall be given by the company to the Registrar within seven days from the date on which the offence is so compounded.
Where any offence is compounded before the institution of any prosecution, no prosecution shall be instituted in relation to such offence.
Where the compounding of any offence is made after the institution of any prosecution, the company or its officer in relation to whom the offence is so compounded shall be discharged.
The Tribunal or the Regional Director or any officer authorised by the Central government, may direct by an order any officer or other employee of the company to file or register such return, account or other document within specified on payment of fee or additional fee.
Any officer or other employee of the company who fails to comply with any order made by the Tribunal or the Regional Director or any officer shall be punishable with imprisonment for a term which may extend to six month or with fine not exceeding one lakh rupees or with both.
Any offence which is punishable under this Act, with imprisonment or fine, or with imprisonment or fine or with both, shall be compoundable with the permission of the Special Court. Any offence which is punishable under this Act, with imprisonment only, or with imprisonment and also with fine, shall not be compoundable.
MEDIATION AND CONCILIATION PENAL (SECTION 442):
The Central Government shall maintain a panel of experts to be called as the "Mediation and Conciliation Penal" for mediation between the parties during the pendency of any proceedings before the Central Government or the Tribunal or the Appellate Tribunal.
Any of the parties to the proceedings may apply for referring the matter pertaining to such proceedings to the Mediation and Conciliation Panel. The Central Government or the Tribunal or the Appellate Tribunal before which any proceeding is pending may suo motu refer any matter pertaining to such proceeding to the Mediation and Conciliation Panel.
The Mediation and Conciliation Panel shall follow the prescribed procedure and dispose of the matter referred to it within a period of three months from the date of such reference and forward its recommendation to the Central Government or the Tribunal or the Appellate Tribunal.
Any party aggrieved by the recommendation of the Mediation and Conciliation Penal may file objection to the Central Government or the Tribunal or the Appellate Tribunal.
COMPANY PROSECUTORS (SECTION 443):
The Central Government may appoint company prosecutors for the conduct of prosecutions arising out of this Act. The Company Prosecutor shall have all the powers and privileges conferred to Public Prosecutors appointed under the Code of Criminal Procedure, 1973.
APPEAL AGAINST ACQUITTAL (SECTION 444):
The Central government may direct any company prosecutor to present an appeal from an order of acquittal passed by any court, other than a High court.
COMPENSATION FOR ACCUSATION WITHOUT REASONABLE CAUSE (SECTION 445):
The provision of Section 250 fo the Code of Criminal Procedure, 1973 shall apply mutatis mutandis to compensation for accusation without reasonable cause before the Special Court or the Court of Session.
APPLICATION OF FINES (SECTION 446):
The court imposing any fine under this Act may direct that the whole or any part thereof shall be applied in or towards payment of the costs of the proceedings, or in or towards the payment of a reward to the person on whose information the proceedings were instituted.
This entry was posted in Chapter XXVIII - CA2013, Companies Act 2013, Governance and Responsibility and tagged Companies Act 2013, Companies Bill 2012, Company Prosecutor, CorpGov, CorpLaw, Corporate Governance, Corporate Law, India, Legal Reforms, Mediation and Conciliation Penal, Ministry of corporate affairs, Reforms, Special Court. Bookmark the permalink.
4 responses to "SPECIAL COURTS AND MEDIATION & CONCILIATION PENAL"
Aishwarya Mohan Gahrana | January 27, 2014 at 9:29 am | Reply
To lessen the burden of Legal Courts, there is provision in Constitution of India, Part XIV-A, under Articles 323-A and 323-B.
Arbitration and Concilation Act, 1996 also exists.
Lok Adalats, conducted once in three months, by state judicial department also exists.
If matter can be settled amecably by following in any of the above methods, then disputes will be solved speedily.
By shirish shanbhag
Pingback: THE COMPANIES AMENDMENT BILL 2014: PART 3 OF 3 | AishMGhrana
Pingback: EXEMPTION TO GOVERNMENT COMPANIES | AishMGhrana
Pingback: Special Courts | AishMGhrana


Aerial Force provides a high-quality home entertainment service for the people of Barnsley. We offer service on the same day if you live in the Barnsley location and need the installation or repair of an aerial or satellite. If any of the repairs we do require a new installation, we can offer this also along with a free quote of the estimated cost. While Barnsley is a large area, we guarantee that our quality standards expand across the board – wherever you happen to be. Each engineer in our company has a minimum of five years' experience and must pass a thorough background check. This ensures that you and your property are protected.