text:
\section{Introduction and Related Work}
In our collaboration, we have been exploring how to enable intermedia performance that connects us across distance. Our conversation led us to an experiment asking whether we can render a painting into music and vice versa. Throughout the course of modern history, artists have sought to find connections between musical and visual practices, as well as to construct interrelationships between these art mediums. There exist previous examples of audiovisual encounters that bridge disparate art forms to create hybrid modes of multi-sensory experience. Recently, significant progress has been made in deploying  artificial intelligence to augment the reach of the artists. \cite{gatys2015neural} proposed altering styles of a painting while preserving the content, yielding aesthetically pleasing transformations. Such systems can be assumed to be intelligent automatic accompaniment systems similar to \cite{verma2012real}. Our experiment is different in that the input is both a visual feedback of the content of the image being drawn, and the manner in which the painting is being made via inputs from a contact microphone. In addition, our project looks at how the sound of brush strokes during live painting in tandem with the image itself can be transposed to aesthetically similar music from a given library.

\section{Discussion and Setup}
As the two artists in our project, respectively a painter (Pamela Davis Kivelson) and a composer (Constantin Basica), we share a formal creative practice built on processes of iteration, layering, and texturing. Another compositional parallel consists of a focus on performance and on vestigial resonances from previously created works. Though our interdependent creativity could seem random, an instinctual pattern emerges during our collaboration. This is developed over the duration of  a joint performance. Spontaneity is also critical during our shared creative experience. Starting from these intersecting congruences in style, we also consider how our mediums support the realization of analogous gestures. Periodicity, rhythm, and intensity are some of the parameters that we can employ to create gestures in music and painting. At the same time, we acknowledge the modal distinction of the two mediums and the limit between what would be considered 'direct translation' (e.g., a fast upward brush stroke could be heard as a fast musical scale played upward), which ultimately is less aesthetically interesting, and what would be described as 'poetic translation' (e.g., a pattern of dark colors is accompanied by a sequence of dissonant low tones). We mark this distinction through a proposal to introduce a third element in our artistic collaboration. The AI system does not share our artistic patterns and biases, but rather has developed its own. Our hope is that it can introduce an element of surprise in our performance and teach us more about our own creative processes. We envision multiple scenarios for hybrid musical-visual performances employing our AI system. In the following we will describe two scenarios that we plan to undertake in the next phase of our project.

1) The painter and the composer are separated either involuntarily (e.g., as a result of current lockdowns due to the coronavirus pandemic) or voluntarily as an artistic premise. They cannot see or hear each other. The only element that connects them is the AI system. Libraries of extant paintings and compositions of the two artists are implemented in the system prior to the performance. The system listens to the music that is performed live and watches the painting process unfold simultaneously. By measuring the distance between images and sounds in these two processes, the system decides in real time which musical excerpts and which paintings from the pre-established library would fit best with the current input from the two artists. Conversely, the system listens to the music and translates it into one of the paintings from the library, then displays it to the composer. Both artists receive snippets of each other's preexisting works in real time according to their performance. The audience cannot see this content since its primary function is to offer generative material for the artists. Therefore the AI system achieves a style translation between the painter and composer, offering them material for inspiration to develop further in the performance. An important aspect is that the two artists themselves extend the system's audiovisual translation by deciding how to continue their musical improvisation and painting based on cross-modal stimuli. In an alternative scenario, the two artists perform together in the same room with the audience. The resulting music based on the live painting is played through speakers and mixed by the composer with their improvisation, while the resulting images based on the live music are mixed into a projection layered with the painter's work.
\par
2)	The composer and the painter perform together, remotely or in the same place. They start from a blank slate without discussing any plan. As they begin improvising, the AI system compares their music and painting in real time and decides the level of congruity between them. The artists monitor this level continuously and decide whether they want to remain stylistically aligned or to deliberately stray away from each other. This level of consonance between music and painting may be hidden from the audience or employed as an additional staging element (e.g., it could control the lighting intensity or other multimedia elements).
To gather the data for testing the system, we staged a remote performance with the painter and the composer in which we recorded data from the painter. The composer performed a musical improvisation with digital tools (multiple virtual instruments and effects arranged in the digital audio workstation Ableton Live) and hardware tools (a Roland 88-key MIDI keyboard and a Novation LaunchControl XL MIDI controller). The artist listened to the live music and painted in oil, on several canvases, based on the sonic impressions produced by the music. We want to emphasize that, while we are proposing a translation of painting into music with our AI system, the initial data was gathered through a similar but reversed translation process: from the composer's live music to the live painting. In this use case the translation is realized by the painter's artistic sensibility. The artist used a range of traditional and atypical tools to paint with, ranging from big to small brushes, a palette knife and scrapers. There are big differences in brush stiffness and sound making qualities: scraping, erasing, painting over, or superimposing influences the sound of the brush strokes. Comparably, the composer layered his music improvisation by means of loops, delays, feedback, and granular synthesis. Their artistic synthesis was fed to the system, which measured the distance between their styles against two libraries of paintings and musical works supplied by the painter and the composer. The library of paintings consists of three previous works by the artist (Fig. 1), while the musical library is divided in two parts: a list of fifty works by various composers, chosen by Constantin Basica, and a list of forty compositions by himself.

\begin{figure}
	\centering
	\includegraphics[height=3.2cm]{Paintings.jpg}
	\caption{Three paintings realized by Pamela Davis Kivelson during a preparation performance session.}
	\label{fig:paintings}
\end{figure}

For the second filtering level, we employed audio recordings of the brush strokes on canvas measured against the two musical libraries. We used a contact microphone (AKG C411 L) to record these sounds. By utilizing this type of microphone, we could avoid all other surrounding sounds in the room and focus sonically on the brushing of the painter. The microphone was attached to the back of the canvas so as not to interfere with the painting. The contact microphone picked up vibrations produced by the canvas through the excitation of the brush, and transformed them into an audio signal. This was carried to the computer through an audio interface (TASCAM 4x4) and recorded as an audio file. Short snippets of the audio recording were extracted and assigned to the corresponding paintings.

\begin{figure}
	\centering
	\includegraphics[height=3.2cm]{Contact_Microphone.jpg}
	\caption{Setup of the contact microphone attached to the back of a canvas by the painter.}
	\label{fig:contact-mic}
\end{figure}

\section{Methodology}
\subsection{Distance Measure between Images and Sounds}
As explained in the previous section, the goal of this work is to translate paintings into music and to develop a tool for performance. Ultimately, we envision giving musicians and artists novel ways to make their performance more interactive through mediums they are familiar with. Specifically, this tool will offer painters the ability to manipulate sound using their paint brushes. In this section, we will explain how we achieved a deep neural network training to accomplish our goal.

\begin{figure}
	\centering
	\includegraphics[height=7cm]{Diagram.jpg}
	\caption{Overview of the system's architecture.}
	\label{fig:diagram}
\end{figure}

The  system involves converting the sounds of a paintbrush striking a canvas and the painting itself in order to select and play out a musical track. This involves drawing a correspondence between visual and sound worlds. In order to associate visual and sound systems, we chose to train a deep neural network to learn to map album cover art with their corresponding sound clip. Our reasoning was that album art contains a diverse representation of elements of the visual world, and a stylistically varied mixture of abstraction and realism. Care is given to each music album's cover to make the album art stylistically representative of the emotions, contents, and the aesthetics of the music which other sources often do not capture (e.g., a music video). We scraped a publicly available subset of a million song dataset \cite{bertin2011million}, namely MSD-I \cite{oramas2018multimodal}. It contains diverse sets of music pieces along with their respective album cover art. As described in the previous section, we intend to give both artists, namely the musician and the painter, new ways to interact with each other's modality and performance.
\par
In order to create the dataset, we scraped about 30,000 images along with their corresponding audio tracks from the meta-data available. The architecture follows \cite{arandjelovic2017look} with some modifications. While collecting data, for every positive pair (and assigning a score of 0 equivalent of similar distance) we chose randomly from the track associated with that of the album art. For creation of a negative pair (and assigning a score of 1), we sampled from any of the other tracks except for the track belonging to the current album. Heavy data-augmentation was done for the images (random flips, crops etc.) to create the dataset. For the audio, since we were sampling from anywhere in the track, we introduced random amplitude variations. All of the images were either down-sampled or up-sampled to [224,224,3]. For the audio, we took 4s of audio, downsampling it to 16kHz, and converting it to a mel-represenation with 100 filters and hopping every 12.5ms to give a representation of 100 x 320 for every chunk of audio. ResNet-50 \cite{he2016deep} model was used to project both of these data streams onto 512-dimensional points with two dense layers projecting the concatenation of these modalities to a 2D space. Cross entropy loss was minimized between the softmax activation of the dense layer with that of the ground truth mappings.
After validation on the held-out test set, we obtained an accuracy of about 85\% in categorizing if the system could correctly identify whether the image-audio pair had correspondence or not. The goal of this work was not to compare different architectures to make this even better, but to propose a way to use such architectures for performances, and as tools to artists in mediums they are unfamiliar with. We can now use our model assign scores to any pair of a visual-sound data, with 0 being a strong closeness or association and 1 being dissimilar. Even though the actual test data will not be album cover art or the music it was trained on, the model learns to discern elements from both the music and the art domains, and transfer this skill to the art-music of interest.

\subsection{Distance Measure between Two Sounds}
A contact microphone attached to the back of the painter's canvas or panel was used to record the physicality in the artist's painting. One can make an analogy between a long passage with varied staccato brush strokes and a violin bowing rapid strokes during fast movements. In order to translate such elements to corresponding musical pieces, we need to learn to map a score to compare any two audio snippets. In cases where there exists a parallel corpus, a neural net can easily learn such mappings as proposed in \cite{haque2018conditional}. We chose to learn how to map such snippets with respect to proximity in a latent space. The audio snippets should understand corresponding correlations in pitch, timbre and rhythm \cite{verma2019neuralogram}.
We trained DenseNet \cite{huang2017densely} on a balanced AudioSet \cite{audioset} with cross entropy loss on the one-hot categories with the same audio representation i.e. mel-represenation of the audio signals of 4s in duration. This is a state of the art architecture well explored, the details of which lie beyond the scope of this work. After training, we extracted latent representation of the audio signals from the last convolutional layer, as a signature or encapsulation of the contents of the audio  \cite{haque2019audio,verma2019neuralogram}. In order to map the sounds from the contact microphone to that of an actual musical library, we stored all of the embeddings of all the tracks at a 4s resolution. We defined the Euclidean distance between the embeddings of the two audio signals as their distance or a measure of how close two audio signals are. Even if the input is different w.r.t timbral space of the output, still these embeddings will learn one or more aspects of sound like pitch, timbre or rhythm as shown in \cite{verma2019neuralogram}. All of the embeddings were computed and stored so it is easier to retrieve the closest audio to that of the input from the contact microphone almost in real time.

\subsection{Two Step Filtering for Audiovisual Selection}
An embedding based distance metric can associate scores between the visual-audio domains (as learned from album cover art) and audio-audio domains(as learned from an audio understanding model). We now can translate paintings into music, both from the visual and the sound perspectives. The choice of how to combine these two modalities is a design choice, and there are several possible options. One potential filter, for the artist to use while painting, is to choose a fraction of the sounds that are likely to be associated with the painting, i.e. the lowest 1\% of the scores of the sounds that match with that of the painting from the distance metric learned from the album-art trained neural net. This network assigns a score for every pair of painting and sound between 0-1 as to how close-far they are associated. After getting a fraction of our music, which can get associated with the painting, we now search within the fraction of music library to match the sounds of the brush strokes with the musical pieces by finding the closest mapping between the two lists of audio embeddings.

\subsection{Observations from the Output Analysis}
We see that the triggering from the input of brush strokes—in order to retrieve musical sound—matches elements such as similar onset patterns with same/distinct timbre. The hum and the silent background are also matched with non-onset based elements such as long held notes. Since we filter with the visual aspect before the audio retrieval, our embedding based audio score compares with a diverse set of audio inputs rather than just giving the closest match from the entire dataset of similar audio snippets.

\section{Conclusion and Future Work}
In this project we have proposed a way to augment the work of a painter and a composer by translating paintings into corresponding musical excerpts, which then serve as generative material for the performers. The system was trained on a multi-genre set of music albums from 1927 to 2011. In contrast, when the system was applied in our testing, it looked at and listened to singular, experimental works by two contemporary artists. Regardless of the disparity between the training and the testing material, the system was able to find stylistically interesting correspondences between the artists' practices.
This work has potential in further increasing novel digital representations of performance using AI techniques. As more of our creative activities move online, projects like this could enable geographically displaced performance based on style transfer from one medium to another. We can envision a time when such emerging hybrid style assemblages will allow a more intimate collaboration between artists in different mediums. Our first iteration already allows for new ways to explore interdisciplinary artistic collaboration. Ideally, this system will make visible the unseen dynamics that we feel but do not see.
\par
For a demo based on the works of Pamela Davis Kivelson and Constantin Basica, please visit:
\url{http://ai.stanford.edu/~prateekv/Demo/}

\bibliographystyle{apacite}

redpajama_set_name: RedPajamaArXiv


text:
\section{Introduction}

Several collaborations have reported the observation of the new
baryon $\Theta^+(1540)$ with positive strangeness and minimal
quark contents  $udud\bar{s}$ \cite{exp2003}. The existence of
such an exotic state with narrow width $\Gamma < 15 MeV$ and
$J^P={\frac{1}{2}}^+$ was first predicted in the chiral quark
soliton model, where the $\Theta^+(1540)$ is a member of the
baryon antidecuplet $\overline{10}$ \cite{Diakonov97}. The
discovery has opened a new field of strong interactions   and
provides a new opportunity for a deeper understanding of the low
energy QCD. Intense theoretical investigations have been motivated
 to clarify the quantum numbers and to understand the
under-structures of the pentaquark state $\Theta^+(1540)$
\cite{ReviewPenta}. The zero of the third component of isospin
$I_3=0$ and the absence of isospin partners suggest  that the
baryon $\Theta^+(1540)$ is an isosinglet, while the spin and
parity have not been experimentally determined yet and  no
consensus has ever been reached  on the theoretical side. The
extremely narrow width  below $10MeV$ puts forward a serious
challenge to all theoretical models, in the conventional
uncorrelated quark models  the expected width is of the order of
several hundred $MeV$, since the strong decay $\Theta^{+} \,
\rightarrow K^+ N$ is Okubo-Zweig-Iizuka (OZI) super-allowed.

 In this article, we take the point of view that the quantum
numbers of the pentaquark state  $\Theta^{+}(1540)$ are
$J^P={\frac{1}{2}}^-$ , $I=0$ , $S=+1$, and study its decay width
within the framework of  the QCD sum rules approach
\cite{Shifman79,Narison04,Nielsen05}.

 The article is arranged as follows:   we derive the QCD sum rules
  for the strong coupling constant of the
pentaquark state $\Theta^+(1540)$ $g_{\Theta N K}$ in section II; in
section III, numerical results; section IV is reserved for
conclusion.

\section{QCD sum rules for the coupling constant $g_{\Theta N K}$}
In  the following, we write down the three-point correlation
function \cite{Nielsen05,Zhu03},
\begin{eqnarray}
 \Gamma(p,q) &=& \int d^4x  d^4y    \, e^{ip \cdot
x} e^{-iq\cdot y}  \langle 0|T\{\eta _N(x)j_{K}(y)
\bar{\eta}_{\Theta}(0)\}|0 \rangle\,,
\end{eqnarray}
where the $\eta_N$, $j_{K}$ and
$\overline{\eta}_{\Theta}=\eta_{\Theta}^+\gamma^0$ are the
interpolating currents for the neutron, K meson and pentaquark state
$\Theta^+(1540)$ respectively,
\begin{eqnarray}
\eta_{\Theta}(0)&=&{1\over \sqrt{2}} \epsilon^{abc} \left\{u^T_a(0)
C\gamma_5 d_b (0)\right\} \{ u_e (0) {\bar s}_e (0) i\gamma_5 d_c(0)
- d_e (0) {\bar s}_e (0) i\gamma_5 u_c(0)  \} \, , \\
j_{K}(y)&=&\bar{s}(y)i\gamma_{5}u(y)\, , \\
\eta_{N}(x)&=&\epsilon^{abc} ({d}^{T}_a(x)C\gamma _{\mu}d_{b}(x))
\gamma _5 \gamma ^{\mu}u_c(x)\, .
\end{eqnarray}
For the pentaquark state $\Theta^+(1540)$, we use the
diquark-triquark type interpolating current which can give
satisfactory mass  and stable magnetic moment \cite{Zhu03,ZhuWang}.
The pseudoscalar mesons $\pi$ and $K$ can be taken as both Goldstone
bosons and quark-antiquark bound states, we can use the partial
conservation  of axial current (PCAC) in constructing the
interpolating currents,
$\partial_\mu(\bar{s}(x)\gamma^\mu\gamma_{5}u(x))$,
\begin{eqnarray}
\partial_\mu(\bar{s}(x)\gamma^\mu\gamma_{5}u(x))&=&(m_s+m_u)\bar{s}(x)i\gamma_{5}u(x),\nonumber \\
\langle0|\partial_\mu(\bar{s}(0)\gamma^\mu\gamma_{5}u(0))|K(q)\rangle &=&(m_s+m_u)\langle0|\bar{s}(0)i\gamma_{5}u(0)|K(q)\rangle,\nonumber\\
&=& f_{K}q^2 = f_{K}m_K^2 \nonumber.
\end{eqnarray}
If we take the $\bar{s}(x)\gamma^\mu\gamma_{5}u(x)$ as the
interpolating current, more care has to be taken about the possible
contaminations from the axial-vector mesons, furthermore, the
calculation will be more tedious ( with
$\partial_\mu(\bar{s}(x)\gamma^\mu\gamma_{5}u(x))$ ). The matrix
element of the pseudoscalar current between the vacuum and $K$ state
can be taken as
\begin{eqnarray}
\langle0|\bar{s}(0)i\gamma_{5}u(0)|K(q)\rangle=\lambda_K=\frac{f_K
m_K^2}{m_u+m_s},
\end{eqnarray}
the values of the $\lambda_K$ depend on the masses of the $s$ and
$u$ quarks which have uncertainties, our numerical results indicate
small variations of those masses will not lead to large changes
about the values of the coupling constant  $g_{\Theta NK}$. For the
neutron, we take the Ioffe current \cite{Ioffe}. The Fierz
re-ordering of the interpolating currents $\eta_{\Theta}$ and
$\eta_N$ can lead to the following sub-structures,
\begin{eqnarray}
\eta_N &=&  \epsilon^{abc} \left\{ ( u_a^T C d_b ) \gamma_5 d_c - (
u_a^T C \gamma_5 d_b )
d_c \right\}, \\
\eta_{\Theta} &=&{1
\over4\sqrt{2}}\epsilon^{abc}(u^{T}_aC\gamma_5d_b)\left\{-d_c(\bar s
i\gamma_5 u)
  -\gamma^\mu d_c(\bar s i\gamma_5\gamma_\mu u)\right.\cr
  &&\left.-\frac{1}{2}\sigma^{\mu\nu}d_c(\bar s i\sigma_{\mu\nu}\gamma_5 u)
  -\gamma^\mu\gamma_5 d_c(\bar s i\gamma_\mu u)
  -\gamma_5 d_c(\bar s iu)-(u \leftrightarrow d)\right\}.
\end{eqnarray}
A naive result  of the Fierz re-ordering may be the appearance of
the reducible contributions with the sub-structure of $udd-u\bar{s}$
 (i.e. $N-K$) clusters   in the two-point correlation function
\cite{Reducible},
\begin{eqnarray}
 \Pi(p) &=& \int d^4x   \, e^{ip \cdot
x}   \langle 0|T\{\eta _\Theta(x) \bar{\eta}_{\Theta}(0)\}|0
\rangle\,,
\end{eqnarray}
however, in our calculations with the interpolating current
$\eta_{\Theta}$ in Eq.(2), no such factorable  $udd-u\bar{s}$ terms
appear, so there are no reducible $N-K$ contributions to the
correlation function $\Pi(p)$.  The re-ordering in the Dirac spin
space is always  accompanied  with  the color re-arrangement, which
involves the underlying dynamics.   If we want to factorize out some
$N-K$ contributions from the $\Pi(p)$ ( with the current
$\eta_{\Theta}$ in Eq.(2) ), tedious manipulations about the
re-ordering in the color and Dirac spin space must be done. There
are no direct $N-K$ ( or $udd-u\bar{s}$ ) components in the
interpolating current $\eta_{\Theta}$,  which can readily  decay to
the $NK$ final state and result in large width. If the
$\Theta^+(1540)$ is really a pentaquark state not a $N-K$ molecule,
as the $\Theta^+(1540)$ lies above the $NK$ threshold and no need
for additional quark-antiquark pairs  creation in decay, the decay
must be OZI super-allowed and the width is supposed   be large, say,
about several hundred $MeV$; to produce the narrow width, some huge
energy barriers are needed to stabilize the $\Theta^+(1540)$ in case
the kinematical interpretation can not work  here. The appearance of
the $N-K$ component in the Fierz re-ordering maybe manifest the
possibility ( not the probability ) of the evolution from the
$\Theta^+(1540)$ to the $NK$ final state without net quark-antiquark
pairs  creation ( maybe the quark-antiquark pairs created and
annihilated subsequently ), which is significantly in contrast to
the conventional baryons, however, we have no knowledge about the
detailed process of the evolution. The $\Theta^+(1540)$ may evolve
to the $N-K$ final state, and the $N-K$ final  state  is not
presented in the components of the initial pentaquark state
$\Theta^+(1540)$, how to implement the evolution with  small
probability involves complex quark-gluon interactions,  whether just
re-arrangement in the color space, or creation and annihilation of
quark-antiquark pairs. In additive constituent quark models, whether
or not additional relative P wave is introduced to changed the
ground states from negative parity to positivity parity, special
configurations are needed to take into account the narrow decay
width  as  results of small overlaps  of the internal and external
$N-K$ wave-functions \cite{WaveAdd}, the kinematical interpretations
based on the color-flavor-spin ( i.e. $SU(3)_c\times SU(3)_f\times
SU(2)_s$ ) group theory resort  to the possible small overlaps,
 how to realized the small overlaps needs complex
re-ordering in the color-flavor-spin space, if there are really no
energy barriers to prevent the re-arrangement.  While in the cluster
quark models, typically, the diquark-diquark-antiquark model
\cite{JW03} and diquark-triquark model \cite{KL}, extra barriers,
for example, relative P waves, are introduced dynamically to prevent
the ready  decay. In fact, the re-ordering in the color and Dirac
spin space involves  complex strong interactions, and  we know
little now about the dynamics which determine the under-structures
of the exotic pentaquark states. The mismatches between the
color-flavor-spin states in the initial pentaquark and final
baryon-meson color singlet can result in suppression  of the decay
naturally \cite{WaveAdd,JM04}. Due to the spontaneous  breaking of
the chiral symmetry and the Goldstone nature of the pseudoscalar
mesons $\pi$, $K$ and $\eta$, the quarks may have direct
interactions with the pseudoscalar mesons, which lead to the success
of some chiral quark models. The dominating interactions which
determine the exotic pentaquark states be color-spin type
$\lambda^c_i \cdot\lambda^c_j \sigma^i \cdot\sigma^j $ or
flavor-spin type $\lambda^f_i\cdot \lambda^f_j \sigma^i
\cdot\sigma^j $ are still in hot debates \cite{color-spin-flavor},
the naive Fierz re-ordering can lead to direct $N-K$ component in
the $\Theta^+(1540)$ will not work here. If there are really some
$N-K$ components in the interpolating current $\eta_\Theta$, they
should be factorized out, the remainder can not have the correct
quantum numbers to interpolate  the $\Theta^+(1540)$. In the QCD sum
rules, we construct the interpolating currents with the same quantum
number as the corresponding mesons and baryons, that is enough; the
knowledge about the structures of the hadrons can be of much help in
the constructing.

In Ref.\cite{Narison04}, the narrow decay width is attributed to the
minor breaking of chirality conservation,   the color re-arrangement
due to the hard gluon-exchange can result in strong suppression of
the decay,  $\Gamma_{\Theta}  \sim \alpha^2_s \, <0|\overline{q}
q|0>^2$. In the article, we take quantitative analysis of the decay
width within the framework of the QCD sum rules approach.

 The diquark-triquark type interpolating current $\eta_\Theta(x)$ is more likely
related to a negative parity pentaquark state, in this work, we make
 assumption that the parity of the $\Theta^+(1540)$ to be negative and study the
decay width with the  following  Lagrangian density,
\begin{eqnarray}
{\cal L}&=&ig_{\Theta NK}\bar{\Theta}KN  .\ \ \
\end{eqnarray}
 According to the
basic assumption of current-hadron duality in the QCD sum rules
approach \cite{Shifman79}, we insert a complete series of
intermediate states satisfying the unitarity principle with the same
quantum numbers as the interpolating currents $\eta_N$, $j_{K}$ and
$\overline{\eta}_{\Theta}$
 into the correlation function in
Eq.(1)  to obtain the hadronic representation. After isolating the
double-pole and single-pole terms of the lowest ground  states, we
get the following result \cite{Nielsen05,Ioffe84},
\begin{eqnarray}
 \Gamma(p,q)&=&\left\{ \frac{ g_{\Theta NK}
\lambda_{\Theta}\lambda_{N}\lambda_{K}} { m_{\Theta}^2-
p'^2}\frac{1}{(m_{N}^2- p^2)(m_{K}^2- q^2)}
+\left[\frac{A(p'^2,q^2)}{ m_{N}^2-p^2}+ \frac{B(p'^2,p^2)}{m_{K}^2-
q^2}
\right]+\cdots \right\} \nonumber\\
&&  \left \{\sigma^{\mu\nu} q_{\mu}p_{\nu} \,\, +
\cdots\right\}+\cdots\, , \nonumber \\
&=&\left\{ \frac{ g_{\Theta NK}
\lambda_{\Theta}\lambda_{N}\lambda_{K}} { m_{\Theta}^2-
p'^2}\int_0^{\infty}ds \int_0^{\infty}dt
\frac{\delta(s-m_{N}^2)\delta(t-m_{K}^2 )}{(s- p^2)(t- q^2)} +
\right.\nonumber\\
&&\left. \left[\int_0^\infty ds \frac{A(p'^2,q^2)\delta(s-m_{N}^2)}{
s-p^2}+ \int_0^\infty dt \frac{B(p'^2,p^2)\delta(t-m_{K}^2)}{t- q^2}
\right]+\cdots \right\} \nonumber\\
&&  \left \{\sigma^{\mu\nu} q_{\mu}p_{\nu} \,\, +
\cdots\right\}+\cdots\, ,
\end{eqnarray}
with
\begin{eqnarray}
A(p'^2,q^2)&=& \int_{m^2_{K^*}}^\infty dt
\frac{\rho_A(p'^2,t)}{t-q^2},
\\
B(p'^2,p^2)&=& \int_{m^2_{N^*}}^\infty ds
\frac{\rho_B(p'^2,s)}{s-p^2},
\end{eqnarray}
where the following definitions have been used,
\begin{eqnarray}
\langle 0|\eta _N|N(p,s)\rangle &=& \lambda_{N} u(p,s) \,,\nonumber\\
\langle \Theta(p',s')|\bar{\eta}_{\Theta}|0 \rangle &=&
\lambda_{\Theta}\bar{u}(p',s')\, . \nonumber
\end{eqnarray}
The coupling constants $\lambda_{N}$ and  $\lambda_{\Theta}$ can be
determined from the two-point QCD sum rules, for the
$\lambda_{\Theta}$, we use the correlation function $\Pi(p)$,
substitute the $\eta_N$ for the $\eta_\Theta$ in Eq.(8), we can
obtain the $\lambda_{N}$. In this article, we choose the Dirac
tensor structure $\sigma^{\mu\nu} q_{\mu}p_{\nu}$ for analysis,
while in Ref.\cite{Nielsen05}, the authors take the structure
$\gamma_5 \sigma^{\mu\nu} q_{\mu}p_{\nu}$ . Here the residues of the
single-pole terms $A(p'^2,q^2)$ and $B(p'^2,p^2)$ have complex
dependence on the transitions between the ground states and high
resonances ( or continuum states ). We have no knowledge about  the
transitions, even the existence of the $\Theta^+(1540)$ is not
firmly established. However, the contributions from the
pole-continuum transitions
 are not exponentially suppressed compared with the double-pole terms, even
after double Borel transform, furthermore, the contributions can be
as large as or larger than the double-pole terms and must be
explicitly included in the sum rules. We only have the fact that the
$\Theta^+(1540)$ lies a little above the $NK$ threshold, the
contributions from the $\Theta^+(1540)$ can be factorized  out,  so
the spectral densities $\rho_A$ and $\rho_B$ can be parameterized as
\begin{eqnarray}
\rho_A(p'^2,t)&=&\frac{EE(p'^2,t)}{m_{\Theta^+}^2-p'^2}, \\
\rho_B(p'^2,s)&=&\frac{FF(p'^2,s)}{m_{\Theta^+}^2-p'^2}.
\end{eqnarray}
The  two unknown functions $EE$ and $FF$ have  complex dependence on
the  transitions between the ground states and high resonances ( or
continuum states ).  From the Eqs.(10-14), we can obtain
\begin{eqnarray}
 \Gamma(p,q)&=&\left\{ \frac{ g_{\Theta NK}
\lambda_{\Theta}\lambda_{N}\lambda_{K}} { m_{\Theta}^2-
p'^2}\frac{1}{(m_{N}^2- p^2)(m_{K}^2- q^2)} +\right.\nonumber\\
&&\left.\frac{ 1} { m_{\Theta}^2-p'^2}\left[\frac{1}{
m_{N}^2-p^2}\int_{m_{K^*}^2}^\infty dt \frac{EE(p'^2,t)}{t-q^2}+
\frac{1}{ m_{K}^2-q^2}\int_{m_{N^*}^2}^\infty
ds\frac{FF(p'^2,s)}{s-p^2}
\right]+\cdots \right\} \nonumber\\
&&  \left \{\sigma^{\mu\nu} q_{\mu}p_{\nu} \,\, +
\cdots\right\}+\cdots\, , \\
&=&\left\{ \frac{ g_{\Theta NK}
\lambda_{\Theta}\lambda_{N}\lambda_{K}} { m_{\Theta}^2- p'^2
}\frac{1}{(m_{N}^2- p^2)(m_{K}^2- q^2)} +\frac{ 1} {
m_{\Theta}^2-p'^2}\left[\frac{CC}{ m_{N}^2-p^2}+ \frac{DD}{
m_{K}^2-q^2}
\right]+\cdots \right\} \nonumber\\
&&  \left \{\sigma^{\mu\nu} q_{\mu}p_{\nu} \,\, +
\cdots\right\}+\cdots\, ,
\end{eqnarray}
here we introduce two constants $CC$ and $DD$ for convenience,
\begin{eqnarray}
CC&=&\int_{m_{K^*}^2}^\infty dt \frac{EE(p'^2,t)}{t-q^2},\\
DD&=&\int_{m_{N^*}^2}^\infty ds\frac{FF(p'^2,s)}{s-p^2}.
\end{eqnarray}
Taking the $CC$ and $DD$ as some unknown constants has smeared the
complex dependence on the energy and high resonance masses ( or
continuum states ), which will certainly impair the prediction
power.
  We have no knowledge about the  transitions between the pentaquark state $\Theta^+(1540)$
 and the excited states ( or high resonances, or continuum states ), the $CC$ and $DD$ can be taken as free parameters
, we  choose the suitable values for the $CC$ and $DD$ to
  eliminate the contaminations from  the single-pole terms to obtain the reliable  sum rules. The contributions from
  the single-pole terms may as large as or larger than the double-pole term, in practical manipulations,
   the $CC$ and $DD$ can be fitted to give stable sum rules with respect to
 variations  of the Borel parameter $M^2$ in a suitable interval. If the final numerical results are insensitive to the
 threshold parameters $s_0$, $t_0$ and there really exists a platform with the variations
 of the Borel parameters $M^2_1$ and $M_2^2$, the
 predictions  make sense.

  The  calculation of  operator product expansion in the  deep Euclidean space-time region is
  straightforward and tedious, here technical details are neglected for simplicity,
  once  the analytical  results are obtained,
  then we can express the correlation functions at the level of quark-gluon
degrees of freedom into the following form through dispersion
relation,
  \begin{eqnarray}
 \Gamma(p,q)&=& \sqrt{2}\left\{\frac{21m_s}{2^{12}4!\pi^6}\int_{0}^{s_0}ds \int_{0}^{t_0}dt
  \frac{ s^2}{s-p^2}\frac{ 1}{t-q^2}
  -\frac{11m_s \langle \bar{q}q\rangle^2}{2^7 3\pi^4p^2}\int_0^{t_0}dt \frac{1}{t-q^2}\right.\nonumber\\
  && \left.+\frac{7\left[\langle \bar{q}q\rangle+\langle \bar{s}s\rangle \right]}{2^9 4! \pi^6 q^2}\int_0^{s_0}ds
  \frac{s^2}{s-p^2}-\frac{11\left[ \langle \bar{q}q\rangle^3+\langle\bar{q}q\rangle^2\langle\bar{s}s\rangle \right]}
  {2^4 3^2  \pi^4p^2q^2}\right\} \sigma^{\mu\nu}p_{\mu}q_\nu+\cdots\, ,
  \end{eqnarray}
We choose $p^2=p'^2=-P^2$ and $q^2=-Q^2$, then take double Borel
transform with respect to the variables $P^2$ and $Q^2$
respectively, match Eq.(16) with Eq.(19), finally we obtain the sum
rules for the strong coupling constant $g_{\Theta NK}$,
\begin{eqnarray}
&&g_{\Theta NK}\lambda_K \lambda_N \lambda_\Theta
e^{-\frac{m_K^2}{M_2^2}}
\frac{e^{-\frac{m_\Theta^2}{M_1^2}}-e^{-\frac{m_N^2}{M_1^2}}}{m_\Theta^2-m_N^2}+Ce^{-\frac{m_K^2}{M_2^2}}
e^{-\frac{m_\Theta^2}{M_1^2}}= \nonumber \\
&&\sqrt{2}\left\{\frac{21m_s M_1^6 M_2^2
E_2(s)E_0(t)}{2^{11}4!\pi^6}+
  \frac{11m_s \langle \bar{q}q\rangle^2 M_2^2E_0(t)}{2^7 3\pi^4}\right.\nonumber\\
  && \left.-\frac{7\left[\langle \bar{q}q\rangle+\langle \bar{s}s\rangle \right]M_1^6E_2(s)}{2^8 4! \pi^6 }
  -\frac{11\left[ \langle \bar{q}q\rangle^3+\langle\bar{q}q\rangle^2\langle\bar{s}s\rangle \right]}{2^4 3 ^2\pi^4}
  \right\}\, ,
\end{eqnarray}
where
\begin{eqnarray}
E_n(s)&=&1-e^{-\frac{s_0}{M_1^2}}
\sum_{k=0}^{n}\left(\frac{s_0}{M_1^2}\right)^k\frac{1}{k!}\, ,
\nonumber \\
E_n(t)&=&1-e^{-\frac{t_0}{M_2^2}}\sum_{k=0}^{n}\left(\frac{t_0}{M_2^2}\right)^k\frac{1}{k!}\,
. \nonumber
\end{eqnarray}
 Here the $C$ ( proportional to the $DD$, as the $CC$ terms are eliminated  ) denotes the contributions from
 the transitions between the ground  and excited states ( or high resonances, or continuum states ),
  we can choose the suitable values for $C$ to
  eliminate the contaminations  to obtain the stable sum rules with the variations of the Borel parameters $M_1^2$ and $M_2^2$.

\section{Numerical Results}
The parameters for the condensates are chosen to be the standard
values \cite{Shifman79},  $\langle \bar{s}s \rangle=(0.8\pm0.1)
\langle \bar{u}u \rangle$, $\langle \bar{q}q \rangle=\langle
\bar{u}u \rangle=\langle \bar{d}d \rangle=-(240\pm 10 MeV)^3$,
 $m_u=m_d=0$ and $m_s=(140\pm10) MeV$. Small variations of those condensates will not
 lead to large  changes about   the numerical
 values.  The coupling constants are taken as $\lambda_N=(2.4\pm0.2)\times 10^{-2} GeV^3$ \cite{Ioffe,Ioffe84,Ioffe82} and
 $\lambda_\Theta=( 1.4 \pm 0.2)\times 10^{-4} GeV^6$ \cite{Zhu03} from the two-point QCD sum rules, see Eq.(8) for example.
 The threshold parameters $s_0$ and $t_0$ are chosen to  vary between $(1.8-2.0) GeV^2$ and
  $(0.8-1.0) GeV^2$ respectively  to avoid possible contaminations from
  high  resonances and continuum states. The Borel parameters are
  taken as $M_2^2=(1.0-1.5)GeV^2$ and $M_1^2=(1.0-2.0)GeV^2$  to obtain the stable sum
  rules. Finally we obtain the values for the coupling constant $|g_{\Theta NK}|$,
 \begin{eqnarray}
 |g_{\Theta NK}|=0.175\pm0.084,
  \end{eqnarray}
  \begin{eqnarray}
 \Gamma_{\Theta}&=& \frac{1}{8\pi m_{\Theta}^3}g_{\Theta
nK}^2 [(m_N + m_{\Theta})^2-m_K^2]
\sqrt{\lambda(m_{\Theta}^2,m_{N}^2,m_K^2)}\,, \nonumber\\
&<&4MeV,  \\
\lambda(m_{\Theta}^2,m_{N}^2,m_K^2)&=& (m_{\Theta}^2+ m_{N}^2
-m_K^2)^2-4m_{\Theta}^2m_{N}^2\,. \nonumber
\end{eqnarray}
which can explain the narrow width $\Gamma \leq 10 MeV$ naturally.
The values of the coupling constant $g_{\Theta NK}$ with the
variations of the threshold parameters ($s_0$, $t_0$) and Borel
parameters ($M_1^2$ , $M_2^2$) are shown in Fig.1 and Fig.2 for
$\langle \bar{s}s \rangle=0.8 \langle \bar{u}u \rangle$, $\langle
\bar{q}q \rangle=-(240MeV)^3$,  $m_s=140 MeV$.

\begin{figure}
 \centering
 \includegraphics[totalheight=7cm]{Figure1.EPS}
 \caption{$|g_{\Theta NK}|$ with $M_1^2$ for $M_2^2=1.3GeV^2$, $t_0=0.9GeV^2$. }
\end{figure}

\begin{figure}
 \centering
 \includegraphics[totalheight=7cm]{Figure2.EPS}
 \caption{$|g_{\Theta NK}|$ with $M_2^2$ for $M_1^2=1.7GeV^2$, $s_0=1.9GeV^2$}
\end{figure}
\section{Conclusion }
In this article, we take the point of view that the pentaquark state
$\Theta^+(1540)$ has  negative parity, and choose the
diquark-triquark type interpolating current to calculate the strong
coupling constant $g_{\Theta NK}$ within the framework of the QCD
sum rules  approach. Our numerical results  indicate that values of
the strong coupling constant $g_{\Theta NK}$ are very small,
$|g_{\Theta NK}|=0.175\pm0.084$, and the  width $\Gamma_\Theta
<4MeV$,
  which can explain
the narrow width $\Gamma \leq 10 MeV$ naturally.

\section*{Acknowledgment}
This  work is supported by National Natural Science Foundation,
Grant Number 10405009,  and Key Program Foundation of NCEPU. The
authors are indebted to Dr. J.He (IHEP), Dr. X.B.Huang (PKU) and
Dr. L.Li (GSCAS) for numerous help, without them, the work would
not be finished.


text:
Paul McCartney - My Brave Face
https://www.PaulMcCartney.com
Music video by Paul McCartney performing My Brave Face. (C) 1989 MPL Communications Inc/Ltd under exclusive license to Universal Music Enterprises, a Division of UMG Recordings, Inc.
"My Brave Face" is a single from Paul McCartney's 1989 album, Flowers in the Dirt. Written by McCartney and Elvis Costello, "My Brave Face" is one of the most popular songs from Flowers in the Dirt. It peaked at #18 in the United Kingdom a week after its debut, and #25 in the United States 7 weeks after its debut. It was McCartney's last top 40 hit on the Billboard Hot 100 until his 2014 collaboration with Kanye West, "Only One", and as of 2017 is the last Billboard top 40 hit with any former Beatle in the lead credit.
Like other songs from Flowers in the Dirt, despite the song's chart success, to date it has not been included on any McCartney compilation album.
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Agir ensemble peut désigner :
 groupe Agir ensemble, groupe parlementaire de l'Assemblée nationale française ;
 Agir ensemble pour les droits humains (AEDH), ONG française fondée en 1989 ;
 Agir ensemble contre le chômage (AC !), mouvement français.

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text:
Toronto filmmakers Sarah Polley, Domee Shi among top Canadian Oscar nominees
By Allan Embrey Last updated Jan 24, 2023
Toronto filmmakers Sarah Polley and Domee Shi are among the Canadians competing in the top categories at this year's Academy Awards.
Polley's "Women Talking" received a best picture Oscar nomination as well as an adapted screenplay nod.
The movie is based on Manitoba author Miriam Toews' 2018 novel of the same name. It's about a group of women who gather in a barn to discuss what steps to take after a series of sexual assaults shocks their remote Mennonite community.
"Women Talking" is competing for the coveted top prize against nine other films including "Avatar: The Way of Water," from Ontario-raised filmmaker James Cameron.
Meanwhile, Shi's "Turning Red" was nominated in the best animated feature category. The film follows the story of Meilin "Mei" Lee, a 13-year-old girl living in Toronto who discovers she has the ability to turn into a giant red panda.
'Turning Red' review: Toronto-based Pixar movie an absolute joy from start to finish
Ontario couple's luggage containing tracker donated to charity by Air Canada
Shi's film is up against fellow Sheridan College alum Chris Williams, who directed "Sea Beast," an animated feature about a crew of sea monster hunters.
Scientists share source of signal captured from almost 9 billion light-years away
Doomsday Clock moves closer to midnight amid 'unprecedent danger' of Russia's war
Among the other Canadian projects that received mentions Tuesday are the animated short "The Flying Sailor," made by Calgary-based Wendy Tilby and Amanda Forbis.
Competing in the best animated short category, the film is inspired by a maritime tale about a seaman who was blasted into the air after two ships collided in the Halifax harbour during the First World War.
Also, the Canadian-American doc "Fire of Love" from National Geographic, which is about French volcanologists Katia and Maurice Krafft, who died in an explosion, is among the nominees for documentary feature.
"Fire of Love" is up against "Navalny," an investigation into the poisoning of Russian opposition leader Alexei Navalny, which is directed by Toronto's Daniel Roher.
2023 Oscar nominations: 'Everything Everywhere All At Once' leads with 11
Rare meteorite found in Antarctica wows scientists with its size
In the performance categories, actor Brendan Fraser continues to collect praise for his role in Darren Aronofsky's "The Whale."
Fraser, who went to high school in Toronto but was born in the United States to Canadian parents, is nominated for best actor for his turn as a reclusive English teacher living with obesity who attempts to reconnect with his estranged daughter.
The annual film awards celebrate their 95th anniversary this year, and winners will be announced during a ceremony hosted by Jimmy Kimmel at on Sunday, March 12.
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49ers defensive end Charles Omenihu arrested for domestic violence
Ashneer Grover To Return? Also Reacts To Namita Thappar's 'Toxicity' Comment & Says "She Misses Me… 2nd, 3rd, 4th season…"
Pietersen has his say on rule changes, feels IPL can take a…


January 14, 2018 — Rated 10 out of 10 by P.L.
It is chiropratic care that I trust. The advice I receive in dealing with my old bones is the best I have experienced here in Los Angeles. Live Well is also a one stop shop: chiro, massage, Pilates and acupuncture. The Pilates instructors are amazing and always give a suggestion if physically there is an exercise that is uncomfortable. I could not ask for a more knowledgeable caring environment.
January, 2018 — Rated 10 out of 10 by M.M.L.
Dr Gloin and his staff are the best!
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Flexibility in scheduling, use of insurance, friendliness of staff, effectiveness of treatment.
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I have great confidence in Dr. Gloin both in any treatment he gives and also in his advice on other measures I need to take to deal with as the many medical issues a woman of 85 might have. I am very grateful to Dr. Gloin.
June, 2017- Rated 10 out of 10 by E.A.
I love the Pilates classes, private Pilates sessions, and massages. Dr. Gloin goes above and beyond for his patients to help them feel better.


My mom grew daisies like this along the fence by our patio at my childhood home. I loved them so much that I named the puppy Daisy that my parents gave me for my sixth birthday. To this day, they are a happy reminder of barefoot summers at home as a kid, and they find their way into lots of my paintings.
This was painted with pure emotion. We all have ways of expressing ourselves when words elude us. For me, it is often paint. So, when the overwhelm was creeping in late one night, I painted this with my hands and poured the chaos onto the canvas. Somehow it all translated into joy. I love the happy energy in this one and have kept the original. But giclee prints are available on both canvas and fine art paper.
Here's a peek at my happy place. Unfortunately, I've since slung paint on those curtains in the back. My dogs hang out with me while I paint. The puppy's favorite spot is under that yellow table and my lab mutt tends to lean against my apron. If you stop by, you'll likely see them running around with paint in their fur!
This is what happens when you intend to paint a field of sunflowers and run out of yellow! Maybe it's because I lay that paint on so thick. This floral can be hung vertically or horizontally. It is a happy riot of primary colors, with thick, dimensional paint, perfect anywhere you need a pop of color.
Where paint gets on the curtains, apron, hands, dogs, and sometimes the canvas.


It includes all the boat chores that need to be done. We need to fabricate a fuel tank that holds more diesel than my car can carry. (Seven years ago we installed a "temporary" fuel tank.) Also on the list are things like finally installing the anchor windlass we bought 6 years ago. We bought the chain to go with it. Six years ago. It's been sitting in Maggie and Charlie's yacht rigging shop since then. They used to tease us about it. Now they use the chain's container as a table.
I put in for two weeks vacation in July, and got approved. I also requested two weeks unpaid in August. I don't think I'll get the August time, so we'll have to figure something out with that.
I grabbed a book from the library about where we will sail to. Todd read some of it last night and used Google pedometer to plot how far away our destination is. 405 miles.
Destination: Chipman Point Marina in Orwell, Vermont. We will sail east through Long Island Sound to New York City. We'll have the masts taken down and head up the Hudson River and into Lake Champlain.
We're at that exciting and overwhelming time at the start of the trip. There is a lot to do; a lot of phone calls to make, a lot of plywood to cut to build the prototype for our custom fuel tanks, a lot of time spent trying to figure out why the radar won't work, and a lot of calls to Raytheon technical support.
There's a lot to do at work to make sure my absence won't stress out my co-workers and boss.
There are provisions to plan out and buy.
There are details to arrange, like sailing the boat to Essex, Connecticut the weekend before the trip, then taking the train back to Rhode Island.
Then we need to figure out how we'll get back to RI from Vermont.
Spreadsheets have been made; measurements have been scrawled in notebooks.
And we're loving every minute of it.
Makes me want to reread "Lila."
I hope the trip is as much fun as the anticipation!
Honestly, I've had mixed feelings about this trip. Our early sailing adventures, 10-11 years ago, were on Lake Champlain. You know how I get about wanting to go somewhere different. Well, maybe you don't. But it's a constant itch of mine that will never fully be scratched.
But, to go up the Hudson through all the locks and under the bridges? WOW! I have *such* a thing about sailing under bridges.


Organizational Charts using Strategy Mapper - Duration: 3 minutes, 49 seconds.
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The Boca Printer Store warrants refurbished printers against defects (not including cosmetic defects) for a period of six months from the date the printer is received. Any printer failure not originating from defects in materials or workmanship will not be considered covered under warranty.
In the unlikely event that your printer should fail during its warranty period due to a defect in materials or workmanship, The Boca Printer Store will repair or replace, at its option, the entire printer with a refurbished printer of equal or greater value. In the case of the repair of a unit, the Boca Printer Store will execute the repair and ship back to the customer within seven (7) working days of receipt of the defective printer. If a printer cannot be repaired within that time, the Boca Printer Store will ship a replacement unit of same or similar product.
Customer is responsible for all shipping charges on return items. All related fees (shipping and return shipping fees) are non-refundable for all items.
Units to be returned should be packed carefully. Since the Boca Printer Store cannot provide credit for a return without confirming its receipt, we recommend that you use a delivery service that can be tracked and or insured.
maintenance as described in the users manual.
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Beverly Mountain Guides is offering the full gamut once again, at Taos Ski Valley. Although the season is in full swing, there's still time to get your avi course in. Whether you're taking your first course, or on the way to becoming a IFMGA Mountain Guide, our courses are geared towards the highest standards in the industry. Marc is the Avalanche Delegate for the USA International Commission of Alpine Rescue (ICAR) Avalanche Commission, and is on the Executive Board of the UIAA. Get the absolute most up to date information in these courses. Kerry Hanes has more days as an avalanche instructor than any other guide in the state this year, and is coaching his son (Henry) in the World Cup SkiMo racing in Europe in late February. Support some of the best, and most established local avalanche instructors in New Mexico. Classes are filling fast.
"Funny, how a 6-degree slope on Gold Hill suddenly collapsed. We were in awe...and learned why going further would have been the wrong choice," Robert Torres.
If you missed this season's opportunities, and you want a really great experience, come with us to South America in August/Sept 2017 for an AIARE avi 1 course!!!
Here's the latest in in Avalanche and Non-Avalanche Burial Accidents.
This is a good primer for discussion for the cutting edge in Avi Education. See you out there !


Berkey water filters dominate the popularity, however has this deserved? Wanting at the Berkey water filter, take a look at what they will supply with the Berkey Water Filter Assortment.
Berkey water filters are highly regarded and the company seems to have contributed to a very profitable water filtration technique. The model has grown tremendously in recent times, so we thought it was time to have a while to take a look at the Berkey Water Filter, which analyzes the advantages and drawbacks of the Berkey and its Water Filters listing.
We start by itemizing the Berkey selection in the comparability desk so you'll be able to see what they provide. Allow us to proceed to break up the product and provides our opinion on the Berkey water filter evaluations. Use the fast links under to jump to probably the most fascinating a part of you.
3 How Do Berkey Filters Work?
Berkey water filter techniques are a particular place out there. They don't seem to be linked to most HVAC techniques comparable to Water Filters, which suggests they are absolutely moveable and can be utilized with multiple water assets.
The gadget is designed to take a seat on the worktop and fill with water. prime. The system is appropriately categorised as a gravitational product: gravity does its job, giving the required water strain to make sure that water passes by means of the filters and collects within the decrease a part of the system ready to dispense the pin.
Every mannequin can work with at the very least two of these filters. Through the use of more of them you'll be able to improve the water movement fee of the system and improve the filter life cycle.
The black filter can be mixed with arsenic / fluoride removing filters. These filters have a life span of lower than 1000 liters. It is rather troublesome to remove fluoride and arsenic from consuming water, so this is likely one of the most essential retailers of the Berkey range, which appears to remove these impurities better than other brands.
Massive Berkey is an ordinary measurement mannequin for houses for up to 4 individuals. It could possibly stand up to up to 4 black filters (plus four fluorides), nevertheless it works nicely solely 2. It measures simply over 29 inches and has a movement fee of as much as 7 liters per hour (effective amount of liters of water). The Huge Berkey Water Filter actually appears at sites like Amazon.
To read extra about what we consider Berkey, learn the remainder of our guide. Don't overlook the pages of "Pros & Cons" or "Before You Buy"
The Berkey Spray Filter is designed to take away dangerous chlorine out of your bathing water. Berkey says it's going to remove as much as 95% of the disinfectant.
That is accomplished utilizing KDF 55 filter material, which can also be efficient in decreasing hydrogen sulphide and heavy metals reminiscent of lead, iron and mercury. The filters last about 20,000 gallons, which is a wonderful lifetime. This corresponds to about one yr of use for a medium-sized family. There are not any such spray filters that correspond to such life cycles. Nevertheless, like the Berkey drinkers, Berkey spray filters will not be as low cost.
If you wish to read more about giant jet water filters, don't overlook our guide.
The primary vary of Berkey Water Filters works in the same method and solely incorporates delicate differences of their use. In this section, we offer you an summary of how they work and what sort of impurities they remove. We'll then talk about the fashions separately.
This manner of doing so brings with it good and dangerous points to be thought-about.
Water Filter Models use Black Berkey filters as commonplace. Each mannequin makes use of at the least two of these, however depending on the model, it may well use as much as eight of these. Utilizing extra filters will increase the circulate fee of the system. For instance, the Crown Berkey can produce as much as 26 liters of water every hour when utilizing up to eight filters. It will possibly only work with two filters, however the water move fee and water purification degree are much lower. In the event you used two black filters, you can too use up to two of those special filters.
Subsequent, we emphasize how each black and fluoride water purification filters work. We also give details on what impurities you'll be able to anticipate to remove.
How Do Berkey Filters Work?
Berkey filter materials consists of six totally different materials. Nevertheless, they hold details whose materials include extremely near the chest. These materials are in accordance with the onerous matrix type. This matrix makes use of hundreds of thousands of microscopic pores to carry out a process referred to as microfiltration. When water passes by means of the upper chamber to the underside of the water purification filter unit, forcing it by way of the filters of the filtration system, these pores deserve harmful impurities comparable to pesticides, herbicides, VOCs and bacteria.
The filters further refine the water through the use of a mixture often known as adsorption and absorption. As with floor pressure, adsorption is due to an ionic barrier. This is actually effective because it allows filters to capture impurities (corresponding to bacteria) which might be smaller than the precise pore sizes.
A quite common question is "How long do Berkey filters last?". Properly, the answer is long! The filters are presupposed to last 3000 gallons. This can be a fairly good lifetime and may be prolonged through the use of multiple filters. For example, utilizing 4 filters would give four x 3000 = 12,000 gallons earlier than they need to get replaced.
Fluorine and arsenic filters are used with black filters. The number of these filters should also match the variety of black filters. In case you are utilizing two black filters, you should additionally use 2 fluoride / arsenic filters.
Fluoride and arsenic are, in truth, very troublesome to remove impurities. Reverse Osmosis is basically the one choice in case you are concerned about these impurities and your personal reverse osmosis system, which makes the work very expensive. The power to make costlier reverse osmosis filters is a part of what makes this one of the necessary retailers for the Berkey collection of filter techniques. This can be a vital function, particularly within the water filter unit.
These Berkey fluoride filters use activated alumina, among the best supplies for concentrating on fluoride and arsenic in water. It uses a course of referred to as adsorption to take away harmful particles from water. Adsorption is the adhesion of molecules to the floor. Somewhat just like the more commonly recognized 'absorption'.
Nice removing of arsenic and fluoride.
These two impurities are troublesome to take away. of water. As talked about earlier, reverse osmosis is a dependable various to attaining this end result, nevertheless it brings with it new benefits and drawbacks.
Berkey gravity water filter merchandise include a few of the few water filters that successfully cope with this drawback.
Although the filters could seem a bit costly (particularly for those who use lots), the filters have a very good lifetime. The typical individual consumes about 1 gallon of water every single day, and the black filters final 3000 gallons. It provides the family four life cycles over two years.
This can be a merchant for many individuals who choose these water filtration units. Most models might be divided into two elements and are straightforward to carry.
There isn't a difficult installation.
Some water filters is usually a actual pain to put in. Chances are you'll even require professional providers to carry out a warranty. There are not any such issues within the Berkey collection. They're free standing and unbiased.
Another constructive issue here is that no expensive holes are required for expensive worktops.
Berkey methods aren't really NSF certified. Much of what is read on the Web signifies that they've the very best degree of certification, but from my analysis I discovered this to be incorrect. The truth is, they are tested in unbiased accredited third-party laboratory, they usually have confirmed outcomes.
If you wish to go for one of the larger fashions (reminiscent of Imperial), you will want a complete of 6 black filters to realize the very best water move price. It might work perfectly with just two, however the water stream fee can be lower. If you want to scale back fluoride and arsenic, you'll be able to see how the worth stacks. Let me fill this by saying that the imperial water move is 16.5 liters per hour, which is plenty of clean water. This is extra consuming water than the typical residence would wish, and this type of capability is simply wanted when you have been internet hosting some sort of huge event.
It needs to be crammed.
In contrast to the installed water filters, Berkey has to fill manually because it is part of the water provide. You need to bodily put water from above.
Then again, this may be thought-about helpful. Berkey isn't solely dependent on one water supply (ie municipal provide). Because of this if the water supply was closed, you should use the Berkey filter to filter water from one other source, similar to a lake or river.
Berkeys are worktops, in order that they take up some helpful area within the kitchen. They can't be hidden beneath a wash basin, like many water filters. Nevertheless, they are quite engaging in look, they're built of BPA free plastic and chrome steel, in order that they don't break the view. Filter modifications are uncommon and straightforward to do. Obligatory black filters can final for years, but over time they will turn out to be clogged and cause a decrease in water movement fee. Thankfully, there's a simple (albeit considerably unusual) solution to remedy this. It uses dishwashing detergents (a kind that's ideally suited for washing cooked dishes) to scratch the outer layer of filters. You need to remove lower than the width of the paper, however this can be a materials that is clogged with impurities. Removing it will enhance the move of water once more.
When you begin approaching the top of the filter life, additionally it is a good suggestion to check their effectiveness. Subsequent we'll inform you how to do this.
Examine these key points earlier than deciding on a Berkey water filter system.
We are saying this in each guide we write, however it's really an important step to getting the appropriate water filter. If Berkey is the first water filter for the household, be sure that it involves the correct impurities. You solely want fluoride filters in case you are supplying water to the town; fluoride just isn't nicely added to the water supply. Nevertheless, other dangerous chemical compounds, pathogenic bacteria and comparable contaminants can have an effect on the taste of tap water. It also needs to be remembered that some water filtration methods might take away water from helpful minerals and harmful ones. Until you will depend on bottled water for all your wants, the last word selection is how a lot filtration of consuming water is right in your state of affairs.
Assess the wants of household consuming water.
Travel Berkey is the smallest mannequin with a capability of 1.5 liters when the Royal Berkey is a popular selection for 3 liters.
How a lot area do you might have?
This level is said to the last one, but the measurement of the mannequin also determines how much worktop it takes. Ensure you have a large sufficient kitchen that may fit on a large water filter unit on the worktop.
Keep in mind that you need to fill faucet water yourself with faucet water. That's why you don't need it to be too removed from the kitchen faucet.
Huge Berkey Water Filter is a well-liked selection as a result of it is a medium-sized choice.
Examine again quickly when we have now guides and articles soon. Comply with us on Facebook or be a part of our mailing record and stay updated with the newest information.
In case you are unsure that Berkey methods are for you, then why not take a look at the complete house filter information.


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National Practice Areas
Admiralty & Maritime
Links cases HCA
Admiralty & Maritime Cases - High Court of Australia
Listing by year
A selection of decisions (with links to full text where available)
Grajewski v Director of Public Prosecutions (NSW) [2019] HCA 8
CRIMINAL LAW – Appeal against conviction – question of law referred to Court of Criminal Appeal – case stated – destroying or damaging property – physical element of offence – where appellant harnessed himself to ship loader – where ship loader shut down due to safety concerns – where ship loader inoperable until appellant removed – where no alteration to physical integrity of ship loader – whether property damaged.
Island Maritime Limited v Filipowski; Kulkarni v Filipowski [2006] HCA 30
Pacific Carriers Limited v BNP Paribas [2004] HCA 35
Blunden v Commonwealth [2003] HCA 73; (2003) 203 ALR 189
Gibbs v Mercantile Mutual Insurance (Australia) Ltd [2003] HCA 39; (2003) 199 ALR 497
Re Maritime Union of Australia; Ex p CSL Pacific Shipping Inc [2003] HCA 43; (2003) 200 ALR 39
Frost v Warner [2002] HCA 1; (2002) 209 CLR 509
Morrison v Peacock [2002] HCA 44; (2002) 210 CLR 274
Smith v ANL Ltd [2000] HCA 58; (2000) 204 CLR 493
Great China Metal Industries Co Ltd v Malaysian International Shipping Corporation, Berhad (1999) 196 CLR 161
Owners of 'Iran Amanat' v KMP Coastal Oil Pte Ltd [1999] HCA 11; (1999) 196 CLR 130
Patrick Stevedores Operations No 2 Pty Ltd v Maritime Union of Australia [1998] HCA 30; (1998) 195 CLR 1
Laemthong International Lines Co Ltd v BPS Shipping Ltd [1997] HCA 55; (1997) 190 CLR 181
Sanko Steamship Co Ltd v Sumitomo Australia Ltd [1995] HCA 50; (1995) 183 CLR 628
Victrawl Pty Ltd v Telstra Corporation Ltd [1995] HCA 51; (1995) 183 CLR 595
Owners of the Ship 'Shin Kobe Maru' v Empire Shipping Co Inc [1994] HCA 54; (1994) 181 CLR 404
Owners of the Ship' Shin Kobe Maru' v Empire Shipping Co Inc [1994] HCA 5; (1994) 120 ALR 12
Baltic Shipping Co v Dillon (The Ship Mikhail Lermontov) [1993] HCA 4; (1993) 176 CLR 344
Bridge Shipping Pty Ltd v Grand Shipping SA [1991] HCA 45; (1991) 173 CLR 231
Dillon v Baltic Shipping Co [1991] HCA 37; (1991) 102 ALR 482
Nissho Iwai Australia Ltd v Malaysian International Shipping Corporation, Berhad [1989] HCA 32; (1989) 167 CLR 219
Oceanic Sun Line Special Shipping Co Inc v Fay [1998] HCA 32; (1988) 165 CLR 197
BP Australia Ltd v Bissaker [1987] HCA 24; (1987) 163 CLR 106
Con-Stan Industries of Australia Pty Ltd v Norwich Winterthur Insurance (Australia) Ltd [1986] HCA 14; (1986) 160 CLR 226
Oceanic Crest Shipping Co v Pilbara Harbour Services Pty Ltd [1986] HCA 34; (1986) 160 CLR 626
Kirmani v Captain Cook Cruises Pty Ltd [No 1] [1985] HCA 8; (1985) 159 CLR 351
Kirmani v Captain Cook Cruises Pty Ltd; Green, Third Party [No 2] [1985] HCA 27; (1985) 159 CLR 461
Faith Shipping Co SA v The Ship 'Mardina Importer' (1982) 42 ALR 484
Van Leer Australia Pty Ltd v Palace Shipping KK [1981] HCA 11; (1981) 180 CLR 337
Baggermaatschappij Boz & Kalis BV (T/A Westham Dredging Co) v Australian Shipping Commission (1980) 30 ALR 387
Shipping Corporation of India Ltd v Gamlen Chemical Co (A/asia) Pty Ltd [1980] HCA 51; (1980) 147 CLR 142
Wood, Re; Ex parte Amalgamated Metal Workers and Shipwrights Union (1980) 54 ALJR 557
China Ocean Shipping Co v South Australia [1979] HCA 57; (1979) 145 CLR 172
Skandia Insurance Co Ltd v Skoljarev [1979] HCA 45; (1979) 142 CLR 375
Port Jackson Stevedoring Pty Ltd v Salmond & Spraggon (Australia) Pty Ltd [1978] HCA 8; (1978) 139 CLR 231
Robinson v Western Australian Museum [1977] HCA 46; (1977) 138 CLR 283
Bistricic v Rokov [1976] HCA 54; (1976) 135 CLR 552
Caltex Oil (Australia) Pty Ltd v The Dredge 'Willemstad' [1976] HCA 65; (1976) 136 CLR 529
New South Wales v Commonwealth [1975] HCA 58; (1975) 135 CLR 337
Aichhorn & Co KG v The Ship (MV) 'Talabot' [1974] HCA 21; (1974) 132 CLR 449
Aichhorn & Co KG v The Ship (MV) 'Talabot' (1974) 48 ALJR 403
Aichhorn & Co KG & Switzerland General Insurance Co Ltd v The Ship (MV) 'Talabot' (1974) 3 ALR 576
Shell Oil Co v The Ship 'Lastrigoni' [1974] HCA 27; (1974) 131 CLR 1
Goldsworthy Mining Ltd v Commissioner of Taxation (Cth) [1973] HCA 7; (1973) 128 CLR 199
Broken Hill Pty Co Ltd v Wanless [1972-73] ALR 875
Fisher v The Ship 'Oceanic Grandeur' [1972] HCA 51; (1972) 127 CLR 312
'Terukawa Maru' (The Ship) v Co-operated Dried Fruit Sales Pty Ltd [1972] HCA 29; (1972) 126 CLR 170
Texada Mines Pty Ltd v The Ship 'Afovos' (1972) 46 ALJR 476, 548 (note)
Geelong Harbour Trust Commissioners v Gibbs, Bright & Co [1970] HCA 16; (1970) 122 CLR 504
Australian Coastal Shipping Commission v Averell [1969] HCA 38; (1969) 122 CLR 348
Bonser v La Macchia [1969] HCA 31; (1969) 122 CLR 177
Union Steamship Co of New Zealand Ltd v Ferguson (1969) 119 CLR 191
R v Gallagher; Ex p Commonwealth Steamship Owners' Association [1968] HCA 87; (1968) 121 CLR 330
The 'Tudor' [1968] 1 Lloyd's Rep 500
Darling Island Stevedoring and Lighterage Co Ltd v Hankinson [1967] HCA 10; (1967) 117 CLR 19
R W Miller & Co Pty Ltd v Australian Oil Refining Pty Ltd [1967] HCA 50; (1967) 117 CLR 288
Meyer Heine Pty Ltd v China Navigation Co Ltd [1966] HCA 11; (1966) 115 CLR 10
Parker v Commonwealth [1965] HCA 12; (1965) 112 CLR 295
Australian Coastal Shipping Commission v PV 'Wyuna' [1964] HCA 76; (1964) 111 CLR 303
Liosatos v Australian National Line [1964] HCA 43; (1964) 111 CLR 282
'Walumba' (Owners) v Australian Coastal Shipping Commission [1964] 2 Lloyd's Rep 387
Australian Coastal Shipping Commission v O'Reilly [1962] HCA 8; (1962) 107 CLR 46
L W Smith Pty Ltd v McErlane [1962] HCA 32; (1962) 107 CLR 368
Darling Island Stevedoring and Lighterage Co Ltd v Hussey [1959] HCA 55; (1959) 102 CLR 482
R v Foster; Ex p Eastern & Australian Steamship Co Ltd [1959] HCA 10; (1959) 103 CLR 256
Williams v Hursey [1959] HCA 51; (1959) 103 CLR 30
Burns Philip & Co Ltd v Nelson & Robertson Pty Ltd (1958) 98 CLR 495
R v Commonwealth Conciliation and Arbitration Commission; Ex p Australian Foremen Stevedores' Association [1958] HCA 59; (1958) 100 CLR 627
R v Spicer; Ex p Waterside Workers' Federation of Australia [No 2] [1958] HCA 17; (1958) 100 CLR 324
The 'President of India' v The Moor Line Ltd [1958] HCA 24; (1958) 99 CLR 185
Board of Management of the Agricultural Bank of Tasmania v Brown [1957] HCA 57; (1957) 97 CLR 503
Darling Island Stevedoring & Lighterage Co Ltd v Long [1957] HCA 26; (1957) 97 CLR 36
R v Spicer; Ex p Seamen's Union of Australia [1957] HCA 16; (1957) 96 CLR 341
R v Spicer; Ex p Waterside Workers' Federation of Australia [1957] HCA 96; (1957) 100 CLR 312
Seamen's Union of Australia v Matthews [1957] HCA 53; (1957) 96 CLR 529
Asiatic Steam Navigation Co Ltd v Commonwealth (1956) 96 CLR 397
F Kanematsu & Co Ltd v The Ship 'Shahzada' [1956] HCA 57; (1956) 96 CLR 477
Gurnett v Macquarie Stevedoring Co Pty Ltd [No 2] [1956] HCA 29; (1956) 95 CLR 106
R v Foster; Ex p Commonwealth Steamship Owners' Association [1956] HCA 43; (1956) 94 CLR 614
Reardon Smith Line Ltd v Australian Wheat Board [1956] HCA 1; (1956) 93 CLR 577
Wilson v Darling Island Stevedoring & Lighterage Co Ltd [1956] HCA 8; (1956) 95 CLR 43
Gurnett v Macquarie Stevedoring Co Pty Ltd [1955] HCA 53; (1955) 95 CLR 99
Marine Board of Launceston v Launceston Corporation [1955] HCA 17; (1955) 93 CLR 472
R v Wright; Ex p Waterside Workers' Federation of Australia [1955] HCA 35; (1955) 93 CLR 528
Spiratos v Australasian United Steam Navigation Co Ltd [1955] HCA 39; (1955) 93 CLR 317
Australian Wheat Board v Reardon Smith Line Ltd [1954] HCA 27; (1954) 91 CLR 233
Compagnie Des Messageries Maritimes v Wilson [1954] HCA 62; (1954) 94 CLR 577
Evans v Darling Island Stevedoring Co Ltd 13/04/1954 HCt Unreported
R v Tonkin; Ex p Federated Ship Painters and Dockers' Union of Australia [1954] HCA 38; (1954) 92 CLR 526
Clements v Bull [1953] HCA 61; (1953) 88 CLR 572
R v Australian Stevedoring Industry Board; Ex p Melbourne Stevedoring Co Pty Ltd [1953] HCA 22; (1953) 88 CLR 100
R v Findlay; Ex p Commonwealth Steamship Owners' Association [1953] HCA 81; (1953) 90 CLR 621
Shaw Savill & Albion Co Ltd v Commonwealth [1953] HCA 24; (1953) 88 CLR 164
R v Hamilton Knight; Ex p Commonwealth Steamship Owners' Association [1952] HCA 38; (1952) 86 CLR 283
R v Kelly; Ex p Waterside Workers' Federation of Australia [1952] HCA 25; (1952) 85 CLR 601
Eastern Asia Navigation Co Ltd v Fremantle Harbour Trust Commissioners and the Commonwealth of Australia [1951] HCA 7; (1951) 83 CLR 353
McRae v Commonwealth Disposals Commission (1951) 84 CLR 377
Swinton v China Mutual Steam Navigation Co Ltd [1951] HCA 54; (1951) 83 CLR 553
Huddart Parker & Co Pty Ltd v Ship 'Mill Hill' [1950] HCA 43; (1950) 81 CLR 502
Burns Philip & Co Ltd v Gillespie Bros Pty Ltd [1947] HCA 3; (1947) 74 CLR 148
Commonwealth v Owner of Motor Vessel 'Armadale' [1947] HCA 18; (1947) 75 CLR 628
Commonwealth Steamship Owners' Association v Waterside Workers' Federation (Aust) [1946] HCA 31; (1946) 73 CLR 66
Australasian United Steam Navigation Co Ltd v Shipping Control Board [1945] HCA 45; (1945) 71 CLR 508
Darling Island Stevedoring and Lighterage Co Ltd v Jacobsen [1945] HCA 22; (1945) 70 CLR 635
Marine Board of Launceston v Minister of State for Navy [1945] HCA 42; (1945) 70 CLR 518
McIlwraith McEacharn Ltd v Shell Co of Australia Ltd [1945] HCA 11; (1945) 70 CLR 175
William Holyman & Sons Pty Ltd v Foy & Gibson Pty Ltd [1945] HCA 40; (1945) 73 CLR 622
Federal Steam Navigation Co Ltd v J Fenwick & Co Pty Ltd [1943] HCA 42; (1943) 68 CLR 553
Huddart Parker Ltd v Cotter [1942] HCA 34; (1942) 66 CLR 624
Adelaide Stevedoring Co Ltd v Forst [1940] HCA 45; (1940) 64 CLR 538
Shaw Savill & Albion Co Ltd v Commonwealth [1940] FCA 40; (1940) 66 CLR 344
Joyce v Australasian United Steam Navigation Co Ltd [1939] HCA 31; (1939) 62 CLR 160
McKenzie v William Holyman & Sons Pty Ltd [1939] HCA 17; (1939) 61 CLR 584
Nagrint v Ship 'Regis' [1939] HCA 6; (1939) 61 CLR 688
Nagrint v Ship 'Regis' [No 2] [1939] ALR 172 (note)
James Patrick & Co Pty Ltd v Union Steamship Co of New Zealand Ltd [1938] HCA 22; (1938) 60 CLR 650
R v Darling Island Stevedoring and Lighterage Co Ltd; Ex p Halliday and Sullivan [1938] HCA 44; (1938) 60 CLR 601
Tasmanian Steamers Pty Ltd v Lang [1938] HCA 30; (1938) 60 CLR 111
Union Steamship Co of New Zealand Ltd v The Ship 'Caradale' [1937] HCA 1; (1937) 56 CLR 277
Union Steamship Co of New Zealand Ltd v The Ship 'Caradale' [1937] HCA 55; (1937) 60 CLR 633
Victoria v Commonwealth [1937] HCA 82; (1937) 58 CLR 618
McArthur v Williams [1936] HCA 10; (1936) 55 CLR 324
Seamen's Union of Australasia v Commonwealth Steamship Owners' Association [1936] HCA 8; (1936) 54 CLR 626
Australian Steamships Pty Ltd v Murphy [1934] HCA 23; (1934) 50 CLR 568
Burns Philip & Co Ltd v Myrhe [1934] HCA 31; (1934) 51 CLR 463
Gerard, Captain & Owners of the Ship v Hipkins (1934) 8 ALJR 344
South Australian Harbors Board v South Australian Gas Co [1934] HCA 45; (1934) 51 CLR 485
Australian Steamships Pty Ltd v Dignan [1931] HCA 19; (1931) 45 CLR 188
Day v Yates [1931] HCA 5; (1931) 45 CLR 32
McKernan v Fraser [1931] HCA 54; (1931) 46 CLR 343
Victorian Stevedoring & General Contracting Co Pty Ltd v Dignan [1931] HCA 34; (1931) 45 CLR 188
Lawrence v Huddart Parker Ltd [1930] HCA 9; (1930) 43 CLR 440
Keane v Australian Steamships Pty Ltd [1929] HCA 5; (1929) 41 CLR 484
Pearson v Fremantle Harbour Trust [1929] HCA 19; (1929) 42 CLR 320
Australian Steamships Pty Ltd v Abbott [1927] HCA 7; (1927) 39 CLR 148
R v Turner; Ex p Marine Board of Hobart [1927] HCA 15; (1927) 39 CLR 411
Commonwealth v Australian Commonwealth Shipping Board [1926] HCA 39; (1926) 39 CLR 1
Hume v Palmer [1926] HCA 50; (1926) 38 CLR 441
Australian Commonwealth Shipping Board v Federated Seamen's Union of Australasia [1925] HCA 27; (1925) 36 CLR 442
Australian Shipping Board v Federated Seamen's Union of Australasia [1925] HCA 3; (1925) 35 CLR 462
Melbourne Harbour Trust Commissioners v Colonial Sugar Refining Co Ltd [1925] HCA 15; (1925) 36 CLR 230
Commonwealth v Limerick Steamship Co Ltd [1924] HCA 50; (1924) 35 CLR 69
Marine Board of Launceston v The King [1924] HCA 2; (1924) 33 CLR 142
Sharp (John) & Sons Ltd v Ship 'Katherine Mackall' [1924] HCA 37; (1924) 34 CLR 420
Burns Philp & Co Ltd v West Australian Steam Navigation Co Ltd [1923] HCA 55; (1923) 33 CLR 135
Commonwealth Steamship Owners' Association v Federated Seamen's Union of Australasia [1923] HCA 40; (1923) 33 CLR 297
Rosenfeld Hillas & Co Pty Ltd v Ship 'Fort Laramie' [1923] HCA 7; (1923) 32 CLR 25
Spain v Union Steamship Co of New Zealand Ltd [1923] HCA 21; (1923) 32 CLR 138
Sydney Harbour Trust Commissioners v Harriott [1923] HCA 14; (1923) 32 CLR 53
Bruhn v Australian Steamships Pty Ltd [1922] HCA 49; (1922) 31 CLR 136
Commonwealth v Melbourne Harbour Trust Commissioners [1922] HCA 31; (1922) 31 CLR 1
Federated Seamen's Union of Australasia v Commonwealth Steamship Owners' Association [1922] HCA 7; (1922) 30 CLR 144
Rosenfeld Hillas & Co Pty Ltd v Ship 'Fort Laramie' [1922] HCA 24; (1922) 31 CLR 56
Lady Carrington Steamship Co Ltd v Commonwealth [1921] HCA 49; (1921) 29 CLR 596
Newcastle & Hunter River Steamship Co Ltd v A-G (Cth) [1921] HCA 31; (1921) 29 CLR 357
Bergl (Aust) Ltd v Moxon Lighterage Co Ltd [1020] HCA 41; (1920) 28 CLR 194
Merchant Service Guild of A/asia v Commonwealth Steamship Owners' Association [1920] HCA 39; (1920) 27 CLR 560
Merchant Service Guild of A/asia v Commonwealth Steamship Owners' Association [No 1] [1920] HCA 40; (1920) 28 CLR 278
Waterside Workers' Federation (Aust) v Commonwealth Steamship Owners' Association [1920] HCA 20; (1920) 28 CLR 209
McGregor v Huddart Parker Ltd [1919] HCA 28; (1919) 26 CLR 336
Commonwealth v Huon Channel & Peninsula Steamship Co Ltd [1918] HCA 18; (1918) 24 CLR 385
Federated Seamen's Union of Australasia v Belfast & Koroit Steam Navigation Co Ltd [1918] HCA 19; (1918) 24 CLR 462
The Steamship Cartela v The Ship Inverness Shire [1916] HCA 15; (1916) 21 CLR 387
Waterside Workers' Federation of Australia v Burgess Bros Ltd [1916] HCA 2; (1916) 21 CLR 129
Waterside Workers' Federation of Australia v Burke [1916] HCA 3; (1916) 21 CLR 140
Waterside Workers' Federation of Australia v Commonwealth Steamship Owners' Association; Ex p Commonwealth Steamship Owners' Association [1916] HCA 49; (1916) 21 CLR 642
Marine Board of Hobart v Commonwealth [1915] HCA 43; (1915) 20 CLR 15
Sydney Harbour Trust Commissioners v Balmain Municipal Council [1915] HCA 76; (1915) 20 CLR 673
Australasian United Steam Navigation Co Ltd v Hiskens [1914] HCA 56; (1914) 18 CLR 646
Australian Steamships Pty Ltd v Malcolm [1914] HCA 73; (1914) 19 CLR 298
Clarke v Union Steamship Co of New Zealand Ltd [1914] HCA 29; (1914) 18 CLR 142
Peck v Adelaide Steamship Co Ltd [1914] HCA 31; (1914) 18 CLR 167
Townsville Harbour Board v Scottish Shire Line Ltd [1914] HCA 33; (1914) 18 CLR 306
Fowles v Eastern & Australian Steamship Co Ltd [1913] HCA 31; (1913) 17 CLR 149
Whybrow & Co Pty Ltd v Howard Smith Co Ltd [1913] HCA 35; (1913) 17 CLR 1
Adelaide Steamship Co Ltd v The King [1912] HCA 58; (1912) 15 CLR 65
Sydney Harbour Trust Commissioners v Ryan [1911] HCA 64; (1911) 13 CLR 358
Willcocks v Shire of Wallarobba [1911] HCA 63; (1911) 13 CLR 326
Kalibia (SS), Owners of v Wilson [1910] HCA 77; (1910) 11 CLR 689
Rowe v Australian United Steam Navigation Co Ltd [1909] HCA 25; (1909) 9 CLR 1
Maritime Insurance Co Ltd v Geelong Harbour Trust Commissioners [1908] HCA 37; (1908) 6 CLR 194
Sydney Harbour Trust Commissioners v Wailes [1908] HCA 19; (1908) 5 CLR 879
Balmain New Ferry Co Ltd v Robertson [1906] HCA 83; (1906) 4 CLR 379
Brisbane Shipwrights' Provident Union v Heggie [1906] HCA 4; (1906) 3 CLR 686
Ferrier v Wilson [1906] HCA 77; (1906) 4 CLR 785
Preston v Donohoe [1906] HCA 43; (1906) 3 CLR 1089
Cuming Smith & Co Pty Ltd v Melbourne Harbour Trust Commissioners [1905] HCA 27; (1905) 2 CLR 735
Yorkshire Fire & Life Insurance Co v British & Foreign Marine Insurance Co Ltd [1905] CLR 47; (1905) 3 CLR 196
National Coordinating Judges
Rares J
Sarah C Derrington J
Stewart J
Current Duty Judge
Administrative and Constitutional Law & Human Rights
Commercial & Corporations
Employment & Industrial Relations
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The American Quarter Horse Hall of Fame & Museum in Amarillo beautifully showcases the horses and people who have earned the distinction of being inducted into the American Quarter Horse Hall of Fame. To be inducted into the Hall of Fame, horses and people must have been outstanding over a period of years in a variety of categories. They must have brought exceptional visibility and/or contributions to the American Quarter Horse. Download a Horse Biographical Form or Person Biographical Form.
Hall of Fame inductees are chosen each year by a selection committee and are honored at AQHA Convention each March.
To learn more about the impact the Hall of Fame has on our industry, watch "King Ranch: A Hall of Fame Legacy." This video is a part of our "This is Who We Are" video series.


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WATCH: Meghan McCain Reminds Joy Behar to Keep Her Politics to Herself While Eulogizing George H.W. Bush
By Brandon Morse | Dec 03, 2018 5:00 PM ET
(Screenshot: YouTube)
Joy Behar, being one of the more ridiculous figures in political commentary, is hard to listen to at the best of times, and completely irrelevant when not sitting in front of her audience of trained seals.
One of the things that makes her so annoying is her apparent inability to know when it's time to go ham on her political opponents, and when it's not. Behar ran smack into that problem on Monday.
While the ladies of The View were sitting around eulogizing the recently passed former President George H.W. Bush, Behar launched in President Donald Trump and his environmental policies after lauding Bush for his.
"I want to say one thing about him that was not picked up really because as a candidate he said, 'those who think we're powerless to do anything about the greenhouse effect are thinking about the White House effect,'" Behar said. "This president that we have now is going to unravel everything that he did and Obama did, and if I ever become a one-issue voter, it will be about pollution."
"Can we focus on the president, please?" McCain interrupted. "I just, I don't want to talk about Trump when we're in a moment — when we're honoring a great president."
This didn't sit well with Behar, who wants nothing to get between her and her Trump bashing.
"Excuse me! Excuse me, please!" said Behar, trying to regain control.
"Okay, but we're honoring — I'm not interested in your one-issue voter talk," McCain said.
Behar became visibly upset and fired back at McCain.
"I don't care what you're interested in, I'm talking!" Behar spat.
"Well I don't care what you're interested in either," McCain fired back.
Host Whoopie Goldberg decided that that moment was a perfect time to take a commercial break, and that was that.
https://youtu.be/DW72kn6B7j8
On a personal note, I'm glad McCain stepped in.
If I'm at a funeral for a friend of mine, the last thing I want to see is a speech giver ruin the funeral by bringing up some guy that hate who does my friend's job now. It would be disrespectful and unkind to my friend, whom we're all there to remember.
Behar's hatred for all things Republican blinds her to her own words and actions sometimes and causes her to go too far. Not long ago, Behar bashed the entire population of Christians while trying to zing vice-President Mike Pence.
"It's one thing to talk to Jesus. It's another thing when Jesus talks to you. That's called mental illness if I'm not correct. Hearing voices," said Behar.
Behar later apologized for her stupid comments, after Pence responded.
"It's an insult, not to me, but to the vast majority of American people who, like me, cherish their faith," Pence asserted. "It demonstrates how out of touch some in the mainstream media are with the faith and values of the American people."
It's apparent that Behar has little self-control, and allows her hatred to get the best of her. McCain was 100 percent correct to shut Behar down, and shame on Behar for taking the opportunity to get in some lame hits on Trump while everyone else was trying to remember a great man.
Senior Editor. Culture critic, and video creator. Good at bad photoshops.
Read more by Brandon Morse
Tags: DONALD TRUMP GEORGE H. W. BUSH JOY BEHAR MEGHAN MCCAIN THE VIEW
Jennifer Oliver O'Connell


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This setpiece demonstrates what's wrong with the first half of The Avengers. The forest looks like a cheap set. There's virtually no story reason why these two superheroes should be fighting when a simple conversation would end their misunderstanding. And entirely too much time is spent establishing each character's powers and personality when another better film would trust its audience to catch up along the way.
But, for the little child inside of me, there is something undeniably neat about finally getting to see these comic book titans interact onscreen. All the money (roughly $220 million) they seem to have forgotten to spend in the first half of The Avengers seems to have been saved for the movie's climax, a protracted Midtown Manhattan brawl where the Avengers contend with Norse god Loki (Tom Hiddleston) and his Chitauri—they're-not-the-Skrulls—alien force. The locales look real; no backlot soundstage a la Superman II's climactic Phantom Zone villain attack on New York. In this segment, there's an unexpected visual panache that occasionally pays homage to The Avengers' comic book roots. One memorable shot, a low angle capturing Captain America's reflection on a broken side-view mirror lying in the rubble, recalls Alex Ross's painted artwork from Marvels. Like in that comic series, the composition serves to make the unreal feel a tiny bit more human-scale. Of course, that feeling is fleeting, as we finally let to see Captain America (Chris Evans) let it rip with shield-flinging, balletic somersaults and witness the full extent of archer Hawkeye's expert marksmanship. Best of all, we get the most exciting, lengthy Hulk-out ever (if there's one franchise that shall benefit the most from this film, it's the much maligned Hulk's... dude's got style in this one).
All stunts aside, though, one shouldn't underestimate this summer movie's attempts at verisimilitude. The Avengers' saving grace is director/co-screenwriter Joss Whedon's uncanny ability to distill the essence of these eclectic characters into their dialogue. It's easy enough to credit Downey—a clever, jaded actor (who is nevertheless fully invested in the at times silly proceedings)—for Stark's sarcastic witticisms. "You've been tiptoeing, big man," he tells Ruffalo's downcast Bruce Banner about holding back his rage, "It's time to strut." But how do you account for Black Widow or Thor, whose respective performers are, ahem, more limited of range? Or Hulk, a CGI-creation whose physical performance is captured off of Ruffalo, the third actor to play the beast in as many films? Whedon makes each protagonist the epitome of him or herself. That is, for lack of a better way to express it, Iron Man is the most "Iron Man-like" Iron Man Downey's ever played, thanks to an assist from Whedon.
In that sense, The Avengers fulfills on the promise that Stan Lee's early comics made with their fans. What's important about a Marvel hero, The Avengers affirms, is not his unique superhuman powers but the quality of his character. And The Avengers has enough room between its bouts of superheroic histrionics to illustrate this point, in spades.
Jam-packed full of action, humor, special effects, and superheroes, The Avengers is the perfect way to start off the Summer blockbuster season. I hope that Whedon returns for the sequel that they're talking about doing, but then again, it may be another 4 years until we get to see that again. Nice review Tony. I wonder what will be a bigger flick this Summer: this or The Dark Knight Rises? Can't wait to see that one either!
I remember liking that shot of Captain American reflected on the mirror in the street a lot as well.
What you mention about their being no reason for the heroes to be fighting is something that happens in almost all of Marvel comics. The mere reason is to see this heros go against each other, its something that comic book fans love, the famous "vs." issues where two known heroes end up kicking each others asses because of a misunderstanding that could have easily been resolved by talking. But who wants to see the talking?
From a pure box office standpoint, Dan, it will be interesting to see whether it's THE DARK KNIGHT RISES or THE AVENGERS that wins. My money is on AVENGERS. Not that the other film will do much worse, but THE DARK KNIGHT also benefitted (if one could call it that) from the untimely death of Heath Ledger, his great performance and the attendant publicity. Plus THE DARK KNIGHT RISES just looks plain dull.
Film Connoisseur, I get the thing about the superhero battle being a long-standing comic book trope. My point is that it's tired and worn in comics; there's no need to continue the tradition onscreen as well.
Hope you enjoyed the film as much as I did.
Tony, Avengers has a built-in advantage over Dark Knight Rises in the moneymaking race because Nolan refused to make his film in 3-D. That means DKR ticket prices can only be inflated for IMAX showings, which are far fewer in number than 3-D screenings. Also, as you say, Ledgermania inflated the previous Batman film's audience somewhat. I haven't been extremely enthused by the DKR previews -- Nolan's interest in Bane is baffling -- but I still hope for something better than what I expect Avengers to be. That isn't meant as a knock on Avengers or Joss Wheedon -- I'll be seeing the film tomorrow -- but I still like The Dark Knight better than any of the Marvel films to date.
The one question that continues to bother me is: why, with all his technology and seemingly limitless resources, does Nick Fury not get that eye fixed?