text:
Browsing subject area: Slavery -- Moral and ethical aspects (Include extended shelves)
Slavery -- Moral and ethical aspects
Filed under: Slavery -- Moral and ethical aspects
Pictures of Slavery in Church and State: Including Personal Reminiscences, Biographical Sketches, Anecdotes, etc. etc.; With an Appendix, Containing the Views of John Wesley and Richard Watson on Slavery. (second edition; Philadelphia: The author, 1857), by John Dixon Long, contrib. by John Wesley and Richard Watson (HTML and TEI at UNC)
The Fugitive Blacksmith: or, Events in the History of James W. C. Pennington, Pastor of a Presbyterian Church, New York, Formerly a Slave in the State of Maryland, United States (second edition; London: C. Gilpin, 1849), by James W. C. Pennington
HTML and TEI with commentary at UNC
reprint transcription: Gutenberg text
Narrative of the Life of J. D. Green, a Runaway Slave, from Kentucky: Containing an Account of His Three Escapes, in 1839, 1846, and 1848 (Huddersfield, UK: Printed by H. Fielding, 1864), by J. D. Green (HTML and TEI at UNC)
Filed under: Slavery
A Dissertation on Slavery, With a Proposal for the Gradual Abolition of It, in the State of Virginia (Philadelphia: Printed for M. Carey, 1796), by St. George Tucker
Gutenberg text
The Results of Emancipation (Boston: Walker, Wise, and Co., 1863), by Augustin Cochin, trans. by Mary L. Booth (page images and uncorrected OCR text at MOA)
The Results of Slavery (Boston: Walker, Wise, and Co., 1863), by Augustin Cochin, trans. by Mary L. Booth
page images and uncorrected OCR text at MOA
A Scriptural, Ecclesiastical, and Historical View of Slavery, From the Days of the Patriarch Abraham, to the Nineteenth Century (New York: W. I. Pooley and Co., c1864), by John Henry Hopkins
page images at MOA
The Slave Trade, Domestic and Foreign: Why It Exists, and How It May Be Extinguished , by Henry Charles Carey (Gutenberg text)
Slavery (Boston: J. Munroe and Co., 1835), by William Ellery Channing
Slavery (second edition, revised; Boston: J. Munroe and Co., 1836), by William Ellery Channing (multiple formats at archive.org)
Slavery (fourth edition, revised; Boston: J. Munroe and Co., 1836), by William Ellery Channing (page images at HathiTrust)
Studies on Slavery, in Easy Lessons , by John Fletcher (page images at MOA)
Filed under: Slavery -- Africa, North
The Captives: By James Leander Cathcart, Eleven Years a Prisoner in Algiers (LaPorte, IN: Herald print, c1899), by James L. Cathcart, ed. by Jane Bancker Cathcart Newkirk (multiple formats at archive.org)
An Authentic Narrative of the Loss of the American Brig Commerce, Wrecked on the Western Coast of Africa, in the Month of August, 1815 (New York: T. and W. Mercein, 1817), by James Riley, ed. by Anthony Bleecker (multiple formats at archive.org)
An Authentic Narrative of the Loss of the American Brig Commerce, Wrecked on the Western Coast of Africa, in the Month of August, 1815 (New York: Leavitt and Allen, 1859), by James Riley (page images at HathiTrust)
Filed under: Slavery -- Alabama
Historic Sketches of the South (New York: The Knickerbocker Press, 1914), by Emma Langdon Roche (multiple formats at archive.org)
Narrative of James Williams, an American Slave , by James Williams (HTML and TEI at UNC)
Filed under: Slavery -- Algeria
Eben-Ezer: or, A Small Monument of Great Mercy (London: Printed for N. Ponder, 1675), by William Okeley (multiple formats at archive.org)
Filed under: Slavery -- Benin
Memoirs of the Reign of Bossa Ahadee, King of Dahomy, an Inland Country of Guiney; To Which Are Added, the Author's Journey to Abomey, the Capital; and a Short Account of the African Slave Trade (London: Printed for W. Lowndes, 1789), by Robert Norris (HTML and TEI at UNC)
Filed under: Slavery -- Canada
The Panis: An Historical Outline of Canadian Indian Slavery in the Eighteenth Century , by James Cleland Hamilton (multiple formats at archive.org)
Filed under: Slavery -- China
Slavery in China During the Former Han dynasty, 206 B.C.-A.D. 25 (anthropological series v34; Chicago: Field Museum of Natural History, 1943), by C. Martin Wilbur (multiple formats at archive.org)
Filed under: Slavery -- Congo (Democratic Republic)
Bokwala: The Story of a Congo Victim (London: Religious Tract Society, 1910), by A Congo Resident, contrib. by H. Grattan Guinness (multiple formats at archive.org)
Filed under: Slavery -- Connecticut
History of Slavery in Connecticut (Baltimore: Johns Hopkins University Press, 1893), by Bernard C. Steiner (multiple formats at archive.org)
Filed under: Slavery -- Drama
The Christian Slave: A Drama Founded Upon a Portion of Uncle Tom's Cabin (Boston: Phillips, Sampson, 1855), by Harriet Beecher Stowe
frame-dependent HTML with commentary at Virginia
HTML at Virginia
Uncle Tom's Cabin; or, Life Among the Lowly: A Domestic Drama in Six Acts (New York: Samuel French, 1858), by George L. Aiken, contrib. by Harriet Beecher Stowe (frame-dependent HTML with commentary at Virginia)
Filed under: Slavery -- Early works to 1800
Thoughts Upon Slavery (third edition; London: Printed by R. Hawes, 1774), by John Wesley
reprint: multiple formats at archive.org
Thoughts Upon Slavery (Philadelphia: J. Cruikshank, stated date 1774), by John Wesley
HTML with commentary at UNC
Thoughts Upon Slavery (fifth edition; London: Printed by G. Paramore, 1792), by John Wesley
Considerations on Keeping Negroes, Recommended to the Professors of Christianity of Every Denomination, Part Second (Philadelphia: Printed by B. Franklin and D. Hall, 1762), by John Woolman (HTML at Evans TCP)
Some Considerations on the Keeping of Negroes, Recommended to the Professors of Christianity of Every Denomination (Philadelphia: J. Chattin, 1754), by John Woolman (HTML at Evans TCP)
Some Historical Account of Guinea: Its Situation, Produce, and the General Disposition of its Inhabitants, With an Inquiry Into the Rise and Progress of the Slave Trade, Its Nature, and Lamentable Effects (London, reprinted 1772), by Anthony Benezet (Gutenberg text)
The Address of Abraham Johnstone, a Black Man, Who Was Hanged at Woodbury, in the County of Glocester, and State of New Jersey, on Saturday the 8th Day of July Last, To the People of Colour; To Which Is Added His Dying Confession or Declaration; Also, a Copy of a Letter to His Wife, Written the Day Previous to His Execution (Philadelphia: The Purchasers, 1797), by Abraham Johnstone (HTML and TEI at UNC)
Life, Last Words and Dying Speech of Stephen Smith, a Black Man, Who Was Executed at Boston This Day Being Thursday, October 12, 1797 for Burglary (1797), by Stephen Smith (HTML and TEI with commentary at UNC)
Filed under: Slavery -- East Indies
Copy of the Despatch From the Governor-General of India in Council to the Court of Directors of the East India Company, Dated the 8th Day of February 1841 (No. 3), With the Report From the Indian Law Commissioners, Dated the 15th Day of January 1841, and its Appendix Enclosed in That Despatch, on the Subject of Slavery in the East Indies (1841), contrib. by Indian Law Commission
pages 1-300: page images at HathiTrust
pages 301-595: page images at HathiTrust
Filed under: Slavery -- Egypt
Incidents Connected with the Life of Selim Aga, a Native of Central Africa (Aberdeen, Scotland: Published for the author, 1846), by Selim Aga (HTML and TEI at UNC)
Filed under: Slavery -- Fiction
Slave Planet: A Science Fiction Novel (published under Laurence M. Janifer pseudonym; New York : Pyramid Books, 1966), by Larry M. Harris (page images at HathiTrust; US access only)
The Rootless (New York et al.: Vantage Press, c1957), by Waters E. Turpin (page images at HathiTrust)
Sapphira and the Slave Girl (1940), by Willa Cather (text in Australia; NO US ACCESS)
The Black Gauntlet: A Tale of Plantation Life in South Carolina (Philadelphia: J. B. Lippincott and Co., 1860), by Mrs. Henry Rowe Schoolcraft
In the Wrong Paradise, and Other Stories , by Andrew Lang (Gutenberg text and illustrated HTML)
The North and South, or, Slavery and Its Contrasts: A Tale of Real Life (Philadelphia: Crissy and Markley, 1852), by Caroline E. Rush (page images at HathiTrust)
The Yankee Slave-Dealer: or, An Abolitionist Down South (1860), by Texan (frame-dependent page images and uncorrected OCR text at Indiana)
Liberia: or, Mr. Peyton's Experiments (New York: Harper and Brothers, 1853), by Sarah Josepha Buell Hale
frame-dependent HTML (with parts of appendix omitted) with commentary at Virginia
Autobiography of a Female Slave (New York: Redfield, 1857), by Martha Griffith Browne (HTML and TEI at UNC)
The Green Odyssey , by Philip José Farmer (multiple formats at manybooks.net)
The Negro Equalled by Few Europeans, Translated From the French; To Which Are Added, Poems on Various Subjects, Moral and Entertaining by Phillis Wheatley (2 volumes; Philadelphia: W. W. Woodward, 1801), by Joseph Lavallée and Phillis Wheatley (page images at HathiTrust)
Slavery Illustrated, in the Histories of Zangara and Maquama, Two Negroes Stolen From Africa and Sold Into Slavery. Related by Themselves. (Manchester England: Wm. Irwin; London: Simpkin, Marshall, and Co., 1849) (HTML and TEI with commentary at UNC)
Aunt Phillis's Cabin: or, Southern Life As It Is (Philadelphia: Lippincott, Grambo and Co, 1852), by Mary H. Eastman
Oheim Tom's Hütte: oder, Das Leven bei den Niedrigen (Uncle Tom's Cabin in German; Boston: J. P. Jewett und Co.; Cleveland: Jewett, Proctor, und Worthington, 1853), by Harriet Beecher Stowe, trans. by Hugo Rudolph Hutten
Uncle Tom's Cabin , by Harriet Beecher Stowe (Gutenberg text)
Uncle Tom's Cabin (includes many auxiliary texts and commentary), by Harriet Beecher Stowe (frame-dependent HTML at Virginia)
Uncle Tom's Cabin: or, Life Among the Lowly (illustrated edition; Boston, J. P. Jewett and Co.; Cleveland: Jewett, Proctor, and Worthington, 1853), by Harriet Beecher Stowe, illust. by Hammatt Billings
Uncle Tom's Cabin: or, Life Among the Lowly (Edinburgh: Adam and Charles Black, 1853), by Harriet Beecher Stowe, illust. by Matthew Urlwin Sears (multiple formats at archive.org)


text:
An ambitious Huron County project showcases the latest in tile drainage innovations for farmers.
John Greig
A drainage project underway in Huron County could change the way excess water on hilly fields is managed in a way that benefits farmers and the environment.
The Huronview project will feature controlled drainage, where lateral tiles are laid on the contours of the land with gates that can start and stop the flow of water. Gentle terraces are designed to direct water horizontally across a slope, to a grassed waterway, to limit erosion. There will also be a trial to test 15-foot versus 30-foot width between tiles.
Why it matters: It has been more difficult to justify tile drainage in rolling terrain, as slope already provides drainage, although it can also cause erosion. This project looks at new ways of managing tile drainage in several situations.
The project on the 47-acre site is a partnership of many organizations and businesses. The Huron Soil and Crop Improvement Association is leading the project, having rented the farm for the past several years for a minimal price from the County of Huron, which owns the land. The Canadian Agricultural Partnership, the funding mechanism for agriculture for the federal and provincial governments, provided much of the funding. Local drainage contractors include Roth Drainage, KMM Drainage, Williams Drainage and Parker& Parker through the Land Improvement Contractors of Ontario. Plastic tile supply companies are partners and the Ausable Bayfield Conservation Authority is also involved.
The site is part of a 100-acre watershed including adjoining farms and drains into the nearby Bayfield River. There are a couple of wetlands on the property too.
Project planner Jeremy Meiners, of the Illinois-based AGREM LLC., has managed controlled drainage along contours and created terraces throughout the U.S. and in other places in the world.
He says that knowing the goals of a farmer in a drainage project is key. However, the project should be able to both increase yield and help a farmer better manage their soil and nutrients inputs.
"When the goals of growers and the goals of society align, it is a win-win situation," he said during an open house at the project on June 13.
About 350 farmers, drainage contractors and interested local officials toured the project on yet another gray, cool Saturday, while drainage contractor equipment tiled and levelled the fields.
A farm with some history
The farm, located just outside of Clinton, has been owned by the County of Huron since the 1800s where it once was a home of refuge for the disabled and the poor. Residents worked the land to grow their food. A stone cairn commemorates people who died while living there.
The property is now the home of the Huronview home for seniors, and the offices of Huron County Health Unit.
Behind the buildings is farmland that the county has rented to farmers for three-year terms for generations. Over the last few years the county has partnered with the Huron County Soil and Crop Improvement Association for research.
Combination systems are becoming more common in the U.S. Traditionally, in the southern U.S., they've used surface drainage – terracing and grassed waterways and ditches – while in the northern U.S., tile drainage is more common. The trend is to using both where it makes sense. Terracing is at a low slope, so the slope is still workable, but the water runs laterally across the face, to a grassed waterway or a tile inlet, says Melisa Luymes, manager of the Huronview Project for the HSCIA.
She says it's like downhill skiing. The first time you try it you might head straight down the hill, but then you figure out that it's better to ski crossways back and forth across the slope.
Meiners says the terraces are at a 1.5 to two per cent slope and especially help during heavy rainfall events when topsoil is washed down the slope.
Hickenbottom inlets, which take surface water into the tile system, can be used to move water from low areas.
A closed-loop system will also work at the Huronview site as there are reservoirs in the form of wetlands that can receive drainage water. Meiners has also installed some biodigester systems where nutrients are captured in woodchips at the end of the tile.
Wetlands can also be used to manage runoff and might be a positive spinoff from the use of more controlled drainage. The best-case scenario is when the captured runoff is used for field irrigation or pumped back into a tile system for subsurface irrigation.
The contoured controlled drainage system installed at Huronview confronts the challenge of gravity when installing drainage.
"Controlled drainage has a serious problem," says Meiners. "It requires a very flat field."
Too much slope and the water pressure created in the system will blow out the tile.
Only about three per cent of land is flat enough for traditional controlled drainage. Some has been tried in flat Essex County, but the laterals need to be at a .1 per cent slope in order for it to work. The only way for that to happen on rolling topography is with the tiles laid along the contours at variable depths to maintain the .1 per cent slope. A tile map for contour controlled drainage looks significantly different than a traditional map of a tiled field.
In the controlled drainage section of Huronview, control gates are located at the end of the tile run in each elevation zone. Several different types are on the market, ranging from a manual gate to one that is expected to work with moisture sensors, although Meiners doesn't think the technology is there yet.
"When the gate is open it is a drainage system. When it is closed you can raise the water table in your farm to a desired level," says Meiners.
In other words when the land needs to be dry for planting, drain it, then put in the gates to keep the water in the field for the growing plants. Sometimes a high summer rainfall event might mean the need to open the gates. The system requires maintenance.
There's funding available in the U.S. in some areas for farmers that keep their control gates closed during fertilizer application period to reduce runoff, says Meiners.
The next step is to put water back into the system during dry periods as subsurface irrigation. That's much tougher in a control system on a slope, although Meiners said if the water was put in at the top of the hill, then it could work.
Three tile drainage trends
Consultant Jeremy Meiners says he's seeing three main land drainage trends around the world. Portions of all three will be on display at Huronview.
Combination systems with subsurface and surface drainage in the same field
Closed loop, where subsurface water is drained to a holding pond, constructed wetland or a bioreactor
Contour controlled drainage: drainage that can be turned on and off on rolling topography.

redpajama_set_name: RedPajamaCommonCrawl


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text:
WNMU dean named to commission
Written by silvercitydailypress on March 23, 2012
By ROGER LANSE
Daily Press Staff
Patricia Manzanares- Gonzales, dean of the School of Education at Western New Mexico University, has accepted an invitation, with 27 other scholars, state education commissioners, teacher- educators, and critics of teacher education, to become a member of the Council for the Accreditation of Educator Preparation, Commission on Standards and Performance Reporting.
"This is truly an enormous honor and a huge responsibility,' Manzanares-Gonzales said. "It's also a real coup for New Mexico, the Southwest region, and state colleges and universities across the nation. I am the only one invited from New Mexico, the entire Southwest and the only Latina.
" The commission's purpose is to develop performance standards and measures for CAEP,' according to Manzanares Gonzales. " The commission is not an advisory body. The CAEP is bound to accept what the commission members agree to recommend.'
Standards under consideration include measuring how well teaching programs ensure that candidates know their content, the programs' ability to recruit an academically strong pool of candidates, their success in training teachers to use assessment data effectively, and the performance of their graduates in classrooms, an article in Education Week stated.
Frederick Hess, a scholar at the Washington- based American Enterprise Institute, a prominent critic of the teacher education process on the commission, is skeptical that the new body can come to consensus on detailed standards, predicting " a toughslog.' Manzanares-Gonzales said, "I don't agree that this process will be 'a tough slog.' I am very excited to have the opportunity to work together to create something of value for the entire country. Will the commission members agree on everything? Probably not. However, we do have to arrive at a consensus on performance standards and measures that all educator programs, nationally and internationally, can be evaluated on.'
The commission's first meeting is scheduled for May, and Manzanares- Gonzales will attend four or five meetings a year, all in Washington, D. C.
Roger Lanse may be reached at [email protected]
(CourtesyPhoto)
PATRICIA MANZANARES-GONZALES
ePopulate · Main


Thanks to the recent release of Baz Luhrmann's hotly anticipated adaptation of The Great Gatsby, the 1920s are roaring back into fashion. And with art deco, fringes, feathers, and fine jewellery in abundance, this trend is as decadent as Jay Gatsby himself.
It's in the name here- a Jazz Age inspired design. The classic and clean shape of this dress offsets the opulence of its metallic gold detailing, resulting in a stunning and totally wearable take on Gatsby fashion. Team with 1920s style T-bar sandals, drop earrings and lashings of black eyeliner.
Wow in this divine ethereal vintage inspired gown. It is 100% silk and perfect for a special occasion; sure to make you feel you're as carefree and captivating as Daisy was to Jay (or Zelda to Fitzgerald). Wear with a floral head garland for added boho, or with dark matt red lipstick for evening. You don't need much jewellery with a dress this sensational.
The Rowland shirt is a great choice if you prefer separates, or want something even more casual. Give your work wear a Gatsby twist by wearing this chiffon blouse with an A-line skirt, or cigarette pants and brogues. Wear with gold eyeshadow, a side parting and loose waves. Go for kohl rimmed eyes or red lips for evening glam. And don't forget the glitter. Now go get your Charleston on!
For more vintage-inspired designs by Fever have a look at www.feverdesigns.co.uk. Alternatively, pop into one of their nearest stores. Find your nearest one here.
LOVE that silk dress it's absolutely gorgeous!
The Rowland Shirt is new to me, I would wear it with some soft pink pants.
The long silk dress is so pretty and feminine. A flattering colour too.
really love the style of that area, flapper dresses and headbands are my thing right now for accasional wear!


An oldie but a goody: This was an add-on to America Online for Windows," it allowed you to run Internet apps that normally require a direct Internet connection to work. Technically, it allowed an AOL connection to communicate with other systems using the IP protocol, the background language of the Internet. It was customized to work only with AOL and not another Internet Service Provider (ISP).


Join WKCR this Wednesday September 3, from 6-9 PM, when we will be joined by singer and guitarist Camila Meza. In her five years since moving to New York from Santiago, Chile, Meza has made waves with her original music which weaves jazz with Latin American influence as well as elements from contemporary and popular music. Gifted in both composition and improvisation, she has released three albums under her own name and has played live at venues such as Jazz Standard, Village Vanguard, Blue Note, Smalls Jazz Club, The Jazz Gallery and Rockwood Music Hall. In addition to selecting the music for the evening, she will provide insight into her unique and ongoing story, and perhaps will even play a few songs live on air. Listen!


Rural Youth project is a project where young people have worked together towards a common goal on a voluntary basis. This competition can gain your project visibility on a European level!
The board have chosen 3 entries and are ready to open the voting to the public on RYEurope Facebook until the 31st March 2019. You havea chance to collect more points for your project through the voting. The project with the most points wins the Rural Youth Project competition. The winning project will be announced at the beginning of April 2019.
"TINKEREI — from old to new" should be the Rural Youth Project of the Year 2018!
Through this project we have enabled the self-realization of young people through an amazing and creative product. Furthermore it is offering an opportunity to find a personal vocation.
The main idea of our innovative and sustainable project is basing on the theme of the year of the Rural Youth of Upper Austria called "Village Mind — Experience Tradition". The combination of the components tradition in general, do-it-yourself, costume and the modern gym bag has developed the traditional backpack for the society of Gmunden. The name TINKEREI is based on the English verb "to tinker" and means to make something out of useless substances to a sustainable new thing. We tried to craft or rather to tinker something beautiful and home-made during sewing-workshops! On one hand the aim of the project is to revive the well-known tradition of sewing in the district of Gmunden and on the other hand to counteract against the throw-away-society through giving useless objects a second chance. The organization of the project was carried out by an organising committee of the Rural Youth Gmunden. This way of organization increased the realization of our project and besides that the main performance, to stick to goals and to obtain funding. Our project idea is special because of its uniqueness. The, how we call it, "Tinker-boom" spread beyond the borders of our district. In total 97 enthusiastic people from the districts Gmunden, Vöcklabruck, Kirchdorf, Schärding, Wels and even non-rural-youth-members participated at the Workshops. In total 114 tinker-bags have been sewed (estimated number). The project completion was a fashion show at which 23 participants showed their workpieces. Throughout the project we were able to raise the amount of €1.005,- which we donated to the "ZIB Hagenmühle", for the support of emotionally impaired persons and to the so called "project organisation for the forests and avalanche protection".
Project "Most people manually cutting the grass" shoud be the Rural Project of the year 2018 because this event was unique and innovative project which unites people from all over Slovenia and of all ages. We wanted to show that people in Slovenia still know and respect our tradition and old farm habit. We also want to keep this tradition for future generation.
Our goal was to break the Guinness record – collect as many people as possible in one place in order to cut the grass. To achieve our goal team work was very important.
We want to organize big event with a lot of participants and bystanders and while we were thinking how to achieve this we got an idea – try to break the Guinness record. Idea was realised in 4 months.
Approximately 100 people were involved and participated in the organization of the project, majority of participants are members of DPM Škofja Loka (Rural youth association Škofja Loka). People from all over the Slovenia, members of similar societies and Association of Slovenian rural youth were participated by attempting the record. The President of the Republic of Slovenia, Borut Pahor, honoured us with his visit and participation in our record attempt. We had a lot of support from bystanders.
Event was unique and full of country's spirit. People were proud to be part of this event both participants and bystanders. This was team work between young and older people in order to achieve the same goal.
The event took place on Ski resort Cerkno (1291 m high, municipality of Cerkno) where 570 participants and 1000 bystanders enjoyed the unique event in Slovenia.
The project of Rural Youth Vöcklabruck in 2018 was all about the production and self-sufficiency of eggs. In recent years it has become a veritable trend to keep chicken in your own garden to provide yourself with eggs. Unfortunately there have often been mistakes in keeping and feeding.
To show how easy it can be to produce your own eggs, each of the 18 local groups of Vöcklabruck got three baby chickens. Side fact: Baby chickens are called in Austria "Singal" –mostly during the age of two weeks. The task was to raise the chicks up to healthy laying hens over the period of 21 weeks. Before the chicks moved in, each group had to build a welfare chicken coop. Further they had to move the chicks at least twice during their "growing up", from one Rural Youth member to another one. The rearing phase was documented by each group in a diary.
The target group of our project was not limited to Rural Youth members, but also the young people in society. Visits in primary schools were organized, where playfully the way from chick to egg as well as the most important points in terms of keeping chickens were explained.
Regionality and self-sufficiency were the focus of this project. With the self-sufficiency of rural households we are strengthening our homeland and the awareness that food is a valuable product rather than a cheap consumer good.
We also wanted to revive a piece of Rural Youth history. In 1951 3.000 American baby chickens were flown to Austria and received by members of the Rural Youth. The focus of the project was to grow the chicks up and give twice as many chicks as they had received to other farms.
At the end of the project, the hand-raised chicks could stay with the Rural Youth members and continue to lay eggs.
To vote go to our facebook post and chose the reaction that represents your favourite!
Stage 1: RYEurope Board will do a judging to choose the three best projects for voting.
Stage 2:After the board selections, a public voting will take place on RYEurope Facebook 13-31st March 2019. You havea chance to collect more points for your project through the voting. The project with the most points wins the RuralYouth Project competition. The winning project will be announced at the beginning of April 2019.
The winner of the Rural Youth Project of Year will be awarded with two places to the European Rally. In addition, their travel expenses are refunded up to 250 euros.
NB! Please note that by submitting the video/automated presentation you also agree to it being published on the website of Rural Youth Europe and social media sites Rural Youth Europe uses.
the benefits to your organisation, members and local community.
communication and advertising throughout the project.
Vardavar International Festival 2017 from Amanda Hajnal on Vimeo.
Since the festival gathered young participants from all Armenian regions by giving them the opportunity to take part in the project and interact with tourists which is very essential for rural youth to raise an intercultural competence. Also, there was an exhibition of handmade arts and crafts of children from several Armenian regions. It is important to mention that the owners of the local markets were mainly young people from rural areas and the festival fostered the development of their initiatives.
The main purpose of the festival was to broaden the scope of "Vardavar" holiday, rituals, Armenian national songs and dances, and present to the whole world. In addition, promoting the prosperity of the tourism industry, ensuring sustainable growth of Armenia, protection of national values among youth, social inclusion of rural youth, promotion of intangible cultural heritage make the base of the festival.
Since protection of cultural heritage, regional integration and social entrepreneurship are some of the main activity areas of our organization, we decided to develop such project, which will make significant and intangible impacts on different spheres for the Armenian community.
The project involved diverse groups: participants (youngsters from urban and rural areas), tourists, folk dance and song groups, actors for the performances, technical support group, coordination group, various NGO representatives, journalists and local people.
The project had very positive impact both on tourists and the community. People got to know about one of the ancient holidays of Armenian culture and were immediately exposed to its celebration process. The festival promoted tourism and social entrepreneurship industry at the mentioned places, since local people were selling their homemade products nearby. So, by being broadcasted through various media, the festival attracted many more people to visit Garni and Geghard which impacted on the development of local social entrepreneurship initiatives.


This is an extract, incomplete but representative, taken from the first chapter of my current work-in-progress, Vulcan's Laughter. The novel is the prequel to my first book, The Skystone, and in it I deal with Publius Varrus's grandfather Quintus, known in that book as Varrus the Elder, telling the story of how he came to Britain as a young man, and how he discovered the first, original skystone from which he would make a stainless steel dagger more than a millennium before the secret of making stainless steel was discovered.
The story opens in the main dining room of the Varrus family's villa in Illyricum, which today is the south-western panhandle of Croatia, on the coast of the Adriatic sea, across from Italy. Young Quintus Varrus, ten years old and not yet permitted to sit at the family table for meals, is hiding in his favourite spot, an unused corner cupboard with a fretwork frontal grill that allows him to spy on the adults of his family, who are never boring. On this occasion he is listening to yet another argument between his father, Marcus Varrus, and his still-formidable father, Quintus's grandfather, Titanius Varrus, who was a boyhood friend of the Emperor Diocletian and had served as Chief of his personal bodyguard throughout Diocletian's reign.
Quintus's mother tilted her head high. "I do, Father," she said quietly.
Maris kept her chin held high, not haughty or defiant, but solemn and secure in her beliefs, but Quintus saw that she was frowning slightly, as though troubled by her father-in-law's question and he sensed intuitively that she was unwilling to respond too quickly to a query that might have hidden barbs. Not too subtly hidden, either, he realized then, for he himself had detected some kind of strangeness in the deliberate way the question had been phrased. His father, too, was reacting to some sudden tension in the air, frowning in concern as he gazed at his wife, then shifting his eyes suspiciously towards his father.
For a space of heartbeats there was no response, and safe in his hiding place Quintus tensed and leaned forward, one hand cupping his ear towards the men so as not to miss a single syllable of what was to come.
The old man scowled, glowering from beneath his bushy eyebrows as he peered into nothingness, his thoughts obviously far removed at that moment from where he stood.
"No one was ever able to say what it was," he growled eventually, his eyes regaining focus as his thoughts returned to the here and now.
Quintus squirmed a little as he saw his father assume his affronted look, peering about him theatrically as though expressing official disbelief for the record, in the presence of an audience of his peers. It was an affectation Marcus Varrus employed too often, and even at the age of ten Quintus knew that, but he suspected that his father himself was unaware of the mannerism, or that he used it so obviously.
Titanius Varrus straightened up slightly, his eyes narrowing further as he gazed at his son with increasingly withering contempt. "Oh, you love the thought of that, don't you," he said softly, his voice suddenly close to being inaudible. "An error of omission in the highest ranks, in the field. A missing tactical report, depriving Constantine's busy little fact-finders an opportunity to pry into places they should never be allowed to see. That simply sets your little martial heart to fluttering, does it not?" He stopped, then grimaced, sucking air audibly between his teeth before squaring his shoulders and speaking again in his normal voice, the syllables emerging from his mouth crisply and in the tones of a military report.
He paused, his eyes going blank again, then sniffed and continued, nodding briefly at Marcus in acknowledgment. "Until I saw the place with my own eyes I was like you, unable to believe such a thing could be possible.
"But it happened, and the destruction was absolute. Provo's cohorts weren't decimated, they were annihilated.
"But—" Again Quintus's father had to stop, unable to find words to frame the questions he needed to ask, and the boy watched him avidly, willing him to find the words and ask the questions, for he knew they would be the same as his own, had he been able to formulate any.
His gaze moved on again, to include the other person at the table, Quintus's uncle Marius, but Marius sat unmoving, showing no inclination to become involved in any way with what his father and his brother were disputing. Titanius stared at him for long moments, his face betraying nothing of his thoughts, then looked back at his elder son Marcus.
In the profound silence that followed, he took the time to look around him again, slowly, gazing at each of his listeners in turn, and Quintus, watching from his hiding place, found himself wondering how the old man might react if he discovered him there, watching and listening to every word.
He released her hand again and she sat frowning but motionless, her hand upraised still, her wide stretched eyes fixed upon his face, clearly wondering what any of this grotesque tale had to do with her or her children, but her husband was questioning Titanius again.
His father looked at him, and in his quiet hiding place young Quintus was astonished to realize that there was no anger, no impatience, in the old man's gaze and there had been no goading challenge in his father's question. More noteworthy that that, he realized, and far more surprising, was the fact that he could detect none of the usual rancour, the omnipresent overtones and undertones of discontent and bitterness, that he was so accustomed to hearing and seeing when his father and grandfather clashed, and he tried without success to remember when he had last heard the two men speak to each other with genuine civility.
He fell silent again, frowning at his own thoughts, then walked to the head of the table and resumed the seat he had been using earlier, waving Quintus's father to his own chair as he did so.
He turned then to his wife.
The old lady stirred slightly and turned to face her husband, and Quintus wondered how she would respond, for she was notoriously sharp-tongued and venomous, but all she did was shrug and for one incredulous moment it looked to her grandson as if that rigid mask of hers might crack into a smile.
Her husband nodded. "As you wish," he said, then drew a deep breath and began talking again.
"Aye, we did. It had been a brutal campaign from the outset, against a force we thought made up of Visigoths and Vandals—I say we thought that's what they were, because we never came close enough to them for long enough to discover whether it was true or not. They were mountain fighters, though, and they were on their home ground, hitting us hard and withdrawing before we could react. They had started raiding south into our jurisdiction from the Danube territories towards the end of May that year, and they had been leading us on a chase ever since, using hit-and-run tactics that we were almost powerless to fight.
"They would hide from our sight for several weeks—an easy thing to do in those endless, forested hills up there—and then they would hit us from all sides at once, striking hard and inflicting heavy casualties on two occasions, then disappearing like smoke before we could form our battle lines. Among those trees, we were practically helpless, as you can imagine. Our hundred auxiliaries were a godsend, but we only had a hundred of them at the outset, and we had no replacements for them as they fell.
"Eventually, though, we grew familiar with the terrain and we worked out a plan to bring the bastards to bay. It involved splitting our force in two, to catch them between a hammer and an anvil at the southern end of a chain of mountains high enough to stop them from running away once we were in position. I took three cohorts along the main road south on the left, eastern flank of the mountains—though "main road" is too generous for what was little more than a goat track—while Provo took his force down along the western flank, to our right, on the other side of the range. Theirs was the more difficult route, for they had no road at all and they had to traverse cliffs and slopes that were sometimes close to vertical, but they were able to make better progress than us at first, because we had their baggage and extra personnel with us.
"But then some kind of pestilence broke out among them, less than a week after they had set out, and whatever it was, it was virulent, decimating them in a matter of days, according to what I heard from Provo's scouts who had finally caught up to us after days of searching for us.
This excerpt has me begging for more. I can hardly wait for the book.
Thankyou. If it is not too presumptuous, when is publication likely ?


Lizzie Johnson of The San Francisco Chronicle revisits the headlines to ask about the aftermath. Not all endings are happily-ever-after.
Who knew there was a beat called "fire coverage," or it was a job they would learn to love?
Certainly not Lizzie Johnson, who was covering city hall for The San Francisco Chronicle, and not yet sure where she fit in the newsroom. Then one day back in 2015 the metro editor, who was short-staffed, dispatched her to write about the Butte Fire two hours east of the city. She had no clue how wildfire coverage worked.
This summer Johnson was back in the smoke covering the massive Carr Fire around Redding, some 220 miles north of San Francisco. Started in late July by a spark thrown from a flat tire, the fire scorched 230,000 acres, destroyed 1,079 homes and 22 commercial buildings, and caused the death of three firefighters before it was declared contained early this month. One of Johnson's stories focused on 76-year-old Ed Bledsoe, who left home for a 15-minute errand. The Carr fire was miles away from his home. Until it wasn't. It turned and raced. By the time Bledsoe did the same thing, his wife and two great-grandchildren were dead. In Johnson's searing interview with him (pay attention to the details she uses to reveal his emotions), he is still running errands on their behalf and waiting for them to return.
But just days before the Carr fire erupted to claim so much, Johnson returned to wine country, and a man called Priest Morgan. He had been mentioned in stories from the previous summer, declared a heroic Samaritan for his actions in the Tubbs Fire that destroyed whole neighborhoods in and around Santa Rosa. Morgan was racing away from the fire when he reversed course and returned to Journey's End, the senior citizen mobile home park where he lived. He evacuated several neighbors and saved – sort of – some of their homes.
The "sort of" sits at the heart of "Regret haunts Wine Country fire hero: 'I've never cried this much,'" published in the Chronicle July 13, 2018. In revisiting Morgan, Johnson found a story that revealed how the consequences of good intentions and actions can sometimes play out in heartbreaking ways. Rather than living with the comfort that he did the right thing, Morgan has been torn with guilt. Sometimes he wishes he had died in the fire with his neighbors. Sometimes he rails, in writing, to insurance companies and the government. Almost always, he wishes he hadn't turned around to help, but had just kept driving.
Johnson's story is the opposite of happily-ever-after. But it is real and compelling – something she seeks in her stories, wherever it leads.
"After a big wildfire, the first phase of coverage involves putting a human face on the tragedy," she told me when I reached out to talk about her work, and especially about the haunted Samaritan profile. As she talks to people sifting through the rubble of their homes or survivors camped in evacuation shelters, she scouts for characters who illustrate life's big themes: love, loss, change. These become the seeds for stories that come later.
She doesn't deny that it takes a toll. So while she tries not to flinch away at the pain of the story in front of her, she also tries to take care of herself. A self-described "eternal optimist," she stays grounded by checking in with family and friends; she runs daily, eats good food, gets enough sleep, and asks for time off when she needs it. And she lets herself cry on the long drives from the fires back to San Francisco.
The annotation: Storyboard's questions are in red; Johnson's responses in blue. To read the story without annotations, click the 'Hide all annotations' button, which you'll find just below the social media buttons in the top right-hand menu, or at the top of your mobile screen.
God woke you up, you're sure of it.
Second person?! An unexpected gambit in newspaper writing. Were you aiming to do that, rouse your readers, who may have been starting to become numb to fire storm stories? Has the Chronicle ever run an article that starts in second person before? I wanted our readers to viscerally feel what it was like to be in Journey's End as the Tubbs Fire devoured it, to put themselves in Priest's shoes. There rest of the story wouldn't have the same power if they didn't deeply understand his decision to save the park. Starting in second person was definitely a gambit. My editor, Demian Bulwa, and I had discussed ways to bring more creativity into my writing. He offhandedly mentioned using second person — though he still claims he doesn't remember saying that! — and I ran with it. My lede nearly didn't make it to print. He was hesitant about it. It's not a style The Chronicle has often used, though our wine writer did use a similar device last year. I'm hoping we can try it out more often.
He kicked you in the head as smoke filled the room. "Look out the back window," came the voice. So you did.
What you saw at 3 a.m. at the Journey's End mobile home park in Santa Rosa was orange light where it shouldn't have been. Row after row of tightly packed units were ablaze along Highway 101. Although you establish a time of day and a place, at the outset you're not mentioning month or year or name of this fire (the Tubbs Fire). Is that because you want readers to stay under the spell of the story and wonder what's going to happen next instead of remembering other coverage of that fire? At the time, Priest didn't know that the wildfire had a name, or that it was blitzing across Sonoma County. All he knew was that he needed to put out the fire as well as he could. I wanted that sense of urgency to stay intact. There was power to that, and I knew those details could come later.
You didn't want to die, not like this, so you got in your pickup and drove away. Then you turned around.
People were screaming and embers filled the sky. You had firefighting training and knew you could help. Someone handed you a fire hose, and you stayed for hours, until 8:30 in the morning, until the roaring of the flames quieted.
One row of homes survived the night, thanks to you. In the days ahead, you'd be hailed as a savior in the community and in the news, given a spontaneous ovation at the post office.
But if you could relive that night in October, you'd get back in the truck and keep driving.
You'd let it all burn.
In this graph you establish a geographical turn around (he escapes, but he goes back to the fire) and a philosophical turn around (he wishes he had never made that geographic turn around). In essence, this makes a bracket around an interval of time between the fire breaking out in October 2017 until now. How did you discover a way to frame a story that's ostensibly about a particular bureaucracy (boring, but important) as a narrative about one man's trenchant regrets (emotional, but universal)? At first, I struggled to write this story. I had interviewed Priest for another story I was writing about Journey's End and how the residents were still in limbo. But Priest didn't seem to fit into that narrative. He didn't feel like a supporting character to me. Eventually, I realized I could use his emotional journey to highlight what was happening at the mobile home park in an indirect way. By this point, I had already written a handful of stories about the plight of those senior residents, and nothing was changing, so I decided to try something completely different. The story is about Priest. But it's also not about him at all. It's about the city and the county's failure to help these people. That's how those two subjects joined and this story was born.
Priest Morgan's real name is Robert, but the hero of Journey's End hasn't gone by that in five decades, not since he was 11 years old and started play-acting the role of local psychiatrist in his East Los Angeles subdivision. "East LOS" is tattooed on his right forearm. These names! Priest Morgan. Journey's End. It all sounds so Steinbeck-ian. Did any novelists/mystery writers influence the way you reported this story? No, not really. Don't pass judgement, but I haven't read Steinbeck since high school, and his novels are fairly time-warped in my memory. I had a massive word document with Priest's story on my desktop, but I hadn't touched it for a month. I was still struggling to decide what to do with it. I do my best writing in cycling classes (I know, it's weird), and the story came to me fully formed one afternoon earlier this summer. I left the class early and wrote the story lede and structure on an app on my phone. I'm very detailed in my reporting, and I was able to fill in the gaps with greater specificity and detail later.
His father left before he was born, and Priest was raised by a single mother in the crime-ridden neighborhood. She later remarried, and his sister was born when he was 7. He lost 10 cousins to gang violence, he said, and was knifed twice and shot once in the hip.
Priest wasn't interested in joining a gang. "God puts you places to help people," his mom would tell him. So he tried to be in the right places A question about questions: This bit about God putting Priest Morgan in places…was this an oft-spoken guiding mission of his, or was it something that gradually came to the surface in the interview process? Also, what was the wackiest or most difficult question you posed to anyone on behalf of reporting this? And in the end, was it your questions or your fly-on-the-wall observations that yielded the most helpful information? Silence is my favorite interview tool. I tend to ask open-ended questions, then sit back and let my subject talk. People are uncomfortable with silence, so they'll keep talking to fill it, and that's where I find the best details. My wackiest questions involve hammering down details: What did you eat? How did it smell? What were you wearing? Why that tattoo? How many tattoos? There's beauty to specificity. And to your first question: I try to retain as much of my story subject's character as possible. If they have certain speaking mannerisms or repeat specific phrases, I'll underline them in my notebook and make sure they are written into the story. Priest often repeated that idea you mentioned — of God putting him in the right places — so it felt important to include. It encompasses everything he's done in his life and his decision to save a row of mobile homes in Journey's End.
He could get anyone to talk to him, and he liked untangling problems. The neighbors called him "Pastor" and eventually "Priest." If you call out for him on the street now — "Robert!" — he won't turn around. That early nickname became his identity.
It's how the low-income seniors at Journey's End saw Morgan, too. There were 161 trailers in the 13.5-acre park, where Morgan, 61, was one of the more able-bodied.
He caulked one woman's roof. He changed a man's bandages after surgery. He hoisted couches and deciphered legal paperwork. I love how lean and alive these lines are. Instead of "He helped his neighbors," you offer a high level of specificity. Commenter "Bradnewsham" noted, "This may be one of the best, one of the cleanest, most-touching newspaper stories I've ever read. My usual test is can I read it from start to finish without my mind wandering for even an instant? And that was true here. It was so personal, so immediate." How do you tell such an emotionally rich, detailed story on deadline? Readers shouldn't have to work at a story. The best way to streamline a story is to cut as much as you can — every "that," "just," "Then," "and," dependent clause and meaningless detail. I tend to overwrite, so I'll go in afterwards and edit myself before I push it to my editor. It helps to have really good details. They make a story richer because the subject becomes more human, and thus, more relatable. Did you have a word limit for this story? I didn't. My editor, Damien Bulwa, is amazing. He will always give me more space as long as the story is worth it. That's always his disclaimer – make the words worth it.
He joked about buying a walker to blend into the community. The seniors gave him — as his childhood neighbors once did — a sense of purpose. Morgan was there for them when others weren't. They baked him chocolate chip cookies and always remembered his birthday.
When the Tubbs Fire came rolling down from the forested hills east of Santa Rosa on the night of Oct. 8, Morgan knew his purpose. Firefighters were focused on evacuating and saving the Kaiser hospital next door, so they cut a hole in the chain-link fence and passed Morgan a thick hose.
It is so rare for journalists to circle back, in effective ways, after the news headlines go away. How did you and the editors decide it was worth revisiting the Tubbs Fire and the plight of the Journey's End residents by way of Priest Morgan? In late October, right after the Wine Country Wildfires had calmed, my editor called me to say he was putting me on long-term coverage for the next year writing about the North Bay's recovery efforts. It was a massive blaze, unlike anything the state had ever seen, and The Chronicle believed it was a story worth following. Priest's story fit into that. Also, last summer, I had moved to the general assignment desk from San Francisco City Hall, and I hadn't found an area of coverage that inspired me yet. I felt lost in metro and was struggling to understand how I fit into the grid-work of existing beat coverage. I don't know what Demian's thought process was, but fire coverage was the perfect fit. Eventually, people started calling me "the fire girl." I don't fit the narrative for what wildfire reporters typically look like. I'm very petite and very blonde. Officials always seemed surprised to see me on the front fire lines. Now I've been to every major wildfire across the state in the past year, and I'm the paper's lead fire reporter. I love it.
As he fought the flames threatening units on Sahara Drive, he paused only to follow the sound of a barking dog and rescue the animal's owner — a woman in a wheelchair in a nearby trailer. A captain and three other firefighters eventually joined to help.
Protecting a portion of Journey's End may have saved additional lives.
As morning dawned Oct. 9 — a blood-red sun rising behind soot and smoke — the line of mobile homes beyond Sahara Drive and bordering Kaiser was still standing.
It was a small miracle amid a night of horror. Or was it?
California had never seen the like of the Tubbs Fire, which killed 24 people and leveled 5,600 homes, businesses and other structures in Sonoma County.
The flames killed two residents of Journey's End, incinerated 121 homes and melted the new gas and electric system. The 40 surviving units — the ones Morgan helped save — were contaminated by smoke and asbestos and red-tagged.
Ten months later, the residents of those units are stuck. Those who had insurance can't collect a settlement because the units are standing, and they can't go home because the land is condemned. A nonprofit housing organization plans to build a mix of affordable and market-rate condos on the wrecked lot.
In a sense, this insurance debacle is the actual story, a story you covered in "Displaced seniors' homes survived Wine Country fires but residents can't move back." But what makes this story indelible is the intimate narrative of how this debacle scorched the psyche of Priest Morgan. Do you have a gut sense of what will make readers care or do you use sounding boards/trial and error? I can sense a good story, and I'm always hunting for the stories that are strange or will help make sense of the tragedy of a wildfire. I get so excited when I find one that my finger tips start tingling. (Maybe I should work on breathing.) When I talked to Priest, I immediately knew there was a story within his narrative. At the time, I didn't know what it was. But I could tell it would be powerful.
A cluster of residents lives in the Sandman Hotel, just across Highway 101. Sometimes, they leave voice mails on Morgan's phone. They talk about suicide. Most don't blame Morgan, but they wish their homes had burned down.
Here is the agony of doing right and then seeing it turned upside down. Morgan is consumed with guilt.
And so Morgan thinks back to that night, over and over. He is in the truck speeding away, and he doesn't stop. He drives until the glow of Journey's End is a smudge on the dark horizon.
On a recent morning, Morgan paced across the carpeted floor of his trailer at Lamplighter Mobile Home Park in Santa Rosa. His salt-and-pepper hair was slicked with gel, and tattoos snaked under the sleeve of his T-shirt.
He has a new unit that he rents for $1,200 a month, a good bit more than the $905 he paid before the fire. Bird feathers and knickknacks fill the space. He has a home, but his community is gone.
Morgan is retired from his various former jobs and pursuits: a combat medic with the U.S. Army, a paramedic firefighter for the Diamond Springs Fire Department in El Dorado County, a physical therapist, a law school dropout and a drug counselor for Lake County. He once started a production company, and he managed rental properties. He's divorced and lives alone.
He funnels his anger and guilt into helping the seniors from Journey's End. It's his atonement for saving their homes that night. It's also just who he is.
As he paces, he plans.
After the Tubbs Fire, he wrote what he calls the Martha Sue Sinnott Law. In the confusion of those early morning hours, Sinnott was left in her trailer, and she might have died if Morgan hadn't heard the yapping of her dog and helped her evacuate. Two other disabled residents died in the park that night.
Sinnott's law would implement a universal sign system for people with mobility issues, with emergency placards affixed near their front doors. Morgan has written to the state Department of Emergency Services, as well as Sen. Kamala Harris and others, seeking support.
The text of the proposal is littered with random capitalization, because some things are too important to lowercase. He sees his friends from Journey's End suffering, and he has to do something.
He's running out of time. Maybe that's why he can't let go of what happened at Journey's End.
Morgan was diagnosed with advanced liver disease this year. It feels like the flu but "multiplied by 10," and the medicine sometimes muddles his head. He has hepatitis C, which became symptomatic in 2003. Some days, he can't get up. He's too fatigued from the dry heaving and the weight loss.
He doesn't talk about being sick because he doesn't want to worry his old friends. But the news spread anyway to people like Inger Simonsen, 72, who lived a few doors down from Morgan before the fire and is now in the tiny community of Hemet in Riverside County.
Morgan used to trim branches from the tree in Simonsen's front yard every spring. It's still standing, as is her mobile home.
Morgan saved Lois Smith's trailer on Sahara Drive, too. She moved to El Christo Mobile Home Park, about 10 miles away on the opposite side of Santa Rosa. She doesn't begrudge him, though she admits life would be easier if her home had burned.
Morgan finds little comfort in their words. He listens to every victim's voice mail, agonizing over their plight and his own actions.
How do you decide where to sketch vs. fine detail…for example, did you consider quoting voices from Morgan's answering machine or describing some of the knickknacks in his new unit? In regards to the voicemails — I didn't want to villainize the seniors who were leaving him angry messages. They were struggling to make sense of their new lives, and Priest was their scapegoat. It is an impossible situation. I empathized with them, and I thought it would be better to sketch the scene. As for details, they always need to carry meaning. It's not effective to brush in details just for the sake of having them. I could have described Priest's new unit in more depth, but it wasn't as powerful as some of the other details I had.
What did God mean when he kicked Morgan awake? What was the right thing to do? Was there a right thing?
Although throughout you are unobtrusively reporting this, these questions feel so personal; maybe they aren't exclusively Morgan's, but yours, too. Or are they eveyone's? These are the questions Priest is struggling with. I put our readers in Priest's head at the beginning of this story, and I wanted to put them back there at the end. One of the things that strikes me about this story is that "Regret haunts" combined with another of your features, "Ed Bledsoe couldn't outrace the Carr Fire…" in which a man turns around but can't make it back in time to save his family, makes an infernal pair of damned-if-you-do/damned-if-you-don't scenarios. How do you keep from getting burned out on tragic narratives? I try to find the humanity within them. They can be really sad, yes. But if you add in enough context and detail, incredible loss can lend itself to incredible narratives about despair, perseverance, love and the times we live in. If you set out to write a sad story, I think it's easy to get burned out on the tragedy. But hidden in the gloom is incredible grit and potential. I look at those kinds of stories and there's so much else here. There's beauty here, too.


text:
The Fall is into Technology: Notes with Index and Keywords for "Other Paradises," Essays by Jessica Sequeira
"How to be silent….The fall is into language" (Love's Body, Norman O. Brown, 256:257).
Is language a technology?
"Henri Bergson, the French Philosopher, lived and wrote in a tradition of thought in which it was and is considered that language is a human technology that has impaired and diminished the values of the collective unconscious. It is the extension of man in speech that enables the intellect to detach itself from the vastly wider reality. Without language, Bergson suggests, human intelligence would have remained totally involved in the objects of its attention. Language does for intelligence what the wheel does for the feet and body. It enables them to move from thing to thing with greater ease and speed and ever less involvement. Language extends and amplifies man but it also divides his faculties. His collective consciousness or intuitive awareness is diminished by this technical extension of consciousness that is speech" (Marshall McLuhan, Understanding Media, 83).
The fall is into technology.
Jessica Sequeira understands silence, and silence, the language of the ghost, is a necessary part of conversations and connections. "Other Paradises: Poetic Approaches to Thinking in a Technological Age" (Zero Books, 2018) collects essays Sequeira previously placed in various online venues, including Berfrois, Drunken Boat, Entropy, Gauss PDF, Queen Mob's Teahouse, The Missing Slate, and 3:AM. The collected essays in hardcopy creates a reading emergence opportunity, where the whole is unpredicted by any one of the individual parts. Fragments are conjoined, scholastic and playful, connections clarified and augmented, and an original style, a way of being within the writing, emerges.
When I think of technology, of thinking about technology, I recall Norman O. Brown, Marshall McLuhan, R. Buckminster Fuller, and John Cage. In "Other Paradises," Jessica mentions none of them. Yet she asks, "Why do people deliberately choose to play with ideas considered antiquated?" (Other Paradises, 1). Both O. Brown and McLuhan made startling discoveries rereading old texts and discovering or inventing new interpretations applicable to contemporary concerns.
Jessica begins with the fax machine (from a far different generation, I might have begun with the mimeograph machine). The fax machine requires sender and receiver, at odd ends. The confirmation "fax received" in no way implies fax read. So much for inference.
Melville's Bartleby was a scrivener. Prior to that, he had worked at the dead letter office. A scrivener was a human copy machine. Bartleby works (and lives, as it turns out) in a law office, where his job is to handwrite copies of documents and proofread them aloud with the other scriveners. Bartleby winds up in the yard at the New York Tombs, where he "prefers not" to go on living, let alone copying. Bartleby's ghost haunts today's every copy and paste. Unlike the Sacramento writer William T. Vollman (who wrote his first book nights hunkered under an office desk in the insurance firm he worked at), Bartleby has nothing original to say, or maybe he does, but he "prefers not" to say it. Enter Kinko, University of Santa Barbara, I'll bring the technology to ya, on the sidewalk, a copy food cart.
Inherited technology. Ibsen's Ghosts. Oswald has inherited syphilis from his promiscuous father, now dead, the technology of euthanasia now Oswald's only hope.
"Every technology contrived and 'outered' by man has the power to numb human awareness during the period of its first interiorization" (McLuhan, Guttenberg Galaxy, 187). McLuhan quotes from Curt Buhler's "The Fifteenth Century Book: the Scribes; the Printers; the Decorators": "What, then, became of the book-scribes? What happened to the various categories of writers of literary works, who practiced their trade prior to 1450, once the printing press was established?" (187).
Every technology absorbed and relied upon without adequate disaster plans creates potential detrimental reliance. We rely on the technology to our detriment once we abandon what we now perceive to be an antiquated technology. McLuhan considered technologies extensions of one of the five senses: eyeglasses extensions of the eyes, clothes extensions of the skin, etc. The computer was an extension of the central nervous system. Sequeira proposes that the abandoned technologies inhabit as ghosts the new machines.
The fall is into detrimental reliance. We want to get back to Paradise, any paradise will do, but we've lost the instructions, the skills, the magic prescriptions.
The Paradise, the one we apparently lost a long time ago, was probably a mosaic. It was not linear; it was not lineal; it was not literary. It was not sequential. It did not follow MLA, APA, or any other prescriptive styles. It was not an argument. There were no statements about which there would certainly be some disagreement. It was, in short, a paradise. But that's not to say nights in paradise were not separate from days, not to say there were not ghosts (of angels, of devils), or that we were not part of a great food chain on land and at sea. I wrote a poem awhile back, which illustrates:
Cadmean Victory
They do not want for something to say
They run around and play all day
Syllabicating back and forth
No one asks what another is worth
At night they climb trees to sleep
They dream of mouths of lips and teeth
And breath of a land where speech
Is silly and fluid and free
Having no bowels they don't see
The lithe ape thinking in a tree
Who would trap them in a man
And call himself can
So what and where are these "Other Paradises" Jessica Sequeira takes us to? How do we get there? I wasn't long into her book when I wished for an index of some kind. An index would collect the extensive reading list now scattered throughout the text. "Other Paradises" is a mosaic, another reason McLuhan and O. Brown come to mind, and full of anecdotes and stories, and packed with references, but each essay contains a structure and harmony that informs the whole work (as does the work of Fuller). And all of that reminded me of John Cage, whose work is littered with anecdote, references, and playful asides. And an index would give some insight into the breadth of Sequeira's reading, research, and interview experience, and it would illustrate how "Other Paradises" is a rich resource work. And, well, I wanted an index. Here following then, as introduction and review of Jessica's new book, is a kind of index (a page number follows each entry, usually just the first reference, though many appear only once, and I've not listed them all):
Annotated Index to Jessica Sequeira's "Other Paradises"
David Hockney: 1. Foreshadows California. With Pacific Ocean beaches easy drives away, still, backyard swimming pools are popular, or a Hockney print of a swimming pool, which is almost the same thing, since the pools are usually empty, anyway.
Lafcadio Hearn: 5, 9. "Glimpses of Unfamiliar Japan." The ghost, or the idea of ghosts, is a keyword throughout "Other Paradises." Says Sequeira, "Ghosts are everywhere, busy laughing, crying, loving, plotting, dancing and sleeping just like humans….Technology left behind takes on a phantom presence" 6.
Bancho Sarayashiki: 6. Some spirits are restless, for one reason or another.
Fukagawa Hidetoshi and Tony Rothman: 7. "Sacred Mathematics: Japanese Temple Geometry." Sequeira is interested in forms, shapes, lines that intersect, cross. Her essays assume geometrical shapes that can be described as poetic.
"Japanese temple geometry problems: Sangaku" (Charles Babbage Research Centre), 7.
Charles Babbage: 7-10. "Passages in the Life of a Philosopher."
Ada Lovelace: 8, 12.
Commodore Matthew Perry: 10.
Hank Mobley: 11. "Soul Station."
Banana Yoshimoto: 12. I read Banana's novel "Kitchen" some years ago. Though it takes place in Japan, it contains a wonderful reference to Disneyland. I don't know why I remember this. I'm not sure I do, accurately. I can't remember if Banana had been to Disneyland, and it had made an impression upon her, or if one of her characters had gone there, or wanted to go there. I browsed quickly through "Kitchen" just now looking for Disneyland. I found only one small reference, to the Jungle Cruise.
Musil: 13, 21.
J. Gordon Faylor: 13, 20. "Registration Caspar." I'm not sure about so-called "conceptual writing." Words are like the seven daughters of Eve, each containing a mitochondrial genome.
Kathy Acker and Tan Lin: 15.
Beckett: 15, 17.
Dante, Beatrice: 15.
Wittgenstein: 15.
Franco Moretti: 16.
Proust: 17, 88. Must one go out?
Martin Ramirez: 19.
Jess Collins: 19. "Narkissos" (a large drawing). I was happy to see this section on Collins, references to the Beats and San Francisco. The Beats brought poetry back to earth (after which Bukowski ran it into the ground).
George MacDonald, Pythagoras, Goethe, Joyce, Robert Duncan, Denise Levertov, Jack Spicer, James Broughton: 19-20.
King Ubu Gallery: 19.
Manhattan Project: 19. Where Jess Collins had worked for a time. He apparently exchanged plutonium for poetry.
Robert Duncan: 22. Poem, "Just Seeing." Duncan lived with Collins. Missing from the conversation is Charles Olson.
"The Macabre Trunk": 1936 Mexican film, 24.
Richard Lower: 26. "Tractatus de code item de motu et colore sanguinis." Title apparently does not tell all.
Mark Zuckerberg: 26.
"Teche" (dance song): 27. An original song by Jessica: "Bad-a-bing-be-boom-ba!".
Schrodinger's Cat: 28.
Pascal: 29.
Liliana Colanzi: 34. "Our Dead World."
Edmundo Paz Soldan: 35.
Roberto Bolano, Joao Guimaraes Rosa, Philip K. Dick: 35.
Juan Terranova: 35. "The Flesh."
Alison Spedding: 36-38. "Wachu Wachu"; "Cultivation of coca and identity in the Yungas of La Paz"; "Kausachun-Coca"; "Manuel and Fortunato"; "The Wind in the Mountain Range"; "Saturnia from time to time."
King's College: 37. A lovely, lyrical description on page 41. Sir John Wastell, 43.
"Downtown Abbey": 37.
Alexander the Great: 37. And introducing Alexandra the Great.
Gaganendranath Tagore: 48.
Partha Matter: 48.
Henri Bergson: 49. Book on Laughter.
Whistler: 50.
"Resurrection": 50. Painting.
George Meredith: 52.
Gonul Akkar: 54. "Silemezler Gonlumden," pop song.
Zeynep Karagoz: 54. (Maker).
Zbigniew Herbert: 58. "The Bitter Smell of Tulips" in "Still Life with a Bridle."
The Flying Pigeon: 61.
Chloe Aridjis: 61-63. "Topographia de lo insolito" (Robert-Houdin); "The Child Poet," "Book of Clouds," "Assunder."
Mary Richardson: 69. "Rokeby Venus."
Leonora Carrington: 70. "The Oral Lady," "The Hearing Trumpet."
Arthur Eddington: 75. "Science and the Unseen World."
Richard Pearse: 75.
Talleyrand: 78.
Olivia Caramello: 80.
Louis-Eustache Audot: 84. "La Cuisiniere de la Campagne et de la Ville, ou nouvelle cuisine economique" (recipes).
Jean Lorrain: 85. "Monsieur de Bougrelon."
Willem Claeszoon Heda: 87. "Breakfast Table with Blackberry Pie" (painting, 1631).
Svetlana Alpers: 90. "The Art of Describing."
Eva Richter: 90.
Barbara Payton: 91. "I Am Not Ashamed."
Henri Roorda: 91. "My Suicide."
"Spontaneity: A History in 12 Volumes": 92.
Billy Caryll and Hilda Mundy: 94. "Scenes of Domestic Bliss" (radio sketch, 1934). The Hilda Mundy here is the performer, not the Bolivian poet. This section of "Other Paradises" is laugh out loud funny.
Laura Villanueva Rocabado: 96. The Bolivian writer whose best known pen name is "Hilda Mundy" (see note 64, above). Jessica unravels the connection between the performer and the poet. Mundy's "Pirotecnia," page 98.
"Bambolla bambolla": Hilda Mundy's journalism, 96. Phrase < Gongora, 97. Sequeira translates "Bambolla bambolla" as "look at me look at me," a kind of ostentatious selfie.
"Dum Dum": 96.
Brenda Lee: 97.
La Mariposa Mundial: 96. Mano maravillosas: 97. Pagina Siete: 97 (Rocio Zavala Virreira). Jessica quotes Virreira who says that, "to speak of Hilda Mundy is to leave the path, change direction, try out new things. It is to think not in terms of books, but magazines. Not complete sets, but clippings or incomplete collections" 97. Something like that might be said of Jessica Sequeira's work.
"Impresiones de la Guerra del Chaco": 98. Hilda Mundy text ("journalistic poetry").
"Decision": 103. Poem by Jessica Sequeira.
Srini Vasa Ramanujan: 104.
Duchamp: 104.
Carlos Fonseca, "Colonel Lagrimas," 104. Sequeira quotes an interesting section from Fonseca's text: "At one point, the colonel writes a postcard to his character Maximiliano: You know, Maximiliano, that this Ronald Reagan, man of a thousand facets and a dapper walk, illustrious president of the United States, had the most interesting job before he found success as an actor: he was an announcer for American football games. The strange thing, the magnificent thing, Maximilian – and here is the point of this anecdote – is that this future president didn't watch what he was narrating: he simply received bits of information, strung like rosary beads, whose whole he never saw, loose bits of information about a spectacle he didn't see, but whose tone he imagined in a kind of blind broadcasting. Our project is a bit like that. Broadcasting for an age without witnesses, a kind of blind narration of this dance of crazies. So, learn to tell without seeing, "107. I wondered what McLuhan might have made of "learn to tell without seeing." McLuhan thought with the advent of text we exchanged an ear for an eye. Hearing would have been the paramount sense in paradise, not seeing. Sight has come to dominate the senses, according to McLuhan, because of print, another example of detrimental reliance. But for Sequeria, the interest in the quote has to do with connections. She writes: "An obvious displacement exists everywhere, between mind and behavior, event and interpretation, fact and memory." Just so, McLuhan said football was a more intuitive sport for television than baseball, more mosaic, less specialized. Television, it's mosaic screen full of dots of which we only see a few and fill in for the rest, can not cover the specialized positions of baseball all at once. That all-at-once-ness becomes the value (what we want, even if what we want is not good for us) of social media programs. Baseball is a game of continuous lines, football of fragments. And learning without seeing is having the text before us, the illuminated manuscript – what is it that is illumined? The reader of "Other Paradises" may feel a bit like the narrator of a blind broadcast.
Ricardo Piglia: 110.
Horizontal: 110.
Borges. His ghost is everywhere.
Gabriel Josipovici: 112.
J. L. Austin: 113.
Christopher Priest: 114. "The Inverted World."
Rion Amilcar Scott, "Insurrections," 116. "Satire doesn't just mean 'being funny'; it's an existential mode that allows one to take on both joyful and painful subjects from inventive, oblique angles, allowing one to make almost anything one's subject with good humor, precision and grace" says Sequeira, page 116. Scott is the satire editor at Queen Mob's Tea House. When I was an English teacher, I was struck by how often my adult learners were slow to pick up on or were offended by satire. Swift's "A Modest Proposal" was occasionally even taken literally. That is the power of the authority of text, as McLuhan explained, and it's why "fake news" is so prevalent today. "Oh. Irony. See, we don't get that here. We haven't had any irony up here since '83, when I was the only practitioner of it. I stopped doing it because I was tired of being stared at" (Steve Martin's character, C. D., in the film "Roxanne").
Maggie Nelson, "Bluets," 122.
Janice Lee, "essays," 122. Lee, the founder of the on-line "Entropy." Says Sequeira of Lee's essays: "…it's the accumulated effect of phrases that's of value here, not any individual quote." The same might be said of the accumulated effect of my footnotes to "Other Paradises."
Fernando Diez Medina, 127.
Roberto Prudencio Romecin, 127; "On books and authors," 128.
Jaime Saenz, 128. (Yes, I know, my format has changed. I got tired of the extra effort required of typing a colon where a comma will do. Consistency is another detrimental reliance phenom resulting from the printing press.)
Sequeira is a reader and advocate for Bolivian poetry: Monica Velasquez Guzman; Oscar Cerruto; Edmundo Camargo; Raul Otero Reiche; Blanca Wiethuchter; Humberto Quino; Emma Villazon; Julio Barriga; Hilda Mundy; Edmundo Paz Soldan; Liliana Colanzi; Paola Senseve; Sergio Gareca; Pedro Shimose: 129-131. Says Sequeira: "Bolivia is an increasingly prosperous country with a growing middle class, widespread Internet connection even in the tiniest pueblos, and a population of educated and mobile young people with academic scholarships and international travel experiences. Traditional geographical and ethnic distinctions have begun to blur. A writer may fill page after page alone in her room, then take that notebook to a bar for a reading, one she will perhaps repeat later on in New York, Santiago, or Moscow. Perhaps – is this just a fantasy? – the poets of Bolivia form one small part of a world wide movement in which nations as we know them disappear, along with progressive 'developmentalist' thinking, to leave only the pure flow of cash, art and ideas," 134. McLuhan did not think it fantasy. According to McLuhan, the printing press was responsible for nationalism, boundaries, margins, and the marginal man. But we may have to let go of text to realize the "blur." We must wander (essay, assay) outside the margins, off the page.
Pierre Bonnard, 134.
Walter Benjamin, 139.
David Winters, "Infinite Fictions," 139.
Escher, "Belvedere," 1958 print, 139.
Goethe, 135.
I will now add a list of "keywords" or short phrases I noted as particularly relevant to "Other Paradises," and end with a few quotes:
Keywords to "Other Paradises" (in no particular order, but arranged as a mosaic):
arcadia, disappearing, antiquated machines, ghosts, slowness, loss of use, machine, prose, lyrical, satire, UFO's, damage, violence, fiction, narrator, suburb (132), language as technology (113), questions and questioning (throughout), reading list (113), Snakes and Ladders, theory, comedy (53), Los Angeles, disconnectednesses, poetry, past, social realism, symbol, pop, irony, whimsical, play, playful, invention, language, food, text as horizontal ladder, paintings, hand (54-55), style example (56), sentence structure (shadow play), joke (57), tulip (58), modesty (58), guild, basic needs (59), writing like a lathe (59), a good example of Sequeira's overall writing process (60), transitions (as unit of composition), interstices, intersections, interruptions, parentheticals, technique (62), first robot (61), Chloe Aridjis interview (61-64), defamiliarization (64), notebook (65), French poets (67), "eyes darting back and forth" (68) – this reminded me of Vonnegut's Bokononism, technology (72), fragmented, linear (79), Mulberry flag (82), cherry jam (84), preserve, preservation, save, value, paradise of decay (92-3), ostentation (102), observing, questions (104), impossible connections (105), "seemingly disparate concepts, link (108), intelligence (109), reading, utopian, political action (110), metafiction (111), emergence lit (112), reading list (113), non-linear (113), magic (114), theory of everything (115 – but no mention of Lisi), hills, goodness, Highway 1 (19), language as technology, change, literature, words (113).
And here is something Sequeira says on page 71 I made note of because I think it speaks to her writing as well as Carrington's 92-year-old woman: "Curious and open-minded, with a sense of humor, she can get away with being a little bit crazy, connecting everyday things in odd ways, and discovering the weird links and hidden situational puns fusing different tectonic plates of experience."
"At what point does a multiplication of anecdotes transform into the unified vision of a book?" (112). Or of a book review, for that matter?
Another quote where Jessica could be talking about her own work: "…a means of creating a fictional life for oneself that is whimsical yet self-interrogating, sustaining argument but with soul breathed into it through humor and a healthy does of silliness" (122).
"What it's about is an attitude, the creation of an atmosphere" (125).
"But recurring to lines of narrative history to 'explain' a style often has little to do with the way actual poets write" (128).
"Thinking in lateral, non-positivist, indirect ways, one can begin to engage with the ghosts of an occasion, starting with its imagined resonances and effects. Even as one enjoys the present, one can remain attuned to traces and echoes, histories and premonitions" (139).
Sequeira, Jessica. Other Paradises: Poetic Approaches to Thinking in a Technological Age. Zero Books. 2018.


Abandoned T-shirts find new life as cute scarves!
A concept that incorporates Science, Technology (tools), and Engineering (all sorts of fun "problems" to solve!): magnets are also great fun!
--plastic containers with tight lids to put some of the more dangerous loose bits into (thumbtacks, I'm looking at you!). Empty water bottles would work well, I used deli-type containers since that's what I had on hand.
--magnetic wands, horseshoe magnets, magnetic pincushions, "donut" magnets... as large a variety of (preferably non-choking hazard sized) magnets as you can collect.
Magnets : pulling together, pushing apart / Rosinsky, Natalie M.
Note: I'm not particularly crazy about this book for a read-aloud-to-young-children option, but it was the best I could find after much searching. Anyone know of any picture books that deal with magnets or magnetism?
Patterns are early algebra, plus they give us the power to predict what's going to happen next--strong stuff for preschoolers!


text:
.. _config_http_filters_on_demand:

On-demand VHDS, S/RDS and CDS Updates
=====================================

The on demand filter can be used to support either on demand VHDS or S/RDS update together with on demand CDS update
if configured in the filter chain.

The on-demand update filter can be used to request a :ref:`virtual host <envoy_v3_api_msg_config.route.v3.VirtualHost>`
data if it's not already present in the :ref:`Route Configuration <envoy_v3_api_msg_config.route.v3.RouteConfiguration>`. The
contents of the *Host* or *:authority* header is used to create the on-demand request. For an on-demand
request to be created, :ref:`VHDS <envoy_v3_api_field_config.route.v3.RouteConfiguration.vhds>` must be enabled and either *Host*
or *:authority* header be present.

The on-demand update filter can also be used to request a *Route Configuration* data if RouteConfiguration is specified to be
loaded on demand in the :ref:`Scoped RouteConfiguration <envoy_v3_api_msg_config.route.v3.ScopedRouteConfiguration>`.
The contents of the HTTP header is used to find the scope and create the on-demand request.

The on-demand update filter can also be used to request a cluster when the target cluster name is only known after receiving
a request and the cluster is missing - this is a scenario that could happen with
the :ref:`cluster_header <envoy_v3_api_field_config.route.v3.RouteAction.cluster_header>` route action. For an on demand
request to be created, :ref:`odcds <envoy_v3_api_field_extensions.filters.http.on_demand.v3.OnDemand.odcds>`
(or its :ref:`per route counterpart <envoy_v3_api_field_extensions.filters.http.on_demand.v3.PerRouteConfig.odcds>`)
must be specified and a header specified in :ref:`cluster_header <envoy_v3_api_field_config.route.v3.RouteAction.cluster_header>`
action must be present in the HTTP request.

On-demand VHDS and on-demand S/RDS can not be used at the same time at this point.

On-demand CDS can also be enabled or disabled per virtual host or route. Specifying an extension config
in :ref:`virtual host's typed_per_filter_config <envoy_v3_api_field_config.route.v3.VirtualHost.typed_per_filter_config>` or
the :ref:`route's typed_per_filter_config <envoy_v3_api_field_config.route.v3.Route.typed_per_filter_config>` without
the :ref:`odcds <envoy_v3_api_field_extensions.filters.http.on_demand.v3.OnDemand.odcds>` field disables
the on demand CDS for requests using this virtual host or route. Conversely,
if :ref:`odcds <envoy_v3_api_field_extensions.filters.http.on_demand.v3.OnDemand.odcds>` is specified,
on demand CDS is enabled for requests using this virtual host or route.

Configuration
-------------
* This filter should be configured with the type URL ``type.googleapis.com/envoy.extensions.filters.http.on_demand.v3.OnDemand``.
* :ref:`v3 API reference <envoy_v3_api_msg_extensions.filters.http.on_demand.v3.OnDemand>`
* :ref:`v3 API reference for per route/virtual host config <envoy_v3_api_msg_extensions.filters.http.on_demand.v3.PerRouteConfig>`
* The filter should be placed before *envoy.filters.http.router* filter in the HttpConnectionManager's filter chain.

redpajama_set_name: RedPajamaGithub


text:
Home Model overview
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The SUV for a new generation. Convincing without being persuasive. Sportive without being unreasonable. Efficient driving pleasure.
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The Audi TTS Coupé is bursting with sports car genes. Dynamic driving even controlled - by the new quattro permanent all-wheel drive. The design is individualized by S-specific elements and instantly recognizable. The innovative technologies in the drive, as well as new control and display concepts - including the Audi virtual cockpit - characterize the Coupé.
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With an exceptionally clear layout. The Audi virtual cockpit is a fully digital instrument cluster that is geared entirely towards the driver. All information appears in a 12.3‑inch TFT display with pin-sharp, high-contrast graphics. Brilliant by design, innovative beyond compare.
The Audi virtual cockpit amalgamates the functions of a central MMI monitor and a conventional instrument cluster within a unique 12.3‑inch TFT display. All functions and services are visualised using brilliant graphics with a three-dimensional feel and detailed effects. The driver has a choice of two views – the classic view and the "infotainment" mode. The display layout changes depending on the view selected. Whereas the classic view is dominated by the round dials in the form of the speedometer and rev counter, additional functions such as navigation, telephone, Audi connect and media take a more prominent place in the "infotainment" mode. The displays for exterior temperature, time, mileages, as well as the warning and notification symbols appear in a fixed position along the bottom edge of the cockpit in both modes.
The display modes of the Audi virtual cockpit
Intuitive control structure
The "View" button on the leather-covered multifunction sports steering wheel lets the driver switch between the two interfaces. In the "infotainment" mode, a central window dominates the view that provides plenty of room for displaying the navigation map or the various lists from the telephone, radio and audio functions. It is flanked on the left and right by the rev counter and speedometer, which appear as small round dials.
Focused on the driver
When the classic view is selected, the central window becomes smaller; the instrument dials – featuring black scales, red needles and white numerals – appear to be about the same size as today's analogue displays. The LCD screen occupies a prominent position in the dashboard. At the ideal viewing height for the driver.
Besides familiar modes of operation, the MMI control panel now also takes its cue from the world of consumer electronics. The rotary pushbutton continues to be the control "lynchpin", but the complexity of the operating levels and steps has been greatly reduced. This is because the components of the new MMI are more compact and powerful than ever. This is also obvious from the voice control, which has taken a major step towards operation using natural spoken commands.
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www.audi.lk


The company continues to work to update and improve the functionality of CCS. The Company updated Electronic Bulletin Board releasing the Enhanced EBB. To review the changes made in the EBB update visit One United Enhanced EBB.
While both versions of the EBB are still active on CCS the Company will sunset the current Electronic Bulletin Board (EBB) on April 15th, 2019 2359 CST. At that time they will transition completely to the Enhanced EBB system. Once the original EBB has been removed the Enhanced EBB will take its place and the "enhanced" reference will be removed. The EBB will continue to have additional updates to further improve the system.
As with all the changes Flight Attendants have experience in the last year, taking the time to familiarize yourself with the changes to the Enhanced EBB system will help in a smooth transition.
For questions or assistance please reach out to your Local Council.


Stericycle has been harshly criticized by residents living near their incinerators and environmentalists across the globe. Currently, Stericycle is being investigated by the state of Utah for burning hazardous, radioactive waste above legal levels at their North Salt Lake location. The investigations also are in response to Stericycle's falsification of records to hide the illegal quantity burning near Foxboro Elementary in North Salt Lake.
Stericycle, Inc., together with its subsidiaries, offers regulated waste management services, sharps disposal containers to reduce the risk of needlesticks, healthcare compliance services, pharmaceutical disposal, and regulated returns management services for expired or recalled products through incineration processes.
Quick facts about Stericycle, Inc.
Net Promoter Score for Top Brands compared with Stericycle, Inc.
Is Stericycle, Inc.'s estimated NPS of 16 considered to be good?
The industry average for Basic Industries / Environmental Services is 0.
Consider an example: If Stericycle, Inc. sends out NPS surveys immediately after purchase, they are tracking their customers' initial excitement and the checkout experience.
Therefore, comparing the NPS score of Stericycle, Inc. with your own without any further context is not that useful.
Other companies with Net Promoter Score similar to Stericycle, Inc.


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