text:
The Great Gatsby Giveaway
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text:
<!DOCTYPE html>

	<meta charset="utf-8"/>
	<title>libigl</title>
	<meta name="author" content="Alec Jacobson and Daniele Panozzo and others"/>
	<link type="text/css" rel="stylesheet" href="../tutorial/style.css"/>

<link rel='stylesheet' href='http://yandex.st/highlightjs/7.3/styles/default.min.css'>

Compiling libigl as a static library

Warning: compiling libigl as a static library is considerably more difficult
than using it as a header-only library (see ../README.md instead). Do
it only if you are experienced with C++, cmake and make, and you want to
improve your compilation times.

Libigl is developed most often on Mac OS X, though has current users in Linux
and Windows.

Linux/Mac OS X/Cygwin

Libigl may also be compiled to a static library. This is advantageous when
building a project with libigl, since when used as an header-only library can
slow down compile times.

To build the entire libigl library producing at least libigl/lib/libigl.a and
possible other (automatically detected) extras, e.g. libigl/lib/libiglcgal.a
from this current directory: issue:

mkdir -p ../lib
cd ../lib
cmake -DCMAKE_BUILD_TYPE=Release ../optional
make

Warnings

You should expect to see a few linker warnings of the form:

/opt/local/bin/ranlib: file: libigl.a(*.cpp.o) has no symbols

These are (admittedly unpopular) functions that have never been used by us
statically so we haven’t explicit instantiations (yet).

External

Finally there are a number of external libraries that we include in
./external/ because they are either difficult to obtain or they have been
patched for easier use with libigl. Please see the respective readmes in those
directories or build the tutorial using cmake, which will recursively build all
dependencies.

Installing Embree 2.0

To build the embree library and executables on Mac OS X issue:

cd external/embree
mkdir build
cd build
cmake ..
# Or using a different compiler
#cmake .. -DCMAKE_C_COMPILER=/opt/local/bin/gcc -DCMAKE_CXX_COMPILER=/opt/local/bin/g++
make
# Could also install embree to your root, but libigl examples don't expect
# this
#sudo make install

Extras

bbw

This library extra contains functions for computing Bounded Biharmonic Weights, can
be used with and without the mosek extra via the IGL_NO_MOSEK
macro.

boolean

This library extra contains functions for computing mesh-mesh booleans,
depending on CGAL and optionally Cork.

cgal

This library extra utilizes CGAL’s efficient and exact intersection and
proximity queries.

embree

This library extra utilizes embree’s efficient ray tracing queries.

matlab

This library extra provides support for reading and writing .mat workspace
files, interfacing with Matlab at run time and compiling mex functions.

mosek

This library extra utilizes mosek’s efficient interior-point solver for
quadratic programs.

png

This library extra uses libpng and YImage to read and write .png files.

tetgen

This library extra provides a simplified wrapper to the tetgen 3d tetrahedral
meshing library.

Triangle

This library extra provides a simplified wrapper to the triangle 2d triangle
meshing library.

viewer

This library extra utilizes glfw and glew to open an opengl context and launch
a simple mesh viewer.

xml

This library extra utilizes tinyxml2 to read and write serialized classes
containing Eigen matrices and other standard simple data-structures.

Development

Further documentation for developers is listed in
style_guidelines.html.

License

See LICENSE.txt

Zipping

Zip this directory without .git litter and binaries using:

git archive -prefix=libigl/ -o libigl.zip master

Explicit specialization of templated functions

Special care must be taken by the developers of each function and
class in the libigl library that uses C++ templates. If this function
is intended to be compiled into the statically linked libigl library
then function is only compiled for each explicitly specialized
declaration. These should be added at the bottom of the corresponding
.cpp file surrounded by a

#ifdef IGL_STATIC_LIBRARY

Of course, a developer may not know ahead of time which
specializations should be explicitly included in the igl static lib.
One way to find out is to add one explicit specialization for each
call in one’s own project. This only ever needs to be done once for
each template.

The process is somewhat mechanical using a linker with reasonable error
output.

Supposed for example we have compiled the igl static lib, including the
cat.h and cat.cpp functions, without any explicit instanciation. Say
using the makefile in the libigl directory:

cd $LIBIGL
make

Now if we try to compile a project and link against it we may get
an error like:

Undefined symbols for architecture x86_64:
"Eigen::Matrix<int, -1, -1, 0, -1, -1> igl::cat<Eigen::Matrix<int, -1, -1, 0, -1, -1> >(int, Eigen::Matrix<int, -1, -1, 0, -1, -1> const&, Eigen::Matrix<int, -1, -1, 0, -1, -1> const&)", referenced from:
uniform_sample(Eigen::Matrix<double, -1, -1, 0, -1, -1> const&, Eigen::Matrix<int, -1, -1, 0, -1, -1> const&, int, double, Eigen::Matrix<double, -1, -1, 0, -1, -1>&)in Skinning.o
"Eigen::SparseMatrix<double, 0, int> igl::cat<Eigen::SparseMatrix<double, 0, int> >(int, Eigen::SparseMatrix<double, 0, int> const&, Eigen::SparseMatrix<double, 0, int> const&)", referenced from:
covariance_scatter_matrix(Eigen::Matrix<double, -1, -1, 0, -1, -1> const&, Eigen::Matrix<int, -1, -1, 0, -1, -1> const&, ArapEnergy, Eigen::SparseMatrix<double, 0, int>&)in arap_dof.o
arap_rhs(Eigen::Matrix<double, -1, -1, 0, -1, -1> const&, Eigen::Matrix<int, -1, -1, 0, -1, -1> const&, ArapEnergy, Eigen::SparseMatrix<double, 0, int>&)in arap_dof.o

This looks like a mess, but luckily we don’t really need to read it
all. Just copy the first part in quotes

Eigen::Matrix<int, -1, -1, 0, -1, -1> igl::cat<Eigen::Matrix<int, -1, -1, 0, -1, -1> >(int, Eigen::Matrix<int, -1, -1, 0, -1, -1> const&, Eigen::Matrix<int, -1, -1, 0, -1, -1> const&)

, then append it
to the list of explicit template specializations at the end of
cat.cpp after the word
template and followed by a semi-colon.
Like this:

#ifdef IGL_STATIC_LIBRARY
// Explicit template specialization
template Eigen::Matrix<int, -1, -1, 0, -1, -1> igl::cat<Eigen::Matrix<int, -1, -1, 0, -1, -1> >(int, Eigen::Matrix<int, -1, -1, 0, -1, -1> const&, Eigen::Matrix<int, -1, -1, 0, -1, -1> const&);
#endif

Then you must recompile the IGL static library.

cd $LIBIGL
make

And try to compile your project again, potentially repeating this
process until no more symbols are undefined.

It may be useful to check that you code compiles with
no errors first using the headers-only version to be sure that all errors are from missing template
specializations.

If you’re using make then the following command will
reveal each missing symbol on its own line:

make 2>&1 | grep "referenced from" | sed -e "s/, referenced from.*//"

Alternatively you can use the autoexplicit.sh function
which (for well organized .h/.cpp pairs in libigl) automatically
create explicit instanciations from your compiler’s error messages.
Repeat this process until convergence:

cd /to/your/project
make 2>$LIBIGL/make.err
cd $LIBIGL
cat make.err | ./autoexplicit.sh
make clean
make

Benefits of static library

Faster compile time: Because the libigl library
is already compiled, only the new code in ones project must be
compiled and then linked to IGL. This means compile times are
generally faster.

Debug or optimized: The IGL static
library may be compiled in debug mode or optimized release mode
regardless of whether one’s project is being optimized or
debugged.

Drawbacks of static library

Hard to use templates: Special
care (by the developers of the library) needs to be taken when
exposing templated functions.

Compressed .h/.cpp pair

Calling the script:

scripts/compress.sh igl.h igl.cpp

will create a single header igl.h and a single cpp file igl.cpp.

Alternatively, you can also compress everything into a single header file:

scripts/compress.sh igl.h

Benefits of compressed .h/.cpp pair

Easy incorporation: This can be easily incorporated
 into external projects.

Drawbacks of compressed .h/.cpp pair

Hard to debug/edit: The compressed files are
 automatically generated. They’re huge and should not be edited. Thus
 debugging and editting are near impossible.

Compounded dependencies:
 An immediate disadvantage of this
 seems to be that even to use a single function (e.g.
 cotmatrix), compiling and linking against
 igl.cpp will require linking to all of libigl’s
 dependencies (OpenGL, GLUT,
 AntTweakBar, BLAS). However, because all
 depencies other than Eigen should be encapsulated between
 #ifndef guards (e.g. #ifndef IGL_NO_OPENGL, it
 is possible to ignore certain functions that have such dependencies.

Long compile:
 Compiling igl.cpp takes a long time and isn’t easily parallelized (no make
  -j12 equivalent).

Here’s a tiny test example using igl.h and igl.cpp. Save the following in test.cpp:

#include <igl.h>
#include <Eigen/Core>

int main(int argc, char * argv[])
{
Eigen::MatrixXd V;
Eigen::MatrixXi F;
return (argc>=2 && igl::read_triangle_mesh(argv[1],V,F)?0:1);
}

Then compile igl.cpp with:

g++ -o igl.o -c igl.cpp -I/opt/local/include/eigen3 -DIGL_NO_OPENGL -DIGL_NO_ANTTWEAKBAR

Notice that we’re using -DIGL_NO_OPENGL -DIGL_NO_ANTTWEAKBAR to disable any libigl dependencies on OpenGL and AntTweakBar.

Now compile test.cpp with:

g++ -g -I/opt/local/include/eigen3/ -I/usr/local/igl/libigl/ -L/usr/local/igl/libigl/ -ligl -DIGL_NO_OPENGL -DIGL_NO_ANTTWEAKBAR -o test

Try running it with:

./test path/to/mesh.obj

The following bash one-liner will find all source files that contain the string OpenGL but don’t contain and IGL_NO_OPENGL guard:

grep OpenGL `grep -L IGL_NO_OPENGL include/igl/*`

Optional

OpenGL (disable with IGL_NO_OPENGL)

OpenGL >= 4 (enable with IGL_OPENGL_4)

AntTweakBar (disable with IGL_NO_ANTTWEAKBAR) Last tested 1.16 (see
 libigl/external/AntTweakBar)

GLEW Windows and Linux

OpenMP

libpng libiglpng extra only

Mosek libiglmosek extra only

Matlab libiglmatlab extra only

boost libiglboost, libiglcgal extra only

SSE/AVX libiglsvd3x3 extra only

CGAL libiglcgal extra only

boost

gmp

mpfr

CoMiSo libcomiso extra only

Optional (included in external/)

TetGen libigltetgen extra only

Embree libiglembree extra only

tinyxml2 libiglxml extra only

glfw libviewer extra only

LIM liblim extra only

redpajama_set_name: RedPajamaGithub


The Inspector -General of Police, Ibrahim Idris, has directed Mr. Kayode Egbetokun to take over from erstwhile Lagos State Commissioner of Police, Imohimi Edgal, as the Acting Police Commissioner in the state.
Sources said Edgal has been directed to take charge of the Explosives and Ordinance Disposal Unit at the Force headquarters, Abuja.
It could not be immediately ascertained if Egbetokun, who was former Chief Security Officer to former Lagos State Governor, Bola Tinubu, would be made the substantive CP.
The new acting Lagos Police boss was the CP in charge of Explosives and Ordinance unit.
He also supervised the Osun governorship election in Ikire town, where a number of buses and motorcycles were seized for violating the restriction of movement during the poll.
A source said, "The redeployment of Egbetokun to Lagos was part of the Police operational strategies ahead of the 2019 general elections.


text:
Tagged Rag & Bone
Model Behavior: New York Backstage #1
Backstage at the New York fall 2014 collections: Rag & Bone, Helmut Lang, Jason Wu, Duckie Brown…
Odin's Collab-Fest Arriving Now
Good news for fans of very small, very exclusive men's capsules: Odin's collabs are rolling in fast and furious…
Creamsicle Meets Equinox: Rag & Bone Spring 2014
The Rag & Bone boys packed the house with a mile-long silver runway that served as a potent symbol…
In a transatlantic blend of cool Brit and New York grit, Rag & Bone took to an aviation theme for fall…
Rag & Bone opened with a pair of leather culottes, meaning the reign of leather will continue well into spring…
A Store Is Born: Rag & Bone London
It seems like yesterday that Rag & Bone hopped the pond to New York. Now, a campaign with Kate Moss…
Fans of Rag & Bone's military style will find plenty to covet in flannel trousers and shearling trim outwear…
For their fall women's collection, Rag & Bone designers David Neville and Marcus Wainwright played with a grab bag of elements…
Sale Alert! Rag & Bone
All tuckered out from Black Friday? Get it over it, because Rag & Bone is having a major sample sale…

redpajama_set_name: RedPajamaCommonCrawl


text:
Five Favourite Books
recommended by Philip Pullman
The Good Man Jesus and the Scoundrel Christ
by Philip Pullman
The author Philip Pullman—creator of the beloved His Dark Materials trilogy, and one of the world's greatest storytellers—recommends five of his favourite books: from a fragmentary masterpiece by Fernando Pessoa to P. G. Wodehouse's comic triumphs.
The Book of Disquiet
by Fernando Pessoa
Pereira Maintains
by Antonio Tabucchi, translated by Patrick Creagh
The Summer Book
by Tove Jansson
The Jeeves Omnibus - Vol 1
by PG Wodehouse
The Chambers Dictionary
1 The Book of Disquiet by Fernando Pessoa
2 Pereira Maintains by Antonio Tabucchi, translated by Patrick Creagh
3 The Summer Book by Tove Jansson
4 The Jeeves Omnibus - Vol 1 by PG Wodehouse
5 The Chambers Dictionary
Philip Pullman, welcome to Five Books. Shall we start with the first book that you've chosen?
Yes, that's The Book of Disquiet by Fernando Pessoa, of whom I hadn't heard before I bought the book. Pessoa was a Portuguese writer of all sorts of things, a poet, and a journalist. He was a man of mystery in many ways. He had a large number of what he called 'heteronyms'—noms de plume, I suppose is how we'd understand it. He invented personalities and characters and backstories and so on for all of his heteronyms, and he would write under any one of these different names. What for? I don't know. Perhaps he just liked being rather mysterious. The Book of Disquiet seems to be the work of a bookkeeper called Bernardo Suarez, who is, of course, Pessoa.
It's a book of bits, really. It doesn't matter what order you read it in, because it is in fragments. In fact, the two editions in English in paperback that exist now are both quite different in terms of ordering. The one that's published by Penguin Modern Classics is quite long, over 500 pages, and I don't think it would be terribly easy to read it from end to end. I don't know what you feel, but I found it extremely good to read at three in the morning if you can't sleep. It's suffused with a very Portuguese melancholy, saudade. It's a book of reflections and memories and thoughts. But it doesn't seem to be in any helpful order. So it really doesn't matter to me where I pick it up, where I open it, but I always find something original and quirky and strange—a long paragraph about the virtues of monotony, for example, which fits his life, because he lived a very quiet life. He would go to the same café and have the same drink among a small circle of friends, while at the same time living this extraordinary life full of heteronyms, full of invisible people whom he would impersonate and write in the name of. I don't know anything else like it.
I was fascinated that you chose this book because you've written in very interesting ways about the structure of stories. Yet this seems to be a book which not only doesn't have an obvious shape, but even comes in different forms with different publications.
There have been two at least two translations into English and the two paperback editions I've got are, as I mentioned, quite different in order. But structure, as I always tell people, is a superficial feature of narrative, not a fundamental feature. They tell you, you must get your structure right first and once you have got the structure you can write the book. Well, no, actually. You can change the structure at the last minute, you can re-order the book, you can have the start in the middle of the story. Structure is a superficial thing. What is not superficial, what is really fundamental, is the tone in which the book is written. Here Pessoa is a good example because the tone is is very consistent all the way through. It's never boring and it's never dull. It's always interesting because the mind that wrote it is interesting, and the world he depicts, the Portugal of the 1910s, 1920s, 1930s, is a fascinating place. I find it intoxicating. I love it very much. I'm almost inclined to make it my desert island book if I get a second go on Desert Islands Discs. I don't think you can get tired of it.
I've tried to read it several times and I've never got through it. But every time I pick it up, wherever I open it I've never had the feeling that I've read it before.
I wouldn't be surprised if it changes itself overnight, you know, chapters get out and slip into another place different place in the book. That wouldn't surprise me a bit. I don't think there's anything else like it, as picture of a city. Lisbon as a character comes through very clearly in the book. I suppose, in a very different kind of way, Lawrence Durrell's Alexandria does in The Alexandria Quartet—those four books that were so highly thought of for about five years around 1960. The character of the city of Alexandria comes through very powerfully and pungently in those books, but I can't remember the story. That's certainly the case with Pessoa's Lisbon. I've never been to Lisbon, but I'm sure I'd recognise it through having absorbed so much of the atmosphere, the saudade. I can't do without it. I can't imagine it ever not being on my bookshelves and close at hand.
Some people talk about Pessoa as showing us something about the self and how fragmentary it is. Obviously, you've spoken about his heteronyms and how he impersonates a whole range of characters, including Bernardo Suarez. When he writes in these different voices there is a sense in which he's all of them. Some people read that as a philosophical take on what we all are as human beings, that we really are a cluster of personalities, not some core single self.
Yes, that's very persuasive. That idea also comes into one of the other books we're going to discuss. I don't know if it's a particularly Portuguese thing—the other book is by an Italian, so perhaps it isn't. But I wouldn't want to make it sound willed in any kind of programmatic way. He seems to drift quite happily and easily between this character and that, between this place in Lisbon and that, between this bridge and this riverbank, and that café, as if he's a ghost almost. He's the ghost of all these things, and observing them as a ghost. There's a great fluidity, it's a very watery sort of book.
Maybe we could go on to your second choice, again set in Lisbon, because there is a very strong connection between them. That's Pereira Maintains by Antonio Tabucchi, which is set in Lisbon in 1938.
This is a fascinating book. Antonio Tabucchi was Italian. He spent a lot of time in Lisbon and clearly loves Portugal and the Portuguese language. 'Pereira maintains' is an odd phrase. We quite quickly pick up that this is a police report. Pereira maintains 'he met him one summer's day…' So we're being told second hand something that Pereira has said. It's a difficult way of writing because you're at a distance from it. And you have to maintain the voice. And we see Pereira, this character, through a different pair of eyes.
The character of Pereira, as viewed through this anonymous police investigator is not particularly spectacular. He's an elderly man in his sixties; he's overweight; he's a widower; he loved his wife very dearly: he talks to a photograph of her which, in a sentimental kind of way, is his love life; and he's a journalist. He runs a culture page on a new magazine called Lisboa and is quite proud of this position. Not very much goes into the culture page: obituaries, announcements of this or that, translations of nineteenth-century French short stories, which he does himself but doesn't sign. It doesn't sound terribly exciting, but it gives him a living, and he lives in a very steady way.
He has a housekeeper who makes his breakfast. He strolls to work. He always eats in the same café—always an omelette aux fines herbes and a little glass of lemonade. So this is a steady, comfortable, quiet, very unprepossessing life. But we're in Portugal, under Salazar, and there's a civil war going on in Spain next door, and the looming European war is now becoming more and more obvious on the horizon.
Into this comfortable life of Dr Pereira comes a young man called Monteiro Rossi, who is an Italian student who turns out to be a political activist—this was extremely dangerous in the Portugal at that time. Monteiro Rossi has a beautiful girlfriend called Marta. Pereira, of course, disapproves of them, but nevertheless can't help being fascinated by them, and, in fact, falls in love with them a little bit because they're both attractive characters. They're young, they've got all the energy and the spirit and the verve that he looks back on with regret and misses. In a sense they become his children because he is childless. Little by little, he is drawn by his affection for these two into what looks like some sort of revolutionary movement or uprising. It doesn't end well. I shouldn't give out any spoilers for the story, because it's a wonderfully well-told story. The danger gathers bit by bit very slowly, the screw tightens very, very slowly, but all the time, it's getting worse and worse for everyone.
It ends with a note of hope, because Pereira manages to escape, but 'Pereira maintains…', so who's writing this report? When was it written? Was he captured? What's going to happen to him? This is the wonderful thing about this book. It's got great themes, loyalty, trust, aspiration towards truth, the verity of things in a very short book, just 194 pages long. You can read it in a day. I think it's the most wonderful novel of the last 20 years. I can't think of anything I admire more.
I hadn't read it before you recommended it. I agree it's fantastic. It's a bit like a piece of music with the refrain of 'Pereira maintains…' throughout. You'd think you'd get bored of it. But the repeated phrase jolts you because, as you're reading the book, you can forget that distancing quite easily. Because the book is so short it doesn't become too much, oddly. I don't know how he pulls that off, because it should be too much. Once should be enough.
It's a miracle of storytelling. I haven't read anything else by Tabucchi, but every time I've read this—and I've read it several times—I feel I must go out and read all of Tabucchi and make sure he's published and translated properly.
But certainly, this is a very important book. Politically it teaches us something about the value of loyalty, of hope, of trust, of things like that, even in a time that's threatening, in a time of great danger. It's done so gently, and so sweetly in a way. You really feel love for this chubby old man with his set routines, his omelettes and his lemonade. I just love it. I think it's the most marvellous novel.
I think you mentioned its mood. It's something similar to saudade, this feeling of nostalgia. He sees in these young people something of himself when he used to be a news journalist, and he used to be more idealistic. He has made a kind of compromise with life, not on the side of Salazar by any means, but just not prepared to make any noise and not to make a fuss.
He wants to keep politics at arm's length. But he finds he can't do that, because he's drawn further and further in. It's very interesting to see the other characters in the book, Doctor Cardoso from the thalassotherapeutic clinic, and the waiter who knows all the news before Pereira himself does. You get a picture of this old conservative set-in-its-ways society, which is on the verge of violent change. It's done marvellously well. And, yes, there is a sort of nostalgia. This is summed up brilliantly by his conversations with his wife's photograph. They were deeply in love, they had no children. She died and now all he has is a photograph, which he takes everywhere with him. When he leaves he takes the photograph, and he puts it in the case face up so that she can see around. You know, it's silly, but people are silly and behave like that. It's a wonderful portrait of a man.
There's also the psychological theory that Dr Cardoso introduces at a certain point…
Yes, the 'many different souls' but with one superego. This is Freudian talk of the time, apart from anything else, but you have to make sure which of your souls is in charge. And, of course, that leads back to Pessoa's heteronyms. Pessoa is referred to in the book several times, because he is such a towering figure in Portuguese literature and culture generally.
This theory is described as a 'confederacy of selves'. One is in charge most of the time but, in extreme circumstances, one of the other selves could take over. There's also a sense in which in the course of the book Pereira develops greater awareness of what he is actually doing. At the beginning he's a bit foggy about what he's doing, and then it comes into focus.
Yes. His position as editor of the culture page, becomes more and more difficult to hold, because his editor is pressing him continually to big up Germany and do down France. Pereira is rather fond of France: he speaks French, he translates these French stories. But again, you can feel that his position as editor of the culture pages is a pretty precarious one, really. They're not interested in culture. Not at all. The job is a kind of sinecure. One feels very deeply for Pereira and what's going to happen to him, what we fear will happen.
But there is a sense in which the choice of translating the French stories becomes a political comment of a subtle kind. He feels that he is making a political statement, even though hardly anybody will recognise it as that.
That's right. And his final act, before he hits the horizon, as it were, is beautifully done. He does something very daring, and he will be punished for it. He's set his cards on the table. He's performed his acte gratuit, taken his step into the darkness. He's committed himself finally. It's an act of great courage and we see that and we applaud him.
Thank you so much for putting me onto that book. I love it too. Maybe we could move on to The Summer Book by Tove Jansson.
Tove Jansson is known to most people as the inventor of the Moomins, the delightfully hippopotamus-like characters who live in the Gulf of Finland on a little island and have various adventures. I first came across them when I was about nine and I fell in love with them immediately. I read all the books, and I've applauded their republishing in recent years in very nice editions by Sort of Books. The Summer Book is a different kind of thing. It's a book for adults, although I don't like making these distinctions between books on the basis of whom they are assumed to be aimed at.
Because I don't like my own books to be listed under this heading or that. The great advantage of publishing His Dark Materials as a children's book was that it wasn't called a fantasy, it was a children's book. If it had been called a fantasy, an adult book, it would have gone straight on to the fantasy shelves, nobody else would have seen it. But because it was a children's book, children read it. They'd say, 'Dad, Mum, I want you to read this so we can talk about it.' So, gradually, it became known among adults as a result of being published as a children's book, rather than by being published as fantasy.
The labelling of books has been a cause of great friction between authors and publishers and retailers and various other people. At some time in the past 20 or so years, there was a moment when the publishers decided it would be a good idea to publish age ranges on books—'this is for 9-13 year olds' or something similar. We the writers almost unanimously rose up in wrath at this because it seemed—seemed to me anyway—like turning away readers at the door. You don't know whether a seven year old might enjoy that enormously. Alternatively, you don't know whether somebody who is coming across it at the age of 14 would also enjoy it enormously, but be put off because it says it's for 9-13 year olds. It seemed like a terrible act, almost suicidal really. You don't want to turn away readers. Welcome them all is my view.
But there are books that seem to be expecting a particular type of reader. And I think The Summer Book expects an adult reader. It could be read with enjoyment by a young child, but the point of view throughout most of the book, although we're focused on Sophie, the little child, is a wise eye that's looking at her. A lot of the time that seems to belong to her grandmother. Sophie and her grandmother and her father live on this little island from time to time in the summer. They've got everything they need there. They've got the house and the boat, and Papa has his work—he seems to be a writer. Sophie and her grandmother spend a lot of time pottering about and playing and building little Venetian lagoons for the ants to go into and that sort of thing. It's very funny and very charming. And you think that's all it is—a sweet little book about a child and her grandmother.
But, actually, it's much more than that, because we can see that the grandmother is not very well. At one point, quite suddenly, she throws up. That's all, it's not gone into. It's not mentioned any more, but there's something about her that's not right. So we can start worrying about grandma and her health. Sophie does too, but in a very childlike, practical way. 'Are you going to die grandma?' that sort of thing. Very matter of fact. And the grandmother answers these questions, but not as an example of a wise granny. She is wise, but she's also tetchy. She smokes too much. She's inclined to go to sleep when people are talking to her.
It's a real little family unit that's described to us here. Jansson does it with such limited means. She's like a composer who writes exclusively for a string quartet and never adds a clarinet or an oboe, or a brass section. It's small. But think what Beethoven did with a string quartet.
The two main characters are also very imaginative. They're very creative and love playing games of make believe.
Yes, they encourage each other, and that is enjoyable to watch as well. Sophie's very interested in little creatures like ants and bugs, and the grandmother is perfectly happy to join in and play. Not with a sense of condescending to the child, not, 'I'll keep her busy while she's doing it', but as if she's enjoying it as well. Maybe this is something that old people are particularly good at if they're good at interacting with children: they join in. This grandmother is—I've never met Tove Jansson—but I imagine she's rather like the Jansson herself. It's funny too. I keep laughing as I read it. They spend a lot of time playing and Sophie gets impatient in the way children do and suddenly screams, 'I hate you!' in the way children do.
It's very realistic about that, about a certain kind of grandparent who likes breaking the rules that a parent has given.
Yes, the figure we don't see much of is Papa, but clearly, they both depend on him because he goes to the mainland and brings fresh water when there's a drought and brings back the petrol and the kerosene and the mail. He does his job.
I saw the child as the young Tove. But, in fact, allegedly, it's based on her niece, and on Tove Jansson's mother. But I'm sure there's a lot of that imaginative child with time on her hands on a Finnish island that is Tove as well.
I'm sure. I would love to have met her. But the only time I went to Finland she was very old. She lived on corned beef and whiskey, which strikes me as a very healthy diet.
The Summer Book is a book that would appeal to people who enjoy the Moomins. Not everybody likes the Moomins—some readers don't quite get it and think they're just silly. The Moomins, and particularly Moomin himself and Moomin Papa, are very easily led into play. One day they find a floating theatre, and instantly, that becomes the focus of all their dreams and excitement. They're also touched by a sort of Nordic melancholy. We mentioned melancholy in Portuguese terms. But in Moominvalley in November, for example, which is one of the Moomin books, there is a sense of the ending of things and everything vanishing away and of things dying. Not dramatically, not vividly or not as something to be lamented and wailed over. It's not about grief and sorrow, but about this being what happens: things vanish and they disappear. Time goes past.
There's a sense of the seasons in all those books—Moomins even hibernate. In The Summer Books storms play an important part.
These little islands in the Gulf of Finland are quite extraordinary. On one occasion I was in a different part of Finland, at some literary festival. After it was over, they took us out in a boat to one of these little islands and we had a big dinner and then a sauna. We all had to go into the sauna. When we came out again, at about one o'clock in the morning, I've never heard such an intense silence. There was nothing. There was the stillness of the summer night, there were pines all around, and a little wave occasionally lapped on the rocks, but the absolute silence was ringing because it was so quiet. They're like nowhere else these islands because you can have this sense of enormous solitude and yet they're full of all sorts of things going on. Ants, fishes and birds. Seen through the eyes of a genius—and I think Tove Jansson was a genius—there's a whole world there.
I particularly like the use of photos in this edition of this book. I haven't been to one of those islands, but I found the images very evocative. There's a lovely photo of an older woman with a young child that captures what is at the heart of the book.
That's right. I think that probably is Sophie, her niece. Tove lived a lot for a long time with her companion, Tuulikki Pietilä. She had a very interesting life. She was the daughter of a sculptor, who was quite well known. She was a young woman during the Second World War—she drew various cartoons of Mussolini and Hitler and people like that. She was really a portrait painter and painter of landscapes. But she started writing too and invented the Moomins. They took off in the 1940s and 1950s. I first came across them in what must have been about 1956 when I was about nine or ten in Battersea Public Library. I didn't know what these things were. Were they hippopotamuses? Were they talking? But you soon become submerged in this world. I fell in love with them, I really did. But there was also a daily cartoon in the Evening News, which I think was either done by Tove, or by her brother Lars. That was going for quite some time. But there's nothing like them. It's a lovely place to be and they're such engaging characters.
I grew up on the Moomins as well. I couldn't help thinking that the father in The Summer Book was like Moominpappa going off to write his memoirs. He's this shadowy figure. You don't really get the male figure developed much. He's just sort of around.
Shall we go on to your fourth choice, which is quite different.
I chose not one book, but a whole series of stories. These are the Jeeves and Wooster stories by P. G. Wodehouse. I first came across these when I was about 16, and my stepfather's parents sent me one of the Jeeves books for Christmas. I'd never heard of him or them, and I didn't know what they were about. I read it because it was a book, and books were fun. I thought it was terrific. Really wonderfully funny. I've gone on thinking that for the subsequent 60 years or so.
Wodehouse wrote hundreds of other things, particularly the Blandings books about Lord Emsworth and his pig, which are almost as good. But what I love about the half-witted Bertie Wooster and his sage and resourceful servant Jeeves is that they have been favourite characters of English readers ever since they first came out well before 1920.
Several things interest me about them. First, there are the characters: the silly master and the clever servant, an old old cliché of comedy writing. We see that in Roman comedy, we see it in Voltaire. There's nothing special about that. It's not particularly brilliant to invent a clever servant. The mastery, the genius, the surprising thing is the character of Bertie Wooster, the narrator of these stories, who is dim witted. He is 'mentally negligible' as Jeeves is overheard to refer to him on more than one occasion, and yet he has the most sparkling, brilliant, funny, lively, effervescent prose style in the whole of English letters. How does Wodehouse do this and yet persuade us that it's true? Bertie is telling the story. What an ass he is, but what a brilliant writer. Extraordinary.
The imagery is just astonishing. "She felt as if she was gathering daisies on the line, and caught the down train in the small of her back." "He spun round with a sort of guilty bound, like an adagio dancer surprised while watering the cat's milk" That sort of thing. The brilliance, the effervescence of this style is something you can't fake. This is why parodies or imitations fall so flat. Nobody's got the genius that he had for seeing things in such ludicrous formulations and putting them together.
"Bertie Wooster has the most sparkling, brilliant, funny, lively, effervescent prose style in the whole of English letters"
So that's one thing, the brilliance of the character of Bertie Wooster. Another thing about Bertie Wooster is that he is the only character that I know of in any form or any story who is entirely good, and yet never boring. We're always pleased to be in Bertie's company, because he's so fun and entertaining. But, unlike most other people whose company we cherish, he hasn't got a vice. There's nothing vicious about Bertie at all. The only moral flaw, if it is one even, would be a certain vanity. He likes wearing his Alpine hat, which was all the rage, wherever it was he was on holiday. Jeeves cures him of that by telling him that the police are looking for a burglar known as Alpine Joe, so Bertie has to put his Alpine hat away. Then there are the old Etonian spats, he can't resist in the windows of the Burlington Arcade, or whatever it might happen to be. But, apart from that, he is the most generous of men, most outstandingly courteous and honourable, even when he finds himself engaged to such frightful women as he inevitably does. He says, 'Well, I better go through with it, because that's the honourable thing to do.' And if Jeeves didn't save him, he would.
Do you have a favourite story?
It's very hard to pick out a favourite because the quality is so consistent. One of the things, apart from what I've already mentioned, that makes them so good and so time-proof is the clockwork precision of the plots. We see Bertie getting himself into predicament after predicament with no idea of how he's going to extract himself. We can't think of a way. Then along comes Jeeves who's worked it all out and, like a puppetmaster, pulls a string and the whole thing comes out wonderfully well. These are not small virtues in a writer. These are great virtues. Of all these virtues the most interesting one to me is the character of Bertie Wooster the half-witted genius. The non-boring good man who writes like an angel and is still a silly ass. How does he do that? How does Wodehouse do that? It's just impossible to conceive.
The other books that we've discussed so far deal with big themes: life, death, courage, and love, but this seems more like superbly crafted entertainment. Would you make a case for this being more than that?
No, I wouldn't. And nor would Wodehouse. He said of himself something to the effect that 'Some writers go right down into the centre of life and so on, but I skate along on the surface. This is just musical comedy, really.' And he was quite right, it is that. But there comes a time when that's exactly what we need. He's doing one half of what Sam Johnson said, 'The only end of writing is to enable the readers better to enjoy life, or better to endure it.' Wodehouse is doing the enjoyment part and doing it incomparably well.
What about your last book choice?
My last choice is a book I stole. This is a copy of the Chambers 20th Century Dictionary. It was on the shelf in the classroom I once taught in, and nobody had ever used it. Nobody ever picked it up, and nobody ever would. So I nicked it. Why I like it? To start with, it's the right size. It fits in my hand. It's a thick book, it's got 1,300 pages, even more. But it's book-sized. If you look at the Concise Oxford Dictionary, it used to be this size, but it's much bigger now.
Which edition have you got? Because the latest Chambers one is actually quite a lot bigger than that one.
This is the new edition with supplement, 1959. That is when this was first published. But it fits. I don't have to use two hands to lift it from the shelf. I keep it right by me, I always have. It's been much repaired as you can see from this edition. And I'll go on repairing it. I like it for all sorts of reasons. These days I can, if I want, go to the Oxford English Dictionary on my laptop and have all the resources of the OED, which I've also got on the shelf, but again, it's too heavy to lift. But this one is a good size—yet it's got every word I've looked up except one I looked up the other day, which wasn't in here. Never mind. It's also got etymologies, which I think are important because I like to know where the words that I use have come from. It's interesting. It's got everything you need in the way of pronunciation guides. There are a lot of Scottish words in here too because it's a Scottish publication and it's traditionally been the Scottish dictionary, I think. For instance, 'Land of the Leal: the home of the blessed after death—Paradise not Scotland'. It's scattered with little jokes like this. 'Éclair: a cake long in shape, but short in duration.'
I wonder if they've been preserved in the modern version of this?
Well, some of them have. Yes. And they've got new jokes as well. I was looking for something else in my new Chambers dictionary when I came across the word 'mullet', defined as 'a hairstyle, short at the front and sides, long at the back and ridiculous all round.'
I'm glad somebody's still having fun as a lexicographer.
I don't think the other dictionaries have done this. Chambers has got a little self-conscious about it now, and started saying, 'Oh, look, aren't we funny, we've got all these jokes in.' But I think they were still a little po-faced when this edition came out, so they didn't advertise them. They just left them around so people would come across them.
There's a very good one under 'pet'. 'Pet: a cherished tame animal' and as a verb 'to indulge in amorous caressing'. And then finally at the at the end there's 'petting party: a gathering for the purpose of caressing as an organised sport.' You wouldn't find that in the Oxford dictionary. And you wouldn't find it in Collins's, but it's there in Chambers's.
What's the point of a dictionary now? As you say, you can check words online. At school, we had to have a dictionary, smaller than that. But I don't think either of my children, who are grown up now, actually possessed a dictionary. I'm absolutely sure they don't have their own dictionaries now.
I used to make quite a thing of the dictionary when I was a teacher, because I was so interested in words and their etymology. In particular, I used to encourage the kids to look things up. When they asked me, 'What does such and such mean?' I'd said, 'Well, let's look it up', and then I'd take the dictionary and show them how to do it. The book, the codex, with the pages bound along one edge that is still, I think, the best way of organising anything really. It's much better than the scroll, which it replaced. Because, if you wanted to go from 'Land of the Leal' to 'petting party', you'd have to unroll about 15 of them. It's just so handy.
Why do I use the OED online? Because it's so much more convenient to do that and because it's also got the historical thesaurus. Have you seen the Oxford historical thesaurus? Fantastic. It must be one of the last great books produced as a printed object. It's a historical thesaurus. If you wanted to know what word they would have used for 'petting' for example, historically, it's got it there. If I were writing historical fiction, I would have that beside me all the time. But why do we need a dictionary? Well, we just do. There are some well-known writers who don't use the dictionary nearly enough.
As a writer you want to be precise about how you use words. But what is the advantage of a physical dictionary?
With a physical dictionary you can always find things you didn't know. This is the value of browsing. I found a word the other day I had never seen before 'facinorous'. I'm just going to look it up to see if it is here. Here we are, 'atrociously wicked'. You wouldn't come across that if you looked online. You only come across it if it's there on the page when you're looking for something else. That's great. This dictionary is a great thing to have. It's just so fascinating. You could spend half an hour on the way to look up a word. I'd never seen the word 'facinorous' before. But now I've got it, I'll use it somewhere. But I won't make up a sentence specifically to use it.
We're going to be looking out for that one. Philip Pullman, thank you for your book recommendations.
Anyway, that's why I love the Chambers Dictionary. Thank you.
Philip Pullman is a British author. On Five Books, his book The Good Man Jesus and the Scoundrel Christ has come in for special attention, but he is the best known for His Dark Materials trilogy, an epic written for young adults. It is also highly recommended on our site. In 2018, Pullman published the first book in another trilogy, a prequel (and sequel) to His Dark Materials, called The Book of Dust. So far two books in that trilogy have been published, La Belle Sauvage, which takes place when Lyra, the heroine, is a baby, and The Secret Commonwealth, which is set during Lyra's student days at Oxford.
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text:
Recent Arrivals: Fiction
The Nickel Boys
Author(s): Colson Whitehead
Fiction - Contemporary
THE NEW NOVEL FROM THE PULITZER PRIZE-WINNING AUTHOR OF THE UNDERGROUND RAILROAD THE NICKEL BOYS is Colson Whitehead's follow-up to the Pulitzer Prize- and National Book Award-winning bestseller THE UNDERGROUND RAILROAD, in which he dramatizes another strand of United States history, this time through the story of two boys sentenced to a stretch in a hellish reform school in Jim-Crow-era Florida. Elwood Curtis has taken the words of Dr Martin Luther King to heart: he is as good as anyone. Abandoned by his parents, brought up by his loving, strict and clearsighted grandmother, Elwood is about to enroll in the local black college. But given the time and the place, one innocent mistake is enough to destroy his future, and so Elwood arrives at The Nickel Academy, which claims to provide 'physical, intellectual and moral training' which will equip its inmates to become 'honorable and honest men'. In reality, the Nickel Academy is a chamber of horrors, where physical, emotional and sexual abuse is rife, where corrupt officials and tradesmen do a brisk trade in supplies intended for the school, and where any boy who resists is likely to disappear 'out back'. Stunned to find himself in this vicious environment, Elwood tries to hold on to Dr King's ringing assertion, 'Throw us in jail, and we will still love you.' But Elwood's fellow inmate and new friend Turner thinks Elwood is naive and worse; the world is crooked, and the only way to survive is to emulate the cruelty and cynicism of their oppressors. The tension between Elwood's idealism and Turner's skepticism leads to a decision which will have decades-long repercussions. Based on the history of a real reform school in Florida that operated for one hundred and eleven years and warped and destroyed the lives of thousands of children, THE NICKEL BOYS is a devastating, driven narrative by a great American novelist whose work is essential to understanding the current reality of the United States.
Publisher : Fleet
Imprint : Sphere
Dimensions : 23.40 cmmm
Author : Colson Whitehead
Bind : TP
Dewey classification : 813/.54
Reading Level : very good


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A Wave From Historic South Central Los Angeles
L.A. as Subject
Zoe Nissen
Souvenir fan from Apex Night Club, 1920s
Souvenir fan from Apex Night Club, 1920s [reverse]
This post is part of a series that shares highlights from the L.A. as Subject Community Histories Digitization Project, made possible by generous support from the National Endowment for the Humanities.
In Depression-era Los Angeles, Central Avenue was an important center of black life and hosted a multitude of jazz clubs. This hand fan is from the Apex nightclub and is believed to have been made in the late 1920s or early '30s. Located right next door to the storied Dunbar Hotel and run by bandleader Curtis Mosby, the Apex was a black-owned club that drew largely white audiences.
Musician Marshal Royal remembers in Central Avenue Sounds: Jazz in Los Angeles that the Apex was "…where the people from Hollywood and Beverly Hills came to go slumming."[1] As advertised on the souvenir fan, the club boasted two shows nightly and hosted artists who achieved great fame, including singer Ivie Anderson, who later performed with Duke Ellington. The Apex closed during the Great Depression and reopened as Club Alabam around 1935.[2]
The fan comes from the Workman and Temple Family Homestead Museum Collection, which holds a wealth of materials tracing the history of mass entertainment in Los Angeles between 1830 and 1930. Items in the collection spotlight popular culture in a number of Los Angeles' Latinx and Asian-American communities along with communities in East Los Angeles and the San Gabriel Valley.
The Workman and Temple Family Homestead Museum, located in the City of Industry, selected 500 objects from their vast collections for public access via the USC Digital Library. The project is made possible by a generous grant from the National Endowment for the Humanities.
[1] Marshal Royal, Central Avenue Sounds: Jazz in Los Angeles, ed. Clora Bryant, Buddy Collette, William Green, Steven Isoardi, Jack Kelson, Horace Tapscott, Gerald Wilson, and Marl Young (Berkeley and Los Angeles: University of California Press, 1998), 32-33.
[2] Andrew "Andy" Blakeny in Peter Vacher, Swingin' on Central Avenue: African American Jazz in Los Angeles (Rowan & Littlefield: Lanham, Maryland, 2015), 23.


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Bochica Compartir o Compartir Bochica es un barrio de UPZ 72 perteneciente la localidad de Engativá al noroccidente de Bogotá y al occidente de su Localidad.

Historia
Construido como una agrupación de conjuntos de vivienda de interés social por parte de la Fundación Compartir en 1999.

También se construyó el Colegio Compartir Bochica, el cual inició en 1999 y fue clausurado en diciembre de 2011.

Geografía
El barrio se divide en 5 conjuntos y cuenta con un parque vecinal.

Barrios vecinos
Al Norte

 Húmedal Jaboque

Al Sur

 Bochica

Al Occidente

 Bolivia

Al Oriente

 Ciudad Bachue

Aspectos socio-económicos
Es un barrio de estrato 3. Las problemáticas ambientales se presentan por su cercanía al Humedal Tibabuyes y el futuro trazado de la ALO Avenida Longitudinal de Occidente y las implicaciones que esta pueda tener en el sector. Cuenta con un parque vecinal.

Referencias

Barrios de Engativá

redpajama_set_name: RedPajamaWikipedia


"naso" is from "nasus" (nose) spoken by ancient people in central Italy around 700 B.C.
A prefix added to the start of a word. Indicates that "nose" modifies the word. Created to expand meanings. Can be used with many words to form new words.
Nasogastric suction involves removing solids, liquids, or gasses from the stomach by inserting a tube through the nose.
The nasofrontal groove becomes distinct and an olfactory bulb (sense of smell) forms in the brain.


How do I get to Shenzhen metro park hotel from Hong Kong airport.
When will you arrive in HKIA? As I know, there are direct cross-border coaches from the airport to your hotel and they are scheduled at 09:10, 13:10, 14:10, 14:55, 17:10, 18:55 and 19:50.
will arrive in the early morning at around 6am. If by coach how long is the travelling time?
The direct bus journey takes around one hour and a half to two hours.
How would you get from Hong Kong to the safari park by metro?
how do i get to ocean park from Park hotel Hong Kong by mtr??
I am staying at Park Hotel. How do I get there from Airport?
How do I take the metro from Shenzhen to Hong Kong?


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Date of Web Publication 19-Jan-2016
Keywords: Double noise exposure, noise-induced hearing loss (NIHL), subway interior noise, volume of mobile program
Yu J, Lee D, Han W. Preferred listening levels of mobile phone programs when considering subway interior noise. Noise Health 2016;18:36-41
Yu J, Lee D, Han W. Preferred listening levels of mobile phone programs when considering subway interior noise. Noise Health [serial online] 2016 [cited 2022 Jan 17];18:36-41. Available from: https://www.noiseandhealth.org/text.asp?2016/18/80/36/174383
It is acknowledged that exposure to loud noise over a long duration can cause noise-induced hearing loss (NIHL). [1] Although workers have suffered from NIHL due to workplace noise in the past, [2] more recently, recreational noise from entertainment sources has been proved to be one of the factors producing NIHL. [3] It has also been widely reported that children and youth who did not have the experience of occupational exposure to noise show NIHL because they may be constantly exposed to noise from home machines and applications, habitual loud music, and high traffic noise. [4],[5] Of all those noise activities, the level of noise exposure from music on a portable listening device shows a high positive correlation to the density of population and degree of urbanization. [6] Indeed, organizations in some countries have recommended criteria for permeable noise exposure level to prevent NIHL in the past. For example, European countries have fixed the maximum volume level of portable listening devices to 100 dBA beginning in 2002. [7] The U.S. Occupational Safety and Health Administration has also regulated laws, indicating that NIHL can occur if people listen to music for 2 h or longer at 100 dBA. [8] Some countries have even recommended the use of portable listening devices for less than 1 h per day at no more than 60% of maximum volume because the higher levels can cause damage to the human auditory system. [9]
As technology has developed, the mobile phone has taken on fancier and more complex functions, including moving picture, games, and sound applications. In South Korea, where the information technology (IT) industry is a world superpower, the marketing of mobile phones has significantly increased year by year and new devices continue to be released with a variety of attractive features. As a result, people there use a wide range of mobile device applications taking full advantage of digital imaging and sound effects. Currently, a majority of Korean people listen to music and watch movies outdoors using the application programs on their mobile phones. The trend is for older as well as younger people to enjoy their phones. A recent study by Kim (2009) found that 60% of 1,480 respondents use their mobile phone programs for 1 h or longer per day and 10.8% of the respondents use them for more than 3 h every day to listen to audio. [10] The Korean government and phone manufacturers voluntarily agreed in 2014 that the maximum volume level of the mobile phone should not exceed 100 dBA when sound files are played. [11]
Nevertheless, despite such positive regulatory interest in sound output levels, a large number of mobile phone users have responded by saying that they usually increase their volume levels in noisy situations, thus ignoring the recommended output limit for sound levels on their phones. [12] Further, most of the research conducted to date has focused on young people listening to music and has not considered the characteristics of users from different age groups who have benefited from the fast penetration of the mobile phone market and the multiple sound features of new application programs available on their devices. Because the previous studies have emphasized only a uniform standard of noise exposure at the level of 100 dBA to the general public, they have failed to provide realistic and practical criteria for users overall. In other words, while many studies have reported that a high volume level on listening devices carries a latent risk of hearing loss, researchers have neither accurately analyzed that volume level nor provided scientific evidence-based precautions to prevent NIHL in users. [13] Indeed, there is a lack of studies on "double noise exposures" such as environmental noise plus recreational noise (i.e., practical volume levels for noisy situations).
As subway noise is of the more common environmental noises, Gershon et al. (2006) measured subway noise levels in New York City, showing that the noise level on subway platforms was about 85.7 dBA, with subway interior noise ranging 84~112 dBA. [14] The authors concluded that subway passengers are at a slight risk for NIHL from exposure to subway noise alone even without any exposure to secondary recreational noise, such as their use of personal listening devices during and after commute. As subway interior noise is caused by concrete-based rail tracks and a tunnel structure, [15] its interior sound pressure level as heard by passengers can be as high as 60~105 dBA in the low frequencies and will vary based on the speed of the subway train. [16] As a result, passengers may have to increase the volume levels on their listening devices to overcome the background noise from the subway interior. [12] When including preferred listening levels as part of an ambient noise environment, [17] it would appear that age, gender, and other sociological characteristics may also contribute to the levels of sound exposure and risk with the use of these devices. [4]
The purpose of the present study was to measure the preferred listening levels of mobile phone programs considering subway interior noise for commuters, while also considering various age groups, mobile application programs, and affecting frequencies. The study hypothesized that younger listeners would prefer high volume levels and that programs with a playback sound function would characterize a listener's habits in terms of using higher or lower volume levels. We also expected that frequency specificity would be indicated.
Seventy-four subjects (37 males and 37 females), who were randomly recruited through posted flyers at community centers, participated in this study, where they were placed in five age groups (ranging from 20s to 60s). The average age of each group was as follows: 23.5 years (std: 1.83) for the 20s group (8 males and 8 females); 33.36 years (std: 3.08) for the 30s group (8 males and 6 females); 45.08 years (std: 3.07) for the 40s group (5 males and 8 females); 53.88 years (std: 2.5) for the 50s group (8 males and 8 females); and 64.80 years (std: 2.43) for the 60s group (8 males and 7 females). All participants reported a negative history of head or neck abnormalities, ear surgery, otologic disease, and/or head trauma. They also passed the normal criteria for hearing screening to ensure an A-type of tympanogram and had normal hearing sensitivity as a function of their age in each ear at 250~8,000 Hz [18] and air-bone gaps no greater than 5 dB hearing level (HL). All participants also signed an informed consent form before the experiment and received $30 for completing the experiment. The experimental procedure was reviewed and approved by the Institutional Review Board of Hallym University (HIRB-2013-039).
To generate subway interior noise, nine different subway lines inside Seoul in Korea (Lines 1~9) were measured and recorded using a sound level meter (Type #2250, Brüel and Kjær, Nærum, Denmark) twice for 2-h periods in the morning and evening during commuting time. The average for this measured subway interior noise was 73.45 dB LAeq (std: 2.57). To learn preferred listening levels for an application program for mobile devices, three of the most popular programs were chosen: Digital multimedia broadcasting (DMB), music, and an online game. Each program had two different kinds of sound characteristics. For example, the DMB program consisted of one typical drama and one entertainment show. One music program was a medley of ballads, while the other was a medley of dance music. To select two online games, we ranked them in order of popularity and picked two of these, while also considering their heterogeneous background sounds [Figure 1].
Figure 1: The laboratory scene for the simulation with 5.1 channel speakers generating subway interior noise (top), a tablet PC, earphones, a two-in-one plug (left bottom), a 2cc coupler, artificial ear, and a sound level meter to measure each subject's preferred volume (right bottom)
Experimental procedures
After completing the hearing screening tests, each subject listened to three application programs in random order for 30 min each using a tablet personal computer (PC) (iPad, Apple Co., Cupertino, CA, USA) and an earphone (model # MDR-E9LP, Sony Co., Tokyo, Japan), while 5.1 channel speakers presented the subway interior noise at 73.45 dB in the same room [[Figure 1], top]. One side of the earphone called an ear bud was connected to the tablet PC, and the other side plug was connected to an analysis system via a two-in-one plug [See left bottom in the [Figure 1]]. The analysis system consisted of a 2cc click-on coupler (Type #4946, Brüel and Kjær, Nærum, Denmark), an artificial ear (Type #4153, Brüel and Kjær, Nærum, Denmark), a sound level meter, and a PC. In sum, each participant's earphone volume level was measured by a sound level meter via the 2cc coupler and the artificial ear [[Figure 2], right bottom]. At the same time, the researcher analyzed the preferred volume for the earphone using computer software (BZ-5503 Measurement partner suite, Brüel and Kjær, Nærum, Denmark), while the volume level was also checked by an inter- and intra-program.
Figure 2: Mean volume levels for LAFmin, LAeq, and LAFmax analyses as a function of three mobile application programs and five different age groups
A repeated measures analysis of variance (ANOVA) was used to confirm the significant mean difference of LAeq (equivalent level of A-weighted decibels), LAFmin (maximum level of fast time and the A-weighted decibels), and LAFmax (minimum level of fast time and A-weighted decibels) measures. At each measure, the subject variable was age (five groups) and gender (male and female), and within each subject, the variable was the mobile application program (three programs) and the number of analyzed frequencies (33 frequencies). When necessary, a Bonferroni correction was used as a multiple comparison post-hoc test. The criterion used for statistical significance was p < 0.05 in this study. Statistical analysis was performed using SPSS software (ver.20, IMB Co., Armonk, NY, USA).
LAeq analysis
ANOVA confirmed a significant main effect of age [F (4, 64) = 3.328, p = .015], demonstrating that the 20s group had a higher volume level (mean = 51.920 dB, std = 1.171) than the 50s group (mean = 46.752 dB, std = 1.171) [See dark-shaded bar graphs in [Figure 2]. There was no significant difference of means between males (mean = 50.281 dB, std = .784) and females (mean = 48.678 dB, std = .775) [F (1, 64) = 2.117, p = .151]. In the mobile application, three programs showed a significant mean difference [F (2, 128) = 162.669, p < .0001]. A Bonferroni post-hoc test showed there was no significant difference between music (mean = 52.816, std = .660) and DMB (mean = 52.387, std = .547) (p = 1.000), but the game volume (mean = 43.235, std = .732) was significantly lower than the music volume and its DMB (p < .0001) [Dark-shaded bar graphs in [Figure 2]. Another main effect was that the frequency showed a significant difference of mean [F (32, 2048) = 12016.264, p < .0001] while having an interaction effect based on age [F (128, 2048) = 1.810, p < .0001] and specific program [F (64, 4096) = 91.925, p < .0001]. A one-third octave, among a total of 33 frequencies, 315Hz (mean = 77.809, std = .607) was the highest intensity, and 12.5Hz (mean = -3.122, std = .518) was the lowest intensity. In particular, the middle frequency regions (i.e., 250~2,000 Hz) showed meaningful age and program effects, which meant that the 20s groups used the highest volume level and their DMB was at a slightly higher level than the music [See the dark solid lines in [Figure 3] in the middle frequency, compared to the very low and/or very high frequencies, respectively [Figure 2] and [Figure 3].
Figure 3: Mean volume levels for LAFmin, LAeq, and LAFmax analyses and three mobile application programs as a function of frequency
LAFmax analysis
In the LAFmax analysis, ANOVA also confirmed a significant main effect of age [F (4, 64) = 3.500, p = .012], program [F (2, 128) = 172.473, p < .0001], and frequency [F (32, 2048) = 5912.966, p < .0001], except there was no gender difference [F (1, 64) = 1.838, p = .180]. As a result of a Bonferroni multiple comparison, the 20s group showed a significantly higher volume level (mean = 70.092 dB, std = 1.169) than did the 60s group (mean = 64.248 dB, std = 1.21) [Slash bar graphs of [Figure 2]. DMB (mean = 71.629 dB, std = .599) was significantly higher than music (mean = 68.202 dB, std = .647) (p < .0001) and game (mean = 60.011 dB, std = .738) was significantly the lowest (p < .0001) [Slash bar graphs on [Figure 2]. In terms of frequency effect, 400 Hz (mean = 93.474 dB, std = .641) was the highest intensity, and 12.5 Hz (mean = 18.039 dB, std = .570) was the lowest intensity [Dashed lines on [Figure 3]. There was no interaction effect.
LAFmin analysis
In the LAFmin analysis, there was no significant difference in mean in the five age groups [F (4, 64) = .892, p = .474]. That is, there was about a 1-dB difference between the 20s group that had the highest volume level at 17.559 dB and the 60s group that had the lowest volume level at 16.453 dB. As in the LAFmax analysis, there was no significant difference in the gender effect [F (1, 64) = .931, p = .338]. However, three mobile application programs did show a significant mean difference [F (2, 128) = 68.919, p < .0001], while DMB (mean = 19.476 dB, std = .390) was significantly higher than music (mean = 16.967 dB, std = .324) (p < .0001), and game (mean = 14.599 dB, std = .297) was significantly the lowest (p < .0001). Frequency effect showed a significant difference [F (32, 2048) = 4052.250, p < .0001], and 315 Hz (mean = 47.988 dB, std = .542) was the highest intensity and 12.5 Hz (mean = -30.941 dB, std = .505) was the lowest intensity. An interaction effect between frequency and the program was also found [F (64, 4096) = 35.517, p < .0001]. DMB showed the highest volume level across all the analyzed frequencies, and music showed a higher level than the game in the middle frequencies, from 63 Hz to 3,000 Hz, while showing a level similar to the game in the very low- and/or very high-frequency regions [Dated lines on [Figure 3].
The purpose of the present study was to measure the preferred volume level for mobile application programs when used along with subway interior noise. The LAeq analysis showed that 1) the 20s group listened to three application programs at significantly 5 dB louder than the 50s group did; 2) DMB and music programs were significantly 9 dB louder than the game, and yet they were not a significant difference; 3) there was a significant difference for the measured 33 frequencies with 315 Hz the highest sound pressure level as 77.81 dBA, whereas 12.5 Hz was the lowest level.
In the LAFmax analysis, 1) the 20s group listened to three application programs significantly 5 dB louder than did the 60s group; 2) the volume level of DMB was significantly 5 dB higher than that for music, which was 8 dB higher than that for the game; 3) 400 Hz and 12.5 Hz were the highest and lowest sound pressure levels, respectively. On the other hand, the results of the LAFmin analysis showed that 1) there was no significant age effect; 2) DMB was at a significantly higher volume level than the music, and music also was at higher volume level than the game. However, the levels of the three programs were not much different statistically; 3) 315 Hz and 12.5 Hz were the highest and lowest sound pressure levels, respectively. The three analyses did not show any interaction and/or gender effects.
In terms of an age effect, the younger age groups were used to listening to louder music, although their hearing sensitivity was generally better than that of the older groups. It is estimated that over 90% of college students own a personal listening device, [19] and 5~10% of these device users regularly listen to music at high levels for periods of time that can put them at risk for NIHL. [4] One of the reasons why this group enjoys listening to loud music is that for them, wearing earphones represents a modern, urban lifestyle and leisure for young people. A second reason is that music or sound stimulated by the earphones of personal listening device changes their emotional state to either one of relaxation and/or excitement, depending on the rhythm. [4] To prevent the development of NIHL, many researchers have suggested that specific public education on appropriate volume levels and exposure time is necessary for the younger generation. In contrast to our expectations, there was no difference in the preferred volume levels between male and female users. The preferred volume level is likely explained by personal characteristics rather than by gender. This finding is further supported by previous results [4],[12]
Of the three application programs, DMB showed the highest preferred volume level. Because partial subtitles were shown as keywords in the entertainment program, we expected that the users did not need a high volume. However, conversations between various characters in a dramatic or an entertainment program needed more concentration, resulting in an increase in the volume level. In a study by Vogel et al. (2008), those participants explained their motives for playing sound at a high volume level. They wanted to increase the volume level to reduce background noise and to hear the sound well. Especially when a favorite song was played or when they wanted to sing along as they listened, they would increase the volume level. [13] That is, their preference and concentration on the program needed a higher volume level for the listener, which also applied to our results of the music program. However, among the kinds of music, there was no significant difference in volume level when the users listened to a medley of ballads and to dance music, according to our data. Interestingly, unlike our early expectations, the mobile game did not need a high volume level when the users played the game, regardless of the presentation of background music. There appeared to be higher dependence on visual effects than on the audio effects.
In terms of consistency of using a frequency, our results showed that the middle frequencies of 100~3,000 Hz needed more energy than did other frequency regions when users listened to programs on their mobile devices. This finding might indicate that sound specificity for a mobile phone usually covers conversation frequency for human communication. [20] Although many movements for upgrading both a quality and the intelligibility of speech in the telephone system might extend bandwidth to high frequency, [21] most systems in use today have frequency range of 300~3,400 Hz, as several researche studies have mentioned.
Overall preferred volume levels were not as high as the indicated volumes in previous studies. Hodgetts et al. (2007) showed that listeners had a mean of preferred listening level for music at 76.0 dBA in quiet, 83.7 dBA in a 70 dBA multitalker babble environment, and 85.4 dBA with 70~80 dBA street noise. [22] Such a discrepancy helps to explain that our preferred volume levels did not need to be as high, because some of the programs in our experiment included video clips with a story. Although our results were well below the noise exposure levels commonly cited as an acceptable risk for hazardous noise exposure, we did consider them as being above the level considered to carry negligible risk. [23] Further, Vogel et al. (2008) pointed out that a plausible explanation for this underestimation might lie in a more gradual development of hearing loss and because most people with mild high-frequency hearing loss are actually unaware of their growing impairment. [13]
In terms of future, needed study, having more subjects participate in a study of detailed experimental design can produce a stronger generalization. In addition, we need to develop a predicting formula for NIHL to prevent it beginning at a younger age. To promote a proper sense of perceived vulnerability, specific information on dangerous decibel levels should be provided users of mobile equipment. This information should also include suitable exposure time. [13] Specific evidence-based and theory-based studies and preferably more longitudinal studies should be conducted on the current mobile phone generation to develop the most effective interventions to prevent NIHL. We expect that such studies will be able to assess useful correlates in greater depth, including the roles of healthcare specialists for monitoring and mobile phone user perceptions of risk-taking, and those future consequences. [13]
Based on age and application program use by mobile phone users, this study presented and analyzed different preferred volume levels along with subway interior noise depending on frequency. Based on these study results and their analyses, we expect that a potential risk to hearing loss for mobile device users is present, and that users should be better informed about that risk. We suggest continued study into this issue to predict more precise environmental noise accumulation levels based on individual listening habits for different ages.
We are grateful to our subjects for their voluntary participant and their time consuming with this experiment. Preliminary data of this work was presented at the American Academy of Audiology, Audiology Now 2014 (Orlando, FL) in 2014. This research was completed while being supported by National Research Foundation of Korea (NRF-2013R1A1A1058281; NRF-2014R1A1A1003132).
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HomeCALGARYVolunteers hope to recycle discarded Calgary street banners
Volunteers hope to recycle discarded Calgary street banners
Banners' durable fabric has been made into reusable bags in other cities
April 4, 2019 Alex Hamilton CALGARY 0
Volunteers with the group Boomerang Bags YYC, which makes tote bags from donated fabrics. They are hoping to use discarded Calgary street banners next, inspired by a similar project in Vancouver. (Facebook)
Ever wonder what happens to those special Calgary street banners once they are taken down? A group of local Calgary women are looking to save them from the landfill by recycling them into tote bags or other reusable products.
Wendy Lees is helping lead the project. She said its purpose is twofold: to promote sustainability by reusing the single-use banners, and to promote "social enterprise" by providing employment skills while also tackling a social problem.
Lees was inspired by a non-profit in Vancouver, B.C. called Common Thread, which recycled commemorative signs from events such as the 2010 Winter Olympics. Common Thread's signature product is its "banner bags" – tote, lunch and messenger bags made from old banners.
Many of these "banner bags" are donated from other cities, according to Common Thread director Melanie Conn.
Lees found out Calgary's banners go in the landfill.
"When I was out wandering in my neighbourhood of Lakeview, I saw the banners and thought, well, I wonder what we're doing with them. So that prompted a call to 311," said Lees.
When she learned they would go in the garbage, she told the City of Calgary's Parks department she was interested in reusing the valuable material.
"That's fairly heavy-duty nylon. Those banners have been out in the elements for two years, so they're quite strong," said Lees.
Although her project is in its early planning stages, she is happy with the response she has gotten from the City.
"All the banners are stored right now. It's looking like they will be available for use, but there's a few more channels that they need to go through to make sure they could just hand them over to us," said Lees.
"It's looking really positive that they will be able to – at least at this stage – let us have them and do good things with them."
Wendy Lees is looking to rescue city street banners like this one and recycle them into bags or other products. (Wendy Lees)
One of Lees' potential partners is Boomerang Bags YYC, a two-woman operation making tote bags from donated fabrics such as sheets or curtains. Boomerang Bags is an Australia-based organization with 860 chapters across the world. According to their website, they have made over 205,000 bags and removed 62,000 kg of waste from landfills worldwide.
Loretta Gotmy, one of the two women with Boomerang Bags YYC, explained that once a month, women get together with the group to volunteer their time sewing the bags.
"Eventually, the hope is for us to get them into farmers' markets, or to inspire others to also help creating these bags," said Gotmy.
"From the bottom up, we're just trying to help with the plastic problem."
Gotmy said that adding old banners to their fabrics would be a unique way to preserve Calgary history.
"With the 150 (banner), it has a little bit of history.
"All of our bags right now, they're all unique, all the different fabrics, it's all very unique. So just to make them out of the banners, would just be a cool Calgary thing to do."
Gotmy said that her small group was one of a few others in Calgary looking to promote sustainability and reduce single-use plastics, including Ban the Bag YYC and Plastic-Free YYC.
But under Lees' definition of social enterprise – taking business principles and applying them to social problems – there is another potential purpose: helping disadvantaged women gain employment.
"We may want to hook up with a social services organization; Calgary Immigrant Women's Association sounds interested," said Lees.
"Maybe lots of them know how to sew, but it might help some learn sewing skills, and they they might be able to market these items, they might learn marketing skills."
Conn said that Common Thread started with a similar goal, without specifically looking at banners.
Then, the City of Vancouver came to their group before the 2010 Olympics, and they secured a contract to recycle the banners.
"We suddenly realized there are a gazillion banners, not only in Vancouver but everywhere, so that became the focus of what we did," said Conn.
"We had a lot of luck; some great things happened in the beginning. One was, we got a corner to work in of the Flag Shop headquarters in Vancouver, which is relevant to you because they have a store in Calgary."
Lees was careful to note she was trying to work constructively with the City of Calgary, and praised their cooperation so far.
"It's important to have them buy into this and not kind of shame them, you know, for dumping them into the landfill," said Lees.
"There's a lot of things you could probably do if we were more people," said Gotmy.
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Does anyone have any Ideas on where to get large butterfly backs for post earrings? With the price of gold lately they are outrageously expensive from a jeweler. I really don't want disk backs for my diamond studs. I don't care if aren't real gold. I lost one and have been desperately been trying to replace it.
There are a lot of online stores where you will easily find the desired earrings and that too at reasonable rates.
Thanks MV, just ordered a bunch!!!!


This essay is very similar to the AP Language and Composition rhetorical analysis prompt. My teacher urged us to write an outline before writing our rhetorical analysis essay, and it makes a huge difference! While it may seem like it is too time-consuming, outlining allows for a quicker, more organized and concise essay!


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I Hate the Lake District
From Goldsmiths Press / Unidentified Fictional Objects
By Charlie Gere
An alternative view of the North West of England that delves into its stranger past.
Distributed for Goldsmiths Press
I Hate the Lake District offers a different vision of the rural environment from those found in much contemporary nature writing. Based on the author's trips around North West England, the book engages with nuclear power and nuclear war, slavery, imperialism, ghosts, love, God, cockroaches, and the sheer violence and contingency of "nature" itself—of which the human presence is merely a part. Each chapter starts with an account of a visit to a place in this remote part of England, the deep north, but digresses and wanders through multifarious themes and subjects.
Among the sites Gere visits are the defunct nuclear power station at Sellafield, home of all British nuclear waste; Lake Coniston, where Donald Campbell died trying to break the water speed record; Hadrian's Wall, furthermost reach of the Roman Empire; the mysterious and deathly Morecambe Bay; sites of slavery in the North West; places where UFOs have been sighted, avant-garde artists created work, and Islamic terrorists trained; shantytowns where the navvies who built the railways lived with their families; and even the remains of Blobbyland in Morecambe.
In I Hate the Lake District, Gere challenges the bourgeois pastoralism of popular nature writing and reveals the landscape of North West England as profoundly unnatural and strange.
$15.95 T | £12.99 ISBN: 9781912685110 190 pp. | 5 in x 8.8125 in October 2019
Charlie Gere
Charlie Gere is Professor of Media Theory and History in the Lancaster Institute for Contemporary Arts, Lancaster University. He is the author of Digital Culture; Art, Time and Technology; and Unnatural Theology: Religion, Art, and Media after the Death of God.
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How To Delete Myfonts Account :- Myfonts is an online font distribution website that let its users to download the font at some price point. The website lets its users to create and edit account information, browse through list of fonts, purchase the fonts one by one or in full pack. We have received some mails from our website readers that they want to delete their account from Myfonts website. When we studied about this topic we discovered that many users who are deleting their account from the website are receiving mail from the company which is making their inbox look spammed while other members says that they are currently downloading fonts from other resources and some say that they are not doing to work of designing so not need the account anymore.
If you are deleting your account just because of their newsletter or mail you can either mark the mail as spam by clicking on spam button given at top of your mail button or unsubscribe the mail by clicking unsubscribe link given at the bottom of the mail. If your reasons are other then i will guide you step by step method on how to delete your account from Myfonts Website.
Myfonts website was launched in September 1999 and currently it is one of the best online website to download premium fonts that can be accessed worldwide. As per source currently there are more than 7.9 million users accessing the website on monthly basis.
Go to the following url "https://www.myfonts.com/my/settings/" and sign-in to your account.
Once you sign-in to your account you will redirected to SETTINGS page.
Scroll down to bottom of settings page and click on button DELETE YOUR MYFONTS ACCOUNT.
Once you click on delete your myfonts account button a message has been pop-up regarding the confirmation to delete your account click on button YES, DELETE MY ACCOUNT to permanently delete your account.
Open your email account that is registered with happier.
On Subject Type "REQUEST TO DELETE MY ACCOUNT".
Now write an email regarding deleting your account sample given here and click on send button.
For more information on How to Delete Myfonts Account stay updated to this website.
If you are owner or associate of a company and want to change, edit or delete content on this website just mail me to blaze_mann@yahoo.com otherwise i will not be held responsible for any kind of loss in money you give to anybody to remove or correct content on this website.