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Bumblebees benefit from faba bean cultivation
About one third of the payments received by farmers are linked to specific "greening measures" to promote biodiversity. The cultivation of nitrogen-fixing legumes is very popular. However, these measures have been criticized because the benefits for biodiversity are unclear. Now a team from the University of Göttingen, the Julius Kühn Institute and the Thuenen Institute in Braunschweig has investigated whether the cultivation of the faba bean (Vicia faba - also known as the broad bean or fava bean) can support wild bees. It turns out that bumblebees benefit from the cultivation of faba beans, while all other wild bees depend on the presence of semi-natural habitats. The results of the study have been published in the Journal of Applied Ecology.
The researchers recorded wild bees in various German agricultural landscapes for the study. In one half of the landscapes, conventionally farmed faba beans were cultivated; in the other half there were no bean fields. "The nectar of the faba bean is hidden deep in the flowers and is only easily accessible to larger bees with long tongues, such as bumblebees. We therefore wanted to investigate how groups of wild bees, which differ in their external appearance, react to the cultivation of faba beans and whether they can benefit from it," says first author Nicole Beyer from the Functional Agrobiodiversity Group at the University of Göttingen. The study results show that there were more than twice as many bumblebees in the faba bean landscapes than in the landscapes without beans. In contrast, the cultivation of beans did not affect other wild bees. However, these other wild bees benefited from a high proportion of semi-natural habitats.
"Our research clearly showed that certain bee species can be supported by similar measures in farmed areas. But the benefits depend strongly on the characteristics of the crop and pollinator. In order to encourage the widest possible range of species, we propose a combination of measures: the cultivation of various flowering arable crops such as faba beans and the promotion or preservation of semi-natural habitats with a diverse range of flowers and nesting sites for many other wild bees," concludes Professor Catrin Westphal, Head of Functional Agrobiodiversity at the University of Göttingen.
Original publication: Beyer, N., Gabriel, D., Kirsch, F., Schulz-Kesting, K., Dauber, J. & Westphal, C. (2020). Functional groups of wild bees respond differently to faba bean (Vicia faba L.) cultivation at landscape scale. Journal of Applied Ecology, doi: https://doi.org/10.1111/1365-2664.13745
Nicole Beyer
Functional Agrobiodiversity Group
Grisebachstraße 6, 37077 Göttingen, Germany
Email: nicole.beyer@uni-goettingen.de
http://www.uni-goettingen.de/en/601681.html
Professor Catrin Westphal
Functional Agrobiodiversity
Email: cwestph@gwdg.de
Related Biodiversity Articles from Brightsurf:
Biodiversity hypothesis called into question
How can we explain the fact that no single species predominates?
Using the past to maintain future biodiversity
New research shows that safeguarding species and ecosystems and the benefits they provide for society against future climatic change requires effective solutions which can only be formulated from reliable forecasts.
Changes in farming urgent to rescue biodiversity
Humans depend on farming for their survival but this activity takes up more than one-third of the world's landmass and endangers 62% of all threatened species.
Predicting the biodiversity of rivers
Biodiversity and thus the state of river ecosystems can now be predicted by combining environmental DNA with hydrological methods, researchers from the University of Zurich and Eawag have found.
About the distribution of biodiversity on our planet
Large open-water fish predators such as tunas or sharks hunt for prey more intensively in the temperate zone than near the equator.
Bargain-hunting for biodiversity
The best bargains for conserving some of the world's most vulnerable salamanders and other vertebrate species can be found in Central Texas and the Appalachians, according to new conservation tools developed at the National Institute for Mathematical and Biological Synthesis (NIMBioS) at the University of Tennessee, Knoxville.
Researchers solve old biodiversity mystery
The underlying cause for why some regions are home to an extremely large number of animal species may be found in the evolutionary adaptations of species, and how they limit their dispersion to specific natural habitats.
Biodiversity offsetting is contentious -- here's an alternative
A new approach to compensate for the impact of development may be an effective alternative to biodiversity offsetting -- and help nations achieve international biodiversity targets.
Biodiversity yields financial returns
Farmers could increase their revenues by increasing biodiversity on their land.
Biodiversity and wind energy
The location and operation of wind energy plants are often in direct conflict with the legal protection of endangered species.
Read More: Biodiversity News and Biodiversity Current Events

redpajama_set_name: RedPajamaCommonCrawl


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Tamagotchis are coming back, so you can slowly kill a digital pet all over again
Alex McLevy
Photo: Charla Jones/Toronto Star via Getty Images
Tamagotchis were the toy that epitomized American culture in the '90s: A then-bright and shiny bauble whose constant need for attention would soon become wearying, leaving us all to ignore its basic needs, blithely unconcerned that we would soon watch it die a slow death.
Perhaps sensing that we would all prefer to escape the actual experience of watching this happen on a national scale, and instead return to the comforting glow of a digital metaphor for the American dream, the
Los Angeles Times reports the company behind Tamagotchis will be reintroducing the pixelated pets to the American marketplace. Bandai America Inc. will be returning the toy to stores to coincide with the gizmo's 20th anniversary, meaning that consumers will be able to again purchase the little trinkets starting November 5, though pre-orders are available now.
For those who are under the age of 25 and have no idea what the fuck a Tamagotchi is, some background: It's essentially a digital pet, a small circular hunk of plastic on a keychain with a tiny screen on which you witness a small colorless blob come to life. From the moment you turn it on, it requires near-constant attention, demanding to be fed, nurtured, and cleaned up after approximately every 15 minutes or so. Without your constant manual updates, it would get sick and die. So, basically a smartphone.
Bandai America Inc. is so certain that America has been hungering for the chance to once again shell out $14.99 for a pocket-sized analogy to our national approach to climate change, it didn't even do any market research before re-releasing the toy. "Nostalgia works in the toy industry," the piece quotes one analyst as saying, pointing to the recent successes of Nintendo's miniature original consoles and Barbie's relaunch as examples. And the new Tamagotchi will also be 20 percent smaller, demonstrating the company's commitment to its product as an ideal metaphor for the American way of life, as we dutifully shell out the same amount of money we paid 20 years ago for less than what we originally got in return. Hakuna Matamagotchi.
Alex McLevy is a writer and editor at The A.V. Club, and would kindly appreciate additional videos of robots failing to accomplish basic tasks.


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C.S. Lewis' Further Up...
Pesado
La Fiera De Ojinaga
Iya Terra
AdventHealth Championship
Ohio State Buckeyes Hockey
Lexington Ballet Company
Cirque Zuma Zuma
Lucy Loves Desi
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È nota soprattutto per il ruolo di Sloane Peterson, ragazza di Ferris Bueller, in Una pazza giornata di vacanza (1986), e di Melissa Walker, moglie di Jean-Claude Van Damme, nel film Timecop - Indagine dal futuro (1994).

Biografia
Figlia di un fotografo e di una stilista italoamericani, entra a far parte della St. Ann's School a Brooklyn, in cui frequenta la scuola elementare e media. Il suo primo ruolo di rilievo è nel film Legend (1985), al fianco di Tom Cruise, ma è conosciuta soprattutto per l'interpretazione di Sloane Peterson nel film Una pazza giornata di vacanza (1986).

Appare poi in alcune miniserie televisive, tra cui Queenie - La stella di Calcutta (1987), che ricostruisce in maniera romanzata l'ascesa hollywoodiana dell'attrice  Merle Oberon, e recita nei film Timecop - Indagine dal futuro (1994), vincendo il premio Saturn Award come "miglior attrice non protagonista", e All'inseguimento della morte rossa (1995), con Michael Caine.

Vita privata
Nel 1996 sposa Jason Connery (figlio di Sean Connery), con cui recita nel film televisivo All'inseguimento della morte rossa, e dal quale ha un figlio, Dashiell Quinn, nato nel 1997. I due attori divorziano nel 2002. Dal 2010 è sposata con Brian Henson (figlio di Jim Henson  creatore dei Muppets). La coppia ha una figlia, Amelia.

Filmografia

Cinema
 Legend, regia di Ridley Scott (1985)
 Una pazza giornata di vacanza (Ferris Bueller's Day Off), regia di John Hughes (1986)
 La notte dello sciamano (Apprentice to Murder), regia di Ralph L. Thomas (1988)
 Melanie (Shadows in the Storm), regia di Terrell Tannen (1988)
 Big Time, regia di Jan Egleson (1989)
 Any Man's Death, regia di Tom Clegg (1990)
 Il silenzio del deserto (A Climate for Killing), regia di J.S. Cardone (1991)
 Sfida d'onore (By the Sword), regia di Jeremy Kagan (1991)
 Una estranea fra noi (A Stranger Among Us), regia di Sidney Lumet (1992)
 Caroline at Midnight, regia di Scott McGinnis (1994)
 Timecop - Indagine dal futuro (Timecop), regia di Peter Hyams (1994)
 Inganno fatale (The Set Up), regia di Strathford Hamilton (1995)
 The Pompatus of Love, regia di Richard Schenkman (1995)
 Black Day Blue Night, regia di J.S. Cardone (1995)
 Inganno diabolico (The Maddening), regia di Danny Huston (1995)
 Intrigo a San Pietroburgo (Midnight in Saint Petersburg), regia di Douglas Jackson (1996)
 Descent, regia di Keith Cubba  - cortometraggio (1999)
 Dazzle, regia di David Lister (1999)
 Little Insects, regia di Gregory Gieras (2000)
 The Impossible Elephant, regia di Martin Wood (2001)
 Turn of Faith, regia di Charles Jarrott (2002)
 Hoodlum & Son, regia di  Ashley Way (2003)
 Dorothy and the Witches of Oz, regia di Leigh Scott (2012)

Televisione
 Queenie - La stella di Calcutta (Queenie), regia di Larry Peerce - miniserie TV (1987)
 Alfred Hitchcock presenta (Alfred Hitchcock Presents) - serie TV, 1 episodio (1988)
 Fino al prossimo incontro (Till We Meet Again), regia di Charles Jarrott - miniserie TV (1989)
 Figlia delle tenebre (Daughter of Darkness), regia di Stuart Gordon - film TV (1990)
 Tutta colpa dell'amore (Blindsided), regia di Thomas Michael Donnelly - film TV (1993)
 Time Trax - serie TV, 2 episodi (1993)
 Il richiamo della foresta (Call of the Wild), regia di Michael Toshiyuki Uno - film TV (1993)
 All'inseguimento della morte rossa (Bullet to Beijing), regia di George Mihalka - film TV (1995)
 Chicago Hope - serie TV, 2 episodi (1995-1996)
 Strangers - serie TV, 1 episodio (1996)
 Preso in trappola (Undertow), regia di Eric Red – film TV (1996)
 Inganno diabolico (The Maddening), regia di Danny Huston (1996)
 Ventimila leghe sotto i mari (20,000 Leagues Under the Sea), regia di Rod Hardy – miniserie TV (1997)
 Hard Time, regia di Burt Reynolds – film TV (1998)
 Jack e il fagiolo magico (Jack and the Beanstalk: The Real Story), regia di Brian Henson – miniserie TV (2001)
 Lost in Oz, regia di Mick Garris – film TV (2002)
 Birds of Prey – serie TV, 13 episodi (2002-2003)
 CSI: NY – serie TV, 1 episodio (2005)
 Incubi e deliri (Nightmares and Dreamscapes: From the Stories of Stephen King), regia di Brian Henson - miniserie TV (2006)
 Tinseltown - serie TV, 1 episodio (2007)
 Le streghe di Oz (The Witches of Oz), regia di Leigh Scott - miniserie TV (2011)

Doppiatrici italiane
Nelle versioni in italiano dei suoi film, Mia Sara è stata doppiata da:
Emanuela Rossi in Timecop - Indagine dal futuro, Queenie - La stella di Calcutta
Caterina Sylos Labini in Legend
Roberta Paladini in Una pazza giornata di vacanza
Eleonora De Angelis in Una estranea fra noi
Ilaria Stagni in Alfred Hitchcock presenta
Giuppy Izzo in Hard Time
Claudia Catani  in Jack e il fagiolo magico
Alessandra Korompay in Birds of Prey

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


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Polar bear Anoki artificially inseminated
Home » Polar bear Anoki artificially inseminated
On Friday, March 22, Monroe County Executive Cheryl Dinolfo & Seneca Park Zoo officials announced that the Zoo partnered with the Cincinnati Zoo & Botanical Garden's Center for Conservation and Research of Endangered Wildlife (CREW) to participate in the development of assisted reproductive technologies by artificially inseminating Anoki, the Zoo's 22-year-old female polar bear.
Seneca Park Zoo has a history of working with CREW on polar bear reproduction. Aurora, the Zoo's prior polar bear and Anoki's mother (through natural conception) was the first polar bear ever to undergo an AI procedure in 2012. This is the third attempt of artificial insemination with Anoki. The first two procedures were conducted when Anoki lived at the Maryland Zoo. CREW has attempted artificial insemination on seven bears since 2012.
Check out the local news coverage below.
WXXI: Seneca Park Zoo polar bear part of a conservation project
WHAM: New technology used to artificially inseminate Seneca Park Zoo polar bear
WHEC: Could a polar bear cub be coming to the Seneca Park Zoo?
WROC: Polar bear numbers in US zoos plunging
Democrat & Chronicle: Seneca Park Zoo's polar bear, Anoki, artificially inseminated
Rochester Business Journal: Zoo tries to impregnate polar bear
Keeper Notes


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module.exports = function (grunt) {
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redpajama_set_name: RedPajamaGithub


If you stumbled upon my Instagram story this weekend, you know I'm super excited to share this recipe with you today. Paleo, gluten-free, just all around healthy mango muffins that are perfect for summer! My weekend provided an abundance of fruit, so my daughter and I found ourselves in the kitchen working up a new paleo favorite.
Barbados is pretty infamous for its mangoes and coconuts. You can find mangoes in the grocery store almost year-round. And on any given day, while driving along the highway or busy roads, you'll see locals with piles and piles of coconuts, ready to sell coconut milk to passing drivers. My next door neighbor has mango trees in her yard and was super nice to have brought several of the mangoes she picked over to me last weekend. I also had a few of the coconut guys stop by my place to cut down the coconuts from the palm trees in my yard. The trees are really high, so I'm grateful they're always eager to help out. So now my kitchen was filled with mangoes and coconuts (although I gave most of the coconuts to the guys), and I had to find a way to use them before they all went bad – a vice with getting fresh fruit in the Caribbean. And voila, I found this amazing recipe from Adriana Harlan online.
I don't bake often, but when I do I always double the recipe. Throw the rest in the fridge or freezer and I'm set for several weeks. And I'm happy to say that these muffins are perfect for that! An early morning tee time, dropping the kids to summer camp, or needing a quick snack before an office meeting, they are great for on-the-go. My favorite though is heating one just a bit in the microwave, filling my huge coffee cup, and sitting down in the morning to catch up on emails and the news.
Filled with super ingredients like flaxseed, nuts, and coconut, they create this beautiful texture and are surprisingly filling!
Preheat oven to 350°F and line a standard muffin tin with 12 paper muffin cups. This will make two batches so set aside another 12 for later.
In a bowl add all the ingredients, stir everything together to combine, and set aside.
Puree the mangoes in a food processor or blender until creamy.
Add the eggs, coconut oil, lime juice, vanilla extract, and honey to the processor and pulse to combine everything with the pureed mango.
In a separate bowl, combine the dry ingredients (flaxseed, coconut flour, salt, and baking soda).
Next, add the blended wet ingredients to the dry ingredients and mix thoroughly. I used a whisk, but a mixer would work well too. The batter will be thick (see picture above).
Optional - fold the nuts into the batter with a spoon.
Fill each muffin cup almost to the top with the batter. The muffins will rise as is, so you may need to smooth the top slightly for a more perfectly shaped muffin.
Then sprinkle the set-aside crumble on top of each muffin.
Place the left over batter and crumble in the fridge until this batch has cooked.
Bake muffins uncovered for 10-15 minutes (depending on how crunchy you like your crumble), then place a piece of aluminum foil over the top of the pan and bake for an additional 15 minutes, or until a toothpick inserted into the center comes out clean.
Set the pan on a wire rack to cool for a few minutes, then remove the muffins from the pan and let them cool for another 5 minutes on the rack.
Place the other 12 muffin cups in the pan and repeat steps 6-10, excluding #8.
Sprinkle the extra lime zest on the top of each muffin and serve or freeze.
Paper, foil, parchment, or no muffin cups work well. With regular paper cups, you'll have a little muffin stick to the edges, but it's not too bad. Just wait until they are completely cooled before you dig in. If you don't use muffin cups, you'll want to lightly grease the pan or use a nonstick muffin pan.
Have a little extra crumble leftover? Go ahead and place it in a separate muffin cup(s). It makes the best candy-like treat! But be careful, you'll need to remove them much sooner than the muffins (if you bake them together as I did), because they only need about 5 minutes to cook.
To thaw, place the muffins in the fridge over night. You can warm them in the morning either in the oven on a low setting or in the microwave for about 30 seconds.
If you freeze them, I suggest either not using a muffin cup or a foil muffin cup because the paper cups can get wet in the thawing process, making the muffins harder to remove.
OMG. I bet this smells and tastes delicious. Yum!


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We helped this client find his USP – unique value proposition. There are many companies that promise luxury and adventure experiences, but our client has delegated us to discover "the ultimate experiences" to find out which would be the most interesting for the world's luxury market. After identifying the most relevant direct and indirect players, with the characterization of their offer, we studied the consumer using qualitative techniques. Strategic and tactical options to be adopted were defined, through the identification of targets and the definition of a positioning; the brand's physical and psychological identity was improved, the distribution circuit was expanded (keeping it selective) and, finally, Customer Relationship Management (CRM) was also developed.
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Ивени () е село в южната част на Северна Македония, община Новаци.

География
Ивени е разположено в източните склонове на Селечката планина източно от град Битоля, в областта Битолско Мариово. Селото е планинско, на надморска височина от 940 метра. От Битоля е отдалечено на около 40 km. Селото има относително голямо землище от 25 km,2 в което преобладават пасищата с повърхност от 1973 ха, след това са обработваемите земи от 289 ха, а горите са само 75 ха.

История

В XIX век Ивени е село в Прилепска кааза на Османската империя. Селото има две църкви - "Възнесение Христово" ("Свети Спас") и "Свети Атанасий Велики" от 1860 година. В "Етнография на вилаетите Адрианопол, Монастир и Салоника", издадена в Константинопол в 1878 година и отразяваща статистиката на мъжкото население от 1873, Ивен (Iven) е посочено като село с 28 домакинства със 134 жители българи.

Според статистиката на Васил Кънчов ("Македония. Етнография и статистика") от 1900 година Ивенъ има 160 жители, всички българи християни.

В началото на XX век християнското население на селото е под върховенството на Българската екзархия. По данни на секретаря на екзархията Димитър Мишев ("La Macédoine et sa Population Chrétienne") през 1905 година в Ивени има 144 българи екзархисти и работи българско училище.

Преброявания

Личности
 Родени в Ивени
  Менде Петковски (1956 – 2005), журналист от Северна Македония
  Петър Сугарев (Петрос Сугаракис, 1881 - ?), гъркомански андартски капитан
  Христо Сугарев (Христос Сугаракис, ? – 1905), андартски четник, брат на Петър Сугарев

 Починали в Ивени
  Георги Желязов, български военен деец, поручик, загинал през Първата световна война
  Йоанис Йоанидис (1888/1889-1906), деец на гръцката въоръжена пропаганда

Бележки

Села в община Новаци


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Power and Legitimacy in the Roman and Byzantine worlds: A UQ Workshop
On 3 August 2019 UQ hosted an interdisciplinary workshop which considered power and legitimacy in the Roman and Byzantine worlds. Organised by Dr. Ryan Strickler, Lecturer in Classics and Ancient History and Dr. Amelia Brown, Senior Lecturer in Greek History and Language, the workshop was fully funded by external grants from the Australasian Society for Classical Studies, the Australasian Association for Byzantine Studies, the UQ Friends of Antiquity and the Queensland Friends of the Australian Archaeological Institute at Athens. This generous funding provided catering, travel stipends for postgraduates travelling from outside Queensland, and allowed students to participate for free. Student volunteer Ethan Clark-Kistowski worked hard to ensure the workshop ran smoothly.
Along with international keynote speakers, the workshop included participants from the University of New England, University of Sydney, and Macquarie University. In addition to the organizers, UQ was represented by Associate Professor Tom Stevenson, who addressed the use of monuments in Rome and Constantinople as expressions of power, MPhil Candidate Tyla Cascaes, who considered Augustus's use of Julius Caesar's legacy to bolster his legitimacy, and MPhil Candidate Jessica Zelli, who compared the use of Lucrecia with the Christian martyr Perpetua as figures of female authority.
Rather than one or two keynote papers, the workshop hosted a keynote panel, in which three senior scholars presented on topics related to the theme. Papers were pre-circulated among postgraduate participants who were given priority during question time, providing an opportunity for professional development and networking. Dr. Gwynaeth McIntyre, Senior Lecturer in Classics from the University of Otago, presented on a selection of coins from the reign of Caligula which are held in the Otago Museum in Dunedin, New Zealand. David Olster, Professor of History from the University of Kentucky, considered problems related to Byzantine literary sources through a case study of the Quinitisext Council. Finally, Bronwen Neil, Professor of Ancient History at Macquarie University examined key depictions Roman and Byzantine leaders during periods of crisis between the fourth and seventh centuries.
Overall, the workshop was a major success. Twenty-five participants, including twelve speakers, as well as students and members of the community gathered for an engaging day of interdisciplinarity and intellectual inquiry. It provided an excellent opportunity to highlight the important work of the Department of Classics and Ancient History and promote UQ as a forum for scholarship in the field.
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Yard-long beans, also known as Chinese snake beans, string-beans and asparagus beans, are closely related to the black-eyed peas. They grow rapidly on climbing vines in warm climates, and can grow many inches in one day. The average length yard-long beans is between one and 1.5 feet long.
Originally grown in the Yunnan province in China, yard-long beans are one of the most popular greens in the Philippines, Southeast Asia and East Asia. They're also grown in North America, Mediterranean regions and the West Indies.
They may taste similar to green beans but their texture is different. Green beans can be steamed and boiled, and still retains its texture. However, yard-long beans become mushy and bland when they are steamed or boiled. To best enjoy yard-long beans, saute or stir fry them in oil. Their texture will be crunchy and juicy, and their flavor will be intensified.
Yard-long beans are low in calories and high in soluble and insoluble fibers, and contain iron, copper, manganese, calcium and magnesium. They're also rich in folate, and vitamins C and A. In fact, they contain more vitamin A than lima beans, fava beans and green beans.


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Before we start with the planning, congratulations on your engagement! I know, things must be crazy around the place for you right now. Deep breaths now, because we are going start planning! Of course you will be needing all your friends and family to celebrate right? And it just has to be perfect! So as to help you out, we are giving you some tips to get things started.
While it is a custom that the bride's side of the family is hosting the engagement, nowadays you will see that both groom's and to bride's parents work together in hosting this. Sometimes even your friends might jump into hosting the event. If no one seems to be willing to host it, think about hosting the party yourself.
You need to make sure that you fix a proper date. A date where you, your groom and the host is in town. But of course, I can assure you, that it is easier than fixing a date for the wedding so stress level is comparatively low. And as for the date, make sure that you decide on a day that is with in the 6 months after your engagement.
Then you need to decide a venue, you have so many options like event venue hire Melbourne, an outdoor reception, somewhere in the beach and so much more. You need to decide whether you want a formal one or a crazy casual one. Then decide on the place accordingly. Of course, don't forget: you need to have a budget set for this!
Then comes the list of guests. So basically, you invite anyone who you plan on inviting to your wedding as well. But looking at the expenses and the amount of people in your wedding list, I suggest you try to invite the people you know you won't be able to invite for the wedding to the engagement party, apart from the closest people that is. This will actually turn down some pressure from the wedding. Also, make sure that the function rooms or where ever the venue is capable of fitting all your guests in.
Once you are all good with the budget, the venue and the guest list, we can move to picking a theme for the party. This theme could be continued from the party to the wedding or have separate themes for the 2 occasions. Make sure that everything in the party is set according to theme, and try getting creative.Well, that's about it as for the planning, hope your engagement party rocks! Fingers crossed!
Next Next post: How To Choose The Best Wedding Company?


Now with the new generation of IDAS, Icom takes you to a new level of "smart". The new IDAS series sports an updated look and design. Its plethora of functions and the attention to hardware details only Icom can provide brings you a solution that makes you look smart and work smart too.
Refinements and enhancements to design, usability and features – combined with the electrical and industrial hardware improvements – further the total reliability of the new IDAS series. This reliability ranges from the "zero adjustment", non-variance production quality of every radio made to a new and stress-free user experience that masks the real complexity behind this multi-protocol platform. Icom's product quality is legendary. Look smart and work smart with the new IDAS series. Using is believing.
The compact body is made possible from new engineering techniques including the use of a custom SoC (System-on-a-Chip) and flat sheet keypad. The slim dimensions are also supplemented with reduced power consumption, allowing for a thinner battery pack.


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Ion Miclea, 68, Romanian photographer and children's author who twice won the World Press photo competition. Employed until 1990 by the newspaper Faclia in the city of Cluj, Miclea published many books with photographs of the United States, Egypt, Greece, Africa, China and Turkey. His photos were also exhibited in several western European cities. Miclea created photo essays about Romania's cultural and historical heritage, including one about sculptor Constantin Brancusi. Miclea won World Press Photo awards in 1968 and 1970. The first was for a collection of photographs dedicated to Arthur Rubinstein, the late pianist, and the second for photographs of the Danube River delta's people and ecosystem. He also wrote several books for children and illustrated travel journals by various Romanian authors. On Saturday in Bucharest, Romania, eight years after he was paralyzed by a stroke.


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the General Directorate of State Security arrested the Lebanese (A.H.) and (B.T.) at the old Sidon r
the General Directorate of State Security arrested the Lebanese (A.H.) and (B.T.) at the old Sidon road - Choueifat
Within its duty to fight drugs, the General Directorate of State Security arrested the Lebanese (A.H.) and (B.T.) at the old Sidon road - Choueifat, while trafficking drugs on a motorcycle. The patrol seized, in their possession, large quantities of drugs intended for distribution (including cocaine, hashish and tramadol).
On the other hand, a State Security patrol arrested the Lebanese (A.K.) and (Kh.M.) at Dahr Al-Ain – Koura, riding a motorcycle without a registration plate, and seized, in their possession, an envelope containing Salvia narcotic substance and a knife.
The detainees were handed over alongside seized materials to the competent judiciary based on its reference.
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NEW BEDFORD — A fully accessible playground will be built in Buttonwood Park, thanks to $250,000 in state funds secured by Sen. Mark C.W. Montigny, D-New Bedford.
The money comes from a 2006 budget surplus that was earmarked for an economic stimulus package to pay for projects for which there is no money in local budgets.
The new playground design will be integrated with the character of the zoo and be positioned to allow the children to view the animals while they play. The area will include swings, picnic tables, a sensory garden designed for people who are blind or visually impaired and other interactive activities.
"Buttonwood Park has the tennis courts, the basketball courts and the pond and zoo; it really is a great resource for New Bedford and Greater New Bedford," Sen. Montigny said. "Why not have a place where kids with extraordinary challenges can come and play on the playground?"
The equipment for the playground will be purchased before the end of June, and construction is expected to begin after the park's busy summer season.
Buttonwood Park is a popular field trip destination for area schools.
The addition of a play area that is accessible to the handicapped will better open up the park to disabled children.
"Most communities are grossly underserved in terms of accessibility," Sen. Montigny said. "To me, this is another chapter in the park. It enhances what is already there."


text:
Sonic Realism / Wave #3
Sonic Realism / Wave #3 ESSAY December 2020
Acoustic Spatiality
Brandon LaBelle
Brandon LaBelle is an artist, writer and theorist working with sound culture, voice, and questions of agency. Guided by situated and collaborative methodologies, he develops and presents artistic projects and performances within a range of international contexts, mostly working in public and with others. This leads to performative installations, poetic theater, storytelling, and research actions aimed at forms of experimental community making. From gestures of intimacy and listening to critical festivity and open movement work, his practice aligns itself with a politics and poetics of radical civility. This includes discursive, ethnographic and archival work, and poetic approaches to knowledge making.
www.brandonlabelle.net
Experiences of listening can be appreciated as intensely relational, bringing us into contact with surrounding events and bodies, voices and things. Given that sound propagates and expands outwardly, as a set of oscillations from a particular source, listening carries with it a sensual intensity, whereby sonic events deliver intrusive and disruptive as well as nurturing and assuring experiences. Such a material force characteristic of sound suggests a deeply affective, locational knowledge path – that is, sound affords unique ways of exchanging, of being situated, and from which we often extend ourselves. [1] In this regard, sound and listening can be captured as providing a platform for understanding place and emplacement as processes.
[1] While I am arguing for sound and listening as the basis for particular views onto relationality, it is important to consider experiences of deafness and how Deaf culture has had to grapple with "audism", or the politics of "audio supremacy". Within arguments around the potentiality of listening, I see deafness as an important issue, one that can be critically addressed through an acoustic framework, as well as what offers a productive challenge to prevailing ideas of hearing ability. For more on this, see my publication Acoustic Justice: Listening, Performativity, and the Work of Reorientation (New York: Bloomsbury Academic, 2021), especially chapter 4.
Such qualities of auditory experience give suggestion for what I may call an acoustical paradigm, which allows for defining more specifically how sound conditions or impacts the material state of things. I'm interested to consider the particularities of an acoustical paradigm and how it allows for specific articulations of temporal and spatial dimensions – to follow sound as it imparts conditions for meaningful encounter and exchange by locating one within a greater ecology. From my perspective, sound provokes a sense of emergent community by weaving together bodies that do not necessarily search for each other, forcing them into proximity for a moment, or longer. Such movements bring forward a spatiality that is coherent and inhabitable as well as divergent and diffuse, that is, temporal and multiple, noisy. Acoustic spatiality, in other words, brings into play forms of social or cultural negotiation through being constituted by the feverish energies of so many interruptions and agitations, meanings and their amplifications.
Acoustic spatiality can be understood to locate one within a temporal flux of perspectives. The energetic, the vibratory and the resonant aspects inherent to sound, for instance, all begin to suggest a spatiality that is oppositional or in supplement to the sightlines of the ocular, wrapping our locational view in atmospheric pressures, echoic reflections, deep absorptions – stirrings.
These sonic or acoustic movements must be taken as indicating a unique paradigmatic frame, lending to recognizing sound as an epistemic and affective matrix that generates specific spatial coordinates, social mixes, bodily perceptions and ways of knowing. It is my view that sound acts as a hinge by bringing into contact diverse forces, scenes, subjectivities and matters. As an example, the performativity of the voice may begin to highlight the particular dynamic of sound. As sounded utterance, the voice can be heard to grant presence to an individual body, figuring as an identifiable sound of personhood, while at the same instant, leaving the body behind; the voice is voice by its capacity to circulate beyond oneself. My voice is therefore always already mine and not mine; it animates the body, it comes from within, while pushing outward, to navigate and nurture relations.
[2] For more on the seeming paradox of voice, see Steven Connor, Dumbstruck: A Cultural History of Ventriloquism (Oxford: Oxford University Press, 2001).
The voice thus embodies the contradictory, or rather, "non-dualistic" quality of sound in general: the voice hinges together self and surrounding in an unstable formation – I am in the world only at the moment my voice travels away from me. [2] Sound more generally occurs in this way, linking together seemingly incommensurate, dichotomous elements or positions, creating spatialities that easily connect interiority and exteriority, that are definite and ephemeral at the same time; sound delivers given situations in all their textured materiality, as animate pressures or movements of intensity, while already diffusing into the ether, as energy that may support or impinge upon feelings of place.
It is my interest to reflect upon sound's particular spatial behavior, and how acoustic spatiality impacts onto understandings of inhabitation and togetherness. I would argue that acoustic spatiality provides conditions of dwelling by figuring bodily, affective and temporal forms of containment and movement. Subsequently, sound lends to an experimental discourse on architecture, place-making and what it means to be together, explicitly introducing an associative mix that promotes radical sociality – a dwelling in difference.
Sound moves across interiors and exteriors; it animates objects, stirs emotion; it disturbs what may appear static, while also affording moments of proximity and deep connection. It flows through the environment as temporal matter, lending dramatically to the experiences we have of being in particular places, and with particular people. Sound gives to location a force of punctuation, contingency, ephemerality; it envelopes all that we see with an unsteady propagation, as a continual coming forward and receding. It is the near and the far in perennial oscillation; the under and the above as an interweave of perspectives. It latches together concrete reality with all the murmurings of the unconscious, memory, imagination – an animate ghosting of the material plane.
From such acoustical understanding, it is evident that sound's relation to space is extremely pertinent to a study of spatiality in general. As we know, the acoustical interplay between sound and architectural form delivers an important inflection to experiences of hearing and listening. The character of a given sound is radically influenced by its material, acoustical envelope. The particular materiality of a room, for instance, lends dramatically to contouring what we hear, its shape, dynamics, and forcefulness – its voice – through reflection, vibration, ambient tonality. This can be extended to the built environment in general, underscoring the soundscape as a greater acoustic ecology in perennial movement.
Subsequently, it's important to emphasize how space is integrated into the behaviors and articulations of sound. As a movement that extends away from a source, sound produces a certain acoustic reciprocity with space; the two are interlocked, whereby sound is only itself by propagating from a particular source, to reverberate out there: to spatialize. At the same time, space is brought into a certain vitality and realization by way of ambient tonalities and auditory stirrings: the room tonalities that impart a sense of "life" to places.
Following such perspectives, sound can be understood to support notions of "event-architecture" articulated, for instance, by the architect Bernard Tschumi. In an essay on architecture and violence, Tschumi elaborates ideas of eventness by underscoring the ways in which bodies and spaces exist in a rather agonistic relation. As he writes: "Bodies carve all sorts of new and unexpected spaces, through fluid or erratic motions. Architecture, then, is only an organism engaged in constant intercourse with users, whose bodies rush against the carefully established rules of architectural thought." [3]
[3] Bernard Tschumi, Architecture and Disjunction (Cambridge MA: MIT Press, 1996), 123.
The movements of the body come to intrude upon architecture, rushing against space to figure an intensity, a fluctuating force that cuts into or marks formal design. The usages and behaviors of bodies in space literally impress upon the built, filling volume with their liveliness to deliver the intrusiveness inherent to finding or making place. Yet, in turn, architecture presupposes participation, organizing itself around the anticipated user or inhabitant, locking one into a pre-existing program.
Such performativity may also be said of sound. Sound unfolds in time as an "event-body", lending dynamic input onto the contours of the built. It may break the seams of space and overwhelm particular borders while also opening up sudden vistas, uses, and connections. Static form, the division of interior and exterior, and the ocular logic of spatial design gain degrees of flexibility or malleability through a range of sonic events and auditory expressions. More than the performative moment of a body moving through space, acoustic spatiality is radically constitutive of architectural eventness, in particular through its ability to bypass or displace the centrality of the human subject, integrating instead an entire range of non-human bodies, material presences, energy forces and ambient tonalities equally wed to the built environment. The event-architecture of acoustic spatiality is a vibratory, hinging process of continual differentiation.
[4] See Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses (Chichester: Wiley, 2007 ).
It is tempting to think of sound strictly as an addition to architecture, lending a particular openness or flexibility to its forms. A sort of continual supplement to the hard edges of the built. While sound moves in and around architecture, as an ambient tonality, it is also possible to appreciate sound as already space itself: that sound is a corresponding figure to the place of its occurrence that equally moves, trespasses, mutates, so as to define a particular ambient form or less-than-material volume; it is not only a subsequent after-effect. Instead, what we hear is fundamentally an acoustic arena, a dimensionality through which habitation takes place, and which is deeply conditioned by the temporal flow of sound. As Juhani Pallasmaa proposes, sound gives to architecture a sense of lived time, a temporal registration of movements and exchanges, sharing and experiences of place. [4] From such a perspective, acoustic spatiality is an architecture into which listening moves. It offers a form of dwelling within which particular experiences gain traction, particular routes toward each other unfold, and from which views onto the world are revealed. Within this architecture, this event-space, a nuanced, mutable materiality can be found by which to form, over time, connections and relations, occupations and alliances.
To explore questions of sound and space further, I'd like to elaborate what we understand as the behaviors of acoustic spatiality. This will entail shifting from an understanding of sound as air-borne oscillations and toward the more structure-borne. That is, toward energy and vibration.
[5] Peter Zumthor, Thinking Architecture (Basel: Birkhäuser,1998), 37.
"If a work of architecture speaks only of contemporary trends and sophisticated visions without triggering vibrations in its place, this work is not anchored in its site, and I miss the specific gravity of the ground it stands on." [5] As Peter Zumthor suggests, experiences of architecture are often charged by the flows of energy and atmospheric texture, contributing meaningful force to the hard edges of space. Feelings for a place, in other words, impart great influence onto our sense of being located and of being involved in the shaping of our environments. Jean-Paul Thibaud elaborates upon the sensorial dimensions of space, suggesting that the "ambience" of place functions as an energetic flux bringing forward the temporal and situational details of spatiality. "To put it in a few words, an ambience can be defined as a time-space qualified from a sensory point of view. It relates to the sensing and feeling of a place. Each ambience involves a specific mood expressed in the material presence of things and embodied in the way of being of city dwellers. Thus, ambience is both subjective and objective: it involves the lived experience of people as well as the built environment of the place." [6]
[6] Jean-Paul Thibaud, "The three dynamics of urban ambiances", in Site of Sound: of architecture and the ear, Vol. II, eds. Brandon LaBelle and Claudia Martinho (Berlin: Errant Bodies Press, 20012).
[7] Luis Fernández-Galiano, Fire and Memory: On Architecture and Energy (Cambridge, MA: MIT Press, 2000), 5.
In this regard, elements of light, sound, smell, and texture, along with weather, the rhythms of social energy, and the fluctuations of mood, significantly add dynamic presence to the concrete structures of space, and for Thibaud, the experiences of inhabitation.
Luis Fernández-Galiano further provides an extremely rich examination of architecture through the lens of energy. As he proposes, "Architecture can be understood as a material organization that regulates and brings order to energy flows; and, simultaneously and inseparably, as an energetic organization that stabilizes and maintains material forms." [7] Fernández-Galiano elaborates such a view by underscoring a deep memory (or mythology) to architecture found within the warmth of the home, and the first fires at the center of space, highlighting the developments of thermodynamics as a scientific model that draws an altogether different sense for what constitutes space. Architecture, as the stabilization of energy, fully integrates aspects of expenditure and entropy into its forms; rather than fixed or inert materiality, architecture is full of force. From thermodynamic expenditure to the material transubstantiation occurring in construction itself, aspects of energy are fully embedded within built form.
From Fernández-Galiano's analysis questions of the ambient, or what is generally located undercover, alongside, in the background, or within the passing of time, take on a vital presence within architecture to impart a suggestive link between architectural forms and animate force. This is furthered in the work of architect Kisho Kurokawa, and his theories of Metabolist architecture. For Kurokawa the separations of inside and outside often promoted by architecture create too sharp a distinction, and ultimately undermine the greater metabolism at the core of spatial design and experience. In contrast, his work seeks to insert what he calls "intermediary" spaces "unobstructed by any dualistic division between inside and outside, a space free from the divisions of walls." [8]
[8] Kisho Kurokawa, The Philosophy of Symbiosis (London: Academy Editions, 1994), 156.
The energetic and metabolistic models of architecture come to highlight the built as a gathering of forces into momentary stability; even our own bodies, in their exertions, heat fields and social performances can be situated within an ecology of energy surrounding and defining buildings. A field of pressures bending, sculpting and impressing upon built form, in the flows and punctuations of time, and granting the vibratory anchor Zumthor seeks.
Questions of acoustic spatiality can thus be elaborated beyond sound as changes in air pressure, and toward that of structure-borne energy. In other words, sound in the form of vibrations passing through walls and floors, as well as bodies and things. Vibration extends our listening experiences to that of felt energy, that is, a tactile sound that we sense more than hear. As an expenditure of energy, vibration passes through materials and structures. In doing so, it radically forces connection between things and bodies, objects and their energetic stabilizations. As Shelley Trower suggests, "Vibration, not itself a thing or matter, can move simultaneously through subjects as well as objects, bridging internal and external worlds." [9]
[9] Shelley Trower, Senses of Vibration: A History of the Pleasure and Pain of Sound (New York: Continuum Books, 2012), 8-9.
It thus elaborates a perspective onto acoustic spatiality that accentuates the energetic, to reorient understandings of built form through more haptic connections or constructs. Vibration reveals a spatial configuration that overrides and displaces the visual geometry of architecture, instead forming space by way of material linkages and ambient force. Yet, vibration does more than bridge, it also figures conductions and transductions; in passing through it resonates, in linking it provokes – it is transfigurative, giving way to exchanges across material and affective states.
The field recording work of the artist Toshiya Tsunoda captures such perspectives, rendering an evocative sonic picture of existing environments. The audio works from his Solid Vibration CD (1999) highlight how vibration phenomena not only extend the listening ear to that of tactility, and a feeling body, but also how materials such as concrete, asphalt, fencing, doors and other solid forms act as resonating objects. For example, track 8 focuses on the recording of a scrap of iron located in the industrial yards of Yokohama port in Japan. Using small transducers placed directly onto the iron object, the recording captures vibrations occurring from a number of distant sources, such as ships anchored on the outskirts of the bay, and is heard as a stable humming sound.
Throughout the CD of works Tsunoda records the environment of the port by focusing exclusively on vibrations, revealing direct relations between an object in one part of the bay and another at a distance, where the one produces a set of frequencies while the other resonates in response, marking the environment as an elaborate corresponding field of contact. By tuning into the vibratory linkages and connectivity embedded within a given environment, the artist gives not only an entry point onto a sonic underworld, but a spatial theory that may supplement notions of event-architecture. According to vibratory phenomena, buildings and environments are tuned and detuned by the material interactions, energetic frictions, mechanics and movements of immediate surroundings that, at times, far exceed a sense of knowability. By recognizing the eventness of the built environment as a set of energetic, metabolistic phenomena, the sense of human agency, and the idea of architecture as fundamentally humanistic, takes on other dimensions. Rather, infrastructural and material elements act conductively, dynamically affecting and influencing the world around on the level of the vibrational, the energetic that extend beyond a single building.
Jane Bennett, in her account of vibrant matter and theories of life force as heterogeneous assemblages, underscores the relationships "between persons and other materialities" as horizontal, conductive and distributive. From such a materialist and affective view, Bennett charts out a vitalistic ethical and political dimension by which subjects and surroundings, objects and energies, exchange, align, and affect each other. [10] This connective, and conductive, perspective finds expression when following vibration – as the energetic movements and transductions that exist not as object or subject, but as a passing between and through, and which comes to demand ways of contending with a broader world of co-existence.
[10] Jane Bennett, Vibrant Matter: a political ecology of things (Durham, NC: Duke University Press, 2010), 10.
Messages and voices, articulations and expressions, ambient stirrings and noisy punctuations continually ripple through the environment, drawing and redrawing spatialities that open built forms as energies captured, held and located, and which are always already prone to movement as well. The stabilization of material form Fernández-Galiano speaks of includes the realities of collapse, entropy, rupture, and expenditure. In fact, architecture, as energy held, as motion captured into form, is always already in a process of slow decay: the weathering of building facades, the minute fading of interiors, the slow impingement of dust and dirt, all come to interfere while giving expression to the force embedded within architecture itself. Spatiality is thus a continual movement; it is in fact always already an event in which bodies and subjects participate.
With greater integration of digital technologies, contemporary architecture comes to capture the inherent eventness of space in new ways. An interesting example can be found in the concert hall in Copenhagen designed by Jean Nouvel. Opened in 2009, the concert hall (containing the studios of Danish Radio) features a blue, translucent sheath wrapping the cubic building. This translucent covering veils the interior life of the building as it takes place behind the main glass exterior, while also serving as a projection surface at night, often featuring live images from concerts as well as recorded montages of past performances. In this way, the building expresses a sort of virtual porosity, physically confusing interior and exterior, real and mediated, and blending the movements of occupants with that of recorded imagery. The building in a sense starts to relate to the reality of its energetic features, taking into consideration the materiality found within contemporary network culture, as one shaped by live streaming, internet interactions, mobile devices and social media. Such contemporary conditions dramatically unfix spatiality with a great degree of mobility, transmission, connection – an energetic, affective perspective increasingly inserted into spatial environments.
[11] Junichiro Tanizaki, In Praise of Shadows (Maine: Leete's Island Books, 2010).
Spatiality is thus haunted by movements that suggest dynamic mutability, a mutational force hovering in the ether, as electromagnetic waves, as wireless signals and projections, satellite imaging, an entire range of surveying and monitoring devices that transmit here and there a plethora of renderings and perspectives, routes and readings. From this view, the poetics of shadows outlined by Junichiro Tanizaki must be seen to include the digital shades of technological entities. [11] The metabolist, intermediary spaces Kurokawa articulates are found in the connective and conductive links now embedded within the environment, whereby internet and satellite signaling open up vast in-between spaces full of multiple voices, shadowy bodies, ghostly presences – currents. The vibrancy of matters, bodies and things mapped by Bennett is dynamically expressed in contemporary spatiality: as a vibrant subject one fully inhabits these shadowy, energetic territories, constructing as a daily practice one's own event-architecture.
Ecologies of strangeness
Following these understandings and references, I'd like to draw out a number of perspectives. One would be that acoustic spatiality is a blending or mesh of the material and the immaterial. The reciprocity between sound and space can be heard to couple together the material conditions of the built, and its concrete properties, with the oscillations of sound. Sound is, in this sense, the result of a spatial relation; it requires the resonating or reflective sympathy of a surrounding. This performative interplay passing between sound and space begins to suggest a less dichotomous relation, and more a vibrant interweave where sound and space are coupled, fitted to each other as an exchange of material force. Sound's impact onto the materiality of the built expends energy onto its forms while gaining momentum, reflection, by way of architecture's volumes. Subsequently, acoustic spatiality is constituted both by the material and the immaterial, by the matters of the built and the energies of sonic events, lending to its particular geometries and ambiences a complex force.
A second perspective would be that acoustic spatiality displaces the conventional view of a fixed border between interiors and exteriors. Given sound's vitality, its propagating verve, it readily puts into play a less clear distinction between rooms or spatial areas. Rather, we can understand acoustic spatiality as zones of intensity, or as timbral identities by which differences are brought into play. What is inside then, as an architectural space, is less defined by sightlines or by the function of walls. Rather, sound ripples through space to easily occupy multiple areas, immediately bridging one space with another, and often spilling across lines between in and out, back to front, below from above. This is not to overlook how sound and acoustic design can also work at instating territorial lines, affirming segregations, or instituting scenes of violence, as in the use of sonic weapons and other forms of acoustic or auditory violence. Such enactments and traumas often draw upon the qualities of sound behavior, for instance, by repositioning and flexing spatial borders through the implementation of certain frequencies or noises: to penetrate walls, to tremble the demarcations of self and other, to weaponize reverberations.
Following these complex perspectives, the spatiality of sound often shifts or agitates the borders of the private and the public. If we can appreciate acoustic spatiality as an interweave, a material and immaterial hinging, I would add to this conceptualizations of the private and the public, where what is held to be private and public interpenetrate, producing a less fixed distinction. Instead, one often overhears, accentuating the sense of connectedness and interference, commingling and confrontation intrinsic to acoustic spatiality. I would extend this toward thinking acoustic spatiality as what puts into play questions of community, and what being-in-common may be. Acoustic spatiality can be considered to instantiate the making of a crowd, a plurality constituted by an ongoing process of radical movement, agitation, vibrancy and transduction, and that confronts the particularities of cultural identities, the markings of ethnicity, the force of images, and the sign systems of an ideological apparatus. The politics of acoustic spatiality is dramatically informed by the connective and hinging procedures of sonic events, which interrupt while also inciting a path toward relations. While the capacity to hear and be heard are deeply informed by cultural backgrounds, and the positionality of listening subjects, an acoustical paradigm is equally suggestive for ways of attuning positively to greater ecologies of contact, encounter, relation. As Anna Tsing suggests, listening might be what enables paths toward a sharing of the planet. [12] Acoustic spatiality, as I'm keen to consider, may be posed as that form of spatiality in which greater sensitivity or scene of biodiversity may take shape.
[12] Anna Tsing Lowenhaupt, The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins (Princeton: Princeton University Press, 2015).
[13] Mladen Dolar, "The Phonetic Burrow", in Parole #2: The Phonetic Skin (Cologne: Salon Verlag, 2012).
As I've tried to suggest, an acoustical approach to space enhances an event-architecture precisely by the ways in which sound and sonic events come to life here and there, as so many oscillations and vibrations passing across interiors and exteriors, material and less-than-material things, to promulgate a zoned spatiality, an ambient or tonal ecology. The temporality and intrusiveness of this event, along with its rather unseen nature, also lends a powerful uneasiness to space, literally displacing the apparent fixity that surrounds with what Mladen Dolar claims as sound's uncanny or enigmatic disposition. [13] Such a "ghosted" quality must also include a sense for hearing beyond the human or the recognizable – how movements of sound hint at the promise of strangeness.
[14] Steen Eiler Rasmussen, Experiencing Architecture (Cambridge, MA: MIT Press, 1962).
Inhabitation
In Steen Eiler Rasmussen's Experiencing Architecture, the author draws upon musical composition as a metaphor for appreciating architecture, underscoring the communicative dynamic of the built environment. [14] For Rasmussen, buildings signify precisely through aspects of rhythm, harmony, and particular formal orchestrations. Through considering the interplay between sound and space, Rasmussen's view may be extended, to register the dynamics of the acoustical as not only a metaphoric device, as aesthetics, but also as spaces of inhabitation – as what grants a scene of events.
Is it possible to think of acoustic spatiality as a place for inhabitation? An actual shelter that provides comfort, or a place for meeting? Might we think of sound as an energetic architecture whose eventness modulates the material edges of the built? To produce form and volume, a time and space for dwelling – to conduct ways of co-existing? Sounds of traffic, the footsteps of passers-by, the turning of pages of a book, all such sonorities appear to open up the material conditions around us, to expand and contract conventional notions of the architectural.
Acoustic spatiality opens up and closes down, with each instant of sound creating a dynamic passage across a source and a listener: in hearing I am immediately occupying the particular spatiality of this event. In this way, I am continually brought into contact – with the seagulls whose distant calls enter my room to interweave with my voice, or the footsteps from outside the door introducing the echoes of an unseen body. Thus, as a listening subject I am immediately enmeshed within a greater environment of animate forces whose effects elaborate a form of place always already multiple, temporal, and contoured by others.
What I'm after then is to expound a general theory of sound which can enable spatial and relational thinking and understanding, how sound as a spatial event gives particular means for relating to where we are. I take acoustic spatiality as always already the beginning of a crowd, where new encounters are constantly provoked, conversations are continually generated, and a sense for how we might share in this architecture are endlessly suggested. For sound readily grants a sense of duration through the unfolding of verbal conversations, the fluid and feverish passing of auditory events and messages, and the general flux of background noise that creates an organic sheath to the flow of experience. What sound may come to support, through a radical flexibility and intensity, are modes of habitation that remain in tune with the often ambiguous yet concrete material and immaterial, familiar and unfamiliar exchanges taking place in everyday life. From this perspective, acoustic spatiality may suggest structures or geometries within the built environment specifically for locating points of contact, zones of sensation and sociality, even withdrawal, that also fully situate us amidst animals, objects, signals, languages: that is, a global ecology.
If sound, as I'm pursuing, creates such an energetic architecture, hinging together material and immaterial matter, it does so by also creating a stage or scene for the unnamable and the nameable, the unrecognizable and recognizable to occupy the same space. Acoustic spatiality creates an active arena by which strangers come to encounter each other, figuring temporary contacts and conversations, to hinge together an emergent community (which may never know itself, and which may never identify).
To hear is to immediately come close to relation – it is to approach the relational, even if by force. Sound's ability to move in and out of focus, flowing as an indefinite rush and then, at times, figuring into meaningful exchange, lends to a sense for being in a certain place, at a certain time. Yet it does so by integrating into the field of listening what is beyond or distant from ourselves. In other words, sound, as that which crosses over, which forces into proximity one and the other, conducts a scene of contact across the represented and the non-represented – what has a name and what is yet to be named. It brings together without necessarily cohering into any traditional form of community, affording instances of collectivity that mostly includes something or someone beyond the perimeters of a given identity. It is an architecture onto which claims are continually made. In this way, I take sound as the means by which we learn to negotiate the challenges between presence and absence, the real and the virtual, the known and the foreign, to continually influence the fixity of what we know as difference and commonality – of what is mine and what is yours.
Originally published in SIC - Journal of Literature, Culture and Literary Translation, No 4 (2012), Zadar. It appears here with revisions.


As Polish authorities failed to alleviate legal concerns of the European Commission about the country's judicial reform, the EU executive has referred the country to the Court of Justice. The case may be considered as extraordinary because the EC is also to ask the ECJ to order interim measures, restoring Poland's Supreme Court to its situation before 3 April 2018, and to request an expedited procedure.
Why was Poland referred to the ECJ?
The European Commission has decided on Monday to refer Poland to the Court of Justice of the EU due to the violations of the principle of judicial independence created by the new Polish Law on the Supreme Court, and to ask the Court of Justice to order interim measures until it has issued a judgment on the case.
The European Commission maintains that the Polish law on the Supreme Court is incompatible with EU law as it undermines the principle of judicial independence, including the irremovability of judges, and thereby Poland fails to fulfil its obligations under Article 19(1) of the Treaty on European Union read in connection with Article 47 of the Charter of Fundamental Rights of the European Union.
The new Polish law on the Supreme Court lowers the retirement age of Supreme Court judges from 70 to 65, putting 27 out of 72 sitting Supreme Court judges at risk of being forced to retire. This measure also applies to the First President of the Supreme Court, whose 6-year mandate, set out in the Polish Constitution, would be prematurely terminated.
According to the law, which entered into force on 3 April 2018, judges affected by the lowered retirement age are given the possibility to request a prolongation of their mandate, which can be granted by the President of the Republic for a period of three years, and renewed once. There are no clear criteria established for the President's decision and no judicial review is available if he rejects the request. Moreover, the only safeguard proposed by the Polish authorities is a non-binding consultation of the National Council for the Judiciary, a body which is now composed in violation of European standards on judicial independence.
The Commission sent a Letter of Formal Notice to the Polish authorities on 2 July 2018 concerning the Law on the Supreme Court, and followed this with a Reasoned Opinion on 14 August 2018. The response of the Polish authorities on both occasions has failed to alleviate the Commission's legal concerns.
The implementation of the contested retirement regime for Supreme Court judges in Poland is being accelerated and is creating a risk of serious and irreparable damage to judicial independence in Poland, and therefore of the EU legal order. The independence of national courts and tribunals is essential for the functioning of judicial cooperation between EU Member States, and particularly for the preliminary ruling mechanism under Article 267 TFEU.
The Commission has therefore moved to the next stage of the infringement procedure, deciding to refer the case to the Court of Justice of the EU. With its referral, the Commission has also decided to ask the Court of Justice to order interim measures, restoring Poland's Supreme Court to its situation before 3 April 2018, when the contested new laws were adopted. Finally, the Commission has decided to request an expedited procedure at the Court of Justice, to obtain a final judgment as soon as possible.
On 20 December 2017, due to a lack of progress through the Rule of Law Framework, the Commission activated the Article 7(1) procedure for the first time, and submitted a Reasoned Proposal for a Decision of the Council on the determination of a clear risk of a serious breach of the rule of law by Poland. Article 7(1) of the Treaty on European Union provides for the Council, acting by a majority of four fifths of its members, to determine that there is a clear risk of a serious breach by a Member State of the common values referred to in Article 2 of the Treaty.
At the General Affairs Council hearing on the rule of law in Poland on 26 June 2018, in the context of the Article 7(1) procedure, no indication was given by the Polish authorities of forthcoming measures to address the Commission's outstanding concerns. Given this fact, and the lack of progress on this issue in the Rule of Law dialogue with Poland, the Commission issued a Letter of Formal Notice to Poland on 2 July 2018, clearly setting out the Commission's legal concerns. The Polish authorities replied to the Letter of Formal Notice on 2 August 2018, rejecting the Commission's concerns. The Commission subsequently sent a Reasoned Opinion to the Polish authorities on the matter on 14 August 2018, and received a response on 14 September 2018, which again failed to alleviate the Commission's legal concerns.
On 18 September 2018, a second hearing on the rule of law in Poland was organised in the General Affairs Council in the context of the Article 7(1) procedure. The Polish authorities again stood by their position and refused to propose any measures to address the concerns of the Commission and other Member States.
This infringement procedure does not stop the ongoing rule of law dialogue with Poland, which is still the Commission's preferred channel for resolving the systemic threat to the rule of law in Poland.


text:
County Schools To Re-Open in Person, 12,500 Expected to Attend
(Noah Lueker)
The Tuscaloosa County School System will reopen its campuses in person and expects 70 percent of its 18,000 students to opt to return to class that way, with the remaining 30 percent choosing some form of virtual learning.
In a conference call Tuesday morning, Dennis Duncan, TCSS's Director of Career and Technical Education, spoke on behalf of the county's new superintendent Keri Johnson. He said there are many factors that it difficult for TCSS to have a large portion of its student body to learn remotely.
Tuscaloosa County is very large geographically and spotted with rural areas. Many students lack a computer or tablet for at-home learning, and several are without reliable internet access. Keeping all this in mind, Duncan said the best option for the system and its students is to reopen on August 20th, and around 12,500 students will return to in-person classrooms.
The operating plan right now is for all students to attend classes Monday through Friday, but if positive cases of the coronavirus find their way into schools or other factors warrant it, one contingency will be for students to attend in-person classes on alternating schedules.
Duncan said students will be divided into an "A Group" and a "B Group," and if necessary, they will attend school on different days to give staff the time and ability to deep clean classrooms, hallways and more.
Some students will be asked to eat breakfast and lunch in their classrooms, as maintaining social distancing in a cafeteria setting would likely prove impossible.
Duncan also said P.E. will have to change, as there will be no dressing out in locker rooms on campus.
"It's just going to have to be a different type of school, but we're gonna make it work," Duncan said.
The students whose families opt to keep them at home will still be expected to "attend" classes every day, and to complete assignments on the same schedule as their peers who are physically on campus.
"It's going to be a real challenge, but we have already and we will continue to tackle it head-on and do the best we can under these circumstances," Duncan said.
EDITOR'S NOTE: An earlier version of this story said the school system will begin in-person instruction on an alternating schedule, with students divided into an "A Group" and a "B Group." That is a contingency plan that will only be implemented if necessary, and not how TCSS intends to begin the year. Townsquare Media regrets the error and is happy to set the record straight.
Learning from Home 2020
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