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Archive for the 'Hardcore' Category
Acephalix – "Interminable Night" (2011)
Posted in Black Metal, Death Metal, Hardcore, Metal, New music, Reviews, tagged Acephalix, Interminable Night, Metal, MetalReview, Reviews, Southern Lord Records on May 2, 2011| 1 Comment »
Acephalix, Interminable Night (2011)
Crusty occultation
My review of Acephalix's Interminable Night, which will be released later this month by Southern Lord, is up now at MetalReview. The album kicks ten kinds of ass. That is all.
American Heritage – "Sedentary" (2011)
Posted in Hardcore, Metal, New music, Reviews, tagged American Heritage, Chicago, Hardcore, Metal, MetalReview, Reviews, Translation Loss on March 30, 2011| Leave a Comment »
American Heritage, Sedentary (2011)
Blinded by fear, or something
Also up now at Metal Review is my review of the newest album from Chicago-based metal/hardcore botherers American Heritage, which is out now on Translation Loss Records. It's perfect for your latest stint of bail-jumping, tire-screeching, whiskey-drinking mayhem.
From the Dusty Vaults, Vol. 5: Converge
Posted in Hardcore, Reviews, tagged Converge, Hardcore, Jacob Bannon, Metal, Neurosis, Reviews on February 8, 2011| 3 Comments »
Friends, if you've stayed with me throughout these trying times, you are all saints. We have at last reached the end of these old reviews I found sitting around on an old external hard drive, meaning that we will shortly be returning you to the regularly-scheduled amount of overwrought verbiage and incomprehensible sarcasm. I am just as relieved as you.
Converge, You Fail Me (2004)
Is that supposed to be an ape hand or something?
Although Converge had long been one of extreme music's most respected and hard-working bands, the landmark acclaim and success they achieved with 2001's Jane Doe guaranteed that crafting a follow-up that satisfied fans and critics without sacrificing their creative progression would be no small task. With You Fail Me, however, Converge has again succeeded admirably, delivering a swift kick to the head of all those who would doubt their conviction or ability to continue producing scathingly intense music with a very real emotional core.
For the most part, the songs on You Fail Me display many of Converge's trademarks: furiously churning guitars that duel and collide with the drums to form chaotic, echoing rhythms, Jacob Bannon's tortured, animalistic wailing, and breakneck tempos. Nowhere is this tradition better upheld than in standout tracks such as "Black Cloud," "Eagles Become Vultures," and "Heartless," with its stuttering, chanting finale. What truly makes this album stand out from the rest of Converge's thoroughly accomplished oeuvre are the small refinements of their sound. For example, the mesmerizing guitar melody that carries the latter half of "Drop Out" helps to elevate the lyrics above the whipping maelstrom of the drums and bass. "First Light" begins the album with a melancholic solo guitar line so languid that it threatens to dissipate into pure feedback. "Last Light" offers another unique take on Converge's often barely controlled chaos: more so than on any other song, it is the propulsive drums that carry this piece all the way through, from the simple guitar chords of its intro to the convulsive breakdown at its conclusion.
The true heart of this album, however, must be the back-to-back ordering of its two longest songs, "You Fail Me" and "In Her Shadow." The monstrous title track is deceptively simple, but its power comes from its sheer bludgeoning force. Though a simple, plodding rhythm forms the song's foundation, more layers are gradually added, and when the song reaches its peak, the results are truly massive. "In Her Shadow," as it opens with a gently strummed acoustic guitar, would seem to be a welcome respite from the blistering title track. Gradually, though, it becomes something much more sinister. The vocals throughout are ghostly, mirroring the feedback in which the whole piece is awash. As the song progresses, it builds and builds, always threatening to overtake itself. Once the drums enter, they lead the song into martial disarray, and by the time the song reaches its climax, the drums are about all that can be reasonably distinguished from the underlying chaos; in fact, certain moments of this song wouldn't be out of place on a Neurosis album.
In the end, though, what makes this album so convincing, like Jane Doe before it, is that it brutally pummels the listener not just with aggression, but also with emotion. You Fail Me is significantly shorter than Jane Doe, however, and the emotional tone is markedly different as well. No matter what one may be able to decipher from Jacob Bannon's excellent lyrics, it is indisputable that there lies at the core of them some real anguish. Although Jane Doe had its fair share of anger, there was hope, too, perhaps most notably in the way the closing track faded out amidst Bannon's glorious shouts of "Run on!" By contrast, the anger throughout You Fail Me feels a bit more resigned, a bit more desperate. On the closing track, "Hanging Moon," Bannon begins his entreaty of "Be my light in this world of darkness," but the song, and the album, cuts him tragically short, allowing only for the words "Be my…" Perhaps there is hope in that, too. What is certain, however, is that Converge has made another haunting record that is just as likely to make you weep as it is to kick in your teeth.
Okay, well maybe that one wasn't so bad. Back up to my typical standards of pretension, at least. Seriously, though: Can you imagine many other bands, following up an album as thoroughly-masturbated-about as Jane Doe, putting out such an abrasively honest, emotionally-damaged statement as this? You Fail Me remains, in my opinion, a criminally underrated episode in Converge's rightly-feted discography.
Anyway, that's it for my vault-plundering exploits. Thanks for coming along for the ride; sorry about all the sick in the passenger's seat. Occupational hazard of reading old writing, I figure. Be my light in this world of darkness, won't you?
Resistant Culture – "Welcome To Reality" (2005) & "All One Struggle" (2008)
Posted in Death Metal, Grindcore, Hardcore, Metal, Reviews, tagged Abbath, Apocalyptic Crust Fest, Bathory, Bolt Thrower, Cold War, D-beat, Darkthrone, Death Metal, Discharge, Dropdead, Grindcore, Historical Revisionism, Jesse Pintado, Metal, Napalm Death, Nechochwen, Neurosis, New York Times, Nu-Metal, Pendleton Round-Up, Phobia, Punk, Resistant Culture, Reviews, Sacred Fire Tour, Sepultura, Seventh Generation Records, Soviet Union, St. Anger, Terrorizer, Texas Board of Education, Tomahawk on September 26, 2010| Leave a Comment »
Resistant Culture, Welcome To Reality (2005) & All One Struggle (2008)
Pissed off, and ready to grind (Apologies to Darkthrone)
The ever-charming folks on the Texas Board of Education have recently reared their curmudgeonly heads once more, introducing a resolution which would, according to the New York Times, send a blunt message to textbook publishers: "Do not present a pro-Islamic, anti-Christian version of history if you want to sell books in one of the nation's largest markets" (New York Times, 9/22/10).
What any of this may have to do with tribal crust death/grinders Resistant Culture may be a little oblique, sure, but the point is this: historical revisionism is alive and well in our fair land. The same sort of revisionism, say, that gives us a first Thanksgiving in which the pilgrims just came 'round to offer the indigenous peoples of the New World a nice cup of tea, or through which our collective relief at the peaceable collapse of the Soviet Union and the end of the Cold War allows for the gradual erasure of the myriad tyrannies and imperial ventures underwritten in the name of freedom.
Righteous indignation at the brutal treatment and oppression of indigenous peoples throughout the Western Hemisphere is, in fact, the spark which lights the raging fire of Resistant Culture's seriously pissed-off grind attack. While much bandied-about in discussions of Resistant Culture, the influence of indigenous folk music instrumentation and chants is relatively subdued. The band's two full-length albums are being reissued and repressed in advance of their upcoming American tour, providing a choice opportunity for having one's head amply knocked around by the sort of politically-inclined metal that seems, sadly, to be in shorter supply these days.
2005's Welcome To Reality and 2008's All One Struggle both provide ample evidence of the band's tight grasp on the classic everything-in-the-pot style of the early development of grindcore and death metal, when neither had exactly coalesced into ruthlessly ghettoized genres stuffed full of stock ideas and tired riffs. Resistant Culture straddles perfectly these lines between grind and death in the same fashion as genre progenitors Napalm Death, Terrorizer, Bolt Thrower, and all the other usual suspects. In Resistant Culture's case, rather than tilt wildly from grind to death in separate songs, the overall approach seems to show songwriting chops and an instrumental attack that is rooted in classic grindcore, but with a guitar tone and riff construction that leans more toward the fetid tonalities of death metal.
Vocalist and long-time band mastermind Anthony Rezhawk (he, also, of vocal duty on Terrorizer's long-delayed sophomore album, Darker Days Ahead – hence the participation of the late Jesse Pintado on 2005's Welcome To Reality) demonstrates a much more varied vocal approach than many other acts in this style. Rezhawk's most frequent style is a low-pitched yet strikingly understandable grind/punk bellow, yet he also occasionally pushes into higher-pitched rasping, and every now and again breaks out a deep, almost gothic style of clean incantation.
Welcome To Reality
Of the two albums up for review here, it's 2005's Welcome To Reality that really grits its teeth and gets right down to the serious business of wrecking your ears. The guitar tone is thick, but its attack is clean and clinical, whether trading in three-chord punk blasts, nimble grind explosions, or stolid, occasionally tremolo-ed death metal stomping. The bass tone oozes through in a delectably thick outpouring, like molten lava forcing its way through cracked tectonic plates. See "It's Not Too Late," especially, or the opening passage of "The Gathering" for some real floor-rattling bass thunder. The drums roll and clatter along with the requisite punk fury, slipping into blastbeat passages here, or verging on the classic Discharge d-beat there.
"Forced Conformity" locks into a wonderfully gritty, grooving pace with some sweet guitar noodling. If only more followers of Sepultura circa Chaos A.D. or Roots would have taken the their Brazilian lessons in this direction rather than resorting to the widespread pilfering of the knuckle-draggingly unattractive components of the tribal thrashers' sound, maybe we wouldn't now look to Sepultura's mid-90s experimentation as pivotal in having incited the life-sapping abominations of nu-metal.
It's not until the track "Elder Wisdom" that the much-touted indigenous folk music influence is on display in a way other than brief sections of native chanting. The acoustic guitar and flute interlude is a nice breather between the no-nonsense brain-stomping of the rest of the album. The rest of the album keeps things classy and well-apportioned, in equal measure causing the listener to pump her fist furiously to punk shout-alongs ("Victims of a bloody system!!" is just insanely fun to bellow alongside Rezhawk) and headbang recklessly to thrashing death metal riff-splosions. Hell, on "Civilized Aggression," Rezhawk even sounds vaguely like Abbath gone crust, while on "The Gathering," we get that deep, gothic delivery in the vocals to match the Eastern-scaled doom/death march.
In grindcore's great tradition, the album makes effective use of sampled dialogue and other found sounds, without ever quite lapsing into overreliance. The sound here is much thicker than most crust metal, although the ethics and aesthetics underwriting the music have a much clearer kinship to crust and punk than to the varied lineages of death metal. After thrashing through a grin-inducing cover of Discharge's "Hear Nothing See Nothing Say Nothing" and one of the album's highlights in "The Gathering," it's finally on album closer "Land Keeper" that the indigenous folk is blended organically with the heavy metal, where on most of the rest of the album, the folk influences were generally sequestered into interludes.
Seventeen tracks in thirty-four minutes is just about perfect for this sort of classic grinding attack, and leaves the listener winded and shell-shocked
Overall rating, Welcome To Reality: 80%. Not reinventing the wheel, but careful saying that 'round them, as you may find said wheel quickly and unceremoniously shoved down your throat.
All One Struggle
The follow-up to Welcome To Reality came three years later, with 2008's All One Struggle. In comparison to the incendiary 2005 album, this one comes off slightly the worse, but for somewhat paradoxical reasons. See, All One Struggle actually features a fair portion more of straight-ahead blasting than did Welcome To Reality – album opener "Beneath the Concrete" does nothing to announce its presence before barreling into being, which ought to mark it out as ferocious and unexpected. Instead, it seems predictable.
The biggest problem, really, is that the album takes far too much time to gain any real, sustained momentum. An interesting riff pops up here and there, and the drums frequently lock into a furious blasting groove, but there is little use of the tension and contrast between the songs that made Welcome To Reality's similarly straight-forward metal approach add up to a greater whole.
Still, by the time "Mending the Hoop" and "Natural Law" swing around, it's time for some clenched-jaw mayhem. "Generations" is another brutal grinder, but it's actually not until the pairing of "Stagnation" and "Rise Above Despair" that the tenor of the album finally switches the unrelenting pace I've been craving all along. And for those of you keeping score at home, that pairing doesn't pop up until tracks 13 and 14 out of 17; too long to keep the expectant grind freak in 'standby' mode.
None of this is to suggest, however, that the album is some sort of unmitigated disaster (the "St. Anger Singularity," we might say). "Contamination" whips up my appreciative ire with sections of tremolo-picked harmonies that flirt with the darkness and flair of black metal, capped with an ambient outro that leads quite nicely into the folk-tinged "New Sun."
The overall sound of Resistant Culture remains essentially unchanged here from the previous album. If you imagine combining the thick, ritualistic tom abuse of Neurosis with the early thrashing fits of death/grind in the 1989 mold: Terrorizer's World Downfall, Bolt Thrower's Realm Of Chaos, and even whatever you'd care to call the midpoint between Napalm Death's From Enslavement to Obliteration and Harmony Corruption (which, out in '88 and '90, respectively, give us an average of 1989, natch). I still feel a bit iffy about using the term "tribal" to describe the band's drumming and use of indigenous folk musics, but the band itself embraces such language in its own press materials, so I shan't protest.
Where Welcome To Reality was masterfully sequenced and paced, this album takes far too long to get into gear for my taste; when it finally does hit that sweet spot towards the end of the album, though, it throws another batch of classically-structured and well-hybridized grind/metal/punk right in my scoffing, skeptical face. Serves me right.
On a rather odd note, the final track of the album is most strikingly reminiscent not of anything on Earache's roster from two decades ago, but rather of Sweden's own completely unfuckwithable malcontent, Bathory. For starters, the track is called "The Return," which obviously makes me want to climb a great craggy mountain and proclaim "It's the RETURN of the darkness and evil!!!" Apart from the nomenclature, though, take a second to just let the Resistant Culture track sink in. It's a fully ambient track, featuring a bed of flute, wind sound effects, along with sparse chanting and tribal percussion. In the back, though, is a muted yet insistent bass drum beat. Got it in your head? Okay, now run and grab your Bathory records. Take a spin through that outro track on nearly all of them (it's on the debut through Twilight of the Gods, and again on Blood On Ice and Nordland II). Of course it's not exactly the same thing, but the Bathory outros all feature a single ambient tone, while in the distance, a single bass drum tolls out a slow recitation of doom. I can't help but think of this as an homage, even if it was unintentionally done.
After all, everyone needs more Bathory in her life.
Overall rating, All One Struggle: 65%. If you dig the former, you'll still dig this latter platter, though I find the former warmer.
Resistant Culture is currently gearing up for what they are calling the Sacred Fire Tour throughout these United States. The tour coincides with reissues on Seventh Generation Records: All One Struggle on vinyl, and a third pressing of Welcome To Reality on CD.
The Sacred Fire Tour kicks off next week, with dates as follows. If you happen to live in the Chicago area, you would be especially well-advised to check out Resistant Culture's date here on October 9th, as they are participating in the fourth iteration of the Apocalyptic Crust Fest. Resistant Culture will be playing the third and final day of the festival, alongside Phobia and Dropdead. Check out more information on Apocalyptic Crust Fest here.
9/30 Wandering Goat
10/1 Satyricon
Portland. OR
10/2 The Morgue
10/5 Roman's
10/7 Rathole
10/9 The Black Hole
10/12 Token Lounge
10/13 Hexagon Space
10/14 Millcreek Tavern
10/15 The Lake Underground
10/16 AS220
10/17 Cambridge Elks Lodge
10/19 Volume 11 Tavern
10/20 Lenny's
10/21 Marauders
10/22 Broken Neck
10/23 No Thanks Fest
Emory, TX
10/24 The White Swan Live
10/26 Blast O Mat
10/27 One Mind Studio
10/28 Lucky Lady
10/29 Gilman
11/6 Common Ground
One cannot help but be reminded and enraged, after working through these Resistant Culture albums, of the plight of Native Americans and other indigenous peoples (First Nations, or whatever else you'd like to call them). This history of ruthless political exploitation and callous disregard is clearly a topic ripe for the politicized fury of punk and grindcore, but it also seems that the musical and cultural influence of these diverse communities has much to offer to heavy metal by way of artistic and aesthetic exploration. There are only a few contemporary albums that bring to mind these influences, most notably Tomahawk's Anonymous, and Nechochwen's brilliant 2010 album, Azimuths to the Otherworld. Resistant Culture is absolutely dissimilar in musical approach to either of those acts, of course, but I suspect this is fertile ground for a shared ethical and aesthetic approach.
The challenge, of course, is to pay tribute to this history and to the heritage of these indigenous peoples without coopting or tokenizing them. Heavy metal may not be particularly well sensitized for such a task, but the political and artistic potential is tremendous. Historical revisionism, after all, can only succeed when a complacent mainstream culture grows tired of calling 'bullshit' on the lies and omissions of officialdom.
The New York Times ran another story, just the other day, on what seems essentially like racial segregation and the production of guilt-allaying 'native' pageantry at the Pendleton Round-Up rodeo event in Pendleton, Oregon. The author of the story writes, "A century later [from the beginnings of this event], the mill still provides blankets, and families are still paid to appear, $5 per person each day at the arena. Beef and vegetables are provided, as are tokens for other food. The winner of the 'Best Dressed Indian Award' at the parade gets 50 silver dollars" (New York Times, 9/23/10).
Blankets. Think about that.
"Get the fuck outta here," says the horse
The Terrible Airplane – "2013" (2010)
Posted in Hardcore, Heavy Metal, New music, Reviews, tagged Amphetamine Reptile, Hammers Of Misfortune, Hardcore, Helmet, Isis, Lord Weird Slough Feg, Melvins, Metal, Mike Scalzi, Neurosis, Nirvana, Noise Rock, Reviews, Soul Coughing, The Jesus Lizard, The Terrible Airplane, Unsane on August 12, 2010| Leave a Comment »
The Terrible Airplane, 2013 (2010)
The Terrible Airplane is a two-piece band from Kansas, formed by brothers Mark (guitar, vocals) and Todd Woolard (drums). Their newest release is the full-length album 2013, on which they ply a somewhat unique blend of 90s-styled noise rock with post-hardcore flourishes and a taut, instrumental minimalism.
The vocals affect a number of different styles throughout the record, from a very loose 1990s rock croon, to a more impassioned tenor pitch occasionally reminiscent of Mike Scalzi (of the Lord Weird Slough Feg and Hammers Of Misfortune), to an impressively throaty hardcore bellow.
The instrumental approach seems to have the greatest affinity for the Amphetamine Reptile school of noise rock, flitting between straight-ahead rock and slightly angular metallic riffing. Imagine the sounds of Helmet, Unsane, or even Melvins and The Jesus Lizard (albeit at their least bizarre), and you're well on your way to grasping the sound of The Terrible Airplane.
Still, we're not talking about some nostalgia act, here. The band are at their best when taut, tension-building instrumental sections proceed measuredly, twitchingly, to their inevitable metallic payoff. These sections work not by virtue of instrumental virtuosity (you'll find no fretboard fireworks here), but rather through the patient pacing of their minimalist attack.
A few places on the record even approach the dynamics of everyone's favorite post-metal luminaries such as Neurosis and Isis, although the muted production keeps the sound closer to the rock/hardcore side of the auditory continuum. This is the case on "Projected Trajectory" and, especially, the 9+ minutes of "Efficiency Deficient," the latter of which is, for my money, the best song of the bunch.
As far as other individual songs go, the vocal chants in "Television" show The Terrible Airplane at their most Melvins-ish (think especially of the double-tracked vocals throughout much of Melvins' recent album Nude With Boots). "Radio Song," at a mere 1:30, is clearly intended somewhat ironically, though the fact that it sounds like nothing else so much as Soul Coughing attempting a cover of Nirvana circa Bleach muddies the ironic waters more than a little.
Moments like this inform one of my main criticisms of this record. Every now and then, such as on "Radio Song," and, particularly, the mellower sections of "Roleplaying the Audience," the band veers too close to the blandness of 90s alternative rock for my comfort.* This only crops up occasionally throughout the album, though, so it remains something of a minor nuisance.
One of the strongest showings on here is the relatively brief instrumental "Pandameet." Its sinuous take on song composition works very much to its advantage, jumping back and forth between off-kilter and straight-ahead rock rhythms quite deftly. In general, however, I think the band is at its most effective when they really stretch out, as on the above-mentioned "Efficiency Deficient." The tune starts off noisy before falling back into a ruthlessly minimal quiet section, and eventually crashes its way back with waves of slow, crushing stomp. It's at moments like this that I really want to hear things through a fuller production (adding a second guitar wouldn't hurt, either); this song could be absolutely fucking massive, where here such potential remains somewhat implicit.
This is a very strong showing from a promising band. For the most part, their songwriting weaves together some very disparate strands of rockish skronk, hardcore bluster, and carefully apportioned metal. My own preference would be to see these guys take their metal even further into METAL territory, leaving behind some of what sound to these ears like 90s anachronisms. Nevertheless, their instrumental attack is, as I keep rambling on about, incredibly taut, and they have a very persuasive grasp on tense song dynamics. Plus, their whole album can be streamed here, so really, what the fuck are you waiting for?
I, for one, would like to see some of the potential energy here go kinetic, because that shit could EXPLODE.
Overall rating: 70%. Compact noise rock sparks with carefully contained metallic undercurrents.
* For the record, this 'blandness' is quite effectively dispelled by the live version of "Roleplaying the Audience" also available on the band's Myspace page. Dudes are loud enough on record, but live, the loudness is louder, the drums crackle as they flail about, and the hardcore vocals rattle the ribcage. Do check it out.
Nails – "Unsilent Death" (2010)
Posted in Grindcore, Hardcore, Metal, New music, Reviews, tagged Black Breath, Brutal Truth, Disfear, Grindcore, Hardcore, Nails, Napalm Death, Nasum, Pig Destroyer, Reviews, Sludge, Southern Lord Records, Terror, Todd Jones, Unsilent Death on August 11, 2010| Leave a Comment »
Nails, Unsilent Death (2010)
Quiet Unlife
Okay, sure, so Nails may be one of the more hyped bands of 2010. Thing is, I was pretty much oblivious to all that hype, and just stumbled across this album at the record store a few weeks back. I had just read the news item that Nails had just signed to Southern Lord and were going to be reissuing this album, so I figured, why not pick up a copy of the Six Feet Under CD issue?
Holy shit, does this record smoke. I suppose the complaints about calling a 13+ minute release a 'full-length' are valid, but they sort of miss the point. And in fact, when these dudes get around to putting out another release, I think that will be the real test of their skills, because while this release is nearly perfectly crafted for its running time, it remains to be seen how this sort of material will be handled over a longer expanse.
Stylistically speaking, this record takes a little bit of everything nasty and grimy, throws it in a concrete blender, and lobs noise grenades unmercifully in your general direction. Sure, it's a bit grindcore, but more like old Napalm Death grind (circa From Enslavement to Obliteration, say) than any of the more modern crop of death/grinders (Pig Destroyer, newer Brutal Truth, Disfear, maybe even fellow Southern Lords Black Breath, and so forth). It's also a little bit crust, more than a little bit hardcore (this is Todd Jones, ex- of Terror, after all), with a bit of bruising sludge tossed in the slower parts of the two lengthier tracks on display.
Listening to the album, though, doesn't make it sound quite as much like a convoluted mash-up as I've just described it. One of the greatest things this album has going for it is its sense of fluid motion. The three-piece careens from one song to another with great finesse, while keeping the whole affair swathed in a gooey, rattling production, rather like fighting with a badger inside of a dumpster. They also use guitar feedback quite effectively, either in tight, staccato bursts, or as a way to transition between songs.
Also impressive is their ability to write actual songs, even crammed into 30 or 60 second bursts. "Scum Will Rise" is one of the most effective tunes on here, blasting through an identifiable verse-chorus structure before locking into a pummeling breakdown for its final ten seconds. It's precisely the sort of breakdown that metallers lacking in self-confidence might look askance at, but it's still far from hardcore thuggishness, so breathe easy, friends. No one will look down on you for stomping around like a maniac.
The guitar tone verges on the classic Swedish death metal sound, but it twins very nicely with the thick, dirty bass tone. In terms of composition, the bass typically follows or doubles the guitar, meaning the songs aren't generally very intricate, but exceedingly powerful and driven. The title track is a nice example of this, with its sullen, stomping death march feel.
I do hesitate to describe this as grindcore too much, but "Scapegoat" definitely shows Nails at their most Nasum-esque, while a song like "No Servant" is a bit more straight-ahead hardcore/metal with a slightly Slayer-ish guitar solo. Closing track "Depths" might just be the best one here, with its doomed-out opening riff playing like their own filthy version of Black Sabbath's classic tritone. The tune later breaks into some classic d-beat drum patterns, and eventually sludges its way to an equally doomed-out close after wrecking nearly everything in its path.
The album has a very nice sense of symmetry in its 'sides', with each batch of five songs blasting through four short, fast crust/hardcore/grind/death/whatever tunes before closing out with a longer, sludged-up capstone. I'm a sucker for this sort of thing, as it gives the album a sense of thoughtful unity, rather than just a bunch of pissed-off tunes slapped together.
All in all, this is some fierce, filthy noise, and Nails are definitely a band to watch. As I said above, I'll need to see what they can do on a 25 to 35-minute release before I'm thoroughly convinced, but Unsilent Death is ample cause to be excited for whatever it is that Nails do next.
Overall rating: 78%. Nothing much new, really, but sure as hell kicking the shit out of the old like it's going out of style.


text:
PGH and book designers
By Suzanne Robinson on July 19, 2021in Books, Design, Works
PGH was always interested in the design of her scores and record covers. She drew an elaborate cover for her first opera, Caedmon (1936), which resulted from her researches on early Medieval England. Her interest in book covers seems to have been revived from 1945 during her relationship with Paul Bowles, who mixed with the circle of writers and artists associated with Charles Henri Ford and Parker Tyler's avant-garde magazine View, published in New York from 1940 to 1947. Several issues of View in fact remain in her archive. Among the contributors to the journal that she knew, in addition to Bowles himself, were the artists Brion Gysin and Alexander Calder and she was to set the poetry of Wallace Stevens, subject of an interview in View's first issue.
In 1949 Hargail published Glanville-Hicks's Ballade, three settings of Bowles probably dating from 1947, with a surrealist cover drawn by Bowles (a facsimile appears in Peggy Glanville-Hicks: Composer and Critic). When Bowles's first novel, The Sheltering Sky, was published at the end of that year by New Directions, James Laughlin (founding publisher of New Directions) commissioned a dust jacket from Alvin Lustig (1915–55). Laughlin later reported that "watching him play with a pencil on a drawing pad, I thought that he had some special magic in his hands. Only at the end [of his life], when I knew he could not see the forms evolving on paper, did I realize that his creative instinct was akin to that of the poet or composer. The forms took shape in his mind, drawn from a reservoir seemingly as inexhaustible as that of a Klee or Picasso". Others describe his unique visual vocabulary and consider him to have been ahead of his time because of his typographic experiments and ability to symbolise the book's contents in abstract, geometrical designs—compare Lustig's design with the exoticism of the dust jacket for the Lehmann edition of the same year.
Another of Lustig's dust jackets was the one for the New Directions edition of Rimbaud's A Season in Hell, the subject of the ballet Glanville-Hicks composed in 1967 and perhaps the edition she and John Butler used in their preparation of a scenario.
More interestingly, when she came to compose the libretto for her opera The Transposed Heads, completed in 1953, she may have drawn on the Lowe-Porter translation published in New York in 1941. For that edition the title was printed within a large black box bordered by a creeping vine. The only colour note is some brown along the spine. A far more striking edition, however, was published in 1959. By then Glanville-Hicks had become the first American woman to win a commission for an opera, her opera based on Mann's story had been premiered in Louisville, broadcast all over the country and then revived in New York, and the piano-vocal score had been published by AMP.
In the wake of these achievements—possibly even as a result of them—Vintage commissioned a design from the art director and graphic designer Paul Rand, one of the most famous American designers of the century. In 1945 Rand had redesigned the logo for Knopf and in the same year his first dust jacket for Knopf was Mann's Tables of the Law. Steven Heller describes the image as "a dramatically lit, mortised photograph of the head of Michelangelo's 'Moses' partially covering the stacked lines of gothic type, which screamed out, 'The Law.' The solid brown background did not fill the entire image area but like a window shade stopped before reaching the jacket's bottom, leaving a channel of white space that gave an illusion of three-dimensionality against the base of the image. The jacket's ad hoc quality gives an impression that Rand cut and pasted the art and type together in an instantaneous burst of creative energy reminiscent of a Dada collage. In fact, he labored over his solution until he achieved the appearance of an accident, everything was precisely composed, yet slightly off kilter". Rand's cover for Nicholas Montserrat's Leave Cancelled (1945) was even more adventurous, incorporating bullet holes die-cut through the paper, something strikingly different to the Vintage jacket for the same book, depicting a naked woman lying between sheets in bed.
It is easy to see why booksellers were astonished at the boldness and striking colour of Rand's covers, beautifully exemplified by the cover of the 1959 paperback edition of Mann's The Transposed Heads. Combining blocks of vivid pink and orange—emblematic of the rich colours associated with Indian life and culture—with the lower square representing a patterned fabric such as seen in Indian block prints. The casually handwritten text is superimposed on a symmetrical hourglass shape representing the symmetry of the tale's transposed heads and bodies. The design is signed by Rand in the upper right-hand corner.
Perhaps PGH learned from the designers of View and New Directions, and the example of Rand, how the cover could promote the modernity of the contents. When the recording of her opera Nausicaa was released with a dim black photo on the cover she railed against the design, griping that she never got the covers she hoped for and that if only her blue-and-white design had been used it would have increased the recording's saleability. She would have been gratified to see that the cover of the 1995 CD recording of Nausicaa reinstated her colour scheme, the text laid among geometric boxes and superimposed over a shadowy white sculpture of a headless woman, thereby symbolising the women of ancient Greece.
View, May 1946. Cover by Jean Helion.
Paul Bowles, The Sheltering Sky. New Directions, 1949. Cover by Alvin Lustig.
Paul Bowles, The Sheltering Sky. John Lehmann, 1949.
Arthur Rimbaud, A Season in Hell. New Directions, 1945. Design by Alvin Lustig.
Thomas Mann, The Transposed Heads. Knopf, 1941.
Thomas Mann, The Transposed Heads. Vintage, 1959. Cover by Paul Rand.
Tags Paul Bowles, The Transposed Heads, Thomas Mann, View
By Suzanne Robinson on September 12, 2021

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Add a version of file to a existing file version(ContentVersion) I am trying to attach a versions of file with content Versions to a existing content version, i don't know how to do that...
actually i arrive to insert file but some duplicate file is present and i don't want to delete the duplicate file just add a versions on it.
let me show u my code :
    list<contentDocumentLink> ExistingContDocLink = [select contentDocumentId, contentDocument.title, contentDocument.LatestPublishedVersionId
                                         from contentDocumentLink
                                         where LinkedEntityId =: projet.id
                                         AND contentDocument.title = :pdfName];

                                         System.debug('ExistingContDocLink  : ' + ExistingContDocLink);

            List<ContentVersion> listversion = [select contentDocumentId, contentDocument.title from ContentVersion where ContentDocument.title = :pdfName];
    if(ExistingContDocLink.isEmpty()){
        // Il n'y a pas de doc, j'insère
       //if ther're not documents
         fl.ContentLocation = 'S';
         fl.PathOnClient = pdfName;
         fl.Origin = 'H';
         fl.Title = pdfName;
         fl.VersionData = boddy;

         insert fl;
        System.debug('apres insertion : ' + fl.title);

    }else {
   //here there're some document: here i try to add a verions of my document and  add in existing document finded.
              System.debug('listversion avant ajout  ' + listversion );

               fl.ContentLocation = 'S';
           fl.PathOnClient = pdfName;
           fl.Origin = 'H';
        fl.Title = pdfName;
         fl.VersionData = boddy;

         listversion.add(fl);
        System.debug('listversion ' + listversion );

         //update listversion;
        //System.debug('apres update');
    }

A:     List<ContentVersion> listversion = [select contentDocumentId, contentDocument.title from ContentVersion where ContentDocument.title = :pdfName];
    System.debug('listversion : ' + listversion);
    ContentVersion fl = new ContentVersion();

            fl.ContentLocation = 'S';
            fl.PathOnClient = pdfName;
            fl.Origin = 'H';
            fl.Title = pdfName;
            fl.VersionData = body;
        if (!listversion.isEmpty()){
        fl.ContentDocumentId= listversion[0].ContentDocumentId;
        }

   Savepoint sp = Database.setSavepoint();
   try{
           insert fl;
        if(listversion.isEmpty()){

        fl = [select ContentDocumentId from ContentVersion where id =: fl.Id];

        ContentDocumentLink cl = new ContentDocumentLink(
        LinkedEntityId = idProjet,
        ContentDocumentId = fl.ContentDocumentId,
        ShareType = 'I'
        );
        insert cl;
        }
     } catch(Exception e) {
         Database.rollback(sp);

        System.debug(e.getMessage());
        throw e;
     }

redpajama_set_name: RedPajamaStackExchange


text:
La escopeta recortada es un tipo de escopeta con un cañón más corto y, en la mayoría de casos, la culata acortada o eliminada.

Las escopetas recortadas están sujetas a varias restricciones legales según cada país o jurisdicción. En la década de 1930, en Estados Unidos, Reino Unido y Canadá se legisló que es necesario un permiso especial para poseer este tipo de armas. No siempre han sido herramientas de criminales, estas armas fueron y siguen siendo empleadas por Fuerzas Armadas y agencias policiales en todo el mundo.

Descripción
En comparación con una escopeta estándar, la escopeta recortada tiene un alcance efectivo más corto debido a la baja velocidad de boca y mayor dispersión de los perdigones. Su reducido tamaño la hace más sencilla de maniobrar y ocultar. Un arma tan poderosa y compacta es especialmente útil en espacios reducidos, siendo empleada por tripulantes de vehículos blindados y miembros de las fuerzas especiales. Para que las escopetas no sean fácilmente ocultables, muchos países imponen una longitud legal mínima para los cañones de estas. La mayoría de los fabricantes de armas de los Estados Unidos no venden escopetas recortadas al público, aunque existen empresas que legalmente pueden convertir la mayoría de los modelos de escopetas en este tipo de armas tras el pago de un impuesto federal de 200 o 5 dólares por transferencia de propietario.

Como su nombre lo indica, la escopeta recortada es habitualmente producida mediante la modificación artesanal de una escopeta estándar. En los países donde las pistolas y su munición aferente son escasas debido a restricciones legales o precios altos, se sabe que los criminales transforman armas de caza legales o robadas en armas ocultables. Para las organizaciones criminales, la disponibilidad de munición para cacería (obtenida legalmente o no) es otra ventaja de las escopetas recortadas. Sin embargo, esta práctica no se limita a los países en donde las pistolas son difíciles de obtener. Las escopetas recortadas se pueden fabricar por diversos motivos, como la reputación que han obtenido mediante su empleo en películas de acción.

El nombre de escopeta recortada se aplica generalmente a las armas ilegales que fueron literalmente creadas mediante el corte del cañón de una escopeta común. El recortado tiene un efecto mucho más drástico cuando se efectúa en escopetas de dos cañones o de un solo cañón, debido a que este puede recortarse a cualquier longitud. Las escopetas de corredera o semiautomáticas tienen un depósito tubular bajo el cañón, lo cual limita el corte del cañón a la longitud del depósito (aunque este también puede ser acortado, con la consecuente reducción en la capacidad de cartuchos). A las escopetas alimentadas mediante cargadores no se les reduce la cantidad de cartuchos cuando son recortadas, pero estas son menos comunes que aquellas con depósitos tubulares. Las escopetas fabricadas con cañones más cortos que la longitud legal mínima, a pesar de no ser escopetas recortadas, por lo general entran en la misma categoría que las escopetas modificadas ilegalmente.

Restricciones legales

Australia
A una escopeta no se le puede acortar el cañón, ya que esto modificaría su categoría de clasificación legal. Cualquier modificación a la longitud del cañón deberá ser aprobada por el Comisionado Jefe de Policía del respectivo estado.

Canadá
Las escopetas de cañón corto accionadas manualmente (no-semiautomáticas) no están prohibidas mientras el cañón conserve su longitud original. No hay longitud legal mínima para los cañones de escopeta mientras estos sean mayores de 26 pulgadas, por lo que en Canadá se encuentran disponibles escopetas con cañones de 8,5 pulgadas de longitud. Pero si a una escopeta con un cañón de 18 pulgadas de largo o más se le reduce la longitud de este por debajo de 18 pulgadas mediante corte o cambio de cañón (por cualquier persona que no sea un fabricante de armas autorizado), la escopeta pasa a ser un arma prohibida.

España
En España, el uso de las armas de fuego largas con cañones recortados está condicionado: sólo puede ser empleado por funcionarios especialmente habilitados.

Estados Unidos
Según el Acta Nacional sobre Armas de Fuego, es ilegal que un ciudadano posea una escopeta recortada moderna que emplee cartuchos con pólvora sin humo (con un cañón de una longitud por debajo de 18 pulgadas y una longitud total por debajo de 26 pulgadas) sin un permiso timbrado de la Agencia de Alcohol, Tabaco, Armas de Fuego y Explosivos, que necesita una extensa revisión de registros penales y una tarifa de 200 dólares por cada transferencia. Al contrario de las escopetas de cañón corto de avancarga, que no son ilegales según la ley federal y no necesitan permiso timbrado, pero pueden ser ilegales según las leyes de cada estado. Al igual que todas las armas controladas por el Acta Nacional sobre Armas de Fuego, se debe pagar un nuevo impuesto de timbre antes de cada transferencia. Los fideicomisos de armas se han convertido en un medio cada vez más popular de registrar escopetas de cañón corto en la AATAFE. Las transferencias inter-estatales deben efectuarse a través de un comerciante poseedor de la Licencia Federal de Armas de Fuego Clase III, mientras que las transferencias intra-estatales pueden efectuarse entre dos personas.

Se pueden aplicar restricciones adicionales en varias otras áreas. Las leyes estatales y locales pueden prohibir completamente la posesión de escopetas con cañón corto a los civiles (aunque estas restricciones no se aplican a las Fuerzas Armadas y departamentos policiales). Además, algunos tipos de armas de fuego que podrían considerarse dentro de la categoría Escopeta con Cañón Corto (ECC), no son legalmente consideradas ECC. Una escopeta es definida legalmente como un arma de fuego que se apoya en el hombro y dispara perdigones. Escopetas y cajones de mecanismos de escopetas que nunca tuvieron instalados una culata de cualquier tipo no son escopetas, ya que no pueden apoyarse en el hombro. Por lo tanto el cortar el cañón a una longitud por debajo de 18 pulgadas y una longitud total por debajo de 26 pulgadas no podrá crear una ECC, ya que el arma nunca fue una escopeta. La Agencia de Alcohol, Tabaco, Armas de Fuego y Explosivos identifica a estas armas como pistolas con cañón de ánima lisa y las incluye en la categoría Cualquier Otra Arma (COA). Al contrario de una ECC, una COA solo tiene un impuesto de 5 dólares y puede ser transportada entre distintos estados sin necesidad de aprobación federal. Sin embargo, para conservar su estatuto de COA, por lo general no debe tener una culata (haciéndola una ECC) o un cañón con ánima rayada (haciéndola un Aparato Destructivo (AD); una pistola con un calibre mayor a 12,7 mm). Las armas de la categoría ECC y AD precisan un impuesto de transferencia de 200 dólares y aprobación federal previa para su transporte entre estados.

Reino Unido
Una escopeta recortada a una longitud tal que el cañón mide menos de 30 cm o cuya longitud total es menor a 60 cm, es considerada una 'escopeta de cañón corto' y por lo tanto es un arma prohibida.

Empleo policial y militar
Las restricciones de longitud mínima y longitud del cañón solamente se aplican a las armas civiles. Las Fuerzas Armadas y los departamentos policiales pueden emplear escopetas con cañones cortos, por lo que los principales fabricantes ofrecen modelos especiales con cañones de longitudes situadas entre los 25 y 36 cm (10 y 14 pulgadas) como "escopetas antidisturbios" o "escopetas de combate" para ser empleadas en zonas con espacio restringido. Estos modelos son generalmente llamados "escopetas de entrada" debido a que son empleados para entrar en edificios, donde el tamaño reducido y la facilidad de maniobra son más importantes que la capacidad de cartuchos de una escopeta más larga. Las escopetas muy cortas también pueden emplearse para forzar puertas con cartuchos especiales, los cuales están cargados con una masa de polvo metálico y cera, aunque un cartucho cargado con postas o perdigones también sirve para el mismo propósito. Para forzar una puerta, la escopeta debe situarse cerca de la cerradura a una distancia de 0-5 cm (0-2 pulgadas) y dispararse hacia abajo en un ángulo de 45 grados entre la cerradura y el marco de la puerta. Tras penetrar la puerta, los fragmentos de masa se dispersan rápidamente y al ser disparados hacia abajo, se reduce el riesgo de herir a quienes se encuentran al otro lado de la puerta forzada. Las escopetas de entrada empleadas por la policía y las Fuerzas Armadas pueden tener cañones tan cortos como de 25 cm (10 pulgadas), muchas veces teniendo un pistolete en lugar de una culata completa. Algunos modelos emplean una extensión especial en forma de taza sobre la boca del cañón, para reducir aún más el riesgo de heridas causadas por esquirlas al tirador. Ya que solamente se disparan un par de cartuchos, cualquier escopeta con capacidad de tres cartuchos puede ser recortada y empleada como una escopeta de entrada.

Longitud del cañón y dispersión de los perdigones
El acortamiento de la longitud del cañón de una escopeta no afecta significativamente el patrón de dispersión de los perdigones, solamente si este es reducido a menos del 50% del patrón de dispersión original. El patrón es principalmente influido por el tipo de cartucho disparado y el choke, o estrechamiento que normalmente se encuentra en la boca del cañón de una escopeta. Al cortar el extremo del cañón se retira el choke, que generalmente solo se extiende unos 5 cm (unas 2 pulgadas) hacia adentro desde la boca del cañón. Esto produce un cañón con ánima cilíndrica, que causa la más amplia dispersión hallada generalmente en los cañones de escopeta. Para un patrón de dispersión aún más amplio se pueden emplear "chokes esparcidores" especiales o "cargas esparcidoras", los cuales son diseñados para ampliar el esparcimiento de los perdigones.

Empleo civil
En Reino Unido, Australia y Nueva Zelanda, donde las pistolas son difíciles de obtener, la escopeta recortada fue un protagonista casi común de los asaltos armados desde la década de 1960 hasta hoy, motivo por el cual la mayoría de las personas asocian esta arma con criminales. Sin embargo, en fechas recientes, las pistolas y réplicas de pistolas se han vuelto más disponibles en el Reino Unido a pesar del aumento de las restricciones legales sobre la posesión de pistolas por parte de civiles: las escopetas recortadas fueron empleadas en solo 157 asaltos armados de un total de 3727 asaltos en donde se utilizaron armas de fuego en Inglaterra y Gales entre 2004 y 2005, en comparación a los 2501 asaltos en donde se usaron pistolas.

La escopeta recortada con martillos visibles accionados manualmente y dos gatillos es conocida como lupara en Italia. Y a pesar de ser asociada con el crimen organizado, fue originalmente empleada por los campesinos y pastores sicilianos para proteger sus viñedos y rebaños. Yendo más lejos, en las zonas rurales del norte de la India es vista como un arma de autoridad y prestigio, siendo conocida como dunali (literalmente, "dos tubos"). Es especialmente común en  Bihar, Purvanchal, Uttar Pradesh, Haryana y Panyab.

El famoso Clyde Barrow modificó su escopeta semiautomática Browning A-5 recortando el cañón a la misma longitud del depósito tubular (haciéndola sumamente imprecisa) y acortando 5-6 pulgadas de la culata, haciéndola mucho más ocultable. Una pequeña correa de 10-12 pulgadas fue acoplada a ambos extremos de la culata del arma, pasada sobre el hombro y ocultando a esta entre el brazo y el pecho del tirador bajo su chaqueta, siendo transportada allí como una pistolera de hombro. La escopeta era rápidamente sacada y disparada desde el hombro en donde iba. Clyde la apodó "Whippit" (literalmente, azótalo), porque era capaz de emplearla con rapidez y facilidad.

En países como Colombia, Ecuador y Venezuela, los guardianes de seguridad privados, llamados guardas de seguridad o vigilantes, emplean escopetas de corredera recortadas. Por su sistema de recarga, se le da el nombre de changón, de fistol o pajizas.

El ligero peso de las escopetas de cañón corto, particularmente en configuraciones sin culata, lleva a que algunos tiradores empleen los cortos "minicartuchos" con menos perdigones y carga propulsora para tiro informal.

Notas

Escopetas

redpajama_set_name: RedPajamaWikipedia


text:
Q: JavaScript 1 minute countdown not working properly I created a simple 1 Minute countdown, but it seems not to be working I don't know why.
IT GIVES EXPIRED as response instead of the timer showing.

// Set the date we're counting down to
var setoneminutetime = new Date();
setoneminutetime.setMinutes(1);
var countDownDate = new Date(setoneminutetime).getTime();
//set interval for the actual countdown
var x = setInterval(function() {
    var now = new Date().getTime();
    //end time minus the current time
    var distance = countDownDate - now;
    var days = Math.floor(distance / (1000 * 60 * 60 * 24));
    var hours = Math.floor((distance % (1000 * 60 * 60 * 24)) / (1000 * 60 * 60));
    var minutes = Math.floor((distance % (1000 * 60 * 60)) / (1000 * 60));
    var seconds = Math.floor((distance % (1000 * 60)) / 1000);
    //show countdown  in div demo
    document.getElementById("demo").innerHTML = days + "d " + hours + "h " + minutes + "m " + seconds + "s ";
    if (distance < 0) {
        clearInterval(x);
        document.getElementById("demo").innerHTML = "EXPIRED";
    }
}, 1000);
p {
    text-align: center;
    font-size: 60px;
    margin-top: 0px;
}

A: setMinutes set the minutes to 1 of the current hour. Right now, it's 5:19PM, with setMinutes(1), the hour is 5:01PM. You need to get the current time and add 1 minute to it.

// Set the date we're counting down to
var setoneminutetime = new Date();
setoneminutetime.setTime(Date.now() + 1 * 60 * 1000); // Add 1 minutes to current timestamp
var countDownDate = new Date(setoneminutetime).getTime();
//set interval for the actual countdown
var x = setInterval(function() {
    var now = new Date().getTime();
    //end time minus the current time
    var distance = countDownDate - now;
    var days = Math.floor(distance / (1000 * 60 * 60 * 24));
    var hours = Math.floor((distance % (1000 * 60 * 60 * 24)) / (1000 * 60 * 60));
    var minutes = Math.floor((distance % (1000 * 60 * 60)) / (1000 * 60));
    var seconds = Math.floor((distance % (1000 * 60)) / 1000);
    //show countdown  in div demo
    document.getElementById("demo").innerHTML = days + "d " + hours + "h " + minutes + "m " + seconds + "s ";
    if (distance < 0) {
        clearInterval(x);
        document.getElementById("demo").innerHTML = "EXPIRED";
    }
}, 1000);
p {
    text-align: center;
    font-size: 60px;
    margin-top: 0px;
}

A: As others have mentioned you've set the Date minute to :01 not added one minute. A simple solution would be to define countDownDate as now + 60*1000.

A: This is explicitly setting the "minute" value of the Date to 1:
setoneminutetime.setMinutes(1);

So this will only work if you load the page exactly at the 0 minute mark of any given hour.  It looks like you intended to set it to the current minute plus 1:
setoneminutetime.setMinutes(setoneminutetime.getMinutes() + 1);

Note that this would also fail any time the current minute is 59.  You should be able to get around this by creating a whole new date out of the total epoch miliseconds and adding 60,000 (miliseconds) to that:
var setoneminutetime = new Date(new Date().getTime() + 60000);


text:
NICE, France (AP) - France's U.S.-friendly president sent a clear message yesterday to the next American administration: Plans for a U.S. missile shield in Eastern Europe are misguided and won't make the continent a safer place.
Nicolas Sarkozy also warned Russian President Dmitry Medvedev against upping tensions by deploying missiles on the borders of the European Union in response to the planned U.S. missile defense system. Medvedev urged all sides to refrain from "unilateral" moves.
Sarkozy's comments, at a summit with Medvedev, were the strongest to date by an American ally against the missile-defense plans - and undercut the rationale behind U.S. President George W. Bush's European security strategy.
The plans for using sites in Poland and the Czech Republic have infuriated Russia despite the Bush administration's insistence that they are aimed at protecting Europe from Iran.
"Deployment of a missile defense system would bring nothing to security ... it would complicate things and would make them move backward," Sarkozy said at a news conference with Medvedev. Medvedev smiled and pointed his finger at Sarkozy in approval.
The remarks came at the end of a week in which the United States and Russia rejected each other's proposed solutions to the standoff over the missile plans, making it increasingly likely that it will not be resolved before U.S. President-elect Barack Obama takes office.
Obama has not been explicit about his intentions on European missile defense, saying it would be prudent to "explore the possibility" but expressing some skepticism about the technical capability of U.S. missile defenses.
Moscow sees the defense plans as a Cold War-style project that could eliminate Russia's nuclear deterrent or spy on its military installations. Much of Western Europe is nervous about the idea of such major defensive weaponry stationed around the continent.
But Poland and the Czech Republic, where bad memories of Soviet domination run deep, hope Obama follows through on the plans.
Czech Deputy Prime Minister and Minister for European Affairs Alexandr Vondra said in a statement he "was surprised" about Sarkozy's remarks, made at an EU-Russia summit.
"France never consulted with us such a standpoint," he said. "As far as I know a stance on the missile defense was not part of the French presidency mandate for the EU-Russia summit." France currently holds the rotating EU presidency.
Sarkozy said he was worried about Russia's threat to deploy short-range Iskander missiles near Poland in response to the U.S. move.
"We could continue between Europe and Russia to threaten each other with shields, with missiles, with navies," he said. "It would do Russia no good, Georgia no good and Europe no good."
Medvedev suggested deploying missiles in the Baltic Sea enclave of Kaliningrad in a speech hours after Obama's election. Medvedev and other Kremlin officials later backed off slightly, and earlier this week Medvedev suggested that if Washington halts its plans, Moscow would do the same.
Sarkozy said he would discuss the missile issue with NATO counterparts at a summit early next year.
Copyright 2008 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.


text:
Shedding of Infectious SARS-CoV-2 Despite Vaccination
Kasen K. Riemersma, Brittany E. Grogan, Amanda Kita-Yarbro, Peter J. Halfmann, Hannah E. Segaloff, Anna Kocharian, Kelsey R. Florek, Ryan Westergaard, Allen Bateman, Gunnar E. Jeppson, Yoshihiro Kawaoka, View ORCID ProfileDavid H. O'Connor, View ORCID ProfileThomas C. Friedrich, Katarina M. Grande
doi: https://doi.org/10.1101/2021.07.31.21261387
Kasen K. Riemersma
1Department of Pathobiological Sciences, University of Wisconsin-Madison, Madison, WI, USA
Brittany E. Grogan
2Public Health Madison & Dane County, Madison, WI, USA
Amanda Kita-Yarbro
Peter J. Halfmann
Hannah E. Segaloff
3Epidemic Intelligence Service, CDC, Atlanta, GA, USA
4Wisconsin Department of Health Services, Madison, WI, USA
Kelsey R. Florek
5Wisconsin State Laboratory of Hygiene, Madison, WI, USA
Ryan Westergaard
6Department of Medicine, University of Wisconsin School of Medicine and Public Health, Madison, WI, USA
Allen Bateman
Gunnar E. Jeppson
7Exact Sciences, Madison, WI, USA
Yoshihiro Kawaoka
David H. O'Connor
8Department of Pathology and Laboratory Medicine, University of Wisconsin-Madison, Madison, WI, USA
ORCID record for David H. O'Connor
Thomas C. Friedrich
ORCID record for Thomas C. Friedrich
Katarina M. Grande
For correspondence: KGrande@publichealthmdc.com
The SARS-CoV-2 Delta variant is highly transmissible and contains mutations that confer partial immune escape. We compared RT-PCR cycle threshold (Ct) data from 699 test-positive anterior nasal swab specimens from fully vaccinated (n = 310) or unvaccinated (n=389) individuals. We observed low Ct values (<25) in 212 of 310 fully vaccinated (68%) and 246 of 389 (63%) unvaccinated individuals. Testing a subset of these low-Ct samples revealed infectious SARS-CoV-2 in 15 of 17 specimens (88%) from unvaccinated individuals and 37 of 39 (95%) from vaccinated people. To determine whether infectious virus titers differed in vaccinated and unvaccinated persons, we performed plaque assays on an additional set of 48 samples with Ct <25, finding no difference in infectious virus titer between groups.
Competing Interest Statement
The authors have declared no competing interest.
This work was supported by Centers for Disease Control and Prevention contracts 75D30120C09870 and 75D30121C11060 to D.H.O and T.C.F. The authors are also members of the Upper Midwest Regional Accelerator for Genomic Surveillance funded by the Rockefeller Foundation.
Author Declarations
I confirm all relevant ethical guidelines have been followed, and any necessary IRB and/or ethics committee approvals have been obtained.
The details of the IRB/oversight body that provided approval or exemption for the research described are given below:
The University of Wisconsin-Madison IRB office has confirmed that this project qualifies as public health surveillance activities as defined in the Common Rule, 45 CFR 46.102(l)(2). As such, the project is not deemed to be research regulated under the Common Rule and therefore, does not require University of Wisconsin-Madison IRB review and oversight. The opinions expressed by authors contributing to this journal do not necessarily reflect the opinions of the Centers for Disease Control and Prevention or the institutions with which the authors are affiliated.
I confirm that all necessary patient/participant consent has been obtained and the appropriate institutional forms have been archived, and that any patient/participant/sample identifiers included were not known to anyone (e.g., hospital staff, patients or participants themselves) outside the research group so cannot be used to identify individuals.
I understand that all clinical trials and any other prospective interventional studies must be registered with an ICMJE-approved registry, such as ClinicalTrials.gov. I confirm that any such study reported in the manuscript has been registered and the trial registration ID is provided (note: if posting a prospective study registered retrospectively, please provide a statement in the trial ID field explaining why the study was not registered in advance).
I have followed all appropriate research reporting guidelines and uploaded the relevant EQUATOR Network research reporting checklist(s) and other pertinent material as supplementary files, if applicable.
The key changes in this revision are: - Lengthened text to provide additional details and cite additional recent papers
Data and processing workflows are available at https://go.wisc.edu/p22l16. To protect potentially personally identifiable information, the publicly available dataset contains only PCR Ct values, vaccine status, symptom status, culture status, and days from symptom onset to testing for each specimen.
https://go.wisc.edu/p22l16
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Wales | Cymru
Coastal reads, culture, marine life, wildlife
My Favourite Seaside Book
Posted on July 12, 2020 by Nick
There are few books that leave such an impression on a young mind so powerful as to sculpt the entire direction of ones life. But occasionally one comes along with such power that somehow it magnetises you so strong, that you get drawn under its spell. Books formed a very special part of our upbringing, it came from my grandmother side who taught me that books where hugely important and that knowledge was a powerful tool when learnt and applied. To this day, books form a very special part of my life. These days its audio books, but still I have two to three book subscriptions that I set time aside to learn deliberately each day. My favourite seaside book was part of small library of such books that where in our family book shelfs.
I was surrounded by books about the sea as a young one, but one stood out head and shoulders above the rest. It was rather special to say the least. I can remember taking everywhere I went, studying the images illustrations and being in awe of the detail of the wonderful species that where in their watery element. This one book impacted me in such a way that, it burned its way deep into my subconscious and drove most of the larger decisions that I made as an adult (unknowingly) to do with career, living location, hobbies, passions and even friends.
I had all but forgotten about this one book until summer of last year, whilst at a car boot sale I spotted its sister book which jogged a distant memory. This led in turn, to me searching far and wide for its companion book, which took me a year to track down. It went out of publishing in 1988 and was released in 1980 (The year I was born coincidentally) The book I found, was part of a series of books released by Treasure press publishing (now ceased to exist) and that all but a few coins have disappeared but for a few. I have been buying them up hand over fist because of they're power and beauty and giving them to special friends and fellow water babies like myself.
The book was called " A hand guide to the Sea Coast " and it was just beautiful. It literally changed the coarse of my life, I joke not. I became an oceanographer, marine geologist, naturalist writer, British champion sailor and junior welsh team fisherman and overall edict of the watery element. It was that powerful. I have thought about this book for moths now after finally getting my hands on it again after a 30 year gap from one another, I can tell you know it was like Christmas multiple times over!, I think I even slept with it in my bed once. So what was it about this book ? I've come to realise it was one large component that I was so drawn to.. It was the illustrations.
The illustrations are so vivid and beautiful that they called to me on a very creative level, maybe I have a bent towards images for learning, what ever it was it was pretty amazing. So today I tracked down the amazing illustrator of the book, a wonderful genius of man named Denys Ovenden. The gifted man spent many many years illustrating beautiful books all his life it seems and left the most powerful legacy to show the world for many many decades to come. Sadly Denys passed last year in November 2019 aged 97- which was rather disappointing to me, as I was searching or his books and works to track him down as he was juts leaving us. I was going to track him down and arrange a meet to tell him my story and thank him for how powerful his illustrative work impact day life. but there we go such is life.
I took some pictures of how beautiful these illustrations are in the book, see below.
I think you'll agree they are magnificent and there are over 123 pages of these… They are beautiful.
Below are images of the Illustrator Denys Overden, living his passion and working his magic.
Illustrator legend Denys Ovenden at work
Bio on Denys Ovenden :
Denys Ovenden (1 April 1922 – 26 November 2019) was a British natural history illustrator. His preoccupation with drawing began very early, since there are drawings on the fly-leaves of books from that period. His natural history interest began.
Watercolor is the basic medium for his work, with occasional gouache for highlighting or detail. His preferred working surface is a fashion type board, CS2 not surfacebeing the favorite.
Reference sources are most important, and Denys uses a body-live, pinned or pickled, to work from, as pinned and set specimens can be misleading due to shrinkage, discoloration or loss of parts. He does use photographs although these vary enormously in terms of color bias. He uses textbook or specialist handbooks to confirm details of mouth parts, wing venation and other identification features.'
Denys Ovenden began his studies at Hornsey College of Art in 1938, with a five-year break from 1942 to December 1946 in the Royal Engineers, most of which was spent in North Africa and Italy. In 1950 he began working as a freelance illustrator, for London Zoo, The Radio Times, Crawfords Advertising Agency and Collins. A lot of time was also spent working with fellow ex-students at the Waverly Studio.
In 1961 Denys Ovenden went to work on the part-work, Understanding Science, where he met Michael Chinery, a close and valued friend to this present time. With Michael he began a new phase of work for William Collins, first on Field Guide to the Insects of Britain & Northern Europe, then the ground-breaking Reptiles & Amphibians of Britain & Europe. This was followed by a number of other books for Collins, including entry level hand guides to Wild Animals and The Sea Coast.
In 1987 ten plates were prepared for Harley books, Grasshoppers and Allied Insects of Britain and Ireland. There followed the Collins Guide to Freshwater Life a small share in the Collins Fungi Guide. Denys was commissioned by the Open University to prepare a poster accompanying David Attenborough's BBC series Life in Cold Blood. After a period of 15 years' work, Galápagos, a Guide to the Animals and Plants. This finally went to print after the addition of illustrations two other recently discovered rodents and the elusive pink iguana.
Ovenden died in November 2019 at the age of 97.(Wikipedia)
Natural history illustrator legend Denys Ovenden.
How did this book link with my formative years?
As a 5 year old I can remember being truly mesmerised by the ocean and what lies beneath it. I was drawn heavily to the amazing array of species that gathered under its silvery surface and lurked in the depths. Fishing and crabbing became a very early part of my life and where common place in my upbringing from age five onwards I would be down at the beach lifting up rocks and exploring what species at low water marks had to offer. This transpired would be the making of a life long love, with the ocean and its ways. The book with its delight full images drove my inquisitive nature and made me wonder even more greatly what lied beneath the waters.
My mothers two bothers where both boat builders and fishermen, both clever guys who where men of the land in different ways. David, my mothers youngest brother was an excellent fishermen, who taught most of the boat builders, fishermen on Anglesey to this day. He was the pro fisherman of the island and was well respected. On a mackerel fishing outing juts the other day, a lobster pot man by the name of Chris came to ask how I was getting on and we began talking (Chris it turns out was best friend with Dewi Pierce the boat builder and fisherman and was taught by him, Chris even has his old boat moulds). Chris it turns out is the coxswain of trearddur bay life boat also! We exchanged Mackerel for Edible crab and shock hands on a deal. We shall reconnect in the next weeks to talk.
The book took me a year to find online and I'm pretty savvy with the internet so if you want to find it here is the golden tip search on amazon " a handguide to sea coast " in amazon under book s and you will find it and its sister companion books which are the most beautiful I have come across in years. All are illustrated by Denys. Click this link here if you want a direct link.
Anyhow this was more of a little self directed blog about something that was very special to me, that I know will have the same impact on children's lives, so maybe get one of the next Jack cousteaux of the oceans, god knows we need some more for sure.
Some books that where illustrated by Denys Ovenden below :
Denys, also illustrated many other books, I've complied a list below for you : They contain some of the most stunning natural history images of the Uk and European wildlife I have seen on my travels :
Photo by Ben Whiteon Unsplash
an Y Tro Nesaf / Until the next time,
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This entry was posted in Coastal reads, culture, marine life, wildlife and tagged Coastal books, Coastal marine life books, Coastal reads, Foreshore books, marine life anglesey, north Wales seaside books, Seaside books, seaside books for anglesey.
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Produced and directed by Magnolia Lowe for 50 Kaliber Films. The Graham (Polly) Farmer Foundation's Follow the Dream Program, supported by BHP Billiton in Western Australia, helps aspiring indigenous students to reach their academic and career potential. Hear the students' dreams & from those who've already benefited.
The Graham (Polly) Farmer Foundation's first education project, Gumala Mirnuwarni (Coming Together to Learn), was established in Karratha in 1997. Some 17 years later, it has been successfully replicated across Australia in 26 communities in Western Australia, South Australia, the Northern Territory and New South Wales. More than 642 Aboriginal students have graduated from the programs and currently there are around 1000 Aboriginal students participating in one of the Foundation's 30 programs.
This entry was posted in Documentary, Education, Not for profit and tagged 50 Kaliber Films, BHP Billiton, Hon. Fred Chaney, Polly Farmer Foundation.


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Q: Proof explanation of Katz and Mazur's "autoduality theorem" for elliptic curves I am currently studying Katz and Mazur's book "Arithmetic Moduli of Elliptic Curves" and I face difficulties understand a part of the proof of theorem 2.5.1, page 77 in the book (available here, page 44 in this pdf). The statement I would like to show is the following.

Let $S$ be a scheme and $E/S$ an elliptic curve. The structure of $S$-group-scheme on $E/S$ given by Abel's theorem (cf. 2.1.2, p.63 in the book, p.37 in the pdf) is the unique structure of $S$-group-scheme for which the section $"0"\in E(S)$ is the identity.

To show this, we consider $K:E\times_SE \rightarrow E$ a structure of $S$-group-scheme on $E/S$ having $"0"$ as the identity. We want to show that for any $S$-scheme $T$, for any $P,Q\in E(T)$, we have $$K(P,Q)=P+Q$$
To do this, we reduce to the case $T=S$ by base change. Then, we fix $P\in E(S)$ and define the $S$-morphism $f_P:E\rightarrow E$ by $$f_P(Q)=K(P,Q)-P$$ and we want to show that this is the identity on $E$.
After some arguing (cf. the book), we prove that $f_P$ actually is an automorphism of $E$ for its "Abel's theorem" structure. Then, the last part of the proof goes like this:

Viewing $P$ as a variable, ie making the f.p.p.f. base change $E\rightarrow S$, we may apply the rigidity theorem (cf. 2.4.2, p.76 in the book, p.44 in the pdf) to the homomorphism $$f_P-\operatorname{id}:E_E\rightarrow E_E$$ of elliptic curves over the base $E$. This homomorphism is zero for $P=0$, ie over the zero-section of the base $E$. As the zero section meets every connected component of $E$, this implies $f_P=\operatorname{id}$ over all of $E$, in particular for any $P\in E(S)$. Therefore, $K(P+Q)=P+Q$ as required.

This conclusion sounds to me somewhat tricky and I can't get a clear mind about what is going on here. Actually, I find this base change quite confusing. I do not understand to what extent it makes $P$ the variable, as stated. I do not get what object is now refered to as the "zero-section of the base $E$" (is it $0\in E(S)$? Or in $E(E)=E_E(E)$ after base change?). And lastly, I absolutely do not see why the zero section (in $E(S)$ ?) meets every connected component.
Could someone please provide some details about what is happening here? I would be truly thankful.


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Jacques de Molay Biography
(Religious Leader)
Born In: Molay, Haute-Saône, France
Jacques de Molay, alternatively spelt "Molai", was a member of the Knights Templar and served as its 23rd and final Grand Master between 1292 and 1312. While very little information is available on his personal life and deeds before he became the Grand Master, he is one of the most famous Templars in history. As Grand Master, his ultimate objective was to bring about drastic reforms to the Order. He also wanted the Order to adapt to the new circumstances in the Holy Land in the waning days of the Crusades. The powers in Europe had become reluctant in their support for the Crusades, and various forces had begun actively campaigning for the Order to be dissolved, so they could lay claim to the wealth of the Templars. King Philip IV of France, who had incurred massive debt to the Order, imprisoned Molay and several other Templars in 1307 and put them through severe torture to acquire false confessions. Philip eventually executed Molay by burning him upon a scaffold on an island in the River Seine in front of Notre-Dame de Paris in March 1314. This brought the two-hundred-year-old order to a sudden and violent end. Since then, both the Templars and Molay as its last leader have become subjects of stories and legends.
https://commons.wikimedia.org/wiki/File:JacquesdeMolay.jpg
(Bibliotheque Nationale de France [Public domain])
Spiritual & Religious Leaders #90
Pope Clement V
Saint Sebastian
Bernadette Soub...
Charles I, Duke...
Also Known As: Molai
Born Country: France
Spiritual & Religious Leaders French Men
Died on: March 18, 1314
place of death: Paris, France
French People
French Spiritual & Religious Leaders
Not much is known about Molay's childhood and upbringing. He was originally from Molay, Haute-Saône, in the County of Burgundy, and was likely born at a time when the region was controlled by Otto III as part of the Holy Roman Empire of the German Nation.
The exact year of his birth is a matter of scholarly debate. According to some sources, he was 21 years old when he was knighted in 1265 and was about 70 years old when he was burned upon a scaffold in 1314. This implies his birth year to be 1243 or 1244.
In 1265, he was made a member of the Knights Templar in a chapel at the Beaune House, by Humbert de Pairaud, the Visitor of France and England. The ceremony was also attended by Amaury de la Roche, who served as the Templar Master of the province of France.
Like most other Templars, Molay likely hailed from a minor noble family. Around 1270, he travelled to the East (Outremer). Little is known about his activities in the ensuing 20 years.
The Grand Master of the Knights Templars
In 1291, after the Crusaders lost the city of Acre to the Egyptian Mamluks, the Catholic Europeans or "Franks" fell back to the Island of Cyprus. It served as the base for the dwindling Kingdom of Jerusalem, as well as the starting point for all military excursions by the Crusaders against the Egyptian Mamluks. During this period, the Templars were led by Thibaud Gaudin, their 22nd Grand Master.
In the autumn of 1291, during a meeting in Cyprus, Molay revealed the reforms he was going to bring to the Order if he were to replace Gaudin as the Grand Master. Gaudin passed away in 1292, and in the absence of any other serious contenders, Molay was selected as the 23rd Grand Master.
In the spring of 1293, he visited various European kingdoms to garner more support to take back the Holy Land. He fostered close friendships with the likes of Pope Boniface VIII, Edward I of England, James I of Aragon, and Charles II of Naples.
His immediate objective was to fortify the defence of Cyprus and recreate the Templar forces. Because of his travels, he was successful in acquiring the permission from some of the rulers for the transport of supplies to Cyprus but failed to secure a firm commitment for a new Crusade.
Between 1299 and 1303, he organized and executed a new attack on the Mamluks. The idea was a collaboration between the Christian military orders, the King of Cyprus, the nobility of Cyprus, the forces of Cilician Armenia, and a new possible ally, the Mongols of the Ilkhanate (Persia). The coalition was supposed to reclaim the coastal city of Tortosa in Syria.
In 1300, Molay and the Templars took part in raids along the Egyptian and Syrian coasts. Later that year, the Cypriots mustered a larger force to mount an attack on Tortosa. They used the Ruad island as their launching point. However, the Crusaders suffered a drastic defeat at the Siege of Ruad in September 1302. They lost the island, their last foothold close to the mainland.
After the Crusaders were routed from Ruad, Molay decided to change tactics and advocate for a new crusade. He also sought to increase the influence of the Templar authority in Cyprus and helped Amalric depose his brother, Henry II of Jerusalem, and become the new king of Jerusalem.
Dispute with Philip IV of France
In 1305, Pope Clement V, who had newly assumed the office, wanted to know the opinions of the leaders of the military orders on a new crusade and unification of their orders. Molay submitted memoranda on both issues. While he supported the notion of a new crusade, he refused to entertain the thought of merging the orders.
King Philip IV of France had amassed a huge debt to the Templars. He advocated for the Orders to be merged under his leadership. That would have made him Rex Bellator or War King. Molay rejected this as well.
Furthermore, Philip was disputing the papacy at the time. He had briefly imprisoned Pope Boniface VIII and possibly poisoned his successor, Pope Benedict XI. Benedict's successor Clement was French, and Philip controlled him.
During this period, there were accusations against the Order of misconduct during the initiation ceremony, made by expelled former members. Molay requested the pope to conduct an enquiry on the matter, hoping that the Order would be quickly absolved of the charges. He also met Philip and received some reassurances from him.
Arrest, Torture, and Execution
Initially, the Templars faced five charges, including the renunciation of and spitting on the cross during the Order's initiation ceremony. Later, the number of charges increased by several times. Amidst all the rumours and allegations, on September 14, 1307, Philip made his move, ordering a mass arrest of all Templars present in his domain. His agents were to execute the order at dawn of 13 October.
On 12 October, Molay attended the funeral of Catherine of Courtenay, serving as a pallbearer. He and sixty other Templars were apprehended on the following dawn. Philip levelled heresy and other charges against them, most of which were similar to the charges he brought against Pope Boniface VIII when he was in French custody.
Molay was put through severe torture by royal agents at the University of Paris on 24 or 25 October, and was forced to admit that the initiation ceremony of the Templars was comprised of, among other things, "denying Christ and trampling on the Cross".
Furthermore, he was compelled to write a letter demanding every Templar to confess to these acts. Philip coaxed Clement V to issue an arrest order of all Templars throughout the Christendom.
The pope still sought to interrogate Molay himself. Molay subsequently retracted his confession in front of papal agents. However, in another interrogation, conducted in the presence of both papal and Philip's agents, he reverted to his forced admissions of 1307. On March 12, 1312, a papal decree perpetually suppressed the Order.
Philip confiscated all the property and wealth owned by the Order and its members, effectively nullifying the debt he owed them. On March 18, 1314, Molay was burned upon a scaffold on an island in the River Seine in front of Notre-Dame de Paris.
See the events in life of Jacques De Molay in Chronological Order
Jacques de Molay Bio As PDF
- Jacques de Molay Biography
- https://www.thefamouspeople.com/profiles/jacques-de-molay-38459.php
Charles I, Duke of Brittany
Pope Adrian I
(Indian)
Bede
Celebrity Names With Letter J | Male Celebrity Names With Letter J


Arithmatics and Patwari (, 110 KB); Arithmetic 8 Nov 2017 Mensuration (Patwaris Mensuration manual) Basic duties of Patwaris Inspection of records of Patwari and grant of certified extracts therefrom 21 Dec 2017 Mensuration (Patwaris Mensuration manual).
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text:
Toni Pfanner
Former Editor-in-Chief of the International Review
Dr. Toni Pfanner was the Editor-in-Chief of the International Review of the Red Cross from the beginning of the year 2002 until the end of the year 2010.
Editorial: Environment
The Paul Reuter Prize 2009, Presentation Ceremony, Geneva, 15 July 2010. Recipient: Dr. Théo Boutruche
Address by Dr. Toni Pfanner, member of the Paul Reuter Fund Committee
Editorial: Urban Violence
Editorial: Women
Editorial: International Conference of the Red Cross and Red Crescent
Editorial: Displacement
Various mechanisms and approaches for implementing international humanitarian law and protecting and assisting war victims
This article presents an overview of the mechanisms for improving the lot of people affected by armed conflict. Some are anchored in international humanitarian law, but increasingly, multiple actors contribute to implementing this law outside its original implementation framework. This may result in different approaches to ensuring compliance with international humanitarian law: judicial recourse, public pressure on parties to a conflict, or even recommendations of the use of force. Nevertheless, humanitarian action unattached to any political agenda is often the only means of improving the situation of the victims of armed conflicts.
Editorial: War victims
Wars may create winners and heroes, but they also generate suffering and sacrifice. A victim, in the etymological sense, is in fact a living creature sacrificed in religious rites. The German translation of victim ('Opfer') reflects these ideas of sacrifice and suffering, which remain important even in armed conflicts that do not have religious connotations. Contrary to the well-defined battles of the Middle Ages, modern wars – where the distinction between combatants and civilians is blurred and even deliberately disregarded – often demand the sacrifice and suffering of the whole population. War victims are therefore ubiquitous, increasingly recognized and often represented by organizations that compete even amongst themselves to draw attention to their specific plight and to make known the injustices done to them. More than this, a sense of self-perceived collective victimhood emerges as a major theme in societies involved in intractable conflicts, and forms a fundamental part of the collective memory of the conflict.
Editorial: Typology of armed conflicts
The Human Security Report and the Stockholm International Peace Research Institute (SIPRI) have documented a significant decline in the number and severity of armed conflicts since the end of the cold war. However, the 2008 edition of the Center for International Development and Conflict Management's Peace and Conflict study indicated that this overall decline in conflicts had stalled. There are different methods of measuring and classifying wars, be it from a historical, behavioural, psychological, economic, sociological or political point of view.
Editorial: Direct participation in hostilities
The phenomenon of civilians taking part in hostilities occurs in all war situations. In the recent conflict in Gaza, controversy raged over whether Israel used indiscriminate force, as the majority of victims were said to be unarmed civilians. Israel defended its actions by claiming that most of the fatalities were Hamas fighters or civilians opposing Israeli forces. In the Iraq war, militias and other fighters not in uniform challenged the world's strongest military power. In Afghanistan the distinction between a peaceful Afghan and a Taliban fighter is difficult to make, often leading to civilian casualties. In Sri Lanka a quarter of a million people – fighters of the Liberation Tigers of Tamil Eelam (LTTE) crammed together with the civilian population – were trapped in an area of 250 square kilometres amid intense fighting. In every internal conflict there have been insurgents who were farmers by day and fighters by night. The fighting civilian, seeking protection through a 'revolving door' by again becoming a peaceful peasant, makes it harder for the opposing armed forces to respond effectively and may lead them to conduct erroneous or arbitrary attacks against civilians.


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Большая литературная премия Поля Морана () — литературная премия, учрежденная в 1977 Французской академией. Присуждается раз в два года автору-франкофону за совокупность произведений. Чередуется с Большой литературной премией Французской академии. Денежный эквивалент премии составляет 45 тыс. евро.

Лауреаты премии

 1980 — Жан-Мари Гюстав Леклезио
 1982 — Анри Поллес
 1984 — Кристин де Ривуар
 1986 — Жан Орьё
 1988 — Эмиль Чоран
 1990 — Жан Франсуа Деньо
 1992 — Филипп Соллер
 1994 — Андре Шедид
 1996 — Марсель Шнейдер
 1998 — Даниель Рондо
 2000 — Патрик Модиано
 2002 — Жан Поль Кауфман
 2004 — Жан Ролен
 2006 — Жан Эшноз
 2008 — Жак Рубо
 2010 — Оливье Ролен
 2012 — Патрик Гренвиль
 2014 — Жиль Лапуж
 2016 — не присуждалась
 2018 — Шарль Данциг
 2020 — Валер Новарина

Ссылки

 Grand prix de littérature Paul Morand — Académie française

Литературные премии Французской академии
Списки лауреатов премий
Награды по алфавиту