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Local air traffic controller recognized for innovative excellence
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Blake Eden was presented with a plaque at the FAA's AWP Western-Pacific Region 2015 Regional Administrator's awards ceremony Oct. 7 at the FAA regional headquarters in Los Angeles, Calif.
A Federal Aviation Administration air traffic controller on Edwards was recently honored with the FAA's Southwestern Regional Office's Award for Innovation Excellence.
Eden has worked as an air traffic controller for four years now. He also serves as a trainer for new controllers at Edwards' FAA unit at the Joshua Control Facility on base.
"[Being an air traffic controller is] a good challenge, no two days are the same," said Eden. "I enjoy the idea that I can help other pilots do what I love to do – which is fly."
Eden received his award, in part for advocating a procedural change that addresses an area with high traffic conflict. A couple of years ago, the City of Lancaster implemented a new Law Enforcement Ariel Platform System (LEAPS) into their force. According to Eden, since that time the Cessna 172's constant presence has created some conflict with the rest of the flying community.
To mitigate any potential issues, Eden hosted a community forum in August to help bring a broader scope of awareness and understanding between all flying parties. Users at in Palmdale and at the William J. Fox Airfield, to include NASA, Boeing, Northrop and Lockheed Martin, were all invited. A representative from the LEAPS program was on hand to answer questions. There have also been email discussions and a second forum for military members Oct. 21.
"We are the central agency that is talking to that pilot when he's out there," said Eden. "We're going to the community and trying to educate the community on his presence and then trying to hear the community's feedback so that we can go and help others mitigate risk."
One of the main issues pilots have encountered is being surprised by LEAPS in flight, according to Eden.
"It's not a threat, just awareness we need everybody to have," he said. "LEAPS and the military -neither one of us are wrong to be out there, but we need to work together; that way we can both accomplish our jobs well."
Eden was also recognized for his innovative techniques in training new air traffic controllers. As a private pilot, Eden is able to offer a unique perspective to non-flying controllers during training. For instance, he shares the series of actions a pilot must take to navigate when he's in the cockpit.
"You can very easily task-saturate a pilot by giving them too much information. I can say, 'you maybe gave them too much info, here's what a pilot has to do when you give them that info,'" Eden said.
According to Eden, the Joshua Control Facility is one of the smaller radar sites with around 30 controllers on staff. The controllers operate the R-2508 Airspace and some national airspace over Palmdale, Lancaster and Victorville. In addition to sequencing arrivals into those cities, they orchestrate aircraft heading into Burbank, Van Nuys, Santa Monica and Los Angeles.
They also support the Air Force and Navy on the military side of their operations.
"The towers have four miles of protection around them, but if you're going from Los Vegas to here, there's all that space in between and we take all that space in between," he said.
Eden's award was peer-nominated and his nomination came from his supervisor, Kevin White.
"It was a great surprise, I was very honored," said Eden. "You try to do the best for the flying community that you can do and people might recognize that. You don't do it to gain the recognition, but it's also very nice to be appreciated."
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\section{Introduction}
\label{sec:int}

Differential geometry is an important mathematical discipline that has found very broad applications in physics, chemistry, and engineering  \cite{frankel}. For instance, in Nature there exist so far only four fundamental interactions and all of them can be described by using concepts of differential geometry such as manifolds, metrics, connections, fiber bundles, etc.

In thermodynamics, differential geometry has been also applied intensively, providing an alternative way to describe thermodynamic systems. The starting point is the equilibrium space that is an abstract space whose points can be interpreted as representing equilibrium states of the system. One of the first attempts to introduce differential geometry in thermodynamics was proposed by Rao \cite{rao45} by introducing a Riemannian metric related to Fisher's information matrix. Rao's proposal has found many applications in statistical physics, information theory, and thermodynamics \cite{amari2012}. Furthermore, Hessian metrics can also be postulated to describe the geometric properties of the equilibrium space. In particular,
Weinhold \cite{wei75} and Ruppeiner  \cite{rup79,rup95} proposed to use the Hessian of the thermodynamic potentials known as internal energy and entropy, respectively, as metrics for the equilibrium space.
The theoretical framework  in which Hessian metrics are applied to describe the equilibrium space is usually referred to as thermodynamic geometry.

More recently, one of us \cite{quev07} proposed the alternative approach of geometrothermodynamics (GTD),  in which the metrics of the equilibrium space should be independent of the choice of thermodynamic potential. This is a characteristic of classical equilibrium thermodynamics \cite{callen}, which implies that the properties of a system are invariant with respect to changes of the thermodynamic potential, i.e., invariant with respect to Legendre transformations. Another important characteristic of equilibrium thermodynamics is that all the properties of the systems are completely determined by the corresponding fundamental equations \cite{callen}. In GTD, the existence of a fundamental equation and Legendre invariance are the main assumptions that are used to construct the equilibrium space.

Thermodynamic geometry and GTD have been used to investigate ordinary laboratory systems as well as more exotic systems like black holes; see, for instance,  \cite{weinholdbook,rup14,abp15,manbis15,braluo14,hendi16,kubman15}.
In this work, we apply the formalism of GTD to investigate the physical properties of van der Waals systems. In particular, we clarify the relationship between the three different Legendre invariant metrics that are known in GTD. In fact, we find the curvature singularities of the corresponding equilibrium space and show that they correspond to the complete phase transition structure of van der Waals systems. We compare our results with those obtained by using Hessian metrics and show that whereas the GTD metrics contain information about the first and second order phase transitions, Hessian metrics are related to first order phase transitions only.

This work is organized as follows. In Sec. \ref{sec:gtd}, we present the basic ingredients of GTD. Section \ref{sec:rfeq} is dedicated to the derivation of the reduced fundamental equation of van der Waals systems. Then, in Sec. \ref{sec:gtdvdw}), we compute the GTD metrics and their curvature scalars to determine the locations in equilibrium space, where singularities exist. Furthermore, in Sec. \ref{sec:phases}, we show that the curvature singularities coincide with the points at which first and second order phase transitions take place. In Sec. \ref{sec:tdg}, we compute the Hessian metrics for van der Waals systems and show that they contain information about first order phase transitions. Finally, in Sec. \ref{sec:con}, we discuss our results.

\section{The formalism of geometrothermodynamics}
\label{sec:gtd}

In equilibrium thermodynamics, to describe a  system with $n$ thermodynamic degrees of freedom, we use $n$ extensive variables $E^a$ ($n=1,2,...,n$), $n$ intensive variables $I_a$, and a thermodynamic potential $\Phi$. Usually, the fundamental equation, from which all properties of the system can be derived, is given as a function $\Phi=\Phi(E^a)$ \cite{callen}. Then, the first law of thermodynamics can be expressed as (we assume the convention of summation over repeated indices)
\begin{equation}
d\Phi =  I_a dE^a \ ,\quad I_a = \frac{\partial \Phi}{\partial E^a}
\label{flaw}
\end{equation}
so that the intensive variables are functions of the extensive variables,  $I_a = I_a (E^a)$, representing the equations of state of the system. Moreover, it is assumed that the function $\Phi(E^a)$ behaves in accordance with the second law of thermodynamics.

In GTD, we use as starting point the $n$-dimensional equilibrium space ${\cal E}$ with coordinates $E^a$ so that each point of ${\cal E}$ can be interpreted as representing an equilibrium state of the system. To handle the Legendre invariance property of equilibrium thermodynamics as a geometric property of the GTD formalism, we represent Legendre transformations as coordinate transformations in an auxiliary $2n+1$ dimensional space called phase space ${\cal T}$ with coordinates $Z^A = \{\Phi, E^a, I_a \}$. Then, a Legendre transformation can be defined as  \cite{arnold,alberty1994}
\begin{equation}
\{Z^A\}\longrightarrow \{\widetilde{Z}^A\}=\{\tilde \Phi, \tilde E ^a, \tilde I ^ a\}\ ,
\end{equation}
\begin{equation}
\Phi = \tilde \Phi - \delta_{kl} \tilde E ^k \tilde I ^l \ ,\quad
E^i = - \tilde I ^ {i}, \ \
E^j = \tilde E ^j,\quad
I^{i} = \tilde E ^ i , \ \
I^j = \tilde I ^j \ ,
\label{leg}
\end{equation}
where $i\cup j$ is any disjoint decomposition of the set of indices $\{1,...,n\}$,
and $k,l= 1,...,i$. In particular, for $i=\{1,...,n\}$ and $i=\emptyset$, we obtain
the total Legendre transformation and the identity, respectively. We say that a geometric object is Legendre invariant if its functional form is not affected by a Legendre transformation. In particular, the contact 1-form $\Theta = d\Phi - I_a dE^a$, which according to Darboux theorem always exists in any odd dimensional manifold, is Legendre invariant because under a Legendre transformation it transforms as $\Theta\rightarrow \tilde\Theta = \tilde I_a d\tilde E^a$.
Furthermore, we equip the phase space with a Riemannian metric $G=G_{AB} dZ^A dZ^B$. Demanding Legendre invariance of the metric $G$, we obtain a set of algebraic equations for the components $G_{AB}$, whose solutions can be split into three different metrics \cite{qqs19}, namely
\begin{equation}
G^{{I/II}} = (d\Phi - I_a d E^a)^2 + (\xi_{ab} E^a I^b) (\chi_{cd} dE^c dI^d) \ ,
\label{gupap}
\end{equation}
which are invariant under total Legendre transformations.
Here $\xi_{ab}$ and $\chi_{ab}$ are diagonal constant $(n\times n)$-matrices.
For $\chi_{ab} = \delta_{ab}= {\rm diag}(1,\cdots,1)$, the resulting metric $G^{I}$ is used to describe systems with  first order phase transitions. Alternatively, for
$\chi_{ab} = \eta_{ab}= {\rm diag}(-1,\cdots,1)$, we obtain the metric $G^{{II}}$, which is used to describe  systems with second order phase transitions.  The third  Legendre invariant metric
\begin{equation}
\label{GIII}
G^{{III}}  =(d\Phi - I_a d E^a)^2  + \sum_{a=1}^n E_a I_a   d E^a   d I^a \ ,
\end{equation}
is invariant with respect to partial Legendre transformations\footnote{We notice that in previous works about the GTD metrics, we have considered a polynomial generalization of the metric (\ref{GIII}), in which the first term in the sum is $(E_aI_a)^{2k+1}$, where $k$ is an integer. However, to compare the explicit results of all the metrics $G^I$,  $G^{II}$, and $G^{III}$ for a particular thermodynamic system, it is necessary to set $k=0$ so that all the metrics are given in terms of quadratic polynomials in the variables $E_a$ and $I_a$}.
Thus, the phase space in GTD is defined as the triplet $({\cal T}, \Theta, G)$, with  $\Theta$ and $G$ being Legendre invariant.

To guarantee that the equilibrium space ${\cal E}$ preserves the Legendre invariant property of the phase space, we assume that ${\cal E} \subset {\cal T}$ is defined  by the embedding map $\varphi: \cal E \rightarrow \cal T$ with $\varphi: \{E^a\} \mapsto \{\Phi(E^a), E^a, I^a(E^a)\}$ and $\varphi^*(\Theta)=0$. This last condition implies that on ${\cal E}$, the first law (\ref{flaw}) holds. Notice also that the definition of the embedding map $\varphi$ implies that the fundamental equation $\Phi=\Phi(E^a)$ must be known explicitly.
Moreover, it follows that  any metric $G$ in $\cal T$  induces a metric $g$ in $\cal E$ by means of the pullback $g=\varphi^*(G)$ or, in coordinates,
\begin{equation}
g_{ab} = \frac{\partial Z^A}{\partial E^a} \frac{\partial Z^B}{\partial E^b} G_{AB}
\ .
\end{equation}
Accordingly, in GTD there can be also three different metrics $g^{I}$, $g^{{II}}$, and $g^{{III}}$ for the equilibrium space, which can be represented as
\begin{equation}
g^{{I/II}}_{ab} =   \beta_\Phi \Phi  \xi_a^{\ c}
\frac{\partial^2\Phi}{\partial E^b \partial E^c}   ,
\label{gdownf}
\end{equation}
where $\xi_a^{\ c}=\delta_a^{\ c}={\rm diag}(1,\cdots,1)$ for $g^{I}$ and $\xi_a^{\ c}=\eta_a^{\ c}={\rm diag}(-1,1,\cdots,1)$ for
$g^{{II}}$. Moreover, the constant $\beta_\Phi$ represents the degree of homogeneity of the thermodynamic potential $\Phi$ \cite{qqs19}. The third metric of the equilibrium space can  be written as
\begin{equation}
g^{{III}} = \sum_{a=1} ^n \left(\delta_{ad} E^d \frac{\partial\Phi}{\partial E^a}\right) \delta^{ab} \frac{\partial ^2 \Phi}{\partial E^b \partial E^c}
 dE^a dE^c \ .
  \label{gIII}
  \end{equation}
As we can see from the above expressions, to find the explicit value of the metric $g$ of ${\cal E}$, we only need to know the fundamental equation $\Phi(E^a)$, which, as mentioned above, is part of the definition of the embedding map $\varphi$. This means that all the geometric properties of the equilibrium space can be derived from the fundamental equation. In this sense, GTD reproduces the property of equilibrium thermodynamics that all the information about the system can be derived from the fundamental equation. Following this idea, in the next section, we will explore the geometrothermodynamic properties of the equilibrium space in the case of  van der Waals systems.

\section{Reduced fundamental equation}
\label{sec:rfeq}

In this section, we will use the law of corresponding states to represent the fundamental equation in such a way that it can be applied to any van der Waals system. This  reduced and invariant representation of the fundamental equation allows us to derive all the thermodynamic properties of the system in a completely general manner \cite{greiner,huang,reif}.

The main van der Waals equation of state can be written as \cite{callen}
\begin{eqnarray} \label{stateequation}
p=\frac{k_B
    T}{v-b}-\frac{a}{v^2}\,,
\end{eqnarray}
where $k_B$, $T$, and $v$ represent the Boltzmann constant, temperature, and volume per particle
$v=\frac{V}{N}$,  respectively. Using the critical point values $(p_c,v_c,T_c)$ as a scale, the above equation of state can be represented as
\begin{equation} \label{cubic1} (v-v_c)^3=0\,,\end{equation}
by choosing the van der Waals constants as
\begin{equation}
a=3v_c{}^2p_c\,, \quad b = \frac{k_{{}_B} T_c}{8    p_c}\ .
\label{ab}
\end{equation}
Furthermore, the compressibility factor $z_c = \frac{p_c v_c}{k_{{}_B}T_c}$ turns out to be a constant $z_c = \frac{3}{8}$, indicating the general applicability of the van der Waals equation of state, which is the essential feature of the law of corresponding states.

To derive the corresponding fundamental equation, we use the
partition function in the
canonical ensemble
\begin{eqnarray} \label{partitionfunction}
Z(T,V,N)=\frac{1}{N!}\Bigg[\Bigg(\frac{2\pi m k_{{}_B} T }{h^2}
\Bigg)^{\frac{3}{2}}(V-bN)\exp{\left( \frac{a N}{V T}\right)}
\Bigg]^N\,,\end{eqnarray}
where $m$ is the mass of the particles and $h$ the Planck constant.
From here, we can calculate the  thermodynamic potentials corresponding  to
the free Helmholtz energy $F$, internal energy $U$ and entropy
$S$ as
\begin{equation}
F=-k_{{}_B} T\ln{Z}\,,\ \ U=k_{{}_B} T^2\frac{\partial}{\partial T}\ln{Z}\,,
\ \ S=-\frac{\partial F}{\partial  T}\,.
\end{equation}
Accordingly, we obtain the following expression for the entropy
\begin{eqnarray} \label{entropy} s=k_{{}_B} \ln{(v-b)}+\frac{3}{2}k_{{}_B}
\ln{(u+\frac{a}{v})}+\frac{3}{2}k_{{}_B}
\ln{\left(\frac{4\pi m}{3h^2}\right)} + s_0 \,,
\end{eqnarray}
where
$u=\frac{U}{N}$ and $s=\frac{S}{N}$. Furthermore, substituting the
relationships (\ref{ab})  in the last  equation, we obtain
the reduced entropy
\begin{eqnarray} \label{reducedentropy} \sigma=
\ln{\left(\omega-\frac{1}{3}\right)}+\frac{3}{2}
\ln{\left(\epsilon+\frac{3}{\omega}\right)}+\sigma_0 \,,
\end{eqnarray}
where we have defined the adimensional reduced
variables $\sigma=\frac{s}{k_{{}_B}}$, $\omega=\frac{v}{v_c}$,
and $ \epsilon=\frac{u}{u_c}$, in addition to the constant
$\sigma_0=\ln{(\frac{\pi m k_{{}_B} T_c}{2h^2})}$.
This is the reduced fundamental equation of a van der Waals system, in which we have used the law of corresponding states. The general and invariant character of this representation allows us to investigate together all the substances belonging to this class.

The fundamental equation must satisfy the first law of thermodynamics
\begin{eqnarray} \label{firstlaw} du=Tds-pdv\,,
\end{eqnarray}
Introducing the reduced parameters in the form $u=u_c \epsilon$, $v=v_c \omega$, $T=T_c \tau$, $s=k_{{}_B}\sigma$, and $p=p_c\pi$ together with the
relationship the value of the compressibility
$z_c = \frac{3}{8} =  \frac{p_c v_c}{k_{{}_B}T_c}$
into (\ref{firstlaw}), we get the
reduced form of first law
\begin{eqnarray} \label{reducefirstlaw2} d\sigma&=&\frac{3}{8\tau}d\epsilon
-\frac{3\pi}{8\tau}d\omega\,.\end{eqnarray}
Then, the  reduced  equilibrium conditions
\begin{equation}
 \frac{3}{8\tau}=\Big( \frac{\partial
    \sigma}{\partial
    \epsilon}\Big)_\omega\,, \ \
\frac{3\pi}{8\tau}=\Big( \frac{\partial
    \sigma}{\partial \omega}\Big)_\epsilon\,,
\end{equation}
lead to the expressions for the reduced temperature and pressure
\begin{equation}
\tau=\frac{1}{4}\frac{(\epsilon \omega +3)}{\omega}\,, \ \
 \pi=8\tau\Big[\frac{1}{3\omega-1}+\frac{3}{2 \omega
    (\epsilon\omega+3)}\Big]\,\end{equation}
from which it follows that
\begin{eqnarray} \label{reducepressure} \pi=\frac{8
    \tau}{3\omega-1}-\frac{3}{\omega^2}\,.\end{eqnarray}
This is the reduced form of the main van der Waals equation of state
(\ref{stateequation}).

\section{Geometrothermodynamic properties}
\label{sec:gtdvdw}

As mentioned in Sec. \ref{sec:gtd}, in GTD there are three different metrics that are invariant with respect to Legendre transformations and can be used to describe the corresponding equilibrium space. In this section, we will investigate the main geometric properties that can be derived from each metric. In particular, we are interested in the behavior of the curvature as an indicator of the existence of phase transitions.

Consider the metric $g^I$ for the equilibrium space
\begin{equation}
g^I =    \Phi
\frac{\partial^2\Phi}{\partial E^b \partial E^c} \delta_a^{\ c}  dE^a dE ^b \ ,\ \  \delta_a^{\ c}  = {\rm diag}(1,1)\ ,
\label{gI}
\end{equation}
where for simplicity we set in Eq.(\ref{gdownf}) the multiplicative constant $\beta_\Phi=1$, without loss of generality. In the case of the reduced van der Waals fundamental equation (\ref{reducedentropy}),
$\sigma=\sigma(\epsilon,\omega)$, we identify the thermodynamic variables as $\Phi=\sigma$ and $E^a=(\epsilon,\omega)$. Then,
\begin{equation}
\label{reducedgtdIf}
g^{I}=\sigma\left(
\frac{\partial^2 \sigma}{\partial \epsilon^2}
d\epsilon^2+2\frac{\partial^2 \sigma}{\partial \epsilon
    \partial \omega } d\epsilon d\omega+\frac{\partial^2
    \sigma}{\partial \omega^2} d\omega^2\right)\,,
\end{equation}
which for the reduced fundamental equation (\ref{reducedentropy}) becomes
\begin{equation}
 \label{gtd1LCE}
 g^I =\frac{3
        \sigma}{2(\epsilon \omega+3)^2}\left[  -  \omega^2 d\epsilon^2
    +6 d\epsilon d\omega+3 f(\epsilon\,,\omega)d\omega^2\right]\,,
    \end{equation}
where
    \begin{eqnarray} \label{factoromega} f(\epsilon\,,\omega)=-\frac{2(\epsilon
        \omega+3)(\epsilon
        \omega^3-6\omega^2+6\omega-1)+3(3\omega-1)^2}{\omega^2
        (3\omega-1)^2}\,. \end{eqnarray}
The corresponding scalar curvature can be written as
    \begin{eqnarray} \label{scalarI}
    R^I=\frac{(3\omega-1)^2(2\epsilon
        \omega^3-3\omega^2+6\omega-1)}{3\sigma (\epsilon
        \omega^3-6\omega^2+6\omega-1)^2}\,,\end{eqnarray}
from which we observe that curvature singularities occur for those values of $\epsilon$ and $\omega$ that satisfy the equation
\begin{equation}
\epsilon
\omega^3-6\omega^2+6\omega-1 = 0.
\label{curvsingI}
\end{equation}
In Fig. \ref{fig1}, we illustrate the behavior of the scalar curvature $R^I$. The picks on the graph correspond to singularities, i.e., locations where the curvature diverges and the conceptual basis of differential geometry breaks down.
\begin{figure}[h]
\includegraphics[scale=0.3]{fig1.eps}
\includegraphics[scale=0.3]{fig2.eps}
\caption{Behavior of the scalar curvature of the metric $g^I$ as a function of the reduced energy $\epsilon$ and reduced volume $\omega$ (left panel) and as a function of the reduced volume $\omega$ with $\epsilon=1$. }
\label{fig1}
\end{figure}

Consider now the GTD metric $g^{II}$ by assuming $\beta_\Phi = 1$ in Eq.(\ref{gdownf})
\begin{equation}
g^{II} =   \Phi
\frac{\partial^2\Phi}{\partial E^b \partial E^c} \eta_a^{\ c}  dE^a dE ^b \ ,
\ \ \eta_a^{\ c} = {\rm diag}(-1,1)
\label{gII}
\end{equation}
which for $\Phi=\sigma$ and $E^a=(\epsilon,\omega)$ reduces to
\begin{eqnarray} \label{reducedgtdIIf} g^{II}=\sigma\left(-
\frac{\partial^2 \sigma}{\partial \epsilon^2}
d\epsilon^2+\frac{\partial^2 \sigma}{\partial \omega^2}
d\omega^2\right)\,.\end{eqnarray}
Furthermore, for the reduced van der Waals fundamental equation (\ref{reducedentropy}), we obtain
\begin{eqnarray}
\label{gtd1LCEII}
g^{II}=\frac{3 \sigma}{2(\epsilon
    \omega+3)^2}\left[{\omega^2} d\epsilon^2 + 3
f(\epsilon\,,\omega)d\omega^2\right]\,,\end{eqnarray}
where the function $f(\epsilon,\omega)$ has been defined in Eq.(\ref{factoromega}). It is then straighforward to compute the scalar curvature, which can be written as
\begin{eqnarray} \label{scalarII}
R^{II}= -\frac{8\omega^2
    (3\omega-1)(\epsilon \omega+3)^3}{3\sigma (2\epsilon^2 \omega^4
    -6\epsilon \omega^3 +12 \epsilon \omega^2-2\epsilon \omega
    -9\omega^2+18\omega-3)^2}\,,\end{eqnarray}
from which it follows that curvature singularities are determined by the equation
\begin{equation}
2\epsilon^2 \omega^4
-6\epsilon \omega^3 +12 \epsilon \omega^2-2\epsilon \omega
-9\omega^2+18\omega-3 =0 \ .
\label{singII}
\end{equation}
The behavior of the curvature scalar is depicted in Fig. \ref{fig2}. For comparison, we choose the same intervals of values for the variables $\epsilon$ and $\omega$. The singularity structure can easily be identified and is different from that of the scalar $R^I$.
\begin{figure}[h]
    \includegraphics[scale=0.3]{fig3.eps}
    \includegraphics[scale=0.3]{fig4.eps}
    \caption{Behavior of the scalar curvature $R^{II}$ for several values of the variables $\epsilon$ and $\omega$ (left panel) and for $\epsilon=1$ and different values of $\omega$ (right panel). }
    \label{fig2}
\end{figure}

Finally, we consider the metric $g^{III}$ given in Eq.(\ref{gIII}), which for $\Phi=\sigma$ and $E^a=(\epsilon,\omega)$ reduces to
\begin{equation}
g^{III}= \epsilon \frac{\partial\sigma}{\partial \epsilon} \frac{\partial^2\sigma}{\partial \epsilon^2} d\epsilon ^2
+ \left( \epsilon \frac{\partial\sigma}{\partial \epsilon} +
\omega \frac{\partial \sigma}{\omega} \right)
\frac{\partial^2 \sigma}{\partial\epsilon\partial \omega} d\epsilon d\omega
+ \omega \frac{\partial \sigma}{\partial \omega}
\frac{\partial^2 \sigma}{\partial\omega^2} d\omega ^2\ .
\end{equation}
Then, for the van der Waals fundamental equation we get
\begin{equation}
g^{III} = \frac{9}{2(\epsilon\omega+3)^3} \left[ -\epsilon \omega^2 d\epsilon^2 +
\frac{3(5\epsilon \omega^2 -\epsilon\omega-3\omega +3)}{3\omega -1} d\epsilon d\omega
+ \frac{3f(\epsilon,\omega)}{2(3\omega-1)} d\omega^2 \right] \ .
\end{equation}
The corresponding curvature cannot be put in a compact form. However, one can show that in general the curvature singularities of the metric $g^{III}$ are determined by the condition
\begin{equation}
\frac{\partial ^2 \sigma}{\partial \epsilon \partial \omega} = 0
\end{equation}
which is not satisfied by the van der Waals fundamental equation (\ref{reducedentropy}).

We conclude that in this case all the information about the curvature singularities of the equilibrium space is contained in the metrics $g^I$ and $g^{II}$ only.

\section{Interpretation of the results }
\label{sec:phases}

According to the formalism of GTD, curvature singularities should indicate the presence of phase transitions. This intuitive idea is based upon the fact that singularities are critical locations at which the concepts of differential geometry cannot be applied anymore, i.e., singularities indicate a break down of the theory of differential geometry. On the other hand, we know that equilibrium thermodynamics breaks down when the system undergoes phase transitions. Based on this analogy, the geometric approaches to thermodynamics consider curvature singularities as the geometric representation of phase transitions. We will show this in the case of van der Waals systems.

\subsection{First order phase transitions}

First order phase transitions can be detected by considering the isotherms of the reduced pressure (\ref{reducepressure}), which are illustrated in the $\pi-\omega$ plots of Fig. \ref{fig:isoth}.
\begin{figure}[h]{\includegraphics[scale=0.35]{fig5.eps
        \caption{Isotherms by the van der Waals gas in reduced variables
        }
        \label{fig:isoth}
    }
\end{figure}

 We can see that the behavior of the isotherms depends on the value of $\tau$ and  $\tau=1$ determines the limit between two different classes of isotherms. This is the isotherm for which the temperature coincides with the critical temperature; in Fig. \ref{fig:isoth}, it corresponds to the curve with an inflection point, i.e.,
\begin{eqnarray} \label{criticalpoints} \Bigg(\frac{d\pi}{d\omega}\Bigg)_\tau
= \Bigg(\frac{d^2 \pi}{d\omega^2}\Bigg)_\tau=0\,,\end{eqnarray}
Then, using the equation of state  given in (\ref{stateequation}), one can show that the inflection point is determined by the solutions of the algebraic equation
\begin{equation} \label{criticalpoints2}
\epsilon \omega^3-6\omega^2+6\omega-1=0\,,\end{equation}
which are also interpreted as the points where first order phase transitions occur \cite{callen}. This is exactly the condition we have found in Eq.(\ref{curvsingI}) for the existence of curvature singularities of the metric $g^I$.

\subsection{Second order phase transitions}

The response functions of a system are used to indicate the
presence of second order phase transitions. In the case of a
simplet system with two thermodynamic degrees of freedom, there
exist only three independent response functions \cite{callen}; for
concreteness,  we choose as independent  functions the isothermal
compressibility $\alpha $, the thermal expansion at constant
pressure $\beta$, and the heat capacity at constant pressure and
temperature $c$, which are  defined \begin{equation} \alpha=\frac{1}{v}\left(
\frac{\partial
    v}{\partial T}\right)_p\,,\ \
 \beta=-\frac{1}{v}\left(
\frac{\partial v}{\partial p}\right)_T\, , \ \ c=
T\frac{\left(\frac{\partial v}{\partial
T}\right)^2_p}{\left(\frac{\partial v}{\partial p}\right)_T} \ .
\end{equation} Using the relationships: $v=v_c \omega$, $T=T_c \tau$, and
$p=p_c\pi$, we obtain the reduced response functions \begin{equation}
\label{reducedalpha} \tilde{\alpha}=\frac{1}{\omega}\left(
\frac{\partial \omega}{\partial \tau}\right)_\pi\,,\ \
 \tilde{\beta}=-\frac{1}{\omega}\left(
\frac{\partial \omega}{\partial \pi}\right)_\tau\, , \ \ \tilde c=
-\frac{3\tau}{8}\frac{\left(\frac{\partial \omega}{\partial
\tau}\right)^2_\pi}{\left(\frac{\partial \omega}{\partial
\pi}\right)_\tau} \ . \end{equation}

Furthermore, the reduced response functions can be expressed in
terms of the derivatives of the fundamental equation as \begin{equation}
\tilde{\alpha} =-\frac{8}{3\pi}\frac{\left(
    \frac{\partial \sigma}{\partial \omega}\right)^2_\pi}{\left(
    \frac{\partial^2 \sigma}{\partial \omega^2}\right)_\pi} \,,
 \ \
 \tilde{\beta}
=-\frac{3}{8\omega \tau}\frac{1}{\left( \frac{\partial^2
        \sigma}{\partial \omega^2}\right)_\tau} \,, \ \
\tilde c = -\frac{64 \tau^2 \Big(\frac{\partial \sigma}{\partial
\omega}\Big)^{4}_\epsilon }{9 \pi^2 \Big(\frac{\partial^2
\sigma}{\partial \omega^2}\Big)_\epsilon}\,. \end{equation} Then, substituing
the corresponding quantities for a van der Waals system, we obtain
\begin{eqnarray} \label{alpha4} \tilde{\alpha} &=&\frac{4 \omega
    (3\omega-1)(2\epsilon \omega^2-3\omega+3)}{3(2\epsilon^2 \omega^4
    -6\epsilon \omega^3 +12 \epsilon \omega^2-2\epsilon \omega
    -9\omega^2+18\omega-3)}\,,
\\\label{beta4}\tilde{\beta} &=&\frac{ \omega^2
    (3\omega-1)^2(\epsilon \omega+3)}{3(2\epsilon^2 \omega^4
    -6\epsilon \omega^3 +12 \epsilon \omega^2-2\epsilon \omega
    -9\omega^2+18\omega-3)} \,,\\
\tilde c &=& \frac{
 (2\epsilon \omega^2-3\omega+3)^2}{2[2\epsilon^2 \omega^4-6\epsilon \omega^3+12 \epsilon
\omega^2-2\epsilon\omega-9\omega^2+18\omega-3]}\ .
 \end{eqnarray}
It follows from the above expressions that the response functions
diverge if the condition \begin{equation} 2\epsilon^2 \omega^4 -6\epsilon
\omega^3 +12 \epsilon \omega^2-2\epsilon \omega
-9\omega^2+18\omega-3 = 0 \label{cond2} \end{equation} is satisfied. We
recognize immediately that this condition is identical to the
condition for the existence of curvature singularities in the
equilibrium space of the metric $g^{II}$, as given in
Eq.(\ref{singII}).

\section{Thermodynamic geometry of van der Waals systems}
\label{sec:tdg}

Consider a system described by the fundamental equation $\Phi=\Phi(E^a)$.
Thermodynamic geometry is an approach based upon the assumption that the geometric properties of the corresponding equilibrium space are determined by a Hessian metric
\begin{equation}
g_{ab}^H = \frac{\partial \Phi^2}{\partial E^a \partial E^b}\ .
\end{equation}
Although a Hessian metric can be constructed for any function $\Phi$, in thermodynamics only two options have been studied. If the thermodynamic potential is chosen as minus the entropy, $-S$,  or the internal energy, $U$, the resulting Hessian metrics
\begin{equation}
g_{ab}^R = - \frac{\partial S^2}{\partial E^a \partial E^b}\ , \ \
g_{ab}^W = \frac{\partial U^2}{\partial E^a \partial E^b}\ ,
\end{equation}
are called Ruppeiner \cite{rup79} and Weinhold \cite{wei75} metrics. We will now investigate the curvature of these metrics in the case of van der Waals systems by using reduced variables.

Using the fundamental equation (\ref{reducedentropy}), we obtain
\begin{equation}
g^R = \frac{3}{2(\epsilon\omega+3)}\left[ -\frac{\omega^2}{\epsilon\omega+3} d\epsilon^2 + 6 d\epsilon d\omega - \frac{9}{2} h(\epsilon,\omega) d\omega^2\right] \,
\end{equation}
where
\begin{equation}
h(\epsilon,\omega)=  \frac{ 2\epsilon^2 \omega^4 - 6\epsilon \omega^3 + 12 \epsilon \omega^2 - 2\epsilon \omega - 9\omega^2 + 18 \omega -3}{ \omega^2(\epsilon\omega+3)(3\omega-1)^2} \ ,
\end{equation}
and the corresponding curvature scalar reads
\begin{equation}
R^R = - \frac{(3\omega-1)^4 \omega^2 h(\epsilon,\omega)}{3 (\epsilon \omega^3 - 6 \omega^2+ 6\omega -1)} \ .
\end{equation}

Consider now the Weinhold metric. In the energy representation, the fundamental equation (\ref{reducedentropy}) can be expressed as
\begin{equation}
\epsilon = \frac{ e^{2/3(\sigma-\sigma_0)} }{(\omega - 1/3)^{2/3}} - \frac{3}{\omega} \ .
\end{equation}
Then, the Weinhold metric can be written explicitly written as
\begin{eqnarray}
g^W &=& \frac{4}{9} \left(\epsilon + 3/\omega\right) d\sigma^2
- \frac{8}{3} \frac{ \epsilon +3/\omega }{3\omega -1} d\sigma d\omega \nonumber \\
&+& \frac{2(5\epsilon\omega^2 - 12\omega^2+18\omega -3)}{\omega^3(3\omega-1)^2} d\omega^2\ ,
\end{eqnarray}
from which we compute the curvature scalar and get
\begin{equation}
R^W = - \frac{3\omega^3 (3\omega-1)^2 }{6(\epsilon\omega^3 - 6\omega^2 + 6\omega -1)}\ .
\end{equation}

From the above expressions for the curvature scalar it follows that the condition
\begin{equation}
\epsilon\omega^3 - 6\omega^2 + 6\omega -1 = 0
\end{equation}
indicates the presence of singularities in the equilibrium space described by the Ruppeiner and Weinhold metrics. According to the results presented in Sec. \ref{sec:phases}, the curvature of the Hessian metrics can reproduce the first order phase transitions determined by the condition (\ref{criticalpoints2}), but they are not able to reproduce the second order phase transitions that are predicted by the response functions in Eq.(\ref{cond2}).

\section{Conclusions}
\label{sec:con}

In this work, we tested the formalism of GTD in the case of van der Waals systems. To this end, we first derived the reduced form of the fundamental equation, which has the advantage of being completely general in the sense that it does not depend on the particular values of the van der Waals constants $a$ and $b$.

We calculated the scalar curvature of all the three GTD metrics in order to find the locations where curvature singularities can exist. This analysis lead to the conclusion that there are two different conditions that indicate the presence of singularities. By analyzing the thermodynamic properties of van der Waals systems we proved that the locations of the curvature singularities coincide with the points at which first and second order phase transitions occur. This shows that GTD can describe the entire phase transition structure of van der Waals systems.

Moreover, we investigated the properties of the equilibrium space as defined in thermodynamic geometry by means of Hessian metrics. We found that this approach correctly predicts the presence of first order phase transitions only.

The results presented in this work can be applied to any system characterized by two thermodynamic degrees of freedom. The formalism of GTD is completely general, although the explicit form of the GTD metrics depend on the fundamental equation of the corresponding system.
We thus conclude that to study  the equilibrium space and the complete phase transition structure of any thermodynamic system in an invariant way, one can use the metrics obtained in the framework of the GTD formalism.

\section*{Acknowledgments}

This work was carried out within the scope of the project CIAS 3131
supported by the Vicerrector\'\i a de Investigaciones de la Universidad
Militar Nueva Granada - Vigencia 2020.
This work was partially supported  by UNAM-DGAPA-PAPIIT, Grant No. 114520, Conacyt-Mexico, Grant No. A1-S-31269,
 and by the Ministry of Education and Science of RK, Grant No.
BR05236322 and AP05133630.

redpajama_set_name: RedPajamaArXiv


— Team highlights: Boise State finished the regular season at No. 14 in total offense (496.1 yards per game), 12th in pass efficiency (155.68) and ninth in scoring (39.8 points per game). The defense is 39th in yards allowed (366.5), 36th in rushing (141.5), 35th in pass efficiency (117.31) and 64th in scoring (26.5 ppg).
— Individual highlights: Quarterback Grant Hedrick still leads the nation in completion percentage (70.9) and is ninth in pass efficiency (157.8). Tailback Jay Ajayi is third in all-purpose yards (171.2 yards per game) and tied for first in scoring (13.4 points per game). Ajayi is tied for the lead with 29 total touchdowns and in first with 370 offensive touches (44 more than anyone else).
— Boise State leads the Mountain West in scoring offense, total offense, punt-return average, first downs, opponent first downs and opponent third-down conversions. Ajayi leads the Mountain West in scoring, touchdowns and all-purpose yards, kicker Dan Goodale leads in scoring by a kicker (8.6 ppg), defensive end Kamalei Correa leads in sacks (9.5) and safety Darian Thompson leads in interceptions (seven).
Others receiving votes: Minnesota 58, Oklahoma 46, Marshall 36, Memphis 34, Duke 32, Colorado St. 13, N. Illinois 11, Air Force 7, Cincinnati 5, UCF 4, West Virginia 4, Stanford 1.
Others receiving votes: Minnesota 71; Southern California 59; Marshall 55; Duke 39; Northern Illinois 29; Memphis 18; Cincinnati 14; Colorado State 9; Central Florida 8; Stanford 7; Air Force 6; Brigham Young 6.


text:
package io.github.aquerr.eaglefactions.listeners;

import io.github.aquerr.eaglefactions.api.EagleFactions;

public abstract class AbstractListener
{
    private EagleFactions plugin;

    public AbstractListener(EagleFactions plugin){
        this.plugin = plugin;
    }

    public EagleFactions getPlugin()
    {
        return plugin;
    }
}

redpajama_set_name: RedPajamaGithub


text:
Primi anni e formazione
Nata a Valencia, Spagna, nel 1970, Tro Santafé si è diplomata al Conservatorio Superior de Música Joaquín Rodrigo nel 1992. Ha vinto il primo premio per "Voce" al Concorso Internazionale Jeneusse Musicales nel 1989, e ha proseguito gli studi presso la Juilliard School di New York nel 1992-93, vincendo l'Opera Index Prize nel 1992. Tro Santafé ha proseguito i suoi studi nel biennio successivo con Carlo Bergonzi all'Accademia Musicale Chigiana, ottenendo una borsa di studio da La Scala Amici de Loggione per studiare con Magda Olivero. Ha conseguito un Master in Politica e gestione delle arti presso l'Università di Londra Birkbeck College dal 2015.

Carriera

1992–2002
Dopo aver studiato all'Accademia Rossiniana "Alberto Zedda" di Pesaro nell'estate del 1991, Tro Santafé ha debuttato a livello internazionale a 21 anni al Rossini Opera Festival nella stagione 1992 con il ruolo di Lucilla ne La scala di seta di Rossini diretta da Maurizio Benini, apparendo al fianco di Plácido Domingo durante il concerto di Gala de Reyes trasmesso in televisione per TVE nel 1994. Nel 1995 ha debuttato nel ruolo principale de La Cenerentola di Rossini ala Edmonton Opera (Alberta, Canada), seguito subito dal suo debutto nel ruolo di Cherubino ne Le nozze di Figaro di Mozart alla Santa Fe Opera negli Stati Uniti, prima di cantare Zerlina nel Don Giovanni di Mozart al Teatro Verdi di Sassari (Italia) nello stesso anno. Durante la stagione 1996-1997 Tro Santafé è tornata in Canada per La Cenerentola alla Manitoba Opera (Winnipeg) e ha cantato al Festival Internacional de Música y Danza de Granada nel ruolo di Caleo dellAtlantida di Manuel de Falla prodotto da La Fura dels Baus. Ha anche fatto il suo debutto nel Regno Unito apparendo in Così fan tutte (Despina) di Mozart alla Garsington Opera. La stagione 1997-98 ha visto il suo debutto operistico in patria durante la stagione di riapertura del Teatro Real di Madrid ne La piccola volpe astuta e durante l'estate del 1999 è tornata alla Garsington Opera per il ruolo della protagonista, Isabella, ne L'italiana in Algeri di Rossini. È tornata in Italia nel corso dell'anno per La Cenerentola di Rossini con i Teatri Lombardi e per il suo debutto nel Werther (Charlotte) di Massenet al Teatro Sociale di Como e al Teatro Verdi di Pisa. Ha poi debuttato alla De Nationale Opera di Amsterdam in una nuova produzione di Andreas Homoki della Carmen (Mercedes) di Bizet diretta da Edo de Waart.

I momenti salienti della stagione 2000-2001 includono il suo Opéra national de Paris in Ariodante di Händel diretto da Marc Minkowski, messo in scena da Jorge Lavelli, che fu poi portato al Festival di Salisburgo e alla Semperoper di Dresda. A questo seguì Giulio Cesare (Tolomeo) di Händel alla De Nationale Opera in una nuova produzione messa in scena da Ursel e Karl-Ernst Herrmann. Nello stesso anno debuttò nel ruolo de Il barbiere di Siviglia (Rosina) di Rossini al Teatro Comunale di Bologna. La stagione 2001 - 2002 ha visto la carriera di Tro Santafé raggiungere nuove vette con il suo debutto alla Staatsoper Unter den Linden di Berlino, ne Il mondo della luna (Lisetta) di Haydn, una nuova produzione diretta da René Jacobs, messa in scena da Caroline Gruber e presentata anche all'Innsbrucker Festwoche der Alten Music. Ha fatto il suo debutto nel teatro e nel ruolo del suo debutto al fianco di Ruggero Raimondi al Teatro dell'Opera di Roma in una nuova produzione de I racconti di Hoffmann (Nicklausse) per la regia di Giancarlo del Monaco. Quella stagione Tro Santafé tornò al Rossini Opera Festival di Pesaro per una nuova produzione de L'equivoco stravagante di Rossini nel ruolo principale di Ernestina, una nuova produzione diretta da Emilio Sagi e diretta da Donato Renzetti.

2002–2012
Durante la stagione 2002-2003 Tro Santafé ha cantato Rosina al Théâtre du Capitole de Toulouse ne Il barbiere di Siviglia di Rossini, seguito dal suo debutto alla Wiener Staatsoper interpretando anche Rosina al fianco di Juan Diego Flórez, ruolo che poi continuò a cantare in più spettacoli di qualsiasi altro artista di quel teatro. Seguirono importanti debutti da protagonista, tra cui il ruolo principale in Rinaldo di Händel nella Staatsoper Unter den Linden a Berlino con René Jacobs in una nuova produzione di Nigel Lowery ed anche una nuova produzione del Giulio Cesare (Tolomeo) di Händel al Teatro Comunale di Bologna messo in scena da Luca Ronconi. In quella stagione Tro Santafé tornò anche alla Staatsoper Unter den Linden per cantare Rosina e al Rossini Opera Festival per un recital di Belcanto accompagnata al pianoforte da Julian Reynolds al Teatro Rossini di Pesaro.

Nella stagione 2003-2004 Tro Santafé debuttò al Théâtre des Champs-Élysées di Parigi in una nuova produzione di Serse (Bradamante) di Händel insieme ad Anne Sofie von Otter, messa in scena da Gilbert Deflo e diretta da Willian Christie, che fu incisa. Ha anche debuttato nel ruolo di protagonista al Gran Teatre del Liceu di Barcellona nella produzione di Jorge Lavelli de L'Enfant et les sortilèges di Ravel, seguito dal ruolo di protagonista de L'Eliogabalo di Cavalli al Théâtre Royal de la Monnaie di Bruxelles, diretta da René Jacobs. Tro Santafé ha poi debuttato all'Oper Frankfurt con Il viaggio a Reims di Rossini (Contessa Melibea) e alla Deutsche Oper Berlin ne L'equivoco stravagante (Ernestina) di Rossini diretta da Alberto Zedda. A seguire, al Teatro Piccinni di Bari, cantò il ruolo principale nell'''Orfeo ed Euridice di Gluck.

Nella stagione 2004 – 2005, Tro Santafé debuttò al Teatro La Fenice di Venezia ne La finta semplice (Giacinta) di Mozart. Tornò anche alla Staatsoper Unter den Linden di Berlino per una nuova produzione de L'italiana in Algeri (Isabella) di Rossini, messa in scena da Nigel Lowery ed alla Wiener Staatsoper ancora per interpretare di Rosina. Debuttò all'Opernhaus Zürich nel ruolo di Angelina ne La Cenerentola di Rossini e alla De Nationale Opera di Amsterdam per cantare Alcina (Ruggiero) di Händel diretta da Christophe Rousset. È apparsa al Théâtre du Châtelet di Parigi per un concerto della stessa opera. Ha anche cantato Alcina (Ruggiero) all'Ópera de Oviedo nelle Asturie (Spagna) e ha debuttato ne La donna del lago (Malcolm) di Rossini al Teatro Nacional de São Carlos di Lisbona al fianco di Rockwell Blake. La stagione si è conclusa con altre esibizioni all'Innsbruck Festwochen dellEliogabalo di Cavalli.

La stagione 2005-2006 ha visto Tro Santafé cantare di nuovo Rosina alla De Nationale Opera di Amsterdam e al Grand Théâtre de Luxembourg nella produzione di Dario Fo diretta da Julian Reynolds. È tornata alla Wiener Staatsoper e al Teatro dell'Opera di Zurigo per altre Rosine e ha cantato il ruolo principale nell'''Ariodante di Händel a Barcellona al Gran Teatre del Liceu.

Nel 2006 – 2007 ha debuttato all'Opera di Stato della Baviera con La Cenerentola di Rossini e all'Opera di Stato di Amburgo, seguito da Norma (Adalgisa) di Bellini con Edita Gruberová nel ruolo della protagonista prima di tornare alla Wiener Staatsoper e al Teatro dell'Opera di Zurigo per più spettacoli di Rosina. Ha debuttato anche al Theater an der Wien per una nuova produzione messa in scena de La finta semplice (Giacinta) di Mozart curata da Laurent Pelly. Tro Santafé è stata invitata per la prima volta a cantare nella sua città natale al Palau de les Arts Reina Sofía recentemente inaugurato per un recital durante il ciclo di voci valenciane. In quella stagione tornò al Teatro dell'Opera di Zurigo per il suo debutto in casa dellItaliana di Rossini insieme alle rappresentazioni de La Cenerentola e tornò alla Wiener Staatsoper per ulteriori esibizioni di Rosina e all'Opera di Amburgo, interpretando Adalgisa in Norma con gli Philharmoniker Hamburg diretti da Stefan Anton Reck.

La stagione 2007 – 2008 iniziò alla Wiener Staatsoper ne Il Barbiere, seguita da una nuova produzione de La Cenerentola al Grand Teatre del Liceu di Barcellona, messa in scena da Joan Font. Successivamente è apparsa anche alla Staatsoper Unter den Linden di Berlino come Rosina e si è unita a Edita Gruberova ai Berliner Philharmoniker in una versione da concerto della Norma (Adalgisa) di Bellini. Una serie di spettacoli compredeva L'Italiana alla Semperoper di Dresda, Il barbiere di Siviglia (Rosina) alla Opera di Amburgo, alla Wiener Staatsoper in La Cenerentola e L'italiana all'Opera di Zurigo. Tro Santafé è tornata al Palau de les Arts Reina Sofia di Valencia per Orlando (Medoro) di Händel in un nuovo allestimento di Francisco Negrin. La stagione 2008-2009 ha visto Tro Santafé apparire in una nuova produzione de La Cenerentola al Théâtre Royal de la Monnaie messa in scena da Joan Font, diretta da Mark Minkowski, al fianco di Javier Camarena. È tornata alla Wiener Staatsoper e poi all'Ópera de Oviedo come Rosina in una nuova produzione messa in scena da Mariame Clément.

In 2009 Signum Classics released Spanish Heroines, her first solo album of arias from operas conducted by Julian Reynolds with Orquesta Sinfónica de Navarra. She also returned for a recital at her hometown concert hall Palau de la Música de València, before returning to the Teatro Comunale di Bologna for a new production of Rossini's La Gazza ladra (Pippo) staged by Damiano Michieletto, conducted by Michele Mariotti. That was followed by her L'Italiana in Algeri debut in the Wiener Staatsoper (Isabella) in the classic Jean-Pierre Ponnelle production again with Juan Diego Flórez and Ferruccio Furlanetto. The same year Tro Santafé also appeared in La Cenerentola at the Semperoper Dresden, performed at the Klangvocal Festival in Dortmund with a role debut of Giovanna Seymour in Donizetti's Anna Bolena opposite Mariella Devia, and returned to Hamburg Staatsoper for Rossini's Il barbiere di Siviglia.

Durante la stagione 2009 – 2010 Tro Santafé ha debuttato in teatri importanti tra cui la Washington National Opera nel suo ruolo caratteristico di Rosina, con Lawrence Brownlee diretto da Michele Mariotti. Dopo il suo debutto con successo a Washington, è andata a Madrid per il suo debutto da protagonista al Teatro Real con Italiana in Algeri diretta da Jesús López Cobos e ha terminato il 2009 con Italiana all'Associación Amics de s'ópera de Maò a Minorca. Signum Classics ha anche pubblicato il suo secondo album da solista Rossini Mezzo.  Il 2010 ha visto il suo ritorno al Teatro dell'Opera di Zurigo per le rappresentazioni de La Cenerentola, alla Semperoper Dresda e alla Opera di Stato della Baviera per Rosina e una Norma (Adalgisa) in forma di concerto a Duisburg con Edita Gruberova che seguìo il suo successo a Berlino due anni prima. Hanno eseguito nuovamente Norma insieme al Théâtre Royal de la Monnaie di Bruxelles diretti da Julian Reynolds. Tro Santafé è poi rimasta a Bruxelles per una nuova produzione del Don Quichotte (Dulcinée) di Massenet messo in scena da Laurent Pelly, diretto da Mark Minkowski, con José van Dam nel ruolo del protagonista. Ha concluso la stagione con le esibizioni di Isabella alla Wiener Staatsoper, seguite da concerti di Lucrezia Borgia (Orsini) di Donizetti alla Semperoper di Dresda, alla Köln Konzerthalle ed al  Klangvocal Musikfestival Dortmund con Edita Gruberova, che fu registrata (Nightingale).

La stagione 2010-11 è iniziata con il debutto di Tro Santafé al Grand Théâtre de Genève nel ruolo di Rosina in una nuova produzione di Damiano Michieletto del Barbiere di Siviglia diretto da Alberto Zedda. Si è poi esibita alla Royal Festival Hall di Londra per un concerto e una registrazione (Opera Rara) di Aureliano in Palmira di Rossini (Arsace) con la London Philharmonic Orchestra diretta da Maurizio Benini, con ulteriori esibizioni di Rosina alla Wiener Staatsoper.  Il 2011 iniziò con una nuova produzione di Così fan tutte (Dorabella) di Mozart, messa in scena da Philipp Himmelmann e diretta da Teodor Currentzis al Festspielhaus Baden-Baden e il Requiem di Mozart nella stessa sede con il Coro e l'Ensemble Balthsar-Neumann. A questa è seguita un'esibizione di gala di Isabella alla Staatsoper di Hannover prima di tornare alla Bayerische Staatsoper München per debuttare in Lucrezia Borgia (Orsini) di Donizetti nelle interpretazioni della produzione di Christof Loy al fianco di Gruberova e Charles Castronovo e il suo debutto alla Scala di Milano con Isabella ne L'italiana in Algeri di Rossini diretta da Antonello Allemandi. La Santafé ha concluso la stagione con altre esibizioni di Orsini al fianco di Gruveroba e Pavol Breslik diretti da Paolo Arrivabeni durante il Festival dell'Opera di Monaco.

Nella stagione 2011-2012 Tro Santafé ha debuttato nel ruolo di Arsace al Teatro di San Carlo di Napoli con una nuova produzione della Semiramide di Rossini messa in scena da Luca Ronconi e diretta da Gabriele Ferro. Ha poi cantato La Cenerentola a Pechino al Centro Nazionale per le Arti dello Spettacolo, seguita da una nuova produzione di Linda di Chamounix (Pippo) di Donizetti messa in scena da Emilio Sagi, diretta da Marco Armiliato cantando con Diana Damrau e Juan Diego Flórez a Barcellona. Questa è stata seguita da un'esecuzione in concerto de La donna del lago (Malcom) di Rossini a Mosca presso la Sala dei concerti di Čajkovskij. Tro Santafé è tornata alla Dutch National Opera per una nuova produzione dell'ultima opera di Händel Deidamia (Ulisse) prodotta da David Alden e diretta da Ivor Bolton, registrata per DVD e ha debuttato con la San Diego Opera in una produzione de Il barbiere di Siviglia.

2012–presente
Il decennio successivo iniziò con il ritorno di Tro Santafé al Grand Théâtre de Genève per un revival della produzione de Il barbiere di Siviglia del 2010, seguito da un concerto a Mosca della Petite Messe Solennelle di Rossini sotto la direzione di Alberto Zedda, e Il cappello a tre punte di Falla con la Filarmonica di Oslo diretta da Enrique Mazzola. La Santafé tornò anche alla Deutsche Oper di Berlino per Il Barbiere di Siviglia, seguito da una nuova produzione di Lucrezia Borgia (Orsini) di Donizetti al Théâtre Royal de la Monnaie di Bruxelles, messa in scena da Guy Joosten e diretta da Julian Reynolds. Ha cantato una performance di Gala de Il Barbiere di Siviglia al Nationaltheater Mannheim e ha debuttato nel Requiem di Verdi alla Laeiszhalle di Amburgo diretta da Simone Young. Ha concluso la stagione con una nuova produzione di Lucio Silla (Cecilio) di Mozart, messa in scena da Claus Guth al Gran teatre del Liceu di Barcellona. La stagione 2013-2014 è iniziata con il debutto di Tro Santafé al Teatro Massimo di Palermo nella produzione de Il barbiere di Siviglia diretto da Stefano Montanari, cui sono seguite altre Rosine alla Deutsche Oper di Berlino, L'italiana di Rossini all'Opéra Grand Avignone e anche al Palau de les Arts Reina Sofia di Valencia. È tornata a Mosca per La Straniera (Isoletta) di Bellini in un concerto alla Sala Tchaikovsky di Mosca sotto la direzione di Julian Reynolds, cantando con Patrizia Ciofi. Tro Santafé ha poi debuttato nel ruolo ne I Capuleti e i Montecchi (Romeo) di Bellini alla Bayerische Staatsoper diretta da Riccardo Frizza, seguito da più Rosine alla Semperoper di Dresda, concludendo la stagione con ulteriori interpretazioni di Lucrezia Borgia al Festival dell'Opera di Monaco.

La stagione 2014-2015 iniziò con il suo debutto nel ruolo di Elisabetta I in Maria Stuarda di Donizetti in una nuova produzione messa in scena da Moshe Leiser e Patrice Caurier diretta da Maurizio Benini, esibendosi con Javier Camarena e Joyce DiDonato al Gran Teatre del Liceu di Barcellona seguito dallo Stabat Mater di Rossini con la Royal Liverpool Philharmonic. La stagione 2015-2016 ha visto Tro Santafé apparire per la prima volta in Roberto Devereux di Donizetti (Sara Nottingham) in una nuova produzione al Teatro Real di Madrid diretta da Bruno Campanella, con Mariella Devia. seguita dal suo debutto per l'ABAO a Bilbao cantando ancora Sara in Roberto Devereux di Donizetti. Tro Santafé è tornata al Teatro di Stato Bavarese per Orsini in Lucrezia Borgia e al Gran Teatro del Liceu di Barcellona per Romeo in Capuleti e Montecchi.

Nella stagione 2016-2017, Tro Santafé è stata vista come Arsace in Semiramide di Rossini al Maggio Musicale Fiorentino, seguito da Maria Stuarda (Elisabetta) di Donizetti allOpéra de Marseille e in una nuova produzione di Lucrezia Borgia messa in scena al Palau de les Arts di Emilio Sagi con Mariella Devia. Torna anche alla Bayerische Staatsoper per cantare Roberto Devereux (Sara Nottingham) con Edita Gruberova e debutta al Teatro Carlo Felice di Genova per cantare Elisabetta I in Maria Stuarda. Terminò la stagione con Werther (Charlotte) all'Opera House of the Palms.

La stagione 2017-2018 iniziò con il ritorno di Tro Santafé al Teatro Real di Madrid per cantare Cecilio nella produzione di Claus Guth del Lucio Silla di Mozart diretto da Ivor Bolton, seguito da Le Cinesi di Gluck al Palau de les Arts Reina Sofia di Valencia diretto da Fabio Biondi. Ha anche cantato Elisabetta in Maria Stuarda alla Deutsche Oper am Rhein, seguita dal suo ritorno a Bilbao per le esibizioni di Norma (Adalgisa). Ha concluso la stagione con un debutto nel ruolo di Marguerite ne La damnation de Faust di Berlioz in una nuova produzione messa in scena da Damiano Micheletto, diretta da Roberto Abbado al Palau de les arts Reina Sofia di Valencia. La stagione 2018-2019 iniziò con il suo debutto nel ruolo di Laura Adorno ne La Gioconda di Ponchielli in una nuova produzione di Oliver Py diretta da Paolo Carignani al Théâtre Royal de la Monnaie di Bruxelles, dove Tro Santafé ha anche tenuto un recital di canzoni d'arte spagnola con Julian Reynolds. È poi tornata all'Opera di Stato della Baviera per esibizioni nel ruolo di Sara in Roberto Devereux, seguito dal suo debutto nel ruolo di protagonista con la Washington Concert Opera di Zelmira di Rossini cantando con Lawrence Brownlee e diretta da Antony Walker.

I momenti salienti del 2019 – 2020 - 2021 includono il debutto di Tro Santafé nel ruolo di Principessa Eboli nel Don Carlo di Verdi al Teatro Real di Madrid sotto la direzione di Nicola Luisotti, seguito da Norma (Adalgisa) al Teatro San Carlo di Napoli diretta da Francisco Ivan Ciampa. Durante l'emergenza COVID-19, ha potuto recitare in Anna Bolena (Giovanna Seymore) con l'Abao a Bilbao, L'italiana all'Opéra Marseille e debuttare nel ruolo di La Principessa di Bouillon in Adriana Lecouvreur di Cilea all'Ópera Las Palmas.

Ruoli operistici

Vincenzo BELLINI
 Isoletta, La Straniera
 Romeo, I Capuleti e i Montecchi
 Adalgisa, Norma
Hector BERLIOZ
 Marguerite, La Damnation de Faust
Francesco CILEA
 Principessa di Bouillon, Adriana Lecouvreur
Gaetano DONIZETTI
 Giovanna Seymour, Anna Bolena
 Maffio Orsini, Lucrezia Borgia
 Elisabetta I, Maria Stuarda
 Sara, Roberto Devereux
 Leonora, La Favorita
 Pierotto, Linda di Chamonix
Georg F Händel
 Rinaldo Rinaldo
 Sesto e Tolomeo Giulio Cesare
 Medoro Orlando
 Ariodante e Polinesso Ariodante
 Ruggiero Alcina
 Amastre Serse
 Ulisse Deidamia
Jules MASSENET
 Charlotte Werther
 Dulcinée Don Quichotte
Wolfgang A. MOZART
 Giacinta La finta semplice
 Farnace Mitridate, re di Ponto
 Cecilio Lucio Silla
 Cherubino Le nozze di Figaro
 Zerlina Don Giovanni
 Dorabella Così fan tutte
 Contralto Requiem in re minore
Amilcare PONCHIELLI
 Laura Adorno La Gioconda
Gioachino ROSSINI
 Ernestina L'equivoco stravagante
Lucilla La scala di seta
Isabella L'italiana in Algeri
Arsace Aureliano in Palmira
Rosina Il barbiere di Siviglia
Angelina La Cenerentola
Pippo La gazza ladra
Malcolm La donna del lago
Arsace Semiramide
Contessa Melibea Il viaggio a Reims
Zelmira Zelmira
Mezzosoprano Stabat Mater
Alto Petite Messe Solennelle
Giuseppe VERDI
 Mezzosoprano Messa di Requiem
 Principessa Eboli Don Carlo
 Fenena Nabucco

Incisioni

Opere
 1994 - Bretón - La verbena de la Paloma; con Antoni Ros-Marbà dirige Orchestra Sinfonica di Madrid, Auvidis - V 4725
 2004 - Händel - Serse come Amastre; con William Christie alla direzione di Les Arts Florissants, Erato Records - 9029590062
 2004 - Scarlatti - Griselda Op.114 come Ottone; con René Jacobs dirige l'Akademie für Alte Musik Berlino, Harmonia Mundi - HMM93180507
 2012 - Rossini - Aureliano in Palmira come Arsace; con Maurizio Benini che dirige la London Philharmonic Orchestra, Opera Rara - ORC46
 2012 - Donizetti – Lucrezia Borgia come Maffio Orsini; con Andriy Yurkevich alla direzione di WDR Rundfunkorchester Köln, Nightingale Classics -NC000100-2

Album
 2000 - Rossini: Soireé musicale, accompagnatore Julian Reynolds. Globo - GLO 6050
 2001 - A Spanish Song Recital, accompagnata da Julian Reynolds, con brani composti da Fernando Obradors, Enrique Granados, Joaquín Turina, Joaquín Rodrigo, Jesús Guridi e Xavier Montsalvatge. Globo - GLO 5203
 2008 - Spanish Heroines, con Orquesta Sinfónica de Navarra, diretta da Julian Reynolds, con brani composti da Rossini, Mozart, Donizetti, Verdi, Bizet e Massinet. Signum Classics - SIG 152
 2009 - Rossini Mezzo - Scenes & Arias, con Orquesta Sinfonica de Navarra & Lluís Vich Vocalis, diretta da Julian Reynolds. Signum Classics - SIG 170
 2010 - Massenet: Don Quichotte, con l'Orchestre et Choeurs de La Monnaie, diretta da Marc Minkowski. NAïVE - DR2147
 2012 - Händel: Deidamia, con il Concerto di Colonia e De Nationale Opera, diretto da Ivor Bolton, diretto da David Alden. Opus Arte - OABD7110D
 2016 - Donizetti: Roberto Devereux, con il Teatro Real de Madrid, diretto da Bruno Campanella. Bel Air Classiques - BAC 130
 2018 - Mozart: Lucio Silla, con Orchestra e Coro del Teatro Real de Madrid, diretti da Ivor Bolton, regia di Claus Guth. Bel Air Classiques - BAC 450

Annotazioni

Note

Bibliografia

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


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Tracking The 2009 Attendance: Final Attendance Figures
Attendance 7 comments
From time to time during the season, we took a look at the 2009 attendance to see how the 2009 season stacks up against last year and whether the Rays were able to reach their goal of being average (in attendance).
Notes on the attendance follow the graph…
Notes on the 2009 attendance…
The Rays drew 1,780,791 fans for 80 home games in 2008 (22,259 per game). That was the most since their inaugural season of 1998 when they drew 2.5 million.
The Rays goal for 2009 was league average which was 2.6 million in 2008 (the median was about 2.5 million). League average this season was 2.45 million (red line above) with a median of 2.32 million. The Rays would have needed to average 30,191 to reach league average and about 28,681 to reach the median.
This season the Rays averaged 23,148 in 81 games. That marked an increase of 4.0% over last year.
The Rays 1,874,962 tickets sold ranked 23rd, up from 26th in 2008.
I'm sure it is disappointing to the owners, but I still think its a move in the positive direction. The Tampa Bay market has proved to be finicky when it comes to attendance, and sustaining competitiveness will lead to a continual trend upward in attendance. While I still subscribe to the theory that attendance would markedly improve by moving the team across the bay, I still believe that there is room for growth while still in Pinellas. I think its entirely possible to average attendance in the upper 20k's, and believe the Rays will eventually achieve that, but that it may take another year or two and an upward tick in the local economy.
Rome says:
W/ the lack of winning by the Bolts and Bucs people will realize the Rays are the best thing going for this area, and have been for the last year. Next years team will be a good squad, but still the Rays deserve better then what they getting from the Bay Area.
Congratulations Rays owners in another increase in 2009!!
The economy sucks...
The team.... half way sucks....out of playoffs fo 2 months....
The whole league is down....7%
But you still continue to show increases...good job!
Oh, and Blake would like you to move to Hillsb. Co. so your attendance
can follow the Bucs path!
Next year attendance will be up again! Book It!
I never said the attendance wouldn't go up next year. The team certainly still has room to grow in Pinellas. I just believe that it makes the most sense to have the team where a majority of the area's population is. Also, in case you hadn't noticed, when the Bucs actually put a decent product on the field its the hardest ticket in town to get. I don't know why that would be a bad thing.
Bucs had the "hardest tickets in town" the couple of years after the super bowl victory...and have been on a slide ever since...to hit bottom shortly (watch for owners to unload)....
The Rays have steadily grown a business the last 3/4 years after being a loser for 10 years!
Which business would you like to own?...and what Co. would you like to
be operating in (although N. Pinellas would be a better location)?
The Bucs had a season ticket waiting list of over 100,000 for quite a few years (some leading into the Super Bowl run and some following it). The Tampa Bay market has shown to have accountable fans. They will only regularly go to sporting events for teams they feel are whole-heartedly trying and have a chance to do something. And I still think the Rays can be successful in Pinellas, I just think they would be even more successful on the side of the bay where the vast majority of the population is (that is just simple logic).

redpajama_set_name: RedPajamaCommonCrawl


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Mini Train
Mini Train is an online puzzle game. Your objective in this game is to build a safe path for the safe passage of the train through the tunnel. At the beginning of every level the there will be several blocks placed in a random manner and you have to pick up these blocks and place them at right places to solve the puzzle at every level. This game is spread across various levels of increasing difficulty. The game gets really exciting as you progress into higher levels. Enjoy the tricky game!
Cosmic Commander
Cosmic commander is an online action game. Your objective in this game is to destroy all the enemy ships which appear in the game. Defeat the enemy and collect all the rewards which appear in the game. Upgrade to advanced weapons to destroy the enemy faster. Adapt an effective strategy to combat the enemy and destroy all enemy ships to score high.
Dive Devil
Dive devil is an online live action freefall game. This game features a devil's freefall which gets you straight into hell if you lose. Your objective is to control the freefalling player in the game and pass through all the holes in the space. If you strike at any point on the covered surface the game will be over immediately. Try to avoid the blocked surface and fall for a long period of time to score good points. You may adjust the mouse sensitivity as per your preference to control the game.
Enjoy this amazing adventurous game!
Super Ninja Skydiving Plus Zombies
Play the role of a hungry, skydiving ninja living life to the extreme. Blast your way through over 40 levels of zombie slashing action. Awesome sound track! Over 130 challenges!
Crush the Castle 2 Players Pack
Crush the Castle 2 Players Pack is an online action game. The objective of the game is to destroy the castle and the king, queen and other people present in the castle. Every level comes with a different setup of the castle which has to be destroyed using the huge catapult. Using the catapult is fun part of this game. When the catapult swings from one end to the other end you have to release the shots at the right moment to strike the castle with impact. There are various types of shots like wooden, metallic, spiked metallic, etc.
Papa's Cupcakeria
Bake the best cupcakes in town all year round in Papa's Cupcakeria! You'll need to choose baking cups, add batter, watch the oven, and decorate your cupcakes with a variety of frosting and toppings. As you level up and gain new customers, you'll notice the seasons changing in the town of Frostfield, along with new holiday celebrations! Help your customers get in the holiday spirit with seasonal clothing, furniture, and a new set of unlockable seasonal toppings for each holiday. Work your way through each holiday season to unlock over 100 ingredients, and become a cupcake-crafting master!
Wait 4 Me
The final flight is within your reach. Run as fast as you can and avoid incoming meteors. Collect as many relief goods as possible.
A Short History of the World
A thrill ride through the history of time. 38 exciting mini games, each one covering a different period in history from the Ice Age to present day. Additional new levels are exclusive to Mochigames!
Wile E Coyote's Debris Derby
Another accident in the quest to get the Road Runner! Help Wile E. avoid more injuries as he falls from the sky! Click and drag Wile E. avoiding all the flying debris as long as you can.
Flower Reaction
Explode maximum of flowers
Decision 2: New City
Take under control another city full of evil creatures.


That implies that it is often difficult to display information with the same quality as the smartphone screens now boast, but there is a company dedicated to making an important qualitative leap in this field.
One of the clear limitations of smart watches is the reduced area and resolution of their screens, according to thedresswizard.
This is Spark, a development of a company calledMonotype that makes the typographies displayed on those small screens-reviews, screens of our vehicles-are as intuitive and readable as those that have our personal computers or those smartphones that boast of QHD resolution.
Currently the technologies used to display typographic fonts in smart clocks and other small format screens make use of bitmap fonts that are pre-coded in the devices since that requires less processing power. However these fonts are pixelated, and they do not allow us to access the beauty of rendered fonts that allow to be scaled and displayed in all its extension.
The flagship product of Monotype, iType, is capable of rendering and displaying typefaces for screens of "conventional" size, but its engineers went to work applying the same idea to adapt it after a request from an automobile company. The result of this effort was Spark, an engine that allows all types of fonts-including those with complex features such as Arabic or Thai-to be displayed on those small screens with the same quality as our mobile devices.


When we create a login system then forgot password is a mandatory feature. It permits user to update/reset their password, when they have forgotten. In this article we'll show you the code for the implementation of forgot password script in PHP login system so that the user can reset the password through their email address.


Read the conflict and strategize with your partner about how it might be best resolved. For each, what are you looking to accomplish? What strategies might you employ to achieve what you want to achieve? You can define "resolved" however you wish, but be prepared to share what you think it means.
You have been given an assignment to complete a project that will culminate in a public performance in three weeks. You are working with a group of four students (you and three others). About one week into the project, a student from another group is added to your group, bringing the total to five. The plans your group made for the presentation involve four students and you don't want to change. To add to the problem, the new student in your group has come up with a few ideas about how he thinks you could "improve" the project. You and your other group members like what you have done already and you don't want to change for this student. You figure out a small portion of the project to give to the new student and tell him to just do that and nothing else. He refuses and leaves the room. You know all students have to participate in the performance to receive a good grade. What do you do?
You are working with a partner to complete a major project. You respect your partner's intelligence and are happy you were paired with her. You split up the tasks and begin your work. Every few minutes your partner seems to be looking over your shoulder. After a little while, your partner begins making comments about your work. She is continually suggesting that you change your work to how she thinks it should be. Eventually, it seems like she is trying to take over the project. You know she could do a good job and you want a good grade, but you want to have some input as well. What do you do?
You are working in a group of five students (you and four others). You have been given a project description that has some "minimum guidelines," but leaves much leeway for students to decide what they wish to produce. You begin brainstorming ideas with your group about what to create, but two of the group members keep asking why everyone doesn't just do what's on the "minimum guidelines" handout. The other three members of the group clearly want to be more creative and go beyond the minimum. The two students who only want to do what is on the handout refuse to do any "extra" work. What do you do?
You are working in a group of four (you and three others). Two members of your group had been dating earlier in the year, but there was a recent falling out between them. When your group assembles to work on the project, the tension between the former couple is thick. Neither of these group members is participating and a few snide comments are passed between them during group work. Your group if falling behind because these two seem unable to work with one another. What do you do?


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Fat Rooster Farm News
Jennifer Megyesi | Create Your Badge
"Every moment before this one depends on this one....
fat rooster farm
News from Fat Rooster Farm, an organic small family farm in Vermont's White River Valley.
Jennifer Megyesi is also author of the book The Joy of Keeping Chickens. The farm was featured in Harvest: A Year in the Life of an Organic Farm by Nicola Smith.
Bradford made a shopping list for me this morning. I had decided to make the trip to the big town 25 miles to our north, because there was a storm calling for eight inches of snow, and I figured that it would be safe to venture out into the metropolis without hitting the crowds that usually frequent on a Sunday. He wanted me to pick up things to make heart-shaped pepperoni pizzas (he was going to make them- he's an amazing cook at age nine). My hardest task was to find a heart-shaped cookie cutter in the end of February. "They're seasonally available," the Wal-Mart associate informed me; "They might be in the reduced items isle." Instead, I found a plastic, candy-filled heart that could double as a cutter after Kyle had devoured the chocolate inside.
Yes, I shop at Wal-Mart sometimes. Guess what- three bottles of chardonnay, some toiletries and a heart-shaped box of candies for $15 doesn't break the bank. It was dead in there, and the employees looked nervous at the lack of shoppers on a Sunday in the winter. I mostly do shop at local stores, but the neighbor down the road had just served this $2.99 bottle of merlot the night before which was decent. He said he had purchased it at Wal-Mart. I wanted to see what the chardonnay tasted like. Good- not like Grigich Hills or anything, but good. Certainly as good as the $9.99 bottle at the co-op.
Back home: the sheep are crazy. We've had four sets of triplets. My plan of attack this year is just to try and supplement every ewe's triplets with a bottle of formula, and so far, it has worked-they've all survived. The downside is that we're supplementing seven babies and feeding two without mothers. They drink three, 8 oz soda bottles filled with formula four times a day. To date, there have been 50 lambs born and only 27 ewes have given birth. We have 21 left to lamb!
Some of the lambs have curly hair; some are black and white splotched; there are two that are muddy brown. I've only had one mom reject a lamb, ironically, a black ewe that twinned and had one black and one white lamb. She rejected the white lamb. I tied her up so that she couldn't turn her head around to see who was nursing (called jugging), and she will reluctantly let him nurse, provided that his sister is also nursing. The other exciting thing is that I've had to pull lambs (meaning that the birth was not a natural one and had some complication or other) only three times (of course, we're only about half-way done…). All of the lambs were saved, and the mothers ended up nursing their babies except for one mother, who is destined for sausage, I fear. We've named this lamb Bucket, because he'll invariably have his leg stuck in the water bucket every time we go down there to feed him. Lambs are cute, but they're sometimes not the brightest bulbs in the circuit.
The little bantam hen that is a mutt, and could be a cochin or an araucana cross, hatched out her eggs two days ago. They are a mix of maple sugar-brown and creamy buff, some with stripes across their eyes, some with puffy cheeks. I was almost certain that Cassie the Silkie was the father, but now it's looking more like Poopie Poo is the proud daddy. They'll be travelling to Randolph with me for the book signing at Cover to Cover on March 14th. I think I may take Henry, the enormous Plymouth Rock rooster, too.
My dear friend Ray Williams helped us load the pigs up for slaughter last Tuesday. When he walked into the barn, he looked around and said, "Whoa!"
Billy, the Peacock was in full display. There were 50 sheep and 50 lambs cavorting in their pens. Petal, the heifer calf was bounding up and down the isles. The cows were busily munching their hay, and Poopie, Henry, Danny and Cassie were all crowing at the top of their lungs in celebration of winter's retreat from cold and darkness.
Ray was the one who helped me get the two llama girls who are now hanging out with the sheep and overseeing all of the new births. He was a little nervous when I told him that the transfer from the former owner's trailer to his was going to take place in the Seven Barrels Brewery parking lot in downtown West Lebanon. I think he had visions of llamas galloping down Interstate 89 toward Concord.
"The llamas look like they've made themselves at home," he added, watching their snake-like heads weave in and out of the ewes. Ray's farm is in Chelsea, bordering a beautiful, treeless ridge, and reminiscent of a western valley scene. He and his wife, Liz have beautiful cattle for beef and tomatoes the size of softballs.
So it's here, this space between winter and spring, when we're not really busy, but keeping busy. When I still take naps in the new sunshine that streams through the south windows in the early afternoon. I think this may be the last head of lettuce that I have to buy- having only bought six this year, I am quite happy. The arugula, spinach and mustard that Kyle planted in the hoop houses in the fall is thriving, and the greens that Whit and I planted just two weeks ago are looking enticing. Our break is over- the growing season has begun, and I am only too happy to have it wash over me and carry me into what is to come.
Posted by fat rooster farm at 12:47 PM No comments:
"Every moment before this one depends on this one."-Jonathan Safran Foer, Extremely Loud & Incredibly Close
I turned down a CAUSE request today.
"You're so strong."
I didn't even respond to a WHAT KIND OF MOTHER ARE YOU request,"
"Ohhhhhhhhh!"
I've entered the world of Facebook, thanks to my friend Geoff. He has been the driving publicity force behind the chicken book that we've just published. He called me one night and told me that we needed a Facebook page for it, and I gave him a long, exasperated sigh. Now, four weeks later, here I sit, maneuvering my way through posts and pokes and offers to join various causes. He's right; the way to reach a mass number is to follow the mass media trends, and this is it. Daily, my question to Whit has been, "guess who just friended me??"
Just three days after I activated my account, I had a classmate from high school contact me, after 23 years of no communication.
Seriously, the premise behind Facebook is a good one. Keep in contact with one another. On the other hand, it's a little voyeuristic; anyone and everyone has the ability to see what you're doing and when you're doing it. I suppose if you're using it to stalk an old acquaintance, it's not that great a use of time.
Interestingly enough, it's been around for years, and only now are people who aren't necessarily college aged taking advantage of it. The fastest growing demagogue using Facebook are the aged 35 and olders.
"Eliza ate too many cookies today."
"Lupe is going skiing with a torn MCL"
"Jim is wondering whether he should sit on the couch and kill zombies or go home and clean"
"It's ridiculous," Whitney snorts at me. She's shelling black turtle beans and listening to the Fruit Bats.
"It's creepy," she asserts.
Maybe she's right- I mean if you're a shooting star, and sailing into the swell of living, who needs that baggage trailing after you? All those painful memories of sitting on the gym benches during the slow dances at school, or being picked out as the one with hand-me-down clothes. Sitting at a computer to write 25 random things about oneself in the hope that it really matters to someone else might be a waste of time...still it's fun.
"I'm a firm believer that some people should just remain forgotten," she says.
"Ohh- I have 18 fans for the book now!" Whitney harrumphs and gets up to put wood in the woodstove. "I'm going to check the sheep," she says in mock disgust, and out the door she goes.
"You still have time left to go back, you know," she calls after me.
On the more practical side of things, Kyle has ripped up the hall and Brad's room, and we're doing renovations that we've put off for 10 years. He re-wired the barn, and the driveway has new gravel in it. Pretty soon, there'll be no time for house repairs and yard work when the growing season begins.
Today we celebrated the sun's light that still remained at 4:00 pm while we readied the greenhouse we rent from the neighbors for planting. The air inside should have smelled like spring- warm soil and little seedlings unfurling their green heads from their pots. Instead, it smelled strongly of ammonia and rodents. They kept ducks inside of it all winter, and the snow covering the plastic had shut out the light: a perfect petri dish for mold and bacteria. The place is a mess, and Whit and I have spent almost a week trying to get it back to something that resembles a place to grow plants. On top of the ducks, the floor of the greenhouse looks like a watering hole in the Serengeti- there are hundreds of rodent tracks searching for missed pieces of duck grain. You can actually see little rat footprints everywhere. We have to get rid of them before planting anything, because they'll eat the seedlings faster than the seeds can germinate.
Whitney spent over four hours shoveling the heavy snow and ice off of the greenhouse's roof, and now we've started bringing in the soil to warm and clear off the planting benches.
This weekend marks one year exactly that we've known the Red. In case you missed the picture of her, her hair is a burnt auburn, a flashy contrast to her smile and brown eyes. She showed up last year for the infamous interview that we have for our potential apprentices, which isn't really an interview, but just a chance for us to meet whomever has decided that they want to spend the summer working hard on a farm with little pay and a not-so-private place to stay. In just one week, she'll leave for an eventual voyage to Hawaii, headed for the chain of uninhabited islands called the Northwestern Hawaiian Islands. It's the same place I spent almost four years as a biologist and refuge manager. Paradise, really- seabirds and seals and sea turtles and shockingly blue water and white coral beaches. Her biggest regret is that they now have email capacity there. At least there's no cell phone service yet.
I don't look forward to when they leave, these people who put so much of their time and effort into Fat Rooster Farm. The hope they harbor in this world of doubt, fear and despair is such a tonic to me. Gets me through the dreary winter months.
The first lambs are being born now, and the first calf of this year is thriving. The greenhouse is teaming with onion life. Every new moment I live again is what has come before. And every moment points to now.
Soon will be spring- the blackbirds, the woodcock's crazy aerial dance, the Barred owls calling out their territorial song. I better get busy and write my Facebook 25 things pretty quick…
Posted by fat rooster farm at 11:10 AM 1 comment:


The Search for the Best Battery Powered LED Strip: Options & Applications Detailed!
Searching for battery powered LED light strips?
Instead, we used our own LED supplies and put together a Battery Powered LED Strip Light Kit ourselves; something that included more!
Then you are in the right spot. Here, I will go over the various features so you will know how to choose the best options for your battery powered LED strip kit.
But first, lets look at some applications to see why and where battery powered LED tape lights are commonly being used.
For me, I was looking for battery operated LED strip lights to run in all the dark areas of my home that don't have easy access to outlets. This was in places like closets, the basement and inside cabinets. The images above are other places we've seen these strip kits used: pantries, under sinks, drawers, under cabinets, garages, camping and inside vehicles. The common theme being the location where light is needed doesn't usually have easy access to power. This makes powering the strips the first thing to consider.
First, how can LED strips be powered from AA batteries?
The strips used, is our LED Flex Strip and it operates properly from 12 volts (V) direct current (DC). The output of a single AA battery is 1.5 Vdc, but when batteries are connected in-series, the output voltage can be added up. So, 8AA batteries in-series will output 12Vdc (8 X 1.5 = 12). This is how we are able to power our LED Flex strips from batteries.
Battery Holder: So, we power the LED strips with AA batteries inside a 8AA Battery Holder. This battery holder measures 4.76" (L) x 2.31" (W) x 0.65" (H) and includes an on/off switch. It can be used with standard AA batteries or rechargeable batteries, and is completely enclosed with double-sided mounting tape on one side with a 6-inch long male 2.1mm power plug that can be quickly disconnected from the strips or dimmer (more on dimming options later).
Run Time: 8AA batteries provide lots of juice and ran these strips much longer than we expected, but because we offer two different output LED strips the run time will vary depending on which one you choose. The strips options, which we also will go over in more detail later, come in either standard or high density. The respective run time from 8AA Duracell batteries is 30+ and 15+ hours. The LEDs never completely went out, but did get dim enough after that amount of time that they wouldn't be useful without recharging or replacing. However, these run times are based on the LEDs operating at full power, but many of you, like me, will add the option for dimming, which means you can run the strips at a lower output and get more run time.
The strips, again, require 12Vdc, but lets talk about the other characteristics and features that make these the ideal choice.
We love our LED Flex Strips. They are sealed in a protective clear silicone epoxy making them durable and waterproof (IP65 rated). On the bottom side of the strip is a double-sided thermal 3M tape for easily mounting them to a surface. The sections of strip are 20-Inches long and flexible enough to bend and stick around curves. The beginning of each strip includes a 6-Inch long 2.1mm female power plug that connects to either the dimmer or the battery holder, as described earlier. There are two variations of this strip, a standard density and high density. The standard density has 30 LEDs per meter and the high density has 60 LEDs per meter.
Color Options: The 5050 SMD LEDs inside the strips are available in three different white color temperatures and RGB. The warmer-white (3000K & 4000K) color is similar in hue to an incandescent and provides a more gentle light, which we see requested a lot for applications in the home. However, the cooler color (6000K) are more vibrant and slightly brighter, so they get used often in outdoor applications and work areas where extra light is needed. The RGB color option needs a controller that provides over 15 different color choices and features like: flash, strobe, fade and smooth.
Length: We use a 20-Inch length piece of strip for each kit. The standard density option has 15 LEDs and the high density strip has 30 LEDs. Should you decide to shorten them, these strips can be cut every 4 or 2-Inches respectively. Longer lengths can be added and run from the same battery pack, but the run time will decrease.
Brightness: It's amazing how much light these give off. Even with only 20-Inches, the light output is perfect for accent and task lighting. Technically, the 20" standard density strip produces 150 lumens, while the high density strip outputs 215 lumens.
Those are the basics; power and the LED. Now, the fun part is having the option to control the light.
Between the battery pack and LED strips you have the option to include a controller and remote. Above is a short video that shows our RF Wireless Single Channel Dimming Controller going through its options, which include: 100%, 50%, 25% light output settings, plus or minus brightness buttons and Flash, Strobe, Fade & Smooth.
Single Color: This controller is low cost, small, and easily connects inline with the power supply and strips via 2.1mm male and female plugs. For the extra $8.99, we highly suggest to include the dimmer with your kit.
RGB: Should you need different colors and choose the RGB LED strips, then you also need to select the RGB controller option so that you can properly cycle through all the colors and options. The RGB kits come wired directly to the power source and strips. And, as mentioned earlier the controller has 15 different color options, on-off button, brightness up and down and flash, strobe, fade and smooth.
The number of uses for this product is only limited to your imagination so go wild and try them out. A few have surprised, we especially enjoyed the music applications pictured below. Included throughout this post were links to the kit page as well as the individual parts, should you want to investigate thoroughly. Thanks, good luck and we would love to see some pictures, comments or suggestions!


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Pilots take big win over Tobs Monday
Wilson Tobs 2 0 0 0 0 0 0 0 2 6 0
Peninsula Pilots 2 5 0 1 2 0 3 1 14 17 0
2B: Matt Burch; Riley Hogan; Cole Secrest; Sy Snedeker; Nick Gonzalez
HR: Tommy Bell
(Hampton, V.A.) – The Wilson Tobs' offense fell flat against the Peninsula Pilots on Monday night. The Pilots ran away with a mercy-ruled 14-2 victory over the Tobs at War Memorial Stadium.
Wilson got the offense working early in the first inning. The Tobs put their first three batters on to begin the game. Nick Rose singled to right but a throw from Cole Secrest nabbed De'Andre Pitts at home for the first out of the game. With two outs, Chris Meyers extended his hitting streak to fifteen straight games with a two-run single to give Wilson a 2-0 lead.
The Pilots battled back quickly against Tobs starter Nate Fiala. Tommy Bell launched his third home run of the season to tie the game. The Pilots made more noise with a five run second inning. Nick Gonzalez, Matt Burch, Nick Biddison and Tommy Bell all drove in runs to set Peninsula on top by 7-2 score.
Wilson's offense fell quiet. After a rough first, Pilots starter Jacob Pilarski allowed just one hit over the next four innings, retiring the final ten batters he faced. The Pilots ran away seven more runs over the final six innings, invoking the mercy rule with one out in the eighth. Peninsula took their sixth win in eleven contests against the Tobs this year with two final regular season matchups between the two this season. Fiala (3-2) was handed his second straight loss while Pilarski (2-1) worked five innings for the win.
Wilson is back at home on Tuesday night to face the Edenton Steamers at 7:00 PM. It's the last Tobs All You Can Eat Tuesday and Trivia Night. It's also our second Faith & Family Night. Tickets and details are available online at WilsonTobs.com.


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CORROSION OF CONFORMITY, CROWBAR And MOTHERSHIP To Team Up For North American Tour
CORROSION OF CONFORMITY, CROWBAR and MOTHERSHIP will join forces for a North American tour in early 2019. WEEDEATER and THE OBSESSED will provide support on select dates.
The details are as follows:
With WEEDEATER:
Jan. 19 - San Antonio, TX - Alamo City Music Hall
Jan. 20 - Oklahoma City, OK - Diamond Ballroom
Jan. 21 - Kansas City, MO - The Riot Room
Jan. 22 - Denver, CO - Gothic Theatre
Jan. 24 - Phoenix, AZ - Crescent Ballroom
Jan. 25 - Las Vegas, NV - Fremont Country Club
Jan. 26 - San Diego, CA - Brick By Brick
Jan. 27 - Los Angeles, CA - Teragram Ballroom
Jan. 29 - San Francisco, CA - Slim's
Jan. 31 - Portland, OR - Hawthorne Theatre
Feb. 01 - Seattle, WA - Neumos
Feb. 02 - Vancouver, BC - Rickshaw Theatre
Feb. 04 - Edmonton, AB - Starlite Room
Feb. 05 - Calgary, AB - Marquee
Feb. 07 - Winnipeg, MB - Park Theatre
Feb. 08 - Minneapolis, MN - Fine Line
Feb. 09 - Chicago, IL - Bottom Lounge
Feb. 10 - Flint, MI - Machine Shop
Feb. 12 - Cleveland, OH - Beachland Ballroom
Feb. 13 - New York, NY - The Gramercy Theatre
With THE OBSESSED:
Feb. 16 - Boston, MA - Brighton Music Hall
Feb. 17 - Philadelphia, PA - Underground Arts
Feb. 18 - Baltimore, MD - Ottobar
Feb. 20 - Toronto, ON - Opera House
Feb. 21 - Pittsburgh, PA - Mr. Smalls Theatre
Feb. 22 - Raleigh, NC - Lincoln Theatre
Feb. 23 - Atlanta, GA - The Masquerade
Feb. 24 - Tampa, FL - Orpheum
Feb. 26 - Pensacola, FL - Vinyl Music Hall
Feb. 27 - Nashville, TN - The Cowan
CORROSION OF CONFORMITY's latest album, "No Cross No Crown", came out in January via Nuclear Blast Entertainment. The LP is the group's first studio effort with guitarist/vocalist Pepper Keenan in more than a decade.
"No Cross No Crown" was recorded in North Carolina with longtime producer John Custer. CORROSION OF CONFORMITY cut the disc in about forty days over the course of a year.
CORROSION OF CONFORMITY guitarist Woody Weatherman told Guitar Interactive Magazine about "No Cross No Crown": "This record was approached a little differently than previous [albums]. We didn't spend a lot of… There was, like, no pre-production; we didn't have much of an idea of shit before we all showed up. It was, like, just… we showed up, [and] we'd do four- or five-day sessions."
"As we were writing the songs, it started to take shape," Pepper added. "And once again, it was becoming something more than we… as a unit, it became bigger than the sum of its parts. And so once you get to that thing where it's in your head and you're consumed by it, if it ain't right, it's wrong. You've just gotta keep going at it."
"There were several things that we threw in the trash," Woody continued. "We'd spend half a day on somebody's idea, and if it wasn't working after half a fucking day, throw it in the fucking trash and move to the next thing."
Pepper went on to say that CORROSION OF CONFORMITY's music still sounds as valid today as it did when it was first recorded. "I think we can look back at C.O.C.'s career, you can look at [all the albums] and go… It sounds weird to say it, but they stand the test of time," he said. "And it's really important that it doesn't sound dated. I don't want it to sound like it's the new millennium or the '90s or whatever; it's gotta sound like… when you play it 20 years later, it still sounds correct."
"It's been a conscious thought of ours for a long time," Woody added. "'Let's not make a record that sounds like it was made in 1991 or something. Although we're making a record in 1991, let's try not to do that. Let's make it sounds like it's…' Like Pep said, in 20 or 30 years, it still sounds relevant."
Tags: corrosion of conformity
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Those billboards with facial-recognition-based tracking systems we mentioned last week caused quite a bit of consternation amongst those of us who value our privacy (read: everyone), but it at least one of the firms involved is engaging the debate and promising that it won't share any data it record. In a letter to the New York Times and a much longer, more boring version of the same letter sent to us, TruMedia Technologies says that none of its tech will ever record or store any video, only analyze frames and increment various demographic counters. TruMedia also says that no individually-identifiable information is ever stored, and that it'll never share any video or images with any private or governmental body. There's also mention of a standards body working to address methodologies and metrics for the tech. All excellent promises, sure, but we're never going to be entirely comfortable with this stuff, even if we live in an age of ubiquitous CCTV monitoring. Full letter after the break.
"We applaud The New York Times Reporter Stephanie Clifford on her recent article about the advancement in audience measurement in the out-of-home advertising industry. She rightly states "In advertising these days, the brass ring goes to those who can measure everything."
Ms. Clifford is 100 percent correct. With the increased popularity of out-of-home advertising and the exponential growth of the digital signage industry (translating into billions of dollars), there has been no accurate measurement system in place. Television has Nielsen and radio has Arbitron, but the out-of-home industry has grown up quickly without an accurate and reliable third-party measurement solution. Our company, TruMedia Technologies, realized that need and has created a robust, scalable, turnkey audience measurement solution.
In the article, Ms. Clifford also brought up the issue of privacy and the opportunity for measurement companies to save and use individual images. This issue is a critical one for TruMedia, the marketing and research industries and the public. TruMedia Technologies has a standing commitment to the protection of privacy.
To further advance these principals, we are working closely with the Out-of-home Video Advertising Bureau (OVAB) to help develop a comprehensive set of standards that address both methodology and metrics for the out-of-home measurement industry including the buying, planning and selling community. Within those standards will come a quality control element that every vendor and advertising agency must agree to in order to use our products and services.
We further challenge the industry to adopt a standard, akin to our own that categorically prohibits the storing of images or any other personally identifying information without prior consumer consent. This will allow our industry to grow and provide responsible currency measurement of out-of-home media without compromising the important principals of privacy in our society."


The Training Coordinator is a volunteer position with primary responsibilities to train Christian leaders abroad and to lead teaching teams for this purpose. This role may either involve returning to the same site multiple times to teach various modules or traveling to key areas of need. The Training Coordinator will travel as able at least twice per year. This position would be a fit for experienced trainers currently serving in a position as pastor, college or seminary professor, retired minister, or other positions with the freedom to travel. The ideal candidate will be a skilled teacher of the Scriptures, possess significant experience in pastoral ministry, be a passionate disciple-maker, and be recognized as a proven leader.
Maintain a passport that is valid at least six months.


Engraved with your initials and date.
These personalised wooden chopping/cheese boards are ideal for use as a chopping, cheese or antipasti board, made from beautiful Italian olive wood.
They make great keepsake gifts and mementoes for absolutely any occasion, including - Weddings, Anniversaries (especially 5th) or Valentine's Day.
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Three sizes are available. Please check the dimensions carefully before ordering.