Between 14:50-15:30 on Monday 5th November, our Academic Director Christophe Sauerwein will be hosting an interview with Dr Neil Brener who is is a Consultant Psychiatrist. Dr Brener has a private practice in Harley Street, the City and at Roodlane Medical Group in Canary Wharf. He is an expert in preparing psychiatric reports for leading firms of solicitors across the UK. Dr Brener has dedicated his career to the understanding and treatment of mental health issues and specialises in how addictions and co-existing disorders need to be treated concurrently. He appears on television news programmes, documentaries and audience discussion shows as well as regularly contributing articles to the national press. He presents regularly both in the UK and internationally on the treatment of addictions, anxiety and depression.
Is there a specific addiction problem in the City?
Is addiction any different in City Workers?
In a post Brexit City what will happen to the treatment of addiction and other mental health problems? Having collectively worked in the City for over twenty years the panel will attempt to answer these questions. The session will look at treatment and the changing attitudes to addiction and mental health in the City.


text:
Aerosols Release More Smog chemicals than Vehicles
By Lucie Benn on April 28, 2021
Household Aerosols products emit more harmful volatile organic compounds which cause air pollution than all the vehicles in the UK. A new study was done by the University of York and the National Centre for Atmospheric Science unveiled that the picture is damaging globally with the world's population now using huge numbers of disposable which have more than 25 billion cans per year.
This is estimated to lead to the release of more than 1.3 million tonnes of volatile organic compounds air pollution each year. This could rise to 2.2 million tonnes by 2050.The chemicals used in compressed Aerosols are predominantly volatile organic compounds chemicals which are also released from cars and fuels. The report says the Volatile Organic Compounds currently being used in aerosols are less damaging than the ozone-depleting CFCs they replaced in the 1980s. However, in the 80's when key international policy decisions were made, no one foresaw such a large rise in global consumption.
In the presence of sunlight, Volatile Organic compounds combine with a second pollutant, nitrogen oxides, to cause photochemical smog which is harmful to human health and damages crops and plants.In the 1990s and 2000s by far the largest source of volatile organic compounds pollution in the UK was gasoline cars and fuel, but these emissions have reduced dramatically in recent years through controls such as catalytic converters on vehicles and fuel vapour recovery at filling stations.
Researchers found that in high-income countries 10 cans of Aerosols are used per person per year with the largest contributor being personal care products.The report authors are calling on international policymakers to reduce the use of Volatile Organic Compound in compressed, either by encouraging less damaging propellants like nitrogen or advocating the use of non-aerosol versions of products. At present VOCs are used in around 93% of Aerosols cans.
The authors conclude that the continued use of when non-Aerosols alternatives exist is often down to the continuation of past consumer habits. And that the role played by Aerosols volatile organic compounds emissions in air pollution needs to be much more clearly articulated in messaging on air pollution and its management to the public.
Published in News and Power & Energy
UK was gasoline cars and fuel
Volatile Organic Compound in compressed
Lucie Benn
Highly knowledgeable in her field, Lucie D. Benn is the sub-editor at Chemicals News and boasts of a post-doctoral degree in chemistry. Before joining the editorial team of Chemicals News, Lucie has an elaborate career history as a science writer and was also directly associated with various international news channels as an R&D expert. However, her love for science and dexterity in expressive writing is unparalleled, which explains her current job role. Her expertise in editing is well reflected in her dedicated work style. An adept in the practices of professionalism, time-based delivery, and team management role, Lucie is a perfect fit in our organization. Besides her regular job as a sub-editor at Chemicals News, she also organizes various engagement programs in the office to develop the highest standards of teamwork, collaboration, and knowledge exchange that render improved output and productivity.
More from Power & EnergyMore posts in Power & Energy »

redpajama_set_name: RedPajamaCommonCrawl


text:
Robert Beyer
Detroit Pistons Head Coach
Bob Beyer played three seasons with Alfred's basketball team, serving as an assistant coach during his senior year before graduating with his BA in history and minors in coaching, writing, and secondary education. He continued his education at the University of Albany where, as a graduate student, he was an assistant coach for the Albany Great Danes men's basketball team.
After earning his master's degree in curriculum planning and development, he pursued numerous assistant coaching positions for Siena College, University of Wisconsin, Northwestern University, and Texas Tech. He has also worked as an assistant coach in the NBA for the Toronto Raptors, Orlando Magic, the Golden State Warriors, and the Charlotte Bobcats. In 2014, he was one of three assistant coaches hired to work for Stan Van Gundy, the Head Coach of the Detroit Pistons. He was promoted to Head Coach and continues to work with this team.


The Classic Ikon series has become one of the most popular Wüsthof series in a short time. Not unexpectedly, because it is a fabulous combination of classic and modern.The Classic IKON series not only stands out because of the design but also because of the ergonomics of the handle. The knives are balanced in a way which allows you to enjoy the ultimate cutting pleasure.
Exceptional quality and extremely sharp!
The knife meets my generally high expectation. It is designed for kitchen work, but also applicable as a steak knife. The edge is very sharp, although can be improved further with a leather strop.
Another excellent knife by Wusthof!
Really nice product. Delivery on time.
Wüsthof Classic IKON Granton Santoku Knife 17 cm (6.5") High quality forged Japanese Cook's knife with Hollow Edge. Handle/ Blade: Black POM & X50CrMoV15 Stainless Steel. Blade length: 17 cm / 6.5 inch.
Wüsthof Classic IKON Vegetable Knife 8 cm (3") High quality forged Wusthof Classic Ikon vegetable knife. Handle/ Blade: Black POM & X50CrMoV15 Stainless Steel. Blade length: 8 cm / 3 inch.
Wüsthof 7295 cutting board, 40x25x3cm Luxury cutting board, made of heat treated beech wood.
Skerper Paddle Strop STP001, stropping paddle Big stropping paddle with comfortable grip. Length usable part: 29 cm.
Wusthof 7250 knife block Knife block for 6 pieces. Color: Black.
Wüsthof Classic IKON Carving Knife 20 cm (8") High quality forged Wusthof Classic Ikon carving knife. Handle/ Blade: Black POM & X50CrMoV15 Stainless Steel. Blade length: 20 cm / 8 inch.
Wüsthof Classic IKON Bread Knife 23 cm (9") High quality forged Wusthof Classic Ikon bread knife. Handle/ Blade: Black POM & X50CrMoV15 Stainless Steel. Blade length: 23 cm / 9 inch.
Wüsthof Classic IKON Chef's Knife 20 cm (8") High quality forged Wusthof Classic Ikon chef's knife. Handle/ Blade: Black POM & X50CrMoV15 Stainless Steel. Blade length: 20 cm / 8 inch.


Taxi drivers in Barcelona have launched an indefinite strike after legislation was passed on Friday by the Regional Government of Catalonia forcing customers to book VTCs (Tourism Vehicles with Chauffeur) like Uber or Cabify with a 15 minute lead time before the vehicles are needed.
Furious Taxi drivers are arguing that since VTCs are not a taxi service they should be booked 12 to 24 hours in advance.
The changes in legislation have sparked a strike which left dozens of cabs blocking the Gran Via, one of Barcelona's main arterial roads.
Cabbies in Madrid are due to undertake a similar protest on Monday, two days before the start of the Fitur international tourism fair.
Representatives from the taxi industry have stated that they want a clear dividing line or differentiation between the two industries, and consider the 15 minute delay an insult.


Кинофестиваль SXSW в Остине, Техас, начал свою работу. Завтра состоится премьера фильма с участием Джоша Хартнетта "Дикие лошади". На фестиваль прибыл режиссер фильма, знаменитый Роберт Дюваль, Джош Хартнетт так же приехал представить свой новый проект.
Сегодня на фестивале день пресс-представления для фильма "Дикие лошади". Пока у нас есть только фото Джоша Хартнетта, интервью добавлю, как только его опубликуют..
It's great having Josh Hartnett join us to promote Wild Horses.
Это здорово, что Джош Хартнетт присоединился к нам, представлять фильм "Дикие лошади " на фестивале SXSW 2015!
Джош на фестивале раскованный и веселый, как прошла премьера, какие отзывы о фильме- жду с нетерпением!
Остин, Техас, 17 марта 2015г.
Вот и первая рецензия на фильм. От Variety.
Не разгромная, но и не хвалебная. Написали, что фильм многим понравится, но замечаний много.
Robert Duvall's latest directorial effort lacks dramatic sizzle.
Tonally dissonant and narratively disjointed, "Wild Horses" plays like a patchwork quilt of scenes excerpted from a much longer movie, or maybe even a miniseries. Writer-director Robert Duvall's ambitious indie feature (his first filmmaking effort since 2002's "Assassination Tango") attempts to entwine two potentially interesting tales — the reopening of a missing-persons case by a female Texas Ranger, and the reunion of an aged rancher and his long-estranged son — but the mix never jells, and neither storyline is especially compelling. The good news is, Duvall the filmmaker is well served by Duvall the star, and his fine, fiery performance might help lasso a few viewers when "Wild Horses" moseys on over to homescreen pastures.
Duvall plays Scott Briggs, a seventysomething, set-in-his-ways Texas rancher who can still ride hard (although he needs some help to mount his horse) and shoot straight (especially when he encounters trespassers on his property). Despite his apparent heartiness, however, Briggs realizes it's well past time for him to get his affairs in order. So he sets about drawing up a will, and summons home the black-sheep gay son (James Franco) he chased off — at gunpoint — 15 years earlier.
Dad banished his errant offspring after catching him in flagrante delicto with a young ranch hand who mysteriously disappeared that same evening. By sheer coincidence — well, OK, through scriptwriting contrivance — a dutiful Texas Ranger (Luciana Duvall, Robert's real-life wife) reopens the cold case of that missing ranch hand just as the prodigal son returns home. Scott, it should be noted, is upset by the ranger's inconvenient curiosity.
As "Wild Horses" proceeds at an uncomfortably bumpy pace, with abrupt and arbitrary shifts from rowdy humor to familial faceoffs to murder mystery, Duvall drops a few more subplots into the simmering pot — some drug dealing here, an acknowledgement of paternity there — and occasionally remembers to give co-star Josh Hartnett (cast as one of Franco's straight siblings) something to do. But the movie — which also features the most listless car chase in recent memory — never develops much in the way of narrative momentum. Indeed, the seeming randomness of the scene juxtapositions often suggests that Duvall and company simply made things up as they went along during filming.
Among the supporting players, only Franco manages to keep from being completely overshadowed in scenes opposite Duvall. Lenser Barry Markowitz does a reasonably convincing job of making Utah pass for Texas.
Reviewed at SXSW Film Festival (Narrative Spotlight), March 17, 2015. Running time: 102 MIN.
A Patriot Films production in association with Entertainment One and Voltage Pictures. Produced by Rob Carliner, Michael Mendelsohn, Robert Duvall. Executive producers, Arnold Rifkin, Mark Mathis.
Directed, written by Robert Duvall. Camera (color), Barry Markowitz; editor, Cary Gries; music, Timothy Williams; production designer, Adam Henderson; art director, Scott Hinckley; set decorator, Josh Moceri; sound, Doug Cameron; assistant director, Matt Henderson; casting, Ed Johnston.
Robert Duvall, James Franco, Josh Hartnett, Luciana Duvall, Adriana Barraza, Jim Parrack, Angie Cepeda, Devon Abner.
Фото с премьеры фильма "Дикие лошади" на фестивале SXSW 2015, новые.
На фестивале с актрисами фильма "Дикие лошади"


text:
Петровска скупштина у Крагујевцу је одржана 29. јуна 1848.

Уставобранитељска управа, после догађаја из 1843, била је стабилизована. 1844 године Вучић ce вратио y земљу; од тога доба па до 1848 године народна окупштина није сазивана.

На границама Србије, y Аустрији и Мађарској, букнула је 1848. револуција, a народ је желео да ce подупире борба коју су повели Срби из Војводине против Мађара. У договору с Кнезом Савет је решио да ce сазове народна скупштина за 1 јун 1848 y Крагујевцу, да би ce саслушале народне жеље. Како ce, међутим, осетио јачи покрет међу Обреновићевцима (Милош је дошао y Загреб, a Кнез Михаило y Нови Сад), сазив скупштине био је одложен за Петровдан, 28. јуна 1848.

Сазивање петровске скупштине мотивисано је "усколебаним стањем y Европи и y неким пределима самог суседства нашег и због могућности да ce јаве још тежи и важнији догађаји". Савет је донео и одредбе како ће ce бирати скупштинари. Одређено је да ce на сваких 250 пореских глава бира по један посланик. Сем тога, y скупштину су ушли сви окружни начелници, по један срески начелник, по један мирски свештеник из сваког округа, по један монах из сваке епархије, a из архидијецезе по два, према одредби архијереја, те два официра граничне војске, представници оба одељења Апелационог суда, председник Врховног суда, сви епископи и митрополит Србије.

Скупштина ce састала заказаног дана на отвореном пољу. Присуствовао је Кнез са Саветом, a отворена је Кнежевом беседом. Кад ce прешло на рад, било је бурних сцена између чланова Савета и скупштине, која је оштро замерала влади и Савету што ce кроз пет година није скупштина сазивала. Ред је повраћен интервенцијом Томе Вучића Перишића, па је скупштина прешла на изношење жеља и предлога, који је требало да за владу буду оријентација за даљи рад. Представници појединих крајева подносили су своје жеље засебно, и y њима износили шта би требало предузети. Овде ће бити изнесени по окрузима само они захтеви, који ce односе на народну скупштину и њене прерогативе.

Посланици свих округа, сем ужичког, тражили су да ce скупштина састаје и y будуће. Крушевачки округ тражио је да ce скупштина сазива увек кад ce што ради на благостању отаџбине. Алексиначки округ тражио је да ce скупштина сазива бар сваке треће године. Окрузи ћупријски, пожаревачки и црноречки тражили су да ce обична (мала) скупштина сазива сваке године, a велика народна скупштина да ce сазива сваке треће године. Посланици осталих једанаест округа предлагали су да ce скупштина састаје сваке године.

Кнез Александар, поводом ових жеља, изјавио је да је Савет већ саставио комисију која има да изради нацрт и правила народне скупштине, како ce не би повредио устав (који не предвиђа установу народне скупштине), и како би држање скупштине било y саглаоности са циљем доброг тока уставних послова.

Савет, коме су упућене представке посланика свих крајева, предложио је:
 1) да ce скупштина сазива сваке године; управна власт може сазвати и ванредне скупштине;
 2) право скупштине биће да управној власти подноси жалбе и молбе од стране народа, изјављује му потребе и чини разне корисне предлоге; влада ће, сем тога, показивати скупштини рачуне прошле године и постојеће стање народне касе;
 3) скупштина треба да буде састављена из по једног посланика за сваки срез или окружну варош, дакле свега да буде 70 посланика;
 4) бирање да буде без утицаја власти;
 5) посланик може бити сваки Србин из ма кога реда, земљорадничког, трговачког, чиновничког или свештеничког.

Скупштина је завршила рад подневши Кнезу и Савету 95 представки, уверена да ће ce од тога времена редовно сазивати. 26. септембра 1848. једним законодавним решењем Савета одређено је да ce скупштине држе сваке године. Комисија која је имала да изради пројект закона о народној скупштини, y којој су били Стефан Стефановић-Тенка, Стефан Марковић, Милосав Ресавац и Јован Мариновић направила је један пројект, али је на томе пројекту и остало. Следећих десет година, од 1848 до 1858 године, народна скупштина уопште није сазивана.

Извори
 ЈУГОСЛОВЕНСКЕ НАРОДНЕ СКУПШТИНЕ И САБОРИ, ст.56 и ст.57
 Народне скупштине под уставобранитељима (1842-1858)

Кнежевина Србија
Историја Крагујевца
Народне скупштине Србије
1848.
Србија у 1848.

redpajama_set_name: RedPajamaWikipedia


text:
STOP CYBER BULLYING
AND ABUSE
Support a Royal Commission into Cyber Bullying, Online Abuse and the conduct of
Big Tech Companies
Cyber Abuse - a National Emergency
It doesn't take much research to find the horrifying statistics around the prevalence and impacts of cyber bullying and online abuse. Those impacts are not just from the cyber abuse faced by students and children, but also families, adults and businesses around Australia.
SBS News covered a study done by the Australia Institute:
- The survey, which asked 1557 Australian workers about online harassment and cyber hate, found more than one in three were targeted - the equivalent of 8.8 million people.
- The cost of online harassment and trolling was estimated at $3.7 billion in health costs and lost income.
- The study found a quarter of those who had experienced harassment had sought out a medical professional, while 25 per cent also said it had impacted their work.
Other studies have reported that:
- Students are twice as likely to attempt suicide if they have been cyber-bullied.
- Cyber-bullying upon adults and businesses has resulted in increased adult suicides.
- Families and friends are torn apart by the preventable loss of life that stems from cyber-bullying.
Cyber abuse doesn't discriminate. The effects are being felt across different age groups, demographics and sectors.
This is a national emergency and requires an immediate national response.
What we're asking for
A Royal Commission into cyber abuse and the role and conduct of big tech giants.
To investigate and require these companies to be treated like any ordinary Australian to:
- Have an Australian based office or contact that will proactively deal with cases of harassment and online abuse that ordinary Australian's can contact and have their concerns heard and addressed within reasonable time frames
- Have publicly available policies and processes that are followed for dealing with online harassment and abuse
- Work with police and co-operate with investigations
- Respect and comply with Australian Laws and Court Systems
- Be required to act as a model litigant when involved in court proceedings
WHAT is a Royal COMMISSION and why do we need one?
A Royal Commission is an investigation, independent of government, into a matter of great importance. Royal Commissions have powers to hold public hearings, call witnesses under oath, and compel evidence. Royal commissions make recommendations to the government about what should change.
This issue has been ignored for too long and legislation MUST change NOW!
Add your name to the list of supporters and share the petition with anyone you know to ask for a Royal Commission into cyber bullying, online abuse and the conduct of big tech companies.
Donate to the Campaign
We'll be advocating to all members of parliament and senators to support a royal commission - you can help by clicking the button to donate safely via GoFundMe
Write to your Local MP
Let your local MP's and Senators that they MUST support a Royal Commission. Click the button to find out who is your local federal lower house MP
Find your federal MP
Stay up to date with the campaign
If you need assistance
If you or someone you know is in crisis and needs help now, call triple zero (000). You can also call  Lifeline  on 13 11 14 — 24 hours a day, 7 days a week.
Other support lines include:
Kids helpline - 1800 551 800
Beyond Blue - 1300 224 636


1. Culms pilose at least below the lower nodes, often essentially throughout; lemma awn 1–2 mm long, curved into a hook at maturity and not extending beyond the glumes.
1. Culms glabrous except for the bearded nodes; lemma awn straight or geniculate, 3–5 mm long, clearly exserted.
MICHIGAN FLORA ONLINE. A. A. Reznicek, E. G. Voss, & B. S. Walters. February 2011. University of Michigan. Web. April 23, 2019. https://michiganflora.net/genus.aspx?id=Holcus.


text:
CodeLagos Will Train One Million Lagosians On Computer Programming
Announcement, Education, Information Technology
Special Adviser to the Lagos State Governor on Education, Mr. Obafela Bank-Olemoh on Thursday said the CodeLagos Programme, billed to be launched later this month will train one million Lagosians on computer programming.
Special Adviser to the Governor on Education, Mr. Obafela Bank-Olemoh who disclosed this at the commencement of a three-day training session for CodeLagos Master Trainers, said the programme would on the long run, would not only make the State a technology hub, but also give Lagosians the opportunity to become self employed.
"If you look at India, people run to India for technology, it's because they did a programme like this. Now if people want to set up an IT company they go to India, because they have this process. So we are trying to do the same in Lagos such that if anyone wants to set up an IT company they will come to Lagos," Bank-Olemoh said.
He said the CodeLagos Programme which would be officially launched later this month was in line with the vision of Governor Akinwunmi Ambode, to position Lagos as the technology frontier in Africa.
Bank-Olemoh said that the ongoing training of Master Trainers would equip 100 trainees with the knowledge and skills to teach afterschool coding classes for the CodeLagos programme.
He said trainees were selected following a rigorous screening exercise, which commenced in March 2017.
According to him, "these Master trainers will go on to train over 1,000 CodeLagos facilitators who will eventually be deployed to different coding centres across the State. In this way, CodeLagos will create employment and business opportunities for Lagosians in the technology sector."
Bank-Olemoh highlighted the contribution of the private sector to the CodeLagos project, thanking ARM who have committed to setting up 15 centres.
Other companies that have recently partnered include PricewaterhouseCoopers, SystemSpecs, Etisalat, Oando Foundation and Oracle Academy, to mention a few, who will be setting up clusters of coding centres.
Also speaking, the Executive Director of SystemSpecs Limited, Mr. 'Deremi Atanda expressed the continued commitment of the organization to support the laudable initiative.
"The greatest asset of a State like Lagos is the growing youth population. The choice to empower them is the wisest decision the State has made, laying a good foundation for the emerging knowledge economy. We are convinced that CodeLagos would do just that", Atanda said.
On his part, the State's Commissioner for Science and Technology, Mr. Femi Odubiyi, reiterated the commitment of the State Government to develop a tech-driven economy.
CodeLagos will officially launch this April, with a roll out of coding centers across 350 public and private schools as well as public libraries across the State.


text:
Sugababes member arrested
NME Apr 30, 2007 9:52 am BST
Amelle Berrabah spends night in jail after night club brawl
Sugababes member Amelle Berrabah has been arrested following a night club brawl.
Police were called to Bar Med in Guildford at 1am on Sunday morning (April 29) after a disturbance in the bar involving Berrabah and her sister Laila.
The singer was taken to Guildford's police station where she spent several hours in a cell.
A Police spokesperson said: "A 23 year old female was arrested in Guildford town centre following an incident in a bar. She has been released on police bail pending further inquiries."
Berrabah was released at 7am to join fellow Sugababe members Heidi Range and Keisha Buchanan to catch a flight to the US, reports The Mirror.


I would like to thank the brethren of 347 for electing me as their master for the forthcoming year. It is a huge priviledge to be able to be the master of such an excellent lodge and a fine collection of not just office bearers not in general members of 347.
My predecessors have set distinguished examples of Leadership, which i will strive to live up to their records. I would also like to thank our previous master Brother Niven Wilson for his excellent year in the chair.
We have a fine body of Office Bearers at 347 to whom i wish all the best for the coming year and I am sure with your valuable assistance at our own meetings and our visitations you will all do your jobs with the utmost care and affection whenever possible and carry out our degree work to the high standards that has become expected at 347.
To our visitors that have come to visit 347 we are looking forward to cementing our friendships in the coming year and also not forgetting making new friends along the way. If you have not yet visited us at 347 then please feel free to come along to a lodge where you will be most welcome and become a member of the 347 family.


text:
1. Text, diagrams and videos explaining some relevant acoustical rudiments - Staatliches Institut für Musikforschung - Preußischer Kulturbesitz
Work in Progress: Online-Publi...
Valuable nuances of tuning for...
1. Text, diagrams and videos e...
This Webpage describes the technical abstractions (most of them very familiar to acousticians) that are most relevant to the theory of tempered tunings, and will explain the significance of the numbers in the Webpage describing various theoretical schemes of well-tempered tuning.
Representations of a Vibrating String
If we imagine a taut bit of ideal string clamped at its two ends and producing a musical note – ideal in the sense that it has no stiffness, is absolutely uniform in regard to weight per unit length, and is vibrating just back and forth at 180 degrees (some writers call this a "perfect" string) – we can represent the scope of the vibrations not only in the following fundamental way:
— but also simultaneously in a series of other ways, the first two of which are as follows:
Harmonic Partial Tones
By listening analytically – focusing the ear, as it were, at pitch-levels higher than that of the fundamental – the tuner can distinguish "harmonic overtones" due to these other, simultaneous modes of vibration. The overtones and the fundamental are all called "partial tones", or simply "partials." The second harmonic partial (the first overtone) is an octave higher than the fundamental. (This is because the relevant two parts of the string are each only half as long. The back-and-forth vibrations in this mode are therefore twice as fast; and, vibrations twice as fast yield a pitch an octave higher.) The third harmonic partial is a perfect 5th higher than the second one. (This is because the relevant three parts of the string are each only 2/3 as long as the two parts for the second partial. The vibrations in this mode are therefore 3/2 as fast, and vibrations 3/2 as fast yield a pitch a perfect 5th higher.) And so on for the fourth, fifth, sixth etc. harmonic partials. They tend to become weaker and weaker on the way up. For most keyboard tuning, it suffices to distinguish clearly the first six. (To tune the deep bass notes on a modern piano very well in Equal Temperament, it can be useful to hear their seventh and/or ninth and/or even eleventh partial. But those very low notes are not used in The well-tempered clavier.)
Playing a "harmonic," i.e. a harmonic overtone, on a bowed string instrument is a matter of drawing the bow across the string while touching the string gently with a fingertip – not pressing it down to the fingerboard – at a potential node for a mode of vibration producing one of the overtones. The node for the second partial tone is halfway along the string; the nodes for the third partial tone are 1/3 and 2/3 along the string (either one will do, or both at once); and so on. Here is a video showing how a cello string looks when each of the first two overtones is thus singled out:
To video example
Overtones can be singled out on a piano by tapping a high note strongly while holding down the key for a lower note (so that the strings for the low note are not dampened and are thus free to vibrate) which has an overtone at about the same pitch-level as that of the high note. The sound-wave vibrations of the high note will be conveyed not only to our eardrums or to a microphone (via the bridge and soundboard and surrounding air), but also (mainly via the bridge) to the strings which the left hand is keeping undamped; those strings will vibrate "sympathetically" (as it were) in the mode that yields the overtone at the approximate high pitch-level of the right hand's note; and we will hear, isolated, that overtone of the left hand's otherwise unstimulated string. You can hear this in the first seven tracks of the next video (see below).
Differences between Real and "Ideal" Strings
Real strings are not exactly like the ideal ones represented schematically in the diagrams shown above, but the differences are not big enough to affect the theory of tempered tuning.
Organ Diapason Pipes
For physical reasons which are more intricate to explain, and which therefore will not be explained here, one can also distinguish harmonic partials in the notes produced by organ Diapason pipes. (The relevant information is in books on musical acoustics. One of the best such books – and it includes references to the best of the others – is the second edition of Donald E. Hall's Musical Acoustics, Brooks/Cole Publishing Company, Pacific Grove, California, 1991.)
Pure and Impure Consonant Harmonic Intervals
All tuners, and some musicians, distinguish between pure and impure consonant intervals. A pure consonant interval is characterized by an exact match between (a) a not very high harmonic partial tone of the lower of the two notes and (b) the fundamental or a not very high harmonic partial tone of the higher note. In the following musical notations, each black note-head represent a fundamental partial tone, while the diamond-shaped note-heads represent the first five overtones:
In an impure consonant harmonic interval, the match is slightly inexact.
Orders of Magnitude of (Musical) Intervallic Amounts
Whether the amount of impurity in an impure consonance is sufficient to make the interval sound sour is a psycho-acoustical fact. Here let us borrow from physics the handy concept of "orders of magnitude" based on multiples of ten. If we may say, very approximately, that the order of magnitude of melodic steps in Western music is about one or two tenths of an octave, then we may also say that:
An impurity on the order of a hundredth of an octave, or somewhat less, is enough to render a consonant interval sour ("out of tune"). Here my equivocation with the phrase "or somewhat less" is due to the fact 5ths and 4ths tolerate less impurity than 3rds and 6ths.
An impurity of one or just a few thousandths of an octave is perceptible to tuners but is not enough to render a consonant interval sour.
An impurity of only one or a very few ten-thousandths of an octave is difficult to perceive and even, under certain interesting physical circumstances, impossible to achieve: the interval "draws pure."
The following table is reproduced from Ronald Turner-Smith's and my book Mathematical Models of Musical Scales:
Beating in Impure Harmonic Consonances
If a perceptibly impure harmonic interval is played on a keyboard instrument, one of the two ways in which the impurity is perceived is that a more or less subtle "beating" is heard: a regular throbbing of intensity due to the imperfect unison between partial tones. Because of the imperfection, the two sound-waves of the partial tones periodically reinforce and cancel each other. In the following schematic representations, the horizontal dimension represents time, the vertical dimension intensity:
Beats caused by Sympathetic Vibrations
Such beats can be heard in the part of the next video where my right hand taps a high note on the piano briskly but only for an instant while the left hand holds down the keys for two low notes which each happen to have an overtone at about the same pitch-level as that of the high note. Each of the undamped strings (for the low notes) is thus driven to vibrate in the mode that yields the overtone at the approximate pitch-level of the right hand's note. You will hear just those two overtones without the other partial tones of the left hand's unplayed notes. And, the match – the unison – will happen to be imperfect, so those two slightly mismatched overtones will periodically reinforce and interfere with one another: this is (as mentioned above) the meaning in musical acoustics of the terms "beating" and "beats."
"Surging" and "Intermittent" Beating in Equal Temperament
The demonstrations in that next video are done on a piano tuned in Equal Temperament, which has been the normal kind of piano tuning for more than 150 years. The Webpage describing various schemes of "good temperament" will explain more about it. Even without the detailed explanation, however, we can hear on such a piano some psycho-acoustical qualities of beating at various rates.
At less than about once per second, the beating is difficult to distinguish from the way in which the timbre of any single note on the piano changes anyway during a few seconds because the strings are real, not "ideal." When we hear beating at somewhat faster rates, but still no faster than six per second, we can readily distinguish the rise and fall of intensity within each beat. This is called surging. But if the beats are somewhat faster than six per second, they no longer "surge" but instead have an unpleasantly intermittent, "off-and-on" quality. Such is the case in Equal Temperament among the major 3rds and 6ths in the middle of the keyboard. This can be heard in the last two tracks of the following video (my warm thanks to Wolfgang Klatt, a Bösendorfer agent in Berlin, for lending this instrument to the Institute and tuning it.):
At very fast rates, the beating no longer sounds intermittent. It has instead a quality for which the technical term is roughness, but which is really no more unpleasant than the very fast flashing of images on a movie screen.
Genesis of Tempered Tuning
The need for tempered tuning on keyboard instruments with a small number of fixed, i.e. not flexible, pitch-locations in each octave is due to the fact that the sound-wave frequency ratios for consonant harmonic intervals when (a) they are tuned pure (like a car horn or a bagpipe's drone) and (b) the timbre is "harmonic" (i.e. the sound-wave frequency of the second partial-tone is exactly twice that of the fundamental, the sound-wave frequency of the third partial-tone is exactly three times that of the fundamental, and so on) are between small whole numbers: 2:1 for an octave, 3:2 for a perfect 5th, 4:3 for a perfect 4th, 5:4 for a major 3rd, 5:3 for a major 6th, 5:2 for a major 10th; 6:5 for a minor 3rd, and so on. Consider the following three "wrinkles" among certain combinations of such intervals:
(1) The "Lesser Diesis"
A chain of three pure major 3rds – for instance, A♭-C-E-G♯ – falls short of a pure octave. Since the frequency-ratio for each such 3rd is 5:4, the ratio for a chain of three in succession is 5:4 x 5:4 x 5:4 = 125:64. This is shy of a pure octave with its frequency-ratio of 2:1 = 128:64. The 128:125 discrepancy is too small to serve as a melodic interval in a normal Western tune, but is nevertheless plenty large enough to render a major 3rd very sour. This is shown in the following video (for which I decided there was no need to demonstrate the "greater diesis," the amount by which the sum of four pure minor 3rds falls short of a pure octave: the lesser diesis is bad enough to make the point!):
(The smallest kind of melodic interval in normal Western music is a "semitone" such as between a 4th and a major 3rd (a "diatonic semitone") or between a major 3rd and a minor 3rd (a "chromatic semitone"). The simplest possible ratio for a diatonic semitone (i.e if the 4th and the major 3rd are each pure) would be 4:3 x 4:5 = 16:15; the simplest possible ratio for a chromatic semitone (i.e. if the major and minor 3rds are pure) would be 5:4 x 5:6 = 25:24. But since 25:24 = 125:120, which is nearly twice as big as 128:125, the interval due to this latter ratio would be more appropriately called a "quarter-tone" than a semitone.)
To demonstrate a use of the Lesser Diesis in chordal harmony, I will use an Italian-style harpsichord equipped with more than 12 notes in each octave:
In the late 16th and early 17th centuries, many Italian keyboard instruments had 13 or 14 notes per octave, for use with a meantone temperament. (Please don't expect me to explain that term here. It refers to a kind of tempered tuning in which each chromatic note is either a flat or else a sharp but cannot do double duty. Such tuning was used on practically all 16th-century keyboard instruments but is irrelevant to Bach's music.) This particular harpsichord has 15 notes per octave. I have tuned on it the following web of pure, untempered consonant intervals:
With these pure intervals I can play some phrases making salient use of the chain of pure major 3rds, E♭ - G - B - D♯, and of the resulting quarter-tone between D♯ and E♭:
(In this last example I have tried to make the Lesser Diesis function as a melodic interval. If you still find it not viable as such, your opinion matches the consensus of the mainstream of Western musical culture, inasmuch as musical notation provides normally for semitones but not for quarter-tones.)
(2) The Pythagorean Comma
A melodically zigzag succession of six pure 5ths up and six pure 4ths down – for instance: A♭-E♭-B♭-F-C-G-D-A-E-B-F♯-C♯-G♯ – exceeds a pure octave. This discrepancy, which is called the "Pythagorean comma," is somewhat more than half as big as the previous one. Its ratio is between rather longer numbers (531441:524288).
(An easy way to think of calculating the frequency-ratio for the Pythagorean Comma is to find first the ratio of the kind of whole-tone that would be gained by going up a pure 5th and then down a pure 4th: 3:2 x 3:4 = 9:8, and then find the ratio of the interval gained by going up a scale of six such whole-tones: 9:8 x 9:8 x 9:8 x 9:8 x 9:8 x 9:8 = a ratio between two long numbers: and then finding the ratio which expresses the difference between that and 2:1.)
A Paradox
Each of the chains of intervals which I have spelled out here begins with a flat and ends with a sharp. But in the chain of three pure major 3rds the sharp is, when considered as a pitch-class (i.e. as a set of notes one or more octaves apart from each other), lower than the flat, whereas in the chain of twelve pure 5ths & 4ths, the sharp is higher than the flat. In the following two illustrative diagrams, the zeros mean that the sets of intervals represented by the pitch-class relations are pure, i.e. there is "zero impurity":
- but G♯ is higher than A♭ in the following chain:
In each case the way we musicians customarily name the notes helps us accept that there is a difference, but in reality it is a matter of two opposite kinds of difference.
(3) The Syntonic Comma
The third kind of difference to be described here is more difficult to believe in (if one hasn't actually heard it in an acoustical demonstration with pure harmonic consonances) because it is not reflected in the way the notes are written and named:
That is, a melodically zigzag chain of two pure 5ths up and two pure 4ths down yields a major 3rd which is larger than pure, as demonstrated in Track 2 of the video showing some chains of pure intervals being tuned on a piano. This discrepancy is called the "syntonic comma." Its frequency ratio could be calculated as follows by a school-child (or at least one who enjoys arithmetic):
While the string producing a C vibrates 64 times (during some fraction of a second), which happens to be 4 x 16, the string for the E above it that is pure in relation to it vibrates 5/4 x 64 = 5 x 16 = 80 times.
Meanwhile, the string for the G a pure 4th below that same C vibrates 3/4 x 64 = 3 x 16 = 48 times.
Since 48 = 2 x 24, the string for the D a pure 5th above that G (at 48) vibrates 3/2 x 48 = 3 x 24 = 72 times.
Since 72 = 4 x 18, the string for the A a pure 4th below that D (at 72) vibrates 3/4 x 72 = 3 x 18 = 54 times.
Since 54 = 2 x 27, the string for the E a pure 5th above that A (at 54) vibrates 3/2 x 54 = 3 x 27 = 81 times.
So, the ratio for the syntonic comma is 81:80.
(In a simpler way of writing the same calculation – namely 3^4:(5x2^4) = 81:(5x16) = 81:80 – the fourth power of 3 is involved because the complex of intervals includes four pure 5ths/4ths, for each of which 3 is the operative prime number; the number 5 is involved because the complex of intervals includes a pure major 3rd, for which 5 is the operative prime number; and a power of 2 is included to provide the necessary octave-adjustments.)
In the following video, some chains of pure 5ths & 4ths are tuned on a piano to demonstrate the Syntonic and Pythagorean commas:
In the following video, I play on the Italian-style harpsichord the pure E♭-major triad which we had before on that instrument, and then the pure 4ths & 5ths, E♭ - B♭ - F - C (which we also had); and then, after hearing that the G is thus a comma lower than pure in relation to C, I raise it and carry on with tuning a chain of pure 4ths & 5ths until reaching middle D♯ – which will now be not only a comma higher than a pure octave above the low E♭ that I started from, but also a hefty quarter-tone high in relation to the low D♯ that we had previously had as part of the pure chain, E♭ - G - B - D♯:
That hefty quarter-tone, equal to the sum of the Lesser Diesis and the Pythagorean Comma, is called the "Greater Diesis." (Both of the notes involved in it are notated as sharps (in this case D#) because we have only two ways - sharp and flat - of designating a black-key note on the keyboard. Our notation switches from flat to sharp for the enharmonic difference of the Lesser Diesis, and here we switch again for the Pythagorean Comma, but this means, perforce, switching back to a sharp in our notation.)
A Unit of Measure – the "Schisma" – for Specifying Amounts of Desired Impurity
The theoretical "melodic interval" – i.e. the quasi-melodic size – of the syntonic comma happens to be almost exactly 11/12 that of the Pythagorean comma (the fraction theoretically a thousand times more precise would be 11.008/12.008); and, the size of the lesser diesis – the first of the "wrinkles" described above, the amount by which pure major 3rds don't add up to a pure octave – happens to be almost exactly 21/12 that of the Pythagorean comma. The traditional name for the difference between the syntonic and Pythagorean commas is "the schisma." So, in the Webpage describing various theoretical schemes of well-tempered tuning I will use the schisma as the unit of measure for tempering, since it conveniently happens to be for all practical purposes the same as 1/11 of the syntonic comma, 1/12 of the Pythagorean comma, and 1/21 of the lesser diesis. It amounts to about one percent of a whole-tone. (I can't say exactly what the percentage is, because the whole-tones are of slightly different sizes in different kinds of tuning.) The octave always amounts to the sum of five whole-tones plus two "diatonic semitones," i.e. semitones between notes with different note-names (such as D-E♭, E-F and F♯-G).
Several 18th-century German theorists of tempered tuning used 1/12 of the Pythagorean comma as their unit of measure for tempering.
A Quick Rule of Thumb for Calculating a Desired Rate of Beating
To convert from an amount of impurity to the resulting rate of beating, one has to take account of the pitch level of the lowest impure unison between partial tones of the two notes forming the interval. It can be done quickly if the unit of measure for impurity is the schisma. There are two steps to understanding this rule of thumb:
1. Suppose that a keyboard instrument tuned at modern concert pitch, i.e. with "concert A" at 440 HZ, a certain harmonic interval is consonant because of a unison between partial tones at about 880 HZ (i.e. an octave higher than concert-A at 440). If it is impure by a syntonic comma due to the fact that one of those partial tones is exactly at 880 HZ but the other one is higher by a syntonic comma, i.e. is exactly at 81/80 of 880 HZ, then the difference in HZ between those two partial tones will be 1/80 of 880, which happens to be 11, which in turn happens to be the same as the number of schismas in the syntonic comma. So, at modern concert pitch, the number of beats per second due an imperfect unison between partial tones at the pitch-level of soprano's high A is the same as the amount of impurity measured in schismas.
2. Knowing this, you can readily calculate as follows the approximate rate of desired beating for impure consonances whose lowest unison is somewhere other than soprano's high A at modern concert pitch:
If it is at alto's high D, then the rate should be 2/3 the number of schismas.
If it is at operatic soprano's high D, the rate should be 4/3 the number of schismas.
If it is at the violin's open-string E, the rate should be 3/4 the number of schismas.
If it is an octave higher than that, the rate should be 3/2 the number of schismas.
If it is at soprano's high C♯ , the rate should be 5/4 the number of schismas.
And so on. If you haven't developed a "feel" for judging different rates of beating, you can set a metronome at the desired rate and proceed from there. You must of course multiply by 60 the numbers of beats per second in order to get the equivalent metronome-settings, which are for numbers per minute. (If you are tuning at a lower concert-pitch level, divide your HZ-number for concert A by 440 and multiply by the resulting amount.) If for instance you wanted to tune a certain interval to beat exactly seven times per second, the number per minute would be 7 x 60 = 420, and so you could set the metronome at 105 and then make the interval beat exactly four times per click or flash of the metronome.
The Sense of Melodic Distortion in Impure Consonances
I said that beating is one of two ways in which impurity in a consonant harmonic interval is perceived. The other way – by melodic nuance – cannot be measured by a clock or metronome, and is therefore less useful to the tuner, but in musical performances it can often be even more important than the qualitative aspects of the beating of tempered consonant harmonic intervals. Acoustic beats can be subtle and can get "lost" when one hears the performance from a distance (instead of in an intimate setting such as that of Bach playing The well-tempered clavier for one or two students), whereas melodic distortions on a harpsichord or piano may readily "carry" throughout a moderate-size auditorium.
Using a Different Unit of Measure – the "Cent" – for Semitones
There is no natural sense of purity vs impurity in regard to dissonant intervals such as semitones. However, the fact that everyday musical terminology distinguishes between whole-tones and semitones but not between various sizes of whole-tone or semitone shows that we like to think of each of these two kinds of melodic step as being more-or-less uniform. In equal temperament, which everyone who has heard a lot of modern Western music is very familiar with, the octave is divided into twelve exactly equal semitones; so, the commonly used unit of measure for the musical intervals in any scale (regardless of how it is tuned) is the "cent," which is one percent of one twelfth of a pure octave. My diagrams for various kinds of tempered tuning will show in schismas how much the various 5ths and major 3rds are to be tuned impure, but in cents the sizes of the twelve semitones and the most subtle differences in size amongst them.
The Pythagorean comma amounts to some 23.46 cents, 1/12 of which thus amounts to some 1.955 cents. The schisma amounts to some 1.954 cents. If you prefer clumsy long numbers to simple short ones, you may convert into cents my reckonings in terms of schismas in the next Webpage.


text:
Q: How to identify an MRI artifact on Fourier space? I am trying to find the frequency of the artifact on the MRI image of the knee below both manually and with ImageJ:

As you can see the artifact results in a bar pattern extending horizontally along the image - i.e. a spike artifact.
After transforming to Fourier space, there are a couple of dots along the x-axis that seem to stand out in their intensity (yellow circles), and are therefore potential culprits for the artifact:

at frequencies $5.02\text{ pixels/cycle}$ and $2.4\text{ pixels/cycle},$ but the frequency that I calculate visually (and painfully) on the $256 \times 256\text{ pixel}$ image corresponds to $\approx 53 \text{ dark vertical bars},$ which would amount to
$$\frac{256}{53}=4.8\text{ pixel/cycle}$$
This is close enough to the the higher frequency dot in Fourier space ($5.02 \text{ pixels/cycle})$. Is this the explanation for the artifact?
Is there a contribution from the second dot that should be considered?
Here is the complete analysis of both dots:

$$\small\begin{align}\text{Freq}&=5.019\text{ pix/cycle}\\
\text{Direction}&=181.12^°\\
\text{Phase }&= \arctan(68.263/-87.982)=-0.6598^°\\
\text{Magnitude}&=\sqrt{(-87.982)^2 +(68.263)^2}=111.36
\end{align}$$

$$\small\begin{align} \text{Freq}&=2.438 \text{ pix/cycle}\\
\text{Direction}&=181.091^°\\
\text{Phase }&= \arctan(10.977/-5.43)=-1.11^°\\
\text{Magnitude}&=\sqrt{(-5.43)^2+(10.977)^2}=12.25
\end{align}$$

Great answer on ImageJ forum.

A: I agree that 4.8 is pretty close to 5.02. There is nothing else in that neighborhood that grabs my attention.
The higher frequency spike looks like the next harmonic of that first spike frequency. It probably represents some additional structure to the artifact.
Note, unless it is windowed funny, this is NOT a classic spike artifact. In the lower left corner of the image there is a small section of background air in the image. The artifact does not appear (with this windowing) to go into the background as spikes do. Therefore, this artifact is a result of MR signal, not an external spike signal. It may be insufficient spoiling or something similar.

redpajama_set_name: RedPajamaStackExchange


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2019 Best Marks
Gaucho All-Americans
Big West Analysis
Usgaard races to Bronze in Big West Heptathlon Championship
Davis, Calif- Sophomore Tori Usgaard finished third in the Big West Combined Event Championships in the heptathlon with a score of 4,747. Competing in a field of 15 athletes Usgaard put together a consistent two days of work to move onto the Big West podium, improving her fourth place finish in the event one year ago.
The heptathlon winner was Kaleigh Morrison from Hawaii. Morrison compiled a personal best score of 5,210 to best the field.
Usgaard's first day marks were 14.74 in the 100m hurdles, 5'3.75 in the high jump, 31'1.25 in the shot put and 26.79 in the 200m, running into a stiff -3.2 headwind.
She started day two with a jump of 17'11.5 in the long jump before fouling her first two throws in the javelin- being ruled flat. On her third effort Usgaard speared a mark of 87'2, nearly 25 feet off her personal best, moving her into sixth place with one event left.
In the final event, Usgaard laced up her spikes tight and ran 2:22.61 in the 800m to move up three spots and capture Big West bronze.
Coach Cody Fleming was impressed with how she handled the second day.
"Tori competed well and stayed composed on the second day when things got dicey. Before the 800m, sitting in sixth, she switched to her sprint spikes instead of her usual mid-distance spikes and that told me everything about her mentality going into the last race. She is a competitor. In a multi-event we're always looking for ideal conditions for good scoring but at the Big West meet, with team scoring on the line your personal score comes second. Tori didn't find a personal best but she found the Big West podium." Fleming said.
On the men's side Darion Williams and Ike Okpara competed in the deacthlon. Williams, a freshman from Murrieta took fifth with a score of 6,271. Okpara scored his first points in the Big West decathlon, taking eighth with a score of 5,880. Okpara was 11th last season with a score of 5,802.
The men's decathlon was won by Long Beach State's Garrett Demirjian with a score of 7,014.
Williams threw a lifetime best of 175'1 in the javelin to highlight his second day.
Okpara ran 51.01 in the 400m and leaped 6'2.25 in the high jump on day one. On day two Okpara ran 16.73 in the 110 hurdles and threw 119.10 in the discus to pace his score.
The Big West Championships Resume Friday-Saturday May 16-17.
Schedule and Meet Information