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Amici Ensemble & Wallis Giunta "In The Shadow" reviewed by Stanley Fefferman
Sunday, April 3, 2011. Glenn Gould Studio, Toronto.
The theme of Amici Ensemble's final program for this season, entitled "In the Shadows" is good music by composers who are now overshadowed by composers who wrote great music. Beethoven wrote great music. Louis Spohr wrote good music, was as famous as Beethoven for a while, but was largely forgotten except for a few 'good' pieces that people still like to hear.
Wallis Giunta sang Spohr's Six German Songs, Op. 103 for voice, clarinet and piano. Ms. Wallis' voice has authentic presence, which she blended with the voices of Amici's Joaquin Valdepeñas's clarinet and David Hetherington's Cello. The music they made together flowed in muted colours reflecting lyrics that lament love that cannot be expressed, love that cannot be attained, love that can be enjoyed only in dreams.
The performance was beautiful, the songs are settings of über-sentimental German poems, and it's a bit beyond me why people would still be interested in putting fine energy into outworn poetic and musical ideas. But that's kind of the point of the program: some music keeps hanging around precisely because it never pushes the musical envelope—even of its own time, and classical music audiences, by nature and nurture conservative, tend to like falling back on a bit of easy-listening music.
The Beethoven piece that cast a large shadow was Twelve Variations on the theme "Ein Madchen oder Weibchen" from Mozart's Opera "The Magic Flute," Op. 66, for cello and piano. It has the youthful, quirky, horny, unpretentious energy of Mozart's Papageno in it, and the creativity of a young Beethoven experimenting fearlessly with one of the popular tunes of his day, pushing the envelope by arranging it for the combination of piano and cello which was almost unheard of in 1796. Serouj Kradjian's spring-loaded piano makes this music dance in tandem with the rich flow of David Hetherington's cello.
After intermission, Anton Webern (1883-1945) was the giant chosen to cast his shadow over music in early 20th Century Vienna. Webern, along with Schoenberg and Alban Berg pushed European music out of the tonal envelope into 12 tone territory. His early work, Three Little Pieces Op. 11 for cello and piano (1914) was by far the most interesting work on today's program. Webern's opus is astonishingly concise and concentrated. Although not yet fully 12-toned, it is music without repetition of pitch or sonority, and the three movements are so short they need to be measured in seconds: 69″, 21″ and 62″ respectively. Nonetheless they rivet the attention, refresh the mind, and bring about a meditative sense of rest.
Carl Frühling (1868-1937) wrote Romantic music, was forced by economics to spend most of his time as an accompanist, and died obscurely in poverty. Most of his music was lost. Frühling's Trio in A minor for Clarinet, Cello & Piano, Op.40 was rediscovered about 10 years ago by cellist Steven Isserlis. The Amici Ensemble was among the first to record this work, which is so well-made, and despite being 'unfashionable' is very beautiful, especially for the melodic themes of the first two movements, and throughout for the rich orchestration of Frühling's Brahmsian style. It's really only in the final movement, so symmetrical, balanced and elegant, that one gets a sense of decay, — the sentimental attachment to the dying style of "Vienna before de Vore." That said, my recording of Frühling's Trio has a few more listenings in it.
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Art of Time Ensemble's "War of the Worlds" reviewed by Stanley Fefferman
Thursday,March 31, 2011. Enwave Theatre, Toronto.
Bernard Herrmann put music to more than 20 Hollywood movies. To honour the centenary of Herrmann's birth, The Art of Time Ensemble put a movie to a suite of Herrmann's film scores. Dan Parr composed the suite, entitled Herrmannthology, and Tess Girard crafted a really interesting film out of her mix of live and still footage from Herrmann's most iconic films which include: Hitchock's Psycho, Vertigo, North by Northwest, The Birds, The Man Who Knew Too Much; as well as Citizen Kane, Cape Fear, The Ghost of Mrs. Muir, The Man in the Grey Flannel Suit, and The Day the Earth Stood Still.
The list goes on, and the point of of bringing attention to the list of Herrmann's scores is that he made the music that is in the back of the mind of every one who 'went to the movies' since 1940, as well as all the generations who watched and listened to Herrmann's music on television behind episodes of Twilight Zone, Gunsmoke, Perry Mason, Have Gun Will Travel, Alfred Hitchcock Presents, and Clint Eastwood's first big exposure, Rawhide.
Herrmann's music is the definition of 'Iconic' for his era (he died in 1975, hours after finishing the score for the Scorcese/De Niro film Taxi Driver). As Ms. Girard's elegant film mix shows, the defining emotion of those films is —!!!FEAR!!!—: Cary Grant running for his life from the pistol-packing pilot of a crop-dusting biplane; Janet Leigh peering beyond her windshield-wipers as she unknowingly drives to the motel where Anthony Perkins waits to slash her shower-curtain; Jimmy Stewart waking in terror from a dream of falling; Robert Mitchum with a stranglehold on Gregory Peck.
Dan Parr's Suite arranges Herrmann's most familiar themes into a formal structure that brings out their obsessive, murky, drama-laden qualities, while still keeping the originals' lighthandedness, in the way excellent urbane music by Hindemith, Poulenc and Kurt Weill can be. Some of the finest musicians in the country, with Andrew Burashko in his conducting debut, make this a dynamic listening experience. Tess Girard's film mix follows Parr's music seamlessly to the point where her flow of images provide a helpful visual cue for the music's 'recapitulation' and 'coda.' Her imaginative skills in editing, double-exposing, mirroring and masking add considerable art and structure to the overall impression of real quality in this particular part of the evening's entertainment.
Another of Herrmann's iconic undertakings was being musical director of The War of the Worlds, Orson Welles' notorious 1938 radio-broadcast hoax, that simulated a real-time news bulletin covering a holocaustic Martian invasion of New Jersey. Burashko's idea was to recreate on stage the CBS radio studio from which Welles and his Mercury Theater crew frightened America by bringing as-it-is-happening news of an ET invasion of their homeland into their homes. Burashko acquired the original script Welles used and assembled an A-team cast starring Don McKellar and Nicholas Campbell for this ingenious and amusing period-piece.
As the audience in the Enwave Theatre drift back to their seats after intermission, the stage is set and lit, the actors, in character, are lounging around in the CBS studio waiting for their director to arrive and the broadcast to begin. The director (McKellar) arrives with seconds to spare, cues the Announcer (Marc Bendavid) to introduce "Ramon Raquello and His Orchestra" (actually the CBS orchestra under the direction of Bernard Herrmann–played by Andrew Burashko) doing a rendition of "La Cumparsita" from a remote hotel ballroom. The characters make sly faces at each other as McKellar initiates a series of cues to 'interrupt' the music with bulletins from the Announcer about unexplained airborne 'disturbances' around Grover's Mill, New Jersey, and increasingly lame explanations of these disturbances by Princeton astronomer Prof. Pearson (Campell) which downplay the life on Mars theory.
After a few first night fluffs, the acting settles into a pretty convincing groove. Burashko's directing is sharpest in the shifts between the characters pretending to be broadcasting a straight music show and pretending to be reporting on a disaster that they are in the process of simulating. These tongue-in-cheek flows provide some of the evening's highest moments. There is almost no emotional material in the play, nothing going on between the characters, and whatever emotional interest there is in the script, is a hoax. This circumstance kept the production, so truly fancy in its footwork, from ever really taking off. That said, what most amused was the ingenuity of the storytelling and the balletic flow of sound effects from foley artist John Gzowski. And beyond that comes the morning-after-effect of an Art of Time Ensemble production: the feeling of having been in a zone of talent that is alive and ambitious and expanding without set boundaries.
The War of the Worlds is presented in association with Harbourfront Centre's World Stage. It runs to Sunday, April 3. Visit artoftimeensemble.com for tickets.
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Marc-André Hamelin Concert at Music Toronto reviewed by Stanley Fefferman
Tuesday, March 29, 2011. Jane Mallett Theatre, Toronto.
Marc-André Hamelin's picture of Haydn's Piano Sonata No.53 in E minor, Hob.XVI:34 is like a platinum print with strong blacks, delicate, clear whites, the grayscale tones all present but vividly separated. Hamelin plays the slow movement with remarkable intimacy, as if he were the composer picking out an improvised melody, lingering on a note, pausing after an interval, and generally getting into a peaceful, easy feeling. He dovetails into the quick and delicate Scherzo, ramping up the dynamics and following with awesome decelerandos. You can just see those little Meissen figurines rotating on their wind-up bases.
Schumann's 21 part piano cycle, Carnaval, opens with a combination of triple forte bass chords, Bam-Bam-Bam, and a slow curve that signals the bipolar span of the composer's musical associations. These associations include portraits of Schumann's two girlfriends (Ernestine and Clara), Commedia dell'arte characters (Pierrot, Harlequin), fellow composers like Chopin and Paganini, Schumann's alter-egos (Eusebius and Florestan), and a biblical 'League' of imaginary friends. Hamelin's playing bring this material to life on the stage of imagination.
The apparent potpourri of Carnaval's one-minute compositions is held together by a four-note motif and the irresistible flavours of street music that look back to the bell canto of Bellini and forward to the rags of Scott Joplin and William Bolcom, the salon music of Paolo Tosti, and the music-hall operas of Kurt Weill. Schumann's rich mix enchants and fascinates as Hamelin makes it skylark to lyrical heights and march in grotesque parades of figures whose skulls grin out beneath the flesh.
After intermission Stefan Wolpe's Passacaglia Op. 23 (1936/1971) showed Hamelin's comfort with barely melodic atonal advanced serial technique writing. These variations on 11 all-interval basic rows over a bass ostinato sample the chaos that lives on the borders of order: it takes a lot of listening to feel the inherent musical unity. Hamelin's fearless account opened that door.
The two concluding works were sublimely melodic, one serene and the other tempestuous: together they underlined the unity of Hamelin's well-crafted program. Gabriel Fauré's Nocturne No.6 in D-flat Op. 63 (1894) has a straight-forward argument in four parts. The first is a wistfully coloured line of melancholy tones that flows easily into the second part's bucolic mood like a Jean Renoir film with Edith Piaf singing "When the World was Young." The third part is an even more flowing Debussyesque 10-note arpeggio that ripples into a concluding song that recalls Paulo Tosti's Pierrot singing of "How many tears it takes to make a gay Pierrot."
Hamelin includes a nod to Franz Liszt's bicentenary with Réminiscences de Norma, S. 394 (1841). These are seven arias from Bellini's opera Norma (1831) that Liszt arranged as an elaborate fantasie for solo piano. The music is grandly, deeply, melodramatic and embellished with advanced techniques that Hamelin handles with a care for the beauty and correctness of tone. It's always nice when a performance is so powerful the audience is compelled to curb its enthusiasm to applaud for a respectful interval. That's what happened, and then the audience let loose, long and strong, and earned two encores.
The War of the Worlds is presented in association with Harbourfront Centre's World Stage.
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John Williams in Concert at Koerner Hall reviewed by Stanley Fefferman
Sunday, March 27, 2011. Koerner Hall, Toronto.
Listening to John Williams play the music of Villa Lobos with his guitar pressed to his heart is like roaming the halls of Versailles: one becomes part of the magnificence.
Williams plays the opening notes of 5 Preludios, A.419 with just the sprinkling of vibrato he needs to show his personal emotion and his control. His technical perfection appears in the living sound of his Smallman guitar whose richness and delicacy of tone he never mars with string-slides. Williams moves without apparent effort along enchanting melodic lines, through the blinding arpeggios of the second Preludio, down the slower, darker progressions of the third into the dramatic fourth that balances the dark bass notes from his thumb against the fingers' crystalline harmonics and finely graded glissandos.
Following this rich, Romantic, canvas, Williams sketches a Chaconne by François Couperin that proceeds at a dignified pace like the train of a veiled doncella flowing over marble stairs. Three portraits from El decameron negro by the modern Cuban Leo Brower (b. 1939–) come next. "El…guerrero [the warrior]" is executed with cross-hatched strokes, dense amelodic runs, swellings and broad textured swaths of sound. The dramatic melody of "La hueda de los amantess…[flight of lovers]" moves against a slow, chromatic ostinato baseline, and disintegrates into flights of arpeggiated figures and blinding flurries of voices that call out to each other. The third portrait, of a lady in love, sensuous, languid and energetic by nature, sings through the guitar's voice about the rich, unutterable complexity of feeling that possesses her.
The program after intermission was even more personal. Williams offered some anecdotes of his late friend, the African guitarist Francis Bebey, three songs from a self-produced album of Williams' own compositions From a Bird, and a tribute to Bebe. Attractive, colourful music, rhythmic, complex in structure and playfully virtuosic.
Williams devoted the rest of the set to seven short compositions by Agustin Barrios Mangoré (1885-1944), the Paraguayan composer whom Williams continues to champion as the outstanding guitarist/composer of his time. Barrios' music reflects the strength of the classics: Bach, Beethoven, Schubert, Chopin, live in his pieces for guitar. Williams executes La Cathedral, Julia Florida, a pair of waltzes and Un sueño en la floresta with impressive displays of musicality as his thumb picks out arpeggio patterns and his fingers make waves of repeated notes that roll like a silken standard in the wind.
In his seventieth year, John Williams continues to be the "foremost ambassador of the guitar". He is faster than ever in his fingerwork and unhindered in his way of joining dignity and enthusiasm in his playing. I would love a second close encounter in this setting with this John Williams next year.
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Jane Coop Mooredale Concert reviewed by Stanley Fefferman
Sunday, March 20, 2011. Walter Hall, Toronto.
Jane Coop is without hesitation. She sits down and without a pause begins playing Beethoven's charming Sonata in E major, Op. 14.1. Her phrasings in the lively opening theme are deftly carved and smoothly tapered, bringing out the flow of melody and the gnarly turns of the chords her left hand repeats. There is a nervous energy to her playing which produces highly contrasted dynamics, crisp, brightly coloured, somewhat hard-edged lines and colours. The Scherzo that follows functions as a slow movement, but Ms. Coop maintains a tense high-contrast mood that she relaxes towards the end, but resumes again in the final Rondo Allegro.
Her account of Beethoven's 15 (Eroica) Variations and Fugue in Eb major, Op. 35 is interesting. Ms. Coop's 'Introduction' is exploratory, as if she is curious about how this thing works. The first variation is faster in tempo: she plays it freely and quite forcefully—in the high-contrast manner of the earlier Sonata. Towards the middle of the work, the variations soften—seeming romantic in the way of young love, and from there develop, through highly chromatic passages, a wistful, almost melancholic absorption. The concluding Fugue restores her idea of Beethoven's dominant, controlling energy.
Ms. Coop's Scriabin, in this recital, is very different from her Beethoven. Scriabin's music has a heavy obsessive, 'ostinato' element, to which it seems Ms. Coop responds by relaxing into a delicate lyricism that becomes almost impressionistic in the second Etude, though nervous tension and contrast reappear in the third.
She keeps Scriabin's Sonata No. 3 in F# minor, Op. 23 surprisingly and pleasingly in the middle of her dynamic range, soft pedaling the two-note descending left hand figure on which the entire work is threaded. There is a dire force in the second movement that she drives down into a open, spacey area where it is allowed to float. The third movement is her best, with some lovely summery musings that flow seamlessly into the return of the obsessive ostinato that thunders darkly as the work slides presto towards the Finale's abrupt end.
There is a consistent thread of intelligence in Ms. Coop's reading of Beethoven and Scriabin that she maintained in the gentle Chopin Mazurka of her encore.
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2011 Juno Award Nominationed CDs: a Selection by Stanley Fefferman
Wednesday, March 16, 2011.
The Juno's are coming this weekend. Here are a few of my words in support of win-worthy CD's.
Armenian culture should have as many words for sadness as the Inuit people have words for snow. The sadness I am speaking of is not depression, but more like sensitivity keyed-down to a mood of tender reflection. The Amici Ensemble, inspired by it's newest member, pianist Serouj Kradjian, put their impeccable musicianship behind this offering of Armenian music that plays directly to our spiritual part. One track—Arno Babadjanyan's, Trio for voice, clarinet and four cellos, sings to us in the celestial voice of mezzo-soprano Isabel Bayrakdarian. All the nominated albums in the CLASSICAL ALBUM OF THE YEAR: SOLO OR CHAMBER ENSEMBLE are totally worthy, but I am putting my shoulder to the wheel for Armenian Chamber Music (Atma Classique #: 2609 ).
Playground is Mark McLean's 40th record since his professional debut in 1998, but his first as leader. I have listened to this album at least seven (7) times, all the way through, while driving my car, for the pleasure of its company. Playground is a beautifully produced album, not just a playlist. Mark's sure-handed drumming always sets the pace. Kelly Jefferson's mellow-rich-cool, Coltrane-toned sax leads the way for the first few tunes. Then David Braid's crisp piano picks up the pace and lets in some funk. On that note the non-funkier-than guitar of guest Kevin Breit takes the album to a whole new level. And it goes on from there, adding Robi Botos on piano to the mix of tuneful, richly embroidered, and tasteful jazz, solid and totally today. I have to wonder why Playground didn't get a nomination (independent label?) for INSTRUMENTAL ALBUM OF THE YEAR. It should have.
My first nomination for next year's (2012) CLASSICAL ALBUM OF THE YEAR: SOLO OR CHAMBER ENSEMBLE is guitarist Sylvie Proulx's Sirocco. The music is contemporary, with an affinity for Spanish, Afro-Cuban and Brazillian music, flavoured with jazz and folk traditions from Euopean Baroque, Turkey and North Africa. Ms. Proulx's technique and musicality are a joy to experience. Sirocco is on the Centaur Records label.
Speaking of guitar music in the category of music that stays in the mind irrespective of the Junos of this or any other year, there is IMAGES – Rob MacDonald (Guitar), Madawaska String Quartet, Peter Pavlovsky (Double Bass). The piece that stays in the mind is a percussive piece entitled Full Circle, written for solo guitar by Andrew Staniland. Images is a Rob MacDonald all-Canadian New Music composers project including Nocturne, for guitar, viola and cello by Omar Daniel, Love Song, a string sextet for guitar, double bass and string quartet by Peter Sculthorpe, and the title work Images for guitar and string quartet, composed in 2005 by Christopher William Pierce. This is a daring album, and if there were an award for MOST DARING ALBUM, Rob MacDonald would certainly deserve a nomination. Right now, the best I can do is this plug. Learn more about Images which is available at The Canadian Music Centre.
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The sisters and their loved ones have quite an eventful life, and that continues to be true in this issue. Between amnesia, rising from the dead, and powered-up beings, it's a wonder they had any hope of normalcy. But that's the cost of being a Charmed One.
There were a lot of quick touch-points at the start, working our way towards when all the loose ends come tying back together. We start off the issue with Tyler, Coop, and Henry, who are still in the Wasteland. The giant Cole statue is moving towards them and it appears that hope might be lost, but Tyler is not going to let them go down without a fight. He powers up and we cut away to Kyra, who is coming back to consciousness. She was knocked out looking into Prue's mind, but also finally knows what Prue is. The revelation of that secret will have to wait until later, though, since we jump over to look in on the sisters, who are still waiting for Coop and Henry to return. Phoebe has sequestered herself in the bathroom, re-living the memories of Cole's death.
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Paige sends Tyler home after what he did, with a promise they'll talk tomorrow, and then she fights with Henry over his part in the experience. But it feels like a double standard. Paige can put them in danger, but Henry can't? It seems like they're at an impasse. And that tension causes Leo to take Henry with him to a local bar so that Henry can cool down and explain why he did what he did. Henry admits that he finally wanted to do something, to be of use.
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Both of these are good performers - the Senn is built beautifully and ever so slightly smaller, the Sony is a "bit plastic" and comes with a cheaper lav. Having said that I eventually chose the Sony because it just worked better (longer reception range and fewer interference problems), but I had to replace the lav with an AKG C 417L - which is very good value for money. I know a lot of people on this forum use the Senn G2's - so they must be happy with them, but on a direct A/B comparison for me the Sony performed better and was slightly cheaper (about the same with the AKG Lav). I have had the Sony for more than 12 months and it has performed flawlessly.
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Raffaele Morandi Stagni and Juan Santalo (Instituto de Empresa Business School): "Competition and the Redistribution of Resources in the Multi-Business Firm"
Luis Diestre (Instituto de Empresa Business School): "Which Governance Mode Minimizes Negative Spillovers?"
Caroline Flammer (U. of Western Ontario) and Aleksandra Kacperczyk (MIT): "The Impact of Stakeholder Orientation on Innovation: Evidence from a Natural Experiment."
Andreas Koenig (IMD), Joanna Walton (U. of Erlangen-Nuremberg), Alexander Wessels (U. of Erlangen-Nuremberg), Angela Fehn (U. of Bamberg), Martin Weiss (U. of Erlangen-Nuremberg): "Silver Bullet or Ricochet? CEO Metaphorical Communication Behavior and Analysts' Evaluations"
Sea Jin Chang (NUS) & Jung Wook Shim (NUS): "Performance Effects of the Transition from Family Managed to Professionally Managed Firms"
Wolf-Christian Gerstner, Andreas Koenig, Albrecht Enders (International Institute for Management Development) and Donald Hambrick (Penn State): "CEO Narcissism and Incumbent Response to Technological Discontinuities "
Jens Schmidt and Thomas Keil (Aalto U.): "Unique Demand Complementarities: A Demand-Based Theory of Diversification."
Olivier Chatain (U. of Pennsylvania) and Peter Zemsky (INSEAD): "Frictions, Rivalry, and the Emergence of Heterogeneity."
Evan Rawley (U. of Pennsylvania) and Tim Simcoe (U. of Toronto): "Horizontal Diversification and Vertical Contracting."

redpajama_set_name: RedPajamaCommonCrawl


October 1, 2015 by Chris G.
the profile was meant to be.
the paper that gave it breath.
would die to give us this moment.
August 12, 2015 by Chris G.
February 20, 2015 by Chris G.
fingers tinted the same sacred blue as the sky.
palms open to the sky.
She and I, and the setting sun.
October 6, 2014 by Chris G.
November 19, 2013 by Chris G.


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text:
Q: How do I wrap a react-hook-form Controller around TinyMCE? I'm trying to use TinyMCE with react-hook-form, and I suspect it will work better with Controller than register, though I've tried both with no luck. It works fine, as in I can type in it, but the value of attributes.info doesn't change at all when I type in the editor. Here's my code:
<Controller
  name="attributes.info"
  control={control}
  render={({ field: { value, onChange } }) => (
    <Editor
      apiKey={apiKey}
      value={value}
      onChange={onChange}
      initialValue={value}
      init={{
        height: 500,
        menubar: false,
        plugins: ['lists link code'],
        toolbar_mode: 'wrap',
        toolbar:
          'formatselect | blockquote bold italic underline | \
            bullist numlist outdent indent | alignleft \
            aligncenter alignright alignjustify | paste | link \
            | code | undo redo removeformat ',
      }}
    />
  )}
/>

redpajama_set_name: RedPajamaStackExchange


Before I start writing my review of 'Fragile' by Valda Bailey, I need to declare an interest. Valda is a good friend of mine. We teach workshops on alternative photography techniques for Light & Land and so it is very unlikely this review will be entirely unbiased, but I will try my best.
It is with a sense of pride that I opened this book when it arrived in the post from Triplekite Publishing. You see, I first met Valda on the 15th of August 2011. I can be very precise about that because she had booked me for a one to one – to learn about ICM (intentional camera movement) techniques, and in showing her some of those techniques that day I made an image which has become very popular for me – hence my ease of knowing the date, I just have to look at the raw file metadata. So, here we are, almost five years on, and Valda has gone from student of mine to co-workshop leader and has far surpassed me in her abilities with the camera in creating wonderful images. Indeed, here she has had a book published long before I am even considering such a thing.
I think there can be no more satisfying day for a teacher, than when we see someone we have had a small hand in helping excel and achieve great things. Valda's creative abilities are nothing to do with me – I could tell from that first day that she was a gifted photographer and artist – but to perhaps have helped in some very small way in showing her techniques and pointing her in the right direction gives a nice feeling.
I had known for a long time the book was in preparation and had even seen some of the images she was planning to include, but I was still very keen to see the final book. When planning and putting something like this together there are so many variables involved, all who have a part in in its creation are never really sure what it will look like until the book is delivered and the 'wraps taken off'.
'Fragile' is part of Triplekites 'Discovery' series of books. This series, sold in two editions, is designed to introduce new and emerging photographers or to show new collections from established photographers. All take the same format, so they sit well together on the book shelf, being 240 x 240mm square, printed hardcover with 48 pages and around 24 plates, on a nice high quality lustre paper. The editions come in standard, which is just for those who wish to own the book alone priced at £18.50. The luxury edition comes with a signed print of the cover image for £55 and is limited to an edition of 75 only. A lovely feature of all of Triplekites books is that those who order a copy in advance of printing and publication get to have their names printed in the book. I think this is a great idea. It allows us as supporters of art, photography and publishers to help them make more books like this and it is a way for us to have a part in the book and show your appreciation for the photographer. I love looking down the list of names and seeing many friends listed there who obviously feel as I do.
Valda uses multiple exposures and some measure of camera movement to create her art, but the technique is not the important thing. The images are what are important. In this collection we see a breadth of landscapes, abstracts and still life images which allow us to immerse ourselves in colour, shape, form, texture and contrasts. Our minds are allowed to decide for themselves what is going on, to make your own decisions about the locations, the aromas, the wind, the warmth, the cold, the events captured by her camera. The images really move away from being photographs, despite the fact that a camera was used to create them, to being art. The images are not literal representations of things on the whole (although we can often see what literal things were photographed to help create them), rather they are representations, imaginations, dreamscapes – whatever you want to call them. I am always refreshed to see work which allows me to make my own mind up, to allow me to interpret my own stories, images I can lose myself in. So much photography today is about the sharp, detailed representation of absolute reality. It has become about precision, perfection and is so equipment and technique driven. It leaves nothing for the imagination, no where for the brain and soul to explore and relax. Valda's work provides an oasis from all of this.
Any negatives (in the interests of trying to be even a little unbiased)? Certainly. There are one or two images I would have replaced with others I know of in Valda's catalogue that I like even more – but then that is just my taste. I am sure many of you would look at those same images and say they must stay and perhaps swap out ones which are my favourites. No author or artist can win when making the final edit as to what should be included or excluded. I always want the books to be bigger, both physically and in number of pages/plates, but I recognise that at this price point and with the high production values of the 'Discovery' series that this just isn't possible. The whole idea of this range is to offer a relatively low cost book to us as collectors while still maintaining quality and showing off a breath of work from the photographer. Other than that, I really find 'Fragile' hard to fault.
If you love Valda's work then this is a 'must buy'. If you don't already have it, buy it now – you can BUY IT HERE direct from Triplekite. I would also, while there are still just a few available, recommend you treat yourself to the luxury edition. I can't imagine a better opportunity to own a genuine, signed print from Valda at, effectively, £36.50 for an A3. I am privileged to print Valda's work here in the UK and her A3 prints sell for, including P&P, £350.00. Frankly, its a no-brainer.
Incidentally, you can buy prints of Valda's work, including many images from the book, from THIS PAGE ON MY WEBSITE, FROM A4 to A2 in size.
At the same time as Valda's book was released, two other books in the 'Discovery' series were published. These are 'Yosemite' by famous American photographer, Charles Cramer, which you can BUY HERE and 'Mud | Sand' by James Osmond which you can BUY HERE. I haven't seen either book yet but I am sure, looking at the images on the Triplekite website that they are both fantastic.


text:
package de.ne0.sonar.plsql.checks.expressions;

import org.sonar.check.BelongsToProfile;
import org.sonar.check.Priority;
import org.sonar.check.Rule;
import org.sonar.sslr.parser.LexerlessGrammar;

import com.sonar.sslr.api.AstNode;
import com.sonar.sslr.squid.checks.SquidCheck;

import de.ne0.sonar.plsql.checks.CheckList;
import de.ne0.sonar.plsql.checks.utils.CheckHelper;
import de.ne0.sonar.plsql.checks.utils.CheckHelper.DataType;
import de.ne0.sonar.plsql.parser.PlSQLGrammar;

@Rule(key = "ImplicitConversionCheck", name = "Implicit Conversion of Variables", description = "there is an implicid conversion of datatype possible", priority = Priority.CRITICAL)
@BelongsToProfile(title = CheckList.SONAR_WAY_PROFILE, priority = Priority.CRITICAL)
public class ImplicitConversionCheck extends SquidCheck<LexerlessGrammar> {

	private TypeSlot currentSlot;

	private void addSlots(TypeSlot slots) {
		if (currentSlot != null) {
			currentSlot.fillSlot(slots);
		}
		currentSlot = slots;
	}

	@Override
	public void init() {
		subscribeTo(PlSQLGrammar.ASSIGNMENT_STATEMENT,
				PlSQLGrammar.PRIMARY_EXPRESSION, PlSQLGrammar.CONCAT_EXPRESSION,
				PlSQLGrammar.ADDITIVE_EXPRESSION, PlSQLGrammar.MULTIPLICATIVE_EXPRESSION, PlSQLGrammar.BOOLEAN_EXPRESSION
				,PlSQLGrammar.BOOLEAN_COMP_EXPRESSION
				,PlSQLGrammar.CALL_EXPRESSION
				,PlSQLGrammar.NEW_EXPRESSION
				,PlSQLGrammar.ARGUMENT
				,PlSQLGrammar.UPDATE_COLUMN
				, PlSQLGrammar.CASE_EXPRESSION
				,PlSQLGrammar.IN_EXPRESSION
				,PlSQLGrammar.VARIABLE_DECLARATION
				);
	}

	@Override
	public void visitFile(AstNode astNode) {
		currentSlot = null;
	}

	@Override
	public void visitNode(AstNode astNode) {
//		System.out.println("VISIT: "+ " Node: "+astNode+currentSlot );

		if (astNode.is(PlSQLGrammar.ASSIGNMENT_STATEMENT, PlSQLGrammar.VARIABLE_DECLARATION)) {
			addSlots(new TypeSlot(2, astNode));
		} else if (astNode.is(PlSQLGrammar.ARGUMENT) && astNode.hasDirectChildren(PlSQLGrammar.IDENTIFIER_NAME)) {
			addSlots(new TypeSlot(2, astNode));
			//let's fill first one with Identifier
			final AstNode idName = astNode.getFirstChild(PlSQLGrammar.IDENTIFIER_NAME);
			currentSlot.fillSlot(new FixedTypeSlot(CheckHelper.getDataType(idName), idName));
		} else if (astNode.is(PlSQLGrammar.UPDATE_COLUMN) && astNode.hasDirectChildren(PlSQLGrammar.OBJECT_NAME)) {
			addSlots(new TypeSlot(2, astNode));
			//let's fill first one with Identifier
			final AstNode idName = astNode.getFirstChild(PlSQLGrammar.OBJECT_NAME);
			currentSlot.fillSlot(new FixedTypeSlot(CheckHelper.getDataType(idName), idName));
		} else if (astNode.is(PlSQLGrammar.CONCAT_EXPRESSION)) {
			addSlots(new TypeSlot((astNode.getNumberOfChildren()+1)/2, astNode, DataType.STRING));
		} else if (astNode.is(PlSQLGrammar.BOOLEAN_EXPRESSION)) {
			addSlots(new TypeSlot((astNode.getNumberOfChildren()+1)/2, astNode, DataType.BOOLEAN));
		} else if (astNode.is(PlSQLGrammar.BOOLEAN_COMP_EXPRESSION)) {
			addSlots(new TypeSlot((astNode.getNumberOfChildren()+1)/2, astNode, DataType.BOOLEAN, false));
		}  else if (astNode.is(PlSQLGrammar.ADDITIVE_EXPRESSION, PlSQLGrammar.MULTIPLICATIVE_EXPRESSION)) {
			addSlots(new TypeSlot((astNode.getNumberOfChildren()+1)/2, astNode, DataType.NUMBER));
		}  else if (astNode.is(PlSQLGrammar.CALL_EXPRESSION)) {
			addSlots(new CallTypeSlot(astNode));
		} else if (astNode.is(PlSQLGrammar.CASE_EXPRESSION)) {
			addSlots(new CaseTypeSlot(astNode));
		} else if (astNode.is(PlSQLGrammar.IN_EXPRESSION)) {
			addSlots(new InTypeSlot(astNode));
		}
		else if (astNode.is(PlSQLGrammar.NEW_EXPRESSION)) {
			addSlots(new TypeSlot(1, astNode, DataType.OBJECT_TYPE, false));
		}

		else if (astNode.is(PlSQLGrammar.PRIMARY_EXPRESSION)) {
			addSlots(new FixedTypeSlot(CheckHelper.getDataType(astNode), astNode));
		}
	}

	//private DataType getTypeForPrimaryExpression(AstNode astNode) {

//	}

	@Override
	public void leaveNode(AstNode astNode) {
//		System.out.println("LEAVE: "+" Node: "+astNode+currentSlot );

		//check if we leave current Node
		if (currentSlot != null && currentSlot.node==astNode) {
//			System.out.println("LEAVE: "+currentSlot);
			if (currentSlot.hasIssue()) {
					getContext().createLineViolation(
							this,
							"Implicid conversion from {0} to {1} likely!",
							currentSlot.node, currentSlot.getFirstType(), currentSlot.getSecondType());
				}
			currentSlot = currentSlot.getOuterSlot();
		}
	}

	@Override
	public void leaveFile(AstNode astNode) {
		currentSlot = null;
	}

}

redpajama_set_name: RedPajamaGithub


text:
WorkBlog
Apple India In-Store Financing App
2017 (1 year)
Overview and Project Goals
In India, the typical EMI (credit) card and loan application process is fragmented, slow, requires a web browser (which is usually done at home), and not consistent with Apple's human-centered design principles.
Apple approached us to build an iPad app which would function as a central portal for financing in-store purchases. This tool would allow customers to filter, select, and apply for loans within the store instantly with all major financial partners in India.
Insights and Starting the User Journey
As we began to analyze the pre-approved requisites for each financing partner, it started to clarify the targeted user-type we were solving for.
The loan application requirements revealed deep insights into socioeconomic factors that we didn't previously think to consider. Even the applicants place of residency played a factor in the pre-approval process. Analyzing these also helped us with identifying critical moments where drop-offs tend to occur.
Constraints with Consistency
As I started to unpack each financial partner's loan application diagram, it became apparent that each required a unique set of inputs from the user which then sent the user down a unique flow. Our task then was to unify these various flows into a consistent experience.
Common Interactions Throughout the Journey
With all the various loan applications, some commonalities were emerging. The user was required to send information for review (white), while the system or store associate (gray) would validate the process or return results based on the information provided.
Knowing this helped communicate to the user how far along in the process they were while also providing a general workflow for what would be needed next to complete the application process. A progress bar was built into the loan journey, giving the user an overview of their progress and an estimation of time to completion.
Uploading Documents via the iPad Camera
Utilizing the iPad camera was pivotal for speeding up the application process and helped reinforce the value of Apple products.
Even though this might have seemed like an easy decision, it required some negotiations with our dev team to ensure it complied with Apple's User Data Privacy Policy
Takeaways and Lessons Learned
Overall the project was a big success for Apple and our product team. Our team came from a more traditional eCommerce background and working with Apple on a finance app was a departure for us. Although the project introduced its own set of challenges it was a good stress test on our internal product and engineer teams capabilities.
There were definitely ways we could have improved the experience, especially with further tech validation and time. One issue we kept running into was not being able to save an application session to come back to later (unless the user reaches an in review pending state). Part of the reason for this was Apple's User Data Privacy Protection Policy. With more time we probably could have explored some data encryption solutions.
Perhaps the biggest constraint was compiling the various loan requirements across 12 partners and unifying them in an experience that fulfilled Apple's usability and privacy standards while also maintaining good standings with their partners by providing a safe and secure financing tool. This was by far the bulk of the app and required a lot of eyes on it and I was happy to lead the creative and UX portion for it.
DAT One Freight Matching Load Board
An Automative and Flexible B2B Ecommerce White Label Platform
Building HEAVBIT'S Branding
Best-in-Class Ecommerce White-Label Platform
Let's build something great together.
Based in sunny Florida.
hi@thefolio.com
© 2021 Richie Brumfield, R2works. All rights reserved.


The Espresso Book Machine at the Salon du Livre de Paris in 2015.
The Espresso Book Machine (EBM) is a print on demand (POD) machine created by On Demand Books that prints, collates, covers, and binds a single book in a few minutes.
The EBM is small enough to fit in a retail bookstore or small library room, and as such it is targeted at retail and library markets. The EBM can potentially allow readers to obtain any book title, even books that are out of print. The machine takes a PDF file for input and prints, binds, and trims the reader's selection as a paperback book.
Jason Epstein gave a series of lectures in 1999 about his experiences in publishing. Epstein mentioned in his speech that a future was possible in which customers would be able to print an out-of-stock title on the spot, if a book-printing machine could be made that would fit in a store. He founded 3BillionBooks with Michael Smolens, an entrepreneur from Long Island living in Russia, and Thor Sigvaldason, a consultant at Price Waterhouse Coopers. At the time, Jeff Marsh, a St. Louis engineer and inventor, had already constructed a prototype book printer that could both photocopy and bind. Marsh was working on this project for Harvey Ross, who held U.S. Patent 5,465,213. Peter Zelchenko, a Chicago-based technologist and a partner of Ross in a related patent effort, worked with Marsh to prove the concept and also helped bring Marsh and other players together with several venture interests.
Ultimately Epstein, together with Dane Neller, former President and CEO of Dean and Deluca, licensed Marsh's invention and founded On Demand Books.
The first Espresso Book Machine was installed and demonstrated June 21, 2007 at the New York Public Library's Science, Industry and Business Library. For a month, the public was allowed to test the machine by printing free copies of public domain titles provided by the Open Content Alliance (OCA), a non-profit organization with a database of over 200,000 titles.
The direct-to-consumer model supported by Espresso Book Machine eliminates the need for shipping, warehousing, returns, and pulping of unsold books; it allows simultaneous global availability of millions of new and backlist titles.
EBM books can also be made available for distribution through Lightning Source, a subsidiary of Ingram Content Group.
^ Overview of the report on "Future of Books" CQ Researcher Blog. May 29, 2009. Retrieved 2011-07-28.
^ a b "First Espresso Book Machine Installed and Demonstrated at New York Public Library's Science, Industry and Business Library". PR Web. June 21, 2007. Retrieved October 16, 2007.
^ a b c "End of the line for books?". The Sydney Morning Herald. October 4, 2007. Retrieved November 21, 2007.
^ Ross, H.M. "System and Method of Manufacturing a Single Book Copy". U.S. Patent and Trademark Office. Retrieved September 18, 2013 – via Google.com.
^ Rose, M.J. (July 17, 2001). "Twelve-minute Book Delivery". Wired. Retrieved September 18, 2013.
^ About ODB: History, On Demand Books. Retrieved on June 3, 2009.
This page was last edited on 13 April 2019, at 18:06 (UTC).


shop in Iron Mountain, Michigan.
The World War II Glider and Military Museum, opened in July, 2011, features one of only seven fully-restored CG-4A gliders in the world, as well as extensive military displays. During World War II, the Ford Motor Company's plant in Kingsford built more Model CG-4A gliders for the United States Army than any other company in the nation at much less cost than other manufacturers. The Cornish Pumping Engine and Mining Museum features the largest steam-driven pumping engine ever built in the United States which is listed as both a National Historic Site and a Michigan Historic Site. In addition to the mammoth steam engine, the museum has historic photographs and artifacts, as well as extensive displays of underground mining equipment. The Menominee Range Historical Museum features more than 100 exhibits depicting local history from Native American inhabitants through the early years of the 20th century with chronological displays and re-created period rooms. The museum is located in the former Carnegie Public Library, constructed in 1902 and listed as a Michigan Historic Site. The Menominee Range Gift Shop, located at the Cornish Pumping Engine and Mining Museum, features publications on the area and the Upper Peninsula, as well as a wide variety of gifts and souvenirs. Please visit during our regular hours from Memorial Day through mid-October, or shop by mail for publications. Would you like to donate to the The Menominee Range Historical Foundation? Click on the "Donate" button and the donation will go directly to the The Menominee Range Historical Foundation. Thank you for your support!
The World War II Glider and Military Museum, opened in July, 2011, features one of only seven fully-restored CG- 4A gliders in the world, as well as extensive military displays. During World War II, the Ford Motor Company's plant in Kingsford built more Model CG-4A gliders for the United States Army than any other company in the nation at much less cost than other manufacturers. The Cornish Pumping Engine and Mining Museum features the largest steam-driven pumping engine ever built in the United States which is listed as both a National Historic Site and a Michigan Historic Site. In addition to the mammoth steam engine, the museum has historic photographs and artifacts, as well as extensive displays of underground mining equipment. The Menominee Range Historical Museum features more than 100 exhibits depicting local history from Native American inhabitants through the early years of the 20th century with chronological displays and re- created period rooms. The museum is located in the former Carnegie Public Library, constructed in 1902 and listed as a Michigan Historic Site. The Menominee Range Gift Shop, located at the Cornish Pumping Engine and Mining Museum, features publications on the area and the Upper Peninsula, as well as a wide variety of gifts and souvenirs. Please visit during our regular hours from Memorial Day through mid- October, or shop by mail for publications. Would you like to donate to the The Menominee Range Historical Foundation? Click on the "Donate" button and the donation will go directly to the The Menominee Range Historical Foundation. Thank you for your support!


text:
100 service members engaged in 'extremist activities'
Morocco bans New Year's parties over virus fears
Gunmen shut four Libya oil fields: NOC
Where will Iraq buy new air defence systems from?
Biden's cautious approach to Sudan's democratic transition
2021: Remembering a Year to Forget
Israel has no avenue to justice for Palestinians
Yes, doubting PCR results from African nations is racist
Epstein, Maxwell and the still-untouchable 1%
Kuwaiti prisoners return to homeland 30 years after death
Yemen's glory in West Asian Youth Cup revives sense of unity
Mercer Street: The emergence of a new Iranian strategy?
Maritime wars: Why the Mercer Street attack could mark a shift in Iran's strategy
Mohammad Salami
Analysis: While the 'shadow war' between Iran and Israel has long been playing out at sea, the recent attack on the Mercer Street tanker could signal a change of political direction in Iran.
The Israeli-linked Mercer Street tanker was attacked by a drone off Omani waters on 29 July killing two people, including a British security guard and the ship's Romanian captain.
The UK, US, and Israel blamed Iran for the incident and announced a joint "decisive response" to Iran. As accusations against Tehran escalated, Iranian officials denied involvement.
Following a military threat from Benny Gantz, Israel's defence minister, to prepare for a military strike on Iran, Iranian officials stressed that they would "respond promptly and strongly to any possible adventure".
'Shadow war'
Suspected Iran-Israel naval attacks have escalated since 2019. In the last two years, at least 14 Iranian merchant ships and oil tankers en route to Syria, including the Sabiti tanker on 11 October 2019 and the Shahr-E-Kord container ship on 11 March 2021, have been reportedly targeted by Israel in the Red Sea and Mediterranean waters, respectively.
"The Israeli-linked Mercer Street tanker was attacked by a drone off Omani waters on 29 July, killing two people"
The attacks were largely aimed at preventing the shipment of Iranian oil and weapons to Syria and Yemen and were in full compliance with former US president Donald Trump's "maximum pressure" policy.
Iran has also allegedly attacked Israeli ships five times in the past six months in response to Israeli military strikes on Iranian ships. Iran reportedly attacked the Israeli merchant ship Helios Ray on 26 February 2021 and the Lori on 25 March.
Suspicion fell on Israel after the Iranian ship Saviz was attacked on 6 April, in what appeared to be retaliation for the attack on the Lori ship. The Saviz was an Iranian logistics ship in the Red Sea, but the Israelis described it as a reconnaissance ship.
Although simmering for years, the most recent naval attack appears to be an escalation that could have regional ramifications.
A picture from Iranian News Agency ISNA on 13 June 2019 shows fire and smoke billowing from a Norwegian-owned Front Altair tanker said to have been attacked in the waters of the Gulf of Oman. [Getty]
A change in politics
The so-called 'shadow war' between Iran and Israel has been playing out at sea in recent years, with attacks on tankers and merchant ships.
Iran has repeatedly accused Israel of attacking Iranian bases in Syria and sabotaging and bombing Iran's nuclear facilities, but these tensions have generally become less of an international problem than the recent attack on the Israeli-linked Mercer Street vessel.
The incident, viewed by some as a response to a recent Israeli attack on Al-Dabaa airport in the Al-Qusayr region in Syria, marks a shift in Iran's strategy from a 'conditional peace' position to one of a 'decisive response', a new direction Iran appears to have chosen due to international developments.
Conditional peace was a policy adopted under former president Hassan Rouhani. It was interpreted as de-escalation with the West, provided that equal de-escalation was in turn observed.
Rouhani, considered a moderate president, reached the first agreement between the West and Iran in 2003 as the country's chief nuclear negotiator, voluntarily suspending uranium enrichment.
After taking office in 2013, Rouhani said resolving disputes with the United States and the West was one of his most important objectives, and he was the first and only Iranian president to speak to his American counterpart by telephone.
His efforts and those of Western-oriented foreign minister, Mohammad Javad Zarif, led to the advancement of Iran's nuclear deal or Joint Comprehensive Plan of Action (JCPOA) in 2015.
Israel and Iran's escalating shadow war at sea
Thomas O. Falk
From the time the JCPOA was signed until Trump's unilateral withdrawal in 2018, Rouhani's relationship with the US was de-escalating. Tehran and Washington implicitly cooperated in the fight against the Islamic State (IS), and the Iranian nuclear deal reduced the possibility of a regional conflict in the Middle East.
But with Trump's departure from the JCPOA Rouhani lost control of the process, and Iranian extremists blamed him for the failure of the nuclear deal, with a power shift to hardliners and the Islamic Revolutionary Guard Corps (IRGC).
After Trump's withdrawal, the IRGC intervened more in Iran's foreign policy, but under the Rouhani administration these tensions in the region did not cross what were considered international red lines.
"There were similar activities undertaken during the Trump era - with the targeting of shipping and resource infrastructure through plausibly deniable means to maintain a wider sense of tension in an effort to drive political negotiations," Dr Ben Rich, Deputy Head of the School of Media, Creative Arts & Social Inquiry at Curtin University told The New Arab.
"The White House will seek to bring more countries behind a unified campaign that puts more multilateral pressure on Iran as the talks in Austria's capital have been stalled since last month"
Some analysts believe the Rouhani administration tried to refrain from any serious actions, such as the Mercer Street vessel incident, despite neutralising threats to incite the US to participate in nuclear talks.
"Iran does not want to engage with Israel directly," Professor Shahram Akbarzadeh, Convenor of the Middle East Studies Forum at Deakin University, told The New Arab. "If Iran is responsible for the attack on the Israeli-run ship, it is very likely to be an error of judgment on the part of local commanders, not a deliberate decision in Tehran," he added.
In the final years of the Rouhani administration - despite his insistence on continuing negotiations and de-escalation with the West - the situation developed in such a way that Iran's strategic patience ran out and the regime's policy changed from conditional peace to a 'decisive response'.
This includes retaliatory actions and the end of appeasement concerning Iran's perceived regional and international threats.
Trump's withdrawal from the JCPOA, Iran's 11th parliamentary elections, the election of hardline representatives, and the passage of the 'Strategic Action to Lift Sanctions' - which prompted the government to halt the implementation of IAEA's Additional Protocol and to increase the enrichment level to 20 per cent and above – all contributed to the regime moving towards a decisive response policy.
Israel has been accused of multiple attacks on facilities linked to Iran's nuclear program. [Getty]
In short, the Iranian regime and its supreme leader believed that de-escalation with the West had not worked. "Future generations should use this experience. It was made clear during this government that trusting the West does not work," Iran's supreme leader Ayatollah Ali Khamenei told outgoing President Hassan Rouhani and members of his cabinet.
The attack on the Mercer Street vessel - if Iran is proven to be involved - is a message to Israel that targeting Iran's interests and pro-Iranian groups in the region will not go unanswered, and that Iran is not afraid to escalate tensions in the undeclared 'shadow war'.
It is also a clear message to US President Joe Biden to return to the nuclear negotiating table sooner rather than later.
Possible responses to Iran
Given that the United States is negotiating with Iran over its nuclear program, it is unlikely that the US and UK will take any military action.
Biden has no plans to clash with Iran after the latest attacks on the Ain al-Assad base in Iraq, largely because no Americans were killed in the attack and further tensions would create more maritime insecurity in the Persian Gulf.
The US response to the Mercer Street incident, while giving the green light to Israel, is to gain the support of the international community to protect the Freedom of Navigation.
"The White House will seek to bring more countries behind a unified campaign that puts more multilateral pressure on Iran as the talks in Austria's capital have been stalled since last month," Giorgio Cafiero, analyst, CEO, and founder of Gulf State Analytics told The New Arab.
"Economic measures could include sanctions targeting Iran's drone program. This was a package the United States was already eyeing even before the latest escalation. It may very well be fast-tracked to account for this latest activity"
In addition, the attack on the Mercer Street vessel with drones shows the high capability of the Iranian military in using and building UAVs, so it is likely that Biden will impose sanctions on Iran to target their production.
"Economic measures could include sanctions targeting Iran's drone program. This was a package the United States was already eyeing even before the latest escalation. It may very well be fast-tracked to account for this latest activity," Jason M. Brodsky, senior Middle East analyst at Iran International, told The New Arab.
Although Israel may retaliate against Iranian ships or infrastructure, any oil tanker warfare is to Tel Aviv's detriment as more than 62 per cent of goods are imported into the country by sea.
In addition, Israel lacks special and complex naval fortifications in the Persian Gulf and the Sea of Oman. The Iranian navy, however, has invested in this field for years.
"By targeting Israeli linked vessels in the Gulf of Oman, where there is no Israeli naval presence, Iran can expose a vulnerability and get the headlines without direct fear of retaliation," Simon Henderson, a director at the Washington Institute for Near East Policy, recently said.
Dr Mohammad Salami holds a PhD in International Relations. He is a specialist in Middle Eastern policy, particularly in Syria, Iran, Yemen, and the Persian Gulf region. His areas of expertise include politics and governance, security, and counterterrorism. He writes as an analyst and columnist in various media outlets.
Follow him on Twitter: @moh_salami
tanker attacks
Paul Iddon
Giorgio Cafiero
Emily Milliken
Hugo Goodridge


This workshop, hosted by the Centre for Homelessness Impact and the Collaborative Centre for Housing Evidence (CaCHE), will bring together around 20 leaders from across local authorities, civil servants, homelessness and other third sector organisations to assess what we already know, identify critical gaps in our knowledge, and seek out shared research priorities for the future.
Through this work, the Centre for Homelessness Impact and CaCHE hope to enable the co-creation of a joint research agenda.
With too many people across the UK lacking a home they can call their own – and at a time when renewed efforts to end homelessness are already underway – ensuring we have the evidence we need to maximise impact is especially important.
Developing a better understanding of the challenges faced by people affected by homelessness "is key to a permanent and sustainable end to homelessness", said Suzanne Fitzpatrick, a professor at Heriot Watt and CaCHE's homelessness lead.
Workshop participants will review the findings from the Centre's Evidence Tools and the latest evidence from the field, and then identify the most pressing evidence needs about how best to help people experiencing homelessness or at risk. By envisioning the most pressing research questions, we should seek to answer how best to improve their life chances.
The Centre for Homelessness Impact was created in response to the need for an independent voice that can focus on ensuring that policy and practice is informed by reliable evidence. Working collaboratively with others it hopes to help accelerate efforts to end homelessness. In other fields a whole movement has emerged to help find more ways to link research to policy and practice. Through the new Centre, homelessness is now catching up.
The UK Collaborative Centre for Housing Evidence (CaCHE) is a consortium of 14 institutions led by the University of Glasgow. The centre is a multidisciplinary partnership between academia, housing policy and practice. Over the course of the five-year programme, CaCHE researchers will produce evidence and new research which will contribute to tackling the UK's housing problems at a national, devolved, regional, and local level.
The workshop will help to identify and synchronise research priorities and shared efforts, and hopefully also the efficiency of common resources.


Tuscarora's great event takes place every other year, usually over the Memorial Day weekend: Open Studios, during which visitors may tour the ateliers and meet the "sensitives" (as my friend Buckeye Blake calls them) who make the art. This year the event was delayed to coincide with the dedication of the community's lovingly restored "Tuscarora Society Hall", the happy ending to a grueling ten-year effort by the small community.
Tuscarora is about 50 miles north of Elko.
Tuscarora is about 50 miles north of Elko via the Mountain City Highway (Nevada 225) and Nevada 226. There is no store. No cafe, no saloon, no commerce in the usual sense. There are only homes, studios, workshops, the post office and now the Society Hall, which will be staffed by volunteers on August weekends.
The restored and refurbished Tuscarora Society Hall contains the community museum.
puzzled over a name for it. One of them proposed Tuscarora, after the Union gunboat he had served aboard during the war, and it stuck.
The stone structure outlasted its wood-framed neighbors, partly from being in constant use.
After its second winter Tuscarora was still a tent camp of fewer than a dozen placer miners, making a hard living, but on May 10 the transcontinental railroad was completed and all the Chinese workers were cut loose. The 1870 census counted 105 Chinese and 15 whites in the district, most, if not all of them working long toms and riffle boxes in the Owyhee and its tributaries.
Tuscarora is a highly decorated community.
In 1871 William O. Weed made a gold and silver strike on the flank of Mt. Blitzen a couple of miles to the northeast, and Tuscarora moved, miners, tents, name and all. The original site is almost forgotten now, difficult to find and even more difficult to get to.
Tuscarora was quite a cosmopolitan community at its peak.
In 1900, 669 remained. The two stores had closed by then, and the building housed the local Masonic Lodge until 1938. The population hasn't been above 50 since the 1920s, when the structure was put to a variety of uses but was principally a saloon. Just now the population is back down to about a dozen who winter through, plus maybe 20 more who return every spring and depart every autumn.
Dennis Parks helped put Tuscarora on the art map. He came in 1972 with his young family, to work in solitude as a potter, and eventually to establish his now famous pottery school. His memoir "Living in the Country Growing Weird" is a Nevada classic.
In the 1980s a mining company attempted to obliterate the little town by pit mining here, but the combination of community resistance, public condemnation and fluctuations in the gold market saved it.
The Grand Opening came at the end of a 10-year effort.
Historic exhibits inside the Hall are attractive and informative.
long and colorful history of Tuscarora and the Independence Valley.
Jan Peterson pays homage to Tuscarora's pioneers.
This is the memorial to an early Tuscarora artist named Lee Deffenbach. She came in the late 1960s, Departed in 2005.
couple of his cousins rounding up strayed horses, and he climbed a power pole to get a good look out over the rumpled landscape.
His exploits made the papers.
acquired in 1940, during a visit to San Francisco.
A recent memorial, eloquent yet enigmatic.
He'd caught the Powell Street cable car down to the turntable at Market, walked into the big bank on the corner, and robbed it: just pulled out a pistol and demanded money! But he got shot in the leg instead, and hobbled back outside just in time to make his bloody getaway on an outbound cable car heading up the hill.
The Tuscarora town team, year unknown. The man second from the left resembles Wheezer.
After serving his time in Alcatraz, he came back to Tuscarora and went back to cowboying, but with the limp.
Most of the graves, monuments, markers and memorials are in traditional style, but some of the more recent entries suggest the current character of the place and its inhabitants.
He pitched 3 seasons for the Brooklyn Robins.
Tuscarora has produced one semi-famous (in his day) native son, although he's not buried here: William George "Wheezer" Dell was born in Tuscarora June 11 1886, the first Nevada native to play professional baseball in the big leagues. I don't know if he's in that photo of the Tuscarora town team, but in 1912, age 25, he pitched three innings in two games as a right-handed reliever for the St. Louis Cardinals.
He's gone from the record books until he came back to pitch for the Brooklyn Robins from 1915 to 1917. He pitched one inning in the 1916 World Series, his lifetime major league ERA was 2.55 and he was a teammate of Zack Wheat and Casey Stengel.
After that he helped the Vernon (Los Angeles County) Tigers win three consecutive Pacific Coast League championships, 1918-1920. He was traded to the Seattle Indians in 1921, led the league in wins that year and helped them to the league championship in 1924, his last year as a player. He died in Big Pine California, age 80, in 1966.
Quick notes from beyond the mountains: Here's a unique look at Piper's Opera House in Virginia City . . . If it's Not One Train, It's Another — Summer Specials at Nevada Northern Railway . . .


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Q: How do I install a specific update of Visual Studio 2015? I have an install of Visual Studio 2015 community edition that I need to be at update 1. As far as I can tell, I can either have it without any updates or with up to the latest. How do I install version X?
(I'm asking for myself about version 1, but if a general solution is available, that's a better answer)

A: I haven't tried this with VS Community Edition, but when I wanted to downgrade from VS Professional 2015 Update 3 to Update 2 (due to Update 3 screwing with the web.config on publish) and ended up having to uninstall VS 2015 completely, I found How to: Install a Specific Release of Visual Studio.
While it covers Enterprise Edition, for VS Professional I just needed to update the name of the installer executable.
So for a fresh install of Visual Studio 2015 Professional, with Update 2, run the following from the command line:
vs_professional.exe /OverrideFeedURI http://download.microsoft.com/download/0/6/B/06BB0C5C-C767-4250-91DA-AB463377597E/20160405.3/enu/feed.xml


Ellexa Cream :- Looking beautiful, attractive, and youthful is the desire of each and every woman. Regrettably, with the age, you begin losing your youthful look and the signs of aging starts appearing on your face. Why?
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Being a user of this potent age-defying cream, I assure you that using this cream on a regular basis; you will see the complete results within a matter of weeks. And, it will enhance your confidence while giving you attractive, youthful, and appealing look. If you wish to add this product to your daily routine, then read this detailed review to know more about this product.
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Musician and award-winning filmmaker John Fusco is preparing to release his debut on February 11th, through Cody Dickinson's Checkerboard Lounge Recordings label. Fusco is joined by his band, The X-Road Riders and he picks up right where the late-great Gregg Allman left off. Fusco may be best known for the films "Crossroads," "Young Guns" and "Hidalgo," as well as the new Kevin Costner-Woody Harrelson drama "The Highwaymen."
His new self-titled album features ten tracks that bring you back to the southern, soulful sounds of blues/country rock, which The Allman Brothers Band turned into a fifty year career. He begins with the swagger of "Rolling Thunder," as you are introduced to Fusco's ruff vocals, which perfectly balances the great guitar work of Cody Dickinson. The blues come pouring out with the songs "Drink Takes The Man" and "Hello, Highway" as you begin to settle in to this great debut album. The gospel-like feel of "A Stone's Throw" and the classic Delta-blues of "I Got Soul," showcases Fusco's sound well beyond his years as he sound like a veteran bluesman. He finishes up his new album with the exciting guitar-organ exchange on "Boogie On The Bayou" and the dual-guitar shuffle of "Crossroad Blues," featuring Luther Dickinson. To find out more about John Fusco and the X-Road Riders, please visit their Facebook page at facebook.com/XRoadRiders.


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Blog, Inside Jebsen
Jebsen Industrial's cross-border employment opportunities bring four young men from Germany to Hong Kong
As a business bridge between Asia and Europe, Jebsen Industrial does more than connect companies and markets—it connects people and cultures too. For that reason, it offers young candidates beyond its own shores a range of employment opportunities in the form of internships as well as project-based and temporary positions. This year, it is supporting four young men from Germany as they take their first step into the Asian corporate world.
Meet Alex Schultz (20), Michael Hinrichs (22), Christian Hausner (23) and Benedict Skelton (26)! Considering their diverse backgrounds and interest areas, Jebsen Industrial has assigned them to different roles. The scale and scope of its business allows these short-term staff a more varied work experience. It also allows them to work within a diverse team and gain first-hand experience of local work culture.
Since the objective of such short-term assignments is to gain as much experience as possible, Jebsen Industrial also believes in granting its people the autonomy to maximise their learning and optimise their potential. This means that they are entrusted with major projects, instead of typical support tasks.
Benedict, for example, is Jebsen Industrial's e-commerce intern. He is responsible for conceptualising, producing and maintaining the Cinematic & Broadcasting Solution (C&BS) division's new online platform, jcinecast.com. Given that C&BS is currently pursuing a multi-brand, multi-channel market approach, its online presence is of strategic importance. Taking on such a project with the support and guidance of the C&BS team is a great way for Benedict to gain insights into Jebsen Industrial and the business world as well.
For Michael, who is part of the Quality Management team, his defining project is JInnovate, an internal initiative to encourage employees to voice out, evaluate and realise innovative new opportunities. Through the project, Michael has the potential to make a lasting difference to the future of Jebsen Industrial and its people.
Broadening perspectives
In addition to equipping its people with relevant work experience and important skillsets, Jebsen Industrial also hopes to enhance their worldview.
For Chris, this is taking the form of a year-long assignment as Assistant to Managing Director Maximilian von Stillfried. While conducting research and analysing data and reports for Mr von Stillfried, Chris is learning about business management and the dynamic market environment in Greater China. His role also extends to projects related to Jebsen Industrial's strategic development and requires him to interact with business leaders on a daily basis. This exposure and Mr von Stillfried's mentorship will likely place Chris in good stead in his future career.
Meanwhile, Alex, who is a Jebsen Group Trainee, is concluding his two-year management trainee programme with Jebsen Industrial. After rotations with Jebsen Consumer, Jebsen Motors and Group Human Resources, Alex is now learning about the B2B industrial sector. Through his time with Jebsen Industrial's Automation & Services divisions, Alex is building a strong understanding of cutting-edge engineering technology solutions and how these are meeting the current and emerging needs of the sector.
Exchanging cultures
In welcoming people from different countries, Jebsen Industrial also seeks to facilitate cultural exchange among its people, especially in an increasingly globalised world. For those new to the Asian corporate world like Alex, Benedict, Chris and Michael, it is an opportunity to understand the way of life in Greater China while the company benefits from a broader pool of perspectives, knowledge, skills and ideas—an enriching experience for everyone involved!
Inside Jebsen
data 2016-07-05T16:40:00+08:00


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Tales of the Awesome Foursome: Beatles Fans Share Personal Stories and Memories of the Fab Four
Linda Schultz (Author)
Category/Subject: MUSIC / Genres & Styles / Rock
Take a trip down Penny Lane and memory lane! In this unique and exceptional collection, Beatles fans of all ages share their own true stories, anecdotes, poems and memories.
THE BEATLES. It has all been said by the experts. Everything about the Beatles' history has been chronicled. Their music has been dissected and analyzed many times over. There is simply nothing new to say about the band…until now!
It's the FANS' turn now! In this unique and exceptional collection, Beatle fans of all ages and backgrounds share their own true stories, poems, anecdotes and memories of the Fab Four! These stories will bring laughter and they will bring tears. But most of all, they will bring back so many wonderful memories of the band that changed our lives forever.
Great Book For Beatles Fans , 09/18/2004
Reviewer: Robbie White
What a great concept. I wish this book were 1000 pages. I hope to see a volume 2 soon


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Countries Of The World Trivia Quiz Questions and Answers
Are you a lover of diversity and geography? Then you will love our trivia quiz questions on the 195 countries of the world.
Find out the updates on the countries that joined the United Nations, the non-member countries. Have fun with your foreign friends on how much you know about their countries.
Countries Of The World Questions
What is the largest landlocked country in the world?
What was the first country, outside of the United States, to adopt the US dollar as its official currency?
What is the only country in the world to lie entirely at 1,000 m above sea level?
What country has the highest permanent settlement in the world?
What country has the longest life expectancy in the world?
Which country is home to the first UNESCO World Heritage Site?
What is the most sparsely populated country in the world?
In what country will you find the most ancient pyramids?
What is the only country in the world without a capital city?
What country has the longest coastline in the world?


Location: Located on the tropical Indonesian island of Bali, on Seminyak Beach, The Legian Bali has a prime location on the stunning golden banks of this elongated beach, with its enchanting tropical waters and breathtaking sunsets.
History: Once a quiet fishing village with locals produce traders coming and going on a daily basis, Bali's Seminyak became popular with tourists in 1970s when the first beach club opened, and has been prospering ever since.
Service: The concierge service here covers all guest requirements, whether guests require a private boat or international flight advice or perhaps just a glass of champagne for a special night, they will accommodate it all at The Legian Bali.
The Legian Bali is located on Seminyak beach, which offers some of the world's best surfs, sunsets and nightlife. The hotel comprises 68 rooms and suites, all designed in a modern chic style, while also incorporating traditional Balinese artwork and artifacts. Guests can immerse themselves in the Indonesian way of life while staying at The Legian Bali with its tropical scenery and tranquil surroundings. The amenities and facilities are plentiful and delightful, with several treatments available at the elegant spa, including body polish rituals for detoxing or rejuvenation, performed amidst beautiful natural garden surroundings. Guests can indulge in restaurants that serve some of the freshest, most succulent seafood around, caught daily from the nearby waters. From the hotel's many well-appointed restaurants, stunning views of the ocean, as well as the famous Seminyak sunset, can be observed while guests sip away on one of the hotel's custom-made cocktails.
There are a total of 68 breathtaking rooms that this hotel has to offer, all decorated with a contemporary design, featuring white walls and local Balinese artwork and artifacts from around the island itself.
These 360-square-foot one-bedroom beachfront suites provide guests with a separate living area and a four-seat dining room, as well as a well-appointed bathroom with deep soak bath and rain shower. The patio features a lovely outdoor dining table and plush daybed.
These 324-square-foot suites provide stunning views of the Indian Ocean from two separate outdoor decks. The interior features queen beds, and a well-appointed bathroom with a deep soak bath and a lovely rain shower.
These spacious 508-square-foot rooms are ideal for families, with two bedrooms, a separate living area, and a four-seater dining room, as well as stunning sunset views. Each suite comes with a master bedroom featuring a king-size bed, and a second bedroom with twin beds.
The facilities and activities within The Legian Bali are extensive, exciting and well-thought through, to accommodate the needs of every guest. From relaxing in the tranquil setting of the spa to enjoying a rejuvenating yoga session by the beach, there is bound to be something to suit all tastes.
Business travelers will appreciate the hotel's business center, featuring an extensive library, high-speed internet access, and secretarial services.
The hotel features a breathtaking three-tiered swimming pool, with one level exclusively for adults - a 98-foot seaside infinity pool, and other pools available for those of all ages. The pools are open daily until 6pm.
Nestled into a private stretch of Seminyak Beach are a series of spa suites for both couples and single guests. Highly-trained therapists perform indulgent treatments that meld Bali's ancient healing rituals with modern techniques.
Guests can enjoy a complimentary Hatha yoga session four times a week, in the mornings. Private yoga training sessions can also be booked. The Hotel also has its own health center, where guests can go to keep in shape, and can even hire some of Bali's top personal trainers.
With one main restaurant, two chic contemporary bars, plus a lounge, there are plenty of places to fill the picturesque nights at The Legian Bali. Guests can even satisfy their hunger by ordering from the extensive menu, while still remaining in the comfort of their luxury waterfront rooms.
This living room-type lounge features fine Indonesian art and an extensive multilingual library. Serving fresh juice, tea, or coffee, among other treats, along with a selection of imported cigars, this is an ideal place to relax with a good book or meet up with friends or colleagues.
This casual-yet-innovative bar is open for lunch, afternoon cocktails, and dinner. Dishes include favorites like Thai beef salad, grilled calamari, and homemade hoisin duck pancakes. It can also be transformed into a private group dining venue for up to 22 people.
Guests can enjoy poolside dining and the Bali tradition of sundowners at this fresh, breezy bar that stays open until midnight.
This all-day dining casual-chic restaurant features hearty breakfasts, light and succulent lunches, and delectable gourmet dinners, with an award-winning wine list to match.