text:
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Vaccine Update
Montefiore Health System and UnitedHealthcare Reach New Long-Term Agreement
June Hsu, MD, Joins White Plains Hospital Physician Associates
White Plains, N.Y. – White Plains Hospital is pleased to welcome colorectal surgeon Dr. June Hsu, MD, to its Physician Associates Division.
Dr. Hsu graduated from Rutgers School of Public Health with a Master of Public Health. She received her Medical Degree from Rutgers Robert Wood Johnson Medical School, New Brunswick, New Jersey, where she was given the Rudolph C. Camishion MD Award for Academic Excellence in Surgery.
She also completed her Residency and Internship in General Surgery at Rutgers Robert Wood Johnson Medical School. During that time, she received several awards, including the Outstanding Laparo-Endoscopic Resident Award, the Stephen F. Lowry, MD, Award: "Outstanding Contribution to the General Surgery Residency," and the Prem Award: "Outstanding Intern of the Year."
She obtained a Fellowship in Colon and Rectal Surgery from St. Joseph Mercy Health System, Colon and Rectal Surgery program.
Dr. Hsu has a background in medical research, including as a Research Student at the University of Maryland, evaluating scoring systems using the Shock Trauma database, and at the University of Pennsylvania, where she worked with yeast stem cells in the treatment of leukemia. She previously worked as a clinical research associate for ETHICON, Inc., researching, designing, running and auditing FDA approved clinical trials for medical devices. She has given numerous presentations and is an author of several publications in medical journals.
She will see patients at WPHPA Surgical Specialists at 170 Maple Avenue, Suite 502, White Plains. To make an appointment, call (914) 948-1000.
About White Plains Hospital
White Plains Hospital is a proud member of the Montefiore Health System, serving as its tertiary hub of advanced care in the Hudson Valley. The Hospital is a 292-bed not-for-profit health care organization with the primary mission of providing exceptional acute and preventive medical care to all people who live in, work in or visit Westchester County and its surrounding areas.
Centers of Excellence include the Center for Cancer Care, The William & Sylvia Silberstein Neonatal & Maternity Center and The Ruth and Jerome A. Siegel Stroke Center. The Hospital's Flanzer Emergency Department is the busiest in Westchester County, with more than 60,000 patient visits a year. White Plains Hospital performs lifesaving emergency and elective angioplasty in its Joan and Alan Herfort, MD, Cardiac Catheterization Laboratory and Marie Promuto Cardiac Catheterization Laboratory. White Plains Hospital has outpatient medical facilities across Westchester, including multispecialty practices in Armonk and New Rochelle; and Scarsdale Medical Group locations in Harrison and Scarsdale. The Hospital is fully accredited by the Joint Commission and earned its recognition as a Top Performer for Key Quality Measures® in 2015 and 2013. The Hospital received Magnet® designation in 2012 and 2016 from the American Nurses Credentialing Center (ANCC). In 2014, 2016 and 2018, and 2019, White Plains Hospital received the Outstanding Patient Experience Award from Healthgrades®. http://www.wphospital.org.
Our exceptional physicians proudly practice at:
White Plains Hospital Connect


text:
(1906 – 1965), USA
David Smith Biography
One of the foremost artists of the twentieth century and the sculptor most closely linked to the Abstract Expressionist movement, David Smith is known for his use of industrial methods and materials, and the integration of open space into sculpture. Over a 33-year career, Smith greatly expanded the notion of what sculpture could be, questioning its relationship with the space it was created in and its final habitat; from the artist's atelier and art foundry into the realms of industry and nature. Spanning pure abstraction and poetic figuration, Smith's deeply humanist vision has inspired generations of sculptors for the decades since his death.
Born in 1906 in Decatur, Indiana, Smith worked as an automobile welder and riveter before moving to New York to study at the Art Students League. In 1929 he bought a farm in Bolton Landing, in the Adirondack Mountains of upstate New York–an idyllic location where he would settle permanently in 1940 and with which he would be forever associated. When Smith died suddenly at the age of 59 in a tragic car accident, he left behind an expansive, complex and powerful body of work that continues to exert influence upon younger generations of artists today. He is widely acknowledged to have created the first welded metal sculpture in America.
Painting and drawing remained integral to Smith's creative output throughout his career. 'Drawings,' he claimed, 'are studies for sculpture, sometimes what sculpture is, sometimes what sculpture never can be.' Around 1958, almost immediately after the invention of the aerosol spray can, Smith began his Sprays. Made simultaneously with some of his most rigorously geometric sculpture, the Sprays are often loosely gestural. Though the Sprays freed Smith's form from the sculptural constraints of gravity, for Smith the two mediums were conceptually continuous. With the Sprays, Smith adopted a medium that was developed from, and perfectly aligned with, his sculptural process, encapsulating the overlap between between his two- and three-dimensional activities.
Text courtesy Hauser & Wirth.
Current Exhibition | New York
16 December 2021–19 February 2022 20th Anniversary Show Bruce Silverstein
André Kertész, Group of four men in trunks sitting on a ramp (1914). Courtesy Bruce Silverstein.
David Smith Featured Artworks
David Smith Untitled, c. 1931–1932 Oil on masonite
30.2 x 33.7 cm Hauser & Wirth Enquire
David Smith The Hero, 1951–1952 Steel, paint
190.5 x 64.8 x 29.8 cm Hauser & Wirth Enquire
David Smith Study for 'The Hero', 1951 Watercolour and ink on paper
David Smith Billiard Player Construction, 1937 Steel and paint, on artist's painted wood base
37.5 x 52.1 x 16.2 cm Hauser & Wirth Enquire
David Smith Untitled, 1959 Spray enamel on canvas
180.3 x 99.1 cm Hauser & Wirth Enquire
David Smith Australia, 1951 Gelatin silver print
20.3 x 25.4 cm Bruce Silverstein Contact Gallery
David Smith Dancer, c. 1954 Welded iron
Sold Miles McEnery Gallery
Featured Artworks View All (25) Featured Artworks
David Smith Current & Recent Exhibitions
Open Now 16 December 2021–19 February 2022 Group Exhibition 20th Anniversary Show Bruce SilversteinNew York
Closed 23 September–27 November 2021 Group Exhibition Drawing on the Mind Hauser & WirthHong Kong
Closed 27 April–30 July 2021 David Smith Follow My Path Hauser & Wirth69th Street, New York
Current & Recent Exhibitions View All (5) Exhibitions
David Smith Represented By
Galerie Gmurzynska Zurich
Hauser & Wirth Gstaad, Hong Kong, London, Los Angeles, Menorca, Monte Carlo, New York, Somerset, Southampton, St. Moritz, Zurich
David Smith In Ocula Magazine
Ocula Conversation John Yau Connects Three Asian American Modernists By Stephanie Bailey, New York
John Yau describes the lives and works of three overlooked figures of modernism: Leo Amino, Minoru Niizuma, and John Pai.
Ocula Photolog The Magnificent Seven Art Sites: Yorkshire Sculpture Park
Part of a series focusing on the world's best art sites, this Photolog features images from Yorkshire Sculpture Park in England. Located in the 500-acre Bretton Hall estate, it was the first sculpture park in the U.K. and is the largest of its kind in Europe. Yorkshire Sculpture Park together with Benesse Art Site on Naoshima Island in Japan, are...
Ocula News Art Basel is Back, Dealers Say, With Some Caveats Basel, 27 September 2021
Galleries were enthusiastic about how the fair went, despite slower sales and a significant drop in visitors.
David Smith In Related Press
Related Press LOOSE CANON 21 October 2019, ARTFORUM
IN JUNE, NEW YORK'S MUSEUM OF MODERN ART WENT DARK to put the finishing touches on its contentious five-year expansion, which promised to put $450 million and 47,000 square feet of Diller Scofidio + R
Related Press 'Drawing in space' – the ingenious structures of David Smith 17 July 2019, Apollo
'Sculpture,' wrote David Smith in 1951, 'is as free as the mind; as complex as life'. That freedom and complexity is on full display in this exhilarating show of more than 40 pieces by the artist gene
Related Press For David Smith, Sculptor and Painter, a Happy Equilibrium in White 29 June 2017, The New York Times
When the artist David Smith died in an auto accident in 1965, he left behind nearly 100 of his large sculptures in the grass outside his studio in Bolton Landing, N.Y., in the Adirondacks. He coated m
Related Press Tumultuous Absorption 13 February 2017, Aesthetica Magazine
Two or three muted, but skillfully executed, pieces of portraiture slowly lead the viewer to paintings with the merest hint of figures, before dissolving entirely into realms of line, colour, light an
Be among the first to know when new artworks and exhibitions by David Smith are added to Ocula.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Where in Django project to store a single image file that is never served to the user Suppose I have a Django project that contains a view which generates a PDF, and requires a logo on the top of the PDF. This logo is stored as an image file, and is not ever referenced in a template. Static files are stored in an S3 bucket.
It feels like this logo should not be a static file, since it does not need to be stored in S3. A user should never grab this file directly; the view which generates this PDF is the only thing that will ever open the file. The file does not need a URL to see it online. It also feels like this isn't a media file, since it is not something uploaded by a user. Lastly, I don't think that this is something that needs to be stored in the database, as this image does not have a "model" of which other objects would ever need to be created.
Where in the project structure should this type of file be stored? Is there a standard location for this type of file?

A: You can use multiple storage classes. Suppose your DEFAULT_FILE_STORAGE = 'storages.backends.s3boto.S3BotoStorage'. Than you can still create an exeption to the default like this:
from django.db import models
from django.core.files.storage import FileSystemStorage

fs = FileSystemStorage(location='/media/photos')

class Car(models.Model):
    ...
    photo = models.ImageField(storage=fs)

The files stored to system don't have to be served but can exist to be processed when needed.
https://docs.djangoproject.com/en/1.8/topics/files/

redpajama_set_name: RedPajamaStackExchange


January 2018 - Sharing God's love for Stories!
Martin Luther King, Jr. holiday and remembering what it was created to stand for is as important today as when it was first recognized by our nation on January 1986, the first national Martin Luther King, Jr., holiday was observed in January 1986.
Listen to "All God's Children" a reflection on the man and highlights of his life on Passages by clicking on the link below.
Martin Luther King Jr. Day (officially Birthday of Martin Luther King, Jr.) is an American federal holiday marking the birthday of Martin Luther King Jr. It is observed on the third Monday of January each year, which is around King's birthday, January 15. The holiday is similar to holidays set under the Uniform Monday Holiday Act.
President Ronald Reagan originally opposed the holiday, citing cost concerns. When asked to comment on Helms' accusations that King was a communist, the president said "We'll know in thirty-five years, won't we?", in reference to the eventual release of FBI surveillance tapes that had previously been sealed. But on November 2, 1983, Reagan signed a bill, proposed by Representative Katie Hall of Indiana, to create a federal holiday honoring King. The bill had passed the House of Representatives by a count of 338 to 90, a veto-proof margin. The holiday was observed for the first time on January 20, 1986.
The bill also established the Martin Luther King Jr. Federal Holiday Commission to oversee observance of the holiday, and the late Coretta Scott King, King's wife, was made a member of this commission for life by President George H. W. Bush in May 1989.
Celebrating the story of Martin Luther King, Jr.!
Cold and wondering what to do for their children with Christmas soon to arrive!
On this frigid morning and temps not warming up to much lets go back to a Christmas Eve and experience a cold night for a simple family living in rural Virginia.
A cold story that will be bring out the warmth of love on Passages.
Listen to David tell in his own words about a freezing cold Christmas Eve for his family.


Recipe Instructions Mix pudding to package directions and let stand 5 minutes. Grind gingersnaps in food processor into crumbs. Remove bowl from processor and take out blade. Add butter to the food processor and stir to moisten the crumbs. Pour crumbs into 4 small glass bowls and press the crumbs up the sides of the bowls, lining each dish with a ginger snap "crust". Add a few slices of strawberries to each bowl. Fill each dish with lemon pudding and top with a few more sliced berries and chopped crystallized ginger. Add a whip cream rosette to each dessert and garnish with lemon zest. This recipe yields 4 servings.


Thanks for the information. I forgot to mention this, but the guy I bought the telescope from also included a coma corrector, so I have that covered. Otherwise, I will take at look at those eyepieces, and I was actually looking to buy from FLO, so the discount is a nice bonus.


It was the 22nd no-hitter in Dodger history and comes on the heels of Josh Beckett's no-hitter on May 25 at Philadelphia, becoming the first time the Dodgers had two no-hitters in same season since 1956. And he was miscue away from throwing the franchise's second perfect game.
Kershaw got doused by two buckets of sports drinks by Matt Kemp and Yasiel Puig. Then the team came out with their now famed bubble machine and did their new dance with Kershaw — much to the delight of the crowd.
Overall, Kershaw threw 107 pitches, 79 for strikes.
He began receiving standing ovations after he struck out the side in the sixth inning.
The crowd rose to its feet with two outs in the seventh and erupted in a loud roar when Kershaw froze Wilin Rosario with a wicked curve to end the inning.
Kershaw won his fourth consecutive start and improved to 7-2 this season.
The hardest ball hit through the first nine batters was actually by Rockies pitcher Jorge De La Rosa, who hit a liner that was snared by third baseman Miguel Rojas.
Kershaw fielded a comebacker by Rutledge to end the fifth inning.
Kershaw shook off Ramirez's throwing error thanks to a spectacular play by Miguel Rojas, who fielded a chopper by Troy Tulowitzki (Long Beach State) on the third-base line and made a long accurate throw that was hauled in by first baseman Adrian Gonzalez.
"I'm in great company with this pitching staff," Kershaw said.
Maybe lost in the hoopla was the fact the Dodgers continued to make up ground on the San Francisco Giants, closing within four games of the NL West leaders after trailing by 9 1/2 games as recently as June 8.
The Dodgers swept the three-game series with the Rockies and completed an impressive 5-1 homestand. The Dodgers have won eight of their past 11 overall.
It's the first time they have swept the Rockies since winning the final three games of the 2012 season.
Gordon drew a leadoff walk, then stole his major league-leading 37th base of the season.
Gordon was also so much of a distraction on the basepaths that De La Rosa made an errant pickoff throw into center field, allowing Gordon to take third base and score on Puig's towering sacrifice fly to center field for a 1-0 lead.
Ramirez also drew a walk in the first inning and scored on Kemp's rifle RBI single to center for a 2-0 lead.
Gonzalez and Kemp hit back-to-back RBI doubles, and Rojas blasted a three-run double over Dickerson's head in left field for a 7-0 lead.
It could have been a bigger inning, but Gordon's infield single was overturned on a manager's challenge and Rockies third baseman Rutledge made a diving stop to rob Ramirez.
Kemp now has seven multi-hit performances in his past 12 games. He went 3 for 4 with two doubles, two RBIs and a run scored.
De La Rosa had a miserable game, lasting just 3 1/3 innings. He allowed eight runs (seven earned) with six hits, five walks and just one strikeout.


text:
Q: jQuery $.notify is not a function error. How can I fix this? In my AspNetCore 3.1 web application, I added required js and css references to my project for Bootstrap notification. But I'm gettin this error when I call the notify function.
Here is my css references:
<head>
    <meta charset="utf-8" />
    <meta http-equiv="X-UA-Compatible" content="IE=edge" />
    <meta name="viewport" content="width=device-width, initial-scale=1, shrink-to-fit=no" />
    <meta name="description" content="" />
    <meta name="author" content="" />
    <title></title>
    <link href="~/css/styles.css" rel="stylesheet" />
    <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/datatables/1.10.21/css/dataTables.bootstrap4.min.css" />
    <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/bootstrap-select/1.13.18/css/bootstrap-select.min.css" />

    <link rel="stylesheet" href="https://cdnjs.cloudflare.com/ajax/libs/bootstrap-notify/0.2.0/css/bootstrap-notify.min.css" />
</head>

Here is my js references
<script src="https://cdnjs.cloudflare.com/ajax/libs/font-awesome/5.14.0/js/all.min.js"></script>
<script src="https://cdnjs.cloudflare.com/ajax/libs/jquery/3.5.1/jquery.min.js"></script>
<script src="https://cdnjs.cloudflare.com/ajax/libs/jquery.inputmask/5.0.5/jquery.inputmask.min.js"></script>
<script src="https://cdnjs.cloudflare.com/ajax/libs/twitter-bootstrap/4.5.2/js/bootstrap.bundle.min.js"></script>
<script src="https://cdnjs.cloudflare.com/ajax/libs/bootstrap-select/1.13.18/js/bootstrap-select.min.js"></script>
<script src="https://cdnjs.cloudflare.com/ajax/libs/popper.js/2.4.4/umd/popper.min.js"></script>
<script src="https://cdnjs.cloudflare.com/ajax/libs/bootstrap-notify/0.2.0/js/bootstrap-notify.min.js"></script>

<script src="https://cdnjs.cloudflare.com/ajax/libs/datatables/1.10.21/js/jquery.dataTables.min.js"></script>
<script src="https://cdnjs.cloudflare.com/ajax/libs/datatables/1.10.21/js/dataTables.bootstrap4.min.js"></script>
<script src="https://cdnjs.cloudflare.com/ajax/libs/jquery-validate/1.19.2/jquery.validate.min.js"></script>
<script src="https://cdnjs.cloudflare.com/ajax/libs/jquery-validation-unobtrusive/3.2.11/jquery.validate.unobtrusive.min.js"></script>
<script src="~/js/scripts.js"></script>

Bootstrap notify call:
$.notify({
    title: 'Hello World',
    message: 'Hello :)',
    type: 'success'
});


text:
Ludwig Emil Grimm, född 14 mars 1790, död 4 april 1863, var en tysk konstnär. Han var yngre bror till Jacob och Wilhelm Grimm.

Grimm trädde tidigt i förbindelse med spetsarna inom den tyska romantiken. Från 1817 var Grimm bosatt i Kassel, från 1832 som professor vid konstakademien. Föga produktiv fick Grimm sin främsta betydelse genom sina realistiska porträtt, oftast i form av etsningar av sin litterära och konstnärliga bekantskapskrets.

Källor
 Svensk uppslagsbok, Malmö 1932

Externa länkar

Tyska porträttmålare
Tyska målare under 1800-talet
Personer från Hanau
Födda 1790
Avlidna 1863
Män
Svensk uppslagsbok

redpajama_set_name: RedPajamaWikipedia


text:
#include "sys/SysTypes.h"
#include "sys/AbstractThread.h"
#include <iostream>

#if defined ESYS_API_POSIX
    #include <pthread.h>
#elif defined ESYS_API_WIN32
    #include <windows.h>
#endif

namespace
{
    void setThreadName( ::std::thread& object, const ::esys::TString31& name )
    {
        #if defined (ESYS_API_POSIX)
        ::pthread_setname_np( object.native_handle(), name.c_str() );
        #elif defined (ESYS_API_WIN32)
        // Sorry, no windows implementation available
        #else
            #error Not supported API
        #endif
    }

    void setThreadPriority( ::std::thread& object, const int32_t priority )
    {
        auto handle = object.native_handle();
        #if defined (ESYS_API_POSIX)
        ::pthread_setschedprio( handle, priority );
        #elif defined (ESYS_API_WIN32)
        ::SetThreadPriority( (HANDLE) handle, priority );
        #else
            #error Not supported OS
        #endif
    }
};

namespace sys
{

void AbstractThread::trampoline( AbstractThread* object )
{
    object->threadBody();
}

AbstractThread::AbstractThread( const ::esys::TString31& name )
    : m_mutex()
    , m_name( name )
    , m_state( AbstractThread::ThreadState_New )
    , m_condition()
    , m_thread()
{

}

bool AbstractThread::start()
{
    bool result = false;

    TLockMutex l( m_mutex );

    if ( isState( ThreadState_New ) )
    {
        setState( ThreadState_Running );
        m_thread = std::thread( &AbstractThread::trampoline, this );
        result = m_thread.joinable();

        ::setThreadName( m_thread, m_name );
    }

    return result;
}

void AbstractThread::requestStop()
{
    TLockMutex l( m_mutex );

    if ( isState( ThreadState_Running ) )
    {
        setState( ThreadState_StopRequested );
    }
}

void AbstractThread::threadBody()
{
    {
        TLockMutex l( m_mutex );

        if ( isState( ThreadState_Running ) )
        {
            TReverseMutexGuard r( m_mutex );
            run();
        }
    }

    TLockUnique lo( m_mutex );
    setState( ThreadState_Stopped );
    m_condition.notify_all();
}

bool AbstractThread::join( const uint32_t timeout )
{
    bool result = false;

    TLockUnique l( m_mutex );

    if ( !isState( ThreadState_New ) )
    {
        while( !isState( ThreadState_Stopped ) )
        {
            m_condition.wait( l );
        }

        if( m_thread.joinable() )
        {
            m_thread.join();
            result = true;
        }
    }

    return result;
}

void AbstractThread::sleep( const uint32_t time )
{
    ::std::this_thread::sleep_for ( std::chrono::milliseconds( time ) );
}

void AbstractThread::sleepUs( const uint32_t time )
{
    ::std::this_thread::sleep_for ( std::chrono::microseconds( time ) );
}

void AbstractThread::setPriority( const int32_t priority )
{
    TLockMutex l( m_mutex );

    if ( isState( ThreadState_Running ) )
    {
        setThreadPriority( m_thread, priority );
    }
}

bool AbstractThread::isStopRequested()
{
    TLockMutex l( m_mutex );

    return isState( ThreadState_StopRequested );
}

AbstractThread::~AbstractThread()
{
    requestStop();
    join();
}

}; // namespace sys

redpajama_set_name: RedPajamaGithub


text:
The top 10 Canadian albums of 2021 | The Globe and Mail
Though 2021 isn't quite done yet, the year-end best-of music lists have already been filed. Critically (as opposed to commercially), the consensus top Canadian album is the Weather Station's Ignorance, which topped roundups by the New Yorker and British rock magazine Uncut, while also impressing the tastemakers at Esquire, the New York Times, Mojo, Paste, Pitchfork and Rolling Stone.
Other Canadian records making high-profile international lists include Allison Russell's Outside Child (No. 1, according to Variety's Chris Willman) and Mustafa's When Smoke Rises (the top pick of New York Times critic Jon Caramanica).
Those three albums and seven others found their way onto the list of my favourite Canadian albums of the year, found below in alphabetical order.
The Zolas – Come Back to Life
Five years after their Juno-nominated album Swooner, Vancouver indie rockers the Zolas returned with a discman's paradise of Nineties' rock styles. Come Back to Life has excellent hints of Oasis, Nirvana and other bands from the age – but nostalgia is the vehicle, not the cause. Wreck Beach/Totem Park draws attention to Canada's treatment of Indigenous people; PrEP references the AIDS epidemic of the 1980s; Bombs Away laments the effect of gentrification on artists: "Living in a city of dotted silhouettes / Everybody's fading, maybe we'll be next."


text:
chown - change the file ownership
chown [-hR] owner[:group] file ...
chown -R [-H | -L | -P ] owner[:group] file ...
The chown utility shall set the user ID of the file named by each file operand to the user ID specified by the owner operand.
For each file operand, or, if the -R option is used, each file encountered while walking the directory trees specified by the file operands, the chown utility shall perform actions equivalent to the chown() function defined in the System Interfaces volume of IEEE Std 1003.1-2001, called with the following arguments:
The file operand shall be used as the path argument.
The user ID indicated by the owner portion of the first operand shall be used as the owner argument.
If the group portion of the first operand is given, the group ID indicated by it shall be used as the group argument; otherwise, the group ownership shall not be changed.
Unless chown is invoked by a process with appropriate privileges, the set-user-ID and set-group-ID bits of a regular file shall be cleared upon successful completion; the set-user-ID and set-group-ID bits of other file types may be cleared.
The chown utility shall conform to the Base Definitions volume of IEEE Std 1003.1-2001, Section 12.2, Utility Syntax Guidelines.
The following options shall be supported by the implementation:
If the system supports user IDs for symbolic links, for each file operand that names a file of type symbolic link, chown shall attempt to set the user ID of the symbolic link. If the system supports group IDs for symbolic links, and a group ID was specified, for each file operand that names a file of type symbolic link, chown shall attempt to set the group ID of the symbolic link. If the system does not support user or group IDs for symbolic links, for each file operand that names a file of type symbolic link, chown shall do nothing more with the current file and shall go on to any remaining files.
If the -R option is specified and a symbolic link referencing a file of type directory is specified on the command line, chown shall change the user ID (and group ID, if specified) of the directory referenced by the symbolic link and all files in the file hierarchy below it.
If the -R option is specified and a symbolic link referencing a file of type directory is specified on the command line or encountered during the traversal of a file hierarchy, chown shall change the user ID (and group ID, if specified) of the directory referenced by the symbolic link and all files in the file hierarchy below it.
If the -R option is specified and a symbolic link is specified on the command line or encountered during the traversal of a file hierarchy, chown shall change the owner ID (and group ID, if specified) of the symbolic link if the system supports this operation. The chown utility shall not follow the symbolic link to any other part of the file hierarchy.
Recursively change file user and group IDs. For each file operand that names a directory, chown shall change the user ID (and group ID, if specified) of the directory and all files in the file hierarchy below it. Unless a -H, -L, or -P option is specified, it is unspecified which of these options will be used as the default.
Specifying more than one of the mutually-exclusive options -H, -L, and -P shall not be considered an error. The last option specified shall determine the behavior of the utility.
owner[:group]
A user ID and optional group ID to be assigned to file. The owner portion of this operand shall be a user name from the user database or a numeric user ID. Either specifies a user ID which shall be given to each file named by one of the file operands. If a numeric owner operand exists in the user database as a user name, the user ID number associated with that user name shall be used as the user ID. Similarly, if the group portion of this operand is present, it shall be a group name from the group database or a numeric group ID. Either specifies a group ID which shall be given to each file. If a numeric group operand exists in the group database as a group name, the group ID number associated with that group name shall be used as the group ID.
A pathname of a file whose user ID is to be modified.
Not used.
The following environment variables shall affect the execution of chown:
Determine the locale for the interpretation of sequences of bytes of text data as characters (for example, single-byte as opposed to multi-byte characters in arguments).
Determine the locale that should be used to affect the format and contents of diagnostic messages written to standard error.
[XSI] Determine the location of message catalogs for the processing of LC_MESSAGES .
The standard error shall be used only for diagnostic messages.
The utility executed successfully and all requested changes were made.
Only the owner of a file or the user with appropriate privileges may change the owner or group of a file.
Some implementations restrict the use of chown to a user with appropriate privileges.
The System V and BSD versions use different exit status codes. Some implementations used the exit status as a count of the number of errors that occurred; this practice is unworkable since it can overflow the range of valid exit status values. These are masked by specifying only 0 and >0 as exit values.
The functionality of chown is described substantially through references to functions in the System Interfaces volume of IEEE Std 1003.1-2001. In this way, there is no duplication of effort required for describing the interactions of permissions, multiple groups, and so on.
The 4.3 BSD method of specifying both owner and group was included in this volume of IEEE Std 1003.1-2001 because:
There are cases where the desired end condition could not be achieved using the chgrp and chown (that only changed the user ID) utilities. (If the current owner is not a member of the desired group and the desired owner is not a member of the current group, the chown() function could fail unless both owner and group are changed at the same time.)
Even if they could be changed independently, in cases where both are being changed, there is a 100% performance penalty caused by being forced to invoke both utilities.
The BSD syntax user[. group] was changed to user[: group] in this volume of IEEE Std 1003.1-2001 because the period is a valid character in login names (as specified by the Base Definitions volume of IEEE Std 1003.1-2001, login names consist of characters in the portable filename character set). The colon character was chosen as the replacement for the period character because it would never be allowed as a character in a user name or group name on historical implementations.
The -R option is considered by some observers as an undesirable departure from the historical UNIX system tools approach; since a tool, find, already exists to recurse over directories, there seemed to be no good reason to require other tools to have to duplicate that functionality. However, the -R option was deemed an important user convenience, is far more efficient than forking a separate process for each element of the directory hierarchy, and is in widespread historical use.
chmod, chgrp, the System Interfaces volume of IEEE Std 1003.1-2001, chown()
New options -h, -H, -L, and -P are added to align with the IEEE P1003.2b draft standard. These options affect the processing of symbolic links.
IEEE PASC Interpretation 1003.2 #172 is applied, changing the CONSEQUENCES OF ERRORS section to "Default.".
The "otherwise, ..." text in item 3. of the DESCRIPTION is changed to "otherwise, the group ownership shall not be changed".
IEEE Std 1003.1-2001/Cor 1-2002, item XCU/TC1/D6/17 is applied, changing the SYNOPSIS to make it clear that -h and -R are optional.


text:
Coccophagus adumbratus är en stekelart som beskrevs av Annecke och Insley 1970. Coccophagus adumbratus ingår i släktet Coccophagus och familjen växtlussteklar.

Artens utbredningsområde är Israel. Inga underarter finns listade i Catalogue of Life.

Källor

Växtlussteklar
adumbratus


text:
Here's What All French Colonial Houses Have In Common
The terms will help on your next tour through New Orleans.
Everything You Need To Know About Hollywood Regency Design
Glam it up.
There's A Reason Original Craftsman Style Homes Are Still Around After 100 Years
Built to last.
Here's Why You Need A Belvedere In Your House
Views for actual days.
What Is "Transitional Design" And How Can You Spot It?
Can't decide between traditional and contemporary? This one's for you.
What Is Spanish Colonial Design? Everything To Know About California's Popular Style
White stucco walls and red tile roofs have been a winning combination for 400 years.
Everything You Need To Know About French Country Design
There's one key difference between French country and farmhouse.
Victorian Homes Are Over-The-Top In The Best Way
It's form over function when it comes to these ornately decorated homes.
Everything You Need To Know About Coastal Design
Fact: You don't have to live by the beach to make this work.
There's A Reason You Don't See Many Tudor-Style Homes These Days
These intricate, stone-heavy homes saw a surge in popularity in the early 20th century.
Everything You Need To Know About Rustic Design
No, you don't have to live in a log cabin to pull it off.
Everything You Need To Know About Bohemian Design
There's a reason it's full of color and pattern.
Everything You Need To Know About Traditional Design
For starters, it's not as boring as you think.
This Is The Actual Difference Between Contemporary And Modern Design
Most people get it wrong. Did you?
Everything You Need To Know About Industrial Design
Exposed is the word here.
What Is Minimalism, Exactly?
Clutter free is the way to be.
Everything You Need To Know About Scandinavian Design
This is a hygge deal.
Everything You Need To Know About Mid-Century Modern Design
It's so much more than "that furniture from Mad Men."
News - natipernavigare.info
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Color of the Week - Favorite Color Products and Ideas- natipernavigare.info
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A Part of Hearst Digital Media Natipernavigare participates in various affiliate marketing programs, which means we may get paid commissions on editorially chosen products purchased through our links to retailer sites.


text:
Pere Macias i Arau (Olot, Gerona, Cataluña; 14 de junio de 1956), es un político español de Convergència Democràtica de Catalunya.

Biografía
Nacido el en la ciudad de Olot, es doctorado en ingeniería de caminos, canales y puertos. En el año 1977 se afilió al grupo político Convergència i Unió como militante. En 1984, llegó a ser alcalde de Olot, cargo que ostentaría a lo largo de 12 años. Desde 1987 hasta 1994 fue promocionado a vicepresidente de Diputación de Gerona y a partir de ese año mismo año, presidente del mismo órgano hasta 1996, además de ser presidente de la Asociación Catalana de Municipios y Comarcas, en sustitución de Juli Sanclimens, entre los años 1995 y 1996.

Desde 1992 hasta 1995, fue profesor de legislación urbanística en la Universidad Politécnica de Cataluña. El 24 de noviembre de 1995, fue nombrado Diputado en el Parlamento de Cataluña. Un año más tarde, fue Consejero de Medio Ambiente de Generalidad de Cataluña hasta 1997, año en el cual dejó ese cargo para pasar a ser Consejero de Política Territorial y Obras Públicas hasta el 21 de noviembre de 2001. Ese mismo año, se convirtió en el nuevo Secretario General Adjunto de la Federación y un años más tarde, Secretario General Adjunto de Convergència i Unió. El 2 de enero de 2004, fue nombrado por primera vez senador de la cámara alta de las Cortes Generales.

En el año 2008 fue el número dos de la candidatura de Convergència i Unió al Congreso por la circunscripción de Barcelona, lista encabezada por Josep Antoni Durán i Lleida.

Libros publicados
 El Maresme, les claus de la seva continua transformació
 Del Carnet d'un Alcalde
 La política ferroviària del Govern de Catalunya
 Habitatge: temps de canvis
 Des d'Olot per Catalunya
 Via Ampla, Ment Estreta;Crònica de 150 anys d'aïllament ferroviari 1848-1998

Referencias

Enlaces externos

 Web oficial de Pere Macias
 Ficha en la web del partido

Políticos de España de ámbito estatal
Políticos de Cataluña
Diputados por la provincia de Barcelona
Diputados de la IX Legislatura de España
Diputados de la X Legislatura de España
Políticos de Convergència i Unió
Políticos de España del siglo XX
Políticos de España del siglo XXI
Consejeros de la Generalidad de Cataluña
Senadores por designación del Parlamento de Cataluña
Diputados de la V Legislatura del Parlamento de Cataluña
Profesores de la Universidad Politécnica de Cataluña
Nacidos en Olot
Alcaldes de Olot


When someone is seeking approval for Social Security Disability Insurance (SSDI) benefits, the primary concern is getting the letter saying benefits are forthcoming. However, for long-term financial planning and developing viable systems of support, the claimant needs to know how much money he/she can expect to receive monthly, and what, if any, other benefits are offered to recipients of SSDI benefits. Knowing this information will help disabled individuals decide the most appropriate living situation, and whether additional help from family may be necessary to meet their needs. The monthly benefit amount each recipient receives is based upon how much he/she contributed to Social Security over the span of his/her working life. Thus, recipients do not all receive the same amount. Because the monthly payment varies, it is important to know how much a person can expect to receive so the appropriate financial decisions can be made. However, income is not the only benefit available to SSDI benefit recipients. They are also eligible for medical coverage after a period of time, and dependents of the SSDI benefits recipient may also be able to collect benefits as well.
The complex formula used by the Social Security Administration (SSA) to determine a person's SSDI monthly benefit is primarily based on an individual's average lifetime earnings prior to the onset of the disability. The average monthly SSDI monthly benefit in 2017 is $1,171, and the majority of SSDI benefit recipients see benefit amounts ranging from $700 to $1,700. The maximum monthly benefit the SSA is authorized to pay is $2,687, and the calculation of a person's monthly benefit starts with figuring the average amount of earnings on which an SSDI benefit recipient paid Social Security taxes. This is referred to as covered earnings. The SSA then takes this number and applies a complicated formula, using a series of percentage calculations, to arrive at an individual's primary benefit amount. This is the basic amount the SSA uses to set a person's monthly SSDI benefit amount. Estimates of future SSA benefits based on current and past earnings are available on the SSA website, which provides some guidance to those waiting for approval on an SSDI claim.
Those approved for SSDI benefits are entitled to collect back payments for the months of eligibility the individual did not receive payments because his/her application was still pending. These back payments are paid in one lump-sum. How much back pay a person may receive is based on the disability onset date (when the disability began), the five month waiting period, and the date the application was filed. As a result, some SSDI benefit recipients receive an entire year of back pay because of the time it takes to obtain approval for a claim.
In addition to monthly income, SDDI benefit recipients are eligible to receive Medicare benefits two years after he/she entitled to SSDI benefits generally. This two year period is measured from a person's date of entitlement (the onset of the disability, plus the five-month waiting period), not from the time benefit payments began or an application was approved. Practically speaking, because it takes so long for most to get approved, eligibility for Medicare is approved at same time as monthly benefits.
Finally, dependents of SSDI benefit recipients may be eligible for auxiliary benefits that supplement the SSDI benefit recipient's monthly payment in order to cover the needs of these family members. Further, if the SSDI recipient dies, his/her dependents may be able to collect survivor benefits. Spouses and children are the most common recipients of such auxiliary benefits, but parents and grandchildren also qualify in certain circumstances. Consultation with an attorney experienced in SSDI claims and benefits should be sought to determine if a particular family member would qualify, as the rules vary.
Getting the disability benefits you need to cover basic living expenses and health coverage is not something to leave to chance. A disability insurance attorney should be contacted early in the process to make approval more likely and within a faster time frame. Farrell Disability Law has extensive experience helping disabled clients get the benefits they deserve. If you live in Jacksonville, Neptune Beach, Orange Park or the surrounding areas, contact the office for a free consultation.


While the Ohio medical marijuana program missed the September 8 deadline to be fully operational, regulators and operators continue to advance.
Chicago-based Cresco Labs is expected to host state and local officials at its new medical marijuana growing facility in Yellow Springs on Monday. It'll be the first legal pot business in the Miami Valley.
The Ohio Department of Commerce on Wednesday issued another processor license – the 13th of up to 40 – to Ohio Medical Solutions, Inc. in Akron.
And the Ohio Medical Marijuana Advisory Committee is scheduled to meet 10 a.m. Thursday in Columbus to receive update on all aspects of the program.
How did Ohio arrive with medical marijuana?
Polling in 2015 showed up to 90 percent of Ohioans were willing to support legalizing medical use of marijuana. But a measure put before voters that November also included provisions for home growing and recreational use of pot, factors that led to a nearly 2-1 defeat at the ballot box.
The multi-million-dollar ResponsibleOhio campaign may have failed, but the issue convinced state lawmakers that they'd rather adopt a highly regulated medical marijuana program — and write the rules — rather than risk it going to the ballot again.
A medical marijuana law, House Bill 523, passed in 2016 and was signed into law by Gov. John Kasich.
The law authorized medical marijuana use by patients with 21 conditions, including cancer or chronic pain, in the form of edibles, oils, patches and vaporizing. Patients and their caregivers will be allowed to possess up to a 90-day supply. Smoking or home growing it is barred.
What is medical marijuana if it's not smoked?
Some say medical marijuana is a misnomer, including some local officials and the Federal Drug Enforcement Administration.
Nevertheless, a new industry is sanctioned to provide some Ohioans with marijuana.
Proponents say pot offers patients relief from pain, inflammation and nausea.
As marijuana becomes available later this year, there's still widespread public confusion about what kind of products Ohioans with a doctor's recommendation will be allowed to purchase in dispensaries.
"I think a lot of the confusion comes because plant material will be sold. But you're not allowed to take that plant material and use it by combustion," said Thomas Rosenberger, executive director, National Cannabis Industry Association of Ohio.
» RELATED: If Ohio won't let you burn it, how do you use medical marijuana?
Like many other plants, oil can be extracted from marijuana and processed into concentrated forms that can be used in recipes or in skin lotions and creams.
Plant material can be baked in or mixed into a foodstuffs including brownies, cookies, ice cream, lollipops and crackers.
As with other transdermal patches, the active compounds of marijuana reach the bloodstream through the skin.
Unprocessed cannabis can be purchased and used legally so long as the patient doesn't light it up. In any form, patients are limited to a 90-day supply of medical marijuana.
These alcoholic extracts of cannabis are usually taken by dropper under the tongue or mixed into drinks.
While the law prohibits the use of medical marijuana through combustion, it does allow for vaping, which releases the psychoactive molecules of marijuana through heating in a vaporizer.
» WATCH: How is marijuana plant oil extracted?
What can be treated with medical marijuana?
After Nov. 1, the State Medical Board will start accepting petitions to potentially add additional qualifying conditions.
Do I need to register as a patient or caregiver?
All medical marijuana patients and their caregivers will be required to register with the State Board of Pharmacy but no patient identification cards are being issued yet by the state of Ohio's Medical Marijuana Control Program.
The only valid state ID cards will be issued by the State of Ohio Board of Pharmacy once the state's patient registry becomes available.
A patient or caregiver registration will be valid from the date of issuance and expire one year later, on the last day of the month it was issued. If the patient is diagnosed as terminally ill, the patient's registration expires after six months.
Once registered, the law prohibits the Board of Pharmacy, as well as licensed dispensaries, from making personal identifying information public. Physicians and those employed by dispensaries will be able to verify a patient or caregiver's registration.
If I have one of the conditions, can my family physician write me a prescription for marijuana?
Technically, no. Doctors can't "prescribe" medical marijuana because marijuana remains classified federally as a Schedule 1 drug not recognized to have a medical benefit. But they may be able to write you a "recommendation," provided they have the proper certification.
To be certified, a physician must hold an unrestricted MD or DO license and complete at least two hours of continuing medical education to assist in diagnosing qualifying conditions, according to the state medical board.
The State Medical Board of Ohio has now cleared 139 physicians to recommend treatment with marijuana, including doctors in Beavercreek Twp., Centerville, Dayton, Enon, Mason, Middletown, Springboro, Springfield, Washington Twp., West Chester Twp. and Yellow Springs.
So you will have to learn if your doctor is certified.
» RELATED: Medical marijuana: Is your doctor state-certified to recommend pot? Find out.
When will medical marijuana be available for purchase?
That remains a moving target. Though the Sept. 8 deadline won't be met, officials say the product is still expected on shelves by the end of the year.
Growers, who received provisional licenses in November, have been delayed by weather and construction issues, officials said. Fourteen of the 25 cultivators with provisional licenses have scheduled inspections, including seven this month.
The Ohio Board of Pharmacy licensed 56 locations that can sell medical marijuana once it becomes legal this year. A total of 376 applications were received.
» RELATED: What will it actually be like inside medical marijuana dispensaries? Here's a look.
Where will it be grown?
One of the Dayton area's largest medical marijuana cultivators, Cresco Labs, sits next to Antioch University Midwest at 904 Dayton Street in Yellow Springs.
The facility features a 23,294-square-foot, state-of-the-art steel greenhouse and a separate 26,445-square-foot processing area also pending approval by the state.
Another of the large growers is Pure Ohio Wellness, LLC at 4020 Dayton-Springfield Road in Mad River Twp. outside Springfield.
The state picked 12 large-scale growers from 109 applicants. The Level I licenses allow for cultivation up to 25,000 square feet.
Of 76 applicants, the state awarded 12 Level II licenses, allowing cultivation of up to 3,000 square feet.
Area sites for the smaller grow operations include: Ancient Roots, U.S. 68, Wilmington; Hemma LLC, 100 Edison Drive, Monroe; Ohio Clean Leaf LLC, 2046 Valley St., Dayton; and Paragon Development Group, LLC, 6212 Executive Blvd., Huber Heights.
What happens after it's harvested?
Processors take raw material from cultivators and turn it into the oils, edibles and other items to be sold at dispensaries.
In December, the Ohio Department of Commerce received 104 applications for up to 40 processor licenses. The list of applicants included 19 of 24 companies that were awarded cultivator licenses earlier this year.
Medical marijuana and medical marijuana products will be tested at labs. The state has no limit on the number of testing labs. The lab received seven privately-held lab applications and two from universities, including Central State University, which was awarded a provisional license last week.


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WEEKEND FUN: Mariners, Bite of Greece, SIFF and MORE!
Don't let the I-5 closure stop you from having fun, as there's so much going on ALL over the Puget Sound. Take a look (HERE). And to dive even deeper (including plenty of things to do for FREE (HERE).
REVIVE I-5: All NB Lanes at W. Seattle Bridge closed. All the info you need including 'get arounds' (HERE).
Next Just In Time For Father's Day…Meat Scented Candles!


Linklaters' experience in the Latin American market extends far beyond its office in São Paulo.
Governments, major multinationals and global financial institutions rely on Linklaters' experience in significant corporate and finance transactions and energy, natural resources and infrastructure projects throughout the region.
Linklaters has dedicated lawyers across the firm who frequently work in countries such as Mexico, Chile, Peru, Argentina, Colombia, Venezuela, Bolivia and Ecuador. Leading offices in New York and Brazil also allow Linklaters to maintain an in-depth knowledge of individual markets in the region through the strength of the firm's global resources.
Christian Albanesi Head of Latin American Arbitration / Washington, D.C.


text:
The Malaysian Government continues to ensure that, the country remains an attractive business destination for investments. In our aspiration to achieve a high-income economy by 2020, we are doubling our efforts to attract investments and drive productivity and innovation through political, economic and regulatory reforms. These efforts have received worldwide recognition through improved rankings in reports by various international institutions.
The Global Competitiveness Report
The Global Competitiveness Report 2018-2019, released by the World Economic Forum (WEF), ranked Malaysia 25th out of 140 economies. With this ranking, the country remained the most competitive economies, and was the highest ranked among the developing Asian countries.
World Bank Report of Doing Business
In the Doing Business Report 2019 published by the World Bank, Malaysia is ranked 15th worldwide for the ease of doing business, outranking countries such as Canada (22nd), Germany (24th), France (32nd), Switzerland (38th) and Japan (39th). Malaysia is also ranked second in ASEAN in the report after Singapore.
World Competitiveness Yearbook
Malaysia performs strongly in Economic Performance improving by 5 places at 8th as well as improvements in Government Efficiency and Business Efficiency which improves by 2 positions at 23rd and 17th respectively. Malaysia was ranked 22nd, ahead of New Zealand (23rd), Iceland (24th), Belgium (26th), Japan (25th), Republic of Korea (27th) and France (28th). Among 30 countries with GDP per capita less than US$20,000, Malaysia remains at 2nd position with a value of US$9,828. In the category of populations greater than 20 million, Malaysia ranks 8th among 29 countries. Within the Asia-Pacific region, Malaysia ranks 6th and remains 2nd in the ASEAN region.
Tags: competitiveness ranking, world bank report, world competitiveness report, competitiveness, doing business


Sales professional with extensive experience in product sales and assessing client needs. Seeks a position as [Job TItle] in [Industry]. Self-motivated outside sales professional experienced in both technical and non-technical, fast-paced team environments. Relationship building and closing expert. Results-driven [Job Title] committed to continuous growth in sales revenue. Seeks a position as a [Job Title]. Savvy [Job Title] with experience closing $[Number] deals in [Industry]. Outside sales specialist with strength in negotiations, e-commerce and customer service. Excellent interpersonal and time management skills. [Job Title] offering more than [Number] years in outside sales, sales operations and marketing. Successful in new account acquisition and growing existing account sales. [Job Title] dedicated to continuous process improvement in the face of rapidly evolving and changing markets. Extremely results-oriented and proactive in addressing and resolving problems. Talented [Job Title] focused on process improvement and on-time project delivery. Budgeting and forecasting specialist, with advanced knowledge of [Software Program]. Award-winning sales manager with international sales experience and strong closing abilities. Experienced portfolio manager with excellent client and project management skills. Action-oriented with strong ability to communicate effectively with technology, executive, and business audiences.
Managed a portfolio of 15-20 accounts and $730,000 annually in sales.
Completed daily outbound calls, up to 3-4 hours per day.
Negotiated prices, terms of sales and contracts with clients directly and/or agencies.
Increased sales volume by adding/replacing accounts in the US and International territory.
Managed a portfolio of [number] accounts and $[number] in sales.
Completed daily outbound calls, up to [number] hours per day.
Exceeded team sales goals by [number]%.
Spearheaded cross-functional initiative to achieve [objective].
Where can I find a Multiview Inc Senior Project Sales Manager resume example in Haslet, Texas ?
This is an actual resume example of a Senior Project Sales Manager who works in the Account Management Industry. LiveCareer has 47600 Account Management resumes in its database. LiveCareer's Resume Directory contains real resumes created by subscribers using LiveCareer's Resume Builder.


We prepare the necessary verifiable static calculations for the dimensioning and construction of a structure.
Frame work software: Statik 7 (Cubus), R-Stab (Dlubal), Finiteelementeprogramme R-Fem (Dlubal).
We create formwork- and reinforcement drawings, steel construction drawings, execution drawings as well as plans for the application processes, employing the most up-to-date version of Allplan Architecture and Engineering (Nemetschek).
This CAD (Computer Aided Design) software allows us to combine the architectural planning process with the structural enineering performance.
Steel construction drawings are prepared with the 3-D modelling software Tekla Structures.
With this software we are able to deliver steel workshop drawings, incl. NC (Numeric Control) data.
NC datas are the industry standard for the automated cutting of steel.
We are able to exchange 3D-data between Allplan and Tekla Structures via IFC interface.
This allows us to optimize the efficient use of each CAD software.
All plans we create can be exported in every commen file type (Dxf, Dwg, Dgn, Tif, Plt, Pdf).


text:
npm install --save-dev;
bower install --save-dev;
gulp;


On Saturday, July 21, 2018, at approximately 9:34 am officers of the Hannibal Police Department responded to the area of Highway 79 and Center Street in response to a report of a one vehicle traffic crash with injuries. An investigation revealed a 2000 Chevrolet Silverado, driven by a 39 year old female from Hannibal, was traveling north on Highway 79 just south of Center Street when it ran off the west side of the road colliding with a traffic signal post and another light post. The female driver was transported by ambulance to the Hannibal Regional Hospital for treatment.


text:
Albert Herring in Glasgow and Perth
Opera singers from Scotland's international conservatoire are performing in Benjamin Britten's comic work, Albert Herring. A truly amusing work, it is being staged in Glasgow by the Royal Scottish Academy of Music and Drama (RSAMD) and will visit Perth too, being staged at Perth Concert Hall at 7.15pm on Friday 25th March. Albert Herring has not been staged in Scotland for some years, so this venture deserves to be encouraged. Those who were lucky enough to see one of their performances of Cunning Little Vixen know what a treat lies in store.
The last performances of Herring in Scotland are believed to be three at the Perth Festival in 1998 (May 22, 27, 30) conducted and directed by John Currie and performances by the British Youth Opera at the Edinburgh Festival Theatre (conducted by Timothy Dean) on Sept 11 and 14 1996.
The Scottish Opera production from 1966 which was regularly revived is still fondly remembered by older opera lovers.


text:
<?php

declare(strict_types = 1);

namespace LizardsAndPumpkins\Import\RootTemplate;

use LizardsAndPumpkins\Context\DataVersion\DataVersion;
use LizardsAndPumpkins\Import\RootTemplate\Exception\InvalidTemplateIdException;
use LizardsAndPumpkins\Import\RootTemplate\Exception\NotUpdateTemplateCommandMessageException;
use LizardsAndPumpkins\Messaging\Command\Command;
use LizardsAndPumpkins\Messaging\Queue\Message;
use PHPUnit\Framework\TestCase;

/**
 * @covers \LizardsAndPumpkins\Import\RootTemplate\UpdateTemplateCommand
 * @uses   \LizardsAndPumpkins\Context\DataVersion\DataVersion
 * @uses   \LizardsAndPumpkins\Messaging\Queue\Message
 * @uses   \LizardsAndPumpkins\Messaging\Queue\MessageName
 * @uses   \LizardsAndPumpkins\Messaging\Queue\MessagePayload
 * @uses   \LizardsAndPumpkins\Messaging\Queue\MessageMetadata
 */
class UpdateTemplateCommandTest extends TestCase
{
    /**
     * @var DataVersion
     */
    private $testDataVersion;

    private function createCommand($templateId, $templateContent): UpdateTemplateCommand
    {
        return new UpdateTemplateCommand($templateId, $templateContent, $this->testDataVersion);
    }

    final protected function setUp(): void
    {
        $this->testDataVersion = DataVersion::fromVersionString('xyz');
    }

    public function testIsCommand(): void
    {
        $this->assertInstanceOf(Command::class, $this->createCommand('test_id', '...'));
    }

    /**
     * @dataProvider invalidTemplateIdProvider
     */
    public function testThrowsExceptionIfTheTemplateIdIsInvalid(string $invalidTemplateId): void
    {
        $this->expectException(InvalidTemplateIdException::class);
        $this->expectExceptionMessage('Invalid template ID: ');
        new UpdateTemplateCommand($invalidTemplateId, 'example content', $this->testDataVersion);
    }

    public function invalidTemplateIdProvider(): array
    {
        return [
            'empty'               => [''],
            'leading space'       => [' xxx'],
            'trailig space'       => ['xxx '],
            'space in the middle' => ['x x'],
            'only space'          => [' '],
            'single quote'        => ["xx'xx'"],
            'double quote'        => ['yy"yy'],
            'newline'             => ["xx\n"],
            'carriage return'     => ["xx\r"],
        ];
    }

    public function testReturnsTheGivenTemplateId(): void
    {
        $this->assertSame('bar', $this->createCommand('bar', 'example content')->getTemplateId());
    }

    public function testReturnsTheTemplateContent(): void
    {
        $this->assertSame('example content', $this->createCommand('foo', 'example content')->getTemplateContent());
    }

    public function testReturnsTheDataVersion(): void
    {
        $this->assertSame($this->testDataVersion, $this->createCommand('example_id', 'example')->getDataVersion());
    }

    public function testCanBeConvertedIntoAMessageInstance(): void
    {
        $updateTemplateCommand = $this->createCommand('foo', 'bar');
        $message = $updateTemplateCommand->toMessage();

        $this->assertInstanceOf(Message::class, $message);
        $this->assertSame(UpdateTemplateCommand::CODE, $message->getName());
        $this->assertSame($updateTemplateCommand->getTemplateId(), $message->getPayload()['template_id']);
        $this->assertSame($updateTemplateCommand->getTemplateContent(), $message->getPayload()['template_content']);
        $this->assertEquals((string) $this->testDataVersion, $message->getMetadata()['data_version']);
    }

    public function testThrowsExceptionIfTheMessageNameDoesNotMatchTheCommandCode(): void
    {
        $this->expectException(NotUpdateTemplateCommandMessageException::class);
        $this->expectExceptionMessage('Invalid message code "foo", expected ' . UpdateTemplateCommand::CODE);

        UpdateTemplateCommand::fromMessage(Message::withCurrentTime('foo', [], []));
    }

    public function testCanBeRehydratedFromMessage(): void
    {
        $sourceCommand = $this->createCommand('foo', 'bar');
        $rehydratedCommand = UpdateTemplateCommand::fromMessage($sourceCommand->toMessage());

        $this->assertInstanceOf(UpdateTemplateCommand::class, $rehydratedCommand);
        $this->assertSame($sourceCommand->getTemplateId(), $rehydratedCommand->getTemplateId());
        $this->assertSame($sourceCommand->getTemplateContent(), $rehydratedCommand->getTemplateContent());
        $this->assertEquals((string) $sourceCommand->getDataVersion(), $rehydratedCommand->getDataVersion());
    }
}


text:
Agent Information Software (AIFS) Announces Cash Dividend
Press Release: Auto-Graphics, Inc. [October 2, 2019]
Abstract: Agent Information Software (OTC: AIFS) today announced that on July 10, 2019, its Board of Directors approved a cash dividend to its shareholders. A dividend of $0.025 per common share will be paid on August 30, 2019, to all shareholders of record as of the close of business on August 15, 2019.
RANCHO CUCAMONGA, Calif., Oct. 02, 2019 (GLOBE NEWSWIRE) -- Agent Information Software (OTC: AIFS) today announced that on July 10, 2019, its Board of Directors approved a cash dividend to its shareholders.
A dividend of $0.025 per common share will be paid on August 30, 2019, to all shareholders of record as of the close of business on August 15, 2019.
Auto-Graphics continues to see growth with their resource sharing product SHAREit, with the addition of two more clients in 2019.
About Agent Information Software
Parent company AIFS was founded in 1950, with day-to-day operations being carried out by its fully owned subsidiary, Auto‐Graphics. Auto-Graphics develops innovative information and data management solutions for multiple platforms that are standards‐compliant, built on open systems architecture and available through the Software as a Service (SaaS) hosted delivery model. Auto-Graphics' technical ingenuity and reputation for service excellence make us a trusted partner to more than 11,000 libraries throughout North America. Our information and data management systems are used by customers across multiple industries, including a range of library markets such as public, academic, school, special and consortia, and meet the needs of customers in the legal, financial, publishing, aerospace and manufacturing markets. For more information visit AIS at www.agentinformationsoftware.com or Auto-Graphics, Inc. at www.auto-graphics.com, or Facebook and LinkedIn.
Auto-Graphics, Inc.


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NEW YORK (Reuters) Oct 03 - Seniors who take aspirin daily are twice as likely to have late stage macular degeneration than those who never take aspirin, according to a European study.
The data do not show that aspirin causes vision loss. But the findings, published online September 13th in Ophthalmology, are of concern if aspirin somehow exacerbates macular degeneration, given how many seniors take it daily for heart disease.
"For people who have age-related macular degeneration, it probably isn't wise to recommend taking aspirin," said Dr. William Christen, from the Division of Preventive Medicine at Brigham and Women's Hospital in Boston, who was not involved in the study.
Researchers led by Dr. Paulus de Jong at the Netherlands Institute for Neuroscience and Academic Medical Center collected health and lifestyle information from nearly 4,700 people over age 65. The study included Norwegian, Estonian, British, French, Italian, Greek and Spanish seniors.
Of the 839 people who took aspirin each day, 36 (4.3%) had an advanced form of the disease called wet macular degeneration.
In comparison, roughly 2% who took aspirin less frequently had wet macular degeneration.
The wet form, caused by leaking blood vessels in the eyes, leads to vision loss in the center of the eye's field of vision. The dry form is more common and less severe, although people still suffer visual impairment.
The researchers found that aspirin use was not tied to the dry form, nor to earlier stages of the disease.
"I don't think that's surprising," Dr. Christen told Reuters health. "I think the effects of aspirin may be different in the early stages of age-related macular degeneration than in the late stages."
Dr. de Jong told Reuters Health there has been controversy over the link between cardiovascular disease and macular degeneration.
He wrote in an email that his team had analyzed as "meticulously as possible" whether cardiovascular disease might have influenced the results, and still found that aspirin users -- regardless of their heart health -- are at a greater risk of the more serious type of vision loss.
He disagrees with Dr. Christen, however. For people with cardiovascular disease who take aspirin to prevent the condition from worsening, the benefits of the drug outweigh the risks to visual health, he believes.
"A healthy eye with full visual capacities is of no use in a dead body," he said.
Larger studies that follow people over time and document their aspirin use and vision will help resolve aspirin's role in macular degeneration, Dr. de Jong added.


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£120 pre-booked – £150 if paid on the day (limited to 60 entries).
Scrutineering from 11am to 2pm on Saturday (some may be done on Friday evening).
Competition from 3pm until 9pm Saturday and 9am until 3pm Sunday.
Under General Regulation D20.1 entries cannot be accepted on the day for National B Comp Safaris, and must be a minimum of three days before the event begins. Therefore pre-booking will close on the Thursday before the event. If you cannot pre-book via PayPal or via cheque/cash ahead of time, please contact the pre-booking officer Dannii on sandscompsafari@gmail.com to tell her that you would like to be added to the entry list, then pay on the day at the higher price.
Please read typical Supplementary Regulations for a Two Day Comp Safari here.
Camping available Friday and Saturday nights @ £5 per night. Toilets will be on site and catering will be provided by Boundary Bangers.
Please note when booking in that a Running No. is required for Comp Safari – we will contact you if the number is already allocated.
# Entrants to Class 8 to MSA guidelines (ie. production vehicle).
This event is Round 6 of the 2019 Comp Safari Interclub Championship, but is open to all drivers on a first come first served basis – details of the CSIC, including how to register, can be found HERE.
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Company limited by guarantee number 17272119.


text:
"The Poet and the Poem from the Library of Congress"
An interview with Ada Limón by Grace Cavalieri
This interview by Grace Cavalieri was recorded at The Library of Congress in 2022 when Ada Limón took office as U.S. POET LAUREATE.
Grace Cavalieri Interviews Ada Limón
Limón earned an MFA from New York University and is the recipient of fellowships from the Guggenheim Foundation, the New York Foundation for the Arts, the Provincetown Fine Arts Work Center, and the Kentucky Foundation for Women. Her work has appeared in numerous publications including the New Yorker, Harvard Review, Pleiades, and Barrow Street.
Grace: This is the Poet and the Poem from the Library of Congress. I'm Grace Cavalieri, and with me is the twenty-fourth Poet Laureate of the United States, Ada Limón. Congratulations again, welcome again, a million, million, million congratulations to you.
Ada: Thank you so much. It's such a pleasure to be here with you today.
Grace: Ada is the author of six books of poems, and hosts the podcast, The Slowdown. But today, she's ours. And here's Ada.
On the black wet branches of the linden,
still clinging to umber leaves of late fall,
two crows land. They say, "Stop," and still I want
to make them into something they are not.
Odin's ravens, the bruja's eyes. What news
are they bringing of our world to the world
of the gods? It can't be good. More suffering
all around, more stinging nettles and toxic
blades shoved into the scarred parts of us,
the minor ones underneath the trees. Rain
comes while I'm still standing, a trickle of water
from whatever we believe is beyond the sky.
The crows seem enormous but only because
I am watching them too closely. They do not
care to be seen as symbols. A shake of a wing,
and both of them are gone. There was no message
given, no message I was asked to give, only
returning like the bracing, empty wind
on the black wet branches of the linden.
Grace: The voice of Ada Limón. How you read. I want to start by talking about how you accepted adoration the night of your inauguration. I cannot forget how you stood there while people just poured love on you, and you were so unflappable. What did you feel?
Ada: You know, it felt like a moment of healing. Because it felt like we had been through so much together, as a community, as artists, as people who have been so isolated, and so divided from one another through the last couple of years, through the pandemic, through so much that we have gone through. And for me it just felt like a moment where it wasn't about me, but it was about poetry, and making art, and a togetherness, and a sense of community.
Grace: Well, there you stood in your red suit, and you were just so unflinching, and so calm. Now I think you're right. There was no ego in that at all. It really was about something else. It was about coming together.
Ada: That's how it felt to me.
Grace: I now understand that. But I couldn't understand how calm you were, because you took yourself out of that. Oh wow. That's a good answer. Well, it was a night to remember, I'll tell you that. It was a night to remember.
Ada: It truly was.
Grace: I've never seen, ever, seen the audience act like that in my life. Well, I want to start with your poetry, and I want to start with This Big, Fake World, my favorite book. I knew you studied drama, and this shows it. Can you just sum up a little bit of the construct? I know you can't read from it, but just tell us a little bit of the rubric of it.
Ada: Yeah, I'm so glad you love This Big Fake World, because it is also one of my favorites. In fact, it's my stepfather's favorite as well. And it's my second book, but I was writing it at the same time as I was writing my first book, Lucky Wreck. And the construct of it is that it's a story in verse, and it's about a man, our hero, who is the man in the grey suit, and he falls in love with a woman at the hardware store after his wife leaves him. And it's about a marriage that's full of tumult. And then he falls in love, and he doesn't know how to act around the woman at the hardware store, and yet he's madly in love with her.
Grace: It is – the locus is the hardware store, but it is so funny because the antihero in literature is so effective. And that is it. And where did you get the idea for the drunk Lewis who writes letters to President Reagan? Whatever possessed you?
Ada: Yeah, well I had this idea of someone who wasn't just obsessed with Ronald Reagan, but really needed to write him letters. And so I wanted this person who clearly had an addiction issue, and was obsessed with writing letters to Ronald Reagan, what they might look like, and wanting sort of a simple life that he believed was the life that Reagan had, and portrayed in his movies. And so he becomes a sort of antihero/elucidator of the story.
Grace: The funny thing is that you are so humorous! You should get the Mark Twain Award for this. It is… actually there's hard humor in it, and there's real social commentary…
Ada: Thank you.
Grace: …and it's really hard-hitting about relationships. I don't think it's getting enough notice.
Ada: I really appreciate that, thank you for that.
Grace: Why can't it go on stage?
Ada: Hm. That's a good idea!
Grace: We expect a play from you before you before you're out. I think you'll be a little busy for the next few months, but I think a play is in your future. Do you?
Ada: That would be wonderful. That would be wonderful.
Grace: lso, I thought to myself, how freeing is it to work with persona?
Ada: I love being able to write in character sometimes. Because I think it's, you know, as artists that deal with the dark night of the soul if you will, I think sometimes it's nice to take a break and be in someone else's body, in someone else's shoes, in someone else's mind. And I think it's also a way of observing the world that's slightly askew. And I think poets can do that really well from inside ourselves, but it also adds another layer when we can do that inside a character. I really love the freedom that persona can give you as an artist.
Grace: And you can get away with murder. I mean you get them to do all your dirty work, right?
Ada: That's true.
Grace: You can be as mischievous as you want. And this is showing you at your best with mischief, this book.
Ada: Thank you!
Grace: So, I think we're going to be waiting for that drama. But back to poetry, and this is the Poet and the Poem from the Library of Congress, with Ada Limón. I've been waiting all night for this. Let's have another poem.
Ada: Yeah. This is a poem for my husband. Against Nostalgia.
If I had known, back then, you were coming,
when I first thought love could be the thing
to save me after all—if I had known, would I
have still glued myself to the back of his
motorcycle while we flew across the starless
bridge over the East River to where I grew
my first garden behind the wire fencing,
in the concrete raised beds lined by ruby
twilight roses? If I had known it would be you,
who even then I liked to look at, across a room,
always listening rigorously, a self-questioning look,
the way your mouth was always your mouth,
would I have climbed back on that bike again
and again until even I was sick with fumes
and the sticky seat too hot in the early fall?
If I had known, would I have still made mistake
after mistake until I had only the trunk of me
left, stripped and nearly bare of leaves?
If I had known, the truth is, I would have kneeled
and said, Sooner, come to me sooner.
Grace: That is Ada Limón. You know I taught that poem, and the one thing that I thought was significant was the sticky seat. Because if it had just been a regular seat, we wouldn't have had a sense of time. We wouldn't have had a sense of how often it was. Just that one ajective, "sticky," gave us a whole perspective of time. Isn't that interesting?
Ada: Yeah, and I think also that adjective there is the idea of being stuck.
Grace: Ah. I didn't think of that.
Ada: And the idea of also, you know, it's clinging to something you may not need, or it clinging to you. And before you are ready you are ready to let go of a situation, sometimes you need to get unstuck.
Grace: Did you think of that after the poem?
Ada: It's always hard to tell with me when I write, because sometimes I think the poem is wiser than me, and it's making decisions that I'm not aware of as I'm crafting the poem. And so, did I think "sticky" was a good adjective? Was it true? Yes. But there was a reason why that was the word. And so I wonder if it was so much that I thought of it afterwards, or if the poem thought of it for me.
Grace: Well just for backstage gossip, was the seat sticky?
Ada: It was.
Grace: Okay. I would like to think of you as a ten-year-old. That's when we start writing poetry. I've had so many poets on and they all say, "You won't believe this Grace, but I wrote as a child. And I say, "No!," because everyone says they did. Did you look in the mirror and say, "I will be the Poet Laureate of the Unites States when I grow up?" Did you say that at ten years of age?
Ada: Oh no! But that would have been so wonderful! No, I did not say that. I did know I wanted to do something in the arts world. I loved to perform. I loved to create things, whether it was songs, or dances, or poems, or any of those things. So, I definitely had the full-tilt artist pull, if you will, even at seven, eight, however old I was. But I always, you know, I wrote songs a lot for my dog. And I think that that was always part of how I entered the world was through language, and the languaging of music.
Grace: Did you ever talk into your bedroom mirror, and do dialogues?
Ada: I did not.
Grace: Okay, so you started with music as a performer…
Ada: Yeah!
Grace: … and that lyricism is still with you. But what is there that is still with you that is that ten-year-old? That's still with you. What does she want? How much of her is still there? All of her?
Ada: I think there's a lot of her that's still there. I think there's some parts that I'm still learning to let go of. I think that the parts that I cherish, that are still with me, is that sense of wonder; that sense of the awe of the natural world; what one can find when you sit in silence under a tree, stare at blades of grass; the small world that the small world that goes unnoticed; the strangeness of the world, the weirdness of our life experience. That is still with me. I have yet to grow out of that. I think life is a very, very strange thing, and that is definitely with me. I think some things that I could let go of that are still with me as that ten-year-old is the need to please everyone.
Grace: But when you look at her you can say, "Look what we did, honey. Oh, just look what we did! Look where we are now!"
Ada: She would be so excited. She is, in me, so excited, and so thrilled. She's doing cartwheels and wearing her legwarmers.
Grace: Let's have two more poems. In a row. Ada Limón at the Library of Congress, and we are so lucky.
Ada: This is a poem that probably refers to that ten-year-old. I Remember the Carrots.
I haven't given up on trying to live a good life,
a really good one even, sitting in the kitchen
in Kentucky, imagining how agreeable I'll be—
the advance of fulfillment, and of desire—
all these needs met, then unmet again.
When I was a kid, I was excited about carrots,
their spidery neon tops in the garden's plot.
And so I ripped them all out. I broke the new roots
and carried them, like a prize, to my father
who scolded me, rightly, for killing his whole crop.
I loved them: my own bright dead things.
I'm thirty-five and remember all that I've done wrong.
Yesterday I was nice, but in truth I resented
the contentment of the field. Why must we practice
this surrender? What I mean is: there are days
I still want to kill the carrots because I can.
Grace: And another
Ada: And this is a poem I wrote for my mother.
Grace: Do you think that Bright Dead Things has more of your childhood in it, or The Carrying?
Ada: I think they're probably equal. Yeah. That's a great question. I'll have to think about that. The Raincoat
When the doctor suggested surgery
and a brace for all my youngest years,
my parents scrambled to take me
to massage therapy, deep tissue work,
osteopathy, and soon my crooked spine
unspooled a bit, I could breathe again,
and move more in a body unclouded
by pain. My mom would tell me to sing
songs to her the whole forty-five minute
drive to Middle Two Rock Road and forty-
five minutes back from physical therapy.
She'd say, even my voice sounded unfettered
by my spine afterward. So I sang and sang,
because I thought she liked it. I never
asked her what she gave up to drive me,
or how her day was before this chore. Today,
at her age, I was driving myself home from yet
another spine appointment, singing along
to some maudlin but solid song on the radio,
and I saw a mom take her raincoat off
and give it to her young daughter when
a storm took over the afternoon. My god,
I thought, my whole life I've been under her
raincoat thinking it was somehow a marvel
that I never got wet.
Grace: Am I glad you read that one. I'll tell you why. Because for thirty years I was mad at my father. Because he was an immigrant and didn't want his daughters to get in trouble, and he was very strict. And then after all that, I realized all the things he did, how he made me breakfast, and when you wrote that, you speak for so many people that say, you know what, just think - They drove me to school, they did this, and at the time I didn't even know it. So that is a very popular poem of yours. I don't know if you know which ones are the most read or not, actually.
Ada: Yeah, I don't know. I mean, sometimes people will share them and put them on social media…
Grace: Oh yes.
Ada: …but oftentimes people will come up to me and say, "Oh, I see this poem everywhere," and I think I had no idea that a particular poem is being shared. You never know. And I certainly – I mean I don't write them with that intention. I love to connect with people, but when I'm writing them, like for that poem in particular, I was really writing that poem for my mom.
Grace: Of course. Of course. And I'm tight with your mom because I love her art…
Ada: Isn't she wonderful?
Grace: …on the front of all of your books. Yes! She rocks!
Ada: She does rock!
Grace: I'm not kidding!
Ada: Yes!
Grace: Well the reason people like your work, and I'm going to tell you now why, is because you are prismatic. There is something for everyone. You have so many facets that there's not anyone who cannot relate to something. You dance in a honkytonk bar, and you know the name of every bird and animal on earth. And there's love, there's loss, there's longing, but there's actual situations. Did you know about being faceted? Did you know that is the reason you have a big audience?
Ada: No.
Grace: There is just something for everyone.
Ada: No, but that makes sense. I mean I think that it goes back to what I was saying earlier about the idea of strangeness. That looking at those experiences whatever they may be, whether it's just looking out the window at a bird, or whether it's rethinking a childhood being driven back and forth from back appointment after back appointment, thinking this is something I went through, and then realizing, oh no, my parents were going through that. Not just driving me, but financially, trying to make it work with their waiting tables, and night jobs, and all of these things. And I think that it is that looking at the world deeply, and with a sense of both insider and outsider.
Grace: That is a good point. Also, among all of those, you are a great noticer. Not only your interior world, but you just notice blades of grass; you notice the bird feather; And just the watchingness of you. And I think if you didn't do that, you'd be on Mt. Olympus and we wouldn't care. That's the problem with people on Mt. Olympus. They don't have enough edges for each of us to cling on to. I want this edge about the raincoat. Somebody wants this edge about your husband. So, it's good to have a lot of edges. And now we'd love to hear another poem. Ada Limón at the Library of Congress. I'm Grace Cavalieri, and I'm extremely happy.
Ada: The Unspoken
If I'm honest, a foal pulled chest-level
close in the spring heat, his every-which-way
coat reverberating in the wind, feels
akin to what I imagine atonement might
feel like, or total absolution. But what
if, by some fluke in the heart, an inevitable
wreckage, congenital and unanswerable,
still comes, no matter how attached
or how gentle every hand that reached
out for him in that vibrant green field
where they found him looking like he
was sleeping, the mare nudging him
until she no longer nudged him? Am I
wrong to say I did not want to love
horses after that? I even said as much driving
back from the farm. Even now, when
invited to visit a new foal, or to rub the long
neck of a mare who wants only peppermints
or to be left alone, I feel myself resisting.
At any moment, something terrible could
happen. It's not gone, that coldness in me.
Our mare is pregnant right now,
and you didn't even tell me until someone
mentioned it offhandedly. One day, I will
be stronger. I feel it coming. I'll step into
that green field stoic, hardened, hoof first.
Grace: So we have motion, always motion. Like the romantics, they start in one place, and they end up in another place. And we always have an idea at the center of your poem. And there's an intellectual idea, but there's a colloquialism that allows us to own that idea. That's a lot of stuff to do, and I'm sure you don't do it consciously. It's a lot of balls to juggle. I wanted to talk about language a bit because of course that's your gift, but at this time in history you may have noticed that our language is being coopted, and we don't know sometimes the same words are being used that are not true. I kind of think, I wonder if you believe this, that a lot of people are going to poetry because they can trust the words. I mean, it's not propaganda and it's not persuasion. What's your take on that?
Ada: I think that's really true. I think sometimes it's sometimes very hard to trust language. But one of the things that we trust about poetry is that it's where the questions live, and it's where the wonder lives, and it's about an unknowingness. And I think there's that great Yate's quote about, "The argument that we have with another is rhetoric, but the argument we have with ourselves is poetry." And I think we trust that because we trust that there's a mystery there; an unknowingness. And so much of rhetoric, or marketing, or anything that's trying to be packaged and sold to us is a false wisdom. And it's false because it has the answers. And if you think you have the answerrs, we know better.
Grace: That's the point. That is the point. But how then does a poet find a truth in herself to be the compass? What does it take to get rid of showboating, and writing for effect to find the kind of truth you've found? What do you do? How do you do it?
Ada: It's a wonderful and large and marvelous question, Grace. I think for me it has a lot to do with silence. Most of my poems come out of a moment of deep quiet and silence, and what that opens to me – what I'm listening to and what I hear in the dark. I also feel like there is a sense that I am always trying to find ways to love and surrender to the world. And I think my body and my mind, and often my much-worried heart, can be at odds with finding a kind of peace, and can be in chaos. And so finding that silence, and that way of re-loving something is often where poems begin for me.
Grace: That tells me quite a bit that I intuited but did not have the language for, and that is, when you walk into a room, you bring a stillness with you. And there is that that you operate out of. And also there is no resistance in your poetry. I mean it is surrender. It is surrender. So resistance, I don't know if you and I have the same idea what that is, but it's a grinding to make someone feel something that's not there. Let's have another poem.
Ada: Salvage
On the top of Mount Pisgah, on the western
slope of the Mayacamas, there's a madrone
tree that's half-burned from the fires, half-alive
from nature's need to propagate. One side
of her is black ash and at her root is what
looks like a cavity that was hollowed out
by flame. On the other side, silvery green
broadleaf shoots ascend toward the winter
light and her bark is a cross between a bay
horse and a chestnut horse, red and velvety
like the animal's neck she resembles. I have
been staring at the tree for a long time now.
I am reminded of the righteousness I had
before the scorch of time. I miss who I was.
I miss who we all were, before we were this: half
alive to the brightening sky, half dead already.
I place my hand on the unscarred bark that is cool
and unsullied, and because I cannot apologize
to the tree, to my own self I say, I am sorry.
I am sorry I have been so reckless with your life.
Grace: Can you believe you wrote that? Can you believe you wrote that? That came through you!
Ada: I had an experience with that tree. Me and that tree wrote that. Me and that tree!
Grace: That is so clear. How about form? You know it all. You've used form although it's imbedded, we don't say it's metric. And I'm interested in the crown sonnets you did. I think it was Lucky Wreck. Why did you do that? Did you find that the theme needed to be carried forth? First of all, tell everybody what a crown sonnet is.
Ada: Yeah, a crown sonnet is where you write one sonnet, and then the next sonnet begins with the last line of the previous sonnet. A full crown is fourteen. I technically wrote a half crown, which is seven. But some people will say a crown can be seven. But it's a wonderful exercise, and this crown came about when I was trying to find a way, again it was a story in verse, It was about a couple that were dealing with addiction issues, and what I did was try to figure out how I could write this poem, and I had all of these images. I didn't know where it was going. And then the first couple lines came to me and they started to rhyme, and I realized it was a Petrarchan sonnet. And I thought, oh here we go. And so when I got to the end of the first sonnet, I realized that with addiction, right, where there is this sort of formal trap being set, and I realized they couldn't get out of it because of the rhyme scheme, and because the crown itself was forwarding the momentum. And so that's how I ended up with that crown of sonnets. That the form dictated not only the content of the poem, but it also gave these constraints that mirrored the constraints of a couple living with addiction.
Grace: How long did it take in the making?
Ada: About seven months.
Grace: Every day?
Ada: I wouldn't say every day. But once it came together, then it was fidgeting and fidgeting and fidgeting and fidgeting.
Grace: So you obsessed some of the seven months.
Ada: That particular poem was very obsessive yes.
Grace: Do you like it?
Ada: Yes, and I'm very happy I did it. And there are times where I set out to write another crown. To be honest, I feel like it actually came out so full in its own fruition in that form, that I worry about approaching another crown, because that feels like it was so innate, as opposed to, oh I'm going to sit down and write a crown. Instead it just came.
Grace: I understand that completely. In other words, you did it. It doesn't have to be done again. Maybe. Well, I think you're going to have a very interesting year. Do you have an idea of what you're going to do as Poet Laureate?
Ada: Well one of the things that I'm really looking forward to, as we were talking about earlier, is I would love to, just to be sure that I do come back and celebrate the library and be here at the library, I think with the last years of the pandemic, and even though of course we're still living through it, I would like to make sure that poetry office has a little life in it, and bring the Poet Laureate back to the Library of Congress.
Grace: Oh yes, it's been closed up. The shutters have been closed. And this is a great way to celebrate the end of the pandemic with you. Ada Limón wrote The Carrying, Bright Dead Things, Sharks in the Rivers, that was about New York I think; Bright Dead Things is about Kentucky – Big Fake World which is highly dramatic; The Hurting Kind, which is full of forgiveness, that is such a book of forgiveness. And an animal in every poem, and I think The Carrying has an animal in every poem. So, she's something else. She really rocks the world. Let's have a final poem.
Ada: Oh yes. I'll close with the last poem of my most recent book. And it came right at the beginning of the pandemic when isolation was troublesome, and when I was very forsaken, I think, by poetry. And then this poem came. The End of Poetry.
Enough of osseous and chickadee and sunflower
and snowshoes, maple and seeds, samara and shoot,
enough chiaroscuro, enough of thus and prophecy
and the stoic farmer and faith and our father and tis
of thee, enough of bosom and bud, skin and god
not forgetting and star bodies and frozen birds,
enough of the will to go on and not go on or how
a certain light does a certain thing, enough
of the kneeling and the rising and the looking
inward and the looking up, enough of the gun,
the drama, and the acquaintance's suicide, the long-lost
letter on the dresser, enough of the longing and
the ego and the obliteration of ego, enough
of the mother and the child and the father and the child
and enough of the pointing to the world, weary
and desperate, enough of the brutal and the border,
enough of can you see me, can you hear me, enough
I am human, enough I am alone and I am desperate,
enough of the animal saving me, enough of the high
water, enough sorrow, enough of the air and its ease,
I am asking you to touch me.
Grace: The beautiful voice of Ada Limón. This is the Poet and the Poem from the Library of Congress. The program is produced by Forestwoods Media Productions. Post production by Mike Turpin, MET Studios. We wish to thank the Library of Congress for making the program possible. Funding is provided by the Snippet Fund, Natalie Canivore and Sandy Jackson Cohen. Our engineer is Mike Turpin. I'm Grace Cavalieri.
This interview was originally conducted at the Library of Congress, November 2022, and was broadcast on The Poet And The Poem, public radio station WPFW-FM. It was first published in the American Poetry Review in 2022. It has never been seen online. Poet Grace Cavalieri produces and hosts The Poet And The Poem and is a frequent contributor to Beltway Poetry Quarterly.


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