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When my daughter first went to Dr. Leiss, I was immediately impressed with the staff - they are all so friendly and helpful in guiding us along through the process. A lot has changed in the area of orthodontics since I was a child and had braces, so a lot of the information was new to me. I immediately felt cared for, respected and a friend to the practice- a very nice family feel. Dr. Leiss is the best and I have taken that and referred many patients to him because I know the care and integrity I received will be given to everyone I recommend. It is a wonderful office and I am happy to be back again with my son now starting his care.
I can't say enough about Dr. Leiss and his team. I was very apprehensive starting adult orthodontia, I didn't think it would work but it did!!! Every step of the process was explained before and during the process. The team is incredible! They are patient, gentle, understanding and highly skilled. Dr. Leiss not only does excellent work but the work plan makes sense and the results show it. If you are contemplating orthodontia, I highly recommend a consult with Dr. Leiss and his team; you won't be sorry. Finally, don't worry if you are an adult, you will be pleasantly surprised to see that you won't be the oldest kid in the office; there are plenty of adults in Dr. Leiss' practice.
Excellent practice, friendly, efficient, a warm environment!
Love the staff and love Dr. Leiss....my daughter is finishing up her final months with her braces and my son is next! Highly recommend this caring and professional group!
The cleanest, friendliest and most amazing orthodonist office ever! Dr. Leiss is the best I've ever seen!
Dr. Leiss is excellent. His staff is very knowledgable, friendly, and caring.
Love Dr. Leiss & great results at great price!
FABULOUS ORTHODONTIST!! I cannot say enough how wonderful Dr. Leiss and his staff have been! I currently have two children in braces, with a third coming up soon. His front desk staff always take into consideration the scheduling of both children together and try to make most appointments after school. If it is necessary to bring them in during school, they make it convenient for both my middle schooler and elementary schooler. As for his assistants, they are so nice to each of the children. They thoroughly explain what they are going to do beforehand so the kids know what to expect. Afterwards they always walk out to the waiting area and explain what was done to me and how each child is to maintain their braces. They consistently remind the kids that they will be sore for a few days afterwards, but it should subside quickly. As for Dr. Leiss, he is a wonderful, gentle man whose main concern at the time is my child. His office is set up so that he is able to oversee each assistant as they are working on a patient. He is only a moment away if needed, and he always stops to see each patient. He knows every patient and parent by name, and by the number of signatures on the walls (whenever the child gets their braces off, they get to write their name on the wall), he has many satisfied patients!! We travel from Coatesville, along with 6 or 8 other families in our elementary school that I know, just for the benefit of seeing Dr. Leiss.
This team has taken excellent care of my son for the last 18 months. They have a very friendly and professional staff and genuinely care about their patients. They have my recommendation!


The NHL also has to worry about the administrative and logistical challenge of handling the public health of multiple sports leagues, as demonstrated by the 2017 outbreak starting in October 2016 when three members of the New Jersey Devils' minor league affiliate (AHL) in Albany, New York contracted the illness. When players are traded to other teams, or players are called up for a game and sent back down, they may carry bacteria from their previous environment.
The fact that the players diagnosed with the mumps in 2014 and 2017 were born in four different countries (Finland, Sweden, Canada, and the United States) speaks to the internationalization of the NHL and also the complex challenge it presents from a public health perspective. These players, given their varied childhood environments, may have received anywhere from 0 – 3 doses of a mumps-containing vaccine as different countries have varying requirements on mandating it.
However, how do we ensure players have "true" autonomy? Educating players is a fine balance between explaining the risks to them of not being vaccinated, and ensuring that they are not coerced into getting the vaccination, fearing reprisals from management or lost games (which could severely impact their career prospects, especially marginal/bubble players).
For owners, this becomes trickier. With players both being raised in and playing in leagues throughout the world, owners have to consider whether they want the same standard being applied across the board. For those who play in international competitions or are signed/drafted from international leagues, should they be encouraged to get their immunity checked as part of their physical evaluation? For owners, preventing their players from missing time, especially their star players, is a priority (as is evident from their hesitation to bring players to the Olympics). However, they may be reticent to encourage players to get vaccinated, risking repercussions from both the public and the players association.
The final angle is that of the league. While on some level this is synonymous with the owners, any change would have to be league-wide in order to ensure consistency and effective herd immunity among all players. The league has made changes that respect autonomy but also protect players, with issues such as visors being mandatory for newer players, but not for existing players, as well as the concussion protocol. While some may argue these do not go far enough, they show the league is willing and able to take action. After losing high profile players to (preventable) diseases, can the league afford to not take a stand?


^ Perez, Rodrigo (October 29, 2015). "Exclusive: All-Female 'Ocean's Eleven' In The Works Starring Sandra Bullock, With Gary Ross Directing". The Playlist.
^ Sullivan, Kevin P. (October 30, 2015). "Sandra Bullock will lead an all-female Ocean's Eleven reboot". Entertainment Weekly.
^ a b Michael Fleming (September 11, 2000). "Inside Move: Strikes cause A-list shuffles". Variety. Retrieved March 16, 2015.
^ "Ocean's Eleven". Rotten Tomatoes. Retrieved February 7, 2008.
^ "Ocean's Eleven Reviews". Metacritic. Retrieved January 10, 2014.
^ Leah Rozen (December 10, 2001). "Picks & Pans: Screen". People: 56.
^ "Best of Screen". People: 56. December 31, 2001.
^ David Ansen (December 17, 2001). "Boys Just Wanna Have Fun". Newsweek: 138.
This page was last edited on 15 April 2019, at 20:00 (UTC).


text:
Barbara Nesbitt
Barbara Nesbitt - Old Devils Can Die
Barbara Nesbitt, Americana/Country-Folk singer-songwriter out of Austin Texas, has just released her fourth solo effort, Right As Rain, and is striking out across the US to support it. Her voice and songwriting have placed her in the top 5 Best Female Singer and in the top 3 Best Songwriter categories in the Austin Music Awards and her new release is in rotation on SiriusXM Radio. She was also nominated for Best Album and Best Americana in the San Diego Music Awards. She co-founded the breakout band, The Whiskey Sisters, to much buzz and acclaim in Austin and has recently sung background vocals for Willie Nelson and Bob Weir. She will be an Official Showcasing Artist at SXSW 2018 before heading off for a European tour. With a voice that is at once plaintive and strong, warm and clear, her songs take you on a journey reflective of her life which will make you laugh, cry, think and feel.
Artist is seeking the following professional connections: Label, Management, Booking Agent - US, Booking Agent - UK/Europe, Booking Agent - Worldwide, PR/Publicity Agency, Publishing
Genre: Americana
Subgenre: Country
From: Austin, TX
Events featuring Barbara Nesbitt
Barbara Nesbitt at 18th Over Austin at Hilton Garden Inn

redpajama_set_name: RedPajamaCommonCrawl


Stranger Things 2 might have dropped last year but some scenes from show have stayed with us like they happened yesterday. Who can forget the father & son bonding between Steve and Dustin, or Mike and Eleven's emotional reunion in the final episode? Honestly we're crying in the club just thinking about it.
But if there's one moment that's lingered in our minds the most, it has to be THAT dance scene with Police Chief Hooper and Eleven.
If you cast your minds back, in the third episode of ST2, "The Pollywog", Hopper's puts on his best dad dancing moves when he puts on a record for Eleven while they're tidying up the cabin. It inspired a million edits with people inserting different tracks in the background for Hooper to dance to. Truly, a meme for the ages (watch above).
Well, that scene almost didn't happen as it was completely improvised by David Harbour. In an interview with Vulture, he reveals how it went down.
"I didn't realise the me dancing thing would have as much of an impact as it did on the internet", he jokes.
"As we were shooting it, I said to Shawn [Levy - Stranger Things executive producer] 'I think I've got to dance around a little bit'. He was like 'I don't know about that'.
"We did it, it was kinda funny and I was like that will probably end up on the cutting room floor. Then I think Shawn saw it and really liked it so he put it in there."
"It's a fun moment and I do like these moments where we get to expand this guy because one of the things I like is that he's this dark guy, especially in the first season. So these moments that we get to expand him and see this person his was before when he was a father to a daughter that died, to see that man come to life again is very gratifying."
That GOD they kept it in. Let's hope we get more dad dancing from David Harbour in season three.


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December 5, 2018 December 6, 2018 Gronda Morin
How Russia Has Been Running The USA, GOP Lawmakers With Help From Donors On A Daily Basis
The three entities of Russia, GOP Lawmakers, Corporate Donors have been unwittingly conspiring to destroy this great US democracy which until recently, was that shining light on a hill, a country that others looked up to as a beacon for good. This week of December 3, 2018, the passing of a true leader President H.W. Bush, has reminded most Americans of past better times.
We the people already know that the republican President Donald Trump has covered up his financial ties to countries like Russia because of his personal goal to eliminate the 2014 and other US sanctions against Russia because of its 2014 unprovoked invasion into Ukraine and its illegal annexation of Crimea. Before the president's dream of a Moscow Trump Towers was shut down around June 2016, the president had needed financing for this Moscow project from the US sanctioned bank VTB.
PRESIDENT TRUMP WITH RUSSIAN OFFICIALS AT WHITE HOUSE
In addition, we all have learned that the president and his National Security Adviser General Flynn had been working to end these US sanctions against Russia even before they were transitioned into the White House. Many of us have long suspected that our president had cut a deal with Russian top officials including President Vladimir Putin to work at eliminating the US sanctions against Russia in exchange for Russia helping him to win the White House.
The president's actions had become so obvious to where even the GOP lawmakers in the US Congress took steps to block his efforts.
In August 2017, on a bipartisan basis the US Congressional republicans and democrats overwhelmingly passed a veto proof bill barring the president from arbitrarily lifting any US sanctions imposed against Russia from 2012-2017 without congressional review.
Now think of what Russia's reaction would have been, to know they delivered the goods they promised to President Trump but that the US president had reneged on his part of the bargain. Do the recalcitrant republicans in the US Congress who have refused to be a check on this president think for even one second, that Russia's President Vladimir Putin decided to just walk away from a deal gone bad or was he going to demand his pound of flesh?
President Putin had to be livid to where he felt emboldened to make demands. So every time we saw President Trump dish our NATO members; make unreasonable demands regarding tariffs against our neighbors and allies, withdraw from long held agreements, it could be said that President Trump was fulfilling Russia's objectives. In short, Russia could not have succeeded in putting a wedge between the US and our allies and neighbors of 70 plus years without the help of our US president.
Everyone has been a witness as to how effectively the president has managed to sow division among the American peoples as he attacked the long held pillars of our US democracy, like 'freedom of the press,' the rule of law, the integrity of the US voting infrastructure, our respect for truth and decency. It can be said that the president has been following the orders of Russia's President Putin along with the assist from his GOP cronies in the US Congress, magnificently.
The US Corporate donors who helped catapult President Trump into the White House are also complicit in his duplicity. But they didn't care about his lack of character and decency as long as he delivered on huge corporate tax cuts and an unraveling of past governmental regulations. The Evangelicals didn't care as long as the president ensconced conservative anti-abortion justices on the US Supreme Court. The racists, anti-immigration faction of the the president's base are okay with him selling out our country.
GOP US HOUSE LEADERS KEVIN MCCARTHY AND PAUL D. RYAN
All of us have been in shock over observing how complicit the GOP congress legislators and other leaders have been with delivering on Russia's goals just because they have been too cowardly to confront their standard bearer.
When President Trump embarrassed most of us who watched him acquiesce to President Putin at the July 2018 Trump-Russia Helsinki Summit, the GOP lawmakers still continued to carry his water and to cover for him.
For example, a couple of GOP leaders pontificated as to how President Trump has been tough on Russia by the placement of additional sanctions against Russia when Russia assassinated ex-pats living in the UK.
It turns out that the president did take a tough stand by kicking out 60 Russian diplomats but that was only because he made a mistake. There is ample credible reporting that the president could be heard screaming and cursing his advisers when he found out that he had expelled more Russian diplomats (60) from the US than our foreign counterparts. It turns out that the president's advisers had been granted the okay to match the numbers of diplomats being expelled from the European counties. In total the European Union (EU) had expelled 60 Russian delegates from their countries but the numbers for each country was only a fraction. The president had wanted to match the number of expelled diplomats of an individual European country.
In addition, as per a March 31, 2018 Business Insider report, "A State Department official confirmed to Business Insider that the White House's diplomatic expulsion will not require Russia to reduce its staffing levels in the US, and vice versa. In other words, the 60 diplomats who were kicked out — many of whom were undercover intelligence operatives— can be replaced by others."
See USA Today report.
Then the president backed out of his previously agreed upon sanctions to be announced on April 16, 2018, leaving the US Ambassador Nikki Haley with egg on her face, with his odd comment that he didn't want to antagonize Russia because its officials never mounted a military response to the US bombing along with the UK and France of chemical weaponry manufacturing sites in Syria.
According to the the New York Times, Donald Trump "grew angry" watching Ambassador Haley make the announcement on TV, suggesting that "he had decided no such thing." What happened next exposes both the crisis of communication within the White House and the administration's eagerness to throw Haley under the bus.
As per a 4/17/18 Quartz report, "In an effort to fix the situation, and hopefully hide the evidence that no one in the Trump administration knows what's going on, the White House resorted to a classic move: Blame the mistake on the woman involved."
"Haley "got ahead of the curve," the president's economics advisor Larry Kudlow told reporters at Mar-a-Lago on Monday. "She's done a great job. She's a very effective ambassador, but there might have been some momentary confusion about that."
"The ambassador, who is in the tricky position of attempting to conduct international relations and maintain credibility despite Trump's mercurial approach to politics, stood her ground."
"With all due respect, I don't get confused," she said Tuesday, speaking with Fox News host Dana Perino."
NIKKI HALEY/ LARRY KUDLOW
It appears that the only person who was not confused regarding President Trump and his raging mercurial hormonal attitudes towards his dealing with Russia was the US United Nations Ambassador Nikki Haley. I had wondered at this point, how she was going to manage her exit from Putin entourage working in the White House.
That moment in time hearkens to today's times. It took the CIA Director Gina Haspel to have the courage to tell a select group US congressional lawmakers the truth about the Saudi Arabian Crown Prince Mohammed bin Salman (MBS) having ordered the murder of a US resident and Washington Post journalist Jamal Khashoggi in a Saudi embassy in Turkey, while the Secretary of State Mike Pompeo and the Defense Secretary General James Mattis had continued to follow the president's lead of denying this reality because he wants to continue to do business with MBS.
CIA Director Gina Haspel
Defense Secretary James Mattis
Larry Kudlow
President Vladimir Putin
Saudi crown prince Mohammed bin Salman
U.S. Secretary of State Mike Pompeo
US United Nations Ambassador Nikki Haley
Previous Democrats, Give The President His Damn Wall But For A Price/ Comprehensive Immigration Bill
Next WOW! China's CFO And Daughter Of Founder Of Its Largest Telecom Corp., Arrested
The tipping point will be when he starts blaming all about him for misleading him on Russia and Putin….
The US president is an idiot savant when it comes to blaming others for his sins and because he frequently surrounds himself with others lacking in expertise, he can get away with his pointing his finger at others for his messes with some success.
Oh, not just me then.
You have an idiot in the Whitehouse
And we have Brexit….
Give yourself a break and a good laugh and read the latest up-date on the mess, at 5pm GMT, the situation is somewhat chaotic.
Not quite on a Trump scale, but nevertheless…..
Good post, Gronda. Unfortunately, Trump didn't create the swamp of corruption in Washington – it is the natural and necessary result of an electoral system (common to most democracies) that allows obscene amounts of money to be raised and spent on individual campaigns. The only contrast between the current situation and the days of George Bush 41 is the absence of moral values and respect for the rule of law among many in Congress and in the White House. The removal of those people will not drain the swamp, just change the flavour. Elected politicians will still be beholding to campaign contributors. Our democratic countries must face that reality and restructure the electoral process to minimize the swamp. No easy task – but survival is never easy.
The democratic leaders have seen what happened to the Republican Party lawmakers who have become hostage because they are so addicted and beholden to big money/ donor interests to where they recognize the dire need to fix this problem.
The big problem is that corporations can donate monies anonymously. There will be a push to at least to put shine a light on who these folks are. If voters know the identity of these donors, then they can act.
Frankly, there is a need for a voting rights act. We have so much work to do.


text:
Hard Science Ain't Hard
Hard science ain't hard, it just takes a little thinkin'
Tag: General Relativity
What Time Is It on Mars?
On February 11, 2019 February 7, 2019 By rolcottIn Foundations of Measurement, Relativity, Sy Moire stories, Uncategorized2 Comments
I'm puffing a little after hiking up a dozen flights of stairs. That whole bank of Acme Building elevators is closed off while the repair crew tries to free up the one that trapped us. The crowd waiting for the other bank is forgetaboutit. I unlock my office door and there's Vinnie, tinkering with the thermostat. "Geez, Sy, it's almost as cold in here as it is out in the hall. Hey, ya think there's anything to the rumor that building management is gonna rent out that elevator as office space? And how does time work on Mars?"
"Morning, Vinnie. You're right, I don't think so, and where'd that last question come from?"
"I been thinking about those ultra-accurate clocks and how they'd play into that relativity stuff we talked about with Ramona." <short lull in the conversation as we both consider Ramona> "Suppose there's one of those clocks in a satellite going around Earth. If I remember right, it's going ZIP around the planet so its clock ought to run faster than my wristwatch, but it's further out of Earth's gravity well so its clock ought to run slower. Which would win?"
"You remembered right — you've got Special Relativity and General Relativity in a couple of nutshells, and yes, they sometimes work in opposite directions. You have to look at the numbers. Give me a sec to work up a few examples on Old Reliable… OK, let's start with the speed part. That's Special Relativity because they both start with 'SP'."
"I thought so. OK, here's a handful of locations and their associated straight-line speeds relative to some star far away. That last column shows a difference factor for a clock at each location compared to a far-away motionless clock in a zero gravitational field. Multiply the factor by 86,400 seconds per day to get the time difference per day. The fastest thing on the list is that spacecraft we're sending to the Sun by way of some slingshot maneuvers around Venus to speed it up. The Special Relativity difference comes to less than two nanoseconds per day. That's barely in the range we can detect. It's way less for everyplace else. "
"Hey, Mars is down at the bottom. Lemme think why… OK, slower rotation than Earth's, AND smaller radius so you don't move as far for the same degrees of spin, so the formula barely subtracts anything from 1.0, right?"
"Yup, the slower you go compared to lightspeed the smaller the time adjustment. The difference between unity and the ratio for a point on Mars' surface is so small that Old Reliable suffered a floating-point underflow trying to calculate it. That's hard to make it do. Bottom line, the SR effect doesn't really kick in unless you're going faster than practically everything larger than an atom."
"So how about the gravity wells? I'll bet the deeper the well, the more time gets stretched."
"Good bet. The well gets deeper as the attracting mass increases. But your clock feels less of a squeeze if it's further away. The net effect is controlled by the mass-to-distance ratio inside that square root. Worst case in this table is at the top. A clock embedded in the Sun's photosphere loses 0.00212*(86400 sec/day)=183 seconds compared to a far-away motionless clock in free-fall. We here on Earth lose 912 milliseconds a day total, but the astronauts on the ISS lose about 3 milliseconds less than we do because they're further away from Earth's center."
"Yeah, I read about those twin astronauts. The one flying on the ISS didn't get older as fast as the one that stayed on Earth."
"About a second's-worth over a year. So, do you have your relativity and Mars-time answer?"
"Sorta. But what time is it up there right now?"
"Hey, Mars is a whole world and has different times at different places just like Earth does. Wherever you are on Mars, 'noon' is when the Sun is overhead. Mars spins about 3% slower than Earth does — noon-to-noon there is Earth's 24 hours plus 37 minutes and change. Add in the net 340-millisecond relativistic daily drift away from Earth time. No way can you sync up Earth and Mars times."
"Nothin's simple, huh?"
~~ Rich Olcott
Gravity from Another Perspective
On January 15, 2018 January 15, 2018 By rolcottIn Black Holes, Relativity, Sy Moire stories, UncategorizedLeave a comment
"OK, we're looking at that robot next to the black hole and he looks smaller to us because of space compression down there. I get that. But when the robot looks back at us do we look bigger?"
We're walking off a couple of Eddie's large pizzas. "Sorry, Mr Feder, it's not that simple. Multiple effects are in play but only two are magnifiers."
"What isn't?"
"Perspective for one. That works the same in both directions — the image of an object shrinks in direct proportion to how far away it is. Relativity has nothing to do with that principle."
"That makes sense, but we're talking black holes. What does relativity do?"
"Several things, but it's complicated."
"Of course it is."
"OK, you know the difference between General and Special Relativity?"
"Yeah, right, we learned that in kindergarten. C'mon."
"Well, the short story is that General Relativity effects depend on where you are and Special Relativity effects depend on how fast you're going. GR says that the scale of space is compressed near a massive object. That's the effect that makes our survey robot appear to shrink as it approaches a black hole. GR leaves the scale of our space larger than the robot's. Robot looks back at us, factors out the effect of perspective, and reports that we appear to have grown. But there's the color thing, too."
"Color thing?"
"Think about two photons, say 700-nanometer red light, emitted by some star on the other side of our black hole. One photon slides past it. We detect that one as red light. The other photon hits our robot's photosensor down in the gravity well. What color does the robot see?"
"It's not red, 'cause otherwise you wouldn't've asked me the question."
"Robot's down there where space is compressed… Does the lightwave get compressed, too?"
"Yup. It's called gravitational blue shift. Like anything else, a photon heading towards a massive object loses gravitational potential energy. Rocks and such make up for that loss by speeding up and gaining kinetic energy. Light's already at the speed limit so to keep the accounts balanced the photon's own energy increases — its wavelength gets shorter and the color shifts blue-ward. Depending on where the robot is, that once-red photon could look green or blue or even X-ray-colored."
"So the robot sees us bigger and blue-ish like." "But GR's not the only player. Special Relativity's in there, too."
"Maybe our robot's standing still."
"Can't, once it gets close enough. Inside about 1½ diameters there's no stable orbit around the black hole, and of course inside the event horizon anything not disintegrated will be irresistibly drawn inward at ever-increasing velocity. Sooner or later, our poor robot is going to be moving at near lightspeed."
"Which is when Special Relativity gets into the game?"
"Mm-hm. Suppose we've sent in a whole parade of robots and somehow they maintain position in an arc so that they're all in view of the lead robot. The leader, we'll call it RP-73, is deepest in the gravity well and falling just shy of lightspeed. Gravity's weaker further out — trailing followers fall slower. When RP-73 looks back, what will it see?"
"Leaving aside the perspective and GR effects? I dunno, you tell me."
"Well, we've got another flavor of red-shift/blue-shift. Speedy RP-73 records a stretched-out version of lightwaves coming from its slower-falling followers, so so it sees their colors shifted towards the red, just the opposite of the GR effect. Then there's dimming — the robots in the back are sending out n photons per second but because of the speed difference, their arrival rate at RP-73 is lower. But the most interesting effect is relativistic aberration."
"OK, I'll bite."
"Start off by having RP-73 look forward. Going super-fast, it intercepts more oncoming photons than it would standing still."
"Bet they look blue to it, and really bright."
"Right on. In fact, its whole field of view contracts towards its line of flight. The angular distortion continues all the way around. Rearward objects appear to swell."
"So yeah, we'd look bigger."
"And redder. If RP-73 is falling fast enough."
Thanks to Timothy Heyer for the question that inspired this post.
Questions, Meta-questions and Answers
On April 10, 2017 May 20, 2017 By rolcottIn Black Holes, Relativity, Sy Moire stories, Uncategorized2 Comments
<We rejoin Sy and Vinnie in the library stacks…> "Are you boys discussing me?"
<unison> "Oh, hi, Ramona."
"Actually no, Ramona, we were discussing relativistic time dilation."
"I know that, Sy, I've been reading your posts. Now I've got a question."
"But how…? Never mind. Guess I'd better watch my writing. What can I do for you?"
"You and Vinnie have been going on about kinetic time dilation and gravitational time dilation like they're two separate things, right?"
"That's how we've treated them, right, but the textbooks do the same. The velocity-dependent time-stretch equation, tslow/tfast = √[1-(v²/c²)], comes out of Einstein's Special Theory of Relativity. The gravity-dependent equation, tslow/tfast = √[1-(2G·M/r·c²)], came from his General Theory of Relativity."
"But there's no rule that says an object can't be moving rapidly while it's in a gravitational field, is there? That Endurance spacecraft orbiting the black hole in the Interstellar movie certainly seemed to be in that situation."
"No question, Ramona. General Relativity's just more, er, general."
"Fine, but shouldn't they work together?"
That got Vinnie started. "Yeah, Sy, I started this with LIGO and gravity but you and those space shuttles got me into this speed thing. How do you bridge 'em?"
"Not easily. Einstein set the rules of the game when he wrote down his fundamental equations. Physicists and mathematicians have been trying to solve them ever since. Schwarzchild found the first solution within a year after the equations hit the streets, but he did the simplest possible system — a non-rotating spherical object with no electrical charge and alone in the Universe. It took another half-century before Kerr and friends figured out how to handle rotating spheres with an electric charge, but even those objects are assumed to be isolated from all other masses. Mm … how do you figure velocity, Vinnie?"
"Distance divided by time, easy."
"Not quite that easy. The equations say that if you're close to a massive object, space gets compressed, time gets stretched, and the time and space dimensions get scrambled. Literally. Time near a Schwarzchild object points inward as you approach the sphere's center, and don't ask me how to visualize that. A Kerr object has a belt around its equator where time runs backwards. Craziness."
"Well, how about if I'm not that close?"
"That's easier to answer, Ramona. Suppose the three of us are each flying at safe distances from some heavy object with mass M. I'm farthest away so I'm holding the fastest clock. We'll compare Vinnie's and your clocks to mine. OK?"
"Fine. Now, Vinnie, you're closer in, resting on the direct line between me and the object. You're at distance r from it. How fast does your clock run?"
"Uhhh… We're both on that same radial line so we're in the same inertial frame, no kinetic effect. I suppose you see it ticking slower because of the gravitational effect."
"M-hm, and my clock ticks how often between ticks of yours?"
"You want the equation, huh? All right, it's tvinnie/tsy = √[1-(2G·M/r·c²)]."
"You're reading my mind with those subscripts. Now, Ramona, you're at that same distance from the object but you're in orbit around it. Measured against Vinnie's position you've got velocity v. How fast is his clock ticking compared to yours?"
"Mmm… We're at the same level in the gravity field, so the gravitational thing makes no difference. So … tramona/tvinnie = √[1-(v²/c²)]. Aaand, he'd see my clock running slow by the same amount. That's weird."
"Weird but true. Last step — Ramona, you're deeper in the gravitational field and you're speeding away from me, so tramona/tsy=(tramona/tvinnie)*(tvinnie/tsy)=√[1-(2G·M/r·c²)]*√[1-(v²/c²)] covers both."
"OK, that's settled. Back to Vinnie's original question. LIGOs are set in concrete, their velocities are zero so LIGO signals are all about gravity, right?"
Ramona links arms with him. "Let's go dancing." Then she gives me the eye. "Sugarlumps, Sy? Really?"
On the 12th floor of the Acme Building, high above the city, one man still tries to answer the Universe's persistent questions — Sy Moire, Physics Eye.
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LAPONITE® XLG – A natural clay that helps create the thickness of the gel.
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«Неуправля́емая» () — мексиканский политическо-драматический телесериал с Кейт дель Кастильо в главной роли. Премьера сериала состоялась на Netflix 24 марта 2017 года.

В апреле 2017 года Netflix заказал второй сезон с датой премьеры в 2018 году.

Сюжет
Первая леди Мексики Эмилия Уркиса (Кейт дель Кастильо), которая привержена делу борьбы за мир, имеет большие планы по улучшению условий жизни в страны. Эмилия постепенно начинает терять веру в своего мужа, президента Диего Нава (Эрик Айсер), который находится на перепутье и должен найти способ справиться с большим вызовом и докопаться до истины.

В ролях
 Кейт дель Кастильо — Эмилия Уркиса, первая леди Мексики
 Эрендира Ибарра — Анна Варгас-Уэст, начальник штаба канцелярии президента и агент ЦРУ
 Альберто Герра — Канек Лагос
 Эрик Айсер — Диего Нава Мартинес, президент Мексики
 Луис Альберто Романо — Пите Васкес, агент ЦРУ
 Альваро Герреро — Хосе Баркет, секретарь внутренних дел

Примечания

Ссылки
 Официальный сайт

Телесериалы Мексики 2017 года
Драматические телесериалы Мексики
Телесериалы на испанском языке
Оригинальные программы Netflix

redpajama_set_name: RedPajamaWikipedia


Digital design agency based in London.
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Against 'norm circles'
Dave Elder-Vass (2010: 122) argues that normativity should be understood as a result of 'norm circles' which "have emergent causal powers to influence their members, by virtue of the ways in which those members interact in them". These powers are founded on the commitment which members of the circle have to endorse and enforce practices which are congruent with the norm in question. Such a circle is centred around the collective intention which members have to support the norm and the individual behaviours which flow from this intention:
'They may support the norm by advocating the practice, by praising or rewarding those who enact it, by criticizing or punishing those who fail to enact it, or even just by ostentatiously enacting it themselves. The consequence of such endorsement and enforcement is that the members of the circle know they face a systematic incentive to enact the practice.' (Elder-Vass 2010: 124).
The relations between members of norm circles 'provide a generative mechanism that gives the norm circle an emergent property or causal power: the tendency to increase conformity by its members to the norm' (Elder-Vass 2010: 124). The advantage of this account is that the extensive causal powers which tend to be attributed in a nebulous manner to 'social normativity' are instead unpacked as the causal powers of specific groups, which is of particular importance for research which seeks to work at the biographical level without being restricted to it. However it also poses problems, particularly because Elder-Vass does not, ultimately, take reflexivity very seriously.
This aspect of Elder-Vass's approach to social ontology may be have been congruent with stably reproductive morphostatic societies but much less so in the chronically transformative setting of an increasingly morphogenetic society. It is in the transition from the former to the latter that the relative analytical significance of the synchronic and the diachronic shifts. Elder-Vass's method for social ontology, in spite of its invocation of morphogenetic causes (bringing types of entities into existence) and morphostatic causes (sustaining the existence of entities), in practice privileges a synchronic frame of analysis (Elder-Vass 2007b, Elder-Vass 2010). This leaves it with much to say about the designation of norm circles, albeit with inherent difficulties pertaining to its operationalization (Archer and Elder-Vass 2011: 110), however much less about their explanation. It seeks to "explain how normative influences contribute to the production of social actions" (Elder-Vass 2012: 7) however it can only explain norm behaviour in terms of the norm circle. At the level of the individual "repeated exposure of individuals to acts of endorsement and enforcement" (Archer-Vass 2012: 7) of a given norm is generative of a disposition which "encourages the enactment of the practice concerned" (Elder-Vass 2007c: 9). Through life experience we gain a feel for the normative environment, an awareness of the benefits and sanctions attached to particular courses of action by the wider patterns of normative behaviour which characterise our social circumstances. Elder-Vass (2010) attempts to circumnavigate the obviously hydraulic understanding of causality this would lead to by introducing the attribute of intersectionality. Given the normative heterogeneity evident in contemporary society, every individual is embroiled in a whole array of intersecting norm circles such that they must 'sometimes negotiate a path that balances normative commitments that are in tension with each other' (Elder-Vass 2010: 143). However it is less clear how individuals might negotiate such a path because endorsement and enforcement are too tightly cleaved together: on what basis do individuals choose which sanctions to confront and which sanctions to avoid when deciding on a course of action which involves choosing between competing norms? Elder-Vass leaves us with a picture of a society characterised by the ubiquity of peer-pressure without a parallel picture of how the individual peers come to collectively exert specific pressures in ways which may indeed then exercise the collective power he argues for:
"To be more specific: our social experience affects our dispositions and beliefs by prompting processes that alter our neurological structure. The consequence is that we act differently, having been influenced socially, but still on the basis of causal mechanisms that are rooted in our physical composition." (Elder-Vass 2007: 8)
However the addition of the diachronic frame of reference transforms the significance of this mechanism. Unlike Elder-Vass's account, which only admits reflexivity when it is necessary to adjudicate between the demands of competing norm circles, it now becomes possible to explore the ideational dimensions of cultural life and, through doing so, 'flesh out' the relationality of the norm circle. Without this the theory is oddly sterile in its vocabulary of affect: the individual must have a "sense, however vague and minimal, that she is acting of behalf of something wider than herself when acting in support in a norm." (Elder-Vass 2012: 7) Thus the emergence of the norm circle depends on its apprehension, however vaguely, by subjects of its existence when acting in ways congruent with it. But it is difficult to see how this could be presupposed when the emergent powers of past norm circles (via a neurophysiological mechanism) are also the reason for present normative behaviour. Elder-Vass's intentional language of groups 'committed' to endorsing and enforcing a given norm sits uneasily with his minimalistic theory of how such commitments emerge. The norm circle simultaneously asks too much of subjects yet offers too little to explain what they do. It systematically obscures the causal factors underlying independent variability in norm behaviour, such as the role played by emergent goods and evils in relations (Archer 2012, Donati 2011b) or the norms internal to practice (MacIntyre 1981, Sayer 1999: 63). In essence Elder-Vass offers a social theory of normative behaviour rather than a theory of normativity as such (Turner 2010). He recognises in principle that norm circles may be internally differentiated, in that norm behaviour may be anywhere from self-serving or prudential to committed and moral, however he offers nothing which aids us in the explanation of such internal differentiation. It presumably has its own history of emergence but, on Elder-Vass's account, it is relegated to the status of a product of past experiences with norm circles and/or the reflexive deliberation that was required to negotiate between the demands of competing norm circles. Reflexivity is introduced solely at points where normative intersectionality interrupts what is otherwise a quasi-automatic process. His account successfully captures an important aspect of our moral experience, namely the manner in which exposure to 'mixed messages' invites reflexive deliberation, but it does so at the cost of emptying out moral experience. Our deliberations about moral matters don't neatly start with the moment of choice and stop afterwards it. In essence Elder-Vass construes moral experience as existing solely in the gaps left by the reproduction of social structure (particularly those elements, norm circles, which shape action) and, in doing so, the intrapersonal dimension of normativity (i.e. moral agency) is thus implied to be exhausted by its interpersonal dimension in a manner which eviscerates the importance of what we care about (Archer 2000, Frankfurt 1998, Taylor 1985a, 1995b).
Once we recognise that each has relative autonomy, we can see that endorsement and enforcement is not the synonymous matter Elder-Vass takes it to be. Why people come to endorse norms (ideationally) and when/how they enforce those norms (relationally) are distinguishable questions. There is a gap between what we endorse, encompassing both the reflective and the habitual, and what we enforce, shaped by the particular relational configurations within which different practitioners of reflexivity find themselves entwined and their ensuing orientations towards interlocutors and acquaintances within these webs. Conversely, our reflective responses to the endorsement and enforcement of norms, as well as the degree to which we are situationally subject to their causal powers, varies across different practices of reflexivity. For instance if a subject relies on interlocutors to sustain and confirm reflexive deliberations, it leaves them open to conversational censure in a way in which strong practitioners of autonomous reflexives and meta-reflexives are not. If their interlocutor objects, mocks or fails to understand what they are saying then the possibility of reaching a conclusion, at least in that instance, is foreclosed; this need for conversational confirmation leads individuals to keep their deliberations in conformity with the conventions of the local context. Their internal deliberations are often restricted to gut reactions which are subsequently raised in dialogue with others, rather than coming to provisional conclusions which might later be 'shot down' by others. The reflexive deliberations of the communicative reflexive are constrained by the transactional dynamics of the dialogues through which they are enacted. As Archer describes the consequences:
"What the practice of communicative reflexivity does it to privilege the public over the private, shared experience over lone experiences, third-person knowledge over first-person knowledge. Through the tendency for every issues to be reduced to the experiential common denominators of its discussants, communicative reflexivity is inhospitable to the innovative, the imaginative or the idiosyncratic. In short, the speculative realm is severely truncated in favour of common sense, common experience and common knowledge." (Archer 2007: 273).
While conversely, practitioners of other modes of reflexivity are subject to transactional dynamics of dialogues but not constrained by them because of their distinct characteristics as subjects. The relationality of what Elder-Vass terms a norm circle is more complex than his ontological commitments allow him to recognise (Archer and Elder-Vass 2012). Nonetheless I propose to reformulate the notion in a minimal form as that of a 'norm group', such as to understand it as the meso level manifestation of high socio–cultural integration within specific interational contexts: if norm behaviour is convergent towards end X in social milieu Y then it will exercise a generative power of constraint and enablement in relation to agential projects which are complementary or contradictory to that end within that setting. 'Peer pressure' and the situational tendency it generates towards sanction or support constitutes the 'ambient axiology' which characterises any given milieu: the fact this is a setting in which there is convergence towards X is irreducible to the fact of there being individuals whose behaviour underlies this convergence i.e. that I might know that there are different personal reasons for individuals endorsing a certain behaviour does not change the fact that there is nonetheless a convergence in enforcement. Furthermore, relations of complementarity and contradiction obtain between norm groups in a manner which is not reducible to the individual members e.g. political disputes between groups do not go away simply because some of the members of the two groups might be friends. To suggest that norm groups play a causal role does not imply that this is taken to be the only or even a major factor in bringing out behavioural convergences. But it is nonetheless to assert the causal efficacy of convergent norm behaviour.
However to argue that norm groups do anything other than increase 'peer pressure', raising expectations of the social sanction likely attached to particular actions within a specific milieu, leaves the concept doing too much explanatory work. Most strikingly, it is unable to explain in its own terms how endorsement and enforcement might be independently variable. Understanding norm groups as complex assemblages of relational configurations, such that internal goods motivate consistent norm behaviour and participation in the norm group can independently strengthen the convergence which emerge from these goods, goes some way to understanding how this might be so. However to understand this fully we need to distinguish normativity in its interpersonal dimensions and its intrapersonal dimensions: the former refers to causal relations between people encountered in a relational setting and the latter refers to the logical relations between normative proposition grappled with in internal dialogue. In doing we are able to unpack the internal dynamics of the norm group: not least of all the question of how a divergently understood norm can nonetheless be convergently enforced by a given group (Holmwood and Kemp 2012).
Interpersonal normativity has, of course, an influence at the intrapersonal level but 'norm groups', so defined, are only one mechanism through which this happens: how causal relationships at the socio-cultural level are mediated to the personal level. Another is Sayer's (2011) argument regarding character, which is seen to be profoundly shaped by the normative environment we encounter in everyday life. Norm groups shape the balance of potential inducements and sanctions which obtain relationally in a given setting, our character shapes how we have come to habitually orientate ourselves to them vis-a-vis our own reflexively defined concerns and commitments in any particular instance: it is shaped by the ambient axiology of past settings but in a manner which is mediated by the choices such settings have posed and how we have reflexively negotiated them. What is missing here is an account of the independent variance of ideas, as well as how this can shape individual psychobiographies on the one hand and the norm groups which emerge from a collection of individual psychobiographies generating a convergence in norm behaviour at the other. Without this, normativity becomes mysterious and our attempts to define it become circular: it is a matter of ideas, as well as power.
elder-vass, norm circles, normativity, Uncategorized


WARSAW, Poland — Meet the mascots for Euro 2012: identical twin brothers in the soccer uniforms of Poland and Ukraine, with shocks of hair in the colours of their nations' flags.
Twin brothers in soccer dresses, one in Ukraine's blue and yellow colors, one in Poland's white and red, are presented in Warsaw, Poland, Tuesday, Nov.16, 2010 as the mascot of the Euro 2012 championships that will be jointly hosted by the two neighboring nations.
UEFA presented the mascots on Tuesday but is still seeking names for the twins. It is inviting the public to submit suggestions — names will be chosen by Dec. 15.
One of the grinning mascots is decked out in Poland's red and white national colours and the other in Ukraine's blue and yellow.
Four cities in Poland and four in Ukraine are to host the championships. The tournament is to open in Warsaw and the final match is to be held in Kyiv, Ukraine's capital.


If you paint as opposed to write, you walk around, look away, look out the window, imagine the work from another room. The image simmers, percolates in the background, forming up for you, if you let it.
We are clouds of energy, on the subatomic level; we derive our self-definition, our ego, from a chaos of experience – we form our chaotic experiences into words and images and adhere them to stories we tell about ourselves, to ourselves, and others.
This entry was posted on Sunday, June 1st, 2014 at 10:42 am	and is filed under art, ideas.


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Inbound travel has increased considerably since 2011, and Côte d'Ivoire boasts strong potential in terms of natural beauty and a culture of hospitality. The government has also chosen tourism as one of its priority sectors, with the Ministry of Tourism implementing a strategy to make it one of the top-three contributors to GDP by 2020. A stark rise in business tourism has been a significant feature of the sector's post-conflict evolution. The business tourism segment currently surpasses that of leisure, with spending making up 65.6% of tourism's contribution to GDP in 2016, reaching 1.4bn, while leisure tourism contributed 34.4%, or €724.6m. The draw of business tourism has led leisure tourism stakeholders to call for more integration between the segments.
This chapter contains an interview with Siandou Fofana, Minister of Tourism.


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Hawaii>
What Collapsing Empire Looks Like
Jan 13, 2023Salon
As we enter our ninth year of the War in Afghanistan with an
escalated force, and continue to occupy Iraq indefinitely, and feed an
endlessly growing Surveillance State, reports are emerging of the
Deficit Commission hard at work planning how to cut Social Security,
Medicare, and now even to freeze military pay. But a new New York Times article
today illustrates as vividly as anything else what a collapsing empire
looks like, as it profiles just a few of the budget cuts which cities
around the country are being forced to make. This is a sampling of what
one finds:
Plenty of businesses and governments furloughed workers this year, but Hawaii went further -- it furloughed its schoolchildren.
Public schools across the state closed on 17 Fridays during the past
school year to save money, giving students the shortest academic year in
the nation.
Many transit systems have cut service to make ends meet, but
Clayton County, Ga., a suburb of Atlanta, decided to cut all the way,
and shut down its entire public bus system. Its last buses ran on March 31, stranding 8,400 daily riders.
Even public safety has not been immune to the budget ax. In
Colorado Springs, the downturn will be remembered, quite literally, as a
dark age: the city switched off a third of its 24,512
streetlights to save money on electricity, while trimming its police
force and auctioning off its police helicopters.
Full article here...
© 2023 Salon
Glenn Greenwald is a Pulitzer Prize-winning journalist, constitutional lawyer, commentator, author of three New York Times best-selling books on politics and law, and a former staff writer and editor at First Look media. His fifth and latest book is, "No Place to Hide: Edward Snowden, the NSA, and the U.S. Surveillance State," about the U.S. surveillance state and his experiences reporting on the Snowden documents around the world. Glenn's column was featured at Guardian US and Salon. His previous books include: "With Liberty and Justice for Some: How the Law Is Used to Destroy Equality and Protect the Powerful," "Great American Hypocrites: Toppling the Big Myths of Republican Politics," and "A Tragic Legacy: How a Good vs. Evil Mentality Destroyed the Bush Presidency." He is the recipient of the first annual I.F. Stone Award for Independent Journalism, a George Polk Award, and was on The Guardian team that won the Pulitzer Prize for public interest journalism in 2014.


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116. Robert Hanserd
https://media.blubrry.com/theiowaidea/ins.blubrry.com/theiowaidea/116-Iowa_Idea_Episode-Robert_Hanserd.mp3
The Iowa Idea: Robert Hanserd
"That's Why We Have Summer School."
On this episode of The Iowa Idea Podcast, I'm joined by Dr. Robert Hanserd. Robert is an Associate Professor of African and Atlantic History at Columbia College Chicago. West African culture and history and its circulation throughout the Atlantic World serves as his central academic focus.
Robert and I discuss his journey from a sense of places and spaces and how his experience in Rockford, Des Moines, Chicago, and West Africa. We shared some fond memories for some of high school teachers, including the late, great K.D. Benson.
Robert's journey to his PhD work and continued research interests include West African "Gold Coast", cultures and histories, Afro-Atlantic inspirations to maroons', free-blacks' and slaves' struggles for freedom and identity in the Caribbean and North America. We explore the history of the Maroon people. For fans of the podcast, you might remember our conversation with Howard Allen and the inspiration of the Maroon people for his business. Howard, Robert, and I all attended the same high school.
Robert discusses the research for his next book focused on 500 African narratives, which synthesizes 500 published accounts of African narratives of people that were enslaved and ended up in America.
We touch briefly on the role of humor in understanding and confronting and challenging a polished, whitewashed version of US history. We also talk about the importance of trust between researcher and participants when conducting qualitative research.
Robert's most recent book is entitled Identity, Spirit and Freedom in the Atlantic World: The Gold Coast and the African Diaspora.
I appreciated Robert's perspective on the importance finding one's own voice when doing their research; the benefits of finding a good mentor; and the power of asking the right question. Robert highlights how there's room for innovation in the way we understand and process history. It was an honor having Robert join me on the show. I hope you enjoy the episode.
Robert Hanserd, Associate Professor of African and Atlantic History at Columbia College Chicago West African culture and history and its circulation throughout the Atlantic World (West Africa, America and Western Europe) is a central academic focus. Research interests include West African "Gold Coast" and Bight of Benin cosmologies, cultures and histories, Afro-Atlantic inspirations to maroons', free-blacks' and slaves' struggles for freedom and identity in the Caribbean and North America, and a range of topics related to African, Caribbean and African-American history and life. Recent publications include Identity, Spirit and Freedom in the Atlantic World: The Gold Coast and the African Diaspora by Routledge Press in 2019 and two forthcoming editing projects in 2022: 500 Voices: Catalog of Published Narratives by Africans Enslaved in the Transatlantic Slave Trade, 1586-1936 currently under review for publication and African Indigenous Systems by Sub-Saharan Publishers forthcoming in 2022. Hanserd is a member of the African Studies Association, Ghana Studies Association, and presented his research on numerous panels and symposia. His other interests include inquiry of Africa diasporas from a range of interdisciplinary, historical, and cultural settings, study abroad programming, multi-media research and production, and public history.
Robert's Book: https://www.routledge.com/Identity-Spirit-and-Freedom-in-the-Atlantic-World-The-Gold-Coast-and/Hanserd/p/book/9781138104099
This entry was posted in Podcast on December 17, 2021 by theiowaidea.
← 115. Hannah Soyer


Brooklyn-based prodco Part2 Pictures has partnered with non-fiction media studio Unfurl Productions to launch a podcast venture.
Under the pact, the two companies will create, develop and produce non-fiction audio programming under the newly minted Ampersound banner for the podcast marketplace. Stories will cover an array of genres with leading talent at the helm.
Current projects in production at Ampersound include a personal story-focused podcast with Lisa Ling (This is Life with Lisa Ling) and Laura Ling; a podcast spotlighting books and authors with Glory Edim, the founder of Well-Read Black Girl, a book club-turned-online community and literary festival; and another featuring Deepak Chopra in partnership with podcast network Cadence13.
Unfurl Productions was launched in April 2017 by Peabody, Columbia DuPont and Front Page award winner Eve Claxton (pictured, right) and bestselling book editor Domenica Alioto. The Brooklyn-based studio serves as a collective of "expert writers, editors and producers" that create non-fiction content across video, books and audio. Its most recent audio project includes an exhibition and podcast series inspired by the Pulitzer-prize winning book, Evicted.
Founded by David Shadrack Smith in 2007, Part2′s production output includes CNN's This is Life with Lisa Ling and the forthcoming Chasing Life with Dr. Sanjay Gupta, OWN event series Belief with Oprah Winfrey and Showtime's Dark Net, among others.


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Mieczysław Szymczak (ur. 5 października 1927 w Domaniewku, zm. 30 września 1985 w Sofii) – polski językoznawca, profesor Uniwersytetu Warszawskiego.

Życiorys

W latach 1948–1952 studiował filologię słowiańską na Wydziale Filozofii Uniwersytetu Łódzkiego, m.in. pod kierunkiem Zdzisława Stiebera. Od 1952 był związany z Uniwersytetem Warszawskim, gdzie pod kierunkiem Witolda Doroszewskiego pracował kolejno jako aspirant i adiunkt. W 1958 obronił doktorat, w 1965 uzyskał habilitację, od 1974 był profesorem nadzwyczajnym, od 1978 profesorem zwyczajnym. Po odejściu Witolda Doroszewskiego na emeryturę kierował Katedrą Języka Polskiego. Pełnił także szereg innych funkcji, był kierownikiem Zakładu Językoznawstwa PAN, przewodniczącym Komitetu Językoznawstwa PAN, przewodniczącym Głównej Komisji Ustalania Nazw Miejscowości i Obiektów Fizjograficznych. Przewodniczył również Radom Naukowym Instytutu Słowianoznawstwa PAN oraz Instytutu Programów Szkolnych, wchodził w skład Narodowej Rady Kultury. Od 1976 przewodniczył Towarzystwu Kultury Języka.

Zainteresowania naukowe Szymczaka obejmowały dialektologię, terminologię języka polskiego, kulturę języka. Był redaktorem naukowym dwóch znaczących słowników – Słownika ortograficznego języka polskiego wraz z zasadami pisowni i interpunkcji (pierwsze wydanie 1975) oraz 3-tomowego Słownika języka polskiego (1978–1981). Opracował ponadto m.in. Słownictwo Warmii i Mazur. Stopnie pokrewieństwa. Życie społeczne i zawodowe (1959, z Eugeniuszem Jurkowskim i Ireneuszem Łapińskim), Nazwy stopni pokrewieństwa i powinowactwa rodzinnego w historii i dialektach języka polskiego (1966). Rodzinnym terenom poświęcił dwie prace – Gwara Domaniewka i wsi okolicznych w pow. łęczyckim (1961) i 8-tomowy Słownik gwary Domaniewka w pow. łęczyckim (1964–1972). O kulturze języka mówił w licznych audycjach radiowych i telewizyjnych.

Był odznaczony m.in. Krzyżem Kawalerskim Orderu Odrodzenia Polski, Złotym Krzyżem Zasługi, Medalem Komisji Edukacji Narodowej, Złotą Odznaką Związku Nauczycielstwa Polskiego, tytułem Zasłużonego Nauczyciela PRL.

Pochowany na cmentarzu Powązki Wojskowe w Warszawie (kwatera C39-5-9).

Przypisy

Bibliografia

 Kto jest kim w Polsce. Informator biograficzny, edycja 1, Wydawnictwo Interpress, Warszawa 1984
 Stanisław Urbańczyk, Śp. Mieczysław Szymczak, w: "Język Polski", nr 1–2, 1986, s. 1–4.

Absolwenci Uniwersytetu Łódzkiego
Członkowie Komitetu Językoznawstwa PAN
Odznaczeni Medalem Komisji Edukacji Narodowej
Odznaczeni Krzyżem Kawalerskim Orderu Odrodzenia Polski (Polska Ludowa)
Odznaczeni Złotym Krzyżem Zasługi (Polska Ludowa)
Polscy dialektolodzy
Pochowani na Powązkach-Cmentarzu Wojskowym w Warszawie
Pracownicy instytutów naukowych PAN
Urodzeni w 1927
Wykładowcy Wydziału Polonistyki Uniwersytetu Warszawskiego
Zmarli w 1985


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Just noticed yesterday after all that talk about #mastodon that there isn't a single #gnusocial #mastodon or #ostatus #hub / #site in #Finland. Why not? Closest sites seem to be hosted in #Sweden or #Germany.
3] place your nickname and email, and expect your password to use your website.


text:
Great Masters: Shostakovich-His Life and Music
Professor Robert Greenberg, Ph.D.
San Francisco Performances
Audio Streaming Included Free
Discover the extraordinary life, times, and art of Dmitri Shostakovich (1906–1975), great musical master and flawed but faithful witness to the survival of the human spirit under totalitarianism. He is without a doubt one of the absolutely central composers of the 20th century. His symphonies and string quartets are mainstays of the repertoire.
But Shostakovich is also a figure whose story raises challenging and exciting issues that go far beyond music: They touch on questions of conscience, of the moral role of the artist, of the plight of humanity in the face of total war and mass oppression, and of the inner life of history's bloodiest century.
A Soviet Impression
The Bolshevik Revolution took place when Dmitri Shostakovich was a boy of 11. His life and career from then on coincided with, and in a sense mirrored, the rise, tortured life, and eventual failure of the Soviet communist regime.
The premise of Professor Robert Greenberg's approach to this giant among 20th-century composers is that nothing he said publicly about his music ("for official Soviet consumption") should be taken at face value. He lived the great bulk of his career under Stalin, and he knew what that meant. He had seen friends taken away in the purges, never to return.
The crucial aspect on Shostakovich's career, argues Professor Greenberg, is defined by his posthumous book of reminiscences, Testimony: The Memoirs of Dmitri Shostakovich, a volume based on a series of extraordinarily frank private interviews that the composer gave to a young Soviet musicologist named Solomon Volkov.
In them, Shostakovich makes clear that he was no hero or martyr—as a friend said, "He did not want to rot in a prison or a graveyard"—but also shows that at the same time he was never willing to become a docile instrument of the Soviet regime.
Shostakovich speaks through his music, which bears messages from a buried life of his experiences during the terror of Stalin, the Nazi destruction of his country, postwar reconstruction, and the arms race. To decode these messages, you study a mix of biographical information intertwined with numerous musical excerpts from the composer's work.
You learn to hear how, in work after work, often composed under circumstances of crushing difficulty and anxiety, Shostakovich used a brilliant arsenal of ironic juxtapositions (a piping piccolo theme in a symphony supposed to glorify Stalin, for instance), musical quotes from such un-Soviet sources as American jazz or Jewish klezmer tunes, and other techniques to assert the integrity of his art in the face of totalitarian oppression, and to pay, as he said, "homage to the dead."
Professor Greenberg provides careful, gripping accounts of the political circumstances amid which Shostakovich composed his masterworks—meaning above all his 15 symphonies and 15 string quartets.
Shostakovich: Portrait of the Artist as Witness and Survivor
The flood of declassified material that has come pouring out of old Soviet archives since 1991 is a rich resource for these lectures. The tale this material tells is harrowing, but it is one we cannot look away from, notes Professor Greenberg.
Certainly, he says, we will never understand Shostakovich unless and until we come to grips with it, for only by knowing this awful history can we hope to grasp anything even approaching "the full and true meaning of the art that this frail, fearful, and outwardly timid but inwardly resolute genius has bequeathed to us, his fortunate posterity.
"Unlike the other musical biographies that I have created for The Teaching Company, this one—Shostakovich's—will have more than its share of controversy," says Professor Greenberg.
"There are two reasons for this. The first is simple enough: Having died fairly recently, and having composed major works almost to the end of his life, Shostakovich is a very 'fresh' figure. We are still coming to terms with his enormously influential compositional output—particularly his symphonies and string quartets, works which are so central to the contemporary repertoire.
"The second reason for the controversy is far more complicated: Shostakovich was a Soviet artist, and the Soviet State used his music as a tool. Art and politics make strange and problematic bedfellows. But they are a coupling that we cannot possibly avoid if we are to talk about Dmitri Shostakovich and his music. These lectures, then, tell the story of a man and his art, a place and a political system, all of them truly indivisible from one another."
Shostakovich knew Stalin personally and was singled out for criticism by him. Shostakovich was not just the single most important composer of string quartets and symphonies from the 1920s to the 1970s, he was a witness to the rise and failure of Soviet Communism, perhaps the defining event of the 20th century.
Biography Presented in Detail
Among what you learn about Shostakovich's life is:
After the condemnation of his music by Stalin in 1936, Shostakovich never left home without soap and a toothbrush, so convinced was he that he would be arrested.
He included a special set of notes representing a "musical signature" in many of his works.
The Quintet for Piano and Strings in G Minor of 1940 comments on the official Soviet preference for upbeat, "accessible" music by sandwiching a movement that quotes the bumptious theme associated with Russian circus clowns between movements that brilliantly pay tribute to J. S. Bach.
Shostakovich loved Jewish music—especially klezmer because of the way it combines joy with despair. Defying Soviet anti-Semitism, he "quoted" Jewish music in works such as 1944's Piano Trio in E Minor, wrote a song cycle called From Jewish Poetry (1948), and famously memorialized the plight of persecuted and murdered Jews in his Babi Yar Symphony of 1962.
The brutal and vicious second-movement scherzo of the magnificent 10th Symphony was written that way because it was intended as a musical portrait of the recently deceased Josef Stalin.
An Artist for Humanity
When Dmitri Shostakovich died in Moscow on December 9, 1975, he was "hailed as a 'hero of the people,' " says Professor Greenberg. "But we know him as a survivor, a witness, and an artist who spoke for all of humanity."
Works you'll hear in the lectures are excerpted from:
Symphony no. 3 in E-flat Major, op. 20 (1929)
Lady Macbeth of Mtsensk, op. 29, (1930-32)
Symphony no. 5 in D Minor, op. 47 (1937)
String Quartet no. 1 in C Major, op. 49 (1938)
Quintet for Piano and Strings in G Minor, op. 57 (1940)
Symphony no. 7 in C Major, op. 60, Leningrad (1941)
Piano Trio in E Minor, op. 67 (1944)
String Quartet no. 3 in F Major, op. 73 (1946)
String Quartet no. 5 in B-flat Major, op. 92 (1952)
Symphony no. 10 in E Minor, op. 93 (1953)
String Quartet no. 7 in F-sharp Minor, op. 108 (1960)
Symphony no. 13 in B-flat Minor, op. 113, Babi Yar (1962)
String Quartet no. 10 in A-flat Major, op. 118 (1964)
String Quartet no. 15 in E-flat Minor, op. 144 (1974)
8 lectures
Let the Controversy Begin
No composer's music seems to mirror world events and the experiences of his own life more fully than does that of Dmitri Dmitriyevich Shostakovich. Publicly, the composer explained his work as a tribute to Soviet ideology and people. But privately he detailed the real impetus behind his music: his experiences during the Terror of Stalin, the Nazi destruction of his country, postwar reconstruction, and the arms race. x
The Kid's Got Talent!
Shostakovich attended the St. Petersburg Conservatory and at age 19 wrote the Symphony no. 1. When it was premiered in 1926, he was vaulted into instant fame. In 1927, he wrote a patriotic symphony celebrating the 10th anniversary of the Revolution, the Symphony no. 2 in B Major, a more modern and dissonant work than the First. x
In 1927 to 1930 Shostakovich wrote orchestral music, a ballet score, and his first opera, The Nose, which was well received by the public but slammed by critics for lacking Soviet ideology. When Stalin saw his next major work, the opera Lady Macbeth of Mtsensk, he pronounced it "degenerate" and issued threats against those who would perform it. Shostakovich was suddenly sanctioned and threatened as a purveyor of "bourgeois musical formalism." x
Shostakovich was told that he had to reject his "formalist mistakes" of the past and submit any future work to the Committee for Artistic Affairs for screening. Under that pressure he composed his Fifth Symphony. The first-night audience for the Fifth clearly understood the work as a statement about the Great Terror, but Shostakovich was nevertheless officially declared "rehabilitated." His next project was a string quartet, and although new to Shostakovich, the String Quartet no. 1 in C Major shows that he had already mastered the genre. x
The Great Patriotic War
Shostakovich became a hero of the people as he worked in the Conservatory fire-fighting brigade, broadcast messages of assurance on the radio, and appeared on the cover of Time magazine. When Symphony no. 7 was finished, the work and the composer became instant symbols of heroism and defiance. Other major works of this period include the Trio in E Minor and Symphony no. 9, a piece that was supposed to glorify Stalin but instead evokes an image of the mouse that roared. x
Repression and Depression
After the war, Shostakovich composed his first string quartet masterwork, the String Quartet No. 3 in F Major, but again was in the line of Party fire. He faced charges of formalism and was expected to publicly apologize to Stalin and the Soviet people. He was also fired from his teaching jobs and forced to acknowledge speeches denouncing the United States. He withheld from performance his String Quartet No. 4 in D Major, a piece that uses a number of Jewish musical elements. When Stalin died under questionable circumstances, Shostakovich's reaction was relieved but guarded. x
The Thaw
After Stalin's death, Shostakovich began to release all the works that he had hidden since 1948. In the 1950s his wife died suddenly, and his mother died less than a year later. He was also asked to take a position that would require him to join the Communist Party. He did, but only to ensure his and his family's safety. He continued to compose radically modern music dedicated to the victims of Fascism, and the Symphony No. 13, which is based on a poem decrying Russian anti-Semitism. x
Illness and Inspiration
The Brezhnev regime, although repressive, essentially left Shostakovich alone, which enabled him to produce extraordinary music. As his health deteriorated he became increasingly an invalid. His last symphony, the Fifteenth, is filled with mysterious musical quotes. It sums up the composer's life, and offers a peek into his bitter, angry, darkly humorous, and powerfully expressive mind. x
Instant Audio Includes:
Download 8 audio lectures to your computer or mobile app
FREE audio streaming of the course from our website and mobile apps
8 lectures on 2 DVDs
96-page printed course guidebook
Vocal texts
Robert Greenberg, Ph.D.
Dr. Robert Greenberg is Music Historian-in-Residence with San Francisco Performances. A graduate of Princeton University, Professor Greenberg holds a Ph.D. in Music Composition from the University of California, Berkeley. He has seen his compositions—which include more than 45 works for a wide variety of instrumental and vocal ensembles—performed all over the world, including New York, San Francisco, Chicago, Los Angeles,...
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Great Masters: Shostakovich-His Life and Music is rated 4.8 out of 5 by 66.
Rated 5 out of 5 by Pagsalotal from A real thrill to listen to. More than once! I loved this disc set; have bought virtually everything Robert Greenberg has produced for Great Masters, enjoyed every one. Greenberg makes Shostakovich come alive in all his well-justified fears, his survival instincts and above all the greatness of his music, truly one of the great composers of the 20th Century. Will keep watching for more of Dr. Greenberg's
Rated 5 out of 5 by Left blank from Shostakovich, mirror of 20th century Russia. Dr. Greenberg delivers a tour-de-force of Shostakovich's music as a reflection of 20th century Russian history. The composer's life and times are poignantly chronicled in a series of accolades and persecutions, by Stalin and his henchmen, resulting in the greatest string quartets, and some of the greatest symphonic works, of today's repertoire.
Rated 5 out of 5 by Classical Dean from Bought this just after I saw the NYPhilharmonic play the 7th Symphony and was very glad I did for Greenberg's grasp on the place of Shostpkovich in Russian history.
Rated 5 out of 5 by Challenger from Wonderful biographical survey I finished this course in two concentrated days and found it to be fascinating and very insightful. The major theme of the course is to try to explain how life in Soviet Russia – particularly under Stalin's rule -was like. One day Shostakovich could be hailed as THE singular genius of 20th century Russian music, and the next day he could be condemned as an enemy of the people and promoter of the decadent Western Bourgeoise values, with all his work forbidden for performance and himself ousted. All this depending solely on the whim of government officials' arbitrary perception of his work. Professor Greenberg's descriptions of the terror that Shostakovich felt during the bad periods, in which he expected to hear a knock on the door during the night followed by a quick execution or a deportation to Siberia, were extremely vivid and emotionally evocative. Even during the good periods, he constantly had to fear getting on someone's bad side and losing everything. All of this background is absolutely critical for understanding his work, since he was not a composer free to express himself as he wished, and Professor Greenberg explains quite thoroughly how in many of his pieces, the expressions that were associated with his music were not what he had intended at all. He was not able to publish much of this, however, until his death - for fear of communist retaliation. The other great aspect of this course was that I was not at all familiar with his work, and I found many of the pieces very interesting and probably worth a more in-depth hearing in the future. Professor Greenberg repeats many times that it is not fair to consider Shostakovich a coward for not openly expressing his artistic muse, since that would have gone totally opposite to a healthy survival instinct. He was a survivor first, and composer second – and who could blame him? Professor Greenberg delivery, as always, is absolutely first rate. In this biograph – probably because of Shostakovich's own misery caused by his persecution by the Government, he was not as funny as he usually is. But he was able to convey very vividly the terror that Shostakovich had to live with on a day to day basis, and by extension, the terror that almost all of the Russians had to live through during the communist era.
Rated 5 out of 5 by MarleysGhost from The State and Shostakovich I began the Great Masters series over three years ago with Haydn and now finish with Shostakovich. I won't repeat most of my comments on Dr. Greenberg's delivery, other that to note that I like his style and that (except for a bit in the first lecture) it is quite muted in this course. Appropriately, considering the subject's life and times. Even those who dislike the Greenberg shtick will likely not be put off with his delivery during this course. The trick in these life/music biographies is getting the mix of music and the "life and times" of the composer just right. Almost always some reviewers opt for more music, although I've always felt that I can listen to a full recording at my leisure. In any case, Professor Greenberg gets the mix just right for Shostakovich, often commenting that we need to get a recording and not just take an excerpt out of context. More than most composers covered in this series, Dmitri Shostakovich's music seems to be more influenced by the times and his reaction to how the Soviet State impinged on his life and the lives of those around him. I for one was really not aware that he had continually fallen in and out of favor with the authorities. Now this has happened to many or even most musicians who were dependent on patronage for work and survival. But in this case, falling out of favor often had drastic or fatal consequences. And even being in favor meant walking a tightrope so as not to slip off, back once again into disfavor. Professor Greenberg does a masterful job of tying the need to not offend the authorities to being able to compose music with integrity. Here he uses musical selections to demonstrate that the composed music was at odds with the public statements in support of the State. There are plenty of personal tidbits along the way. My favorite was that his first wife Nina was a beautiful physicist and that the couple for all their problems could not stand not to live together. I also loved finding out that he was an avid football fan. As a bit of an aside, I am sure that Dr. Greenberg could do a better job of pronouncing Russian. And that it offends those who are fluent in the language. I for one am glad that he has spent his time researching the musical and personal history of these musicians, writing his own compositions and taking time to prepare all of these courses (as well as the many other projects in which he is involved). Little enough time left over to go to a baseball game, much less getting all of the names in Russian, German, French, etc. with the proper accent. I'll take another course rather than get the names pronounce correctly.
Rated 5 out of 5 by italian ms from Truth to power I am enthusiastic about this course. It completes my knowledge of Shostakovich along with a musical documentary produced on DVD in Russia with the contribution of the great conductor Valery Gergiev and interviews of surviving witnesses, including his daughter, and along with the memoirs Testimony. Thanks to the great music critic and writer Heather MacDonald who introduced me to the Great Courses in her latest Book.
Rated 1 out of 5 by Chuck T from SPOILER ALERT! The USSR was bad. Shostakovich's tragic life and splendid music are well worth a few hours of your time, but I don't recommend that you spend those hours here. Musical insights are few and far between, and always take a back seat to Greenberg's endless rants against the Soviet Union. He uses most of the first lecture, for example, to make the case that Shostakovich, in fear for his life, often dissembled in his public statements. With whom does Greenberg think he's arguing? We know that, people at the time knew that, and in all likelihood Stalin knew it too. Greenberg's shock-radio delivery is silly at best and distracting at worst. Even when reading direct quotations from his sources, he adds pungent emotional color that may or may represent the feelings of the speaker. The power of quotes lies in the fact that they speak for themselves. As a final carp, couldn't Greenberg have taken an hour to learn the common anglicized pronunciations of Russian names? He insists on pompously referring to this subject as "Dmitri Dmitrievich," but not only adds an entire syllable to the patronymic, he emphatically stresses the very syllable that shouldn't be there. To hear "Dim ee tree AY vich" repeated hundreds of times is like nails on a chalkboard for Russian speakers. Yes, get to know Shostakovich. Buy a few CDs and read the liner notes.
Rated 5 out of 5 by Pesky1 from A fabulous and insightful overview of Shostakovich As a newcomer to the Teaching Company's output, I've been impressed with the quality of the courses I've chosen in a range of disciplines. However nothing matches the well structured, thoroughly prepared, exuberant, witty, insightful and inspirational presentation provided by Professor Robert Greenberg in his biographies of the Great Masters, and in particular his treatment of Shostakovich. As a long time fan of the Russian composers - particularly Shostakovich - I think that Prof Greenberg understands and appreciates his work much more deeply than many western music critics, and he interposes enough of the music to illustrate his analysis whilst maintaining tight control over the narrative. I'd love to know which recordings Prof Greenberg considers to be the definitive ones - any chance of asking him?
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By 1858, the Republican Party had majorities in almost all Northern states even without a Southern presence. The party won the presidency for the first time in 1860 and commanded the White House throughout the end of the 19th century and the beginning of the 20th century. With the rise of Soviet evil after World War II, the Republicans again commanded the White House repeatedly until the collapse of the Berlin Wall.
The Republican Party has most often come to power at times of crisis, starting with slavery. But in the great moral crisis now, the Republican Party finds itself infested with charlatans, conmen, louts and Donald Trump. The Republican Party of 2015 more often than not responds to the fierce urgency of now with palms outstretched, waiting for the highest bidder to purchase its policy positions, while running from any fight that might get it criticized by a Washington press corps increasingly composed of former leftwing activists masquerading as objective journalists.
After eight years of broken promises and Republican collaboration in Barack Obama's agenda to expand government, the Grand Old Party has been confronted with a moral evil in Planned Parenthood. Undercover, unedited videos show Planned Parenthood officials laughing about harvesting organs from babies. The CEO of StemExpress, a business that was willing to pay extra for 50 human baby livers a week, bragged on film about her "socially liberal" sister advising Republican Speaker John Boehner on health care.
Boehner's response has been to call for more investigations while keeping federal dollars flowing to Planned Parenthood. Boehner and Mitch McConnell have kept federal dollars flowing to all areas of Obama's agenda. From Obamacare to the IRS to Obama's immigration expansion, the Republicans have chosen not to use any of their constitutional powers to restrain executive overreach. Instead, they will let judges sort through everything. Privately, some Republicans support the president's agenda and are glad he has kept them from having to take positions that might further enrage their base.
The repeated betrayals of Republican leaders have led to the rise of Donald Trump. The petulance of the party's congressional leaders who have spent more energy fighting conservative attempts to hold them to their word than fighting Obama now have to fight to wrest control from Trump. Trump, at least presently, is immune from establishment attacks because the party leaders have lost all their credibility. A party that will not stand up to stop taxpayer funds from going to an organization that pulls whole children out of freezers to sell as scrap is not a party with the moral clarity to tell Trump he is fired.
But there is more to this than meets the eye. More and more polling shows the biggest group of voters who hate the Republican Party are the Republicans' own conservative voters. In growing numbers, they have driven down the popularity ratings of Congress. Instead of trying to recover popularity with their base, the Republicans have convinced the Chamber of Commerce to spend millions of dollars defeating conservative Republican "troublemakers" in the 2016 primary cycle. Why join the base when the GOP thinks it can beat its base?
This then is why the Republican Party as we know it is coming to an end, with only one way to avoid the splits that doomed the Whigs. When -- not if -- Trump fades away, the party leaders will conclude they beat him and the crazy base. They will, like the Bourbons of France, learn nothing and forget nothing. Instead of realizing that their broken promises and failures of leadership led to the rise of men like Trump, they will conclude that his decline means they need keep no promises.