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poetry/yeats
William Butler Yeats, "Gratitude to the Unknown Instructors"
Posted	on	 December 22, 2019 by	ashok / 0 Comment
At the opening of the Metaphysics, Aristotle proclaims "all men naturally desire knowledge." Is it true? I wonder if people in the Middle Ages read those words and broke into open laughter or were completely amazed anyone could believe such a thing. Maybe their shock led some them to study the Metaphysics for the rest of their lives. I suspect "knowledge" does not encompass topics such as "Did aliens originally land in Antarctica?" or "Princess Diana was killed by the same people who killed JFK." If it does, Aristotle is absolutely correct.
But if it doesn't—if we suspect that men naturally desire other things, which they believe knowledge may or may not aid—then a look at how knowledge itself pleases is in order. That inquiry won't answer the question of whether Aristotle is correct or not, whether all men by nature desire to learn. It should help us understand how we can take Aristotle's statement earnestly. Yeats declares his "Gratitude to the Unknown Instructors," stating his respect not only for his instructors but whatever they taught. Whatever he learned must have revealed its truth in his life long after he forgot his teachers, if he had ones he could identify at all:
Gratitude to the Unknown Instructors
What they undertook to do
They brought to pass;
All things hang like a drop of dew
Upon a blade of grass.
What they, the unknown instructors, undertook to do / They brought to pass. "Unknown Instructors" poses a challenge. If Yeats thinks himself informed primarily by tradition, a ubiquitous instructor, then he has learned the ways of the world and can seriously act in it. Tradition certainly causes things to pass, as it makes people its instrument. Is there room in "Unknown Instructors" for a higher notion of education? For those who may simply know better in unjust, ignorant societies or those who genuinely seek to know beyond conventional limits?
For my part, I read Yeats as crediting both traditional instruction and the incubation of more radical ideas, but leaning heavily toward the latter. The "Unknown Instructors" "undertook"—they intended and committed to their intention. Because they "undertook," because they made themselves the grounding of a greater task, they brought forth, "brought to pass." The present, and perhaps the future, was shaped by them. How do we know? Because Yeats, their student, is declaring himself grateful for them. He is not angry at being manipulated, he sees himself in their service, he demonstrates consciousness of a debt.
I need to say more. I have had the honor of teaching so many thoughtful and self-motivated students. I am aware of another sort of student: one who at best goes to class, gets the work done, pays lip service to education. Going to school for them is a means of getting a degree, and getting a degree is something family and society declare valuable. So I'd better take a risk and explain how an unknown instructor may actually present a valuable teaching, one that might not unfold unless one pays careful attention far after, say, a class is over.
At least for me, it is becoming clear how aware my teachers in high school and in college were of what I was trying to achieve and how many obstacles were in the way. In short, they were aware of how stupidly racist the world was and how many advantages others had. They tried to convey this to me through praise, but it didn't take in part because they were so encouraging and helpful that I couldn't believe the world was anything but a level playing field. Now I see what they saw—I see students looked down upon before they've done anything that could possibly make an impression—and I know I have to help cultivate the appropriate awareness in them. They can't afford to be victims, as victimization is an empowering privilege for majority faction. Some of them will have to be better than the best ever were, simply to open up fields to others like them.
I guess what I'm trying to say is that there are things you are being taught, in classrooms you find boring, which are of tremendous moment. You obviously have to be open to them. I'm so lucky I remembered those interactions, interactions where I felt I was being unnecessarily praised or that I had messed up and was receiving pity. If you go to the classroom dead set that you're not going to remember anything from it, I honestly think you'd better think hard about how you would raise kids. You don't have to be a perfect student, but resistance to education is very hard to square with the skillset needed to show someone how to survive, love, prosper, and give that much more.
Yeats concludes with a riddle of an image: All things hang like a drop of dew / Upon a blade of grass. The unknown instructors brought their undertaking to pass. They created a mind that was open and receptive. Now that mind sees the nature of "all things." Being is fundamentally potential—all things, all beings, hanging like a drop of dew upon a blade of grass. But what a small image! The wet earth, the one that proves fertile, the one accompanying the dawn, is composed of lots of small drops of dew resting on grass. There will be growth, but what Yeats wants us to realize is the necessity of beauty. It's really beautiful to admit you've learned something, and I can't emphasize enough how countercultural this claim is. How many people do we run into, every day, who insist they know everything? Who can never be wrong? Who must always be told they are right and only listen for gaps in a conversation to fill? In order to truly grow, one needs to able to appreciate small, beautiful moments, like waking up and walking at dawn.
William Butler Yeats, "The Second Coming"
At once, "The Second Coming" is overblown and understated. Every generation thinks if they do not act, the world will end. Opponents are framed in stark terms, as wreckers of tradition or obstacles to progress. Anger and confusion abound as people try to figure out their true allies, but the conditions for building trust are not optimal, if at all present.
Every generation is right. The world does not need to be at war, mass extinction need not immediately threaten. This planet has been a brutal, cruel hell for millions well after the Second World War, whether they live under totalitarianism or any number of other authoritarian or authoritarian-lite regimes. Issues affecting individuals do not merely contain larger issues, but the largest. For example: if you're on death row for crimes you did not commit, should the state of world affairs concern you? Shouldn't the world be concerned for you—with justice, proportionality, equitable treatment, innocence at stake? If it isn't, isn't everything over already?
When I turn to Yeats' "The Second Coming," I wonder how to grapple with its assertion of an apocalypse. I wonder not just how to deal with the vision it presents, but the very fact it presents a vision. Even in an age where it feels like all could be lost, the world a fireball of war and genocide in addition to being an actual fireball, I tend to focus on specifics of one problem, maybe two at most. Those of us who try to keep up with the news, I suspect, are the same way. We may be furious about Trump's tax returns or the exorbitant costs of health care or abuses directed at detainees. We're not quite focused on events which in and of themselves could seal our cosmic fate, such as the falcon cannot hear the falconer:
Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
Are full of passionate intensity.
Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?
Yeats' first stanza accelerates before suddenly stopping; to be more precise, it feels like being caught in a spiral-like motion and then dropped. Turning and turning will make some readers dizzy before any substantial details have been given. Turning and turning in the widening gyre / The falcon cannot hear the falconer takes that confusion and presents it as a product of no less than history and divinity. Yeats outlined the former in A Vision: there, I am told, history moves like gyres which you might envision overlapping. The end of one process, one spiraling motion creating a wide gyre, coincides with a small point creating the next one. I am certainly nowhere near an expert on Yeats and especially not on his ideas regarding history; I refer you to this site on Yeats' A Vision, which I consulted to understand "gyre" better, if you want to know more.
What I do know is this: historical processes are not abstractions. They have foundations in events which affected real people and were subsequently turned into myths underpinning moral, institutional, and even psychic orders. Typically, we do not conceive eras ending in any way less than cataclysmic. The orders myths spawn result in one or a few parties consolidating power, and those parties push the myths themselves to ludicrous ends, creating room for them to pursue their naked advantage, lose their grip on reality, or both at once. Athens believed it could be a school for Greece, that its innovation and dynamism would show the greatness of its free citizenry. It ended up pursuing war against Sparta until it weakened all of the other Greek city-states, making them targets for acquisition. The Catholic Church was the only serious religious institution in Europe for a thousand years. When it proved itself utterly unwilling to accommodate demands for reform, the result was unending religious warfare and civil strife for the continent. You get the idea—how the gyre starts small, then widens, is intuitive.
Yeats goes further. The falcon cannot hear the falconer. Herbert's "Easter Wings," an English devotional poem, shows what's at stake. Herbert prays to God "O let me rise / As larks, harmoniously, / And sing this day thy victories: / Then shall the fall further the flight in me." This is almost too perfect for thinking through what Yeats targets, for Herbert sees himself as a lark finding harmony and peace in singing God's praises. He does not see the Fall of Man as a story of original sin condemning mankind as permanently evil, but he certainly sees his current condition as pathetic. The more evil confronted and overcome, the better Herbert is, the further the lark flies. He is not a complete human being without God; he believes that to even sing praise to God requires God's help. "With thee / Let me combine, / And feel thy victory: / For, if I imp my wing on thine, / Affliction shall advance the flight in me."
Herbert has a complete vision where everything in his life depends on God. Pain and suffering are a means to ask God for help. The holiness involved in struggling with sin or overcoming sin also requires Godly power. Singing His praises means finding peace, but if Herbert can embrace "affliction" more directly, he can be far closer to God Himself. The falcon cannot hear the falconer—Yeats sees this theological vision as finished. Its historical moment has passed. God and the bird he commanded no longer communicate. He sits at the bottom of the gyre, whereas the bird—having used His help?—goes higher and further than ever before. Myths fall apart because myths can only say so much, but people realize a near infinite amount of needs over the ages.
God and the world increasingly separate with predictable results: Things fall apart. The old order cannot be restored, hence the centre cannot hold. Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, I think, should be treated as having immediacy. We feel the world is falling apart, an era is ending. Maybe this is the end of Christian Europe, as the Sphinx, holding and hiding the question "What is Man," reveals itself in the second stanza. But what takes precedence over the end of any specific myth is the wars, the lawlessness, the demagogues to which we bear witness. It's the actual events, inspiring terror in a witness, which lead to the thought that the old order and promises of harmony and peace cannot be taken seriously any longer.
The immediacy of the first stanza makes it work. The blood-dimmed tide is loosed, and everywhere / The ceremony of innocence is drowned—the first stanza accelerates, such that one might miss a "ceremony of innocence," a baptism, being drowned in blood. That detail may be thought too dramatic. Still, it's real enough, as there are mass graves being dug and filled as we speak. A world aflame makes perfect sense after a perfunctory look at how we live, and we can only manage a perfunctory look as things fall apart ever more rapidly. Immediacy and the process of acceleration reach a sudden end with the last lines of the first stanza: The best lack all conviction, while the worst / Are full of passionate intensity. All of a sudden, the gyre stops, as if one were to say "I want to know exactly why I lack conviction. I want to know why those who are terrible are so motivated." The chaos of the times collapses into a moral question, one tormenting an individual.
Yeats' apocalypse convinces because it is personal, all too personal. The end of an era is an inner turmoil as well as an external collapse. Things fall apart. What is left for the individual—and maybe the world—is a vision.
The vision is born of desperation. It may signal the advent of another age, it may be prophetic truth. Yeats starts with what he knows: a cold, frightened sweat. Surely some revelation is at hand; / Surely the Second Coming is at hand—"surely" indicates the uncertainty, "the Second Coming" indicates the torment felt. Perhaps it would be better if the world ended right now, that all things ceased, rather than guess for any more length of time what these attendant horrors mean.
The desperation felt echoes in what Yeats tells us is the source of the vision. The Second Coming! Hardly are those words out / When a vast image out of Spiritus Mundi / Troubles my sight. He exclaims "The Second Coming," surprising himself. He understood before that the world was in trouble. But is this it? The moment where everything will come to an end? This is an old thought, in a sense older than time itself. To believe, even for a moment, that this is the end is to be in dialogue with the prophets, with God made Man Himself. This is why the "vast image," I think, is from "Spiritus Mundi"—by implication, he is asking what the spirit of the world actually is. What exactly is this moment? What led us here and why?
Yeats' vision holds far more detail than his implicit invocation of God in the first stanza ("falconer"). He provides a location, physical description, facial description, and movement of a monster: somewhere in sands of the desert / A shape with lion body and the head of a man, / A gaze blank and pitiless as the sun, / Is moving its slow thighs, while all about it / Reel shadows of the indignant desert birds. We can identify the monster as the Sphinx, whose riddle is "What is man?" The Sphinx hides the riddle, of course, because it is a monster. Similarly, all constitutions, with fairly strong opinions about "what is man" which are backed up by deadly force, do not typically countenance terribly serious discussions of the principles underlying them. We need not say anything about religion. If one takes "What is Man?" to its utmost, it not only calls for theoretical reflection but immediate action. If you truly discover who you ought to be, you must act on it. An age will end at great cost and another will be born at great cost.
Again, the question is hiding. This is critical: people are trying to answer the question to its utmost without realizing what they're doing. They're creating titanic orders and monuments and mass graves all at once in its service. Yeats' details about the Sphinx reveal it to be an extension of the first stanza. He repeats its location, "desert:" the violence which kills has left a barren land. God created by parting the waters, but there is not a drop to be found. He mentions its "lion" body, which can only speak to violence and pride. It cannot attempt the fully human despite a human head. "A gaze blank and pitiless as the sun" references both the centre cannot hold and the worst are full of passionate intensity. The sun has ceased being a source of life and is only an energy of death. It is no longer a "centre." In like manner, society has given way, and men's purposes are blank and pitiless. Without any semblance of a moral order, how can trust even be conceived? Recall that they do not know they act in the service of "what is man" even operating under organization. Finally, there's the motion of the beast, slow but oblivious. It pays no attention to the life around it, the "indignant desert birds."
It just marches, as if it will become something. It is pure resentment. The darkness drops again; but now I know / That twenty centuries of stony sleep / Were vexed to nightmare by a rocking cradle—before the present, collapsing era, there were other modes and orders. The Sphinx itself we know from Ancient Greece. Whatever those modes and orders were, they were eclipsed—not completed—by Christianity. With the end of the age coming, one could say the older questions, the older concerns are back. Of course, they are not back alone. They are in a monstrous guise, having a monstrous effect on the lives of others. They are only what is recognizable in the midst of chaos.
One might say a monster holding a permanent question, i.e. "What is Man," meeting Christianity, merely signifies the end of the Christian era. But that does not do justice to the world Yeats has painted. The world burns: And what rough beast, its hour come round at last, / Slouches towards Bethlehem to be born? The moment creating the next era can be described as the present era exhausting itself, revealing unknowingly the power of the era previous. But the future? That may be none of the above. The Sphinx is a monster which will give birth to a god. This myth hasn't been written yet. All we know is that what is present and previous is rearranging, realigning. We see, but we're caught in the midst of it. We can only witness.
dickinson/poetry
Emily Dickinson, "There is no Frigate like a Book" (1263)
I can't stress enough one lesson I've learned the hard way, over and over again, my whole life. You can read so much so well, carefully considering the author's most subtle points, bringing them into dialogue with the rich poetry and prose of other thinkers, illustrating all these amazing thoughts through memorable teaching and highly crafted writing, adding your own contribution for the ages. You can read so much so well, be an incredible scholar, teacher, writer, and—I daresay—thinker, and still be a complete fucking idiot.
I don't say this out of any particular anger at anyone, not even myself. I mean, if I were to be angry at myself, I might get to be "an incredible scholar, teacher, writer" and "thinker" according to the person who wrote the above paragraph, and that's quite a few compliments I definitely don't deserve.
What's gnawing on my mind is this concern: Do books really make us wiser? They don't necessarily stop conspiracy theories or genocide. In some cases, a literary surface of high class and higher thoughts has advanced some of the cruelest, most senseless causes the world has ever seen. With more experienced readers or academics, issues which require especial sensitivity can be reduced to complicated jargon or become games over who is correct about the most trivial point.
I can't explain to you what exactly makes someone wise. I can say this. Some people who I consider wise (you can feel free to inhale an entire salt shaker here) have used books in specific ways, even if they themselves hate reading. Those ways are worth reflecting on, I believe:
There is no Frigate like a Book (1263)
There is no Frigate like a Book
To take us Lands away
Nor any Coursers like a Page
Of prancing Poetry—
This Traverse may the poorest take
Without oppress of Toll—
How frugal is the Chariot
That bears the Human soul
Dickinson's poem has a surface of the "Books can take you anywhere!" sort, the kind of thing we tell children to avoid buying them a Nintendo Switch. In recent years, I've become more enamored by cornball rhetoric employed by parents and teachers, but I still don't like that line. Books helped Florence and Paris come that much more to life when I visited, but Florence and Paris would have rocked no matter what.
Books are effort. I think one reason why my drafts for published papers don't quite measure up to my other writing and teaching is that I can't yet properly express the intellectual labor involved in unpacking meaning or identifying problems in the first place. Showing that strain isn't just important, it isn't just what a scholar does. Reading essentially is that strain. Dickinson speaks to this while indulging a fantastic simile: There is no Frigate like a Book / To take us Lands away. A book isn't a flying carpet or a teleporter. It's like a frigate, which could refer to any light craft, but typically designates a warship. What kind of work is reading? It's like sailing against the ocean for days or weeks. It entails knowing how to respond to trying circumstances in order to stay on course, make good time, or even defeat an enemy.
That almost sounds insane the way I've put it. Who reads a book to defeat an enemy? All those guys on Reddit saying "I studied the blade" while posting memes nonstop? But I'm thinking about the times I could credibly say a book spoke to me. I'd write out a line or passage from it and think about experiences or thoughts I had and how they compared. I was trying to identify what I valued, and in the process, I may have identified a problem I hadn't seen before. Going to different lands isn't a result of the book alone—it depends on the reader.
Dickinson's next lines have an earthy power, but do not imply the movement from continent to continent that the frigate does. "A Page / Of prancing Poetry" far surpasses "Coursers"—like frigates, these could be horses known for swiftness, or they could be warhorses. Poetry also is born of struggle, no matter how fancy or "prancing" it is. Again, I think agency is being passed to the reader here. If frigates entail knowing how to sail, coursers entail horsemanship. Dickinson establishes that there is some sort of skill involved in reading, and I do believe this is true, but I don't know someone advertising themselves as someone who will teach you how to read is anything other than a grift. There's a process and skill that needs to be respected with regard to reading well, sure. There are people who are much better to read with than others. But as a close-reader who has trained others in how to practice this "art," I don't advertise myself that way. I much prefer to say there are things in which I'm actively interested—I have a set of moral and intellectual priorities, not only a skill with a certain type of rhetoric—and that reading well is just one part of developing a sensitivity to the world around me, the impact and aspirations of the past, and what is entailed in envisioning a better future.
For her part, Dickinson, while I'm having grand thoughts about reading inspired by her, tightens the circle of the poem. She initially likened books to expensive, elaborate craft. Then she described them as being like a horse. She ends with a much more meager—to use her word, "frugal," image: This Traverse may the poorest take / Without oppress of Toll / How frugal is the Chariot / Which bears the human soul. This is a far cry from the "Books can take you anywhere you want to be!" rhetoric. The Chariot is "frugal;" what's being avoided is a mere toll; the human soul can't really do any better than this. Books aren't just struggle, they aren't just work and skill—they're also necessary.
In other words, if I ask "Why don't books make a better world?" I'm asking the wrong question. The question is really how reading, used well, may help us make the choices we need to make. If that question is valid, another follows immediately: since reading won't always help, in what ways can reading badly or reading the wrong things make the world worse? All we have are words. When people say there is no need for reading, that only experience and action matter, what they're really saying is only one set of experiences and actions matter—their own. They have words they do not want challenged. When people read widely to expand their consciousness and are still blind to the problems others face, that means they're doing the right thing but not enough of it. All we have are words, and words tell us they're not enough by giving us more words.
weakerthans
The Weakerthans, "Utilities"
In the history of ideas, utility looms large. You're probably familiar with "utilitarianism," the greatest good for the greatest number, an idea used not only as an ethical theory but as a means of making the United Kingdom dramatically more democratic.
In my studies, the concept of utility occurs in far more instances than just "utilitarianism." When Descartes speaks of mastering nature or Bacon speaks of the relief of man's estate, the idea is that knowledge should serve practical ends, advancing science and technology. That's utility, placed against theoretical ends such as a more humanistic or religious set of inquiries. In Xenophon, if I remember correctly, someone asks Socrates if sickness can ever be good. Socrates replies with whether it is better to be at a battle or be sick so that one avoids the fighting.
It seems "Is this useful?" is a low but powerful response to claims on behalf of noble or religious causes. I'd go further. Genuinely wise people do not sound like they've only read books and have never talked to another human being. You need to know the low in order to engage the high; the practical is how one can even conceive the theoretical. With the right perspective, questions about utility are really questions about whether we are rational animals, knowing creatures who love to learn. If knowledge is good for us, it makes itself useful, no?
"Utilities" begins with a state of self-neglect. One can't even be useful to oneself. [I feel like] today doesn't like me isn't much of an excuse for anything. Our narrator refuses to engage the "taste" in the air, the smell of the sink, or the car that might not be able to move.
I've been in states of mind like this for so long that when I'm happier—like I am now—it's hard to for me to recognize that I have these terrible habits which I'd better get rid of. Some things change when I'm happier—there's more cleaning and cleanliness, more organization and accomplishment, far more sensitivity. But creating a situation where there is a pronounced tendency for bad habits to fall away and good habits to replace them? Nowadays I believe that requires a Batcave, Alfred, and the whole computing power of Wayne Enterprises, if not the demonic resurrection pit of Ra's Al Ghul. I don't know if there are revelatory moments which, primarily of themselves, facilitate processes of change. I do know that structure and support help.
All the same, I not only feel happier now, but I feel like I'm taking better care without having full knowledge of what I'm doing. Which brings me to the problem these lines contain: I just wish I were a toothbrush or a solder gun / Make me something somebody can use. I want to feel useful, but that often depends on other another person seeing me as useful, like they see "a toothbrush" or "solder gun." This is no way to become more useful or build self-esteem, we solemnly nod, yet every single one of us can testify it works to a degree. It's as if there is a moment which will cause things to steadily get better. That moment involves being loved, and our fantasies about being love or in love aren't complete nonsense. Not being loved really hurts, to say the least.
How emotionally independent can we possibly be? The second and third stanzas of "Utilities" describe a movement, as it sounds like the narrator pokes around in his basement (the corners of the basements of the world) and then leaves the house and goes outside (got a face full of ominous weather / smirking smile of a high pressure ridge). In the basement, he's musing about wishes, as if he were rummaging through the basement looking through family memories, i.e. photos lying yellow and curled. Outside, he's speaking the language of failed relationships: Got more faults than the state of California / And the heart is a badly built bridge. There are multiple sources of love and multiple types of wishes and desires concerning those sources. The feeling I get, listening to this, is that our narrator is overwhelmed. There are too many wishes, too many boxes of photos, too many abandoned electronics, too many faults. It sounds intuitive to say that he could really use some help getting started, even if the other person brings an additional basement full of old photos and useless electronics. "Utilities" ends with a plea; it doesn't end with redemption, just the hint things could get better. The narrator got up and saw the miserable condition he lives in. He went outside and acknowledged his faults. We hope Make this something somebody can use is something he not only applies to his situation, but can apply to himself. (Clever: "this," replacing "me," means the song itself, if found useful, proves his utility.) One thing I've learned in my years is that one cannot possibly have too much support.
"Utilities" does ask for love. There's no getting around the urgency of this request, voiced earlier in the song: Make me something somebody can use. While I feel supported right now, I don't expressly have that kind of love in my life, and I think I should speak to why I might be happier, more useful, and yet not feel as needed.
When I was preparing to teach Simone de Beauvoir's "The Ethics of Ambiguity" last week, I stared at this passage quite a bit:
Man, Sartre tells us, is "a being who makes himself a lack of being in order that there might be being." That means, first of all, that his passion is not inflicted upon him from without. He chooses it. It is his very being and, as such, does not imply the idea of unhappiness. If this choice is considered as useless, it is because there exists no absolute value before the passion of man, outside of it, in relation to which one might distinguish the useless from the useful. The word "useful" has not yet received a meaning on the level of description where Being and Nothingness is situated. It can be defined only in the human world established by man's projects and the ends he sets up.
I thought "a being who makes himself a lack of being in order that there might be being" was solid for introducing the students to Existentialism. You choose some "lack of being" in order to reconstitute your being. I think I used the example of giving up what you're really into in middle school (guns) so that you can find social approval (someone to date).
What I didn't talk about but made a bunch of notes on was how this implies a point prior both to happiness and utility. You're trying to figure out what your happiness would consist in; you're not unhappy or happy. And to speak of utility in relation to being sounds really out of place. Useful with regard to what?
So am I happier because I am in touch with the truth of my being? Please. I think I'm happier because I got a gold rank in Teamfight Tactics, League of Legends' autochess mode. I do believe that our desire to be useful, though, is not necessarily fundamental. If questions about utility are about the value of knowledge, then there's an infinite number of ways to be happy. One need only know them.
The Weakerthans, "Pamphleteer"
Posted	on	 December 9, 2019 by	ashok / 0 Comment
"Pamphleteer" opens quietly, a rapidly moving guitar getting louder, until drums crash in. Then, with a full sound, three big, anthemic chords ascending, followed by three big, anthemic chords descending.
Some notes later, a more ambiguous resolution to the phrase.
The song as a whole is told from the viewpoint of a guy trying to, you know, overthrow capitalism. (This sounds far more plausible and desirable than when I first heard this song, to be honest.) He's got his pamphlets and stands on the street corner, trying to confront the businessmen walking by during rush hour. To say they ignore him would be an understatement: Facing rush hour faces turned around / I clutch my stack of paper, press one to a chest / Then watch it swoop and stutter to the ground.
I don't want to play at being a sociologist or anthropologist through song lyrics. But I can say there are moral phenomena at play, sometimes, for which we don't have words because they're so harsh. For example, take the current President. He openly takes and uses bribes, self-deals, covers for the worst regimes, undermines the law and the spirit of the law. We all know this. What we haven't come to terms with is that "hypocrisy" isn't the right word for when he accuses his political opponents of the same, they prove innocent, and a not insignificant part of his base still cheers for him and repeats his lies. That's not "hypocrisy"—that's a symptom of white supremacy. He's allowed to commit crimes and get away with them because he's a white man of a certain standing, that standing dictated by his wealth. For that part of his base, he's demonstrating racial "superiority" by openly flouting the law, lying about other people, and getting cheered on by them. It's that ugly and that's why we don't really have a term for it. If we actually put in the time it takes to think through and come up with a term for this phenomenon, we'll go insane.
In the case of ignoring the pamphleteer, "ignoring" is also not the correct term. The businessmen are a herd. They've accepted capitalism as the only reality. They're not even bothering to imagine a different system and will not hear anything else. Those who think of entrepreneurs as a dynamic, innovative bunch really should try to come to terms with the culture of knowing current prices, market valuation, and a bunch of rumors about who's-moving-what for the sake of trading and literally knowing nothing else. You can say this fulfills some kind of productive function when all is said and done, but honestly, it isn't hard to see how this sort of behavior could lend itself to approval of authoritarians.
Our pamphleteer is a bit crazy, but he's honest about how awkward his daily encounters are. Not only do his pamphlets fall, being blown away, but he sees his own failures, his own weary self, in every mirrored window. He knows he doesn't come across as someone who immediately commands respect. He's aware he gesticulates weirdly and wildly: How I don't know what I should do / With my hands when I talk to you. He's worried that his passion is not causing a revolution, far from it: How movements rise and then dissolve / Melted by our shallow breath / How causes dance away from me.
The honesty isn't just admirable. It allows the pamphleteer to tie together two threads in his own words, both of which directly bear on how we conceive politics. The first is politics as religion. This the pamphleteer embraces—he's more than willing to be like a Jehovah's Witness on a street corner, he takes whether he can get converts to his cause personally, his invocation of The Communist Manifesto's "specter" sounds less like theory and more like hope based in a providential dispensation. I don't think I need to say too much, regarding the current state of America, about politics being religion. If you need help envisioning this, consider watching, um, some business news.
But there's another way of conceiving of one's passion for politics. Isn't it a lot like wanting to be loved? Seeing your dignity reflected in acceptance by another? A close read of the lyrics reveals a number of places where the pamphleteer sounds like he's lost someone and wants to win them back. Examples: Why do I still see you in every mirrored window / In all that I could never overcome? and How movements rise and then dissolve / Melted by our shallow breath and, of course The rhetoric and treason of saying that I'll miss you / Of saying "Hey, well maybe you should stay." The trouble with talking about politics and being personally loved nowadays is that one has to deal with the topic of "incels," radicals who believe they are entitled to being loved, pushing themselves to hateful and angry extremes.
I believe we can dismiss "incels" as a serious topic, ironically enough, because their complaints about "love" are really complaints about others not being subordinate. They feel they're entitled to something and they intend to collect. When this is frustrated, they get angry. Weirdly, that incels are too concerned with power places them outside politics for the sake of this discussion. What's relevant to us is the portrait of the pamphleteer. Yeah, this guy is a little crazy. He wants converts. He wants to be loved for what he does. He's trying to convey what he thinks—and he might be 100% right about—is a greater truth. And he's stuck alone on a street corner, unable to communicate despite throwing his energies into writing the right words.
It's that idea which makes politics such an infuriating mix to deal with: the idea that minds can change because of the right words. That's what links politics to religion and love—a brain screaming something like "maybe if I say the right thing?" Yet attempts to understand politics get even worse when we stray away from words and try to describe political phenomena purely empirically, through results or actions alone. I get that some people are uncomfortable with saying political philosophy, for example, is purely talk. If we accept that in a negative way, it's dismissive of political philosophy. If we accept it in a positive way, it smuggles in values precisely where there should be a hard look at how things actually work or a robust debate about values. I believe there is something else at stake here, though. Treating political phenomena as talk, as this attempt to get the "magic words" politics, religion, and love are all searching for, lets us see what people really want and how they regard others. In other words, there's an authenticity here that's foundational, independent of most sets of values. Deny it and we can't have good things.
Our pamphleteer sings "I am your pamphleteer" over and over as the song fades into nothingness. I used to think he was steeling himself for the next day of rejection, declaring who he thinks he is in order to find courage. That may be true, but it's too cynical, especially when facing the possibility that he's probably entirely correct about the way we live now. This might be helpful: the more you know yourself, the more it may be the case you can be lost in this world which only wants to hear affirmation of itself. You'll doubt yourself, you'll feel like nothing's working, you'll still try. You'll have integrity. There's an answer to what force on earth could be / Weaker than the feeble strength / Of one, and that answer is that identity is not a force. It's something far more important, potentially far more valuable.
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text:
Share James E. Taylor
Illustrator James E. Taylor (1839-1901) was born in Cincinnati and educated at the University of Notre Dame. He enlisted in the Union Army at the outbreak of the Civil War and is remembered as a newspaper artist providing detailed sketches of wartime scenes for Frank Leslie's Illustrated Newspaper. He left many images of the Eastern Panhandle and neighboring areas of Maryland and Virginia.
Taylor began supplying drawings to Leslie's while still serving with the Tenth New York Infantry, and went to work full time for the newspaper after leaving the army in 1863. Thereafter he traveled as a civilian journalist with Union troops in Virginia, West Virginia, and the Carolinas. He was with General Philip Sheridan's Army of the Shenandoah during Sheridan's Valley Campaign of late summer, 1864, when Union forces finally established firm control of the critical Shenandoah Valley of Virginia. Sheridan began his march up the Valley from Jefferson County in August, and it was during this period that Taylor made many drawings of Harpers Ferry, Charles Town, Martinsburg, Halltown and other West Virginia places.
Taylor had an eye for architectural detail. He produced numerous drawings of the interiors and exteriors of buildings, including the Jefferson County Courthouse; Washington family mansions including Beall Air and Happy Retreat; and other buildings and streetscapes still familiar to travelers in the Eastern Panhandle. He produced lurid prose accounts of his travels, as well, gathering his local experiences into an illustrated diary titled With Sheridan in the Shenandoah Valley, 1864.
Traveling west after the Civil War, Taylor established a second reputation as an illustrator of the frontier and of the red-white conflict of the period. He was present as an artist at the signing of the Medicine Lodge Treaties in Kansas in October 1867.
James E. Taylor continued with Leslie's until 1883, when he left the newspaper to become a freelance illustrator. He died in New York City in 1901.
James E. Taylor. With Sheridan in the Shenandoah Valley, 1864. Cleveland, Ohio: Western Reserve Historical Society, 1989.
e-WV: The West Virginia Encyclopedia "James E. Taylor." e-WV: The West Virginia Encyclopedia. 09 December 2015. Web. 31 January 2023.

redpajama_set_name: RedPajamaCommonCrawl


Last night I had dinner with my friend Blain Howard at Tamba, a new Indian restaurant on that stretch of Lexington Avenue in Murray Hill known as Curry Hill. We were joined for much of the meal by the restaurant's owner, Sikender Malik, a former civil servant from Delhi who for a number of years ran Malika Palace in Queens and Malika in Midtown Manhattan.
His wife Daljeet is the executive chef.
Since they're from Delhi, the food at Tamba is mostly northern Indian, but, Sikender explained, the restaurant that previously occupied that space was a southern Indian restaurant, so they kept some southern dishes on the menu — dosai, iddly etc. — to try to retain some of the previous restaurant's customers.
The name Tamba means copper, which Sikender said was good for you — that if you let water sit in a copper vessel overnight and then drank it, it had wonderful curative properties.
Might be an Ayurvedic thing.
There is a copper statue of the Hindu goddess Lakshmi, wife of Lord Vishnu, on the bar. She looked well.
The place has just been open around nine weeks, but the Maliks managed to snag some good press.
Even if they had been open for three months, that's not a long time, even for New York. So it's nice press, but it's not good.
It does present a nice view of a tandoor, however, the traditional top-loading northern Indian oven.
Daljeet's chef made her tandoor. That's the custom: If you're a tandoori chef, you know how to make a tandoor.
That was explained to me back in 1996, when I interviewed Jagat Ram, who at the time was chef of Rang Mahal, a high-end Indian restaurant in Bangkok's Rembrandt Hotel.
He said a tandoor is made of clay mixed with some straw, jute and finely powdered glass. It's shaped into a round oven, open at the top. A wood fire is built inside the oven and it burns for a couple of days, acting as a sort of reverse kiln.
Another layer of clay mixture is applied and then it's fired again.
Next the oven is seasoned, literally, with a mixture of yogurt, salt, mustard oil and a coarse brown sugar called jaggeri. That's used to coat the inside of the oven and it's baked again, but more slowly this time, because if the fire's too hot you run the risk of cracking the entire oven, and you'd have to start over.
That seasoning process is repeated five to seven times. It not only helps to insulate the oven (burnt, liquefied sugar is pretty serious stuff), but it also keeps the clay from flaking off onto the food. That's particularly important because naan and other flat breads are placed directly onto the walls of the oven when they're baked.
The seasoning mixture, along with the jute and clay, help to insulate the oven (burnt, crystalized sugar is pretty serious stuff.
The long list of contenders for this year's James Beard Foundation Awards was whittled down today, when the actual nominees were announced.
Of the 91 names on the list for the chefs and restaurant awards — not counting those in the Best New Restaurant category — 53 were on the list last year, too, which is kind of par for the course.
It's probably fewer returnees than last year, actually. Most categories usually have three or four of five nominees returning from the previous year — obviously not all five can return because someone has to win and then is ineligible for a number of years.
But this year there was a big shakeup that I don't understand in the Outstanding Wine Service category, in which only Blackberry Farm returned.
The Outstanding Service Award and the regional awards for the Mid-Atlantic, Southwest and Pacific have just two returning nominees.
For the Beard Awards, that's almost revolutionary.
Still, I shall endeavor to predict the winners.
Mind you, these are not my choices for who I'd like to win. They are who I think will win based on how popular they seem to be with media.
Because although anyone can participate online in the process of picking semifinalists, the judges in the two rounds of voting required to pick the actual nominees and the winners are former winners and the food writers who made them popular in the first place. It's kind of an insular world, and people tend to feed off of one-another's opinions.
That being said, my predictions don't have a great record. This will be my fourth year of Beard Handicapping. The first two years I guessed 7 out of 19. Last year I got 8 out of 19. So, that's less than half, but quite a bit better than a monkey picking at random (and if you think about it like baseball, I batted .421 last year).
Now let's get on with the predictions, shall we?
We have Andrés, Colicchio and Goin returning from last year. Both of the newcomers are from San Francisco and I think they'll split that city's vote. The question is, are the judges tired of Tom Colicchio or worried that José Andrés is too creative for these serious times? If so, they'll express love for the homey food of Sunday dinner at Lucques and vote for Suzanne Goin.
But I think star power will prevail and Tom Colicchio will win.
Babbo, Boulevard and Highlands Bar & Grill are back from last year, but the newcomers, Daniel and Spiaggia, are hardly new.
It's never wise to predict against a victory for Mario Batali or Daniel Boulud. We're in the mood for classics this year, which means Spiaggia has a good chance. But I think I'll predict Daniel.
These are all the same guys as last year except for Pat Kuleto, who's replacing last year's winner, Drew Nieporent. Will judges feel bad about not picking Boulevard as outstanding restaurant and vote for its owner, Kuleto, for restaurateur? I'm thinking they won't. Keith McNally is not particularly press-friendly, which could hurt him or help him depending on whether food writers like restaurateurs who play hard to get. I think mostly they don't like that.
Oh who knows? La Grenouille and Vetri are back from last year. The rest are new. Robuchon's Las Vegas restaurant is up for three awards this year (service, the regional award for the Southwest and pastry chef). But I think Grant Achatz's star power will outshine it. I think Alinea will win.
This category actually kind of matters, because you only have one chance to win it. I suppose it's possible that Marea and Locanda Verde will split the New York vote, except Flour + Water, Frances and RN74 are all in San Francisco. Does that mean Biboou in Philadelphia will slip through like a beta salmon while the big fish duke it out?
Maybe, but I think Marea will win.
Kamel Guechida, Nicole Plue and Mindy Segal are all back. I predicted that Mindy Segal would win last year, and I'm going to predict it again.
This award, given to a chef aged 30 or younger, is important because it can really help launch a career. Johnny Monis, Gabriel Rucker and Sue Zemanick are all back from last year. Tim Hollingsworth doesn't really need to have his career launched as he's already chef de cuisine at The French Laundry, but we love the House of Keller (Hollingsworth's predecessor, Corey Lee, won this award), and I predict he will win.
Paul Grieco of Hearth in New York is the only newcomer here. He could win, but I think we're going to go with booze this year, so I predict Julian P. Van Winkle, III of Old Rip Van Winkle Distillery in Louisville, Ky., will win.
Blackberry Farm's the only returning nominee, and maybe it's back for a reason, but I don't think the media love affair with Frasca is over yet. I predict that restaurant will win.
Michael Carlson of Schwa is the only newcomer, replacing Michael Symon who won last year. People like Schwa's homey style, but I hear so much buzz about Paul Kahan's restaurants that I think Koren Grieveson, his chef at Avec, will win.
Lenny Russo of Heartland in St. Paul is the only newcomer in this group, replacing Tim McKee who won last year. I have to say I have no idea about this one, but a prediction must be made, and so I shall make it for Colby Garrelts.
Peter Kelly's the only newcomer on this list. I know the Frasier-Gaier team at Arrows has to win one of these years, but this year I'm guessing, once again, that it will be Marc Orfaly.
Daniel Humm and Michael White are both new in this category, and they're both super-white hot. Michael White gets to win best new restaurant for Marea, and Daniel Humm was anointed by Frank Bruni as the city's newest New York Times four-star chef. Woe unto he (or she) who dares to tilt at that mighty windmill.
Interestingly, two of the nominees here, newcomer (to this list) Andrea Reusing of Lantern, and Bill Smith of Crook's Corner, are from Chapel Hill, N.C. Linton Hopkins of Restaurant Eugene is the sole representative from Atlanta. Hugh Acheson is from Five and Ten in Athens, Ga., and Sean Brock, the other newcomer, is from McCrady's in Charleston, S.C.
Sean actually isn't a newcomer as he was nominated to be rising star last year, but you can only be on that list for so long. I think he'll win the regional award this year.
Scott Boswell of Stella! in New Orleans and Christopher Hastings of Hot and Hot Fish Club in Birmingham, Ala., are new to the list, although really it's more that Chris Hastings was just given the year off in 2009. He was nominated in 2007 and 2008.
Is the third time a charm? Mmm, I think it's a toss-up between him and Zach Bell, who's Daniel Boulud's chef in Palm Beach.
As I said, it's always dangerous to bet against mighty Daniel, but one must occasionally live dangerously.
Ryan Hardy of Montagna at The Little Nell in Aspen and Claude Le Tohic from Robuchon's restaurant in Vegas are back from last year. You'd think Robuchon would win something, but I've been hearing a lot from Rick Moonen's people lately, and not just because he's on top Chef Masters, after years of relative quiet. I think it's his year.
I would love for Jeremy Fox to win since he's since left his job at Ubuntu, for which he was nominated last year as well as this year. It would be a tad awkward. David Kinch of Manresa is also back. Quince, Michael Tusk's restaurant, I think has the admiration of the Bay Area crowd, but Matt Molina of Mozza has celebrity chefs at his back.
Naomi Pomeroy of Beast in Portland and Andy Ricker of Pok Pok, also in Portland, are the newcomers in this category. Together with Cathy Whims of Nostrana in Portland, that means they have three nominees, and Seattle has just two. How embarrassing.
One of them might win, but I think the award will go to Jason Wilson of Crush in Seattle.
I've said it before, and I'll say it again, these are not necessarily who I'd like to win, they're who I think will win. All of the nominees whose restaurants I've visited or whose food I have eaten are absolutely deserving of this award yada yada yada.
If you love Kai restaurant, on 69th and Madison, or have meant to check it out, you have one month left to eat there.
Ito En, the tea company that owns Kai, announced that it's closing the restaurant and tea store on April 9.
"... with our lease up on the building, it was a time for us to re-evaluate our business strategy and focus on our core business of ready-to-drink beverages, tea leaves and teabags," said Yosuke Honjo, chief executive and president of Ito En North America, in an e-mail.
But Donguri (309 E. 83rd St., between First and Second avenues), is staying open, and Hitoshi Kagawa, former executive chef of Kai, is running the kitchen there.
Giuseppe Viterale thought a pay-by-the-pound churras-caria would do well in the Queens neighborhood of Astoria. So he opened a Samba Grill on 23rd Avenue, near the Astoria-Ditmars stop of the N and W trains.
It turned out that location didn't have enough foot traffic to support it, so last November he transformed it into Ornella, an Italian trattoria named after his wife, who is also the mother of their four children and the restaurant's executive chef.
I ate there last night.
The restaurant's publicist told me that many of the recipes come from Ornella's family (except for the takeout items like, you know, veal Parmigiana and spaghetti carbonara), but Giuseppe has some influence, too. His father owned mills in an Italian village near Salerno, so he learned a lot about different kinds of flour. So he serves a pasta made with 75 percent chestnut flour (with cherry tomato and arugula in a garlic-oil sauce), and another one — pizzocheri della valtellina — with buckwheat flour, served with cabbage, potato and fontina cheese (it's a Lombardian dish).
The chestnut pasta dish is the one in the picture.
I also had some Nduja — pronounce it and you'll see that it's a cousin of andouille — a spicy sausage of pork and veal from Calabria that Ornella serves as a pâté on bread — and, because I was in an Italian restaurant in New York City, after all, bruschetta with tomatoes and olive oil.
Then I had tilapia in cartoccio (prepared in an aluminum foil balloon along with clams and mussels etc.; to be broken open at the table so the diner can inhale the garlic-shellfish aroma), followed by a dessert sampler of an Italian sort of flan, cheesecake and chocolate cake.
But then Giuseppe was testing out the chestnut pasta with tuna bottarga and wanted me to check it out, too. So I did. The idea was to have that sharp fishiness of the bottarga contrast with the mild sweetness of the chestnuts.
I think it worked, but I can't say for sure because I'd just had chocolate cake.
What can I say? It's part of my job.
We in the trade media can be pretty self-satisfied sometimes, because we don't cover the same stories everyone else covers. Tiger Woods gets decked by his wife for messing around? We don't care.
A kid goes up in a runaway balloon but not really? We don't care.
Kim Kardashian — well, I don't even know enough about Kim Kardashian to finish this sentence.
So we sit in our offices on Park Avenue and wonder a bit smugly why those people — those consumer journalists — insist on all reporting on the same things, and on things that, quite frankly, are not germane to the interests of their audience.
Of course we know why — we might be smug but we're not stupid. It builds their audiences. It's what the public responds to.
We wondered if we could experiment with this. Was there some way we could connect Sarah Palin, say, with restaurants in a newsy way and report on it? Would that increase our readership?
I did a quick Google search for " "Sarah Palin" restaurant" and was rewarded with the video I have embedded here for your amusement.
It's not newsy. It's from the 2008 election campaign and was posted to YouTube.com on September 28 of that year. It's a visit by Mrs. Palin to Tony Luke's, which from what I understand is generally the third place for food tourists in Philadelphia to visit for cheese steaks. The first two are, of course, Pat's and Geno's.
I think the Geno's crowd is probably a better fit for the former vice-presidential candidate.
Anyway, this blog entry is just a test to see if writing about Sarah Palin will increase readership.
It's not a perfect test, but what test is? Even the landmark study indicating that oatmeal lowered cholesterol was flawed.
Seriously so, in fact: Test subjects were either given oatmeal for breakfast or bacon and eggs. Did the study show that oatmeal lowered cholesterol or that not eating bacon and eggs every single day for breakfast lowered cholesterol?
See? Even though I'm acting like consumer media and writing blog entries to try to drive traffic, I'm still able to educate my readers.
Thanks to a groundswell of Jonathon Sawyer fans, the executive chef of The Greenhouse Tavern in Cleveland dominated in last week's poll, in which I asked you to cast your own vote among semifinalists in the James Beard Foundation Rising Star Chef awards.
Indeed, the young chap, who I must say made a breathtakingly delicious clam chowder at an IFEC event I attended awhile back, took 43 percent of all of the votes.
He was followed by Kevin Gillespie of Woodfire Grill in Atlanta, with 14 percent of the votes, and Sonja Finn of Dinette in Pittsburgh, with 10 percent.
Rounding out the list of five who would make it onto the short list of finalists if the Beard Award judges vote the way Food Writer's Diary readers did are Sue Zemanick of Gautreau's in New Orleans, who got 5 percent of the votes, and Timothy Hollingsworth of The French Laundry, who got 4 percent.
Now, was this a plot on the part of Greenhouse Tavern patrons, or possibly workers, to stuff the ballot e-box for Jonathon? Almost certainly — my readership from Ohio jumped significantly last week.
But other restaurants could have done the same thing. They did not.
A total of 85 people participated in the poll. Full results can be found below.
Now on to what I think is the other important James Beard Foundation chefs and restaurant award — best new restaurant.
The other awards are nice to win, but they tend to include a revolving door of favorites, replaced after a time by the protégés of the favorites. But best new restaurant you can only win once. Voting has begun. Click on a button on the long column on the upper right hand part of this page.
Who would you pick from the James Beard Foundation's list of semi-finalists as rising star chef?


My philosophy of care is simple. The doctor-patient relationship is a unique, powerful, therapeutic relationship that exists and thrives only when mutual trust, honesty, and respect have been established. The doctor-patient relationship must always be the central focus of medical system if it is to provide what is best for the patient and the community it serves.


text:
package org.apache.druid.common.guava;

/**
 */
public abstract class ThreadRenamingRunnable implements Runnable
{
  private final String name;

  public ThreadRenamingRunnable(
      String name
  )
  {
    this.name = name;
  }

  @Override
  public final void run()
  {
    final Thread currThread = Thread.currentThread();
    String currName = currThread.getName();
    try {
      currThread.setName(name);
      doRun();
    }
    finally {
      currThread.setName(currName);
    }

  }

  public abstract void doRun();
}

redpajama_set_name: RedPajamaGithub


text:
Das Czech Juniors 2014 als bedeutendstes internationales Nachwuchsturnier von Tschechien im Badminton fand vom 14. bis zum 16. November 2014 in Orlová statt.

Sieger und Platzierte der Junioren U19

Weblinks
http://www.tournamentsoftware.com/sport/tournament.aspx?id=16439BD2-042B-4BEB-B3E4-4C6CC60E1418

2014
Badminton 2014
Badmintonwettbewerb in Orlová

redpajama_set_name: RedPajamaWikipedia


Teeth Whitener is free of charge photo editing software that makes your pictures look fantastic. Teeth Whitener is a revolutionary software which is designed to whiten ones own teeth in images. Our software automatically picks up yellow-colored teeth and chooses the very best white color to brighten your smile. Edit your photos before publishing them online or printing them to use in photo albums. Our software has features where you can enhance or add to your photo like lighting modification, effects, text messages and much more. Teeth Whitener supports popular formats such as JPG, GIF, BMP, EPS, PDF, TIF, PICT because they are among the most frequent. Make the most of powerful new digital photography tools and breakthrough capabilities for superior image selections, image retouching, realistic painting, and a massive amount overall performance improvements. Although it is available as a free download, Our software provides such sophisticated editing tools that it's often recommended as a free option to costly software.


text:
Gaby Espino (Caracas, 15. studenog 1976.) je venezuelanska glumica i manekenka.

Biografija

Rani život
Gaby Espino rođena je kao najstarija od petero djece. Otac joj je kemijski inženjer, a majka radi u tvrtki za odnose s javnošću. Kad je krenula na sveučilište, željela je studirati medicinu, ali odlučila se za studij ontologije. Nakon odslušana tri semestra promijenila je mišljenje o studiju, te je 1995. godine počela studirati glumu i ples u rodnom Caracasu.

Karijera
Svoj televizijski debi ostvarila je dvije godine kasnije u tinejdžerskoj seriji A Todo Corazon, a potom je nastupala u još petnaestak telenovela, od kojih su nama poznatije "Ljubavnici punog mjeseca", "Rebeca", "Luna – sirena s Kariba", "Ljubav i mržnja", "Drugo lice", te najnovija -  "Anđeo i vrag". Snimila je i dva filma, kriminalističku dramu Elipsis, te dramu Žena mog brata, u kojoj se pojavila nasuprot tada ljubavnog para Barbare Mori i Manola Cardone, te Christiana Meiera.

Privatni život
Godine 2007. Gaby se udala za glumca Cristobala Landera, a u srpnju 2008. rodila im se kćer Oriana. Taj brak više ne traje.
U rujnu 2011. godine na Twitteru preko twitcama je potvrdila svoju vezu s američkim glumcem i pjevačem Jencarlosom Canelom te da očekuju sina.

Filmografija

Vanjske poveznice

Venezuelanski filmski glumci
Venezuelanski televizijski glumci
Venezuelanski ženski modeli


text:
AmongTech
Daily blog posts on technology trends
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First smartphone running Windows Phone 8.1 available late April
by Rakshit Garg April 2, 2014 April 2, 2014 1
Microsoft has officially revealed the new version of its mobile operation system Windows Phone 8.1 at the Microsoft Build conference, version 8.1 will include many new features, improved UI and most importantly Cortana, Microsoft's own voice assistant. Lets take a look at some of the new features:
Action Center: Is the long awaited Notification center where you can find all of your notifications, access some basic functions like Wifi, Bluetooth, Airplane mode and Driving mode. The notification center is also optimized for those using dual SIM Cards.
VPN and S/MIME: 8.1 now also lets you encrypt your emails and connect to a Virtual Private Network, a much demanded feature for users which have Windows Phone as a business phone.
See Also: How to flash Windows Phone 8.1 onto Android devices
Wi-Fi Sense: Makes connecting to Wifi and hotspots easier as it will now automatically connect to any network it can, It has also made connecting your friends to your personal wifi at home easier as you can now give permission to your friends coming over at your house to access your network without having to give them the password to your wifi.
Cortana: Windows Phone 8.1 is all about Cortana, which is Microsoft's answer to Apple's Siri, Google Now and Samsung's S voice. The voice assistant can make calls, appointments, stop and play music, make web searches, answer simple questions and even add a show to your Hulu Plus favorite list. The service is currently only available in the US but will soon roll out to the UK and Europe.
Microsoft hasn't given us a specific release date for the new OS but it has confirmed that the first devices running it will become available late April or early March.
Rakshit Garg
Hey, I'm Rakshit. I live in the Bay Area in the United States, and have always been interested in technology since I was a young kid. I aspire to be a computer scientist in the future, but I spend my time in the present writing apps, studying programming, and learning new things.
by Rakshit Garg
Tagged: Lumia Microsoft mobile device Nokia Smartphone windows phone windows phone 8.1
Hey, I'm Rakshit. I live in the Bay Area in the United States, and have always been interested in technology since I was a young kid. I aspire to be a computer scientist in the future, but I spend my time in the present writing apps, studying programming, and learning new things.
Don't you wish these apps existed when we were in school?
September 26, 2016 October 11, 2016
Upcoming Android Phones 2015 Worth Waiting for
Windows Phone 10 Update: list of confirmed devices
Fix This copy of windows is not genuine 2015
How to change Windows 10 Desktop Background
OneDrive Android app users getting free 100GB storage
Vincent Norvelle says:
What Makes Your Mobile Application Development Successful
Cellphones, from the time that they were first introduced, were known to be one of…
Things You Require Knowing before You Choose an iPhone Text Message Hack
Hacking the iPhone messages allows you to find a lot of information about a person….
How to Get the Most Out of Your Phone (Case)
Smartphones offer so much more than just the ability to call someone on the other…
What Makes a Conference or Industry Event Memorable?
A considerable amount of time, effort and monetary resources go into organizing any conference. This…
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Create a Menu in Menus and assign it as Hidden Menu in Theme Location


We depart from Jakarta to Batam on Oct 2 using Air Asia flight service. We rode on their new aircraft: Airbus A330-300.
We spent the night in Batam island at Harbour Bay Amir Hotel. I wouldn't recommend this hotel to anyone due to their quite expensive rates and remote location. But this hotel might be suitable to anyone who wishes to depart to Singapore from Harbour Bay Ferry Terminal since the ferry terminal is just 10 minutes walk from the hotel.
We departed to Singapore from Harbour Bay on Oct 3 in the morning. The ferry trip took us just 30 minutes. This is faster than departing from Batam Center.
After arriving in Singapore, the next thing to do is finding a place to stay. Most accomodation are fully booked due to Lebaran holidays. We finally found a convenient studio apartment owned by Beach Hotel located near the Bugis Junction shopping area. We only spent one night there due to the quite expensive rate but we extremely loved the place.
In the evening we took the MRT train to go to Raffles' Place. We took on Singapore River Cruise. The city is so beautiful in the evening.
On Oct 4 in the morning we relocate to a rental apartment owned by an Indonesian at People's Park Centre in Chinatown. This place is a good place to stay since the food are suitable for our Indonesian stomach.
In the afternoon, we went to Sentosa. We got the chance to visit the Underwater World and Dolphin Lagoon.
On Oct 5, in the morning we went to Esplanade: Theatres On The Bay. A little tip for you: take the lift to the top of the esplanade. It's wonderful.
In the afternoon, we visited the Merlion Park which is within walking distance from the Esplanade. Here, we can take photos of ourselves with the emblem of Singapore city.
Still in the afternoon, we visited the well-known Orchad Road. We had our late lunch at the Food Republic at Wisma Atria.
In the evening we checked out the night market of the Chinatown where we shopped for souvenirs.
On Oct 6, we departed from Singapore to Kuala Lumpur, Malaysia. We used the overly convenient Aeroline bus service. The trip took us 6 hours. We bus stopped at Corrus Hotel, but we didn't stay there because it is too expensive for us. We stayed in the classic budget hotel, The Heritage Station Hotel, located in the historical Old Railway Station.
We spent the evening browsing through Petaling Street, the Chinatown of Kuala Lumpur. There's another good budget hotel here: Stay Orange Hotel.
On Oct 7, we traveled to Petronas Twin Tower Skybridge in the morning. In the afternoon, we visited Genting Highlands via cable car. We hired a tour coordinator for our trips in malaysia. His name is Georga Salvam. He works for SIMA Travel & Tours. If you are on vacation in KL, you can contact him if you need his service. His number is +60 12 9023 851.
On Oct 8, we took the Malacca Historical Tour with George, our tour coordinator. We checked out St. Peter Church, St. Francis Xavier Church, St. Paul Church, Christ Church, Famosa, Stadhuys, some other museums and Jonker Street. We loved the becak ride and the chicken riceball.
On Oct 9, we returned to Singapore using Aeroline bus again. We returned to Batam that same day. This time we stayed in the confortable Hotel 89.
I returned to Jakarta on Oct 10 but the rest prefer to spend another week in Batam island.
Well, I hope my information can be useful for those who wish to go to the same destination. Anyway, if you need a guide to go to Singapore or Malaysia, you can always contact me (you will pay for my expenses of course).


Custom made bikes made from salvaged auto parts. Ad agency Lola Madrid created a brand Bicycled that is both environmently conscious as stylish. Bicycled is not only a new type of bike, it is also a return to the roots of biking. It's a handmade bike created specially by bicycle shop owners, and because the consist of scrap metal from different cars, no two bikes are the same.
The Worlds Next photography Talent!
Here here, Foam is looking for the worlds next photography talent! Foam Talent Call 2013 from Foam Magazine on Vimeo.


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Formula E: More than a motor sport – it's the future
The 50th Formula E electric car race took place in Hong Kong this weekend, challenging traditional motor sport paradigms and pushing the boundaries of electric mobility.
Bridie Schmidt Posted on 13 March 2019 13 March 2019 0 Comments
The Driven
Many would say that the Formula E is not a real motor sport.
Without the rumble of the fuel-hungry Formula One motors, you don't feel it vibrating every fibre of your being (then again, you don't damage ear drums, either).
But the Formula E is much more than just a race: for a start, the noise of the Formula E, a high-pitched buzz that has all the feeling of a remote-controlled car on steroids, instead conveys an impression of urgency and speed.
It also presents the opportunity for all involved, from automakers to charging infrastructure providers, to push boundaries of innovative e-mobility technology, in much the same way as the Formula One does for combustion engines.
Watching the 50th race of the five year-old Formula E in Hong Kong this weekend, I couldn't help thinking of a young Anakin from the Star Wars anthology in a pod race.
Thanks to electric drivetrain technology – hardware and software – the Formula E presents drivers with a very different style of racing and for spectators, a different way of engaging with the race.
In the first Formula E seasons, the extreme demands of racing on fledgling battery technology meant that drivers would need to swap an energy-depleted car for a fully charged second vehicle in the middle of the race.
These days, a 54kWh battery means a driver has just one car for the whole race, and must make sure they not only maintain and gain rankings in the race, but also have enough energy to finish it.
Gen 1 vs Gen 2 Formula E. Source: ABB
Practice and qualifying rounds are held on the same day as the main race, so if there are any mishaps resulting in anything other than body damage prior to the main event, drivers may be knocked out of the race.
The new Generation 2 Formula E also means that drivers have to drive with strategy rather than brute speed.
As with other electric cars, Formula E cars have regenerative braking technology.
They tend to coast along the straights to conserve energy, and brake earlier for turns than one would see in the Formula One.
"Because the race is 45 minutes you have to manage the battery… As a driver you have to coast. When you brake at 50 metres you will be coasting from 150 metres, and then regen," explains Simona de Silvestro, ambassador for title sponsor ABB, the only female driver on the V8 Supercars circuit and test driver for the Formula E.
Source: ABB
This allows them to recoup energy as they approach the turn, but while it gives the impression that they are driving more conservatively than in a Formula One, it quickly becomes apparent there is much more to it.
Formula E cars have brake-by-wire systems, which allow greater accuracy than normal braking. It also means the drivers and their teams can tweak the systems using the car's software.
"With an electric engine you work a lot on the different mapping for different types of corners, and that makes it quite special for Formula E because every track they can … be precise with everything that is going on with the motor," says Silvestro.
Simona de Silvestro with ABB's Yumi robot. Source: ABB
Attack mode and fanboost
This year, the unique combination of software and electric drivetrain hardware have allowed the FIA to add two more elements to the Formula E race: Attack Mode and Fanboost.
As with other electric cars, software can be used to limit the amount of power used by the Formula E cars' motors (all cars are limited to 200kW).
Both allow the drivers to use an additional burst of power; in the case of Attack Mode, which the drivers MUST use at some point twice in each race, an extra 25kW for each motor gives the driver a boost which they can choose to use strategically to overtake other drivers.
To use it, they must drive through an "activation zone", and then they have four minutes of boosted speed.
In this year's race, an initial crash in the second lap resulting in all drivers having to leave the track until it was cleared, leaving the majority of drivers wanting to make up time – all but two activated Attack Mode as soon as they were back on the track.
While Attack Mode is a must for drivers, Fanboost gives spectators the chance to have a direct influence on the race.
Fans vote for their favourite drivers via social media, with the most popular receiving additional seconds of boosted energy.
I got the impression that the ability to add modes like these in the Formula E will continue to push the way that the drivers approach the race, making decisions during racing not far removed from, say, playing Mario Kart.
"It makes it really cool because there is a bit more strategy and it gives you more advantage to get by people. I think it's quite fun," says Silvestro.
"It's the only race where you can do something like this, it's definitely thinking outside the box," she says.
What the future will bring for Formula E in terms of innovation, new technology and additional elements made possible by these technologies is yet to be seen.
But with its innately fresh approach to racing style and strategy, it has the potential to continue reaching an ever-widening, younger audience, and proclaiming: the future is here, and it is electric.
Bridie Schmidt travelled to Hong Kong as a guest of ABB
This article was originally published on RenewEconomy's electric vehicle-dedicated site, The Driven…
Bridie Schmidt
Bridie Schmidt is staff writer for The Driven, and Renew Economy. She specialises in writing about new technology, as well as using her technical skills in managing our websites.
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Managing Service Providers - Identity Server 5.0.0 - WSO2 Documentation for your Wiki!
This topic provides instructions on how to manage service providers once they are created. This includes the following sections.
Follow the instructions below to view the list of service providers added in the WSO2 Identity Server.
Follow the instructions below to edit a service provider's details.
Locate the Service Provider you want to edit and click on the corresponding Edit link.
You are directed to the edit screen. See here for details on the editable form.
Follow the instructions below to delete a service provider.
Locate the Service Provider you want to delete and click on the corresponding Delete link.
Confirm your request in the WSO2 Carbon window. Click the Yes button.


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Peggy Rowe
Peggy Rowe used to have a hobby; she wrote articles and stories that appeared in newspapers and magazines. Thanks to her husband, John, three sons, and two parents who lived across...view morePeggy Rowe used to have a hobby; she wrote articles and stories that appeared in newspapers and magazines. Thanks to her husband, John, three sons, and two parents who lived across the lawn for 40 years, there was no scarcity of material. After writing her first book, About My Mother, at the age of 80—which became a NYT bestseller—and her second book, About Your Father, at the age of 82, Peggy's hobby has become a full-time job. "It took me 80 years to find my voice," she says, "And now I can't shut it up!" Peggy Rowe's daily Facebook blog, "About My Mother," has over 100,000 followers. She and her husband of sixty years are former schoolteachers and live in Baltimore, Maryland.view less
Books by Peggy Rowe
About Your Father and Other Celebrities I Have Known: Ruminations and Revelations from a Desperate Mother to Her Dirty Son
Author Peggy Rowe
About My Mother: True Stores of a Horse-Crazy Daughter and Her Baseball-Obsessed Mother: A Memoir
Medical Biographies


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Seattle's Top Attractions and Hidden Gems
Leah Swofford - Seattle
There was rain, as expected, when I arrived at the Seattle-Tacoma International Airport one Thursday evening. My fiancé and I dropped our bags off at our friends' home, where we would be staying for the next few days, and we spent a relatively quiet night catching up with good friends and resting up for a full weekend of exploring Seattle, Washington.
When visiting a new city for the first time, I love to see a good mix of touristy spots and local favorites. For this trip, our absorption of Seattle's icons would not have been possible without help from CityPASS. As with my trip to Chicago last year, I was once again thankful to have a booklet full of tickets to the city's most must-see attractions, along with detailed information about how to get to and the best times to visit each spot.
Case in point: the Space Needle. CityPASS allows its booklet holders to ride to the top of the Space Needle not once but twice. Although we only had time to take one trip (which we made in the morning), I wish we could have taken advantage of the perk and had a second look at the city as the sun set and lights illuminated the 360-degree view of Seattle and beyond.
The Space Needle is located at Seattle Center, home to several theaters and attractions, including another CityPASS partner, the EMP Museum (formerly known as the Experience Music Project and Science Fiction Museum and Hall of Fame). Visiting the EMP Museum was one of the main highlights of my trip because of its impressive displays of contemporary popular culture.
Be sure to check out the exhibit "Hear My Train a Comin': Hendrix Hits London" about Jimi Hendrix's impact on the England city in the 1960s. "Nirvana: Taking Punk to the Masses" not only shares the story (and some cool memorabilia) of the early '90s alternative rock band but also goes in-depth about the underground music scene Nirvana helped create. Movie lovers must make time for three awesome exhibits: "Fantasy: Worlds of Myth and Magic," "Icons of Science Fiction," and "Can't Look Away: The Lure of Horror Film." Each exhibit was well researched, well curated, and absolutely fascinating.
Also at Seattle Center is Chihuly Garden and Glass. While the full admission ticket is not included in the CityPASS booklet, there is a coupon for $5 off the ticket price so be sure to use it. The art experience showcases the incredible work of glass artist Dale Chihuly through eight interior galleries, a glasshouse, and a garden. Each colorful piece in the interior rooms was lit just so in order to highlight its unique characteristics, and I loved how the garden art was mixed with colorful flowers and plants.
The Pacific Science Center, which highlights science, math, and technology, sits next to Chihuly Garden and, although we didn't have the chance to visit on this trip, I did speak to a few people who said they had been before and really enjoyed it. One exhibit I was especially bummed to miss out on was "SPY: The Secret World of Espionage," open through September 1, 2014. It sounds fascinating! The center has several rotating and permanent exhibits, as well as an IMAX theater, a planetarium, a live science stage, and a musical theater called the Laser Dome.
While so much can be seen and done at Seattle Center, visitors must still make time to visit Pike Place Market, probably the most iconic location in Seattle after the Space Needle. It's about a 20-minute walk from the Space Needle to Pike Place and the waterfront, which is what we opted to do in order to get a better sense of our surroundings. Of course, you can also take a quick cab ride or go with public transit on the Seattle Monorail, which stops three blocks from the market.
During our visit to Pike Place Market, the first order of business was lunch. We wanted something quick, delicious, and uniquely Seattle; we found it at Pike Place Chowder, located in Post Alley about half a block north of Pike Place and the market entrance. Waiting in the long line that snaked out the door was worth it for a lunch of hot New England clam chowder in a sourdough bread bowl and an Oregon Bay shrimp roll, which we enjoyed al fresco on a sunny day.
Once we had refueled we made our way to the market, particularly Pike Place Fish Market, at the corner of Pike Street and Pike Place. The iconic seafood stall is the site of the world famous fish toss by a crew of fish mongers dressed in orange overalls; there will be a crowd whenever you visit, but that's because it's worth the stop.
Visitors to the market will also find fresh produce, pastas, olive oils, chocolate-covered cherries, handcrafted jewelry, and table after table of gorgeous tulips in every color imaginable. More than once I wondered if I could get away with taking a tulip bouquet safely through TSA, on the plane, and back to my home in Los Angeles, but I ultimately (and sadly) decided it would be best to leave the flowers behind.
Coffee lovers will get a kick out of seeing the first-ever Starbucks, located across from the market between Stewart and Virginia Streets. Because it lies within a historic district, the store retains its original design both inside and out. Customers can purchase merchandise labeled with Starbucks' first logo as well as an exclusive coffee blend not available at other locations.
Below Pike Place is the Seattle waterfront, flanked by Elliott Bay and the Puget Sound. To get acclimated with the Seattle from the water we hopped aboard the Spirit of Seattle™ for an Argosy Cruises Harbor Tour. The narrated one-hour tour—included in the CityPASS booklet—departs at Pier 55 and takes cruisers north along the Seattle shoreline up to Piers 90 and 91 then loops back around, passing the Duwamish Waterway, Harbor Island, and Coast Guard Pier. It's a perfect tour for visitors—and great for locals, too.
Back on land at Pier 59, the Seattle Aquarium treats its guests to several exciting exhibits with birds, fish, a giant Pacific octopus, otters, and seals. We happened to enter the "Marine Mammals" exhibit just in time for the otters' and seals' afternoon snack, and it was a delight to watch them interact with the trainers and with one another. We were especially enamored with the sea otters; watching them enthusiastically eat their crab legs snack was way too entertaining.
With several of the top tourist attractions crossed off our list, we had plenty of time left to experience the city from a local's perspective. I have to mention the super-fun bar our hosts took us to called Von Trapp's, which is in downtown Seattle on 12th Avenue. Drinks at the giant German and Belgian beer hall can be ordered in anything from a 2-ounce taster to a 2-liter boot, and the menu features a house-baked pretzel, schnitzel, a selection of wurst, and other traditional favorites. The best part, however, are the four bocce courts at which diners can play the entertaining game. We spent a good portion of one evening engrossed in a battle of Los Angelenos versus Seattleites—so much so we almost played straight through our dinner plans!
I was also really impressed with Ballard, the neighborhood in which we stayed. Although only 15 minutes from downtown Seattle, the neighborhood has character all its own and, in my opinion, is worth a visit if you're looking for something a little less touristy. My suggestions: walk through the Carl S. English Jr. Botanical Garden to the Hiram M. Chittenden Locks; bar hop on Ballard Avenue (The Sexton, The Noble Fir, Percy's & Co) and NW Market Street (Ocho, Hazlewood); and enjoy excellent seafood and a gorgeous view at Ray's Boathouse.
It was a whirlwind three-day visit in Seattle, but I think we made the time count. I loved exploring the city's icons and discovering what makes the destination so unique, and it was extra-special to spend time with our local hosts and learn about their favorite spots. Even a bit of rain couldn't stop us from enjoying each day; it only adds, after all, to that wonderful Seattle charm.
Leah Swofford
Celebrating History, Making Memories
- Seattle
Seattle Melts in Your Mouth


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More private parking tickets are being issued - here's how to challenge them
A ticket is issued every 4.5 seconds and there are concerns about the conduct of private parking companies
James Rodger
New laws are being proposed to control private companies that issue parking tickets.
Parking management firms collect vehicle keeper records and use the information to send out penalty charges for alleged infringements in private car parks. Demands of £100 are not uncommon.
The problem is that the industry is currently self-regulated and there are concerns about sharp practice and the legal basis for enforcing such charges.
A private members' Bill tabled by Conservative MP Sir Greg Knight to bring the industry under control has been welcomed by research charity the RAC Foundation.
One problem is that drivers may not know the difference between a parking charge notice and a penalty charge notice.
Motorists across Derbyshire could potentially save hundreds of pounds a year by understanding which can be challenged and by knowing their rights.
Penalty charge notices are only issued by an official body like a council or police force, granted powers by legislation passed by Parliament that cover various parking misdemeanours such as breaching the terms and conditions of parking in council-controlled car parks.
Private companies have no such powers and try to trick drivers into thinking their notices are the same in a bid to force people to pay.
Being able to tell the difference between a Penalty Charge Notice and a Parking Charge Notice could save you money (Image: Coventry Telegraph)
Companies can do this in a variety of ways - and they usually try to make their penalty charge notices look as much like parking charge notices as possible.
But, thankfully, they are easy to dispute.
How to contest a parking charge notice?
Simply respond that you are refusing to pay.
DON'T say you are appealing the ticket, as this legitimises the ticket.
Also write 'Without Prejudice' on the letter – then no information in the letter can be used against you.
Is your age group paying a record-breaking amount for car insurance?
If the company rejects your dispute, then you can escalate to the firm's trade member association.
You must have an official reference number from the company and their reasons for rejecting your dispute.
They will refer you to POPLA, the Independent Tribunal for Parking Fines.
Around 40% of appeals are upheld in the favour of the public.
If you wish to dispute the ticket, then you have 28 days in which to dispute after the firm that issued the ticket has rejected your appeal.
I've been issued a penalty charge notice - what should I do now?
If you have received a parking ticket, the person who issued it has determined that you have parked your car somewhere you're not allowed to.
Firstly, you should work out if it's from Derby City Council, or a private company (these tend to look alike).
Once issued with a penalty charge notice you will be expected to pay a penalty charge of £130 for a serious parking offence or £40 to £80 for a less serious offence - although this can vary by council.
You can reduce your fine by paying within 14-days.
A Derby Traffic Warden on patrol in Derby City Centre issues a parking ticket
I want to appeal my case
If you think the council penalty charge notice has been issued wrongly you must make your reasons known as soon as you can by writing to the address on the notice or getting in touch online.
Your appeal will then be reviewed and you will be made aware of the outcome.
You have 28 days to challenge a penalty charge notice.
If you do it within 14 days and your challenge is rejected, you may only have to pay 50% of the fine.
If you're appealing your ticket, hold on to any photographs from the scene, letters you've received, mitigating circumstances and any statements if possible.
The crazy reasons why thousands of motorists are failing their MOTs
This also includes:
A valid pay and display ticket
A letter from someone who was with you saying what happened – write 'Witness statement' at the top of this
A repair note, if your car broke down
Make sure you include:
The date the ticket was issued
Your vehicle registration number
The penalty notice number
To appeal your case, you'll need to prove your innocence.
You can appeal if the traffic signs were wrong, the council has made an error on the ticket, you've already paid the fine, the signs are misleading or confusing, you didn't own the vehicle at the time or you've been overcharged.
To start your appeal online, you'll have to enter your postcode at Gov.uk's 'Challenge a parking fine' page here.
A version of this article appeared in the Coventry Telegraph.
BelperBaby who tragically died in Derbyshire town is namedTwo people have been arrested on suspicion of assault


Nuclear pore complexes (NPCs) mediate nucleocytoplasmic exchange. They are exceptionally large protein complexes that fuse the inner and outer nuclear membranes to form channels across the nuclear envelope. About 30 different protein components, termed nucleoporins, assemble in multiple copies into an intricate cylindrical architecture. Here, we review our current knowledge of the structure of nucleoporins and how those come together in situ.We delineate architectural principles on several hierarchical organization levels, including isoforms, posttranslational modifications, nucleoporins, and higher-order oligomerization of nucleoporin subcomplexes. We discuss how cells exploit this modularity to faithfully assemble NPCs. Expected final online publication date for the Annual Review of Biophysics Volume 48 is May 3, 2019. Please see http://www.annualreviews.org/page/journal/pubdates for revised estimates.


Location: Pavilion 7, Strait International Convention and Exhibition Centre, Fuzhou City.
As a leading Chinese manufacturer in ARA and Algae DHA products, Runke welcomes your visiting our booth B21 on 13th Chinese Dairy Technologies Expo held in Fuzhou on Sep. 12-15th.
We wish to discuss cooperation with you and find opportunities on mutual benefits!


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Synths with Friends

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Admissions standards for the online master of arts in Counseling and Guidance and Counseling for Mental Health and Wellness programs are the same as the requirements for the on-campus programs.
We look for candidates who are committed to the promotion of equity and social justice, and hold the appropriate education and experience to succeed in our rigorous online counseling programs. In order to apply, you must hold a bachelor's degree from a regionally accredited university.
For applicants to the master of arts in Counseling for Mental Health and Wellness program it is helpful to have some experience in the mental health field. This can include paid or volunteer experience in settings such as suicide hotlines, psychiatric centers, crisis centers, etc.
Statement of Purpose: This statement is your opportunity to introduce yourself to the admissions committee and demonstrate your knowledge and passion for the field. Let us know your goals, interests, and career plans as they relate to earning your degree. Specifically, how have your experiences – education, volunteer, and/or work experience – led you to pursue a career in counseling? The statement should be two to three double-spaced pages, and it should explain your reasons for pursuing a graduate degree in counseling.
Current Resume/CV: Be sure to include all relevant work experience. Counseling for Mental Health and Wellness applicants should include any part- or full-time work experience, or volunteer experiences in clinical settings.
If the unofficial transcripts submitted do not meet the above requirements, you will be required to submit official transcripts. If admitted to the program, you will need to provide official transcripts.
Two Letters of Recommendation: These two letters should come from academic references who know you and can speak to your academic qualifications in relation to your field of study.
TOEFL, IELTS, or PTE scores: These scores are required only if your native language is not English and you did not receive the equivalent of a four-year US undergraduate degree in which the main language of instruction was English. In order to apply for the program, you must have a minimum TOEFL score of 100.
Please note: All applicants must be US citizens or permanent residents living in the United States for the duration of the program. Students living outside of the United States are not eligible for the program at this time.
Application Fee: A $75 application fee is required upon submission of your application and can be paid using any major credit card. If you submit by the priority deadline, the application fee will be reduced to $45.
All students enrolled in Counseling@NYU agree to follow the Ethical Standards for School Counselors (American School Counselor Association, 2016) and the American Counseling Association Code of Ethics (2014) while in training.