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Costa Blanca calling: top places to buy a home in the sun
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Spain's Costa Blanca (White Coast) spans 240 km and has just as many towns and beaches to visit. From Denia to Torrevieja, the Tranio team has trawled the coast to bring you the top destinations along this iconic seafront.
The Costa Blanca is located along the coast of Spain's Alicante province
— The Costa Blanca was named one of the world's best regions to live by the World Health Organization.
— It's Spain's warmest and sunniest coast with 320 days of sun per year and summer water temperatures reaching 28°C.
— It's famous for its white sands and Blue Flag beaches.
— The name "Costa Blanca" was invented as a marketing pitch for British tourists in 1957.
Little and big budgets welcome
Real estate on the Costa Blanca is more affordable than Spain's other coastal regions.
studios and one-bedroom apartments start at €50,000–60,000
three-bedroom bungalows and townhouses start at €100,000–130,000
The local real estate market is diverse. In Alicante's northern towns, like Denia, Jávea, Moraira and Calpe, there is no active construction and the secondary property market is dominant. This area is popular among wealthy foreign citizens and pensioners who prefer quiet and relaxing holidays. New residential developments are being built in the southern part of the Costa Blanca, a very popular resort destination with lots of nightlife and entertainment. The regional capital, Valencia, is just north of the Costa Blanca and has a major airport with many flight connections to Europe.
Best family destinations: Denia and Jávea
Denia has preserved the traditional feel of an old Spanish village
Denia is a small town with less than 42,000 inhabitants located half way between Valencia and Alicante. The port has ferries to Ibiza and other Balearic Islands and there is a marina for private boats. Unlike the buzzing resorts of the south, Denia is low-key. There are few hotels and tourists tend to rent villas and apartments. There is an outdoor market every Monday and La Marina shopping centre is located three kilometres outside the town. For entertainment, people head out to the local bars and restaurants and there are few nightclubs and casinos. Attractions include the Archaeology Museum (Centro Arqueológico de la Almoina) in the Governor's Palace (Palau del Governador), an Ethnology Museum (Museu Valencià d'Etnologia) with a unique exhibition about local winemaking and the Museum of Toys (Museo Valenciano del Juguete).
Jávea's central beach and Montgo Mountain are memorable local landmarks
Jávea (Catalan: Xábia) is a quaint town just thirty minutes south of Denia and 80 km from Alicante. It is perfect for a family vacation as it has plenty of family entertainment and outdoor activities but a quiet nightlife. The town is located at the foot of Montgo, the highest peak in the area (750 m). Since 1987, Montgo and the surrounding land is a national park. Its coastline is particularly popular with divers for its underwater reefs. Jávea is located near Cape San Martin (Cabo de San Martin) and its old lighthouse. If the weather is good, Ibiza is visible from there. The town organises many traditional and modern festivals such as Moors and Christians (Moros y Cristianos), Bonfires of Saint John (Hogueras de San Juan) and the Jávea International Festival (Festival Internacional de Jávea).
Something for everyone: Calpe, Moraira and Altea
Calpe's Penon de Ifach mountain is also a protected wildlife reserve
Calpe (Catalan: Calp) has been transformed from a sleepy fishing village into a premium resort over the last sixty years. Now the town is not only a tourist stronghold but also a home to many expats from the UK, Germany and Scandinavia. Architecture in Calpe is a mixture of modern buildings and old Spanish architecture. In the centre is the unique Moorish quarter and the last piece of Valencian gothic architecture: the Old Church (Iglesia Vieja). The surrounding area has great natural beauty and 11 km of magnificent beaches like Cantal Roig at the foot of Peñón de Ifach mountain and Puerto Blanco, which also has a yacht club. Peñón de Ifach is at the heart of Calpe's local national park of the same name (Parque Natural del Peñón de Ifach). It is home to rare plants, over 300 species of animals and a nesting site for various bird colonies.
Moraira is quiet harbour popular with wealthy foreign citizens
Moraira is the quietest town on the Costa Blanca. The quaint fishing village vibe makes it a popular choice for British tourists who often buy property there, and pensioners in particular. Despite the high demand from wealthy foreign citizens, the local real estate market has options for all budgets and tastes.
The fishing community is still active and there is fresh seafood for sale on the local market every day. Moraira is also famous for Muscatel grapes that make the world-famous dessert vine.
Altea is one of Spain's main centres for Orthodox Christianity
Altea is a relatively large resort compared to other towns and villages on the Costa Blanca. It is located to the south of Calpe and has many large hotels. The town offers a wide array of holiday entertainment for visitors. The atmosphere is bohemian and became famous for its artistic tendencies in the 1960s, attracting many musicians, artists and writers from all around Europe. Nowadays, Altea is the centre of cultural life on the Costa Blanca with its new Arts Centre and Concert Hall (Palau Altea Centre d'Arts). Alongside its many antique shops, there is the orthodox church of Saint Michael built according to traditional Russian architecture and consecrated in 2005.
The booming south: Benidorm, Alicante, Torrevieja and Orihuela Costa
Benidorm is nicknamed the Rio de Janeiro of Spain
Benidorm is a popular resort, often called the Spanish Rio de Janeiro for its many high-rise buildings and the shape of the coast line. This town is considered the entertainment capital of the "White Coast". It is home to the region's theme parks including Europe's biggest Terra Mitica and aqua parks: Mundomar, Aqualandia, and Terra Natura. The coast is divided into three beaches. Playa de Levante is popular with tourists and located close to the city centre. Playa de Poniente and Mal Pas near the port tend to be quieter. Every year, Benidorm hosts the Low Cost Festival, a big indie event that attracts music lovers from all over Europe. This town is a popular destination for young people thanks to its vibrant nightlife.
Alicante is the informal capital of Spain's Costa Blanca
Alicante is the second biggest city of the Valencia region and capital of the Alicante province. There is an international airport 10 km away from Alicante making it a common starting point of trips to the Costa Blanca. It is a hub for many low-cost airlines including Ryanair and easyJet.
On top of Mount Benacantil in the town is the Castle of Santa Barbara (Castillo de Santa Bárbara) built in the XIII century. Alicante is one of Spain's oldest cities with architectural monuments dating back to Roman, Moor and Gothic times.
In the centre of Alicante is the Paseo Maritimo seafront with many restaurants, bars and cafes. The highlight of local cuisine is paella, which is thought to originate from this town.
Torrevieja is famous for the distinct red waters of its salt lakes
Torrevieja, located 50 km from Alicante, is considered the Russian capital of the Costa Blanca. There are also many expats from Western Europe living there too. The nearby natural salt lakes (Salinas de Torrevieja) are located on the national parks of Lagunas de la Mata and Molino del Agua. This town has an open exhibition dedicated to the Spanish Navy and a floating museum on the decommissioned submarine Delfín. The Museum of Sea and Salt (Museo del Mar y de la Sal) is dedicated to the history of salt extraction in the region.
Orihuela Costa's is considered one of Europe's cleanest ecological sites
Orihuela Costa is just 5 km south of Torrevieja. It is one of the oldest settlements in Costa Blanca and has a lot of medieval churches from the XIV to XVII century. In the historical centre is the Orihuela Cathedral, decorated with works of Velasquez.
The town is fast developing a range of premium residential blocks. The noteworthy upmarket residential projects include Campoamor, Capo Roig and La Zenia. There are very few hotels however but the town's infrastructure is good and has a wide selection of nurseries, schools, supermarkets and shops as well as golf and yacht clubs. In 2012 the largest mall in the province of Alicante, Zenia Boulevard, was opened and contrary to Spanish tradition, works without a siesta break.
Ivan Chepizhko, Tranio
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As a kid we always looked forward to when mom would bring home some eggnog from our local grocery store, which happened to be the Safeway on Market just south of Wellesley in the Hillyard neighborhood of North Spokane. A lot of memories at that store!
Once the eggnog made it home, my mom would cut the nog with some milk (we usually drank 2%) so it would not only not be quite as rich tasting but probably to make it last longer because like a lot of sweet things in our home, no sooner than when it arrived, it vanished (I blame dad).
When I was in college I spent time working at Starbucks and when they first introduced eggnog lattes – remember this was the early 90s – it became my new holiday tradition. Those early days were extra delicious.
Today eggnog seems to come out a little too early. The coffee shops and the grocery stores are trying so hard to make sure they get out "first," which I think makes it less special.
That is until you have tried homemade eggnog.
Being the guy that I am I of course wanted to make it myself and since have experimented with some of the other eggnog hits that can be found online.
I made Lisa P.'s, Alton Brown's, and Michael Ruhlman's. I liked all of them.
Separate eggs from yolks (keep your whites for meringue, angel food cake, or cocktails). Beat egg yolks for 2-3 minutes. Add sugar and beat for another 2-3 minutes over medium speed. Add dairy and stir. Dump into glass jar and pour in the booze. After each pour, give it a stir or shake until completely mixed.
Store in fridge for around 30 days. Every couple of days give your jar a good shake or stir. If it tries to separate, it will be OK just keep stirring it until back together. Oh and if you want to try it sooner than that, because why wouldn't you? It will be OK…promise.
Rumor has it will stay good for over a year (I tried myself) because all of those spirits will kill anything funny in those eggs if they exist.


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At 3:15 pacific time (12/20/06) , when the server went from8 to 4 players, Xzaber, KS Matsuro, Paladin Blake, and I beat Penthouse HR in 1:55.
I dont know if thats close to the record, but i thought that was pretty damn fast. I have a screenshot of the stats if anyone wants proof.
I'm still trying to figure out how we can get it down to a minute flat without any one getting gimped.
Well done that's a good time. But the current record is 1 minute 27 seconds. The screenshot is at THIS LINK. None of us died either, it was a good team job.
Its been done faster then that but I don't think we had as small a team then.
I don't think it CAN be done any quicker. That time is almost exactly the time it takes to run directly to the hostages and back to the top. Maybe you could knock off like 2 seconds but that's all.
:yoda All I can do is grin, I had forgotten about that.
Was there video with that too?
It was a low key operation that not all necessarily aware of, so credit must be given to the individuals responsible. Although a few operators were killed in action the time shows that improvement can still be made on this particular scenario for whoever is daring enough.
Spidey, to get 1 minute or less you will definitely need to abseil from a heli, blow out the window, lob a flashbang the size of a horse, extract the hostages using a large fishing net, and fly off into the sunset.
Seriously though, good job to the 8-man team getting 1:19. It's a different record to the 4-man no injuries one, but it does prove there is room for improvement.
That said, if you're doing 4-man no injuries you HAVE to go slower. For you to fail, the tangos only need to hit one man out of four, and don't even have to kill him. So you have to be careful. If you are doing 8 man with deaths allowed, then to make you fail the tangos have to kill (not wound) all 8 members, which is VERY VERY much harder for them. So you don't have to be so careful. It's a huge difference.
Well the way I'd handle it if I could. Would be to Blow the kitchen area to kingdom come, while they are distracted. Some snipers in choppers shoot out the windows taking the highest threats. Two fire teams drop in a few flashbangs and rappels in.One nabs the package, two secures the surrounding area. Once it's secured, get the heck out of there, drop claymores if possible and rope back out while two covers. Snipers cover Two as they rope out, or send in a third team to sneak as far as they can in, then switch to dynamic clearing to support / clear the others exfil as the attack starts.
Ok, so I read too much !


Manila, Philippines – Torque Mobile, the leading maker of Android-based tablets in the Philippines, announced the Torque EGO series Boost Edition, a breakthrough line-up of noteworthy devices that allows users to easily take their phone usage to the next level and truly embrace the age of the smartphone.
Starting with the EGO Zero, Torque underlines its plan to get fully-working smartphones into the hands of more and more Filipinos. The Torque EGO Zero runs a stable version of the Android software, giving it advanced features for messaging, media playback, and Internet communications. You can forget about typing on a clunky plastic keyboard where the printed letters and numbers eventually fade over time, because the touchscreen will let you do all the things that you need. The EGO Zero is currently one of the most affordable smartphones available in the Philippines, and is the most affordable smartphone that Torque has ever made.
For those who demand more performance out of their smartphone, a quad-core chip is most necessary. For this, Torque created the EGO Surf S and EGO Max S, featuring 4- and 5-inch screens, respectively. Both phones are equipped with 1.3GHz quad-core chips, 4GB internal storage, and microSD card support, easily handling apps that are normally used by smartphone users everyday. It doesn't matter if you just left the house or are already heading back from the office: you'll be able to view your Facebook, check your Twitter and Instagram, or quickly send text messages and more with either of these two phones.
And as for avid multi-taskers, Torque has prepared the EGO Surf i and EGO Max i, both of which come with 1GB RAM as standard. With these phones, running multiple apps at the same time shouldn't be a problem, and switching from one app to another quickly won't be an issue. Whether you want to play music in the background as you check the news, or reply to a chat thread in the middle of playing your favorite mobile game, you wouldn't need to worry. As a bonus, the phones also include 8GB storage space, with support for extra storage through microSD cards up to 32GB.
For many people, the most important part of any smartphone is the camera. That's why Torque created the EGO Pro and EGO Max, both featuring 8-megapixel rear auto-focus cameras and 5-megapixel front cameras for superb photos, videos, and selfies.
The EGO Pro is unique as the only 4.5-inch phone in the Torque EGO series line-up, and also boasts a combination of a quad-core chip, 1GB RAM, and 8GB storage. Meanwhile, the Torque EGO Max sports a bigger, 5-inch HD screen, while running on the same processor, memory, and storage combo mentioned earlier.
With their 8MP rear auto-focus cameras, these phones can be used for day-to-day snaps that are meant for Facebook or Instagram. Filter or no filter, pictures are sure to come out looking clean, clear, and share-worthy, especially with the use of the convenient LED camera flash.
Entertainment can come in all shapes and sizes, but if there's one thing that most people can agree on, it's that TV absolutely has to be one of them. For Torque, that is the purpose of having the EGO Beat TV in the line-up: to offer free mobile TV wherever you go. Now you can just whip out your smartphone whenever you want to, and pull out the built-in TV antenna to start watching local TV channels for free. It also has front- and rear-facing 3MP cameras for your quick selfies and mobile photography sessions. It's an all-around entertainment device.
And of course, as smartphones are Internet-connected devices, their wireless antennas are of utmost importance. To that end, Torque has included a selection of high-speed data handsets, in the form of the EGO Chat, EGO Boost, and EGO Zoom 4G.
Both the EGO Chat and EGO Boost feature built-in high-speed 3G data chips, capable of supporting the country's fast 3G networks as well as ubiquitous 802.11 a/b/g Wi-Fi. Now, you can actually enjoy going online and checking your favorite websites, thanks to instant high-speed connections. When you're indoors, just use Wi-Fi. But when you're outside, 3G is your friend.
Meanwhile, the EGO Zoom 4G comes with support for all local 4G LTE networks. And not only that, but it's also the most powerful and feature-packed model in the entire line-up. For its screen, the Zoom 4G uses a 5-inch HD IPS display, while it relies on a quad-core MT6375 processor with 1GB RAM and 8GB storage for its performance. Its rear camera is fitted with an 8MP auto-focus sensor, while the front uses a 5MP camera. Both of them have an accompanying LED flash, on the back as well as the front. And to top it all off, it ships with Android 6.0 Marshmallow as standard. It is comfortably Torque's most advanced smartphone yet.
The EGO Zoom 4G can basically offer all the features of every other EGO series handset, all in a lightweight and compact package. It can be used to stream online music, play HD movies, capture sharp photos, and access all forms of social media. It's your well-connected companion.
Part of the line-up is a selection of highly-reliable Android tablets, namely the EGO Tab S, EGO Tab Q, EGO Phab, and EGO Phab 3G. Depending on your needs, you may find a suitable model from these whether you're looking for something with only Wi-Fi or you prefer one with built-in 3G networking. The tablets come pre-installed with either Android 4.4 KitKat or Android 5.1 Lollipop, and can be used for a variety of tasks and applications like watching online videos, reading e-books, viewing photo albums, or online chat, depending on the model.
The entire Torque EGO series smartphone line-up, including the Torque EGO tablets, will be available starting October 2016, with prices ranging from 999 Pesos to 3,499 Pesos. For more information, you can visit the nearest Torque concept store or kiosk, check out the Torque homepage, or follow any of Torque's social media pages.


NUNO MINDELIS (1957.08.07/Cabinda, Angola ? ) is an Angolan-born Brazilian blues guitarist and singer-songwriter. Nuno's own life journey embodies the Blues. Mindelis became a guitar enthusiast at the age of 5. By the age of 9 he began building and playing self-made guitars. His family was forced to flee the war in Angola, and for safety Nuno was sent to live apart from his family in Canada for several years. Continuing to refine his unique fingerstyle electric Blues technique, Nuno was finally reunited with his family in Brazil.
Now renowned as one of the world's top Blues artists, Nuno has shared the stage with B.B. King, Jimmie Vaughan, Robert Cray, Otis Clay, and Junior Wells, among others. Nuno continues to play to enthusiastic audiences and critical acclaim worldwide. Most of his recorded work has been sung in English; however, he recorded his 2006 album Outros Nunos in Portuguese, his native language. He has recorded two albums with the band Double Trouble.
Mindelis counts Otis Redding and Johnny Winter among his musical influences. A primary influence at that time was Otis Redding and his rhythm section, Booker T. & the MG's, made up of Booker T., Steve Cropper, Donald ?Duck? Dunn, and Al Jackson. Mindelis continues to enjoy the work of these musicians to this day.
In 1990, an independent recording he had made began to receive airplay on local radio stations. In 1991 he was invited to record his debut solo album, ?Blues & Derivados?, which received very positive reviews in Brazilian media.
In 1992 he recorded his second solo album, Long Distance Blues for Movieplay Records. In this album Mindelis was joined by Larry McCray, guitarist from Gary Moore's band, and French harp player J.J. Milteau, considered as the best Harp Player in France and one of the most important in Europe. The album received rave reviews from Brazilian media. As part of his promotional tour for the album, Mindelis gained a spot in a blues festival in S?o Paulo featuring Robert Cray, Otis Clay, Ronnie Earl, Lonnie Brooks and Bo Diddley.
1994 saw Mindelis' first known recognition by a major American music magazine. ?Guitar Player Magazine? profiled Mindelis in an issue. In the article, Jas Obrecht (the editor at the time) compared Mindelis to Jimmy Page. Further recognition came in their May, 1998 issue, as Mindelis was selected as ?Best Blues Guitarist? in the 30th Anniversary Guitar Player Magazine Competition.
In 1995 Mindelis was invited to play at Antone's 20th Anniversary in Austin, Texas, opening for Guy Forsite, Junior Wells, and others. Clarence ?Gatemouth? Brown and Storyville also performed at this event. The headlines of the Austin Blues newspaper warned of Mindelis' forthcoming visit as ?The South American Beast is coming!?.
In 1999 Mindelis released Blues On The Outside. This album was the Mindelis' producer favorite (Eddie Stout, Antone's Records, who produced several albuns of Nunoi) and its first track (?The Grass is Greener?) was the top chart in all Internet blues radio stations according to Live 365 (24 hours radio monitoring).
A Canadian promoter and record company executive heard the record and invited Mindelis for the 25th edition of the Montreal International Jazz Festival in 2001 and did other presentations in Quebec, Ottawa. He was considered by the critic as the best blues guitar player of the festival and his presentation one of the best of the latest editions of the festival.
Mindelis is considered by the media and fans of his native Brazil as the best blues guitarist. His records are well played on radio stations as well as Brazilian MTV. Fans of British guitar legend Eric Clapton identify with graffiti once spray-painted on a London wall; ?Clapton is God?. In Brazil the graffiti says ?Mindelis ? Brazil's Guitar God!?.


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News Magazine Features Natural Inspiration
Partial view of Jay Crosby's "Growth".
Natural Inspiration
Meet 5 artists who use their time on trail to fuel their creativity | by Teddy Wingo and Jessi Loerch
Jay Crosby
Jay Crosby grew up loving nature, but it wasn't super accessible to them where they grew up in suburban Orlando. They had to look hard. There was a field near their home, and they would examine the grass in close detail. Or they would look for flowers or watch the frogs in a nearby retention pond. They were always looking.
Although Jay grew up in Florida, they had family in the Northwest and visited often. They loved the Pacific Northwest, and after finishing art school, was ready to move to a new home. Ultimately they settled in Portland.
"It felt like a good place to make art," Jay said.
Additionally, as a queer and trans person, Jay found that Portland was a comfortable place for them to be and that their style of art was a good fit for the Northwest. Jay's art is in the realm of scientific illustration. They work as a freelance illustrator and also creates pieces for galleries. Recently, they illustrated a story for the Portland Mercury. The story, about Jenny Bruso of Unlikely Hikers, focused on the work she's doing online and in person to ensure that everyone feels welcome in the outdoors.
See Jay's work at jaycrosbyillustration.com.
Jay describes their work as having two main themes: connecting with nature on a personal and emotional level and documenting and exploring connections within nature from a scientific standpoint.
"My illustrations often exhibit both of these themes at the same time," Jay said. "I enjoy creating work that feels personal to me and can be interpreted as a representation of human emotions like love, fear or grief. An aspect of storytelling is present in my work. But it is also really important for me to describe plants and animals accurately and in a way that can be educational and informative."
That theme of connection has been important in Jay's work — and also in their life. When Jay moved to Portland, they made connections with other artists, particularly tattoo artists. Although Jay had long admired tattoos that were well done, tattoo art was a new medium for him. Whereas previously Jay had only seen more traditional tattoos, in the Northwest they discovered that other tattoo artists were working in styles that were similar to their nature-inspired art — and that Portland could be a market for them as well.
Tattooing had another appeal for Jay — it was yet another way to build connections. Being an artist can be isolating. Sometimes, Jay doesn't even see his art displayed, if it's in a gallery in another state. They enjoyed the prospect of being able to work closely with his clients.
Jay has been working on their first tattoos as part of their required training. When Jay is finished with all the requirements, they will be able to take their licensing exam. Jay's first tattoos show how much nature influences their art. Their early works show small details of the natural world, including lichen, insects and bones.
Jayashree Krishnan
At first glance, Jayashree Krishnan's three styles of art look disparate: landscapes, abstract paintings using resin and contemporary pieces inspired by Sanskrit poetry.
There is a similar theme in many of her pieces, however. Her work is greatly inspired by the landscapes of the Pacific Northwest.
Jayashree Krishnan's "Silent Solitude" stretches across three canvases, with landscapes merging into one another. Photo by Teddy Wingo.
Jayashree has been hiking in Washington since she moved to Seattle in 1992. She grew up in Bangalore, India, where she often walked, both out of necessity and because she enjoyed it. But she didn't have a lot of access to natural areas in the large city. That changed when she moved to the Northwest. She has done a lot of hiking, particularly around the I-90 corridor, whose trails are conveniently located for her.
Art has always been a part of her life. Jayashree painted when she hiked, when she went to coffee shops, whenever she had a moment. Yet art was always on the sidelines. She taught math at Seattle University for many years. But about 4 years ago, she knew that it was time for a change.
"I decided I wanted to do what I love," she said. "To paint and create takes a lot of physical and mental energy, which I did not have when I was doing other things."
Getting started in art was a challenge. Jayashree knew how to make art, but she needed to find studio space and learn how to market her work and get into juried shows.
Photo by Teddy Wingo.
Once she had the time to do art full time, she began experimenting. She painted several pieces outside. She enjoys creating landscapes and appreciates how painting can add something more to an image. Art takes away the barrier of language and words.
"You can take a photograph, but the difference with painting, and especially painting on location, is something intangible. It evokes a feeling. When you see a sunrise or you see a stormy sky, there is something that is not very easy to put into words. Those feelings seem to come out in painting," she said.
"Art is everywhere. It's the thing that connects everybody to the universal language."
Jayashree also creates abstract images using resin. It started as an experiment, but she loved the effect so much, she continued. The end results are complex pieces with a lot of depth. Many resemble an aerial landscape, such as the junction of a beach and the ocean, or the complex look of a glacier seen from high above. She loves the feeling of a vast area in a small frame.
Jayashree's contemporary spiritual pieces are detailed and complex. In some of them, she brings to life Sanskrit poetry. She learned both the language and a love for the poetry from her grandfather.
Jayashree says that because Sanskrit is such a rich, complex language, it is well suited to poetry.
For one of her contemporary spiritual pieces, "Valmiki in Tapas," Jayashree was inspired by the feeling of arriving at the top of Poo Poo Point after a hike. The painting, inspired by a poem, shows the Sage Valmiki in meditation, on a summit high above a valley.
"It's like when you're coming up the trail and the trees begin to thin and then suddenly, you're at the top. … It's that feeling, the sense of height and light," she said.
See Jayashree's work at jayashreekrishnan.com
For paintings like that, it takes much more time for her to carefully consider the meaning and her goals than it takes to actually paint.
"I put a lot of thought into what the viewer is seeing. There is a meaning in those paintings. And I find that they are very universal. Anyone from anywhere on the planet should see what message I am trying to bring across. And it's usually not something you can see immediately. It's like putting a puzzle together. There are several layers to it. It's very contemplative. I hope it will spark introspection," she said.
Now that she's freed up the time to paint and create full time, Jayashree says she doesn't think she'll ever stop. Art is part of her life. And when she's creating art, the memory of that time stays with her, all the details crisp and clear.
"I'm inspired by everything, everywhere," she said. "We say it's art, but to me any discipline or subject is just something that we have demarcated because it's easier to wrap your brain around. But to me, it's really just life. Art is everywhere. It's the thing that connects everybody to the universal language."
Marko Oblak
Marko Oblak's artwork is immediately captivating. His minimalist, nature-inspired style is done freehand with the use of finetipped pens to create unique drawings that make powerful use of positive and negative space.
"My style began to take shape through my travel sketches," Marko said. "I took a long trip after college, through all of Southeast Asia, where I had the opportunity to draw every day and it naturally occurred by putting pen to paper."
Marko, who is a full-time landscape architect based out of Seattle, is a selfdescribed "lover of the natural world." His two biggest passions, outside of art, are fly fishing and climbing. His passions take him all across the Pacific Northwest, where he draws inspiration for his work.
"My favorite piece I've done is one titled 'Alpine Lake,' " he said. "It was inspired by a day at a mountain lake that had a series of channels, which almost made the lake feel like a river. All around the edges of the lake there were blooming wildflowers and you could see a peak towering in the backdrop."
"My duty as an artist is to capture the beauty of the world in my own style and act as a delegate for Mother Nature"
The resulting piece is in simple black and white and captures a vision of a riverlike body of water weaving through the tall grass in the foreground with the mountain standing proud in the back.
Marko's work can be purchased in print and sticker form as well as on a variety of clothing items such as T-shirts and hats.
Marko also designs tattoos on commission, though he himself is not a tattoo artist. His style of fine line work is well suited to tattoos.
"It's a pretty humbling process because it's permanent and the clients are trusting you as an artist," he said. "But it's always fun going through the entire process with a client, starting with a photo or a specific memory that is important to them and then seeing the final format of the tattoo on their skin."
See Marko's work at creaturegenius.com.
Marko takes a small Moleskine sketchbook on trail for his backcountry climbing and fly fishing adventures to make sure he can capture the moment, through art, and create a lasting piece when he returns to the studio.
"My duty as an artist is to capture the beauty of the world in my own style and act as a delegate for Mother Nature," he said.
Nicole Ringgold
Nicole Ringgold was hiking when she had a realization.
She had recently started working in an art studio in a beautiful greenhouse in Twisp, where she and her family had moved after their home was destroyed by wildfires in 2014. She had been making jewelry and other art using rocks and metal. But many other artists were working in a similar medium, and she was looking for something different.
"One day on a hike, it dawned on me, 'Oh, here I am working in a greenhouse and surrounded by plants.' And I challenged myself to make 30 botanical pieces," she said.
It was the beginning of a whole new style of art for her.
Nicole Ringgold's creations are all forged by hand, not cast. Photo by Cymone Van Marter.
Nicole's pieces are detailed and intricate. They retain the feeling of the living plants she bases them on.
"What I would do is find a plant. I would literally have it in my hand and pull it apart to understand how it was constructed," she said.
"One day on a hike, it dawned on me, 'Oh, here I am working in a greenhouse and surrounded by plants.' And I challenged myself to make 30 botanical pieces"
She would look at the leaves and the stems and try to make each component by hand. Then, she reconstructed the elements into a handmade metal sculpture of the piece.
"Every day presented a really amazing challenge," she said.
The first plant Nicole created in metal was a kind of succulent called a string of pearls. To create it, she had to learn how to make a hollow ball. As she tried more plants, she learned more skills.
Photo by Cymone Van Marter.
Now, after several years of work, she's created a huge variety of botanical pieces: tiny fern rings, cedar branch bracelets, hemlock cone necklaces, shooting star earrings and so much more. She also makes other items inspired by nature, such as tiny bees or intricate metal moths. She constantly has to remind people that her creations are fully handmade. She doesn't use a cast; she shapes each piece herself.
See Nicole's work at nicoleringgold.com.
Nicole sells her work online and in a limited number of galleries. She also accepts commissions. Recently, she began teaching; she currently offers several weeklong courses each year. It's added a new dimension to her work.
"Being an artist can be relatively isolating. Teaching enables me to socialize and connect with other people interested in doing the same kind of art," she said. "Teaching helps me translate all of the self-taught skills I hold in my head from thoughts into words. I learn how to talk aloud about those skills to someone else and explain what it is that I'm doing. ... It has drastically pushed my skill level, and I see that I am more of a master of my process than I realized."
When she's not teaching, Nicole is continuing to make her own pieces and work on commissions. She's also constantly inspired by her time on trail. She hikes nearly every day; on Fridays, she hikes with her daughter, a tradition they've had for 6 years. Sometimes, she and her daughter go straight from a hike to the studio.
"It's a big part of my process to be inspired by the plants I find on hikes," she said.
Mariah Reading
From the forests of Maine to the shores of California and now the backcountry of Alaska, Mariah Reading is on a mission for change. A landscape painter, Mariah collects trash in national parks and protected lands. She then uses the trash as canvasses to paint the landscape where the debris was found. Her art highlights a unique way to leave a place better than you found it.
Mariah cultivated her brand as an eco-artist during an art class her senior year in college. She suddenly realized how much usable material was being wasted.
Mariah Reading's aret is beautiful; it also offer's a powerful message about caring for wild places.
"I wanted to find a way to draw parallels between painting landscapes and feeding landfills," Mariah said. "For my senior project I collected all of my crusty paintbrushes and made them into a canvas to create my landscape on instead of throwing them away."
See Mariah's work at mariahreadingart.com.
After graduation in 2016, Mariah embarked on a cross-country trip from Maine to California, with the goal of picking up trash in as many national parks as possible along the way. The following summer, she worked in the Guadalupe Mountains of West Texas where she created her favorite piece, titled "El Hub Capitan".
"The hubcap was cracked off perfectly to the form of the mountain range," she said. "That was the piece that started the photography trajectory that I am on now, where I align my pieces with their landscapes, and I am really thankful for it."
Now living in Alaska as an artist-in-residence, Mariah spends a significant portion of her time in Denali National Park, where she always hikes with her paints. Recently, her residency took her on a 10-day trip into the backcountry that brought a welcome surprise.
Photo courtesy Mariah Reading.
"Over the course of 10 days, the only piece of trash I found at Denali was a crushed can under a rock," she said. "All the other surfaces I painted on were my own trash or pieces from the Denali recycling center. … Denali provides a beautiful example for other protected lands to follow."
"I hope my art can act as an entry point for people so we can improve and mitigate our footprint in order to lessen the blow on the environment"
After the conclusion of her time in Alaska, Mariah will be the artist in residence in Zion National Park in Utah for the month of September.
"I hope my art can act as an entry point for people so we can improve and mitigate our footprint in order to lessen the blow on the environment," she said. "My goal is to encourage viewers to check their own habits, especially in the protected landscapes that make America so beautiful."
This article originally appeared in the Sept+Oct 2018 issue of Washington Trails magazine. Support trails as a member WTA to get your one-year subscription to the magazine.

redpajama_set_name: RedPajamaCommonCrawl


text:
Automotive Aftermarket Service and Repair
Precision Auto Care Announces First Quarter FY 09 Results
Revenue was $3.2 million and loss was $6,000, or 0 cents per share, compared with a profit of $191,000, or 1 cent per share, on revenue of $3.1 million for the same period in the prior year.
- Christian Brothers Automotive Honored as Top Franchise
- RNR Tire Express Ranks 170th in the Franchise 500
- MidwayPlus Launches New Payment Solution, Shop Lender
LEESBURG, Va. — Precision Auto Care Inc. (PACI) has announced its financial results for the first quarter of fiscal year ending June 30, 2009. Revenue was $3.2 million and loss was $6,000, or 0 cents per share, compared with a profit of $191,000, or 1 cent per share, on revenue of $3.1 million for the same period in the prior year.
The company's President and CEO, Robert Falconi, stated, "Even though PACI incurred a loss, I am still pleased with the company's financial performance for the first quarter of FY09. We had an unusual out of period expense in the first quarter that caused the loss. Furthermore, revenues are up because of the company owned stores. All indicators point to profitability for the balance of FY09."
Innova Releases Software and Firmware Updates
RepairPal Launches Car Genius
Three Options Offered for ASE Testing, Recertification
asTech's Patented 'Rules Engine' Now Available
Discount Tire Acquires 35 Acres in Phoenix for Future HQ
The company's new corporate campus will house more than 1,100 employees.
Discount Tire has announced its intent to develop a new corporate headquarters in Phoenix following the acquisition of 35 acres located near Loop 101 and State Route 51. Discount Tire purchased the site at a recent Arizona State Land Department public auction. Proceeds from the sale will be invested by the state in the Permanent Land Endowment Trust Fund to benefit K-12 education in Arizona.
More Automotive Aftermarket Service and Repair Posts
Consumer Survey Shows Greater Trust in Service Professionals
More than 70% reported increased levels of trust in repair shops and/or service technicians.
By AMN Content Partner December 27, 2022
SimpleTire Lands Spot on Newsweek's Best Online Shops List
SimpleTire links independent tire distributors across the country into one seamless e-commerce network.
Autel Issues Software Updates for MaxiSYS Ultra Tablet Series
Autel says the updates are aimed at increasing diagnostic speed and functionality, and expanding vehicle coverage.
By aftermarketNews Staff December 22, 2022
Repairpal, Nationwide Report Partner on Consumer Car Repairs
Nationwide Report users can access 3,000+ shops and dealers in the RepairPal Certified network.
RoboTire Partners with Creamery Tire
Creamery has signed on to install additional RoboTire systems at two other locations in Pennsylvania.
Mitchell 1 Integrates Nexpart Online Catalog with Manager SE
Mitchell 1 says the integration makes purchasing decisions easier, being able to search multiple suppliers in real time.
Tire Discounters Acquires 6 Leete Tire & Auto Locations
Leete Tire and Auto is one of the longest-standing tire and services businesses in Virginia, first opening in 1942.
Safelite Group Acquires Premium Auto Glass
The transaction was completed on December 9, 2022.


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text:
\subsection{Reflection phase winding around Fermi arc touching-point}

\begin{figure}[b] \centering
\includegraphics[width=0.45\textwidth]{Winding_phi_2}
\caption{Reflection phase $\phi$ versus $\alpha$ (the polar angle in the two-dimensional $k$-space of the incident beam), for $E=1$, $\theta_b = \pi$, and different values of $|\vec{K}_\perp|$ close to the Weyl cone boundary.  The Fermi arc touching-point occurs at $\alpha = 0$.  Exactly at the boundary ($|\vec{K}_\perp| = E$), Eq.~\eqref{bc} states that $\phi = \pm \pi$ for all $\alpha \ne 0$ and is undefined at $\alpha = 0$ (being a step function).}
\label{Winding}
\end{figure}

As mentioned in the main text, the non-trivial behaviour of the reflection phase near the Fermi arc touching-point can be understood by considering the limiting case $k_z^{\pm} \rightarrow 0$. For $k_z^{\pm}=0$, the incident and reflected waves are linearly dependent and the total (envelope) wavefunction is
\begin{equation}
\psi_{\mathrm{tot}} = \frac{1}{\sqrt{2}}(1+e^{i\phi})
\begin{bmatrix}
  1 \\
  e^{i\alpha}
\end{bmatrix}.
\end{equation}
The boundary condition (Eq.~3 of main text) then implies
\begin{equation}
  (1+e^{i\phi})(1+e^{i(\alpha-\theta_b)}) = 0,
  \label{bc}
\end{equation}
which can be satisfied by (i) $\phi=\pi$ and (ii) $\alpha-\theta_b =\pi \;(\textrm{mod} \;2\pi)$. Fig. \ref{Winding} shows $\phi$ as a function of $\alpha$ parametrizing circular patches of different radius close to the boundary. As the boundary $|\vec{K}_\perp|=E$ is approached, $\phi$ becomes ill-defined and $\alpha=\theta_b -\pi$ defines the Fermi arc touching-point. This is consistent with the behavior shown in Fig.~1(b)--(c) of the main text.

To analytically derive the direction in which $\phi$ winds, consider momenta close to the boundary, such that $k_z^\pm = \pm \delta k_z$ where $\delta k_z$ is a small positive number. Let $q = \delta k_z/E$, and expand $\eta_-$ up to linear order in $q$:
\begin{equation}
\eta_- = \sqrt{\frac{1+q}{1-q}} \approx 1+q, \qquad \eta_-^2 \approx 1+2q.
\end{equation}
Then the reflection coefficient is
\begin{align}
  \begin{aligned}
    e^{i\phi} &= -\frac{1+\eta_- e^{i\beta}}{\eta_- + e^{i\beta}} \\
    &= -1 - \frac{2iq\sin \beta}{1+\cos \beta} + O(q^2),
  \end{aligned}
\label{Ref_phase_approx}
\end{align}
where $\beta=\alpha-\theta_b$.  Hence, to leading order,
\begin{equation}
  \sin \phi \approx -\frac{2q\sin \beta}{1+ \cos \beta}.
  \label{img}
\end{equation}
At exactly $\beta = \pm \pi$, the denominator diverges and the approximation breaks down.  For small angle deviations, $\beta=\pi+\delta\beta$, we find that $\sin \phi \approx 2q\sin (\delta \beta)$, so that $\delta \phi$ switches sign with $\delta \beta$.  Note that $q > 0$ for the upper cone, and $q < 0$ for the lower cone, so the two cones have opposite windings.

\subsection{Simple derivation of gaussian beam shifts}

Let $f$ be a function of the in-plane momenta $\vec{k}_\perp = (k_x,k_y)$.  We take a gaussian beam of the form
\begin{equation}
\Psi = \frac{1}{2\pi\Delta_x\Delta_y}\int_{-\infty}^{\infty} dk_xdk_y \; e^{-\frac{(k_x-K_x)^2}{2\Delta_x^2}} e^{-\frac{(k_y-K_y)^2}{2\Delta_y^2}} e^{i f(x,y,k_x,k_y)} e^{i k_x x + ik_y y}.
\label{Gauss_int}
\end{equation}
To find the center of this beam, expand $f(x, y, k_x,k_y)$ about the mean wave-vector $\vec{K}_\perp=(K_x,K_y)$ as
\begin{equation}
f(x,y,k_x,k_y) \approx f(x,y,K_x,K_y) + \frac{\partial f}{\partial k_x}\Big|_{\vec{K}_\perp} (k_x-K_x)+ \frac{\partial f}{\partial k_y}\Big|_{\vec{K}_\perp} (k_y-K_y).
\label{Taylor_expansion}
\end{equation}
Here, only terms up to first order are retained. The integral \eqref{Gauss_int} can be written as
\begin{equation}
\Psi = C \int_{-\infty}^{\infty} dk_x \;\xi(k_x)e^{ik_xx}
\int_{-\infty}^{\infty} dk_y\; \xi(k_y) e^{ik_yy}
\end{equation}
where
\begin{equation}
C=\frac{\exp[if(x,y,K_x,K_y)]}{2\pi\Delta_x\Delta_y} , \quad
\xi(k_s) = \exp(-\frac{(k_s-K_s)^2}{2\Delta_s^2}) \exp(i \frac{\partial f}{\partial k_s}\Big|_{\vec{K}_\perp} (k_s-K_s)).
\end{equation}
Evaluating the integrals, we obtain
\begin{equation}
\Psi = \exp\Big(if+iK_xx+iK_yy\Big) \exp\left[-\frac{\Delta_x^2}{2}\left(x+\frac{\partial f}{\partial k_x}\right)^2\right] \exp\left[-\frac{\Delta_y^2}{2}\left(x+\frac{\partial f}{\partial k_y}\right)^2\right].
\end{equation}
We find that the probability amplitude $|\Psi|^2$ is a gaussian in real space, centered at
\begin{equation}
  \vec{R} = \left[-\frac{\partial f}{\partial k_x},
    -\frac{\partial f}{\partial k_y} \right]_{\vec{k}_\perp = \vec{K}_\perp}.
\end{equation}

For the particular case of Eq.~(1) of the main text, the two components of the incident beam are centered at $(0,0)$ and $\big(-\partial_{k_x} \alpha, -\partial_{k_y} \alpha\big)_{\vec{k}_\perp = \vec{K}_\perp}$ and the center of the beam is calculated by taking weighted averages over the pre-factors:
\begin{equation}
  \vec{R}_{i} = \left(-\frac{\eta_-^2}{1+\eta_-^2} \nabla_{\vec{k}_\perp} \alpha \;
  \right)_{\vec{k}_\perp = \vec{K}_\perp},
\end{equation}
where, as in the main text,
\begin{align}
  \alpha &= \tan^{-1}\left(\frac{k_y}{k_x}\right), \;\;
  \eta_{\pm} = \sqrt{\frac{E-vk_z^{\pm}}{E+vk_z^{\pm}}}, \\
  k_z^{\pm} &= \pm \sqrt{(E/v)^2 - |\vec{k}_\perp|^2}.
\end{align}
Similarly, the reflected beam is centered at
\begin{equation}
  \vec{R}_{r} = \left(
  -\frac{1}{1+\eta_+^2}\nabla_{\vec{k}_\perp}\phi
  -\frac{\eta_+^2}{1+\eta_+^2}
  \nabla_{\vec{k}_\perp} (\alpha+\phi) \right)_{\vec{k}_\perp = \vec{K}_\perp}.
\end{equation}
The shift is given by their difference:
\begin{equation}
  \vec{\Delta}(\vec{K}_\perp) = \left(-\nabla_{\vec{k}_\perp} \phi
    +\left(\frac{\eta_-^2}{1+\eta_-^2}
    - \frac{\eta_+^2}{1+\eta_+^2}\right)\nabla_{\vec{k}_\perp} \alpha
    \right)_{\vec{k}_\perp = \vec{K}_\perp}.
\end{equation}
Using the equality $\eta_+ = 1/\eta_-$ yields Eq.~(6) of the main text.

\subsection{Non-Gaussian beams and gauge invariance}

In this section, we show that the same beam shift formulas can be derived even if the Gaussian envelope approximation is relaxed.  This derivation also shows that even though the reflection coefficient $\phi$ depends on the gauge choice used in the definition of the eigenfunctions [e.g., Eq.~(1) of the main text], the beam shift $\vec{\Delta}$ is a physical quantity that is gauge invariant.  The beam shifts are derived in terms of geometrical connections defined using the spinors of the incident and reflected beams.

Let $g(\vec{k}_\perp)$ be a real valued function peaked at $\vec{k}_\perp=\vec{K}_\perp$. The incident and reflected beam can be written as
\begin{align}
  \Psi_i(\vec{r},\vec{K}_\perp) &= \int d\vec{k}_\perp \;
  g(\vec{k}_\perp-\vec{K}_\perp) \; \psi_i(\vec{k}_\perp)\;
  e^{i\vec{k}_\perp \cdot \vec{r}_\perp+ik_z^- z} \\
  \Psi_r(\vec{r},\vec{K}_\perp) &= \int d\vec{k}_\perp \;
  g(\vec{k}_\perp-\vec{K}_\perp) \; \mathrm{r}(\vec{k}_\perp)  \;
  \psi_r(\vec{k}_\perp)e^{i\vec{k}_\perp \cdot \vec{r}_\perp+ik_z^+ z}.
\end{align}
Here, $\mathrm r(\vec{k}_\perp)=e^{i\phi(\vec{k}_\perp)}$ is the reflection coefficient. To track the peak of the wavepacket, we calculate the probability amplitude at the interface $z=0$:
\begin{equation}
  \left|\Psi_{i(r)} (\vec{K}_\perp,\vec{r}_\perp)\right|^2
  = \int d\vec{k}_\perp d\vec{k}^\prime_\perp \;
  g_F(\vec{k}_\perp,\vec{k}^\prime_\perp,\vec{K}_\perp)
  \; e^{i\theta_{i(r)}(\vec{k}_\perp,\vec{k}^\prime_\perp)}
\end{equation}
where
\begin{align}
  g_F(\vec{k}_\perp,\vec{k}^\prime_\perp,\vec{K}_\perp)
  &= g(\vec{k}_\perp,\vec{K}_\perp)g(\vec{k}^\prime_\perp,\vec{K}_\perp), \\
  \theta_i(\vec{k}_\perp,\vec{k}^\prime_\perp, \vec{r})
  &= -i \log \left\langle\psi_i(\vec{k}_\perp)\right| \left.\psi_i(\vec{k}^\prime_\perp)\right\rangle
  + (\vec{k}_\perp-\vec{k}^\prime_\perp) \cdot \vec{r}\\
  \theta_r(\vec{k}_\perp,\vec{k}^\prime_\perp, \vec{r})
  &= -i \log \left\langle\psi_r(\vec{k}_\perp) \right.\left|\psi_r(\vec{k}^\prime_\perp)\right\rangle
  + (\vec{k}_\perp-\vec{k}^\prime_\perp) \cdot \vec{r}
  + \phi(\vec{k}_\perp)-\phi(\vec{k}^\prime_\perp).
\end{align}
We have used Dirac's bra-ket notation to express the various $k$-space integrals.  The peak of the probability amplitude in real space is the stationary point $\vec{R}$ determined by
\begin{equation}
\nabla_{\vec{k}_\perp} \theta_{i(r)}(\vec{k}_\perp,\vec{k}^\prime_\perp,\vec{R}_{i(r)} )\Big|_{\vec{K}_\perp} = 0
\end{equation}
This gives the peaks of the incident and reflected beams:
\begin{align}
  \vec{R}_i &= \vec{\cal A}_i(\vec{K}_\perp) \\
  \vec{R}_r &= \vec{\cal A}_r(\vec{K}_\perp) - \nabla_{\vec{k}_\perp}
  \phi(\vec{k}_\perp)|_{\vec{K}_\perp}.
\end{align}
Here,
\begin{equation}
\vec{\cal A}_{i(r)}(\vec{k}_\perp)=i \Big\langle \psi_{i(r)}(\vec{k}_\perp) \Big| \nabla_{\vec{k}_\perp} \Big| \psi_{i(r)}(\vec{k}_\perp) \Big\rangle
\end{equation}
is the Berry connection for the incident (reflected) wave. By explicit calculation using the eigenstates of Weyl Hamiltonian, we obtain
\begin{align}
  \vec{\cal A}_{i}(\vec{k}_\perp)
  &=-\frac{\eta_-^2}{\eta_-^2+1}\nabla_{\vec{k}_\perp}\alpha \\
  \vec{\cal A}_{r}(\vec{k}_\perp)
  &= -\frac{\eta_+^2}{\eta_+^2+1}\nabla_{\vec{k}_\perp}\alpha.
\end{align}
The shift is then given by
\begin{align}
  \vec{\Delta}(\vec{K}_\perp)
  &= \vec{R}_r-\vec{R}_i=\vec{\cal A}_r(\vec{K}_\perp)
  - \vec{\cal A}_i(\vec{K}_\perp)
  - \nabla_{\vec{k}_\perp} \phi(\vec{k}_\perp)|_{\vec{K}_\perp} \\
  &=\left(\frac{\eta_-^2-1}{\eta_-^2+1}\nabla_{\vec{k}_\perp} \alpha
    - \nabla_{\vec{k}_\perp} \phi \right)_{\vec{K}_\perp}.
  \label{Shift_berry}
\end{align}
We have used the fact that $\eta_- = 1/\eta_+$.  Eq.~\eqref{Shift_berry} shows that Eq. 6 of the main text is valid for any shape of incident beam as long as the beam profile remains a real function peaked at a single point in real space. This in turn implies that the neglected higher order terms, which generally cause a change of the beam profile, will not change the calculated shift even upon multiple reflections.

Now consider boundary conditions of the form
\begin{equation}
  \mathrm{M}(\vec{k}_\perp)\big[\psi_i(\vec{k}_\perp)
    + r(\vec{k}_\perp)\psi_r(\vec{k}_\perp)\big] = 0,
\end{equation}
where $\mathrm M(\vec{k}_\perp)$ is a $2 \times 2$ matrix characterizing the boundary.  The reflection phase can be written as
\begin{equation}
\phi(\vec{k}_\perp)=i\log[\mathrm M\psi_r(\vec{k}_\perp)] - i \log [\mathrm M\psi_i(\vec{k}_\perp)].
\end{equation}
The derivative is
\begin{equation}
  \nabla \phi = i\frac{\nabla \mathrm M\psi_r}{\mathrm M\psi_r}
  - i\frac{\nabla \mathrm M\psi_i}{\mathrm M\psi_i}.
  \label{gradphi_geom}
\end{equation}
We define two new objects
\begin{equation}
\psi_{i(r)}^{\theta} = \mathrm M\psi_{i(r)},
\end{equation}
which are normalized as $\big\langle\psi_{i(r)}^{\theta}(\vec{k}_\perp) \big| \psi_{i(r)}^{\theta}(\vec{k}_\perp)\big\rangle=1$.  Then Eq.~\eqref{gradphi_geom} reads
\begin{equation}
  \nabla \phi = \Big\langle \psi_{r}^{\theta}(\vec{k}) \Big| i\nabla_{\vec{k}} \Big| \psi_{r}^{\theta}(\vec{k})\Big\rangle
  - \Big\langle \psi_{i}^{\theta}(\vec{k}) \Big| i\nabla_{\vec{k}} \Big| \psi_{i}^{\theta}(\vec{k})\Big\rangle,
\end{equation}
which is the difference between two geometric (non-Berry) connections. These geometric connections are related to the parallel transport determined by the boundary condition.

Although both $\vec{R}_i$ and $\vec{R}_r$ are gauge dependent (which amounts to a different choice of origin for the individual waves), their difference is gauge invariant. When
\begin{equation}
  \psi_{i(r)}(\vec{k}_\perp) \rightarrow
  \psi_{i(r)}(\vec{k}_\perp) \exp({i\chi_{i(r)}(\vec{k}_\perp)}),
\end{equation}
we find that
\begin{align}
  \vec{\cal A}_{i(r)}(\vec{k}_\perp)
  &\rightarrow \vec{\cal A}_{i(r)} (\vec{k}_\perp)- \nabla_{\vec{k}_\perp}
  \chi(\vec{k}_\perp) \\
  \nabla_{\vec{k}_\perp}\phi(\vec{k}_\perp)
  &\rightarrow \nabla_{\vec{k}_\perp}\phi(\vec{k}_\perp)
  - \nabla_{\vec{k}_\perp}\chi_{r}(\vec{k}_\perp)
  + \nabla_{\vec{k}_\perp} \chi_{i} (\vec{k}_\perp).
\end{align}
Hence, the shift given by Eq.~\eqref{Shift_berry} is gauge invariant.

The shift itself is given by
\begin{equation}
  \vec{\Delta}(\vec{K}_\perp)
  = \left( \frac{\eta_-^2-1}{\eta_-^2+1}\nabla_{\vec{k}_\perp}
  \alpha(\vec{k}_\perp)
  - \nabla_{\vec{k}_\perp} \phi(\vec{k}_\perp)\right)_{\vec{k}_\perp = \vec{K}_\perp}.
\end{equation}
The reflection coefficient is given by
\begin{equation}
  r = e^{i\phi} = -\frac{1+\eta_- e^{i\beta}}{\eta_- + e^{i \beta}},
\end{equation}
where $\beta(\vec{k}_\perp)=\alpha(\vec{k}_\perp)-\theta_b$. Therefore,
\begin{align}
  \nabla \phi &= -i \frac{\nabla r(\vec{k}_\perp)}{r(\vec{k}_\perp)} \\
  &= -\frac{i}{r} \frac{ie^{i\beta}(\eta_-^2-1)(\nabla \beta)
    + (e^{2i\beta}-1)(\nabla\eta_-)}{(\eta_-+e^{i\beta})^2} \\
  &= \frac{(\eta_-^2-1)(\nabla \beta)+2
    \sin \beta (\nabla \eta_-)}{1+\eta_-^2+2\eta_-\cos \beta},
    \label{Grad_phi}
\end{align}
and
\begin{align}
  \nabla\eta_-
  &= \frac{-E}{\eta (E+k_z^-)^2} \frac{\vec{k}_\perp}{|k_z^-(\vec{k}_\perp)|} \\
  \nabla \beta &= \nabla \alpha = (-k_y,k_x)/|\vec{k}_\perp|^2.
\end{align}
Putting everything together, we obtain the explicit formula
\begin{equation}
\vec{\Delta}(\vec{K}_\perp) = \left[\frac{\eta_-^2(\vec{K}_\perp)-1}{\eta_-^2(\vec{K}_\perp)+1} + \frac{k_z^-(\vec{K}_\perp)}{E+|\vec{K}_\perp| \cos \beta(\vec{K}_\perp)}\right]\frac{1}{|\vec{K}_\perp|^2} (-K_y,K_x) + \frac{E \sin \beta(\vec{K}_\perp)}{|\vec{K}_\perp| E + |\vec{K}_\perp|^2 \cos \beta(\vec{K}_\perp)}\frac{\vec{K}_\perp}{|k_z(\vec{K}_\perp)|}.
\label{Shift_analytical}
\end{equation}

\subsection{Inverse square root scaling of the beam displacement}

\begin{figure}
  {\centering \includegraphics[width=0.8\textwidth]{Scaling}}
  \caption{(a) Zoomed-in image of the shift vector $\vec{\Delta}$ close to the Fermi arc touching-point.  (b) Log-log plot of the magnitude of the shift vector in different directions away from the Fermi arc touching-point.  The straight lines show numerical least squares fits, which indicate that the magnitudes indeed scale as $|\vec{\Delta}| \sim |\delta \vec{K}_\perp|^{-1/2}$. }
  \label{Scaling}
\end{figure}

\begin{figure}
  {\centering \includegraphics[width=0.8\textwidth]{Gradients}}
  \caption{Momentum dependence of the vector fields (a) $-\nabla \phi$ and (b) $\nabla \alpha$, for $\theta_b = \pi/2$. The half-vortex structure near the Fermi arc touching-point is evidently due to the gradient of $\phi$.  Note that $-\nabla \phi$ and $\nabla \alpha $ circulate in opposite directions around the origin.}
  \label{Grad}
\end{figure}

Fig.~\ref{Scaling} shows the inverse square-root scaling of the magnitude of the shift near the Fermi arc touching-point $\vec{K}_{\mathrm{fa}}$.
As mentioned in the main text, the vortex structure near the Fermi arc touching-point is due to the gradient of the reflection phase, as explicitly shown in Fig.~\ref{Grad}. The scaling can be verified by expanding the gradient of reflection phase about the Fermi arc touching-point.  The latter is derived by requiring the penetration constant of the Fermi arc surface state to vanish, which yields
\begin{equation}
\vec{K}_{\mathrm{fa}} = \Big(-E\cos(\theta_b),-E\sin(\theta_b)\Big).
\end{equation}
We define $\vec{k}_\perp = \vec{K}_{\mathrm{fa}} + \delta \vec{k}$, where $\delta \vec{k}=(\delta k_x, \delta k_y)$ is the wave-vector measured from the Fermi arc touching-point. The shift $\vec{\Delta}$, given by \eqref{Shift_analytical}, is to be expanded up to linear order in $\delta \vec{k}$.

We can expand $k_z^-$ in linear order as follows:
\begin{equation}
k_z^- \approx -\sqrt{2E[\delta k_x \cos(\theta_b) + \delta k_y
      \sin(\theta_b)]} = - Eq
\end{equation}
 where
\begin{equation}
  q =\sqrt{\frac{2[\delta k_x \cos(\theta_b) + \delta k_y \sin(\theta_b)]}{E}}.
\end{equation}
And from the definition of $\alpha$ we  have
\begin{align}
\begin{aligned}
  \cos(\alpha) \approx  \frac{p\sin(\theta_b)}{E} - \cos(\theta_b), \;\;
  \sin(\alpha) \approx -\frac{p\cos(\theta_b)}{E} - \sin(\theta_b),
\end{aligned}
\end{align}
where
\begin{equation}
  p = \delta k_x \sin(\theta_b) - \delta k_y \cos (\theta_b).
\end{equation}
and this gives
\begin{align}
\begin{aligned}
\sin \beta \approx -\frac{p}{E}, \;\; \cos \beta \approx -1
\end{aligned}
\end{align}
where $\beta = \alpha - \theta_b$. Now, from \eqref{Grad_phi} and \eqref{Shift_analytical} we have
\begin{align}
\begin{aligned}
\nabla \phi \approx -\frac{-q}{(1-\sqrt{1-q^2})}\frac{1}{E^2(1-q^2)} (-\delta k_y+E\sin \theta_b, \delta k_x-E\cos \theta_b) \\
- \frac{p}{E^2(\sqrt{1-q^2}-(1-q^2))}\frac{1}{Eq} (\delta k_x - E\cos \theta_b, \delta k_y - E\sin \theta_b).
\end{aligned}
\end{align}
which expanding up to linear order in $q$ simplifies to
\begin{equation}
\nabla \phi \approx -\frac{2}{E^2}(\frac{1}{q} +q) (-\delta k_y+E\sin \theta_b, \delta k_x-E\cos \theta_b) - \frac{2p}{E^3q^3}(\delta k_x - E\cos \theta_b, \delta k_y - E\sin \theta_b)
\end{equation}
Noting that $p/q^3 \sim 1/q$, it is readily seen that the leading order term scales as $1/q$.

\subsection{Derivation of the shift for the quadratic Hamiltonian}

The quadratic Hamiltonian
\begin{equation}
  H = v \begin{bmatrix}
    -k_y & \gamma(k_x^2-m)-i  k_z  \\
    \gamma(k_x^2-m)+i  k_z &  k_y  \\
  \end{bmatrix}
\end{equation}
has dispersion relation
\begin{equation}
  E = \pm v\sqrt{(k_x^2-m)^2 + k_y^2 + k_z^2}.
\end{equation}
This can exhibit either paired Weyl points or complete band-gap, depending on the choice of $m$.  In the region $z > 0$, we set $m = m_0 > 0$, so that there is a pair of Weyl points at $\vec{k} = [\pm\sqrt{m_0}, \,0, \, 0]$; for small values of $|E|$, there are two distinct Weyl cones which merge as $|E|$ increases.  In the region $z < 0$, we set $m = -m_1 < 0$ so that there is a complete band gap in the range $|E| < v\gamma |m_1|$.
In the Weyl medium, for incident and reflected plane waves, the eigenvectors reads
\begin{equation}
  \Psi_i = \frac{1}{\sqrt{1+\eta^2}}
  \begin{bmatrix}
    e^{-i\alpha_-}\\
    \eta
  \end{bmatrix}, \;\;
  \Psi_r = \frac{e^{i\phi}}{\sqrt{1+\eta^2}}
  \begin{bmatrix}
    e^{-i\alpha_+}\\
    \eta
  \end{bmatrix},
  \label{eigirquad}
\end{equation}
where
\begin{align}
  \begin{aligned}
  \alpha_{\pm} &= \tan^{-1}\left(\frac{k_z^{\pm}}{\gamma (k_x^2-m_0)}\right), \;\;
  \eta = \sqrt{\frac{E+vk_y}{E-vk_y}}, \\
  k_z^{\pm} &= \pm \sqrt{(E/v)^2 - \gamma^2 (k_x^2-m_0)^2 -k_y^2},
  \end{aligned}
\end{align}
where as before $k_z < 0$ ($k_z > 0$) branch chosen for the incident (reflected) wave.

The reflection amplitude $e^{i\phi}$ is calculated by matching the total incident and reflected envelope functions at $z=0$ plane with the evanescent wave in the band-gap medium given by
\begin{equation}
\psi_{t} = \frac{t}{N_t}\begin{bmatrix}
     E/v-k_y\\
     \gamma(k_x^2+m_1)+\kappa
   \end{bmatrix} e^{ik_{x}x+ik_{y} y +\kappa z},
   \label{IIWave}
\end{equation}
where $\kappa=\sqrt{\gamma^2(k_x^2+m_1)^2+k_y^2-(E/v)^2}$ is the inverse decay length of the evanescent field, $t$ is the transmission coefficient and $N_t$ is a normalization factor.
Equating $\psi_{i} + \psi_{r} = \psi_{t} $ at $z=0$ for all $x$ and $y$, the reflection coefficient $e^{i\phi}$ is calculated:
\begin{equation}
e^{i\phi} = \frac{\eta(E-v k_y)-[v\gamma(k_x^2+m_1)+v\kappa]e^{-i\alpha_-}}{e^{-i\alpha_+}[v\gamma(k_x^2+m_1)+v \kappa]-\eta(E-vk_y)}
\label{refamp_quad}
\end{equation}
The spatial shift in the reflected beam can be calculated in a manner similar to the previous case, which gives
\begin{equation}
  \vec{\Delta}(\vec{K}_\perp) = \left(-\nabla_{\vec{k}_\perp} \phi
  -\frac{2}{\eta^2+1}\nabla_{\vec{k}_\perp} \alpha_-
  \right)_{\vec{k}_\perp = \vec{K}_\perp}.
  \label{shift_quad}
\end{equation}
The results are shown in Fig.~3 of the main text.

\subsection{Consecutive reflections in a thin film geometry}

\begin{figure}
  {\centering \includegraphics[width=1\textwidth]{Bounce_film}}
  \caption{(a) Schematic of a beam bouncing within a thin film geometry. (b)--(c) Beam shift versus incident in-plane momentum, over two consecutive reflections in the thin film.  The orange (blue) dashes show the Fermi arc on the bottom (top) surface.}
  \label{Bounce_film}
\end{figure}

Consider a film of Weyl medium of thickness $2L$, within the space $|z| < L$ bounded above and below by a gapped medium.  In this geometry, a beam in the Weyl medium will reflect repeatedly off the two parallel surfaces, much like a bouncing-ball trajectory within a waveguide, as shown in Fig.~\ref{Bounce_film}(a).

As the beam reflects consecutively off the bottom and top surfaces of the film, the beams displacements accumulate instead of cancelling.  Fig.~\ref{Bounce_film}(b)--(c) plots the numerically-calculated beam shift over two consecutive reflections, using the quadratic Weyl Hamiltonian with continuity boundary conditions at $|z| = L$.  The shift from the upper surface can be found by replacing $k_z^{\pm} \rightarrow k_z^{\mp}$ and $\kappa \rightarrow -\kappa$ in the previous equations.

In explicit terms, we take the Hamiltonian
\begin{equation}
H =
\begin{bmatrix}
- k_y & (k_x^2 - m) - i k_z \\
(k_x^2 - m) + i k_z & k_y
\end{bmatrix},
\quad
m=
\begin{cases}
m_0 > 0 , & |z| \leq L\; ({\textrm{Weyl~medium}})  \\
- m_1 ,  & |z| > L \; ({\textrm{gapped~medium}}).
\end{cases}
\end{equation}
Inside the Weyl semimetal, we look for states $\propto e^{i \vec{k}_\perp \cdot \vec{r}_\perp + i k_z^\pm z } $ with $\vec{k}_\perp = (k_x, k_y)$ and $\vec{r}_\perp = (x,y)$. We focus on a fixed energy $E$, whose bulk states read
\begin{align}
\begin{aligned}
  \psi_{\pm}^{\mathrm{w}} (\vec{k}_\perp, \vec{r}_\perp, z)
  &= \frac{1}{\sqrt{1+\eta^2}}
  \begin{bmatrix}
    e^{i \alpha_\mp} \\ \eta
  \end{bmatrix}
  e^{i \vec{k}_\perp \cdot \vec{r}_\perp  + i k_z^\pm z } \\
  \eta &= \sqrt{\frac{E + k_y }{E - k_y}} \\
  \alpha_\pm &= \arctan \Big( \frac{k_z^\pm}{k_x^2 -m_0} \Big) \\
  k_z^\pm &= \pm \sqrt{E^2 - (k_x^2 -m_0)^2 - k_y^2}.
\end{aligned}
\end{align}
Here, $\psi_\pm^{\mathrm{w}} (\vec{k}_\perp, \vec{r}_\perp, z)$ propagates to the upper/lower surface $z = \pm L$.  We assume that the energy lies within the gap of the external medium.  In the $z  > L$ ($z < -L)$ region, the solution has the decaying form
\begin{equation}
  \psi_\pm^{\mathrm{evs}} (\vec{k}_\perp, \vec{r}_\perp, z) \propto
  \begin{bmatrix}
    E - k_y \\ k_x^2 + m_1 \mp  \kappa
  \end{bmatrix}
  e^{i k_x x + i k_y \mp \kappa z }.
\end{equation}
This wave function is not normalized, and due to energy conservation,
\begin{equation}
\kappa = \sqrt{ (k_x^2 + m_1)^2 - (k_x^2 - m_0)^2 }.
\end{equation}
At the interface $z=\pm L$, the incident wave $\psi_\pm^{\mathrm{w}}$, the reflected wave  $\psi_\mp^{\mathrm{w}}$, and the evanescent wave $\psi_\pm^{\mathrm{evs}}$ must match:
\begin{equation}
  \psi_\pm^{\mathrm{w}} (\vec{k}_\perp, \vec{r}_\perp, \pm L) + \mathrm{r}_{\pm} (\vec{k}_\perp) \psi_\mp^{\mathrm{w}} (\vec{k}_\perp, \vec{r}_\perp, \pm L) =\mathrm{t}_\pm (\vec{k}_\perp) \psi_\pm^{\mathrm{evs}} (\vec{k}_\perp, \vec{r}_\perp, \pm L),
\end{equation}
where $\mathrm{r}_{\pm} (\vec{k}_\perp)$ and $\mathrm{t}_{\pm} (\vec{k}_\perp)$ are reflection and transmission coefficients at $z = \pm L$.  By multiplying $(k_x^2 + m_1 \mp  \kappa, - E + k_y )$ to both sides of the equation, we obtain the total reflection coefficient
\begin{equation}
\mathrm{r}_\pm (\vec k)  = -
\frac{e^{ i \alpha_\mp } (k_x^2+ m_1 \mp \kappa) -
\sqrt{ E^2 - k_y^2 }   }
{e^{i \alpha_\pm } (k_x^2+ m_1 \mp \kappa) - \sqrt{E^2 - k_y^2 } }
\equiv - \exp [i \phi_\pm (\vec{k}_\perp)].
\end{equation}
For wave packets composed by $\psi_\pm^{\mathrm{w}}$, the shift between the total reflected wave and the incident wave in real space at the interface $z = \pm L$ is
\begin{equation}
\vec{\Delta}_\pm (\vec{k}_\perp ) =  \vec A_\mp (\vec{k}_\perp ) - \vec A_\pm (\vec{k}_\perp ) - \nabla_{\vec{k}_\perp} \phi_\pm (\vec{k}_\perp)
\end{equation}
where
$\vec{A}_\pm (\vec{k}_\perp) = i \big\langle \psi_{\pm}^{\mathrm{w}}(\vec{k}_\perp) \big| \nabla_{\vec{k}_\perp} \big| \psi_{\pm}^{\mathrm{w}}(\vec{k}_\perp)\big\rangle$ is the Berry connection for the incident/reflected state.  Since $\vec{A}_+ (\vec{k}_\perp) - \vec{A}_- (\vec{k}_\perp)$ and $\vec{A}_-(\vec{k}_\perp) - \vec{A}_+(\vec{k}_\perp)$ cancel, after two consecutive reflections between opposite surfaces $z = \pm L$, the total shift is
\begin{equation}
\vec{\Delta}_{\mathrm{tot}} (\vec{k}_\perp ) =
  \vec{\Delta}_+ (\vec{k}_\perp ) + \vec{\Delta}_- (\vec{k}_\perp )
  = - \nabla_{\vec{k}_\perp} \phi_+ (\vec{k}_\perp) -\nabla_{\vec{k}_\perp} \phi_- (\vec{k}_\perp).
\end{equation}
The resulting map of the shift is shown in Fig.~\ref{Bounce_film}.

\end{widetext}

\end{document}

redpajama_set_name: RedPajamaArXiv


text:
package org.apache.asterix.geo.evaluators.functions;

import com.esri.core.geometry.ogc.OGCCurve;
import com.esri.core.geometry.ogc.OGCGeometry;
import org.apache.asterix.om.functions.BuiltinFunctions;
import org.apache.asterix.om.functions.IFunctionDescriptor;
import org.apache.asterix.om.functions.IFunctionDescriptorFactory;
import org.apache.hyracks.algebricks.core.algebra.functions.FunctionIdentifier;
import org.apache.hyracks.api.exceptions.HyracksDataException;

public class STEndPointDescriptor extends AbstractSTSingleGeometryDescriptor {

    private static final long serialVersionUID = 1L;
    public static final IFunctionDescriptorFactory FACTORY = new IFunctionDescriptorFactory() {
        @Override
        public IFunctionDescriptor createFunctionDescriptor() {
            return new STEndPointDescriptor();
        }
    };

    @Override
    protected Object evaluateOGCGeometry(OGCGeometry geometry) throws HyracksDataException {
        if (geometry instanceof OGCCurve) {
            return ((OGCCurve) geometry).endPoint();
        } else {
            throw new UnsupportedOperationException(
                    "The operation " + getIdentifier() + " is not supported for the type " + geometry.geometryType());
        }
    }

    @Override
    public FunctionIdentifier getIdentifier() {
        return BuiltinFunctions.ST_END_POINT;
    }

}

redpajama_set_name: RedPajamaGithub


text:
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Article April 8, 2016
World War One Records Online at NAA – Lebanese Diggers
Richard Lahood's file marked "Enemy Alien"
Varied Resources
The National Archives of Australia is continually expanding the range of records available to the public. Manhy Immigration records, for instance, are easily accessed through the NAA website at www.naa.gov.au. The user friendly search mechanism gives quick access to many Immigration, Alien Registration, Shipping and etc. that deal with the immigration process, The NAA site is an essential for any family historian.
World War One Records
The service records of 420,000 Australians who served in World War 1, for instance, are very interesting. They relate mainly to members of the First Australian Imperial Force (AIF) but also include depot or records for personnel who served in Australia. Below are three interesting cases.
Richard Lahood of Redfern
One interesting record relates to a Richard Lahood of Redfern. There is a full digital copy of his World War One service record on the site. He was a rope worker who gives his next of kin as being his mother (Nicholas Lahood, or did he mean his father?), and he lived at 189 Elizabeth Street Redfern. He was 21 years and 9 month old, 5 feet 5 inches tall of dark complexion.
He enlisted at Cleveland Street Redfern and was duly passed as being medically fit. He was vaccinated and received the service number N51754 and the rank of Private.
In the Attestation Paper to Enlist Abroad, (dated 29th December 1916) Lahood says he was born in the Parish of Mount Lebanon in the town of Syria. As to whether he was a naturalized or natural born British subject, he notes Natural Born. He signs himself "Dick Lahood" which might indicate a certain familiarity with Australian Society, however his understanding of written English may not have been perfect which may account for his confused answer to questions on his enlistment forms.
It was a short military career! He was discharged on direction of "D.H.Q". on account of enemy origins. Written in red across the front page of his records are the words: Enemy Subject R.P.M. 5/1/17.
John Mansour
On the other hand John Mansour who lived with his brother at 12 Philip Street Redfern and described himself as a Dealer enlisted on 10th January 1916. He was 33 years old, dark complexion, 5 feet 3 ½ inches tall and he was described as a Catholic.
Mansour used much the same formula as Richard Lahood in his attestation papers by saying he was born in the town of Mount Lebanon Syria and he was a natural born British Subject. However authorities do not seem to have noticed this anomaly since he went on to serve in the battlefields of France as a Private in the 55th Infantry Battalion. He spent time in hospital in England with Influenza and was repatriated back to Australia in May 1917 suffering from Rheumatism.
The records disclose that in 1952 there was an enquiry about his citizenship in relation to payment of an aged pension. Apparently he claimed that he produced his naturalization certificate on enlistment in 1916. The internal memo indicates that he served with the First AIF, and was born in Mount Lebanon. However the vital lines about whether he produced naturalization certificate has been made indecipherable. The records do not seem to mention a naturalization certificate, or if an aged pension was awarded!
Aneese Jabour
The military records of Sapper Aneese Jabour of the Second Australian Signal Company are also displayed online. He enlisted in Melbourne December 1915 and clearly states that though he was born in Mount Lebanon Syria he was a naturalized British Subject. He served in France and among other things was wounded by being gassed in a battle in 1918. He did not return to Australia until 1920; partly because he applied for and was granted leave to visit Lebanon on his way home.
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SERVING QUEENSLAND – LEBANESE STOREKEEPERS
Australian Lebanese ANZACS
Syrian/Lebanese Traders and the Customs Prosecutions of 1897
From Lebanon to Inverell
They came from the villages of Lebanon To the Inverell District – Julie Regan of the Inverell District Family History Group Inc. The first…


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God Is An Astronaut live in London 2018
Submitted by ellen on Tue, 05/29/2018 - 00:03
God Is An Astronaut is a talented instrumental post-rock band. All the way from the beautiful Glen of the Downs in Ireland, which I personally am very jealous about. This was a great introduction to a new style of music for me. It's one of the reasons I love doing this, offers me the opportunity to discover new bands and genres. Most of the music I listen to is more lyric heavy, but melding the vocals into the music gave the songs a new focus and depth. I didn't expect instrumental music to be so emotive, but I was genuinely captivated and moved by this sensational album.
God Is An Astronaut played a mixture of old favourites, which the crowd erupted for, of course. Combined with some of the most moving songs from their new album. They said they wanted to bring it back to their first song, the "end of the beginning" and judging by the crowds raucous response, I think they achieved it.
The overall style is similar to sound-scaping techniques used by prog-rock bands, and reminiscent of parts of Evanescence and Radiohead. They effortlessly flow between light mystical tones, to trancy electronic, and hard rock. They cleverly use vocals in a way it melts into the instrumental tones, flows effortlessly and becomes one with the music. They start with a light and mystical first half, creating a very ethereal atmosphere. Developing into their more techno-rock style, with crashing drums and guitars.
It is no easy feat to create such a diverse, powerful and emotive instrumental album. But somehow they managed it, a true testament to their skill and passion for music. Their slow and quiet sections were just as, if not more so, moving and intense. The lighting paled and slowed to match the music change. The layers of instruments build up a rich tapestry of sounds that really tell a story. There is something hauntingly beautiful about their songs; it pulls you into a whirlwind of music and emotions.
"Mortal Coil", my favourite for personal reasons, was even more emotive and powerful in person. The deep, dark and heavy tones rang out across the vast expanse. Just before the last song, he shouted "bring it on!", proving their commitment, passions and emotional investment. Their final song was a slower song and vocal heavy, completing the loop back round. They definitely achieved the seal of approval from their fans, applause still ringing out as the lights faded.
The lighting was choreographed beautifully with the music; it successfully complimented accentuated the tones. Chatting with the band afterwards, Neils mentioned his wife created the lighting display. Her artist background and passion for his music really shows through. They had a starry light background at the start and end, with various other lighting display in a range of psychedelic colours, which complimented the trance music brilliantly. Looking up at the stage, you could just see silhouettes on top of lighting backdrop, creating powerful imagery.
I had the pleasure of also seeing three warm-up acts; Xenon Field, Tim Bowness and White Ring. All three bands had very different styles, but equally amazing use of lighting, dancing and varied style of music.
Xenon Field set the mood for GiaA with their electronic funk vibe. The lighting was simple but effective. Using a single horizontal light bar behind them that was programmed to fit with their music. The smoke carried the light further into the large room, and added to the mystical vibe. Combined with flashing lights created an almost tippy experience. They choreographed robotic dancing that completed the psychedelic sci-fi experience.
Tim Bowness provided a big style change, from bright lights and techno music, to old school rock with a bluesy soul. Their lyrics were very raw and emotive, ringing out clearly over the music. Then the crash of the guitar and drums hit you, made even more powerful through their strategic use of silences. They cleverly continued to switch between vocal and musical focus, creating depth and intriguing. Then the twang of the guitar string announced a new chapter, and a more bluesy style of music. This band is proof Rock has no age limits; they smashed the hard rock songs as well as the slow ones.
Lastly, the White Ring duo showed great musical talent, switching between different roles. She looked adorable in her gothic lollie style dress; conversely the guy had a more grunge hip hop vibe. Both looks hinted at their individual style of music. He started on DJ decks and the girl started with quiet vocals that melted into the music. Her vocals slowly increased in volume, pitch and attitude, so they then took central focus. To my surprise he stepped out of the DJ decks to accompany her on guitar. They switched again so he provided lyrics on top of her guitar playing. Finally they looped back round to her quiet vocals. Although there was only two of them on the large stage, they moved around seamlessly, utilising the space. She flowed around the stage, using different parts during different sections. They effortlessly flowed through different styles and instrument, proving they're truly multi-talented musicians.
The layers of vocals and instrumentation builds up a rich tapestry of sounds that takes the listener through a journey. From a light, mystical and ethereal start, transforming into a deep, melancholic and electronic prog-rock style extravaganza.
This whole performance is so filled with emotions, it's impossible not to get swept up in it. You could really feel their pain and emotional trauma. Music has such a therapeutic effect, providing an outlet to channel feelings you don't know how to otherwise express or deal with.
A hauntingly beautiful and truly heartfelt tribute to their cousin.
space-rock
atmospheric rock


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The Queensland Government is calling for expressions of interest (by 30 Nov 2018) from private developers to take out leases for up to 60 years to construct private accommodation in Hinchinbrook Island along the Thorsborne Trail, Whitsunday Island and Cooloola national parks. The government is also offering private operators the right to run exclusive guided tours in those parks for up to 60 years. In addition the government is offering those private developers a $5 million incentive to establish their private businesses in publicly owned national parks. Sign our petition to call on the premier to stop this plan before it is too late!