text:
Flight Lieutenant Johnston RNZAF
Press cutting, referring to a officer of 15 Squadron.
Royal Air Force. Bomber Command
Press cutting
Conforms To
Pending text-based transcription. Under review
This content is available under a CC BY-NC 4.0 International license (Creative Commons Attribution-NonCommercial 4.0). It has been published 'as is' and may contain inaccuracies or culturally inappropriate references that do not necessarily reflect the official policy or position of the University of Lincoln or the International Bomber Command Centre. For more information, visit https://creativecommons.org/licenses/by-nc/4.0/ and https://ibccdigitalarchive.lincoln.ac.uk/omeka/legal.
Sue Smith
SKingEJ182986v10005
Acting Flight Lieutenant Maurice JOHNSTON (N.Z.42409), R.N.Z.A.F., 15 Sqn.
Flight Lieutenant Johnston is an outstanding captain of aircraft who has at all times displayed courage and determination to press home his attacks. On one occasion when detailed to attack Friedrichshaven, his aircraft was attacked by an enemy fighter just before reaching his target. Slight damage was caused to the bomber and, at about the same time, an anti-aircraft shell exploded beneath the aircraft causing further damage. Undeterred, Flight Lieutenant Johnston continued his mission and successfully bombed his objective. This officer has completed very many sorties against such targets as Berlin, Essen, Duisburg and Stuttgart.
King, Edward James
15 Squadron; aircrew; pilot
"Flight Lieutenant Johnston RNZAF," IBCC Digital Archive, accessed January 28, 2023, https://ibccdigitalarchive.lincoln.ac.uk/omeka/collections/document/34452.
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Shawn Reaves (Monroe, 5 de Fevereiro de 1978) é um actor norte-americano. Ficou conhecido por interpretar Harrison Davies, irmão da personagem principal Tru Davies (protagonizada por Eliza Dushku) na série televisiva emitida na Fox, Tru Calling.

Ligações externas

Atores dos Estados Unidos
Naturais de Monroe (Luisiana)

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Tuition Job - Jalan Pending 3, Bandar Puteri Klang, Selangor (check google maps). - English (essay writing).
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Why do some people hear this silent GIF bouncing?
City research suggests that synaesthesia may be behind the 'bouncing pylon' phenomenon and it may be more common that we think.
Published Wednesday, 6th December 2017 (Updated Tuesday, 3rd November 2020 )
Researchers from City, University of London believe that synaesthesia may be behind the recent phenomenon where people hear a 'thudding' noise when viewing a silent GIF of electricity pylons bouncing.
According to Dr Elliot Freeman and Chris Fassnidge, a PhD researcher in Dr Freeman's lab in the Department of Psychology at City, the effect seen is due to how our senses work, as this illusion is an example of a type of 'hearing-motion' synaesthesia. Such effects occur when the senses, such as hearing and sight, are crossed in the brain.
Currently the only lab in the world to be actively researching this phenomenon, Dr Freeman and colleagues call this effect visually-evoked auditory response, or vEAR for short.
It is thought that the effect may arise as humans are better at recording sound than images, therefore the ability to recode visual signals as sounds would take advantage of such abilities.
In a recent study, they also found that such 'hearing-motion' synaesthesia occurred in 22 per cent of people when tested and it is thought that they may occur subliminally, disrupting detection of real auditory signals.
This makes the effect more common than other types of synaesthesia – for example colour and sound – as these types only occur in around 4 percent of the population.
"Does anyone in visual perception know why you can hear this gif?
— Lisa DeBruine (@lisadebruine) December 2, 2017
Speaking about the phenomenon to The Telegraph, Chris Fassnidge said:
"I suspect the noisy gif phenomenon is closely related to what we call the Visually-Evoked Auditory Response, or vEAR for short. This is the ability of some people to hear moving objects even though they don't make a sound, which may be a subtle form of synaesthesia - the triggering of one sense by another.
"We are constantly surrounded by movements that make a sound, whether they are footsteps as people walk, lip movements while they talk, a ball bouncing in the playground, or the crash as we drop a glass. There is some evidence to suggest that synaesthetic pairings are, to some extent, learnt during infancy. I might assume I am hearing the footsteps of a person walking on the other side of the street, when really the sound exists only in my mind.
"So this may be a common phenomenon because the sound makes sense, but for that exact reason we may not even know we have this unusual ability until the noisy gif suddenly came along in the last few years. What determines who experiences vEAR and how intensely is probably individual differences in how our brain is wired."
Dr Elliot Freeman, a senior lecturer in the Department at Psychology at City, University of London, said to Press Association:
"I believe the phenomenon is correlated to a form of synaesthesia where the sense of sight triggers a sense of hearing. Synaesthesia is actually quite rare, as around 4% of the population possesses some form of the condition, but the strong motion energy in the shaking pylon GIF, paired with the expectation of something falling, triggers the auditory cortex – the region in the brain that processes sound – explaining why so many people are able to hear the 'thud'."
Take part in a study on vEAR
Research study
Cognitive Neuroscience Research Unit
Counselling and Health Psychology Research Group
Centre for Mental Health Research
Social Movements and Civil Society Research Group


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How does an all-Millennial office impact Millennial work ethic?
A recent New York Times article, What Happens When Millennials Run the Workplace? paints an interesting picture about how Millennials are beginning to rule the world. Relax people, every generation of twenty-somethings inherits that mantle, it's just the natural way of things.
The Times article focused on a five-year-old startup called Mic, a New York based website that delivers hard news with a hipsterish approach, and seemingly has no employees over the age of 30.
The article paints a picture of an unconventional workplace with interns who don't know their place, employees who prefer to text the adjacent cubicle rather than speak directly, and where the director of programming calls in sick with an excuse about a death in the family, only to bust himself on social media bragging about playing hooky.
No that's not a vocal warmup exercise. And no, that's not a stuttering of the word meme. It's the sound of the traditional workplace dying at the hands of Millennials as they talk and talk and talk incessantly about themselves in a myriad of ways. Or at least that's the picture the Times article paints, and maybe that's a good thing.
In fact, he barely scratched the surface when he said we'd all have our 15 minutes of fame. That glorious quarter hour has mushroomed into an ASCII melodrama that's being Tweeted, texted, Instagrammed and Snapchatted to the nth degree.
If there even is an office. The new workplace is a virtual office called Slack, Jira, or Trello. And for those still schlepping it to a brick and mortar, the Millennial workplace is much more lackadaisical than your father's office, which then became your mother's office, and now resembles a large playpen with skyrocketing overhead.
In the old days, it was called being unemployable. Or perhaps just a hippy. Nowadays, Millennials are encouraged to voice opinions that would have landed your parents a write-up in their employee file. Millennials are encouraged to be themselves, break from tradition and bring something fresh to the table. And all that's a good thing, even if it does feed the self-indulgent machine.
What's Next: How do you work a stapler anyway?
As Baby Boomers retire, and Generation X fills their slot as the sage elders, is age diversity being snuffed out at the hands of the Millennials? That depends. If you remain young at heart, then what's old just might become new again.
To the wise elders, otherwise lovingly known as 30-somethings, an all-Millennial workplace can feel a bit like Lord of the Flies, where children govern themselves and someone ends up killing that kid named Piggie; only now, that senseless sacrifice would be Periscoped for the world to see.
The Hollywood machine has been operating on a Millennial's mentality since before Millennials were even born. Capitalizing on the New-Now-Next machine of youth and vitality, youngins have been running billion dollar studios just long enough to know what they're doing, only to be replaced by another New-Now-Next exec.
The most successful companies enjoy longevity because they understand that youth is for the young, and pivoting toward that competitive edge hinges on remaining evergreen.
Being young at heart is good for everyone, including the young. The Millennial workplace is much more cunning and shrewd than it may appear. Millennials are the new trailblazers, to be sure, and are laying the foundation for the next generation to uproot and dispense with.
What's your take on corporate Millennia?
Is telecommuting to your home office part of your morning grind? Do you work in an unconventional brick and mortar office? Regale us with tales about your Millennial workplace in the comments below, or just copy and paste your latest overshare from your favorite social media feed. And when you're finished, get back to work, lest the boss figure out that you're slacking off and strongly reprimand you via passive aggressive tweet.


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Some of the age ranges for certain vaccines have been lowered, and some vaccines were reformulated to better prevent currently circulating viruses.
Getting a vaccine doesn't mean you won't get the flu, but if you do get sick it could be less severe, experts say.
Of the 180 children who died in the past year from flu, 80 percent had not been vaccinated during the season, the CDC said.
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Nadeshiko thought she could go winter camping as soon as she got over her 24 hour cold. Her older sister Sakura put an end to that notion.
Nadeshiko joined Rin on their previously scheduled camping trip via text. Rin had her own solo adventure through finding closed roads and taking sightseeing suggestions from Nadeshiko and Chiaki, who came to visit Nadeshiko.
Nadeshiko forced Chiaki to claim her local girl power by making her cook Houtou noodles. She eventually cooked for the entire family!
We now know where the mustache reference comes from in the opening credits. Rin visited the local shrine to Ayatarou and Rin had a dream combining Nadeshiko with the legendary dog's mission to fight a troublesome monkey. Rin fell asleep after her lunch and faces trying to set up camp in darkness!


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Q: NodeJS `fs.readdir` not reading hidden files on macOS
*

*NodeJS Version: v15.6.0

*macOS Version: v10.15.7

Given the following file hierarchy:
/root
  |- /dir1
  |    |- .another-hidden-file.txt
  |
  |- /dir2
  |    |- some-file.txt
  |
  |- .hidden-file.txt
  |- index.js

And the following code (index.js above):
const fs = require('fs');

const content = fs.readdirSync(__dirname);

I would expect the following output:
console.log(content);
    // -> ['dir1', 'dir2', '.hidden-file.txt', 'index.js']

However the following output is obtained:
console.log(content);
    // -> ['dir2', 'index.js']

Sync, Async, and Promises versions all give the same result.
I've also tried a lower level approach with fs.opendirSync with same results.
As far as I know, hidden files should be accessible with fs.readdir. Instead, even directories containing these files seems to be ignored (dir1 in the above example).

A: After additional testing, I found that the issue was caused by Babel not copying dot files during the build process (see Babel #5052).
I solved it by using --include-dotfiles flag.

redpajama_set_name: RedPajamaStackExchange


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See What Rodgers Said About Iheanacho's Attitude In Draw Against Norwich
The Super Eagles star was taken off for Demarai Gray in the 39th minute of the 1-1 draw against Norwich on Saturday at the KingPower Stadium.
His substitution came after he failed to obey the Fairplay rules. Midway through the first half, Norwich put the ball out of play with Buendia down injured.
On resumption, Iheanacho was given the ball to give back to the Norwich players, but the Super Eagles star decided to play on by dribbling towards the Canaries goal until he was tackled by Christoph Zimmermann.
This angered the Norwich players who surrounded the 23-year-old with Cantwell booked for holding his throat. Eventually, James Maddison put the ball out for a Norwich throw, but Rodgers decided to take out Iheanacho minutes after.
Speaking to Leicester Mercury after the match, the former Liverpool manager questioned Iheanacho's actions but said the substitution was not down to the incident.
"He totally misread that situation. The ball should go back. Thankfully nothing came of that.
"Most times the ball will be given back. It led to the situation which might have led to a red card which would have been an awkward one as well.
"They were disappointed that he wanted to try to get in and score. Young Kels, I'm not sure what he was thinking to be honest. He's an honest boy. He's clearly got kicked. Thankfully it was sorted out and nothing else happened.
On the substitution, Rodgers revealed he could have waited till half-time, but he decided to make the change immediately because he wants to switch to a 4-3-3 formation.
"It was one where we wanted to go to 4-3-3 and when we moved him out to the side, he's not a natural winger, he's not one who can play on that outside," said Rodgers.
"So I can either leave it and wait until half-time or make the change when I did. And then make the other change on half-time. It was purely a tactical one.
"He was fine. He was disappointed because he's been terrific for us in the past few games. He understands, he knows it was nothing personal, just the flow of the game needed to change.
The draw puts Leicester 10 points behind leaders Liverpool, but seven points ahead of Man City who play Arsenal on Sunday.
Tags: Brendan RodgersKelechi IheanachoLeicester City
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Pingback: Iheanacho's Hunger For Goals Was Behind His Unsportsmanlike Conduct- Ex Super Eagles Star
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Archive for the 'Greek Writers' Category
Aristotle-Ethics I
Posted: 17/07/2017 by vequinox in Art, Greece, Greek Canadian Poets, Greek Writers, HELLENES, φιλοσοφία, Έλληνας, Έλληνες ποιητές, Έλληνες συγγραφείς, Literature
Tags: Aristotle, diathesis, hexis, philosophers, Physics, Plato
Standard interpretations of Aristotle's Nichomachean Ethics usually maintain that Aristotle (384-322 B.C.E.) emphasizes the role of habit in conduct. It is commonly thought that virtues, according to Aristotle, are habits and that the good life is a life of mindless routine.
These interpretations of Aristotle's ethics are the result of imprecise translations from the ancient Greek text. Aristotle uses the word hexis to denote moral virtue. But the word does not merely mean passive habituation. Rather, hexis is an active condition, a state in which something must actively hold itself.
Virtue, therefore, manifests itself in action. More explicitly, an action counts as virtuous, according to Aristotle, when one holds oneself in a stable equilibrium of the soul, in order to choose the action knowingly and for its own sake. This stable equilibrium of the soul is what constitutes character.
Similarly, Aristotle's concept of the mean is often misunderstood. In the Nichomachean Ethics, Aristotle repeatedly states that virtue is a mean. The mean is a state of clarification and apprehension in the midst of pleasures and pains that allows one to judge what seems most truly pleasant or painful. This active state of the soul is the condition in which all the powers of the soul are at work in concert. Achieving good character is a process of clearing away the obstacles that stand in the way of the full efficacy of the soul.
For Aristotle, moral virtue is the only practical road to effective action. What the person of good character loves with right desire and thinks of as an end with right reason must first be perceived as beautiful. Hence, the virtuous person sees truly and judges rightly, since beautiful things appear as they truly are only to a person of good character. It is only in the middle ground between habits of acting and principles of action that the soul can allow right desire and right reason to make their appearance, as the direct and natural response of a free human being to the sight of the beautiful.
In many discussions, the word "habit" is attached to the Ethics as though it were the answer to a multiple-choice question on a philosophy achievement test. Hobbes' Leviathan? Self-preservation. Descartes' Meditations? Mind-body problem. Aristotle's Ethics? Habit. A faculty seminar I attended a few years ago was mired in the opinion that Aristotle thinks the good life is one of mindless routine. More recently, I heard a lecture in which some very good things were said about Aristotle's discussion of choice, yet the speaker still criticized him for praising habit when so much that is important in life depends on openness and spontaneity. Can it really be that Aristotle thought life is lived best when thinking and choosing are eliminated?
On its face this belief makes no sense. It is partly a confusion between an effect and one of its causes. Aristotle says that, for the way our lives turn out, "it makes no small difference to be habituated this way or that way straight from childhood, but an enormous difference, or rather all the difference." (1103b, 23-5) Is this not the same as saying those lives are nothing but collections of habits? If this is what sticks in your memory, and leads you to that conclusion, then the cure is easy, since habits are not the only effects of habituation, and a thing that makes all the difference is indispensable but not necessarily the only cause of what it produces.
We will work through this thought in a moment, but first we need to notice that another kind of influence may be at work when you recall what Aristotle says about habit, and another kind of medicine may be needed against it. Are you thinking that no matter how we analyze the effects of habituation, we will never get around the fact that Aristotle plainly says that virtues are habits? The reply to that difficulty is that he doesn't say that at all. He says that moral virtue is a hexis. Hippocrates Apostle, and others, translate hexis as habit, but that is not at all what it means. The trouble, as so often in these matters, is the intrusion of Latin. The Latin habitus is a perfectly good translation of the Greek hexis, but if that detour gets us to habit in English we have lost our way. In fact, a hexisis pretty much the opposite of a habit.
The word hexis becomes an issue in Plato's Theaetetus. Socrates makes the point that knowledge can never be a mere passive possession, stored in the memory the way birds can be put in cages. The word for that sort of possession, ktÎsis, is contrasted with hexis, the kind of having-and-holding that is never passive but always at work right now. Socrates thus suggests that, whatever knowledge is, it must have the character of a hexis in requiring the effort of concentrating or paying attention. A hexis is an active condition, a state in which something must actively hold itself, and that is what Aristotle says a moral virtue is.
Some translators make Aristotle say that virtue is a disposition, or a settled disposition. This is much better than calling it a "habit," but still sounds too passive to capture his meaning. In De Anima, when Aristotle speaks of the effect produced in us by an object of sense perception, he says this is not a disposition (diathesis) but a hexis. (417b, 15-17) His whole account of sensing and knowing depends on this notion that receptivity to what is outside us depends on an active effort to hold ourselves ready. In Book VII of the Physics, Aristotle says much the same thing about the way children start to learn: they are not changed, he says, nor are they trained or even acted upon in any way, but they themselves get straight into an active state when time or adults help them settle down out of their native condition of disorder and distraction. (247b, 17-248a, 6) Curtis Wilson once delivered a lecture at St. John's College, in which he asked his audience to imagine what it would be like if we had to teach children to speak by deliberately and explicitly imparting everything they had to do. We somehow set them free to speak, and give them a particular language to do it in, but they–Mr. Wilson called them "little geniuses"–they do all the work.
Everyone at St. John's has thought about the kind of learning that does not depend on the authority of the teacher and the memory of the learner. In the Meno it is called "recollection." Aristotle says that it is an active knowing that is always already at work in us. In Plato's image we draw knowledge up out of ourselves; in Aristotle's metaphor we settle down into knowing. In neither account is it possible for anyone to train us, as Gorgias has habituated Meno into the mannerisms of a knower. Habits can be strong but they never go deep. Authentic knowledge does engage the soul in its depths, and with this sort of knowing Aristotle links virtue. In the passage cited from Book VII of the Physics, he says that, like knowledge, virtues are not imposed on us as alterations of what we are; that would be, he says, like saying we alter a house when we put a roof on it. In the Categories, knowledge and virtue are the two examples he gives of what hexis means (8b, 29); there he says that these active states belong in the general class of dispositions, but are distinguished by being lasting and durable. The word "disposition" by itself he reserves for more passive states, easy to remove and change, such as heat, cold, and sickness.
In the Ethics, Aristotle identifies moral virtue as a hexis in Book II, chapter 4. He confirms this identity by reviewing the kinds of things that are in the soul, and eliminating the feelings and impulses to which we are passive and the capacities we have by nature, but he first discovers what sort of thing a virtue is by observing that the goodness is never in the action but only in the doer. This is an enormous claim that pervades the whole of the Ethics, and one that we need to stay attentive to. No action is good or just or courageous because of any quality in itself. Virtue manifests itself in action, Aristotle says, only when one acts while holding oneself in a certain way. This is where the word hexis comes into the account, from pÙs echÙn, the stance in which one holds oneself when acting. The indefinite adverb is immediately explained: an action counts as virtuous when and only when one holds oneself in a stable equilibrium of the soul, in order to choose the action knowingly and for its own sake. I am translating as "in a stable equilibrium" the words bebaiÙs kai ametakinÍtÙs; the first of these adverbs means stably or after having taken a stand, while the second does not mean rigid or immovable, but in a condition from which one can't be moved all the way over into a different condition. It is not some inflexible adherence to rules or duty or precedent that is conveyed here, but something like a Newton's wheel weighted below the center, or one of those toys that pops back upright whenever a child knocks it over.
This stable equilibrium of the soul is what we mean by having character. It is not the result of what we call "conditioning." There is a story told about B. F. Skinner, the psychologist most associated with the idea of behavior modification, that a class of his once trained him to lecture always from one corner of the room, by smiling and nodding whenever he approached it, but frowning and faintly shaking their heads when he moved away from it. That is the way we acquire habits. We slip into them unawares, or let them be imposed on us, or even impose them on ourselves. A person with ever so many habits may still have no character. Habits make for repetitive and predictable behavior, but character gives moral equilibrium to a life. The difference is between a foolish consistency wholly confined to the level of acting, and a reliability in that part of us from which actions have their source. Different as they are, though, character and habit sound to us like things that are linked, and in Greek they differ only by the change of an epsilon to an eta, making Íthos from ethos
We are finally back to Aristotle's claim that character, Íthos, is produced by habit, ethos. It should now be clear though, that the habit cannot be any part of that character, and that we must try to understand how an active condition can arise as a consequence of a passive one, and why that active condition can only be attained if the passive one has come first. So far we have arranged three notions in a series, like rungs of a ladder: at the top are actives states, such as knowledge, the moral virtues, and the combination of virtues that makes up a character; the middle rung, the mere dispositions, we have mentioned only in passing to claim that they are too shallow and changeable to capture the meaning of virtue; the bottom rung is the place of the habits, and includes biting your nails, twisting your hair, saying "like" between every two words, and all such passive and mindless conditions. What we need to notice now is that there is yet another rung of the ladder below the habits.
We all start out life governed by desires and impulses. Unlike the habits, which are passive but lasting conditions, desires and impulses are passive and momentary, but they are very strong. Listen to a child who can't live without some object of appetite or greed, or who makes you think you are a murderer if you try to leave her alone in a dark room. How can such powerful influences be overcome? To expect a child to let go of the desire or fear that grips her may seem as hopeless as Aristotle's example of training a stone to fall upward, were it not for the fact that we all know that we have somehow, for the most part, broken the power of these tyrannical feelings. We don't expel them altogether, but we do get the upper hand; an adult who has temper tantrums like those of a two-year old has to live in an institution, and not in the adult world. But the impulses and desires don't weaken; it is rather the case that we get stronger.
Aristotle doesn't go into much detail about how this happens, except to say that we get the virtues by working at them: in the give-and-take with other people, some become just, others unjust; by acting in the face of frightening things and being habituated to be fearful or confident, some become brave and others cowardly; and some become moderate and gentle, others spoiled and bad-tempered, by turning around from one thing and toward another in the midst of desires and passions. (1103 b, 1422) He sums this up by saying that when we are at-work in a certain way, an active state results. This innocent sentence seems to me to be one of the lynch-pins that hold together the Ethics, the spot that marks the transition from the language of habit to the language appropriate to character. If you read the sentence in Greek, and have some experience of Aristotle's other writings, you will see how loaded it is, since it says that a hexis depends upon an energeia. The latter word, that can be translated as being-at-work, cannot mean mere behavior, however repetitive and constant it may be. It is this idea of being-at-work, which is central to all of Aristotle's thinking, that makes intelligible the transition out of childhood and into the moral stature that comes with character and virtue. (See Aristotle on Motion and its Place in Nature for as discussion energeia.)
The moral life can be confused with the habits approved by some society and imposed on its young. We at St. John's College still stand up at the beginning and end of Friday-night lectures because Stringfellow Barr — one of the founders of the current curriculum — always stood when anyone entered or left a room. What he considered good breeding is for us mere habit; that becomes obvious when some student who stood up at the beginning of a lecture occasionally gets bored and leaves in the middle of it. In such a case the politeness was just for show, and the rudeness is the truth. Why isn't all habituation of the young of this sort? When a parent makes a child repeatedly refrain from some desired thing, or remain in some frightening situation, the child is beginning to act as a moderate or brave person would act, but what is really going on within the child? I used to think that it must be the parent's approval that was becoming stronger than the child's own impulse, but I was persuaded by others in a study group that this alone would be of no lasting value, and would contribute nothing to the formation of an active state of character. What seems more likely is that parental training is needed only for its negative effect, as a way of neutralizing the irrational force of impulses and desires.
We all arrive on the scene already habituated, in the habit, that is, of yielding to impulses and desires, of instantly slackening the tension of pain or fear or unfulfilled desire in any way open to us, and all this has become automatic in us before thinking and choosing are available to us at all. This is a description of what is called "human nature," though in fact it precedes our access to our true natural state, and blocks that access. This is why Aristotle says that "the virtues come about in us neither by nature nor apart from nature" (1103a, 24-5). What we call "human nature," and some philosophers call the "state of nature," is both natural and unnatural; it is the passive part of our natures, passively reinforced by habit. Virtue has the aspect of a second nature, because it cannot develop first, nor by a continuous process out of our first condition. But it is only in the moral virtues that we possess our primary nature, that in which all our capacities can have their full development. The sign of what is natural, for Aristotle, is pleasure, but we have to know how to read the signs. Things pleasant by nature have no opposite pain and no excess, because they set us free to act simply as what we are (1154b, 15-21), and it is in this sense that Aristotle calls the life of virtue pleasant in its own right, in itself (1099a, 6-7, 16-17). A mere habit of acting contrary to our inclinations cannot be a virtue, by the infallible sign that we don't like it.
Our first or childish nature is never eradicated, though, and this is why Aristotle says that our nature is not simple, but also has in it something different that makes our happiness assailable from within, and makes us love change even when it is for the worse. (1154b, 21-32) But our souls are brought nearest to harmony and into the most durable pleasures only by the moral virtues. And the road to these virtues is nothing fancy, but is simply what all parents begin to do who withhold some desired thing from a child, or prevent it from running away from every irrational source of fear. They make the child act, without virtue, as though it had virtue. It is what Hamlet describes to his mother, during a time that is out of joint, when a son must try to train his parent (III, Ìv,181-9):
Assume a virtue if you have it not.
That monster, custom, who all sense doth eat
Of habits evil, is angel yet in this,
That to the use of actions fair and good
He likewise gives a frock or livery,
That aptly is put on. Refrain tonight,
And that shall lend a kind of easiness
To the next abstinence; the next more easy;
For use almost can change the stamp of nature…
Hamlet is talking to a middle-aged woman about lust, but the pattern applies just as well to five-year-olds and candy. We are in a position to see that it is not the stamp of nature that needs to be changed but the earliest stamp of habit. We can drop Hamlet's "almost" and rid his last quoted line of all paradox by seeing that the reason we need habit is to change the stamp of habit. A habit of yielding to impulse can be counteracted by an equal and opposite habit. This second habit is no virtue, but only a mindless inhibition, an automatic repressing of all impulses. Nor do the two opposite habits together produce virtue, but rather a state of neutrality. Something must step into the role previously played by habit, and Aristotle's use of the word energeia suggests that this happens on its own, with no need for anything new to be imposed. Habituation thus does not stifle nature, but rather lets nature make its appearance. The description from Book VII of the Physics of the way children begin to learn applies equally well to the way human character begins to be formed: we settle down, out of the turmoil of childishness, into what we are by nature.
We noticed earlier that habituation is not the end but the beginning of the progress toward virtue. The order of states of the soul given by Aristotle went from habit to being-at-work to the hexis or active state that can give the soul moral stature. If the human soul had no being-at-work, no inherent and indelible activity, there could be no such moral stature, but only customs. But early on, when first trying to give content to the idea of happiness, Aristotle asks if it would make sense to think that a carpenter or shoemaker has work to do, but a human being as such is inert. His reply, of course, is that nature has given us work to do, in default of which we are necessarily unhappy, and that work is to put into action the power of reason. (1097b, 24-1098a, 4) Note please that he does not say that everyone must be a philosopher, nor even that human life is constituted by the activity of reason, but that our work is to bring the power of logos forward into action. Later, Aristotle makes explicit that the irrational impulses are no less human than reasoning is. (1111 b, 1-2) His point is that, as human beings, our desires need not be mindless and random, but can be transformed by thinking into choices, that is desires informed by deliberation. (1113a, 11) The characteristic human way of being-at-work is the threefold activity of seeing an end, thinking about means to it, and choosing an action. Responsible human action depends upon the combining of all the powers of the soul: perception, imagination, reasoning, and desiring. These are all things that are at work in us all the time. Good parental training does not produce them, or mold them, or alter them, but sets them free to be effective in action. This is the way in which, according to Aristotle, despite the contributions of parents, society, and nature, we are the co-authors of the active states of our own souls (1114b, 23-4).
Source: www.iep.utm.edu
Τasos Livaditis/translated by Manolis Aligizakis
Posted: 01/07/2017 by vequinox in Aligizakis Manolis, Art, Greek Canadian Writers, Greek National Literary Awards, Greek Poets, Greek Writers, Literature
Tags: credulity, passerby, Poetry, strange man, translation
ΔΙΑΒΑΤΗΣ
Ήταν παράξενος κι ίσως γι' αυτό μπορούσε να περάσει μια ολό-
κληρη πόλη άθικτος
κάνοντας εκείνες τις μικρές παραχωρήσεις που κάνουν οι μητέρες
κι οι νικημένοι στην ευπιστία.
He was a strange man for this he could pass through
the whole city untouched
allowing those little give ins that mothers allow to
their dreams
and the defeated to credulity.
Yannis Ritsos/translated by Manolis Aligizakis
Posted: 22/04/2017 by vequinox in Aligizakis Manolis, Art, Athens, Greek National Literary Awards, Greek Poets, Greek Writers, πολυγραφέστατος της ελληνικής διασποράς, Έλληνες Καναδοί Ποιητές, Literature
Tags: Poetry, psychology, sailors, sea, translation
ΚΟΝΤΑ ΣΤΗ ΘΑΛΑΣΣΑ
Τον ενδιέφερε — έλεγε — η ψυχολογία των ψαριών, όταν
οι σκιές τους περνούν στο κατάστρωμα του βυθισμένου πλοίου
κι έξω στο λιμενοβραχίονα μικρά κορίτσια με ναύτες
ανάβουν μεγάλες φωτιές κι ύστερα κάθονται στις άγκυρες και κλαίνε.
He was interested – he said – in the psychology of fish, when
their shadows are displayed on the deck of a sunken ship
and on the pier young girls with sailors
start big fires and then sit on anchors and cry.
YANNIS RITSOS-SELECTED POEMS, translated by Manolis Aligizakis, Ekstasis Editions, Victoria, BC, 2013
ARC POETRY MAGAZINE REVIEW
Posted: 15/04/2017 by vequinox in AlsatianGerman, Canadian greek Poet, Greek Writers, φιλοσοφία, Έλληνες ποιητές, Έλληνες συγγραφείς, Literature, Manolis Aligizakis
Tags: Greek National Poetry Awards, Poetry, translation
ARC POETRY MAGAZINE FEATURE REVIEW
Harold Rhenisch
Love and War and Oranges
Philip Resnick. Footsteps of the Past. Vancouver: Ronsdale Press, 2015.
Nick Papaxanthos. Love Me Tender. Toronto: Mansfield Press, 2015.
Dimitris Lianinis. Hours of the Stars. Surrey, BC: Libros Libertad, 2015.
Tzoutzi Matzourani. Hear Me Out: Letters to My Ex-Lover. Surrey, BC: Libros Libertad, 2015
Classicism is the belief that adherence to past models recreates their successes. It's why art students draw from the nude, formalists write sonnets, and Germany is structured on Goethe's Faust. It's also why Canadian poets write in a series of stances called, variously: self-actualization, emotional honesty, imagism, verse, activism, English and French, surrealism, glosas, villanelles, open fields, vers libre, academic deconstruction, and that juggling trick Leonard Cohen did with the oranges. Most commonly, classicism references the artistic works of ancient Greece—usually to foster humanist values. In this review I look at four Canadian poetry books that reference classical Greek modes.
Philip Resnick's Footsteps of the Past is exquisite. Poems such as "West Coast Mythis-torema" and "Paris on a Sunday Afternoon" are tours de force of Greek metrics: muscular objects like Greek statues in marble: "limbs and flesh so dear / that words, you feel, are puffs of hollow air, / and images of love / Pygmalions carved in sandstone or in wax" ("Paris on a Sunday Afternoon"). Most of the other poems are satires. My working model: back in the day, such jibes were sung by drunkards caught up in moonlit orgies in the Aegean hills; in civic life, satirical dramas stripped off the masks of power in dances of violence and forgiveness. Resnick's are elegiac: "faces in a sullied looking glass / that must be digitalized / before they turn to dust" ("Cuarentena"). Often, they sound like pulpit work: "what is familiar becomes with time / a parasite in the intestinal flora" ("The Crown in Canada"). Resnick's honoured dead aren't the heroic dead of Homer and Alice Oswald, who fight in eternal battle on the scorched plains of the Middle East. They're ghoulish. In Resnick's reckoning, classical Greece was a wellspring of Western ideals; its citizens lived in common society, united with land and its spirits. In his Canada, this spirit lingers on in decaying fragments. The millions of people of his Vancouver, whose intellectual traditions honour Daphne and Apollo, have washed up on the shores of Raven's sea. They have jettisoned classical unity in favour of the ability to live in tall glass rectangles. This is not courage. Reflecting the city's ennui, many of Resnick's poems fizzle away, as if a god has been filled with power but then, when fate hangs in the balance, slips down to the pub for a beer and to watch the Canucks lose the Stanley Cup. Classicism here grits its teeth to reveal a broad gap between realities and professed ideals, in beautiful but sad models of civic, occasional and funereal verse.
Nick Papaxanthos' Love Me Tender draws on the oracular tradition of the priestesses of Apollo, who breathed sulfuric vapours to predict the future—in riddles that would excite any neurolinguistic programmer today. His Love Me Tender is like a bomb of dada lobbed into an opposing trench in the Somme: "avocados fudge / blimps to raisins / the inning, lungs / in the fatso and / braids toothpaste." It's a bit blunt. Bombs are. Dada is. The sections "The Next Arrangement of Molecules" and "Chairlift to Hell," though, are classic surrealist games. They just go by at warp speed, that's all—like fanning a deck of tarot cards instead of laying them down one by one. Here's one, to give you a taste: "the yo-yo panorama looks out gently / then returns, tinged with blood" ("At the Peak of Mt. Murder"). Fun, or what!? It's language interrogating itself using a randomness generator. No, wait: it's René Char redux, differing only from the original in that Char learned his poetics in the 1940s Resistance, which certainly beat the heroism of running into machine gun fire or its contemporary equivalent, the randomness generator. In Papaxanthos, the resistance continues—just faster than human sight, that's all, and through the global universalism of surreal imagery. What was originally a group of exiles aggrandizing their verbal powerlessness during WWI by replacing art with nonsense (as the war had replaced civilization with destruction) is now Papaxanthos aggrandizing the hurlers of Molotov cocktails (rather than hurling them.) Have a look at one of his glorifications: "The Meadow of Dents // Light slams the flowers on its way out." It's clever stuff. Like the Dadaists, its topic is its own cleverness. It is display and a desire to disappear all at once. That can't be healthy. For the Dadaists, a gesture like that was violent. Here the violence is turned inward. This is dangerous territory. Another example might help: "In the Atmosphere // of headlight beams and floral bedsheets, / voices trade hellos / from faces turning shyly away." (Both examples are from "The Next Arrangement of Molecules.") The text here has replaced "self" identity. Now the text is lobbing the IEDs. The self? The poor thing is embarrassed. Maybe that's how a poet has to survive in Resnick's anti-culture: a strong, victorious book is obscured to survive within the culture it tries to replace. That's the necessary work of a clown. It's sad that such a ruse is needed. These surreal sequences would be stronger if not vacuum-packed into a container of a size and shape better suited to hold the ashes of Bliss Carman. Such a nod to the norms of Canadian book editing dulls the revolution within these devices. It aestheticizes them. It makes them "safe," just another turn within a potpourri of verbal gymnastics, compressed to fit. They aren't the aesthetic objects the book shape—and the Canadian sensibility behind it—makes them to be, and they sure aren't safe. They deserve their own launch vehicles.
Dimitris Liantinis' Hours of the Stars draws on Greek culture from within. Where Papaxanthos manipulates Greek oracular tradition through secular surrealism, Liantinis uses similarly bizarre imagery within an unbroken connection with the Greek pantheon. Where Papaxanthos's Canadian postmodernism employs psychology and industrial identity severed from the earth to view its roots as flotsam left over after a tsunami, recombined into steam punk bangles such as "A sink washes the air's hands / A detour around a candle darts" ("The Vaccinated Dawn"), Liantinis' imagery is the oracle: "memoirs will be written only / on the edge of the sword / that cracks the cheekbones of the night like walnuts" ("Hercules"). Liantinis lacks Resnick's and Papaxanthos's sense of loss, tragedy, romance and bathos. His references to the gods fill the space their emptiness fills. In "Aquarius," for example, an un-named god unearths "the viscera of the desert," but then miracle—not a burning bush but "Suddenly water drops shone / on the weight of its tiredness and / filled the sun with passengers." It is a warning against seeing Greece as the root of the Western tradition, which shows the material faces of God and uses art to create archetype. After all, it's also the source of Eastern tradition, which apprehends God as archetype and uses art to arrive at material presence. This is a book to set with Seferis, Cavafy and Ritsos. It's the real deal.
Of course, classical tradition isn't just a high testosterone phalanx of monks and suicide bombers battling to see who has the better bronze sword and who the best desert in which to watch the mind writing on silence. It also contains Sappho, writing of her lesbian lover so passionately that no love poem has surpassed hers in 2600 years. In Hear Me Out: Letters to My Ex-Lover, Tzoutzi Matzourani makes direct nods to her: "The agony, the heart ache, the pain in the guts, the longing the yearning each felt for the other, the match, the writhing, the complete surrender" ("The Road to Hell"). She discards many parts of classical tradition. She keeps precision: "What you loved of me, you killed" ("What You Loved"). She sidesteps Plato's annoying questioning by directly addressing her beloved. She keeps elegy: "Because simply you can't grasp onto anyone's hand you can't grasp onto anything" ("The Lost 1%")—like Heraclitus and the river you can't step into twice: "My dry lips still had the taste of watermelon we ate at lunch time, and now, evening already, my glance was glued high up in the sky" ("A Slice of Moon With the Scent of Watermelon Fragrance"). Classical metrics are eschewed for simple stanzas built around exquisite semantic rhythms and the ebbs and flows of prose. These are the sea's tides, so present they need never be mentioned. Don't be fooled, though: these letters gradually reveal themselves as notes to: Mantzourani's ex-lovers, the things she has loved, and poetry's passions and devotions. There is no oracle. This is a real woman, exploring the day-to-day triumphs and pains of love in all of its particulars, consciously aware that she is replacing an entire classical tradition of men jabbering about politics, sociology, religion, architecture, literature, philosophy, etc., with an alternate lens: love, and its devotions and attentions. Out of the four books here, all steeped in Greece, it's hers that extends humanism, and with fused passion, wit and intellect. If an entire century were built on her model, we would do well.
Hours of the Stars and Hear Me Out are poetic triumphs.
Poetry by Manolis Aligizakis/A Review
Posted: 24/03/2017 by vequinox in Aligizakis Manolis, Art, Canadian greek Poet, Crete, Greek Poets, Greek Writers, Κρήτη, Κρατικά Βραβεία Λογοτεχνίας, Κωνσταντίνος Καβάφης, Literature
Tags: abstract, Eros, history, Poetry, sensuality
SENSUALITY IN MANOLIS' POETRY COMPARED TO CAVAFY AND YANNIS RITSOS
As history teaches us, the contrast between life and art has made it easy to think of Cavafy in the abstract, as an artist whose work exists free from tradition and attachment to a specific moment in time. This trend has been prompted by the two elements of his poetry for which he is most famous: his surprisingly contemporary theme (one of his themes, at least), and his attractive and direct style.
Certainly there have always been many readers who appreciate the so-called historical poems, situated in magical places of the Mediterranean during times that have been long dead and acrimonious with sociable irony and a certain tired stoicism. ("Ithaca gave you the beautiful journey, / without her you would not have put in the passage. / But now she has nothing to give you," he writes in what may be the most famous evocation of ancient Greek culture: the journey is always more important than the fatefully disappointing destination.) This can be seen in the poem:
Honor to all of those who in their lives
have settled on, and guard, a Thermopylae.
Never stirring from their obligations;
just and equitable in all of their affairs,
but full of pity, nonetheless, and of compassion;
generous whenever they're rich, and again
when they're poor, generous in small things,
and helping out, again, as much as they are able;
always speaking nothing but the truth,
yet without any hatred for those who lie.
And more honor still is due to them
that Ephialtes will make his appearance in the end,
and that the Medes will eventually break through
But it is probably fair to say that the popular reputation of Cavafy rests almost entirely on the remarkably preexisting way in which his other "sensual" poems, often not considered as this poet's gift, deal with the ever-fascinating and pertinent themes of erotic desire, realization and loss.
The way, too, when memory preserves what desire so often cannot sustain. That desire and longing only makes it appear more contemporary, closer to our own times. Perhaps this is the case with Manolis' poem:
Lamppost
After leaving our marks
on the sole lamppost
we parted
she to the west
I to the east
with a promise
to meet again
by this lamppost
and trace our marks
though we never thought of the Sirens
the Cyclops and the angry Poseidon
though we never thought of the pricey
No one but Cavafy, who studied history not only eagerly but with a studious respect and meticulous attention to detail, would have recognized the dangers of abstracting people from their historical contexts; and nowhere is this abstraction more dangerous than in the case of Cavafy himself.
Surely his work is as good as great poetry can be and at the same time timeless in the way we like to think that great literature can be alchemizing details of the poet's life, times and obsessions into something relevant to a large audience over the years and even centuries.
But the tendency to see Cavafy as one of us, as one in our own time, speaking to us with a voice that is transparent and admittedly ours about things whose meaning is self-evident, threatens to take away a specific detail one that, if we give it back to him, makes him look larger than life and more a poet of the future, as it was once described, rather than the time he lived in. This detail also pertains to the biography of Manolis who refers to mythical passages of his home-country and unfolds scenes of sensuality, abandonment and loss.
Cavafy's style, to begin with, is far less prosaic, much richer although not musical, and rooted deeply in the nineteenth century in which he lived for more than half of its life. Some readers will be surprised to learn that many of Cavafy's poems, even when he was almost forty, were cast as sonnets or other prepared forms of verse.
Manolis was born in Kolibari a small village west of Chania on the Greek island of Crete in 1947. At an early age his family took him first to Thessaloniki and then to Athens where he was educated, earning a Bachelor of Science in Political Science from the Panteion University of Athens.
The subject in some of Cavafy which tend to be overlooked by readers as difficult are the poems deliberately placed in the dark, geographical and temporal margins of the Greek past: poems which seem not to have much to do with today's concerns and are often passed in favor of works with more contemporary appeal.
Perhaps this is the case with Manolis who draws from the same Greek sources as Cavafy does making historical references to Greece, the cradle where his soul was born, when he creates the Greek myths interacted in his contemporary poetry. Even far from his motherland Greece where he resides now he still retains in his poetic memory, images and themes he channels through verve in this book and others.
Can Manolis channel the beauty as easily as he describes in his verse? "An ancient time leader / as an anointed and pious / a musical instrument of candor flowing free / ready to speak with words that relieve pain and free the soul?" Yes its main tool is its firsthand experience of the power of Eros. His psychological makeup attracts and conveys authenticity and happiness based on his worship and being adored by sensual and provocative female figures exposing him in an ecstatic transcendence through his bodies of lust and his deep love and dedicated understanding. It is obvious that he finds his purpose in falling in love passionately for his beloved.
He does not hide that before he emerged he wanted to become "a festival / movement song of a bird / a vesper / a simple sigh / that will heal the lips of his beloved." If he feels impotent in the face of inconceivable and unlimited Destiny, he declares that a woman's embrace beckons him and he likes to give in to his passion: "dark and vague circle / forever indeterminable / and this, the command / and this, the Obedience / This, the orgasm / and this, the Eros / and this is you." He feels being favored by Eros he diffuses his burning passion with light that fills his erotic verses. As a gallant defender of lust and sensuality and the true emotions of love, he delivers the joy and joy to the soul.
Both idealism and pragmatism, messianism, but also the tradition in the languor of the senses, the subjects of love dedicated to ephemeral satisfaction and erotic drunkenness make up the changes of its vast poetic content. Having the maturity of an accomplished poet and the ability to create evocative images in a personal way, the poet introduces us to what constitutes the most brilliant expression of his most intimate thoughts and beliefs in front of the world of his time and age.
The way, too, where memory preserves what desire so often can't sustain. That desire and longing were for other men only makes it appear more contemporary, closer in our own times as we see in this opening poem of Golden Kiss, which poem may seem obscene and prosaic created by a minor poet, but when creating by a poet as Manolis locks up the erotic aura of a Moravia.
like a bird stilled by camera lens
her scandalous vulva visits his mind
from days of that August
on the scorched island
in low tone siesta
in muffled moaning
lest the mirror would crack from tension
In the 1880s and 1890s, Constantine Cavafy was a young man with modest literary ambitions, writing verses and contributing articles, critiques and essays, mostly in Greek but in English (A language in which he was perfectly at home as a result of spending a few of his adolescence years in England), on a number of idiosyncratic subjects, Alexandria and Athenian newspapers. This similarity in biographies binds Cavafy with Manolis who lives in Vancouver and writes poems in Greek and English referring to both countries.
Yannis Ritsos was born in Monemvasia, Greece, on May 1, 1909, in a family of landowners. He did his early schooling and finished high school in Gythion, Monemvasia and after graduating in 1925, he moved to Athens where he began working on typing and copying legal documents. A year later, he returned to his home town where he spent his time writing and painting, another form of art that he devoted himself which along with his writing he kept for the rest of his life, perhaps the painting has given him elements of his sensual poems:
Our women are distant, their sheets smell of goodnight.
They put bread on the table as a token of themselves.
It's then that we finally see we were at fault; we jump up saying,
'Look, you've done too much, take it easy, I'll light the lamp.
'She turns away with the striking of the match,
walking towards the kitchen, her face in shadow,
her back bent under the weight of so many dead –
those you both loved, those she loved, those
you alone loved . . . yes . . . and your death also
Listen: the bare boards creaking where she goes.
Listen: the dishes weeping in the dishrack.
Listen: the train taking soldiers to the front.
Sometimes the poems are invested with the fractured logic of the dream with images of dream events or they're placed in a landscape of dreams that grows, as one reads more, more and more recognizable, less strange, always attractive. At the same time, their locations and quotations are redemptive of a completely recognizable Greece: the balconies, the geraniums, the statuary, women in their black attires and, in a lasting way, the sea. His touch is light, but its effect is profound. Much depends on the image that causes the narrative movement. Some poems are so small, so distilled, that the fragments of history given to us – the kids' psychodramas – have an irresistible power. "The less I get the bigger it gets," said Alberto Giacometti and the same powerful reticence is a feature in Ritsos' shorter poems.
The content of Yannis Ritsos also deserves renewed attention – both the specific themes of the individual poems, which in fact keep the historical and the erotic in a single focus.
Eroticism is one of the appearances of man's inner life. In this one deludes himself because one is seeking his fixed object of desire. But this object of desire responds to the internal desire. The choice of an object always depends on the individual's personal tastes: even if it falls on the woman most would have selected, what comes into play is often an unspeakable aspect, not an objective characteristic of this woman unless she has touched the inner being of man she creates the force to choose her.
The notion of disorientation (similar, perhaps, to the effect of a mild virus), when heightened emotion puts us at odds with the world, when the aromas become sour, when a view of the garden becomes desolate, when household objects shed their purpose, is perfectly evoked in these ten lines. There is an immediate recognition of a precarious ontological state tied to a story until, a moment later, we realize that we can see that street, see that window, see through that door:
It was just luck: I open the door, the two women
side by side on the sofa
in his black handkerchief,
mother and daughter, perhaps,
staying immobile, unpronounceable, a mouthful of bread
on the table, a cat sleeping on the couch.
Looking away and the sun at the top of the waves, cicadas
the swallows attractions in blue. They look back.
I almost had it, I almost had it in one of them.
Then Mother got up and closed the door.
This poem by Yannis Ritsos refers us to another poem by Manolis but more sensual and right:
Nothing to hold onto
but ourselves in lust
and the cenotaph with
names engraved in marble
yet in this near futile void
a sudden speck of light
gleams on Suzanne's breast
as a lightning flash like
when her eyes demanded
a deeper meaning to this: are we
to search for it during this dark night
with our two bodies as the only absolution?
The sensuality of the Mediterranean world may be in the Greek soul of the poets to a greater or lesser degree, as we have seen over the years and centuries, referring to the idea that the Greek gods though dead are alive in the souls of the Greeks: Eros and Dionysus are alive from the bygone days of yesteryears to today and even more so in the case of Manolis who lives in Vancouver but has not forgotten his Cretan roots, and he writes in both Greek and English and shows with his simple poem Golden Kiss the sensual and erotic connection between his poetry and that of Cavafy and Yannis Ritsos.
~Eric Ponty, poet, translator, Sao Paolo, Brazil, 2016


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Our Winemaker
Our Vintner
Three Rivers Wine Club
Foley Food & Wine Society
Holly Turner Named Winemaker of the Month
April 20, 2022 News
NAME: Holly Turner, winemaker
WINERY: Three Rivers Winery, Walla Walla, WA
Since 1999 we have been producing handmade wines from the remote and arid Columbia Valley AVA in Eastern Washington. Our name pays homage to the three rivers that influence our growing region: the Columbia, Snake and Walla Walla. A pioneer in the region, Three Rivers Winery was the 14th established winery in the Walla Walla AVA.
ANNUAL CASE PRODUCTION: 15,000 cases
PLANTED ACRES: 8 estate
CAREER BACKGROUND: I earned my B.S. in biology from Western Oregon State College in Monmouth, Oregon. My first job out of college, I worked as a quality assurance technician in food laboratories for a couple different manufacturers. I was so bored I quickly decided that I needed a change. After a move from Portland, OR to Prosser, WA I found work in the tasting room for Chateau Ste. Michelle Winery. Within a few months, I moved into the lab, and then into an enologist position. I was hooked! I was intrigued by the blend of art and science and knew I had discovered my true calling. Subsequently, I enrolled in production courses in winemaking at UC Davis to gain more knowledge about this exciting field. In 2000 I moved on and spent a harvest in Argentina. I returned to be the assistant winemaker at Three Rivers Winery in Walla Walla, WA. Within two years, I was promoted to lead winemaker and am thrilled to be working in one of the world's greatest wine regions.
WHAT HAS BEEN YOUR BIGGEST PROFESSIONAL CHALLENGE? Managing the challenges Mother Nature throws at us. Every few years we can expect an extreme cold event, cold enough to damage the vines. We must manage those struggles in the vineyard and be agile enough to motivate the fruit to give its best in the cellar.
VARIETALS THAT YOUR WINERY IS KNOWN FOR: Cabernet Sauvignon, Merlot, Malbec, Sauvignon Blanc, and Chardonnay
Learn More about Holly Turner
Shop Three Rivers Wine
YOUR WEEKEND ITINERARY: PACIFIC NORTHWEST
SEPTEMBER 22, 2021 When people think of American wine, it's likely they think of the bounty grown in California. But it would be unwise to dismiss the fruits of beloved…
Introducing Headturner Wine Co. by Holly Turner
Last we spoke with winemaker Holly Turner of Three Rivers Winery in Walla Walla, Washington, she had some big news to share. That news was about her brand new label—Headturner…
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We are currently closed for the month of January. We sincerely apologize for any inconvenience. As of February 1st, you can make reservations for seated wine tastings Thursday-Monday 11AM – 5PM, with the last reservation at 3:30PM (Closed Tuesday & Wednesday). Questions? Contact us below and we will be happy to help!
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Walla Walla, Washington, 99362
info@threeriverswinery.com
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© Copyright 2023 Three Rivers Winery
Member of the Foley Food & Wine Society


text:
The 10 best Cornish pasties according to Tripadvisor and Google reviews
A study by Parkdean Resorts has revealed the Cornish pasty Top 10
Alicia Curry
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It's safe to say that when it comes to conversations in Cornwall, high on the list just after the weather is the most revered of treats and iconic of exports - the Cornish pasty.
Even a journey to a different town can throw up wildly different opinions on who makes the best pasty, with the only agreement being that it definitely isn't Greggs.
While it's not believed that disagreements on favourite pasties are cited as a reason for divorce or mass brawls down the local, one place where opinions can get lively is the internet, which has now had its say on the favourite oggy.
A study commissioned by holiday operator Parkdean Resorts has sought to find out which pasty is best, by combining reviews on Tripadvisor and Google ratings to give each shop a star rating before collating the percentage reviews of each.
Read more: The 16 best beaches you can visit in Cornwall
So, while here's what the internet thinks is the iconic pasty of Cornwall, we know that there's no better expert on pasties than our very own CornwallLive readers. Because of that, we want to know what you think is the best Cornish pasty and you can have your say in our pasty survey below.
The internet has chosen it's favourite pasty- but what's yours?
10. Aunt Avice's Pasty Shop - St Kew Highway
It's sometimes said that the rarer the pasty the nicer they are. That's certainly the case with Aunt Avice's in St Kew Highway. It's a fair old journey top pick one up. But it's certainly worth it, you won't be left disappointed, there's a reason they're one of north Cornwall's worst kept secrets.
Reviewers on Tripadvisor are also fans.
Catherine M said: "Have bought pasties and bacon & eggs pies from here repeatedly as they are SO good. Well filled, beautiful pastry, and nicely seasoned. Try them, they are good!"
Gilderp15gold wrote: "We have tried pasties all over Cornwall for many years many times and we feel we can safely say these are consistently the best there are. The perfect mix of great pastry, plenty of filling and seasoning. Only gave it 5 because can't give it 6."
9. Malcolm Barnecutt's Bakery - Bodmin
Malcolm Barnecutt's pasties
If there's such a thing as a pasty synonymous with different parts of Cornwall, then the flag bearer for north Cornwall is Barnecutt's, affectionately known as "barny's". It's very much the latest iteration in a long family pasty dynasty.
Most major places in north and central Cornwall have one and our friends across the Tamar in Plymouth can also join in the fun, with a branch of Barnecutt's there, too. Bodmin, the home to Barnecutt's HQ, has three.
Tripadvisor users have had their say on the iconic pasty chain.
GasheadBristol wrote: "The pasties here are as good as ever. First recommended to me by my relative who lives locally. They never fail to please and it is incredible that the high standard is maintained year in, year out."
AndyB42 said: "Tried them all and Barnecutts pasties are by far the best available in Bodmin. Proper traditional steak pasties the way they should be."
8. Morris Pasties Gover - Newquay
Taking the top spot for best pasty in Newquay and 8th in the list of Tripadvisor and Google reviews top ten is Morris Pasties of Newquay.
Djsagaloo wrote: "Best pasty I have ever had. Lovely pastry full of filling and lovely meat and gravy. Wish they delivered around the country."
EmmaWS7834SM said: "We found Morris on our last day in Newquay. We stopped at a few other bakeries on Sunday morning who's pasties were not ready and could smell Morris pasties a mile off and I'm so glad. They were so so SO good."
7. Helluva Pasties - Callington
In seventh place, marking a 'helluva' success was Helluva Pasties of Callington, one of two Callington bakeries to make it into the top 10.
835stephenb835 said: "These pasty's are first class! And really hope they stay like this because they have got it absolutely right.
"Highly recommended. So if you want a real Cornish pasty that's absolutely delicious then you need to go to Helluva Pasties."
NickBrown_65 wrote: "You have got to have one of these pasties or an award winning sausage roll. Different types of pasty too, I prefer the double pepper ones. All served by lovely ladies too!"
6. Sarah's Pasty Shop - Looe
(Image: TripAdvisor)
One of the hotbeds for pasty related tribalism is Looe, where the honour of best pasty in Looe will see several nominations for different local bakeries. Coming out on top in this survey, was Sarah's pasty shop.
821jayF said: "We stopped here for a late morning bite and couldn't have been happier. This is our 4th visit to Looe and me and my kids always look for the best pasty of each trip and this was definitely this years winner. The pasty's were much larger then others and packed full of filling. Served nice and hot and tasty with every bite. Well priced and very filling. This alone filled us up well into the afternoon. Definitely recommend this to anyone looking for a tasty eat."
JulieJohn10 wrote: "Best Pasty I've ever tasted! We visited Looe in July and thought that they must do good food as it was the only place with a queue but we were short of time so had to go without, when visiting in August we decided to have a pasty and it was delicious, best pasty I've ever eaten, even the pastry melts in your mouth."
5. Hampsons of Hayle - Hayle
Ask some people what their favourite pasty in Hayle, and they'll tell you without blinking it's Philps. Others will tell you it's Hampsons. However, only one Hayle bakery has made it into this top 10, and it's Hampsons of Hayle.
Here's what Tripadvisor reviewers think of it.
Simon128090 said: "Hampson's traditional steak pasties are delicious. The medium-size ones are huge. There are some pasties that can be a little too peppery for some tastes. But, in my opinion Hampson's are seasoned just right. The pastry is perfect too."
Bryan M said he was a convert, writing: "For many years I was a Philps pasty lover until I tried a Hampson's traditional steak wow what a great I was missing. No indigestion just pure enjoyment."
4. The Cornish Deli - St Ives
Missing out narrowly on a pasty podium place was The Cornish Deli of St Ives, coming fourth in the top 10 Cornish pasty list.
rachelT686LZ praised their gluten-free pasties, writing: "My first gluten free pasty in 11 years! And it was delicious! The chef's son is Coeliac so he fully understands the need to keep gluten free foods away from everything to avoid cross-contamination. Such friendly service from the lovely waitress that we went back a second time. Highly recommended."
Monika J said: "The perfect lunch, lots to choose from on the menu. Caters for all, food is fresh and will definitely go back!!"
3. St Agnes Bakery - St Agnes
Based in the coastal village of St Agnes, the relative remoteness of the area it serves does not detract from the popularity of St Agnes Bakery - voted third best in the top 10 as voted for by reviewers of Tripadvisor and Google.
Suzanne20717 wrote: "My daughter and I are gluten free and so ordered some pasties - they were the best we have found in all our holidays in Cornwall over the years. They also seemed to have no milk in either!
My husband and son had the 'gluten' pasties and also said they were some of the best they have tasted. Great service, lovely staff and bakery. Would highly recommend."
Rodger C said: "Great place to pick up some delicious Cornish pasties before we went on a trip to Chapel Porth beach. Two members of family are gluten intolerant and really pleased to also be catered for. Phone an order in and they'll have it ready for you."
2. The Cornish Vegan - Truro
Proving that you don't have to be a meat eater to enjoy a pasty, The Cornish Vegan is the runner up in Cornwall's top 10. Here's what reviewers had to say.
Sheridan W wrote: "We bought two of these amazing pasties from the eco collective in Porthtowan and they truly were the best ever. The cheese and onion was so good and the most 'cheese' like thing I've eaten since becoming vegan and the chilli one was a thing of wonder. I'm so glad these are available online, because I couldn't bear to wait until next year( when we visit next) to try one again."
Bekki Rose said: "Delicious cheese & onion pasty - my first vegan one, also gluten & soy free. Oh my it was so good!"
1. Over The Top Cornish Pasties - Callington
Over the Top is a family business (Image: Over the Top)
Winning the hearts and minds of reviewers, and with it the number one spot in the top ten of pasties, is Over the Top Cornish Pasties of Callington. Famed for their use of a "top crimp" as opposed to the more commonly seen "side crimp", Over the Top offers a slightly different take on a Cornish pasty - although, they recently made a "side crimp" pasty for what they describe as the "first and last time."
Seaside464499 wrote: "I am a fan! It has now become a tradition in our family that no gathering can be held without an over the top pasty! They are delicious and they are still delicious when reheated. The massive range of flavours means nobody is disappointed. We recently had 80 small ones of various flavours... firstly, don't be fooled by small... you can share and still feel full... secondly... don't assume vegan is a travesty to pasties... these guys know how to pack flavour inside their tasty pastry.
"This family of pasty makers are right at the top of their game so bravo guys and please don't change anything because Over the Top are probably the best pasties in the world!"
Therealstevemorris said: "Never had a bad pasty from Over the Top. Loved the "filthy scotch egg" too! Great staff and they deliver too!"
Parkdean's interactive map can be found here.
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Печерская волость — название ряда административно-территориальных единиц в Российской империи и советских республик (РСФСР, УССР).

Список
 Печерская волость — в составе Усть-Сысольского уезда Вологодской губернии.
 Печерская волость — в составе Нижегородского уезда Нижегородской губернии.
 Печерская волость — в составе Брацлавского уезда Подольской губернии.
 Печерская волость — в составе Псковского уезда Псковской губернии.

Другое
 Печорская волость — в составе Печорского района Псковской области (в 2005 году вошла в состав городского поселения Печоры).

См. также
 Печерский район


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A year that no-one expected
Don Morris
Co-operatives UK
As 2020 comes to a close, it's safe to say it's been a year that none of us expected.
The co-operative values of solidarity and concern for the community certainly came to the fore this year, with co-ops up and down the UK responding to the crisis by coming together to support others in their community.
When forced to close their doors during lockdown, The Larder in Preston fundraised to provide thousands of hot meals for vulnerable people; Edinburgh Bike Co-op provided free bike repairs for key workers, and retail societies worked round the clock to keep shelves stocked whilst supporting local mutual aid groups
There are many, many examples that I could have chosen.
I am proud to work in a sector that so often thinks of others before themselves.
– Don Morris, Chair, Co-operatives UK
I hope that in our own way, we at Co-operatives UK have played our part and supported your co-op - explaining how to access government schemes, lobbying to ensure co-ops are eligible for the same support as other types of businesses and providing HR and other guidance in this most challenging of times.
The theme for Co-op Fortnight this year was #KeepCooperating and that is what we will all do. With the promise of mass vaccination on the horizon, we hope that brighter days are coming. And together we'll help to build something better together.
Thank you for being a member of Co-operatives UK
Don Morris, Chair
What did we deliver for members?
Read about our impact in 2020
This year we fought on behalf of co-ops. We influenced government and helped our members in a critical time of need. We brought co-ops together and positioned the co-op sector as a key part of how we…


Last month (from June 9 to July 4), I have a chance to go to Spain to work on a project name ZureTTS (which means Your Text-to-speech in Basque language) during the eNTERFACE'14 workshop. This was very excited considering the unique opportunity to work with graduate students and researchers in speech processing all around Europe in 4 full working weeks (and the opportunity to leave in Spain for 1 month as well).
Basically ZureTTS is an online platform for anyone to obtain a speech synthesis engine with their own voice. The technology was not new, but this was the effort to coordinate multiple modules and technologies to create a complete and assessable system. Users can go to the website, register for an account, then record there voice with 100 pre-defined sentences in a chosen language, and choose to start the adaptation process. The adaption from the average/generic voice to the personalized voice is queued up and run sequentially in the background on the main server, which may last from 1 hours to 10 hours. After the adaption has finished, an notification email will be sent, and users can go back to the website to synthesize speech using there own voice. There is also a web API for synthesizing so that mobile apps can plug in to this in the future.
I am very happy that we can complete a working system described above in only 4 weeks. Of course, there are still many possible improvements, but the basic flow of the system is complete, and the system is also quite decoupled and extensible. You can try it out at http://aholab.ehu.es/zuretts (the server sometimes blocks you for 20 to 30 minutes, I am still not sure why).
And below is a photo of the awesome team and awesome new friends.
And below is a photo of Prof. Inma Hernaez, our 2nd project leader and the photographer of the photo above, and me.