text:
How I see myself seen
Draft. Do not quote. Published online as an Italian Academy of Advanced Studies at Columbia working paper.
Peur de perdre les siens, mais aussi de se perdre lui-même, de découvrir que derrière la façade sociale il n'était rien.
E. Carrère, L'Adversaire
He smiled understandingly, much more than understandingly. It was one of those rare smiles with a quality of eternal reassurance in it that you may come across four or five times in life. It faced--or seemed to face--the whole external world for an instant, and then concentrated on you with an irresistible prejudice in your favor. It understood you just as far as you wanted to be understood, believed in you as you would like to believe in yourself
F. Scott Fitzgerald, The Great Gatsby
On January 9th, 1993, in his house in the region of Gex, between Switzerland and Jura, Jean-Claude Romand kills his wife, his five and seven-year-old children, his parents and their dog. He then attempts to kill his mistress in the forest of Fontainebleau, where he had brought her to have dinner at Bernard Kouchner's house, whom he does not know and who does not have a house in Fontainebleau. Lastly, he sets his house on fire, takes a sleeping pill and falls asleep, hoping to never awaken. He nonetheless wakes up from the coma provoked by the barbiturates and burns. He is charged with having committed the most atrocious crimes and is immediately convicted. According to the public prosecutor of the republic that followed the case, "The motive of his crime was of the fear of the counterfeit doctor of being exposed."
How is it ever possible that confessing a lie, even an outrageous lie, becomes more difficult than exterminating one's own entire family? How could his reputation have counted more to him than the life of his children? This book tries to answer this question.
The somber story of Jean-Claude Romand became famous due to Emanuel Carrère's book, L'Adversaire[1]. The author narrates the trajectory of a man who built himself a reputation as a successful doctor, working at the World Health Organization in Geneva, and friend of political men and internationally renowned researchers. All this based on a lie. In fact, he never finished his medical studies, and during ten years, instead of working, he had been spending his days in his car in the parking lot of the WHO in Geneva or loitering in the woods or in cafes until it was time to go home. He had thoroughly taken care of his false identity down to the smallest detail, bringing home fliers and brochures from the WHO every chance he could go to the library that was open to the public on the ground floor of the organization's headquarters. If he left on "business trips," trips he took to the pitiful hotel close to his house where he would watch TV and read the guidebooks of whatever country he was supposed to be visiting, he never forgot to call his family every day to tell them what time it was in Tokyo or Brazil and he always returned from these trips with credible gifts. He took care of his false existence, his fictitious reputation, as if it were real: the endeavor led him to the point of destroying his entire family because the façade began to collapse due to money problems. Which was his real life? The one that his family thought he lived, full of success, trips and international recognition, or the one that only he could know, spent reading in his car, or in the crummy cafes of Bourg-en-Bresse, or walking in the mountains of Jura? Basically, his second life only existed for him: nobody else knew about it, it was only a way to maintain his dream life. When his friends from the village realized that Jean-Claude's entire life was a lie, he ceased to exist for them, he was no longer Jean-Claude: "When they talked about him, late at night, they could no longer call him Jean-Claude. They didn't call him Romand either. It was something outside of life, outside of death, he no longer had a name"[2].
We have two egos, two identities that make up who we are and how we behave: our subjectivity, made out of our proprioceptive experiences, our physical sensations, embodied in our body, and our reputation, the powerful reflective/retroactive system that constitutes our social identity and that integrates into our self-awareness of how we see ourselves seen. At the beginning of the twentieth century, the American sociologist Charles Horton Cooley[3] called this second ego, the looking glass self. The perception of our identity is woven into the thread of time, incorporating what we think others think of us. In fact, this understanding of ourselves is not created simply by reflection, but by the refraction of our image divided and multiplied in the eyes of others. The social self, who controls our lives and leads us to extreme acts, does not belong to us: it is the part of us that lives inside others. However, the feelings that it provokes – shame, embarrassment, self-esteem, guilt, pride - are very real and well anchored in our deepest emotions[4]. Biology demonstrates that our body "treats" shame as a physical wound, releasing a quantity of chemical substances that provoke inflammation and increase the level of cortisol[5]. A slap does more harm to our self-esteem than to our red burning cheek.
In his work on the culture of honor, the psychologist Richard Nisbett and his collaborators measured the level of cortisol of participants before and after an experience where they felt their honor had been "hurt." The study went as follows. A group of 83 students from the South and North of the United States were invited to participate in a psychological study. Before the experiment, the subjects were asked to fill out a form with their personal information and to return it to an experimenter who was not in the room of the study, but at the end of a hallway. It was only when they left the room to hand in their forms that the "true" experiment began: an experimenter pretended to be an employee of the university organizing files in a rolling file cabinet that was placed in the middle of the hallway. To allow the student to pass, the fake employee had to move the cabinet. Once the student reached the end of the hallway, after turning in his form, the fake employee had to once again move the cabinet to allow the student to pass by him. He did this while sighing, aggravated, and murmuring, "asshole." At the end of the experience, the levels of cortisol in the Southern students, who felt that their reputation (and their virility) had been damaged, were much higher[6] than at the beginning of the experiment. Feeling that their reputation was hurt provoked a real chemical transformation within them, a well-known hormonal reaction that normally corresponds to a preparation to respond with physical violence.
What I think you think about me
More than a third of homicides in the United States are attributable to trivial motives such as a particularly aggressive verbal exchange, an insult, or a question of precedence in a parking lot. Among the most convincing sociological explanations for crimes without serious motives are honor, pride and reputation[7]. Many of these crimes are committed by people who do not have a psychopathic psychological profile. Nevertheless, they are driven to the point of killing by the stupid question of precedence. Everyone can have furious reactions during futile arguments: with the offensive waiter, who abuses his little "power" over us, or with the woman in the car who refuses to move five centimeters forward to let us turn left… These violent reactions are very often caused by injuries that we imagine are inflicted by what others "owe us". They are true emotional injuries that we feel and that are provoked by the feeling that we did not get the appropriate consideration, that that was not the way that others should have treated us. How could this imaginary, inexistent thought, that is nothing but a trace, a shadow[8] of us in others, have such precisely determinable psychophysical effects? The paradox of reputation resides in the apparent disproportionality between the psychological and social value that we give it and its purely symbolic existence: to have honor, reputation, to be honorable, is all only being thus recognized by someone else. Why do give such value to this reflection of our image, which resides within others, since we are the only ones obsessively interested in our reputation- except for celebrities, whose reputation everyone is interested in?
Mark Leary, a social psychologist at Duke University, advanced the hypothesis that humans have a genuine sociometer, a psychological mechanism, a motivational structure that works as an indicator of the "social temperature" around us, a kind of internal thermometer that registers social acceptance or rejection, using the degree of self esteem as a unit of measurement[9]. Our social emotions would thus be a way of tracing this part of us that passes through others. Therefore, even if our reputation is only a reflection, the emotions accompanying it have a physical and psychological reality that serves to oversee this reflection.
The main problem of psychological explanations of this kind is that they presuppose that the sociometer is probably adjusted, that the emotions that it provokes within us and the external social temperature co-vary in a coordinated fashion. But, unfortunately, as George Elliot says, "the last thing we learn in life is our effect on others." We proceed by trials and errors, trying different selves, building façades that are nothing but drafts. Then we see the effects that they have on others, we adjust them until we are able to, and sometimes we surrender and leave the image of ourselves that we have solicited in the eyes of others since we can't control it anymore.
The anguish that accompanies the loss of reputation, the Proustian anxiety on the perennial uncertainty of our status and the profound ambivalence that these feelings provoke are due to the lack of control that we have on our image.
Our second ego is not the opinion of others, but what we think those opinions are, or sometimes, what we would like others to think of us. In the quote from Fitzergald that opens the chapter, Gatsby's smile reassures the young Nick Carraway since he is finally seen as he would like to be seen, no less, no more. It is a feeling of emotional comfort that allows us to let us go since we have finally been seen by someone as we would like to be seen. The mysterious Gatsby with his sulfurous reputation is the only one able to give Carraway the correct assessment of himself, to provide him the profound satisfaction of being seen at last as he truly is. And he gives him the rarest and most beautiful present: to feel for an instant his two egos reunited. To feel at last the suspension of the eternal ambivalence between the being and the seeming. Carraway is an accomplice of Gatsby's since he understands his profound need to build a dream self, a second self that is not only a social façade, but that represents what he would like others to think of him: "He invented just the sort of Jay Gatsby that a seventeen year old boy would be likely to invent, and to this conception he was faithful to the end." Nick Carraway also harbors his own other self when he says: "Each of us imagines having at least one of the cardinal virtues, and her is mine: I am one of those rare honest people I know." And it is this cardinal virtue that Gatsby recognizes by his smile.
Our social image is both familiar and a stranger: it provokes in us reactions that we cannot control- like, for example, blushing before an intimidating crowd- it makes us lose our means and constitutes at the same time the part of us that is the most precious, that which we take care of the most carefully. Failure to distinguish between these two aspects of ourselves can make us lose a sense of our actions, to the point of provoking in us states of extreme distress, in which we no longer understand the reasons that moved us.
This books tries to understand the logic of this double ego. Reputation is a mystery: its way of increasing or decreasing under the gaze of others, of spreading or changing "valence" suddenly, seems random. A good concept, in short, for the proverbs and literature that contain so much knowledge and life experience, but that seem destined to speak of that which cannot be explained by other means. One such example is in Rochefoucauld's maxim: "Self-esteem is more clever than the cleverest man in the world"[10]. The reference to a double intentionality that guides actions is evident, but only vaguely resonates in the ambiguity of the maxim… However, much of the mystery that surrounds reputation comes from the fact that it is a notion neglected by social sciences, for several reasons. Firstly, reputation is a concept that has a bad reputation: it is considered a vestige of a pre-modern and anti-individualistic society. The fama, the prestige, and the fierce battle to defend a position in the social hierarchy are part of a world of aristocratic values that modernity does not cease to demolish and whose study may have just a historico-cultural interest since there is no real object of study in these phenomenon. They are symbols of an ancient world, not of a phenomenon that has a psychic or social reality. It is as if someone undertook a systematic study of the aura, of a certain luminosity that surrounds people, in particular supernatural beings - the nimbus of saints, which is part of Christian and Muslim iconography, being a sign of the presence of this aura. This phenomenon can be studied from a historic-cultural point of view, looking for example at its evolution in the history of art, or in poetry- the aura is often described in verses of poems of the Middle Ages and in religious literature - but to choose the aura as a genuine phenomenon to scientifically investigate, describes more paranormal than natural and social sciences. Reputation seems to have the same status: it is something that can be studied from a historical perspective but, since it does not exist as a social or psychological phenomenon, cannot be studied systematically. To reify reputation, by giving it the status of an object of study in the social sciences would mean to substantiate fantasies from the world of castles of the olden times and of aristocratic balls…
In addition, reputation is a psychological illusion: we react to it as if it existed, as if it counted for us, but in reality we are wrong and this mistake can be fatal (as in the tragic destiny of Jean-Claude Romand). If it were studied psychologically, it should be classed among the cognitive biases that cloud our judgment. However this erroneous representation that can have extreme consequences, even if it is no more than an illusion, is anchored enough in our spirit to motivate a parallel action in our lives whose objective is not explainable without it. Take the notorious case of Orlando Figes, a rich and famous British historian who used to spend his nights on Amazon.co.uk harshly criticizing his colleagues' books and writing long eulogies about his own works… to end up incarcerated and completely drained of the precious elixir he attempted to distill online: his reputation… [11]
The management of our image is not just a matter of make up: it is a deep strategic matter of social cognition. We try to manipulate other people's representations of ourselves from the perspective of the idea we have of their representations. It's an arm-race, an escalation game of believing and make-believing, of manipulating other people's ideas and being manipulated by them. Everyone knows the triumph one feels when he thinks he's been appreciated at his right value. All previous humiliations are canceled, the world recognizes us at last for what we knew we deserved. And everyone knows, alas, the opposite feeling of surrender when we adopt the others' perspective and feel evaluated by them, accepting their own measure. The shame that Vinteuil cannot hide about his homosexual daughter in Proust's Remembrance is of this kind: "But when M. Vinteuil regarded his daughter and himself from the point of view of the world, and of their reputation, when he attempted to place himself by her side in the rank which they occupied in the general estimation of their neighbours, then he was bound to give judgment, to utter his own and her social condemnation in precisely the terms which the inhabitant of Combray most hostile to him and his daughter would have employed; he saw himself and her in 'low,' in the very 'lowest water".[12]
The results of the management of our self-representation are highly uncertain, yet sometimes spectacular: it is the uncertainty of the result that make the interest of the reputation game. The words and the images we use for manage our reputation are "like shells, nor less integral parts of nature than are the substance they cover, but better addressed to the eye and more open to observation", in the words of George Santayana[13]. This second nature whose substance seems to be made for the sake of the appearances, owes its reality to the social environment. It is the social and distributed nature of our reputation, its refraction through the thoughts and the words of others that I want to detail in the following pages.
The presentation of self
Like snails, who leave behind a trail of slime while moving along, our social interactions leave an informational trail that cannot be deleted anymore. This trail is indelible yet fragile: we do not control it entirely, even if we cannot help leaving it behind. How does it compose and recompose? How does it become stable and public, which mediations and supports do make it diffuse and circulate?
The social contexts that record this informational trail vary from face to face interactions to gossips and rumors in the absence of the target person, and to the media and the Internet. These various means of transfer of social information shape specific biases and magnifying effects that have been studied from different disciplinary perspectives.
Erwin Goffman is certainly the most notable expert of the face to face dimension of our interactions. His impressive and detailed work on the micro-sociology of everyday interaction laid the foundations of the contemporary impression management techniques, so dear to consulting firms and marketing divisions. In his fine-grained analyses of how people care about their presentation in social interactions, Goffman developed a sort of strategic theory of everyday life. The face to face interaction is the arena in which we negotiate our social image, the place in which our double ego plays the role of the protagonist. The staging of our self can be more or less cynical. We may wish others to think highly of ourselves, no matter how real are the hidden qualities we advertize on stage. We may more or less adhere to the character we are playing, become the mask we wear, or keep a certain distance from the role we are playing. Yet, in Goffman's perspective, a part of identification with our own mask is inevitable. It is not a case that, in Latin, the word persona means mask. The shadow line that separates being and seeming is very difficult to draw. Goffman takes this idea from Robert Ezra Park, one of the pioneers of American sociology, who writes: "In a sense, and insofar as this mask represents the conception we have formed of ourselves—the role we are striving to live up to—this mask is our truer self , the self we would like to be. In the end, our conception of our role becomes second nature and an integral part of our personality. We come into the world as individuals, achieve character, and become persons"[14]
We can find an ideally suited example of the moral transformation suggested by Park in a 1959 Italian movie directed by Roberto Rossellini, Il generale della Rovere. It tells the story of a petty thief, Emanuele Bardone, who is hired by the Nazis to impersonate an Italian resistance leader, General della Rovere, and infiltrate a group of resistance prisoners in a Milan prison. Once in prison, he gets acquainted with the other resistance heroes, and appreciates the more and more the recognition and esteem that everybody have for Della Rovere, the character he is impersonating. He becomes so attached to his mask that, when the fascists decide to execute some of the resistance leaders in prison in response to the killing of one of theirs, Bardone/Della Rovere assumes his role until the end, and dies with his "comrades" on the cry "Viva l'Italia, viva la libertà". Bardone becomes his reputation and his end is somehow heroic, even if he is not truly Della Rovere. This passage from a natural identity, to be taken at its face value, to a constructed, artificial social identity is well taken in the Italian expression: "Ci sei o ci fai?" which can be translated as: "But are you so or do you act so ?"
There is a moral principle in the sociology of everyday life that organizes the social interaction and that explains why, in the end, even Bardone/Della Rovere can be considered as a moral character. According to Goffman: "society is organized on the principle that any individual who possesses certain social characteristics has a moral right to expect that others will value and treat him in a correspondingly appropriate way »[15]
His 1956 book on the presentation of self in everyday life details the strategies that "actors" put at work to monitor their social image and influence other people's perceptions in social settings. Goffman conceives social life as a stage in which players strut and fret their hour in order to project a convincing image of themselves. The first appearance of each actor determines immediately a context in the eyes of the audience and solicits a series of expectations about the subsequent moves. From then on, our behavior and appearance assume a social significance: the way in which we dress, our accent, our physical aspect, our age, the fact of finding ourselves on that situation at that very moment, all speaks about ourselves and constraints the way in which we can construct our image. This projection is governed by an implicit deal between the actor and the audience, that is, the audience will accept and respect the image projected by the actor and won't try to make him lose his face. It is this implicit deal that sustains our social interactions. We dose our presentation by taking into account what others can and cannot accept. That is why first impressions are so important and so difficult to revise. Because they project the social script to which we will conform in the rest of the interaction. Of course, there are moments in which this projection is weakened, even contradicted. In these cases, the actor feels the embarrassment of the situation, but, given the implicit deal, he can count on the fact that his audience won't let him down. Still, the situation may break down at some point: I ask for a loan to my bank, I present myself in an elegant dress, with a frivolous and detached attitude that should convey an image of myself as a wealthy lady who is always late in payments not because of lack of funds but just because of distraction. Then, the banker starts to ask me more precise questions about how I am thinking to reimburse the loan, and I reply incoherently, start to sweat, my façade starts to break down and he doesn't feel committed anymore to my initial projection. He lets me down.
Many theater plays and movies construct their dramatic narratives around a breakdown of a social situation that turns sometimes into tragedy and sometimes into comedy. The gaffe, the blunder, are exactly the disruption of a social interaction whose projections were previously accepted by all participants. The situation slowly deteriorates, the actors can no longer play the roles they had negotiated at the beginning and someone "loses his face". The moral dimension of reputation and the feelings it may cause of humiliation and shame depend on this kind of disruption in the interaction management: we feel betrayed because the others don't respect anymore the initial deal of accepting the image we decided to project. They let down our double, the best part of ourselves. The breaking of the deal creates a feeling of resentment and humiliation, the indignation of not having been treated as we expected to be, even if we knew that we were staging an ego and that part of what we were projecting was a fake, it was just an invented reputation.
Of course, we cannot project whatever we want. Each social context forces us to project an appropriate image, that is, the one that embodies the shared values of the society to which the interaction belongs. As Cooley says, this is an essential part of our social learning: we project an ameliorated image of ourselves that embodies what we think the others expect from us: "By awaking social-self feelings, other persons give life and power to certain sentiments of approval and disapproval regarding our own actions. […] The self of a sensitive person tends to become his interpretation of what the others think of him and is a prime factor in determining the moral judgments of all of us"[16] A way of becoming what the others think of us is to deceive them and project the self that they would expect from us. It is a virtuous circle that makes us act socially in a more appropriate way to fulfill expectations about the social values we would like to exemplify. Yet, a virtuous circle may become a vicious one insofar as it reinforces social conformism. If our social self becomes too important for us, we risk of becoming slaves of it and conform to other people's imagined or actual expectations.
The way in which we represent and sometimes embody others' expectations can be definitely awkward. In Moliere's The Bourgeois Gentleman, Monsieur Jourdain is a comic character because of his perpetual gap between what he thinks about the "people of quality" and what they actually are, and his clumsy attempts to conform to their imagined manners. Madame Verdurin, an ambitious Proustian character who is envious of the Parisian aristocratic grands salons which she is not admitted to, convinces her friend, the Baron de Charlus, to organize a soirée at her house inviting all the important aristocratic people she would love to meet. The Baron accepts, invites everyone, but once at Madame Verdurin's place, nobody even think of getting acquainted to her: they treat her as she were transparent and her hope of integrating at last the high society vanishes in the most bitter disappointment. Also, our social codes may change as well as our thoughts about other people's expectations on us. In Balzac's Lost illusions, the outfits of Madame De Bargeton, which appeared to him the ultimate elegance once in Angoûleme, seem plain and unfashionable in the new context of a Parisian theatrical performance.
It is clear that the back and forth between our self and our social image, the progressive adjustment between what we think others see of us and what we wish others recognize of us is the essence of our social learning. And in this back and forth we sometimes go beyond the imaginary demand of the social world and try more hazardous presentations of our selves, thus creating spaces for social innovation. Simone de Beauvoir says something very deep about the innovative potential of the social self in her description of the way in which women deal with fashion. Beyond social codes, each woman who dresses and makes up "doesn't present herself to the observation. As a painting or a statue, or as an actor on the stage, she is an agent through which someone who is not there is alluded to – the character she represents but she is not"[17].
Goffman's impression management is a fine-grained analysis of face to face interactions that are structured in a front, - the frontal stage in which the interaction takes place, articulated in appearance (what is presented as inherent to the physical person) and manner, and a back-stage, that is, all that is to be set up in order to play the scene. The impression management implies to hide some motivations and put forward others and keep a certain coherence with different expressions of our self. Goffman's analysis reduces thus the face to a property of the interaction and not of the individual. And the "live" aspect of the face to face interaction excludes the cumulative effects of reputation, that is often constructed and transmitted "off line", that is, in absence of the actor. Yet, the social emotions of shame, pride, glory, resentment, etc., are not generated only within face to face interactions. Even if they are essentially relational and comparative emotions, the social conditions that solicit them can be minimal. Social psychology shows that the mere presence of an eye-icon on the screen of a computer during the performance of a cognitive task changes the results of a performance[18] that involves, at least indirectly, social approbation or disapproval. And, as we have seen in the sad history of Jean-Claude Rolland, the interactions that put our social ego under unsustainable pressure, are sometimes just imagined, inexistent: children can break down under the imaginary pressures of their parents about their achievements. Fear of deception is very often a fantasy. Actually, most of the times, nobody cares whether we triumph or fail.
Thus, if these emotions are the product of the interaction, they do not depend on actual interactions, but can be elicited also by simple mental vestiges of these interactions, perhaps provoked by the thousands of past social interactions that left a trail on our minds and bodies and shaped our cognition.
How reputation comes to the mind
According to the psychologist Philippe Rochat, reputation is what makes us human. What distinguishes us most from other species is the interiorized gaze of others. Instead of seeing the anxiety for reputation as a sociological trait of present times, Rochat reconstructs its possible ontogenetic roots in the infant's minds. The anxiety of how I see myself seen emerges very early in childhood. Hence, the hyper-attention to our image is not the "mark of modernity" as some authors have argued[19], but a perennial trait of our psychology. According to Rochat's experimental research, the two years old child has already a "co-consciousness" of himself, which is related to the famous, or infamous, mirror stage, studied by many psycologists and psychoanalysts[20]. In the standard psychoanalytic interpretation of the mirror stage, the child has a jubilatory reaction to the recognition of his image reflected in the mirror, a positive experience that depends on the feeling of reunification of his bodily perception. Converesely, Rochat's experiments show that children associate this experience to a feeling of embarrassment, of being "caught" in an attitude they were not aware of. The experience of the social self is at the same time precocious and painful. By passing the mirror stage test[21], children not only become self-conscious, but also co-conscious, that is, aware of the fact that there exists a social gaze on them. The precocity of this feeling could depend on the existence from the very early childhood of a capacity of joint attention. The child's survival depends on his capacity to solicit the attention of his caregivers. Monitoring other people's attention is thus one of the most precocious abilities children develop. Children do nonsensical things to attract mothers' attention while they are talking on the phone or are distracted by a conversation in the street.
The social aspect of our cognition could thus be very precocious. The infant comes to the world "equipped" with cognitive mechanisms - like joint attention - that allow him to control the social environment and predispose him to take care of the mirror image of himself, as if the cocktail of consciousness and social cognition makes of us a species that is particularly sensitive to social judgment. Thinking through others and thinking with others predispose ourselves to think of what others think of us.
The internalization of the social world is well shown by the difference between the emotion of shame and guilt. Shame depends on the social gaze, true or interiorized, whereas guilt can be developed in absence of any social interaction: in the second case, the measure of other people's judgment is so interiorized that we can end up exposing ourselves to public contempt in order to save the morality of our social self.
Even Cyrano de Bergerac, the hero who fights against hypocrisy, against the appearances, the romantic hero of "the being" against "the seeming", goes to the heaven without the laurel and the rose, but with something that is "free of hurt or stain": his panache[22].
[1] Emmanuel Carrère, L'Adversaire, Paris, P.O.L., 2000.
[2] Carrère (2000) p.
[3] Cooley (1864-1929) is seen as one of the founders of social psychology. His idea was to anchor the study of society in the mental processes of individuals. According to him, the concept of the individual was an abstraction, empty without that of society, but the concept of society was equally empty if the mental states of the individuals that made it up were not taken into account. The idea of the looking-glass self was developed by Cooley (1902).
[4] These are the emotions that psychologists call "self-awarness," reflexive emotions that depend on social intereaction. See Elster (1999).
[5] See Lewis (2002); Gruenewald (2004)
[6] See Nisbett & Cohen (1996)
[7] See Gould (2013).
[8] I will return to the chapter on the idea of reputation as a shadow: shadow of the past in classical game theory, and the shadow of the future in the evolutionist explanations of cooperation. See Miller (2012); Axelrod (1984).
[9] That self esteem is directly linked to social approval is a controversial theory. See Elster (2013), for example, who affirms that the concern of having a good reputation is independent of social acceptance.
[10] See Rouchefoucauld (1678), maxim 4
[11] On the vicissitudes of Orlando Figes in 2010 see: http://www.telegraph.co.uk/culture/books/booknews/7601662/Leading-academics-in-bitter-row-over-anonymous-poison-book-reviews.html and my article: http://gloriaoriggi.blogspot.com/2012/01/reputazione-sirena-del-presente.html
[12] Cf. M. Proust, Remembrance of Things Past. Swann's Way. Translated by C. K. Scott Moncrieff, 1922.
[13] Cf. G. Santayana, Soliloquies in England and later soliloquies, New York, Scribner's 1922, p. 131.
[14] Cf. R.E. Park (1950) Race and Culture, p. 250.
[15] Cf. Goffman (1956), p. 6.
[16] Cf. Cooley (1902), p. 355.
[17] Cf. Simone de Beauvoir (1949).
[18] Cf. Haley & Fessler (2006).
[19] Cf. for example Charles Taylor, The Making of the Self. Sources of Modern Identity, Cambridge University Press, 1989.
[20] First studied by Henri Wallon (1934), the mirror stage has been discussed by René Zazzo, Jacques Lacan, D.W. Winnicott, Françoise Dolto and others.
[21] Cf. Amsterdam (1972); Gallup (1970).
[22] Cf. The last lines of Edmond Rostand's play Cyrano de Bergerac.
Ce que "partager" veut dire
Publié dans la revue www.cuberevue.com
Partager, verbe transitif : diviser en parts, en lots, en portions… A l'ère despetabytes, le volume d'information qu'on partage, qu'on divise en portions et qu'on recompose de l'autre coté du monde est devenu infini. L'invention de l'Internet dépend de cette nouvelle possibilité de partage : diviser en parts, en petit « paquets » une information, lancer les paquets dans toutes les directions possibles et leur laisser choisir le chemin le plus rapide pour arriver à destination. Un morceau d'information de mon ordinateur au votre peut avoir traversé la mer jaune, rebondi à l'île de Pâques, avant de se recomposer devant vos yeux dans un foyer français.
Le partage implique aussi l'idée de décomposition, de séparation en morceaux et c'est ainsi que dans notre vie de nouveaux partageurs d'information, nous nous sentons parfois décomposés, réduits en morceaux. Notre intelligence, qui était si bien localisée dans notre cerveau au point de pouvoir la sentir en action lorsqu'on pensait intensément, est maintenant étalée sur la toile, réduite en petits morceaux qui nous traversent sans nous appartenir. Notre image sociale est elle-même éparpillée dans les milliers d'inscriptions de nous-mêmes que nous avons laissé sur la toile.
Au début des années soixante-dix, le premier réseau décentralisé, Arpanet, fut créé. Il permettait de transmettre un message en diffusant ses plus grandes parties par le réseau et ensuite, en le reconstruisant à l'autre bout. Au milieu des années soixante-dix, la première application importante au réseau fut créée, le mail. Ce qui a fait de ce réseau un outil aussi puissant était sa forme de croissance décentralisée : Internet est un réseau de réseaux qui utilise les connexions préexistantes – comme les réseaux téléphoniques – pour faire communiquer des ordinateurs suivant un certain nombre de protocoles (des choses comme IP/TCP) qui ne sont la propriété de personne : chaque nouvel usager peut se connecter au réseau en utilisant ces protocoles. Chaque invention d'une application, d'un système de courrier, d'un système de transfert de vidéo, d'un système téléphonique digital, peut utiliser les mêmes protocoles. Les protocoles de l'Internet sont « communs » et ce fut ce partage initial qui créa la puissance d'Internet. Sans le choix politique de partager les protocoles en les gardant ouverts, le net n'aurait pas crû d'une manière décentralisée et les pratiques de connaissance en collaboration, le partage social d'intelligence qu'on connaît aujourd'hui, n'auraient pas été possibles.
Le World Wide Web, qui est une invention bien plus récente, a conservé la même philosophie de protocoles ouverts compatibles avec l'Internet (comme http – hypertext transfer protocol – ou HTML – hypertext markup language). Pouvez-vous imaginer un Web dans lequel il faut payer pour accéder au protocole http ? Le Web est un service qui opère au moyen de l'Internet, un ensemble de protocoles et de conventions qui permet à des « pages » (c'est-à-dire un format particulier d'information qui facilite l'écriture et la lecture de contenus) d'être facilement reliées les unes aux autres, par la technique de l'hypertexte. Le Web est une illustration de la manière dont une application d'Internet peut fleurir grâce à la libre disponibilité des protocoles.
La technique ne suffit pas à partager : le partage initial dépend de la vision de la société qu'on a, de la politique que chaque société choisit. Les sociétés pré-modernes étaient coopératives car sans la coopération, elles n'auraient pas pu survivre. Le langage, réseau ancestral de communication, est le signe biologique de ce besoin de coopération initiale. Seulement, dans un monde politique où l'on donne de la valeur au partage et à la coopération, les technologies peuvent nous transformer et nous faire bénéficier l'un de l'autre.


Two books that will take you off the beaten track: "Paris by Bike" and "Discover Paris by Metro"
I haven't done a lot of cycling in Paris, mainly because I'm afraid of all the crazy drivers, but one of my best memories is of a magical afternoon when Joseph the Butler, Stéphane and I biked to the Bois de Boulogne for a picnic. Circling around the Lac Inférieur with a backpack full of cheese, foie gras, champagne and a baguette, we paused for a moment to watch a small boy diligently rowing his father across the placid lake and a family playing croquet on the shore. It felt as if we were a million miles away from the hustle and bustle of the city streets.
Following Joseph's rapid lead, we continued down a tree lined path until we reached the Jardin du Pré Catelan, a lush botanical garden right in the middle of the Bois de Boulogne. After agreeing to put some distance between ourselves and the hordes of enthusiastic children at play, we walked our bikes to a large meadow that was miraculously free of people. No sooner had we spread our blanket on the grass, popped open the champagne and taken our first sip of bubbly than a security guard appeared out of nowhere and told us that we would have to move. The grass was resting. Not wanting to argue with the kindly guard, who had indicated that he wouldn't confiscate our bottle of champagne as long as we kept it concealed, we moved to another spot near a gurgling stream. To this day, I don't know if it was the intoxicating smell of foie gras or Joseph's camouflage pants, but something made a female duck take to Joseph like... well... like a duck to water. Much to Stephane's and my amusement, the duck was all over Joseph, nibbling his fingers and nudging his legs with her bill. It was an unforgettable afternoon.
If you would like to create your own memories of cycling in Paris, the English version of Paris by Bike will be available in bookstores and on the internet from July 17, 2013. After purchasing the French version, Paris à Velib' at FNAC yesterday afternoon, Stéphane almost missed our metro stop on the way home because he was so busy planning our next ride. With seven different itineraries and 144 pages full of suggestions for cultural visits, restaurants, shops, bars and cafés along the way, this guide is sure to be one of the best additions to our Paris book collection.
While Stéphane was reading Paris à Velib', I was thoroughly engrossed by my latest acquisition, Discover Paris by Metro. Using the 14 different metro lines as a starting point, this unique guidebook explains the history of each station, offers nearby sightseeing suggestions and gives insider's tips for restaurants, boutiques and entertainment. Checking their recommendations for restaurants near my metro stop, I was somewhat dismayed to see the name of one of my favorite neighborhood restaurants. Perhaps that explains why it has become so difficult to reserve a table!
ah, what a sweet memory. But if I may correct it--the duck was all over me because someone, ahem, was placing pieces of bread on my legs. It was quite funny though to see the duck up so close. He was fearless.
Thank you for such a great ride, I'm glad we all did it together.
Wasn't the fearless duck a she? I seem to recall a female ringleader and two male accomplices. As for someone placing pieces of bread on your legs - I don't remember that at all!
Thanks to our new book, we'll have lots of ideas for future bike rides the next time that you're in Paris. They may, or may not, involve ducks.
Maybe the foie gras was a little to close to the duck's heart for comfort?
I suspect that you're right, Baron. The duck went after Joseph with a vengeance!
How wonderful MK! And just for the beginning of good weather, so perfect!
I'm with you on cycling around Paris, don't trust the crazy drivers but wouldn't mind taking a bike to one of the many beautiful parks.
I too have wonderful memories of that part of the Bois. De Boulogne. And I cannot wait to get a copy of the Discover Paris by Métro for my next trip. Perhaps I will read it ahead on the sly and just spout factoids to unsuspecting friends. By the way, have you heard all the controversy about the new Vity BikesinManhattan?
No such problem when it began here in Boston. But we are a city of students, mostly.
Ahh, so now I know - the next time you impress me by spouting an interesting factoid, I'll have to ask you to reveal your source!
I hadn't heard about the Vity Bike controversy but will google it. When we were in Boston last summer, they were doing community outreach at Copley Sq to encourage more women to bike to work.
Caiti's had great fun exploring Bordeaux by tram which is similar to your Metro one, so I've no doubt that you'll enjoy discovering Paris by public transport. I can't help thinking that might be safer than by bike!
It sounds as if Caiti is really making the most of her time in Bordeaux! If the drivers are as bad there as they are in Paris, you must be relieved that she's using the tram to explore.
Paris a velib sounds wonderful for me but I think I will wait for the paperback version 17 50 euro seems pretty steep.


Pool Pass only good from Memorial Day through Labor Day. No access to Fitness Center, clubhouse locker rooms, golf discounts or Event Center customer discounts do not apply.
Childrens Wading Pool - Just for families with "little ones"


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Composing from a Synth Arpeggiator Pattern
By Jason Richardson 2019-06-17T15:33:51Z Lesson
Pick up a tricky lick from Jason Richardson.
Last month, I introduced the topic of composing musical ideas from programmed synth patterns. I was initially inspired to experiment with this approach by watching composer Hans Zimmer's Master Class, and the intensely complex and very challenging examples presented in this month's lesson grew from this specific approach.
Using the program I got from Zimmer's class, I discovered its arpeggiator function and tinkered around with the LFO's (low frequency oscillators) and the other oscillators to get it to sound a little different from the stock patches, and then changed the notes in the arpeggiator as well. I became curious and thought, "What would it sound like if I learned how to play this arpeggiated pattern on the guitar?" The arpeggiator was going up and down through crazy octave jumps, so I had to find a way to work around that and make the idea playable on guitar.
The melody is played on seven-string guitar, tuned down a whole step (low to high: A D G C F A D), so everything sounds a whole step lower than written. The entire melodic line is rather long, and FIGURE 1 illustrates the first 13 bars of it, played 173 beats per minute. In this example, I'm playing the melody at half speed, so the line is articulated in even eighth notes.
The line begins in Em, and the initial phrase is performed mostly with hammer-ons and pull-offs on the sixth string. In bar 5, I introduce the major seventh, D#, as a nod to E harmonic minor (E F# G A B C D#). In bars 10-13, I continually add slight changes to the melodic line while maintaining the use of pull-offs and hammer-ons on the sixth string, which serve as a springboard for each phrase, and the sequence ends with an ascending line that makes brief reference to F#m7b5, via the notes F# A C E.
As you'll find, the line is quite challenging to play, even at half speed. Strive for even articulation with the pick hand, utilizing alternate (down-up) picking whenever there are no slurs. The judicious use of hammer-ons and pull-offs facilitates the use of alternate picking as the phrase progresses, so work slowly though each bar individually.
FIGURE 2 illustrates the melody as performed in the composition, in double time. This is very challenging to play at this tempo, so I recommend you start slowly and gradually increase the tempo while maintaining clean articulation of each melodic phrase.
Full Shred

redpajama_set_name: RedPajamaCommonCrawl


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Datasets
========

Inherits from `pytorch datasets <https://pytorch.org/docs/stable/data.html#torch.utils.data.Dataset>`_
to allow use with `pytorch dataloader <https://pytorch.org/docs/stable/data.html#torch.utils.data.DataLoader>`_.

.. automodule:: datasets
  :members:

redpajama_set_name: RedPajamaGithub


Crates and barrels are 3-D versions of the dots that PAC-Man eats. They're features of the gaming genre, not only because they are easy to generate, but because we already know what they do.
As gamers, many of us roll our eyes at the clichés that have sprung up within the industry. Every red barrel and goody-yielding crate implies a lack of inspiration on the part of developers. Why so cookie cutter? Why can't more games try something new?
Yet playtests repeatedly confirm we depend on the very conventions we tend to mock. It's not that all developers are lazy; some actually work with the tropes in mind and try to avoid them. When it comes time for testing, however, players often end up tripping over their own expectations. The makers of Half-Life originally tried to circumvent the use of crates as common objects in the environment, but playtesters were continually disappointed by the lack of smashable items and the ability to fetch rewards from them. Their crowbars cried out for convention.
The Escapist : Green Barrels Don't Explode.
15 Mar 2011 in Aesthetics, Cyberculture, Design, Games, PopCult, Psychology.


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This page has not been translated into Swahili. Visit the Swahili page for resources in that language.
FEMA hosts virtual and in-person events to provide training, assist disaster survivors, share hiring opportunities, and promote other activities related to helping people before, during and after disasters.
2023-01-26T18:00:00 2023-01-26T20:00:00 Virtual Jan 26, 2023 Jan 26, 2023 Jan 26, 2023 EST - Jan 26, 2023 8:00 p.m. EST
FEMA Infrastructure Investment and Jobs Act (IIJA) Listening Session: Visionary Opportunities for State Dam Safety Programs
The Infrastructure Investment and Jobs Act increases funding for FEMA dam safety with $585 million for the Rehabilitation of High Hazard Potential Dams (HHPD) Grant, $148 million for the State Assistance Grant, and $67 million total for operations and support. Listening sessions will help develop the goals for this funding and the steps necessary to accomplish these goals.
Purchasing Under FEMA Awards Training: Standard Procurement Under Grant (PUG) Training
FEMA's Grant Programs Directorate (GPD) is offering a series of one-hour trainings on the federal procurement rules applicable to recipients and subrecipients purchasing under a FEMA grant award. These virtual trainings will be facilitated by GPD's Procurement Disaster Assistance Team (PDAT).
2023-01-25T23:30:39 2023-01-26T01:30:53 Onsite Jan 25, 2023 Jan 26, 2023 Jan 25, 2023 EST - Jan 26, 2023 1:30 a.m. EST
Flood Map Open House Meeting, St. Clair County, IL
The Federal Emergency Management Agency plans to host an in-person open house meeting on January 25, 2023, from 5:30 to 7:30 PM CT. The open house will introduce St. Clair County residents to their updated flood maps.
Documenting Compliance with Build America, Buy America Act
Provides an overview of the requirements and FEMA financial assistance applicability under the Build America, Buy America Act (BABAA), FEMA's waiver authority and waiver types, and review of additional FEMA resources.


When you have diabetes, it may seem like you're always hearing about what not to eat. Here's some better news: tasty snack and dinner options that help you keep your carbs under control as you reset your goals for the New Year .
Eating the right amount of carbs spread out over the day helps keep glucose levels closer to normal. Along with getting regular exercise and taking medication as prescribed, it helps manage diabetes.
These wholesome snacks are low enough in carbs to fit almost any meal plan. Even better, children love them!
Children will love this healthy update of an old favorite.
*Tip: Make your own tomato sauce with this recipe from the National Heart, Lung and Blood Institute.
Preheat oven or toaster oven to 450°F.
For each pizza, spread ¼ cup tomato sauce on a pita. Top with ¼ cup chicken, ¼ cup broccoli, ½ tablespoon parmesan cheese, and ¼ tablespoon chopped basil.
Place pizzas on a nonstick baking sheet. Bake for about 5 to 8 minutes, until pizza is golden brown and chicken is heated through.
Each serving contains 275 calories, 5g total fat, 1g saturated fat, 32mg cholesterol, 486mg sodium, 7g fiber, 20g protein and 41 g total carbohydrate.
"Eat Healthy Foods." National Diabetes Education Program, November 1, 2012, ndep.nih.gov/publications/PublicationDetail.aspx?PubId=168.
"Pita Pizzas." National Heart, Lung and Blood Institute, undated, healthyeating.nhlbi.nih.gov/recipedetail.aspx?linkId=12&cId=9&rId=150.
"Snacks." American Diabetes Association, undated, www.diabetes.org/food-and-fitness/food/planning-meals/snacks.html.
"Sports and Exercise." American Diabetes Association, undated, web.diabetes.org/wizdom/download/exercise.asp.


Abu Dhabi: Abu Dhabi's largest developer, Aldar Properties, on Sunday said it sold plots worth Dh1.6 billion dirhams in a single day, which it called a sign of improved investor sentiment.
Values and rentals on Abu Dhabi's property market have fallen, weighed down by a slowing economy in the last two years.
Aldar sold some 150 commercial plots and 86 residential plots within its latest development, Al Reeman, mainly to UAE nationals and some Arab expatriates, its chief executive Talal Al Dhiyebi told Reuters.
"This market is starting to become mature and sophisticated, there's positive sentiment," he said.
Aldar will fully recognise the revenue and profit over the course of the next two years or so, he said.


The Pet Connection, a twice-yearly special edition, will publish the last week of February, and photos and stories of your pets with you and your family should be submitted by Feb. 15.
We invite you to send us stories about your pets, photos of you and your family with your cats, dogs, llamas, alpacas, ponies, hamsters, snakes, lizards, frogs, rabbits, or whatever other creatures share your life with you.
Tell us the story of a special bond between a child and a dog, the story of how you came to adopt your pet, or examples of amazing feats of your creatures.
Do you volunteer at an animal shelter or therapeutic riding center or take your pet to visit people in a nursing home? Does your business have a pet? Is your business about pets? Have you helped to train an assistance dog? Do you or someone in your family depend on an assistance dog?
Just a cute photo is fine too. Our favorite pictures include both pets and humans.
Please tell us a little bit about your creature, identify everyone in the photo, give a brief description what is happening in the photo, and include address and phone number (we will not publish your address or phone number, just your town name).
Email to editors@connectionnewspapers.com or submit online at www.connectionnewspapers.com/pets.
For advertising information, email sales@connectionnewspapers.com or call 703-778-9431.


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Home » Celebrities » Hugh Hefner's Son Resigns From Media Company to Join Air Force
Hugh Hefner's Son Resigns From Media Company to Join Air Force
The son of the late Playboy founder takes to his Instagram account to announce his departure from Stag and Hefner Media Corporation for 'a new road' with the U.S. Air Force.
AceShowbiz –Hugh Hefner's son is ready for a new adventure. Nine months after leaving Playboy Enterprises to launch his own media company, Cooper Hefner has made another shocking announcement. This time around, he is leaving his brand to join the U.S. Air Force.
On Tuesday, December 10, the 28-year-old turned to Instagram to made public his resignation. Alongside a photo of him in the office, he shared, "Today I informed leadership and financiers of Stag and Hefner Media Corporation I would be stepping back from focusing on launching a new company and stepping towards greater service to community and country."
Dishing on what he will do next, the youngest of Hef's son with Kimberley Conrad spilled, "In a week I depart for US Air Force basic training." He added, "A new road ahead."
Days later on December 17, Cooper's wife Scarlett Byrne announced that he has departed for overseas training. "Today Cooper left to begin his service in the United States Air Force," the 29-year-old actress disclosed as she posted a photo of them at his enlistment ceremony. "I'm incredibly proud."
The 2018 recipient of British LGBT Award has opened up about his enlistment back in early March. "Today I took an oath many others I respect and admire have taken," he shared at the time. "I am honored to serve my country in the United States Armed Services and am privileged to serve in the United States Air Force Reserve."
As for his career in the media industry, Cooper initially took an executive role at Playboy Enterprises back in 2016 when Hef's health declined. Under his leadership, he brought back nudity to the magazine and featured a transgender model on its cover for the first time.
In April 2019, however, he revealed that he will be leaving his post to build Hefner Media Corporation, which includes digital content platform HefPost that targets millennials. "During the first week of May I will be stepping away from my senior executive role at Playboy Enterprises," he tweeted at the time.
Cooper Hefner announced his departure from Playboy through his Twitter account.
"I will continue providing support in a board capacity as an adviser to the company's CEO," he further assured. "While the decision was difficult to come to, it is the right decision to make."
« Liam Payne Guesses Random Songs on 'Fallon'! (Video)
'Love & Hip Hop' Star Tahiry Jose Slams Series While Making This Claim »


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The Modern Drum Set
Part 3: Toms
By Steve La Cerra 02-20-2020
From sound effect to drum set essential.
In previous installments of this series of articles about the components of modern drum sets, we traced the origins of snare and bass drums and learned how they became an important part of contemporary music. In this installment, we'll take a look at the tom, which was initially regarded as a sound effect, but is now an essential component of every drum set.
Originally known as a tom-tom, the tom is a simple drum that doesn't require extra mechanisms such as a snare strainer ("throw-off") or foot pedal. Most drum sets have a maximum of one snare drum and one bass drum (sometimes two), but there can be any number of toms of assorted sizes. Toms can be used for playing fills, adding color, or even as a substitute for cymbals.
The earliest toms go back to Asia in the later part of the 1800s, when drums known as "Chinese tom-toms" were made from simple wood shells. Diameters ranged from about 8 to 14 inches, with depths of only a few inches. These drums could not be tuned because there were no hoops or tuning rods; the skins (which were often painted with elaborate decorations) were simply tacked to the top and bottom of the shell.
As the modern drum set began to take form in the early 1900s, American drum manufacturers imported these toms, put their own logos on them, and offered them as part of their drum sets. Sometimes the toms were mounted to the bass drum hoop, and sometimes they were simply set on a "trap table" (a table upon which were placed various percussion effects). Larger toms were supported using tripod stands. It wasn't until 1940 that tripods were replaced with straight, adjustable, metal legs attached to the shell. Toms with that kind of mounting were called "floor" toms.
In the 1920s, drummers began using deeper toms often mounted on bass drum "consoles" (rails), and those drums featured an exterior finish that often matched that of the snare and bass drum. By that time, the top heads could be tuned, but the bottom heads were still tacked on and could not be tuned. This was a big problem because the heads were made from calf or animal skin and were highly susceptible to changes in temperature and humidity. It wasn't until the late 1950s that plastic drum heads (made of mylar, polyester, or a mix of the two) became available. This was a major breakthrough because plastic heads hold their tuning even when temperature and humidity change.
Sing, Sing, Sing
Legendary drummer Gene Krupa worked with drum manufacturers in the 1930s to develop the tom as we know it today. Krupa insisted that the top and bottom heads for his toms must be tunable. These revolutionary toms used metal hoops to hold the heads, along with tension rods (adjustable with a drum key) for tuning. Who could argue with Krupa? His drumming on Benny Goodman's 1936 hit "Sing, Sing, Sing" includes what is still one of the most famous tom riffs in music history. Krupa also helped establish some of the now-standard tom sizes such as 13″ x 9″ and 16″ x 16″ (diameter x depth).
During the late 1950s and early 1960s, tom mounting systems evolved from the rail to the sturdy tube-type systems we see today. As rock music became popular, drum sets tended to get larger, with some drummers using sets that included four or more toms of assorted sizes. Toms can be mounted on the bass drum, on floor stands, or — as is the case with floor toms — on legs with brackets that attach to the shell. They can also be mounted on racks such as the Yamaha Hexrack II. These not only make setup faster and easier, they also reduce the footprint of the drum set, as compared with using separate stands. Another benefit of using a rack is that some drummers prefer the sound of the bass drum when toms are not mounted directly to it.
Diameter and Depth
Today, the standard diameters for "rack" (i.e., mounted toms) are 8, 10, 12, 13 and 14 inches, while floor toms are usually manufactured with 14, 16 and 18-inch diameters. Shell depths can vary too: Standard depths are 8, 10, 13 and 16 inches. Yamaha Absolute Hybrid Maple mounted toms are available in traditional diameters, but can be ordered with slightly different depths.
Yamaha Absolute Hybrid Maple toms are available in many different sizes.
As with other kinds of drums, the fundamental pitch of a tom depends upon the diameter and depth of its shell; as is also true with other kinds of drums, larger shells generally produce a lower pitch. Smaller shells provide more "snap" and respond quickly, while deeper shells provide increased projection, produce more overtones and add weight to the sound.
There are no rules regarding what tom sizes should be used for specific types of music. Many jazz drummers prefer 12″ x 8″ and 14″ x 14″ toms, while you'll find 13″ x 9″ and 16″ x 16″ or 18″ x 16″ in rock kits. A fusion drum set usually has smaller sizes such as 10″ x 8″ and 12″ x 8″ mounted toms and a 14″ x 14″ floor tom. The bottom skin is sometimes removed (though more often for recording than live performance) for a louder sound and a more open tone with less resonance.
There are other types of toms available, such as roto toms (which have a single tunable head in a metal frame without any shell) and extra-loud concert toms, which have extra deep shells and no bottom head. These are designed specifically to project through the sound of a full orchestra and are generally not recommended for use in drum sets, though they were employed by some rock drummers in the '70s and '80s.
Tom Materials
Tom shells can be constructed from fiberglass, acrylic and occasionally stainless steel, but wood is by far the most popular material. Wood shells are usually made from multiple plies of wood such as oak, birch or maple.
Oak is used in Yamaha Live Custom Hybrid Oak toms. This type of wood produces plenty of volume and projection and is known for its round tone, mellow highs and a warm low end. Made from a sandwich of oak plies surrounding a dense phenolic layer, the design of Live Custom Hybrid Oak shells emphasize attack while increasing the drum's dynamic range.
Yamaha Recording Custom and Stage Custom Birch toms are manufactured from birch wood. Birch projects exceptionally well, which helps the sound of the drum cut through the mix. It produces a bright, lively tonality with an emphasis in the low and high frequencies, and slightly reduced mid frequencies.
Maple is one of the most popular woods for making drum shells and is used in Yamaha Absolute Hybrid Maple and Tour Custom toms. Maple shells offer a warm low end, slightly boosted mid frequencies and balanced low and high frequencies. Absolute Hybrid Maple shells combine maple plies with an interior layer of wenge — a hard and heavy wood which combines with the maple to produce a rich, clear tone at a wide variety of volume levels. Yamaha PHX (pronounced "phoenix") drum shells are built from plies of jatoba, kapur and North American maple woods. This unique structure maximizes performance and increases the vibration of the drum head.
Maximizing Resonance
Toms are designed to resonate, but sometimes hardware attached to the shell can dampen that resonance. The Y.E.S.S. (Yamaha Enhanced Sustain System) I, II and III tom mounts featured on all Yamaha drum sets (with the exception of Stage Custom Hip and Rydeen models) acts as a shock mount system and minimizes contact between the shell and the mount, allowing the shell maximum vibration — hence, maximum resonance.
The Yamaha Y.E.S.S. tom mount.
Lugs can also decrease shell resonance and that's why the Absolute lugs featured on Yamaha Tour Custom toms are isolated from the shell with rubber gaskets.
A different approach is taken on Yamaha PHX toms, which use a hook lug system. These lugs are mounted on an area of the shell that produces undesirable overtones and then mutes those tones, allowing for a pure fundamental tone. The hook lug system also makes head changes fast and easy.
Toms provide a wide range of tonal options for your drum set and can also make it more fun to play. Best of all, you can start with just one or two toms and add more when you're ready to expand your sonic palette!
Click here for Part 1: The snare drum.
Click here for Part 2: The bass drum.
Click here for Part 4: Foot pedals.
Click here for more information about Yamaha acoustic drum sets.
Steve La Cerra is a drummer and an independent live sound / recording engineer based in the New York area. He is the front-of-house engineer and tour manager for Blue Öyster Cult and has worked with artists such as Joe Jackson, The Struts, Firehouse and Robert Fripp. Steve teaches Music Technology at Mercy College in Dobbs Ferry, NY and has authored many articles on professional audio technology. He is currently working on a book about live sound.
a musician a student Absolute Maple Hybrid Acoustic drum set Acoustic drums an educator Drum Drum Parts Drum set Drum set components Drummer Drumming Drums drums Toms Yamaha Drum Set Yamaha Drums Yamaha Percussion YamahaPercussion
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Topic: Golden Section - System 7
By Jon Johnson, January 20, 2017 in Albums
Jon Johnson
LocationDMASS, Maryland
Golden Section is the sixth studio album by British ambient dance band System 7. In terms of rhythmic style each track is rather different, but the album flows perfectly. Ring of Fire is full on techno, Rite of Spring is more house than techno, Merkaba is techno/breakbeat. All the other tracks are breakbeat based with Exdreamist and Wave Bender displaying strong drum n'bass elements. There is a strong Balinese/Indonesian influence on the album which also carries through to the artwork. The tracks Sinom X Files and Borobudur feature major vocal samples from music we have found on our frequent Indonesian visits. Ring of Fire is based around a tribal drum sample from the island of Timor.
One significant collaboration that occurred was with Talvin Singh, who's club Anokha we visited regularly as a source of inspiration. We coupled this with a major sample from the late great Don Cherry taken from a track we did with him back in the 70's. The result we feel is a classic track that typifies the "psychedelic freestyle" approach. We've called the track "Don Corleone". We feel that this album is particularly in tune with our musical aspirations and with the current state of dance music - and not least in its very "7 friendly" release date. (7-7-97).
Go To Topic Listing Albums


This Soup in a Pumpkin is the BEST fall recipe. It makes the house smell amazing as it cooks and the bits of pumpkin in the soup are SO yummy!
This Soup in a Pumpkin is a Fall favorite at our house! October is finally here which means we will be cooking and eating all things pumpkin! (Make sure to also check out our Dinner in a Pumpkin recipe – another one of my fall favorites!) I love making this recipe because the pumpkin makes such a festive serving dish. It is so fun to scoop it right out of the pumpkin — be sure to scrape the sides with a spoon so you can get nice, bite-sized chunks of pumpkin in your soup.
I found the most perfectly round pumpkin at the grocery store the other night and I knew I HAD to make this recipe. When you take it out of the oven, be careful – it is VERY heavy. Also, don't try and lift the pumpkin because it gets very soft when it bakes and it can tear easily. This soup reminds me of Our Version of Olive Garden's Zuppa Toscana, but the pumpkin and thyme make it taste more like fall. Both soups have sausage and kale which add a really rich flavor. If you aren't a big kale fan, you can substitute broccoli or spinach. You can store leftovers of this soup in an airtight container in the fridge.
Cut lid out of pumpkin. As you are cutting around the stem, angle the knife towards the stem so the ring on the inside of the pulp is smaller than the ring on the outside of the pumpkin. This will make it so the lid won't fall in when it is replaced for baking.
Rub the inside of the lid with 1 Tbsp butter.
In a skillet, melt 1/2 cup butter and sauté onions in the melted butter until tender.
Add bread crumbs, flour, and celery seed. Stir until coated and cook for 3 minutes.
Remove from heat and pour into pumpkin.
Add sausage, grated cheeses, chicken stock, thyme, salt, parsley, and kale.
Put lid on pumpkin and bake on cookie sheet for 1 1/2 hours.
In a medium saucepan, bring cream to a simmer. Add to contents of pumpkin. Stir well.
When serving, scrape sides of pumpkin with the ladle or a spoon so that bits of pumpkin are added to the soup.
When the leaves start to change and the temperatures drop, nothing tastes better than a hot bowl of soup. Try these delicious soup recipes on a crisp fall day.
Creamy Butternut Squash Soup – A rich and savory comfort soup made with butternut squash and topped with croutons and roasted pecans.
Slow Cooker Vegetable Beef Soup – A hearty beef soup with potatoes, carrots, peas, beans, and corn. It is flavorful and filling!
Loaded Baked Potato Soup – Everything you would want on a loaded baked potato – bacon, corn, sour cream, cheese – in a creamy and comforting soup.
Lasagna Soup – A tomato based soup loaded with noodles and meatballs. A creamy cheese mix is scooped on top just before serving.
Creamy Tomato Basil Soup with Sausage – This creamy tomato soup rivals the best restaurant tomato basil soup. The sausage and seasonings give it a rich and satisfying flavor.
I have not tried your soup in a pumpkin recipe and would like to do it. Is the 1 c. of flour the correct amount plus the l 1/2 c. Italian bread crumbs?
Yes, those are the correct amounts. Hope this helps!
Yes, you do cook the sausage before adding it to the pumpkin. Thanks for asking! Happy Halloween!


Re: מישהו רוצה לקנות חלקים?
got another extra kit for now.. if someones interested then PM me!
הי, יש אפשרות לקנות משומש או מורכב?
Let me check what i have.. where are you located?
If someones interested let me know.


The emergence of mobile applications and more importantly its penetration in Enterprise segment is changing the information technology and business landscape throughout all industries.
Organizations across the globe are adapting to the app revolution and IT professionals themselves need to adequately prepare for the barrage of new skills and jobs this shift is bringing in demand for mobile computing skills continues to skyrocket.
The B. Tech program in Computer Science with specialization in Mobile Computing prepares students for an exciting career in the Mobile Computing domain. On passing out, one can choose a career either with the Global Systems Integrators (TCS, Wipro, Accenture etc.) or Mobile Computing focused Application Development / ISVs companies. students can also join large coreMobile Computing provider organization in the IT organizations.


text:
<?php declare(strict_types = 1);

namespace Room11\StackChat\Event;

// https://github.com/awalGarg/sochatbot/blob/417484f5031d4d9e4adf29ca4b6423b4ebfaa472/sechatapi/eventmaps.json
final class EventType
{
    const MESSAGE_POSTED = 1;
    const MESSAGE_EDITED = 2;
    const USER_JOINED = 3;
    const USER_LEFT = 4;
    const ROOM_INFO_UPDATED = 5;
    const MESSAGE_STARRED = 6;
    const DEBUG_MESSAGE = 7;
    const USER_MENTIONED = 8;
    const MESSAGE_FLAGGED = 9;
    const MESSAGE_DELETED = 10;
    const FILE_ADDED = 11;
    const MODERATOR_FLAG_RAISED = 12;
    const USER_SETTINGS_CHANGED = 13;
    const GLOBAL_NOTIFICATION = 14;
    const ACCESS_LEVEL_CHANGED = 15;
    const USER_NOTIFICATION = 16;
    const INVITATION = 17;
    const MESSAGE_REPLY = 18;
    const MESSAGE_MOVED_OUT = 19;
    const MESSAGE_MOVED_IN = 20;
    const TIME_BREAK = 21;
    const FEED_TICKER = 22;
    const USER_SUSPENDED = 29;
    const USER_MERGED = 30;
    const USER_NAME_OR_AVATAR_CHANGED = 34;

    private function __construct() {}
}


text:
The History of the Greenpoint Ferry
The New York Waterways Ferry from India Street is the second Greenpoint Ferry. The original Greenpoint Ferry went to Tenth Street and Twenty-third Street in Manhattan from the foot of Greenpoint Avenue. The ferry closed in 1933 during the height of the Great Depression.
The first ferry was started by a Greenpoint carpenter, Alpheus Rollins, in about eighteen forty when there were only about a dozen houses in the entire area. Rollins wanted to make a little extra money so he built a rowboat and charged three cents to be rowed to tenth street in Manhattan. His business was so good that he soon built four larger catboats to ferry passengers across the East River. Greenpoint was still quite verdant then and many Manhattanites came to the area for picnics. Soon Rollins had so many passengers that he had to hire a steamboat to bring the people across.
One of Rollins' passengers was Neziah Bliss who always insisted paying double fare. Eventually, Bliss got the legal right to run the ferry and he soon sold it off to a man Sheppard Knapp. In 1852 Archbishop Hughes had a ferryboat called "Martha" built so that Manhattanites could travel by ferrry first, to Greenpoint and then to nearby Calvary cemetery in Queens.
A steam ferry running between Greenpoint Avenue & 10th Street, N.Y.C., was established
on May 7,1853, KNAPP. The first boat was a tub like affair, about 75′
long with a amall cabin on the flush deck. This was an old boat which had formerly
plied between New York & Dutchess Junction on the Hudson River, her name was Kate.
A regular slip could not be secured on the New York side until 18 months later, but it finally was and the Greenpoint Ferry service thrived for years. In 1921 the City of New York took over the ferry thanks in large part to the non-stop badgering of Alderman Pete McGuinness who so often berated Mayor Hylan that Hyland told him that the city would take over the ferry if Pete would only keep quite. McGuinness did and the city began to run the ferry.
McGuinness became the great champion of the ferry. Perhaps as a result of the motorcar and the East River bridges the ferry became unprofitable. As Alderman, one of his top priorities was preserving the money losing Greenpoint Ferry, which he kept running for thirteen years despite being a prime target for budget cuts. For more than seventy-five years the ferry service provided Greenpoint with its only direct communication with Manhattan, but because many people worked locally, the ferry's ridership declined to a point that no longer justified its cost. Nevertheless, McGuinness was determined to keep it running and every year he appeared before the Board of Estimate, successfully appealing for its continuance in outlandish fashion.
Once, addressing himself to Jimmy Walker, who as mayor presided over the City Board of Estimates meetings and cast three of the Board's eight votes, he concluded a long speech by saying, "Please don't take away the old ferry, Mr. Mayor. It would be like separating an old couple that has been together for years to divorce Manhattan and Greenpoint. There would be tears of sorrow In the eyes of the old ferryboats as there would be tears in the eyes of the people of Greenpoint if them splendid old boats were put to rot in some dry dock or sold at public auction. Tell me, Mr. Mayor, now tell me, that you will love them old ferryboats in December as you did in May." Referring to a cheesy song Walker himself had composed "Will you love me in December as you did in May?" "I do love them, Peter, and I love you Walker said. The ferries kept running that year.
The next year McGuinness invented the fiction that the boats were valuable relics; claiming they were used as Union troop transports on the Mississippi in the Civil War. Abraham Lincoln, he said, "Would turn over in the sod" if the ferries were discontinued. Another year he said that the ferries would be the only means of escape from Greenpoint, in the main a community of frame buildings, in the event of fire. "Listen, pal," he told Mayor John P. O'Brien, who replaced Walker. "I f somebody set fire to Greenpoint and them old boats weren't there, we'd all be roasted alive." Again, Pete's blarney saved the ferries, but in 1933 at the height of the depression not even Pete's charm could not save the ferries whose service was terminated. The melancholy event was noted in the Weekly Star:
THE OLD FERRY
Ay, tear her tattered ensign down
For fifty years it's flown
And many a heart in Greenpoint
Will raise a heartfelt moan.
Upon her decks on many a morn
The crowds have rushed to work,
To reach Manhattan's dingy isle
In fog or rain or murk.
Her pilot oft has gripped the wheel
To breast the river's tide,
While Pete McGuinness, glad, looked on
It was his greatest pride.
On many a summer's evening
It took the kids in tow,
The little ones of Greenpoint
Who had no place else to go.
O better that her aged hulk
Should ne'er be seen again
Brave Peter fought to save it
But all alas in vain.
Dry-dock her somewhere down the stream
And strip her to the keel.
You can't imagine anyhow
How sad the people feel.
McGuinness spoke at the final sailing of the ferry. He made a speech and quoted Walt Whitman's "Crossing the Brooklyn Ferry." For eighty years there would be no ferry service to Manhattan, but the ferry returned and now plays a vital role in Greenpoint's transportation.
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DC 24V 684W Solar Powered Water Pump Submersible Bore Hole Pond Deep Well 3m3/h. This is a complete range of accessories including 1m pure copper wire and the solar powered water pump NS243T-80 with 32mm outlet. DC 24V 684W 3m3/h deep well pump can lift maximum 80m. The best working voltage of about 36V. Built-in MPPT controller which can make the best use of solar energy.
Over-voltage protection / Under-voltage protection: The pump will stop working automatically when the voltage is too high or too low; Then it will detect the voltage every 10 minutes, and it will start to work automatically when the voltage is between 18V-45V. The pump can be directly connected to solar panels without battery in sunshine. Do not mix the positive (+) and negative (-) connection.
Do not operate for long time when there is no water in the pump. The pump is submersible pump, it must be full submerged in the water.
PS: 6 mm2 or 10 mm2 copper wire is required when the cable length is too long. The diameter of the pipe connected to the pump must bigger than 1 inch. Dont block or bend the pipe/ intake/ outlet. If the pump is only working in the sun, you can connect the solar panels directly, without the need for a controller. If the pump also needs to work in the evening or rainy days, you also need to use the battery and the controller. Due to the manual measurement, there might be some error. Brand new with top quality. Solar powered water pump NS243T-80. With 89mm inlet and 32mm outlet. Stainless steel body will not rust. Small size and easy to carry. Brushless motor without need to replace the carbon brush. Name: Solar powered water pump.
Maximum Head: 80 m (262.47 ft). Inlet: 89 mm (3.5 inch). Outlet: 32 mm (1.26 inch). Standard Wiring: 1 m (3.28 ft).
Recommended Solar Panels: 900W-1500W (36V). Package Size: 12 x 12 x 58 cm (4.7 x 4.7 x 22.8 inch). Gross weight: 4.5 kg (9.9 lbs). 1 x Solar Powered Water Pump (Only with water pump and built-in controller, without solar panels). As a leading and emerging company in manufactory and exporting business, we are specialized in Business and Industrial Products, Sporting Goods, Pet Products, Home and Garden products for more than 10 years.
If you need to return, please check twice to confirm the item not work and contact our customer service representative, let us know the detailed problem and send us some pictures for confirmation. Please make sure that item has NO man-made sabotage. Used items will not be accepted for return. All emails will be responded to within. You want to cancel an order. If you need further assembly instructions for a product. Any other unspecified questions or concerns. Special circumstances will be listed clearly in the listing. Please do check everything carefully after you received the parcel, any the damage except DOA (Dead-On-Arrival) would not be covered if it's your fault. A: The item ships from. A: Please log on your account.
Q: How do I return an item? Please contact our customer service before you return an item. The item "Solar Photovaltaic Powered Water Pump Farm Ranch Submersible Bore Hole Deep Well" is in sale since Friday, April 5, 2019. This item is in the category "Garden & Patio\Ponds & Water Features\Pond & Fountain Pumps". The seller is "industrysky" and is located in Jenec.


A question to start with: What are we doing here, anyway?
We will discuss the following aspects of "What is Science".
The demarcation problem: What is Science and what is not?
What are indicators of good science?
How do we choose a project to work on?
Why do we sometimes do seemingly useless science?
1. What Do We Think of as Science?
Many people, when asked what comes to mind when thinking about "science" and "scientist", think about people in white lab coats, some kind of experiments, maybe something about going to space. A good example for that is the picture the UC Berkeley uses for their page on "What is science". In fact, this focus on experimental science is ingrained into the Anglo-Saxon understanding of "Science", as the following definition shows.
This strict dependence on experimental data is also embodied in the concept of "the scientific method", defined as follows.
English Wiktionary on "Scientific Method"
A method of discovering knowledge about the natural world based in making falsifiable predictions (hypotheses), testing them empirically, and developing theories that match known data from repeatable physical experimentation.
This is in contrast with the German understanding of the word "Wissenschaft" (a typical translation of "science"), as given by the following quote.
Science is the epitome of the totality of human knowledge, insight and experiences of an epoch of time that is systematically expanded, collected, preserved, taught, and transmitted (made a tradition).
Original: Die Wissenschaft ist der Inbegriff der Gesamtheit des menschlichen Wissens, der Erkenntnisse und der Erfahrungen einer Zeitepoche, welches systematisch erweitert, gesammelt, aufbewahrt, gelehrt und tradiert wird.
The origin of the word "Wissenschaft" is, on the other hand, again empirical.
The philosophy of science contains a long debate about the so-called "demarcation problem", the problem of deciding whether something is science or not.
Popper 1934/1959: Falsifiability is at the core of science.
Lakatos 1973: Science does not work that way (counterexamples to Popper).
Kuhn 1962: Normal Science vs. Revolutionary Science. Sociology of Science.
Feyerabend 1975: Anarchist view of science: Anything goes.
McLean vs. Arkansas Board of Education 1982: Creationism is not a science.
The demarcation problem tries to draw the line between what is good scientific practice and what is not, mostly focusing on empirical science. For the remainder we will focus on mathematical science.
In 1945, George Pólya published the book How to solve it, in which he details a method for how mathematicians attack and solve a problem. His four step method mirrors the four steps of the scientific method. The four steps are the following.
Understand the problem. Look at the problem from different angles.
Devise a plan. What tools should be used? In what way? What lemmas should I try to prove?
Carry out the plan. This is the craft of mathematics: there is not much creativity necessary to do the manipulations required by the plan.
Review/extend. Reflect on the proof. Are there unnecessary steps? Unused assumptions? Can the statement be generalized and still proven by the same proof? What can we learn from how this proof worked out?
Steps 2 and 3 are the most visible ones when actually doing math (and we frequently fall back from Step 3 to Step 2 when the plan fails).
Step 1 is sometimes forgotten, especially whenever this step comes essentially for free (because similar problems are known and well-understood). But especially when attacking a problem that seems a bit more elusive or is just in an area which we do not know so well, this step is very useful as a preparation for finding a proof. Here a literature review can be helpful, or proving small auxiliary statements in the vicinity of our problem.
Steps 4 is also some times forgotten, after the proof is finally found one wants to savor the moment. On the other hand, Step 4 gives the most benefit for the least effort: we might be able to strengthen the result without having to find a new proof. We can gain insights from our own proof without having to add new creative ideas. We can learn for future proofs at very little expense.
What do we see as indicators of good scientific work? We can make a long list of angles that scientific work is judged under, below I give a (subjective) list in clusters. The first cluster is about science increasing our understanding (of phenomena), while the second one deals with science as a means to control the world. The third cluster is about how science can be checked to deliver on its promise; the fourth is about virtues of scientific work for the scientific endeavor itself (how the work helps science). The fifth cluster concerns depth, criteria for why a given work is not just a small step. Finally, the sixth cluster is about aesthetics, or how scientist feel about the work as a value in itself.
Understanding: explanation (of a phenomenon), new perspective, insightful, making a connection.
Quality control: soundness, completeness, replicability, refutability.
Inner-scientific angles: originality, improving state of the art, tradition, bridges a gap (between areas), novel technique, initiates a new field, has a community.
Depth: difficulty, complexity, answers open question.
Aesthetics: beauty, simplicity, elegance, simple to state, surprise, interestingness.
It is important to know that there is no general agreement on which criteria are to be used in what way to decide on the quality of scientific work. In fact, different communities have different "tastes", even when they work on the same problems with the same methods. There is no "right" and "wrong" to this, but inside any scientific community there is typically some kind of basic agreement on how to evaluate scientific work. Thus, knowing the agreement of a community is vital for being recognized by this community. Still, different reviewers might feel different about these points, so that very different judgments can be given for the very same work.
When thinking about what project to choose (implicitly assuming that we have more ideas for projects than time to work on these projects), we typically think about "how much gain for how much pain" kind of trade-offs. Where is the scientific (or personal) advancement best, given the efforts required? A second angle for project choice is to consider the variance: something will go wrong, how bad can it be? Or, similarly, how good can it be if all stars align?
Price: challenge level, resources required, technique-problem fit, I know the methods, it's a nail for my hammer (``because I can'').
Gain: challenge level, importance of the result, popularity of the area, possible insights into the area I actually care for.
Variance: scoopability, expandability (range of possible problems to work on).
Personal: I can team up with people I want to team up with, I care for the topic, I am associated with this topic, I have always worked on these problems.
The personal criteria are very important, though not for science. They are important because science is carried out by human beings, and we are mostly self-driven in our research. The price/gain trade-off is seldom overlooked and a core to many considerations for what direction to chose. But it is equally important to be aware of the possible outcomes of the project. Will it succeed one way or another? Are there always some changes to the question so that some (publishable) answer will be found? If everything turns out too easy, can we extend the questions suitably? In other words, can I make sure that I have something to show for in the end?
6. Why Do We Do Seemingly Useless Science?
Some science seems to follow no purpose directly. The criteria for good science seem to point out that some work is rather unnecessary. Why do we still feel that there is some virtue here? Some possible answers are the following.
Uncertainty: the future is unknown and the science might become useful, we are searching in the dark and the results we find might turn out useful.
Pure understanding: enthusiasm for insights, expanding human knowledge.
Structural: constructing a web of knowledge.
Science is hard to define and hard to judge for quality.
Criteria for good science take many angles.
The personal reasons for what science to pursue are yet different.
Being aware of the different angles discussed here (and probably adding some more from own experience) can help navigating a scientific career as well as focusing on actually helping science.
I want to thank Thomas Bläsius for a helpful discussion on how to handle a large amount of criteria usefully. Also, Karen Seidel and Martin Krejca provided much appreciated feedback regarding this web page.


The Cylinder Head has been stripped,wetblasted ,checked for porosity and hardness tested . New valve guides are fitted with new valve guide seals. The heater and thermometer fittings have to installed but that can wait until I have it fitted up to the engine block.
This entry was posted in Mercedes Oldtimer Service, Wet Blasting in Brisbane Queensland on July 29, 2014 by briskiwiron.


In Iraq and Syria Christian men are being beheaded for refusing to convert to Isam. Their wives are being forced into sometimes ten and twenty "temporary marriages" a night. In Islam these are legal "marriages" although some last less than an hour. Younger Christian girls who are virgins do not face this fate but rather are taken as "wives" by senior Islamic State and al-Nusra fighters.
Lebanon's minorities fear not only the encroachment of ISIS and JN on Lebanon's eastern border and the active support these organizations receive from extremist Sunni groups and Syrian refugees within the country;they also fear that the Syrian civil war will spill into Lebanon.The Christians' concern is exacerbated by the weakness of the central government and the inability of the Lebanese army to protect them, and by their suspicion that no external element will come to their aid except perhaps by granting them immigration permits.
Contrary to what Sen. John McCain has been telling the American people for years, the so-called "moderate rebels" in Syria are not really moderate at all. They've been working together with Al Qaeda affiliates for years to overthrow the Syrian government.
Just how will the US discern which of the Syrian "rebels" are moderate, which we assume means will only fight against US enemies, as opposed to extremist, such as all those Syrian "rebels" the US armed in 2013 only for them to be subsequently revealed as al Qaeda and ISIS predecessors?


Or if you live in Manchester the Hulme Garden Centrw sells 4 x 50l bags for £10 and it's organic compost.
Thanks. I need lots of compost as I have 20 hanging baskets and about 10 pots to fill up :o , I bought compost from Aldi last year and was not impressed with it. I'll pop into Wilko on my way home after work and get a few bags 😁.
Is the compost from Wilko any good?
Thanks. Tried before but could never get hold of anyone, worth an email instead perhaps.
Give your local council a call they should be able to tell you where the nearest one is.
If potting indoor plants I would not recommend the compost in BnM. Poor storage means these can often contain various bug infestations.
50L. Thought £2.99 was a good deal for quality compost. They've labelled it as half price from £5.99. Bought from Chadwell Heath branch. Assume it's nationwide.
Did you have plastic in yours?
Noticed a stack of compost outside Lidl for £1.99 a bag. Doubt it's going to be the greatest compost in the world but it's cheap!
within 24 hours of use, the entire surface of every single item id used it for, was covered in thick white fungal hair. it also smelled odd almost like rotting meat.
That's great , thanks for the update , weather down south has been so windy this week I didn't bother going to get any from anywhere, so will pop to Lidl's and stock up .
Really good compost with no plastics I can see and well worth the money.
Never miss a 'Compost' deal again!
Due to new packaging they were reduced. Hardly any stock left.
Drove to swindon store. Not £2 a bag but £4.99. Obvouiosly not a national offer. Heat removed.
bought 10 from Hereford Branch. Good for seeds, so far so good.
Thanks OP - great deal. Had a load delivered yesterday - with free delivery (over £75). Unbeatable price for a very decent product.
It's 5p per litre. Not tried this one, looks a good buy though.
Snow still on the ground here brrrr (y) ---- Mycorrhizal fungi is the way to go when transplanting from the lighter feed jack's to the more heavier feed soils such as grosure, which I find has the grosure slow release pellets already implanted and can stress seedlings. Sprinkle some where the new soil meets the roots of the old rootball and soon enough, the fungi will aid the roots to multiply, supply and create healthy root systems. Kind regards all.
Gonna get myself some No.1 for my seeds. Good price.
Got loads of useless stuff in these.
Good price, could be soiled?
Because some people don't have the luxury of having their compost bin on soil or grass and therefore having a base is useful/necessary at times :) either way everyone should try composting where possible.
Then why do they sell them?
As above. Won't deter rats.
Is the £10 on the website a reasonable price? Worth the extra to deter rats?
Rats will just nest underneath even if you have a base. They like the warmth as well as the food.
It has a stamped number on the back ending in 2018.
Any way to check if this is last year's stock?
Sorry just changed to in-store as I found at the Tescos in Evesham.
Can't see anything on your link? You haven't said instore so I assume it's online?
Thanks, got two for £34 delivered.
Guaranteed for 15 years against rot. I'll be using mine for making leaf compost so it'll be easy enough to turn.
How many years would this actually last? Also, you'd have to dismantle the whole thing or take the compost digging in from the top? Rather than getting from the bottom like most of the plastic ones?
I was in Tesco Maryhill today and the price I saw this for was £2.00 FOR ONE OR £3.50 FOR TWO. They were at the top of the stairs, next to the cafe.
I bought some of this earlier in the year, more like excavated landfill than compost. it had all sorts in it.


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The English Department is proud to announce two current graduate student have received the Women, Gender, and Sexuality Studies Fellowship awards: Sungmey Lee, a current sixth year student, will teach in the Fall of 2019 and Jo Giardini, a current fourth year student, will teach in Spring of 2020.
WGS offers six teaching fellowships a year, to be awarded to advanced graduate students. The award for each fellowship is $8,000.


text:
Community Responds to Fatal Shooting
by Elizabeth Pitts-Hibbard
Duncan City Manager Kimberly Meek speaks at a press conference on Monday.
Stephens County residents were shaken today when the news of a shooting at the Walmart in Duncan spread throughout the community. Three people, including the shooter, were confirmed dead at the scene.
The report came in via a 911 call to Duncan Police Department and Duncan and Marlow schools were placed on lockdown almost immediately. The lockdowns were lifted once law enforcement confirmed that the shooter was not at large.
At a press conference earlier, Sheriff Wayne McKinney emphasized the importance of disseminating the correct information throughout the community.
"It's a sad day for our small community," McKinney said. "I can't reiterate any more that getting the facts of this story out…with what actually happened, not speculation. All that does is panic our community."
Duncan City Manager Kimberly Meek, speaking at the same press conference, said that it was "a sad day for Duncan."
"I ask that everyone remember that the family is grieving and will be grieving for a while, and I ask that we give them as much privacy as we can," Meek said. "Duncan is a wonderful city, and we will pull together, and we will take care of our own."
First Baptist Church in Duncan announced this afternoon that the community is invited to a prayer service at 6pm this evening. Pastor Bryan Pain said that it would be a "focused time of prayer" that will include some songs. "It's hosted by First Baptist, but several pastors in town are taking part in it," Pain said. "It's a come-as-you-are service and all are welcome to help heal."
Medical Condition May Be Accident's Cause