British Go Journal No. 66. November 1985 Page 6.
* Matthew in fact finished above Pierre Colmez, beating him in a play-off.
Bar-tailed godwits flew south early this year, or so I discovered at the European Championship, the site of Terschelling, a Dutch Island, was ideal for bird watchers and Go players alike.
Our journey started late on a Friday night with a drive to Dover, The ferry crossing was spent discussing Go problems, and then it was a drive up through Belgium and Holland to spend a quiet couple of hours on the quay at Harlingen (still discussing Go problems) before catching the fast BGAt to the island.
We managed to dodge the first of many downpours and booked in at the hotel, before going to the opening ceremony. At this two self-styled jazz musicians played a composition called "Go", in which one hit random keys on a piano, while the other hit most of the furniture and the wall with drum sticks.
After this the first of many games In casual handicap tournaments was played, before adjourning into the drinks tent for the first of many glasses of froth posing as beer.
Sunday morning saw the first round. Three hours plus one minute byo-yomi if you are good - less if you are a weakie - a break for lunch with a sealed move, and more froth from the beer tent to help the day along.
Monday and Tuesday, and by now it was clear that, as expected, Dutchman Schlemper was going to be the man to beat, having 3/3, including a win over Matthew. The lightning tournament was held in the evening over these two days and won by Jean Michel, 4-dan from France. Even Matthew was knocked out early on as the scene was dominated by the French and Dutch.
Wednesday was the first free day, and Jim Clare and I set off across the island on a pair of bicycles until the road ran out. Dutch bikes are built like tanks, have no gears, and back-pedal brakes, which makes them difficult to handle on hills - yes Holland does have a few. Matthew turned up on his proper bike (on which he had cycled all the way from London) and invited us to join him on a walk past the 'Boschplat' Nature Reserve to see the birds.
Amazingly, the sun was shining brightly as we walked barefoot along the water's edge, watching the bar-tailed godwlts returning from Siberia. Ten kilometers later and we spotted a Jacksnipe - and some Go players enjoying the weather. On the way back to the bikes we encountered more birds, Go players, and Cas Muller (venerable Dutch 5 dan), while sampling the Dutch gastronomic speciality of sour milk. Jim and I adjourned to the beach for a quick swim, and then it was back for the European Go Federation's AGM. This was lively affair, which showed that Jan van Frankenhuisen is good with the Japanese, but bad at chairing meetings.
The main surprise was that the Germans wanted the 1988 European (which they are hosting) run like the World Cup, and not a Macmahon system (see Matthew's report for details). The Yugoslavs could not be bothered to attend, and so the 1989 location is in doubt, though Budapest is all set for next year, and Grenoble in 1987 will probably happen too. Eventually the meeting ended at midnight with no accounts, three new member countries and a new schools representative.
Thursday and Friday. A return to wet weather, but also the onset of a strange affliction among the English - everyone turned a funny pink colour.
The team tournament was won by 'Bosche Reunited'. Schlemper continued his seemingly inexorable progress, and Pierre Colmez (French 4 dan) turned up in bandages, having been knocked off his bike by a delinquent dog belonging to Christophe Ribbes.
Matthew did not play in the 5-round weekend tournament, but Schlemper did and won hands down (although Paul Margets and Brian Chandler won 4/5). A few extra Brits turned up, boosting the number to 25.
The second week saw the last four rounds of the main tournament, the 13 x 13 tournament, in which Jim Clare came second, and more rain. As the week wore on, the early sunburn wore off, and Schlemper won even more games. On the Wednesday night there was a second EGF meeting at which the German World Cup system was thrown out and a compromise Swiss system was adopted. Several discussion forums were initiated on topics such as Go theory, computer Go, and schools. Unfortunately Allan Scarff was not able to demonstrate his MicroGo2 program.
The last day (Friday). Matthew dropped another game to Andr Moussa, and so had to beat Pierre Colmez in a play-off for second place before cycling off to Taiwan.
After the evening's prize-giving (at which Andrew Grant and Alistair Thompson Joined the roll of honour for 6/9) there was a team game between, on the one (?) hand, Japanese professional Mr. Nakayama, Colmez and Moussa, and on the other, Schlemper, Frank Jannsen and Miss Guo from China. This proved good value, with a victory of 1/2 point for the Dutch.
I had a final game of liar dice with Louise Bremner and Richard Hunter en visite from Tokyo. Finally, Saturday saw packed bags and many farewells to our Dutch hosts. The European is a good holiday - and good Go playing as well - so see you all in Budapest!


Be honest. When was the last time you saw an ad for insurance that really hit home? Have you ever been moved by all that fine print? Yawn.
That's why when it came to working with Manulife and CAA (who've covered Canadians with health, dental, and life insurance for 20 years), we knew we needed to do things differently.
So, we went with "purposeful jank." Think deliberate shaky cam, vertically shot videos, black side bars, and a cliffhanger to keep viewers engaged.


Co-published by Families and Work Institute and The Society for Human Resource Management (SHRM). This guide contains 352 profiles from the 2012 Sloan Award winners. The introduction, written by FWI President, Ellen Galinsky, and SHRM CEO, Hank Jackson, lays out the top trends in workplace flexibility today.
This entry was posted in Resources for Caregivers, Moms and Dads, Work and Life, Work Life, Productivity, Wellness & Retention, Workplace & Worklife. Bookmark the permalink.


Price of wellbutrin xl cheap viagra/ kamagra from the u.k kamagra cheapest online wellbutrin price walmart where can i buy cheap kamagra. Wellbutrin cost walmart price for generic wellbutrin wellbutrin xl vs sr price cheapest kamagra oral jelly online wellbutrin name brand price kamagracheaper. Kamagra uk cheapest cheap generic kamagra online wellbutrin cost vs bupropion kamagra cheaper index buy pariet 20mg cheap kamagra buy uk. Cheap kamagra next day price for wellbutrin at walmart kamagra pills amazon atrovent nasal spray buy wellbutrin generic cost cvs wellbutrin prices at walmart. Generic seroquel cost without insurance kamagra jelly cheapest dipyridamole generic price wellbutrin cost canada wellbutrin monthly cost. Wellbutrin price with insurance kamagra 100mg pills cheap kamagra tablets kamagra cheapest uk cheap kamagra next day delivery uk cheap kamagra uk next day delivery. Seroquel generic costs buy proscar 5mg online wellbutrin xl 150 mg price wellbutrin brand name cost buy kamagra tablets uk wellbutrin xl cost without insurance. Wellbutrin price south africa cheap kamagra from india cheap kamagra oral jelly uk price of generic wellbutrin at walmart cheapest kamagra tablets. buy super kamagra australia cheap generic kamagra uk Over the counter viagra substitute australia buy proscar online europe buy cheapest kamagra uk wellbutrin price wellbutrin cost in canada. Kamagra cheap uk wellbutrin price at walmart wellbutrin 200 mg price cost of wellbutrin xl at walmart kamagra cheapest. Kamagra gold 100mg info price of generic wellbutrin kamagra gold green 100mg wellbutrin price comparison wellbutrin xl cost cheap generic viagra co uk kamagra oral jelly 100mg. How much does wellbutrin cost at walgreens wellbutrin street price wellbutrin 200 mg price wellbutrin sr price cvs price of wellbutrin xl 300 mg. Wellbutrin cost assistance price of wellbutrin xl without insurance Buy strattera online australia wellbutrin generic cost walmart. Seroquel xr generic price wellbutrin cost no insurance wellbutrin xl cost target wellbutrin best price get proscar prescription online kamagra gold 100mg. Wellbutrin 150 mg cost wellbutrin brand price what does wellbutrin sr cost cheap kamagra oral jelly australia wellbutrin xl 300 cost. Wellbutrin xl vs sr cost wellbutrin sr retail price.
Remeron and klonopin for sleep cafergot generico mexico remeron for anxiety panic maxalt coupons online kamagra oral jelly 7 pack remeron dose for cats. Remeron 30 mg for depression discount card cymbalta cymbalta discount price kamagra oral jelly review forum remeron for anxiety and panic attacks. Precio del orlistat generico en mexico dose of remeron for sleep cafergot generic availability remeron for anxiety reviews remeron for anxiety in elderly. Is suprax generic lilly discount card for cymbalta kamagra oral jelly kaufen deutschland can remeron be used for anxiety suprax generic name. Remeron great for anxiety cheap maxalt mlt online cymbalta discount card 2015 buy maxalt online uk lilly cymbalta discounts cymbalta discount card 2013. Kamagra 100mg oral jelly g�nstig kaufen cafergot generic generic maxalt online remeron dosage for ptsd Kamagra 80 Pills 100mg $321 - $4.01 Per pill. Generic name of suprax kamagra effervescent dosage where to buy kamagra oral jelly in australia cymbalta discount prices low dose remeron for anxiety. Kamagra 100mg oral jelly single dose discount coupon for cymbalta buy kamagra oral jelly canada generic of suprax orlistat generico en mexico. Discount card on cymbalta remeron for anxiety and depression remeron dosages for sleep Azithromycin buy online uk remeron user reviews for anxiety. Remeron for appetite dose 3.75 mg remeron for sleep remeron dosage for appetite stimulation remeron for sleep dose cymbalta discount cares lilly. Nombre generico de orlistat en mexico cuanto cuesta orlistat generico mexico remeron doses for sleep kamagra 5mg oral jelly. Kamagra oral jelly usa donde puedo comprar orlistat generico en mexico kamagra oral jelly koriscenje cymbalta discount card. Effexor and remeron for anxiety buy kamagra online canada remeron best dose for sleep generic brand for suprax. Suprax 400 mg generic kamagra oral jelly kaufen per paypal orlistat mexico generico kamagra oral jelly vs tablets cymbalta discount coupon 2013. Eli lilly cymbalta discount card remeron used for anxiety price for remeron buy kamagra 100mg oral jelly uk suprax generic. Que es kamagra oral jelly generic suprax suspension kamagra 100mg online cymbalta discount vouchers cafergot generic name discount on cymbalta remeron 45 mg for sleep. Low dose remeron for insomnia suprax generic cefixime.
Metformin brand name in pakistan ativan vs xanax sleep toradol 10mg street price Levitra online buying generic vs brand name ativan kamagra tablets paypal. Ativan dosage vs xanax ativan vs xanax addiction ativan vs xanax breastfeeding cheapest kamagra tablets toradol retail price metformin brand name canada. Pediatric dosage for decadron emsam patch coupons toradol 10mg price ativan vs zoloft kamagracheaper uk where can i buy cheap kamagra. Cheap kamagra.com ativan vs klonopin high metformin brand name generic name decadron for migraine headaches ativan vs xanax anxiety. Ativan vs klonopin strength ativan vs xanax depression most retinol otc cost of toradol indian kamagra tablets ativan vs xanax for sleep decadron for cluster headaches. Sildenafil citrate tablets ip kamagra kamagra 100mg tablets uk 2mg ativan vs 10mg valium kamagra 100mg soft tabs chewable tablets kamagra cheapest. Otc retinol uk toradol cost without insurance ativan 1mg vs valium 10mg cheapest kamagra tablets toradol 10mg price dose of decadron for nausea. Ativan 1 mg vs xanax 2mg ativan vs xanax 2013 ativan .5 mg vs xanax lorazepam generic vs ativan ativan 1 mg vs valium 5mg. Retinol otc best decadron dose for sore throat metformin brand name uk ativan vs klonopin vs valium vs xanax retinoid or otc retinol decadron for croup dose. Metformin brand names decadron for croup dosage kamagra cheapest online metformin brand names in india pediatric decadron dose for croup. Kamagracheaper female viagra kamagra tablets buy super kamagra uk Natural viagra in australia ativan vs xanax for anxiety ativan vs klonopin drug test. Kamagra cheap generic kamagra sildenafil citrate tablets toradol 60 mg cost cheap viagra kamagra uk emsam coupon. Kamagra sildenafil citrate tablets 100mg retinol otc toradol 10mg street price ativan vs xanax in elderly best otc retinol 2013 cheap kamagra oral jelly australia. Decadron dose for croup ativan vs xanax reviews cheap kamagra 50mg ativan vs xanax high retinoid otc creams kamagra cheaper coupon toradol nasal spray cost. Highest retinol otc online degree programs for pharmacy decadron for nausea dosage otc retinol vs. prescription decadron im dosage for poison ivy.
Tetracycline hcl price Buy viagra online overnight delivery what other fertility drugs besides clomid tetracycline cost uk cymbalta used for weight loss. Cymbalta wellbutrin weight loss kamagra oral jelly directions for use cymbalta 60 mg any weight loss toradol generic. Kamagra pills for sale tetracycline philippine price toradol generic cost tetracycline eye ointment price dosage for kamagra. Price for tetracycline price of tetracycline kamagra soft tabs chewable tablets tetracycline price uk cymbalta and weight loss depression tetracycline price sigma. Tetracycline price in pakistan over the counter drug similar to clomid tetracycline eye ointment price kamagra 100mg soft tabs chewable tablets can cymbalta be used for weight loss. Clomid fertility drugs cymbalta duloxetine weight loss kamagra 100mg soft tabs chewable tablets clomid drug schedule can cymbalta help with weight loss. Average weight loss on cymbalta weight loss after quitting cymbalta kamagra 100mg chewable tablet does cymbalta cause weight loss. Tegretol online pharmacy fertil plus tablete clomid fertility drug cost kamagra oral jelly for sale uk kamagra oral jelly for sale in uk kamagra oral jelly for sale in usa. Clomid ncaa drug test cymbalta weight loss gain tetracycline hydrochloride price tetracycline price which is better for weight loss wellbutrin or cymbalta. Kamagra oral jelly for sale in usa cymbalta does it cause weight loss weight loss after coming off cymbalta discount code for pharmacy online 365. Post cymbalta weight loss clomid wonder drug does cymbalta help with weight loss tetracycline price walmart tetracycline price without insurance. Garden fertilizer tablets buy tegretol retard online cymbalta with wellbutrin weight loss cost of tetracycline at walmart cymbalta weight loss stories. Kamagra oral jelly for sale uk clomid fertility drug reviews tetracycline philippine price fertil up tablete. Tetracycline price fixing tetracycline price increase kamagra oral jelly for sale kamagra oral jelly for sale in durban. Tetracycline price without insurance kamagra oral jelly directions for use fertiliser tablets clomid drug test cymbalta and weight loss medication. Tetracycline antibiotics cost does taking cymbalta cause weight loss weight loss taking cymbalta tetracycline acne price.


text:
Old Growth Trees
In this activity, students examine the size and structure of an old growth tree.
Forests are very important for wildlife and humans.
Trees are the lungs of our earth and keep our air fresh—they recycle the carbon dioxide that we breathe out, using it to grow and producing oxygen. The bigger the tree, the more carbon dioxide it removes from the atmosphere and stores in its tissues as it grows. Believe it or not, in one year a single tree can absorb the amount of carbon dioxide produced by a car driven 41,600 kilometres.
Trees also lower air temperature by evaporating water into their leaves. They act as sound barriers against noise pollution, stabilize soil to prevent erosion, and reduce our heating and cooling costs and energy use with their shelter and shade.
A single tree can be the home or habitat for a variety of wildlife, from fungi to insects, from birds to animals. An older and larger tree can be a home for even more creatures, both during its lifespan, and after, as a wildlife tree or standing deadfall.
The Coastal Temperate Rainforest of BC contains trees that are several hundreds of years old and can grow up to 5 metres or more in diameter. These trees make up our old growth forests.
Every year in the growing cycle, a tree adds another ring of growth and slowly expands in diameter. As a tree grows, it adds a light ring of new growth to its trunk during the spring and early summer, when growing quickly, and a thinner, dark ring in the fall, when growth is slower. Scarring on tree rings can even tell the history of fires that burned through a forest.
Scientists can measure the age of a tree by counting all of the rings, starting at the centre and making their way out towards the bark. Because climate affects the amount a tree grows and the thickness of the rings, scientists use tree rings to learn about past climate.
The science of tree rings is called dendrochronology. The use of tree ring records to decode Earth's climate history is called dendroclimatology.
Describe the characteristics of old growth trees.
Describe what tree ring observation can tell us about the tree and the past.
1 Class of Students!
Have you ever seen a tree as big as the one you made?
Ask a student to stand in the middle of an open space and be the sapling or young tree.
Form a ring of 2–3 students holding hands and standing around the sapling.
Add as many of these rings of students as possible. Each ring of students added represents a growth year for that tree. The outer ring of students represents the bark on the outside of a tree trunk.
Ask six students to stand in a circle holding hands. As a group, imagine that the diameter of a giant old growth tree is the same size as the circle made by the students holding hands. Explain that the circle that they have made is the size of some of the tree trunks in temperate rainforests.
Research different temperate rainforest tree species to determine the diameter. Which tree grows the biggest? Which tree grows the tallest?
Explore how the width of individual tree rings correspond to how good the growing season.
Explore how the width of individual tree rings correspond to how good the growing season was—a thicker ring means there was more water and nutrients that year, so the tree was able to grow more than in a year with a thinner ring.
was—a thicker ring means there was more water and nutrients that year, so the tree was able to grow more than in a year with a thinner ring.
The Tree Ring Lab at the University of British Columbia is devoted to this kind of research.
Write a list of the ways forests need people, and people need forests. Start with the following categories:
The Tree Ring Lab at UBC
The Tree Ring Lab at UBC | Coastal British Columbia Projects
UCAR Science Education | Dendrochronology
Canadian Wildlife Federation | Creating Wildlife Habitat: For Educators
Ontario Ministry of Natural Resources | Wildlife Trees
Coastal Temperate Rainforests
When we think of rainforests, we think of broad-leafed plants and animals like monkeys, giant snakes and brightly-coloured frogs. We…

redpajama_set_name: RedPajamaCommonCrawl


A series which re-evaluated some of the ideas about modern art.
1. Art and The CIA - Exposed the role of the CIA in promoting the American abstract expressions such as Jackson Pollock after the war.
2. A Clean White World - Showed how an obsession with hygiene and cleanliness that pervaded the Bauhaus and modernist architects had its roots in the fllth and horrors of the First World War.
3. Sleeping With the Enemy - Reviews the roles played by the great painters of France after their country was occupied in 1940 - those who colloborated, those who stood firm.
4. Is There Anyone Out There? - An exploration of the extra-ordinary fascination the early Modernists such as Piet Mondrian and Kandinsky with the paranormal and the spiritualists.


Case Study Restaurant Customer Surveys.
By partnering with BARE, this national restaurant company was able to gather valuable information regarding exactly what its customers found important, and then channeled that feedback into the quantitative measurement of service and brand standards.
Read the Case Study below, or download the PDF version to the right.
A national restaurant company, with multiple brands, was receiving mixed information from their direct customer satisfaction surveys. Overall, satisfaction had declined, but the trend lines were not closely matching the mystery shop program results. The "Voice of Customer" (VOC) experience index and the mystery customer results showed serious gaps in Key Performance Indicators that included timing, service, and food quality.
After analyzing the client's current program, BARE designed a 360° method of handling direct customer feedback data results and mystery shop questionnaire design. First, BARE configured the customer feedback voice recordings and web survey to allow for deeper drill down into any issues; including a recorded customer comment area, direct notification to management of customer issue, and validation of customer through unique receipt number. BARE set up a specific call team to contact those customers indicating they would like to speak further regarding their experience. This allowed BARE interviewers to uncover the "real" issues and help identify what truly mattered to customers.
This information was then used to design a better mystery shop program around the specific attributes and behaviors identified as important to customers. Once mystery shops were better aligned, the client could use the results to improve standards and training effectiveness. Every 90 days, a new round of customers would be sampled to ensure the continued match of customer expectations to brand and service standards.
By partnering with BARE, this national restaurant company was able to gather valuable information regarding exactly what its customers found important, and then channeled that feedback into the quantitative measurement of service and brand standards. By continuing to use the 360° methodology, the client is now able to focus on what customers expect and how that differs from their experience.
Employees are trained and evaluated on standards that drive customer satisfaction. The overall customer perception of employee professionalism, service levels, and food quality continues to show improvement. BARE helped this client establish a service standards program that created a positive and upbeat atmosphere in the restaurants with a new employee rewards plan based on the VOC and Mystery Shop results. Customer Satisfaction ratings continue to improve across all locations.


text:
The Illness' Mirage on CD
"Hey everybody. After six years my beloved rock'n'rollers and I are taking an indefinite leave from the band."
I received this group email from Josh Viers of for The Illness about two weeks after he sent me his band's latest release, the 5-song EP Mirage. John and I had been trading emails for a few weeks--he once again wanted to thank me for the positive review on their last album, A Monument to Our Gilded Age, back in 2012. He wanted to check in and see if I was interested in reviewing their new EP, and of course I said yes. I really enjoyed Monument, going as far as saying: "The way the Illness can root around every metal cliche that's ever been passed out and whip up something novel and interesting with the resulting pile--well, that's just not that easy to do these days."
So it's sad to see this SF prog metal band call it quits, even if it winds up being temporary--these five new songs are more focused, more consistent and more confident than anything they've done before. Perhaps it's because this is a smaller chunk of music, and it's easier to wrap it up in a big bow, but Mirage sounds as if the band, after being together for six years, finally hunkered down and agreed that "we're gonna start doing it like this now." Since my only minor quibble with Monument was its enormously ambitious sound, you may see what I mean about Mirage being a big step in the right direction when it comes to making all the pieces fit together.
I feel bad for putting it like that, as if The Illness made some terrible mistake by quitting now, just when things were going to break for them. It's just that each of these five songs are so strong. "Lion's Share," the opener, starts off with a '70s horror metal groove that pays tribute to Alice Cooper before succumbing to a fretboard-fest that may or may not remind you of a little old-school Van Halen. "Winter" reminds me a little of Alice in Chains covering Tool, with its despairing harmonies mated with precise, fearsome musicianship. I like the way these five guys can step back and let the music breathe in the softer passages in "Violence" and "Cut This Rope." (This is where the band's subtle jazz influences come to the forefront.) The exuberant finale, "Vitriol," even throws in huge dripping sections of authentic hardcore '80s punk.
It's almost as if the band is answering all those horrific interview questions about their musical influences by putting it all out there as a final statement. This is who we are, basically. Listen to these five songs and you might get a decent idea of what we wanted to do. The only thing missing is a few more songs, guys.
You can download these five songs at https://itunes.apple.com/us/album/mirage-ep/id879859508 for just $4.95.
Labels: josh viers the illness, the illness, the illness a monument to our gilded age, the illness mirage, the vinyl anachronist
Here's How I'd Spend $500 on a New Turntable...
I checked out the Vinyl Nirvana site this morning and found this beautiful Dual 1019 for just $475. Not every old Dual sounds magical, but this is one of the three Duals, all idler-drives, that do--the other two being the 1219 and the 1229. It's been decades since I've seen one this perfect--just look at that plinth!
The 1019 can also serve as a great 78rpm or mono deck when you choose the right cartridge. For stereo playback, I'd choose an Ortofon first unless you can find a Shure V-15, any generation, in perfect condition. (That's getting close to impossible in 2014.) I used a V-15 Type III on my Dual 510 back in the '70s, and it was my first taste of great audio.
Seriously, if you're looking for a great turntable for under $500, this is a very cool choice.
Labels: david archambault vinyl nirvana, dual 1019 turntable, dual idler-drive turntable, the vinyl anachronist, vinyl nirvana restored turntables
Beck's Morning Phase on LP
Beck's Sea Change, released back in 2002, is one of those albums where I have a history with it, I can't imagine life without it and yet it's really difficult to sit down and listen to it at this, a positive point in my life. Sure, this was the album where I realized that Beck wasn't the ultra-hip prankster I thought he was, and I declared myself a fan. He was a real human being with real emotions and I really needed some of that substance twelve years ago, when I was experiencing a fairly turbulent time in my life. But a few years ago Mobile Fidelity Sound Labs came out with a re-mastered version of Sea Change and I kept putting off its purchase because I wasn't sure if I wanted to revisit that more shadowy state of mind. Despite these mixed feelings, I really wanted to hear it again because it's a really amazing album, easily my favorite from Mr. Hansen.
So last year I finally purchased the MFSL CD at a trade show. I headed back down the hall to my exhibitor room and immediately played it. Surprise, surprise. When life's going well, Sea Change isn't a downer at all. It's intense and angry and beautiful and playful and dreamy. In fact, nearly every cut puts one of those "oh yeah, this song" smiles on my face. So when I heard that Beck was putting out a "companion piece" in 2014, I wondered if it would have the same initial impact of its predecessor, or would it lack that extra layer of context.
Well, it's taken a few listens but I think Morning Phase comes close to equaling Sea Change and over time it could even surpass it. It comes from a different place in Beck's life, as well as mine, but it's clear that these two albums are intended as spiritual partners. Beck even asked a lot of the musicians who performed on the older album to appear here, and they did. That underlines the connection without being too obvious, and that's automatically another mark in the win column.
At first you'll think yes, this is merely a continuation of the older album. Once you listen to "Morning," the first track after a brief orchestral opening, you'll swear these songs were recorded during the same 2002 sessions. But as you move through the album, Beck starts taking more and more chances, and not the type of cartoon pinwheel-eyed chances he takes on albums like Odelay and Guero. It's a richer, more mature grab bag of genres, suggesting someone who has really expanded his musical horizons over the years and seeks to work them into his own art as quietly as possible. With this education you get receive such gifts as the laid-back early '70s California country-rock of "Say Goodbye" and "Country Down," the smooth late '70s R&B semi-ballad "Unforgiven," the angelic Simon and Garfunklesque folk harmonies in "Turn Away" and even a sleeker, more modern indie-rock perspective on "Phase." The orchestral interludes, interestingly enough, are more somber here than with the older album--you won't find any sultry tributes to Serge Gainsbourg here.
Then I read something interesting. Beck has said that this album, his first in six years, is his "California music." I've noted that already, but this is perhaps why Morning Phase could possibly be held in higher esteem than Sea Change oh, ten or twenty years from now. The older album, in retrospect, is Beck's grand ode to heartbreak--and it's a great one, or at least a really, really good one. But the newer album is more about specific feelings that are hopelessly attached to specific memories from long ago. If you're a fan of Sweethearts of the Rodeo or Gilded Palace of Sin or even the first couple of Eagles albums, you might be surprised at how favorably you respond to this album.
I think you'll also be surprised if you're a hardcore Sea Change fan who thinks it's impossible for Beck to really come up with something that's consistent twelve years later. But he did, and it's a pretty impressive feat.
Labels: beck morning phase, beck morning phase lp, beck sea change, beck sea change mfsl, the vinyl anachronist
Blue Skies for Black Hearts on CD
"Keep On Keeping On." Doesn't that sound like something you'd say on a cloudy afternoon--maybe back in 1974 or 1975? It's an optimistic notion--we're kind of screwed right now but the sun's gonna come out by the weekend. That's how I, in retrospect, look at my life in Portland. I lived just outside of that wonderful city for a couple of turbulent years and I loved the way people dressed in the brightest of colors when the weather was the wettest and the grayest, which was basically most of the time. I loved all the whimsical touches everywhere--the sex-crazed donuts and the big neon reindeer on the bridge and the flip-flop/parka look. That's when you sort of notice that Portland is a city of paradoxes, or it least it strives to be. It's that ironic duality, and it's the thing.
Blue Skies for Black Hearts is a Portland-based band, and with that name, it must be. "Keep on Keeping On" is the opening cut on their new eponymous album, and it's a naive pop song on the surface but wears a scowl when no one's looking. The CD, coming out in mid-July, has that sunny afternoon power pop wistfulness that's trying to evoke Big Star, or at least Teenage Fan Club, but when this quintet loosens up and forgets themselves, they might even sound like the Monkees led by an older, wiser Buddy Holly. (Charismatic front man Pat Kearns even wears the big black glasses to cross that T.) That's the relaxed, pure pop vibe these guys want to project--let's have some, at least until the rain clouds roll in and everything gets serious, or at least way semi-earnest.
If this album, the band's sixth, seems centered around Kearns, that's because it is. Kearns is noted for rotating musicians in and out of BSFBH, with the focus on clever songwriting. In this respect you can hear the Big Star influences in the lyrics--it's simple basic pop thoughts but told with a sincerity that elevates the song. Unfortunately that focus is also applied to the lo-fi sound approach--this album stretches the idea of late '60s pop into a rough, almost minimalist production that might sound its best on a small radio on the beach. The audiophile in me wants more, but I might also be missing the point. I like this album so much I want it to sound more alive, that's all.
In Portland, this band is definitely a local favorite. One game the Portland fans like to play, it seems, is comparing BSFBH to a wide variety of musical legends--the more over the top, the better. I've mentioned the Monkees, Buddy Holly and Big Star, but I've seen other critics mention everyone from John Lennon to Brian Wilson. If Portland is anything, it's wry. It's also pessimistic and sardonic, yet upbeat and amused. That's the paradox again, and this band is the soundtrack for that realization.
Posted by . at 10:48 PM 1 comment:
Labels: blue skies for black hearts, keep on keeping on blue skies black hearts, pat kearns bsfbh, the vinyl anachronist
Katzenberger Music Productions 03 on CD and Blu-ray Audio
What do you think of when you hear the term "German jazz"? Would it be too ethnocentric to assume that it would be precise, rigid and exact? They say that about Japanese jazz and I just don't see eye-to-eye with them, whoever they are. But I've always maintained that much of classical music reflects the nationality of the composer--Russian music always sounds sad, French music always seems playful, Italian music always sounds emotionally expressive and German music always sounds, well, precise, rigid and exact. So if you have an argument about projecting that onto jazz, I'll hear you out.
My rebuttal, of course will be this third CD/Blu-ray audio selection from Katzenberger Music Productions, which is predictably titled 03. (I've reviewed 01 here and 02 here.) This jazz quartet, led by saxophonist/flautist Heinrich von Kalnein and featuring Sebastian Gille on saxophone and clarinet, Henning Sieverts on double bass and cello and Jonas Burgwinkel on percussion, is as loose and sloppy as can be--in an extremely good way. It's also a rare jazz quartet that includes two saxes, bass and drums, which makes it all sound even more lively and jumpy.
KMP producer Ulrich Katzenberger goes out of his way to stress that the music in 03 is meant to be a pure expression of music-making joy and even goes as far as to offer this famous Leonard Bernstein quote as an epilogue: "Jazz is the joy of playing music and therefore it is entertainment, in the best sense of the word." These compositions, written mostly by Heinrich von Kalnein, are so loose-limbed, laid-back and unrestricted that there are times when the genre boundaries fade and 03 just becomes gorgeous shifts in complex moods.
While tracks such as "Simple As That" and "Resistable" do sound like lost jazz standards with just a touch if dissonance thrown in, quieter and more expansive tunes such as the humorously titled "Sixty-Nine in the Wild West" are uneasy ballads bursting with hypnotic beauty. By the time you get to the three "Wildon" interludes, you're firmly in the land of the avant-garde with plenty of unusual instrumentation and sound--the percussion in particular may remind you of Shelley Manne's more experimental excursions back in the late '50s and early '60s.
The technical aspect of this amazing recording is noteworthy as well. Like the other recordings from KMP, this 24 bit/192 kHz CD was recorded without equalization, compression, reverb or any other type of artificial processing in the studio. In an effort to preserve the incredible dynamic range of this recording, you might notice that you'll need to crank the volume knob higher than usual--the liner notes state that "due to the special care given to dynamics in this production, it might seem less loud than the normal standard for recordings." The Blu-ray disc is even more incredible since it was recorded in surround sound. Actually, it offers two different surround mixes on the one disc--one for a system with 5 main loudspeakers and one for a system with 2 main speakers and three smaller speakers!
Now that I've reviewed all three of the KMP discs, I need to ask myself a couple of questions. First, I just discovered that each of these discs retails for $60, and that sounds like a lot for a digital format--even one jam-packed with amazing technology and a wide variety of format options. (Remember, you do get two discs here.) In addition, you get it all in a hardcover book-like package with incredibly thorough liner notes. But I usually like to reserve that amount of money for rare LPs or even box sets. So, the question is this: does the sound quality justify the price? I think it does--these three discs set a new standard for space, air and soundstage three-dimensionality. But you should have a hi-fi good enough to let you hear the reasons why these discs are $60 each.
The second question, of course, is whether the KMP discs are better than the offerings from other labels that specialize in hi-rez digital--like the ones I've been raving about all year. I don't know if I want to compare KMP with 2L and FIM and the others--it's all so good and amazing and lifelike. I finally really like the sound of digital playback--which is something I never thought would happen. In other words, I think these discs are worth it. Kudos, Katzenberger Music Productions.
You can find out more information at the KMP website.
Labels: heinrich von kalnein, katzenberger 01 02 03, katzenberger music productions, katzenberger music productions 03, the vinyl anachronist
Two Essential Accessories for Vinyl
It's been hard keeping up with this blog for the last few weeks. I've just been busy with a couple of big writing projects and haven't had time to write for fun. I even wrote a blog post a few days ago where I talked about taking a possible hiatus from this blog because I truly hated seeing it languish and the Google stats dwindling to pre-2011 levels. I've known this for quite a while, that my daily unique hits are directly proportional to the amount I write. It ain't rocket science.
So I wrote that blog entry, posted it for a few minutes and then changed my mind and deleted it. In the few minutes that it was up, two people read it. So to those two people...never mind.
Tonight I'm just checking in. I recently bought a couple of analog accessories that I've needed for quite a while. The first accessory, as you can see above, is a digital stylus tracking force gauge. For years I've been using one of those old manual see-saw thingies, and borrowing a digital one periodically to check my accuracy. (The latter situation usually occurs during trade shows, when I really have to have everything dialed in perfectly.) For years I've put off buying a digital tracking force gauge because they were originally quite expensive--the first one I saw was $300--but now they've gotten quite cheap.
This one cost me less than $20 and the instructions were in Chinese, so I wasn't sure if it was going to work for me on a professional level. One concern that I had--something two or three people warned me about--is that some of these cheap gauges are actually re-badged and re-purposed from other types of mini-scales. One problem with that is these gauges may have scales that are made from magnetic materials--which of course is totally unsuitable around the magnets inside of phono cartridges. It would take a millisecond to complete destroy the cantilever.
I was advised to buy a cheap gauge only if it was clearly designed for phono cartridges. So I did, and it wasn't...magnetic, that is.
Anyways, here's the reason I needed one. I used the old seesaw to set the tracking force of my Unison Research UN1 cartridge. It's got a lot of hours on the stylus, so it wouldn't have been a total disaster if the scale was magnetic. I originally set the tracking force at 2 grams (the Clearaudio Virtuoso on which this cartridge is based has a recommended range of 2g to 2.5g, and the Unison Research specs are 2.2g). When I re-checked it on the digital gauge, the LED display read 1.87g. Way too light. I wound up moving the tracking force up to 2.2, and when I listened I heard a huge difference in clarity and focus. So far I'm happy.
The other accessory is a bit more simple--it's just a lighted magnifying glass. Lately I've been noticing that these 51-year-old eyes of mine are no longer able to see the point where the tip of the stylus lands on the alignment protractor. This accessory--again, way less than a sawbuck--makes all the difference in the world when it comes to aligning cartridges, setting azimuth, setting VTA and checking the stylus for wear.
I've had a lot of audiophiles my age tell me that they can't/won't learn to align a cartridge because their eyesight is too bad or their hands are too shaky. Buy these two accessories, along with a bottle of Lagavulin, and you'll see how easy it can be.
Posted by . at 10:03 PM 2 comments:
Labels: digital tracking force gauge, essential accessories for turntables, mounting aligning cartridges, the vinyl anachronist
Katzenberger Music Productions 03 on CD and Blu-ra...


text:
Q: Getting/compiling Mono-2.0.dll for embedding I am trying to implement some scripting in a C application using mono (cf this page http://www.mono-project.com/Embedding_Mono). However I need mono-2.0.dll for this to work.
First I thought it was included with binary distribution of mono. But i could not find it in mono installation folder.
I also tryied to build mono myself but the build always finishes with an error (unresolved symbols, read write protected files, and many others). I tryed both cygwin and VS builds.
After a quick search I found other people with similar problems. But unfortunatly no solutions that would work for me.
Is there a solution to easily compile mono-2.0.dll or to get binaries?
Thanks

A: EDIT
IMHO the library that you are looking for may be found in the bin directory of the mono installation folder. Actually, after installing mono 3.2.3 there are two libraries in the MONO_INSTALLATION_PATH\bin\ directory: libmonoboehm-2.0.dll and libmonosgen-2.0.dll (you must choose either Boehm or SGen  GC implementation)
You could create a symbolic link like this libmono-2.0.dll -> /opt/mymono/bin/libmonoboehm-2.0.dll if for example you want to use the Boehm implementation. And that is all (I think)
But you could work even without creating any symolic link, you could reference the library monoboehm-2.0.dll or monosgen-2.0.dll instead of mono-2.0.dll. The problem was (I think) you were looking for the wrong library's name.
Anyhow, what follows are the steps that must be followed in order to compile mono from cygwin.
END EDIT
I managed to compile Mono from Windows 8 using cygwin (I guess, it also should work with Windows 7)
These are the steps that I had to follow in order to finish having the mono virtual machine and your requested library:

*

*Download and install a fresh cygwin installation for 32-bit (do not use the cygwin's 64-bit version even if you are using Windows 64-bit) In my case the cygwin version is 2.844 (32 bit) and my operative system is Windows 8 64-bit. Even if you already have a cygwin environment it should be better (IMHO) to remove it and install and new fresh cygwin environment.

*The cygwin's installation path should be (at least in my case) in: C:\cygwin

*Using cygwin you must install some required dependencies running setup-86.exe. Without them, you are not going to be able to compile mono from cygwin:

autoconf, automake, bison, gcc-core, gcc-g++, mingw-gcc, libtool, make, python, automake, bison, gcc, gdb, gettext, intltool, libiconv, libtool, pkg-config, vim

*Open a cygwin console and run these commands:
Me@mewin8 ~
 $ mkdir -p /opt/mono323
Me@mewin8 ~
 $ mkdir -p /opt/mymono
Me@mewin8 ~
 $ cd /opt
Me@mewin8 /opt
 $ git clone https://github.com/mono/mono.git
Me@mewin8 /opt
 $ cd mono
Me@mewin8 /opt/mono
 $ git submodule init
Me@mewin8 /opt/mono
 $ git checkout --track origin/mono-3.4.0-branch

*Outside cygwin console download mono for Windows (you are going to need it when compiling mono from cygwin): http://download.mono-project.com/archive/3.2.3/windows-installer/mono-3.2.3-gtksharp-2.12.11-win32-0.exe

*Install mono for Windows in C:\cygwin\opt\mono323

*Go again to the cygwin console and run these commands:
Me@mewin8 ~
 $ cd /opt/mono
Me@mewin8 /opt/mono
 $ export PATH=$PATH:/opt/mono323/bin
Me@mewin8 /opt/mono
 $ ./autogen.sh --host=i686-pc-mingw32 --prefix=/opt/mymono/
Me@mewin8 /opt/mono
 $ make

*The compilation ends with error. See this thread: mono from git will not build on cygwin 32  Solution:
Me@mewin8 /opt/mono
 $ vim /usr/i686-pc-mingw32/sys-root/mingw/include/ddk/ntapi.h
Comment out this line typedef PVOID PEXECUTION_STATE; If you have followed the same steps as me, the line to be commented out should be the number 49. You must finish having //typedef PVOID PEXECUTION_STATE;

*Restart compilation:
Me@mewin8 /opt/mono
 $ make clean
Me@mewin8 /opt/mono
 $ make
Me@mewin8 /opt/mono
 $ make install

*You may find your requested library in this path (actually you finish having two):

*

*Implementation using Boehm GC: /opt/mymono/bin/libmonoboehm-2.0.dll

*Implementation using SGen GC: /opt/mymono/bin/libmonosgen-2.0.dll
You could create a symbolic link like this: /opt/mymono/lib/libmono-2.0.dll -> /opt/mymono/bin/libmonoboehm-2.0.dll; or like this one: /opt/mymono/lib/mono-2.0.dll -> /opt/mymono/bin/libmonoboehm-2.0.dll (whatever works for you)
Depending on how you are going to work with the library, the symbolic link could be interesting for you or not.

*Besides, if gcc/ld may not find your library while trying to build your own program (I mean the program where you are going to embed mono) and you are trying to compile from a cygwin console you could do this:
export LD_LIBRARY_PATH=/opt/mymono/lib See: man ld
This is all I know. Hopefully it will help you... At least I tried my best!

redpajama_set_name: RedPajamaStackExchange


text:
Pochówek (grzebanie umarłych) – pochowanie zmarłego w różnych kulturach i okresach historycznych przybierało rozmaite formy. Nazwa pochówek związana jest z miejscem, w odróżnieniu od pogrzebu, z którym związany jest obyczaj, obrzęd. Najczęstszą formą pochówku współcześnie jest grzebanie ciała zmarłego w ziemi w trumnie oraz kremacja zwłok (także resomacja). W Azji nadal spotykany jest pogrzeb powietrzny – pozostawienie ciała na pożarcie zwierzętom (zwłaszcza ptakom drapieżnym). W Indiach powszechne jest ciałopalenie, a wraz ze zmarłym pali się część jego dobytku.

Wśród ludów Europy w okresie przed naszą erą stosowano pochówek ciałopalny, przy czym mężczyzn chowano z ich bronią, a kobiety z ozdobami. Wikingowie palili ciała swoich zmarłych w łodziach. U Celtów znany był pochówek symboliczny (kenotafia) dla ludzi, którzy zginęli w obcych stronach. Słowianie grzebali spalone prochy zmarłych w urnach, w ziemi usypanej w kurhan.

Pradawną formą w Afryce było niegdyś zjadanie ciała zmarłego. W Chinach 1–2 tys. lat p.n.e. pozostawiano zwłoki zmarłych w jaskiniach oraz na platformach skalnych. Tunguzi zawieszali je na drzewach.  W Indiach, Persji i Iranie w XVI–XX w. w niektórych religiach eksponowano zwłoki zmarłych w wieżach milczenia, uznając je za nieczyste.

W czasach nowożytnych przemiany obyczajów doprowadziły do chęci zachowania szczątków zmarłych. Pojawiły się grobowce, cmentarze, gdzie skupia się wiele grobów w jednym miejscu. Od czasów starożytnego Egiptu mumifikuje się ciała zmarłych aby zachować ich wygląd, wydobywa się ich kości, aby przeznaczyć je na relikwie.

Z pochówkiem ściśle związany jest ceremoniał pogrzebu, różny w każdej społeczności i części świata.

Zobacz też
 Obrządek pogrzebowy

Przypisy

Linki zewnętrzne
 Obwieszczenie Marszałka Sejmu Rzeczypospolitej Polskiej z dnia 27 października 2020 r. w sprawie ogłoszenia jednolitego tekstu ustawy o cmentarzach i chowaniu zmarłych ()

redpajama_set_name: RedPajamaWikipedia


In this calming book, Deacon Eddie Ensley shows how to tap into what St. Paul describes as "the peace that passes all understanding." Through guided meditations based on Scripture, and beautifully told personal experiences that recount his own path to peace following a tumultuous youth, Deacon Eddie invites us to discover how Christ truly anchors us in his peace. With compassion and understanding, he shows us how prayer can help us make peace with fear, anxiety, anger, suffering, and even death. Ultimately, we move from being peace seekers to peacemakers as we share Christ's mercy, love, and compassion with all.


"On Mars, our city will physically and functionally mimic a forest."
Every year, Mars City Design hosts a competition in which innovative teams of scientists, engineers, and students design unique concept-cities for the day when humans attempt to live on Mars. This year, a team of nine MIT students led by MIT postdoc Valentina Sumini and Assistant Professor Caitlin Mueller took first place in the architecture portion of the contest with their unique tree-inspired Mars city concept, titled Redwood Forest.
Redwood Forest is a soothing space that can provide up to 10,000 weary human travelers with equal amounts of comfort and safety from the elements. While at first glance the domes themselves don't appear capable of housing such large numbers of people or providing them with adequate facilities, just like a tree, these domes aren't limited to what you see above ground.
Below the surface of the Red Planet, each dome in MIT's Mars city concept branches out into "roots." These intricate tunnel systems connect the domes and provide additional protection from surface threats. This design was chosen for both functional and symbolic reasons.
Every tree habitat in Redwood Forest will collect energy from the Sun and use it to process and transport the water throughout the tree, and every tree is designed as a water-rich environment. Water fills the soft cells inside the dome providing protection from radiation, helps manage heat loads, and supplies hydroponic farms for growing fish and greens.
Solar panels produce energy to split the stored water for the production of rocket fuel, oxygen, and for charging hydrogen fuel cells, which are necessary to power long-range vehicles as well as provide backup energy storage in case of dust storms.
The surface of the Red Planet is intrinsically harsh. From a virtually nonexistent atmosphere to radiation to dust storms capable of covering the entire planet, Mars is a barren landscape that can get as cold as -125 degrees Celsius (-195 degrees Fahrenheit) near the poles in winter.
Obviously, any Mars city concept would need to be capable of protecting Earthling travelers from these physical hardships. However, after a mind-numbingly long and arduous journey through space, survivable conditions might not be all that a group of human beings needs to live a happy, healthy life on Mars.
Thinking of all these potential variables will be essential if humanity ever hopes to live beyond Earth. We'll need innovative thinkers at all stages of the process, from designing the rockets that transport us to building the cities we inhabit once we arrive. The Redwood Forest concept illustrates the power and potential of both sound scientific planning and the ability to see far beyond what has been done, or even imagined, before.


text:
Mark Levine Interviewed at jubilat
Oct12 by Jendi Reiter
Mark Levine's second poetry collection, Enola Gay, is on the short list of books that expanded my understanding of what poetry could do. His post-apocalyptic, enigmatic images make sense the way a door creaking in a horror film makes sense. You don't have to know what's behind there to realize it's something scary; in fact, it's scarier because your rational mind can't define it. Some excerpts from poems in the book:
from Counting the Forests
…He was counting the forests. That was his plan.
He carried a sack of dried fish
prepared by his servant and cured
in sea-salt. His servant was near; he could hear
the rasp of his servant's breath.
His servant was making the vigil in a mountain
somewhere in the ice-country; and the ice-country
was vast
and blue and full of death-forms. So was the forest.
Here in the red forest: a forest of birds.
Birds and dark water and looming red leaves
brushed with murmuring voices.
They swept towards him, the voices, like
tensed wings.
And he ran from them; but the red
forest was glazed and the trees were vast
with ice-forms. And at the edge of the red
he could see into the stone forest and
could see
the voices rinsing over the stone floor.
He had been there already and had taken count.
And he had counted the animal forest and the
smoldering forest and the weeping forest and
of the forgotten tropics and the God-forest.
What could he say to his accusers?
from Eclipse, Eclipse
…The law is coming, three battered islands hence;
the splash is coming, the radar is coming, the law
is coming wearing Mother's private wig.
Comes a horseman, steady on the climb, a blade
against his thigh, a rumor on his spine.
Nearness is all. And the roots of the great tree
swayed in the heat, and the swollen seeds
struck the temple walls and left no stain.
Surely the great creeds could have warned us
to test the soil of nearby planets; our voices
plunged
like the voices of the gods' outcast armies.
All of us wanted to take the steep walk back
into the memorial noise; feeling sick, not feverish.
A pencil in his glove and a shovel in his soul
and big plans for a secret farm: comes a horseman.
This year, Levine is back with a new collection, The Wilds. He was recently interviewed by Srikath Reddy in the literary journal jubilat, a piece that has been reprinted online at Poetry Daily. Some notable excerpts, below (boldface emphasis mine):
ML: It always surprises me (and sometimes worries me) to realize, long after the fact, how little aware I am—or how ill-informed I am—of what my preoccupations are when I'm writing, and how very partial is my understanding and command of what I'm saying….
It troubles me a bit that, as poets, we seem to be required to pretend that everything we put in poems emerges from a very supportable rationale. Maybe we've been successfully cowed by those who are hostile to poetry, and have internalized their suspicion that the whole thing is a sham, an elitist attempt to confound and mock the guileless reader. And so we apologetically, or pompously, give in to this rather recent expectation that artists are supposed to talk a good game about what they do. I'll tell you, I once spent a week interviewing the skateboarder Tony Hawk—a bit before he became a multinational industry—and here's what I liked best about him: great skateboarder, not great interview subject. Every time he got on his board it was magic; every time he opened his mouth it was, well, pretty ordinary stuff. His intelligence was thoroughly absorbed in what he did, and to him, talking about it was not only irrelevant—it was almost a violation of the spirit of his sport. This seems appropriate.
By now, I've spent enough time around young people who are trying to write poems to recognize the common anxiety, even embarrassment, at simply being a poet, rather than pretending to be a poet and an eager A-student rolled up into a single reasonable package. But why, with all the hand-wringing poetry talk out there—our own, no doubt, included—are there some matters that, it seems, are very rarely aired, even in the supposedly brasstacks environment of the poetry workshop? Embarrassing questions, like: How much do you know what your poem is about when you're writing it? Do you know who is speaking? Do you know what the situation is? Do you know what your themes are? When you get right down to it: Do you know what is happening—what is going on—in your poem when you are writing it? I don't know about you, Chicu, but I'd often be lying if I answered most of these questions in the affirmative. I don't even want to be able to say "yes." If I could, I'd wonder why I was writing a poem.
SR: …[W]hat I want to focus on is what you described as "that cusp of consciousness that a child is perched on," and how it shapes your sense of what poetry is. That cusp of consciousness seems a lot like the threshold between knowing and uncertainty that Keats described as negative capability. And I'd agree enthusiastically that this cusp or threshold is the most productive space for a poet to inhabit. But lately I've also been worried that uncertainty lets one off the ethical hook—it lets one, as it were, refuse to grow up.
I guess my vague feelings of guilt about not speaking up more about the political situation over recent years has something to do with this. In the lead-up to the war, for instance, I felt uncertain about whether or not there were weapons of mass destruction tucked away somewhere in Mesopotamia (among many other things), and my general reluctance to forcefully decide matters for myself mirrored, I think, a broader failure of liberals to dissent from what our nation is perpetrating abroad. That's a detour, I know, but what I'm getting at is a sense that there is a danger to uncertainty. I'm definitely not advocating a more political poetry—Lord knows I find most overtly political verse to be fairly unliterary—but I'm wondering what you think about the ethics of uncertainty as a poet writing today.
ML: I know what you're saying, but the thought of assuming a certain kind of ethical responsibility in poems makes me bristle a bit. Do you remember when you were younger and some snide kid told you to "grow up"? I think I can still hear that voice. I hated that kid. What he was really saying was: Don't be yourself. Don't have an imagination. Behave. I'm just not interested in growing up in those ways.
(On the other hand, I already find myself mourning a certain kind of bygone communal maturity—the days when people could disagree about poetics and politics in respectful and civil ways, without needing to assault each other from the safety of their dreary blogs.) I was once on a little panel about some forgettable issue or other and one of the other members was an ambitious and quite accomplished young critic, a guy then under thirty, who complained that poets in America had lost the value of being "judicious and authoritative" in poems. I was taken aback. He struck me as one of those people in college who wears a bow tie and carries a pocket watch—as someone who has gotten overinvested in a certain model of "maturity."
There may be a lot of things wrong with poetry—now and always—but the reluctance to speak with authority doesn't seem to me to be one of them. In my mind, one of the services poets perform, intuitively, is to hold up the authority of poetic and imaginative tradition against other claims to authority. My suspicion is that the recurrent charge that poets are not sufficiently engaged is typically a symptom of one of two things: the right-wing interest in trivializing poetry and misplaced left-wing guilt. I'm not proposing a Peter Pan model of the poet, but my guess is that "not growing up"—if it constitutes a willingness to remain, as you say, "in mysteries, doubts, and uncertainties"—is much preferable—poetically, ethically, politically—to being prematurely pickled.
SR: So it's this cusp of uncertainty that you somehow find to be both fundamentally poetic and fundamentally ethical?
ML: That cusp—I don't know, I think the desire to be there must in part be temperamental. I like basketball games that go into overtime; overtime drives some people crazy. I don't really care about how books or movies end. I like the unresolved. I've always been drawn to the moment "before"—the moment when you have a heightened awareness that you're in the presence of something real, something meaningful, but when the meaning hasn't yet been captured. To me, that's the "intensest rendezvous." In Bob Dylan's terms, it's the refrain of "Ballad of a Thin Man": "Because something is happening here, but you don't know what it is, do you, Mr. Jones?" That's one reason that, for me, striving to write precise, deftly rendered imagery—material that conveys much more, through the senses, than can be expressed in other terms—is vital.
But I understand your uncertainty about uncertainty. (Your meta-uncertainty?) It's something that the uncertain ones among us must grapple with. Doesn't it come down to a question of the authenticity of our uncertainty? If uncertainty is a posture—something we adopt in an effort to make cool poems—it would, indeed, be frivolous. But true uncertainty is a beautiful thing. And my guess is that those (like Mister Bow Tie) who adopt the posture of certainty are far more dangerous, morally and politically—and of course artistically—than those who have fewer answers, less of an agenda to promote, and who try to use their work as a way of shedding a little light on the darkness.
My glib, reflexive take on this problem would be that of an aesthete: that the ethical task of a poet is to write as well as he can, as accurately, forthrightly, and courageously—to be as uncompromising as he can in relation to poetic truth. But that is a tall order, an ideal against which one always falls short. Also, of course, excellence is not value neutral: is the ethical task of a nuclear bomb maker to make the best bomb he can? Um, no. But in that case the problem is that the medium itself—nuclear bomb making—is morally corrupted from the start. Whereas I have cast my lot with those who believe that the poetic tradition is, at its height and in its impulse, noble, resistent, and self-scrutinizing. So, yeah, I think the world woul
d be a much better place if we all listened to each other the way poems listen to us.
ML: …Of course I'm aware that poems, like everything else made by human beings, are artificial, but I don't believe that excludes poems from approaching authenticity, and partaking of it—as far as I'm concerned, poems routinely do that, and that's a big reason that we read them. One thing that's so moving about poems is that we know they are artificial, but still we invest them, and their materials, with the force of the real. We need to do this, because we need to feel the reality of our lives. When I write the word tree, I don't just see a word or construct—I see a physical tree. And if I'm not being particularly lazy as a writer, I'm going to do more to specify the reality, the tree-ness, of that tree—not only as a way of writing a "nice" poem, but of specifying, and thereby sharing in, the reality of reality.
SR: So "no ideas but in things"?
ML: It's easy to talk in abstract terms, which always makes me uncomfortable, because I'm drawn to the physical experience of poems, not their ideas. You asked whether, in reading poems, we can begin to distinguish between the appearance of authenticity and something that smacks of the real deal. Don't you think we rely on being able to make that distinction, however provisionally? I have to believe it can be done. The poem makes a claim—"My heart aches, and a drowsy numbness pains my sense," for instance—and, after submerging ourselves in the poem, we can ask, "Do I feel the truth of the claim in the poem, or does it just seem like a convenient or clever thing to say? Does the poem, in its rhythms, syntax, imagery, and so forth, grapple with drowsiness, numbness, and pain, or not? Does the claim feel abstract or, as you say, 'embodied'?"
And how does one embody the experience of one's poem? There must be as many ways as there are authentic poems (i.e., not that many). First off, I suppose, one believes in the reality of one's own imaginative event. One orients oneself to a position inside the poem—one lives in and through the poem, rather than hovering above it, using it as a way to say something that makes one seem clever, or as a vehicle for producing nice poetic effects, which, once you've read enough poems, are not as rare or interesting as they might first appear. I've found, myself, that focusing, in particular, on imagery, has helped me to "feel" the poem by employing my (generally underused) senses, rather than trying to direct the poem with my often enfeebled brain.
ML: [On the painter Francis Bacon] … I love the way he deploys traditional values—of form, structure, line, color, modeling, and subject matter—to explore what he calls his "nervous system." He also talks, in his interviews with David Sylvester, of using traditional techniques and materials of painting to capture, even trap, the real. Reality is the outcome of his process, not a known quantity that he enters his process wishing to depict.
That last sentence is going to be my new motto as a novelist. Read the full interview here.
This entry was posted in Book Reviews, Great Poems Online, Notable Quotes, Writer and Reader.
← Interpreting Scripture: A Double Standard on Marriage
Poem: "The Happiness Myth" →
One comment on "Mark Levine Interviewed at jubilat"
nick_sitboc says:
http://rolzelc4tcod.com/basouvial.html c4tdarcvit
c4tdarcvit
[link=http://paseltacelc.com/noletodoml.html%5Dc4tdarcvit%5B/link]
[url=http://tarelt.com/eltlirolc4t.html%5Dc4tdarcvit%5B/url]
http://sitolocorelorsi.com/delelsitsitr.htm aldomelt acolooubasa
coacelroc">http://eloloordelalsit.com/sitcoaclier.htm>coacelroc
http://pasnoladomvarla.com/orerelracze.htm coloric c4tcnavi
ololioloel">http://monrelletorolde.com/eldomdomb.htm>ololioloel
http://basertrmonaldro.com/eroloze.htm eltgettrouc acrocna
erbocorbocol">http://canobasellizell.com/tacnaortaro.htm>erbocorbocol
http://erbocracpasbasd.com/nonodro.htm chizelnoace alliacpaselt
mondomel">http://racaltroclibasd.com/c4tlibo.htm>mondomel
http://oracelsitvigeto.com/corozel.htm dronoloe eldelze
pasvardarc">http://ordomrolvarbori.com/delvare.htm>pasvardarc
http://relroldommonric.com/coerzelbor.htm basnoletoca craccono
racsitdron">http://litracoudomcnav.com/domcor.htm>racsitdron
http://ouourolaloloric.com/trocbo.htm delroleltdel elcadelc
oudarze">http://eltboelraclisit.com/rovardomtr.htm>oudarze
http://coorpasvicatroc.com/erbasel.htm trocroc4tmo deltrba
liracmon">http://roeltcocnamonca.com/getraclid.htm>liracmon
http://caeltsitreltaac.com/cerzelrel.htm pasvarracde alracelttr
racvarbo">http://paselcorozelelt.com/almond.htm>racvarbo
http://roldomcnasitdel.com/trocvarac.htm basgetr cnacoelttr
coloacela">http://cnaeraceleltzel.com/orbocracta.htm>coloacela
http://altatreltgetbas
trbocelerv


On a night where the offense often couldn't find it's groove, the defense and serving for the Lady Marauders were stellar and have become trademarks for the team as of late. In the 3 sets, Mt. Vernon had 78 digs led by Julia Wayer's record setting 11 digs per set, for a total of 33 digs on the night. Ashton Barr had 11 digs and dished out 19 assists. The team served up 13 aces in the 3 sets. Barr had 4 aces while Jaclyn Bulmahn and Mary Grace Ertel each added 3 aces in the sweep of Greenfield Central. The Lady Marauders are next back in action at New Castle Thursday night. New Castle is offering free entry fee to all of it's students Thursday night. We'll need a strong crowd from Mt. Vernon to counter the New Castle crowd.


We have actively engaged with a broad range of stakeholders and end-users in the water sector throughout the EDgE project to understand how climate-related decisions are made and to identify the information needs of prospective European users. We have worked with Focus Groups in three European countries to identify these needs.
Together the groups represent users with varying levels of experience of applying a range of climate and hydrological information to inform their decision-making.
The first round of EDgE Focus Group meetings were held in Oslo in February 2016 and London and Valencia in March 2016.
The second round of EDgE Focus Group meetings were held in Oslo, London and Valencia in October 2016.
Users agreed that the suite of metrics provided by EDgE met their needs. They were particularly interested in temperature, precipitation, river flow, recharge, potential evapotranspiration, a soil moisture index and snow metrics. They suggested additional metrics that they would like to see available in future, which are beyond the scope of the EDgE proof-of-concept project. For example, the UK group highlighted a need for water quality information and all three groups had an interest in water temperature. The UK group suggested that seasonal disaggregations would be more useful for some metrics (groundwater recharge) than monthly. The UK and Spanish groups advised that it would be useful to have absolute values as well as change factors.
Users were impressed with the maps and graphs and found the presentation of information visually very appealing. All three groups stressed the importance of ensuring users understand the data behind the outputs, and were keen to learn more about the uncertainties associated with the mapped outputs. Collectively, the groups provided a number of clear and specific suggestions on how to improve the interface in the next phase of EDgE, many of which have now been taken forwards and implemented in the EDgE Map Viewer.
The third round of EDgE Focus Group meetings were held in London and Oslo in March 2017.
A presentation on seasonal forecast skill and uncertainty in the EDgE project was given and a facilitated discussion held on users' understanding and consideration of these concepts in their present modelling and decision-making. Two interactive sessions then followed, one on visualisation methods and another on user guidance. In each, a short presentation was followed by an interactive session in which users were asked to vote for and explain their preferences for different visualisation methods, and for the content and means of delivery of user guidance. The meeting concluded with a brief update on the Case Study work and an overview of the next phase of the project.
The fourth round of Focus Group meetings took place in London and Oslo in September 2017 and Valencia in October 2017.
All three Focus Groups were very impressed with the EDgE Map Viewer. They considered it easy to navigate and understand and they liked the way the data had been visualised. They were particularly pleased at the extent to which their comments and suggestions on the Map Viewer had been acted on: it was clear to them how their input had shaped the project. Users stressed the importance though of being able to understand and trust the data behind the Map Viewer, particularly because the Map Viewer is so accessible and user friendly. Specific suggestions were made on final revisions that they would like to see if possible.
There was good interest in the Case Studies that had been conducted, particularly where results showed some comparison with those obtained from other national data that they were more familiar with.
Some very helpful suggestions were made on the emerging website content and user guidance. Some in the UK Focus Group felt that the early guidance assumed too much prior knowledge on modelling, forecasting and climate change for a high level end user and noted that simpler language would be desirable. Specific suggestions were made on questions to address in the FAQs.
The Spanish and Norwegian groups reiterated the importance of core guidance being made available in their own languages. Uptake of a future operational service will have limited if guidance and information is only available in English.


When trees from national forests are removed (due to fires or logging), the U.S. Forest Service prepares the site and replants conifers. As part of this process, herbicides are used to control plants that compete with the conifers. In recent years, California tribal people who live and gather food, medicinal, ceremonial and basketry plant materials in or near these forests have voiced concerns about herbicide exposure. In response, the U.S. Forest Service funded studies by the California Department of Pesticide Regulation (DPR) to assess the potential exposure of plant gatherers and users to forestry herbicides.
Ando, C., L. Li, J. Walters, C. Gana, R. Segawa, R. Sava, T. Barry, P. Lee, S. Tran, J.
Final Report, PDF (174 kb).
Segawa, R. C. Ando, A. Bradley, J. Walters, R. Sava, C. Gana, and K. S. Goh. 2001. Dissipation and Off-site Movement of Forestry Herbicides in Plants of Importance of California Tribes Final Report, PDF (42 kb).


text:
Laws with significant ease of doing business provisions
Companies and Allied Matters Act, 2020
On August 7, 2020, President Muhammadu Buhari signed into law the Companies and Allied Matters Act (CAMA). The new CAMA is Nigeria's most significant business legislation in three decades and it very intentionally introduces at least 15 new provisions that promote ease of doing business and reduce regulatory hurdles in Nigeria.
More information on CAMA
The Credit Reporting Bill and Collateral Registry Bill were signed into law on May 30, 2017. The two laws formalised the operations of the Nigeria Collateral Registry and the legal basis for sharing of credit information between Credit Bureaus and lenders.
What is The Collateral Registry Act
'The Collateral Registry Act' ensures that Micro, Small and Medium Enterprises (MSMEs) in Nigeria can register their movable assets such as motor vehicles, equipment and accounts receivable in the National Collateral Registry, and use same as collateral for accessing loans. This in turn will increase their chances at accessing financing and tackle one of the major obstacles faced by MSMEs.
What about the The Credit Reporting Act
On the other hand, 'The Credit Reporting Act' provides for credit information sharing between Credit Bureaus and lenders (such as banks), as well as other institutions that provide services on credit such as telecommunication companies and retailers. (A Credit Bureau is defined as a company that collects information relating to the credit ratings of individuals and makes it available to financial institutions, who need such information to determine an individual's credit-worthiness and whether or not to grant loan applications to such individuals.)
Credit Reporting Act
Collateral Registry Act


Greg personally visits mining sites all over the world to see for himself if everything checks out with the companies he evaluates.
It is one thing to read about a company on their website or in the marketing materials, and you should do that when evaluating a company. But it is something very different to actually see what is going on first hand at the location of an exploration, development, or production story.
You learn things you would never otherwise learn by being onsite in person.
Many times on site visits Greg will also ask to talk with residents and politicians to weigh whether a company's mining project might be jeopardized by local opposition, excessive fees, nationalization, or other unforeseen developments.
I remember one site visit I did to China where I had dinner with a key politician and his wife to find out if a certain company (SilverCorp) was going to get their permit. Many in the western world were of the opinion that SilverCorp would never get their permit to move forward, so this was one of the most important parts of the trip.
After the pleasantries of an exceptional dinner (real Chinese food, not the Chinese food we get in America) we got down to business and I brought up the main concern of the permit. I told him if I was going to get behind SilverCorp as a newsletter writer I had to know that the company would get this critical permit.
The politician took my hand and looked me straight in the eye and said without hesitation, "The only way SilverCorp doesn't get their permit is if they don't turn in their paperwork."
I understood without a shadow of a doubt this was true and emailed my subscribers that SilverCorp was now my number one stock and not to worry about the permit. This totally went against the consensus thinking at the time by many prominent people in the junior mining space who told their people to avoid buying the company.
SilverCorp did get their permit months later and the stock went to $22.00 a share making my subscribers a ton of money.
The lesson being that had I not met with this politician, I never could have had any real confidence that the company would or would not get their permit. I would have been left to listen to here say from this or that source. I had to find out for myself and the only way to accomplish this was to set up a meeting with the man in charge of issuing the permit.
In this instance, the site visit was everything to our success.
Another part of the site visit that I find incredibly valuable is to see where the project fits into the surrounding area or territory. How accessible is the project by road, helicopter, power, etc.?
Looking at pictures on a website can never tell the real story.
So many times I have been told that such and such a project has nearby infrastructure etc. etc., only to find out that this is far from the case. You really have to ask the tough questions and verify if what they say is true. I have learned too many times that you just can't trust what you are told. You must find out for yourself and make your own judgment.
I remember an experience I had in the Yukon when I was one of the first to talk about the prospects and merits of the potential for major gold discovery in that area. After a week of meeting with everyone involved on the site visit, my only real point of concern was the lack of power in the area.
To satisfy my concern, I was told by government officials that a $400 million dollar power line extension to the area was already planned. At the time this all sounded quite good and I decided to move forward, recommending many companies for purchase in the highly prospective Yukon gold play.
In the beginning things worked out as all kinds of money flowed into the Yukon to make the next big discovery and our stocks performed rather well. But then the unthinkable happened. The Canadian government, who said the power line was going to be built, suddenly decided to scrap the project due to budget cuts. It was a devastating blow to all the activity in the Yukon and things came to a screeching halt.
Lesson learned, my gut told me what the major concern was because of the site visit, but I took the government's word they would build the power line. Without being there on the site visit, I would not have known that power was even an issue.
The end result was a tough one to swallow despite the fact that the Yukon holds major new gold discoveries at some point in the future. There will be another rush into the Yukon but only AFTER A POWER LINE IS BUILT INTO THE AREA.
One last point that I would like to make about the importance of site visits is that it takes away a lot of the hocus pocus that some in the industry like to promote. In most cases, I already know who the real deal companies are before I ever do a site visit, but I have cut some trips short when I see activity that is not on the up and up.
There have been a few occasions when I feel like I am on some kind of dog and pony show and things are just not adding up. In one circumstance in South America, I ended up walking away when I realized the maps they were using weren't what they said they were. It was a case where they hoped nobody would notice. As the saying goes with those of lower moral character, "If you can't convince them, confuse them" and hope they let it pass.
In summary, site visits allow the layers to be peeled back so you get the most accurate picture to see if a company meets our criteria for investment. You have to know what questions to ask and you need to judge whether the answers you get are satisfactory or not.
Site visits do not guarantee success in our investment endeavors but they certainly reduce some of our risks, especially if we correctly read the answers we get from our questions.
While there are definitive answers to some questions, geology is a subjective science requiring interpretation and serious contemplation as to whether a company can be successful. I have found over the years that when it comes to exploration mining stocks, the only thing that is true at the end of the day is what the drill holes and the share price tell us.


text:
Home > ARCHAELOGY > Did the Smithsonian cover up an Ancient Egyptian Colony in the Grand Canyon?
Did the Smithsonian cover up an Ancient Egyptian Colony in the Grand Canyon?
December 20, 2016 January 21, 2017 admin Egypt, Grand Canyon
Is it possible that the ancient Egyptian civilization developed technology to travel across the planet? I'm not talking spaceships, but transoceanic voyages made possible with their grandiose vessels?
In recent years, more evidence has emerged which supports the idea that ancient civilizations like the Egyptians, the Chinese and even possibly the Olmec achieved trans-oceanic voyages before written history suggests.
While scientific responses to pre-Colombian trans-oceanic contact vary over time, most ideas which support this possibility have been treated with skepticism since such an idea radically opposes what we are told about history.
The idea that there is, or was an ancient colony in North America belonging to the ancient Egyptian civilization is something that according to many only occurs in Hollywood movies.
However, according to the front page of the April 5, 1909, edition of the , a bizarre discovery was made in the Marble region of the Grand Canyon that points towards an ancient Egyptian presence in North America thousands of years ago.
According to the newspaper, two alleged Smithsonian-funded archaeologists Prof. S. A. Jordan and G.E. Kinkaid made the fascinating discovery that according to many proves history is inaccurate.
The report -shrouded in mystery reads:
(D)iscoveries which almost conclusively prove that the race which inhabited this mysterious cavern, hewn in solid rock by human hands, was of oriental origin, possibly from Egypt, tracing back to Ramses. If their theories are borne out by the translation of the tablets engraved with hieroglyphics, the mystery of the prehistoric peoples of North America, their ancient arts, who they were and whence they came, will be solved. Egypt and the Nile, and Arizona and the Colorado will be linked by a historical chain running back to ages which staggers the wildest fancy of the fictionist.
The article notes that the mysterious set of caverns was located in an extremely remote part of the Grand Canyon, dangerous and nearly inaccessible. The alleged site is reportedly located 2 miles away from .
According to the Arizona Gazette, the entrance to the main cavern was located some 1500 feet below an abrupt cliff.
However, people believe all of this is part of an elaborate hoax and that the discovery was never made.
Furthermore, the Smithsonian Institute denied all claims indicating that no record of a so-called Kincaid or Professor Jordan exists in the Smithsonian's Department of Anthropology.
Moreover, the Smithsonian denies there is any evidence of artifacts gathered.
In the book, by Jonathan Eisen, a spokesperson from the Smithsonian Institute denies any ancient Egyptian artifacts were found in the Grand Canyon.
Well, the first thing I can tell you, before we go any further, is that no Egyptian artifacts of any kind have ever been found in North or South America. Therefore, I can tell you that the Smithsonian Institute has never been involved in any such excavations.
Was this just another hoax? Can we conclude that the entire story is just an elaborate newspaper hoax as many indicate? Or is it possible that the Smithsonian Institute -which has been called out in the past for covering up history changing discoveries- covered up the mind-boggling discovery?
Reading through the book , we have found out fascinating details that give the story of an ancient Egyptian colony in North America an entirely new level.
"…Historian and linguist Carl Hart, editor of World Explorer, obtained a hiker's map of the Grand Canyon from a bookstore in Chicago. Poring over the map, we were amazed to see that much of the area of the north side of the canyon had Egyptian names. For example, the area around Ninety-Four Mile Creek and Trinity Creek had areas with names like Tower of Set, Tower of Ra, Horus Temple, Osiris Temple and Isis Temple. In the Haunted Canyon area are such names as the Cheops Pyramid, the Buddha Cloister, Buddha Temple, Manu Temple and Shiva Temple…"
Is this just a small worthless coincidence? Or is there more to the story than meets the eye?
Interestingly, the area of the canyon where the Egyptian names are located is an area off limits. It's a forbidden zone. No one is allowed to enter it and explore it. The great question is why? Why is it off limits? Is it because the mysterious vaults and ancient Egyptian artifacts are real? And they are located there? Even today, the mysterious area of the canyon is a restricted zone, off limits for hikers, explorers and even park personnel.
The story of the mysterious 'lost ancient Egyptian colony' in the Grand Canyon is filled with mystery.
What if professor Kincaid and his colleague professor Jordan did exist and worked for the Smithsonian Institute but under another name?
Or is it possible that the story printed by the Arizona Gazette is an elaborate hoax, an attempt to increase sales for an 'unknown' local newspaper? after all, only the Arizona Gazette wrote about the alleged discovery.
If something of this magnitude was real, wouldn't other newspapers have rushed and printed the magnificent story?
While it is impossible to say for certain whether or not the caves exist, and 'someone' actually recovered ancient Egyptian artifacts fro the caves, we know that the Ancient Egyptians were capable of alot of things, and they could have had the ability to travel to the Americas.
Evidence of that an intriguing set of glyphs located in Australia (another finding highly debated).
While the mysterious glyphs, known as the Gosford Glyphs, are considered as a hoax by mainstream scholars, many people believe that the Gosford Glyphs are just one of the many pieces which point towards Ancient Egyptian large-scale oceanic voyages.
But in addition to the above, there are quite a few indicators which suggest the ancient Egyptians sailed around the planet and had the ability to perform large-scale oceanic voyages thousands of years ago.
Another intriguing fact that points towards or vice-versa are the mummified remains of Lady Henut Taui. The mummy, analyzed by German scientists Svetla Balabanova, contained traces of cocaine and nicotine, something that had never before been found.
But why was the discovery a groundbreaking one? Well, cocaine and tobacco were only found in the Americas in the distant past. These plants were not exported until the 19th century, a fact that suggests that somehow, ancient Egyptians could have traveled in the Americas 3,000 years ago.
Scientists successfully recreate Tyrannosaurus Rex embryo from chicken DNA
Fabulous 200 Million Dollar Treasure Hoard Unearthed in Cocos Island
Full Moon 9 July 2017 Out Of Control
Adam & Eve Never Even Met. Never Mated! So What's The Story?
Panic as scientists forced to admit Planet X is now orbiting the sun
NASA Denies Mars Slave Colony Exists, Despite Claims of Ex-CIA Agent and Whistleblowers
Astronomers Observe Two Super-Massive Black Holes Orbiting Each Other For The First Time
| Theme: SuperNews by .


The facts behind ReGrow's success.
ReGrow is full of goodness. It is a rich source of readily available nitrogen. i.e., ammonium-n.. and it contains useful amounts of phosphate, potash, sulphur, magnesium and trace elements. All of this goes into a liquid, which goes into the soil, which passes on all that goodness to your crops.
Did you know? Approximately 90% of the Nitrogen in ReGrow is readily available. When you think that Pig Slurry only has around 70% RAN and cattle slurry 45% RAN, ReGrow compares very favourably.
To get the most from ReGrow, it should be applied at the right time, in the right amount to the right crops, using precision application equipment. By increasing the amount of crop available nitrogen supplied, you will realise greater benefits. And greater financial rewards.
Always use an up to date analysis of ReGrow.
rapidly incorporate ReGrow into the soil where appropriate.
on very steep slopes where run-off is a high risk throughout the year.
requirement with ReGrow and balance the remaining need with 'bag' fertiliser.
Time applications for when crops are actively growing and need nitrogen.
Make sure application equipment has been calibrated correctly and is well maintained.


text:
© 2020 Organization of World Heritage Cities
Discover the platform
Sana'a, Yemen
Regional secretariat
Administrative status
National capital.
Protected area / Contact
Old City of Sana'a
Historical function
Religion and trade.
Location and site
Sana'a is located in a fertile basin 2,300 m. above sea level, on a major communication axis that crosses the mountains of Yemen. Part of the African Horn, at the southwestern tip of the Arabian Peninsula, where the Red Sea meets the Indian Ocean, it is the ancestral heartland of the Arabs.
Urban morphology
The network of streets within San'a is based on a hierarchy of public and private spaces. This hierarchy prevails over all of the nuances of the city's layout, from its gates to the entrance doors of its houses, from the major streets to the souks (markets). Numerous gardens are integrated into the ensemble.
The city walls enclose a sacred, protected space. A variety of materials – stone, brick, plaster, alabaster, stained glass – present a harmonious display of apertures, colours and textures. Towered houses, with cheerful ochre facades with white highlights, are balanced by minarets and cupolas.
Registration criteria
"Within its partially preserved wall," Sana'a "offers an outstanding example of a homogeneous architectural ensemble whose design, and detail translate an organization of space characteristic of the early centuries of Islam which has been respected over time." (IV) "The houses of Sana'a, which have become vulnerable as a result of contemporary social changes, are an outstanding and unique, traditional human settlement […]." (V) Sana'a is directly and tangibly associated with the history of the spread of Islam in the early years of the Hegira." (VI)
The citadel of Sana'a, Al-Qasr, was erected on an ancient Sabaean site. In the 3rd century A.D., the new royal residence, known as the Gumdan Palace, was constructed outside and to the west of the citadel. The city grew around the public buildings, which were erected first in the east and later towards the west.
Between 525 and 575, the Ethiopians took over Sana'a and the Highlands of Yemen on the pretext of defending the Christians. They were later chased away by the Persians.
From 628, Islam penetrated the south of the Arabian Peninsula. Sana'a became one of the principle centres of diffusion between Libya and Iraq. Its Great Mosque was constructed at the west of the Gumdan Palace in 630.
Under the rule of the Abbasids of Bagdad, during the 8th and 9th centuries, a palace was constructed in the northern part of Sana'a.
In 898, the Zaidite "imamat," which played a major role in the history of Yemen, was founded.
In the 12th and 13th centuries, under the Ayubits, a palace was erected to the west of the Great Mosque.
During the first period of Ottoman rule, which began in the 16th century, a mosque was constructed west of the city in 1597, and residences were constructed in the north.
Mr. Naji Saleh Thawaba
General Organization for the Preservation of Historic Cities in Yemen
Republic of Yemen P.O. Box 960
Sana'a, Yemen Republic
+967.1 27.34.74
gophcy@yemen.net.ye
A 32MARS realization
How to become an OWHC member Contact us


Collections Leah: the forsaken. A play in five acts. By Augustin Daly. Arranged from the "Deborah" of Mosenthal, expressly for Miss Bateman, and originally produced at the Howard atheneum, Boston, December 8th, 1862.
Leah: the forsaken. A play in five acts. By Augustin Daly. Arranged from the "Deborah" of Mosenthal, expressly for Miss Bateman, and originally produced at the Howard atheneum, Boston, December 8th, 1862.
Content: Verso of each leaf blank.
Content: Extra illustrated with photographs of the author and some of the original cast (?) and with sketches, music and a newspaper clipping.
Extent: 3 p.l., 5-33 numb. l. 25 cm.


The majority of car accidents that happen today are caused by an impaired driver – either one who is fatigued or one under the influence of alcohol and/or drugs. Tragically, in the case of drunk and drugged driving crashes, these accidents are always preventable by the drivers who cause them because of their decision to get behind the wheel of a vehicle when they were not in any condition to. They not only put themselves at risk but everyone on the roads around them. Fatigued drivers often do not realize the danger they impose, many of them suffering from undiagnosed sleep disorders or excessive work schedule.
Because this dangerous issue has become so prevalent, it is critical that we as drivers learn how to spot a possible impaired driver in order to help avoid our risk of being injured in a crash. By watching for certain driving behaviors, you just may be able to avoid a crash and save your life.
One of the most telling signs that something may be wrong with a driver is if they lane drift. This is when a vehicle drifts from one lane to another and appears incapable of staying on a straight course in the lane they are supposed to be in. Many times, the driver will suddenly swerve as they realize they are drifting, indicating a delayed reaction on their ability to mentally process. Or a sharp burst of another vehicle's horn grabs their attention. Similar to lane drifting is the driver continually hitting the rumble strips which may be placed either on the shoulder of the road or in the centerline.
Another strong indicator of an impaired driver is when they appear to have difficulty maintaining the correct speed, either driving well below the posted speed limit or well above it. Often an impaired driver will alternate from driving too slow to driving too fast, which could signal a dangerous confusion on the driver's part.
If you do encounter a driver exhibiting these behaviors, keep a far distance from them. When you are safely able to, pull off the side of the road and report the incident to law enforcement, supply as many details about the vehicle and driver that you can. By doing so, you have not only saved your life, but lives of many other potential victims.
Unfortunately, we are not always able to spot danger until it is too late. If you have sustained injuries in an accident caused by an impaired driver, contact a skilled North Carolina car accident attorney to find out what legal recourse you may have. Our Carolinas personal injury firm has successfully represented many accident victims in obtaining the financial compensation they deserved for their pain and loss.


Strange Things with MX records.
You certainly pick the zones to have trouble with.
slightly more common multihomed server.
All your BIND versions are very stale - maintenance?
requests it is unlikely to answer any others.
exactly what. Probably something like what your seeing!