"Vorrei un caffè ristretto, per favore."
This is the strongest and most concentrated espresso drink. It is made with about half the amount of water but the same amount of coffee as a regular espresso. It is pure and intense.


1 Oh! stay Affection; pray thee stay!
2 What have I said — or meant to say?
6 And dy'd my cheek with honest shame.
12 Can overturn a world of mind!
16 Can every harsh resolve control.
18 The solace of each former year!
24 Seem'd to toll on the passing bell.
49 "Yon drops of flame that stud the sky"
52 By thee were call'd fair worlds around!
54 That brought me to conceive the whole.
60 For loving her, was loving thee!
64 And I still shed the fretful tear.
Title (in Source Edition): THE RECALL TO AFFECTION.
The Poetical Works of Miss Susanna Blamire "The muse of Cumberland." Now for the first time collected by Henry Lonsdale, M.D. with a preface, memoir, and notes by Patrick Maxwell, ... Edinburgh: John Menzies, 61 Princes Street; R. Tyas, London; D. Robertson, Glasgow; and C. Thurnam, Carlisle. MDCCCXLII., 1842, pp. 49-51.


text:
Melissa Sheil
WA Music Week: Jack Davies...We're More Of A Music Band
At the tail end of 2020, we had the opportunity to sit down (virtually) with the folksy, whimsical and ever-eloquent front man of the Bush Chooks, Jack Davies as part of our Western Australian artists feature.
What was intended as a snappy Q&A quickly evolved into a warm, effusive dedication to the community of bands that make up Perth's small but electric music scene, delving to the depths of mentorship, communal success and the experience of an entire state being detached from the mainstream industry of a country whose mainstream industry isn't all that big anyway.
As he joined us in a bright pink Stella Donnelly shirt in honour of Aus Music T-shirt day, he jokes about layering on every WA band t-shirt and slowly take them off throughout the day so "everyone could have equal exposure" - welcome Jack.
Insight into detachment from the industry.
Jack noted that there is a real sense of having to scrabble a bit harder if you are from WA, from financial strain, industry recognition and management time differences.
"When you are wanting to go on tour, it punches you in the knee a bit, because it's so f**king expensive leaving the state. We are West of the middle of nowhere, so even though Australia's music industry isn't huge by itself, we're on the fringe of the nowhere.
"We don't have a huge team but all of our PR and management is over east. We aren't able to meet our team in person very often – the distance, the time difference and delay does slow us down a little bit."
He pointed out that industry institutions are, on a whole, based on the east coast, and that their focus in terms of awards, contracts and larger scale gigs are thus naturally inclined towards their home area, in the thick of things.
"I can't comment generally on WA artists as a whole, only for myself and the band specifically, but I do think incidents like Spacey Jane getting a bit snaked for ARIA nominations highlights the difference," he said
"It's likely down to the fact that the important people have all of their offices and meetings and the big gigs on the east coast and that sort of directs the industry to focus more towards itself.
"The lesser focus on states like WA and South Australia and the Northern Territory could definitely lead to nominations not being made where they might have been if the artist was based somewhere closer to them.
"The east coast naturally has a one-up because they're in the thick of it, where things are happening, so there is a sense of detachment from the main industry in WA.
"It's not a huge difference but it's big enough that we all notice it."
Less pressure, more playful.
Despite the disadvantages of being an artist living and working in WA, Jack says there are infinitely more positives than there are negatives.
"It's an advantage living where we do as the amount of additional support and reception you get being a band in a smaller, tight-knit city is unmatched. In WA you can work on your craft, play shows, meet fans and really get to know who you are as an artist with very little pressure.
"You can spend time developing your sound without worrying about industry pressure to be likeable or create something that 'works'."
Jack reports hearing from artists living in more metropolitan cities with bigger industry feeling nervous whilst writing, recording and performing due to the heavy sense of competition.
"You will be recording an album and know that there's a bigger band down the road or in the next room and it's competitive and nerve racking. It sounds like you have influence coming from all angles."
In comparison, WA appears to be a bit more chilled out.
"It's just a bit more playful for us over here and it never feels very serious, like this is our career. It feels like something we are really passionate about and there's just people who happen to like us and support us.
"We don't have big labels or big agents rocking up at gigs, so for the most part it is just us having fun and not worrying too much about the bigger picture."
Sharing is caring: the music scene is a tight-knit community
In terms of what it's like to be a working artist in WA, (apart from being one of the only places in the world you CAN be a working artist right now), Jack says the best thing by far is the relationships other bands and musicians have with each other.
"There is a very real sense of community and genuinely fun comradery that we have in the WA music scene and I'm pretty sure is similar in other Australian cities. We aren't in competition with other artists, we are friends.
"Because Perth is a smaller place, we don't have the pressure to stand out, and it's easier to feel accepted by your friends and colleagues. We can just play the music we want to play and do your own thing without being judged for it."

redpajama_set_name: RedPajamaCommonCrawl


text:
For a Fine Custom Rolex, Look No Further than Artisans De Genève
This Geneva-based watchmaking workshop offers the exclusive service of watch modification for private customers.
By Gear Patrol Studios
Artisans de Genève is anything but your everyday watch company. This Geneva-based watchmaking workshop offers an exclusive service of watch modification for private customers and on-demand only. Its modifications are made exclusively upon request in its workshops by independent and highly skilled craftsmen. The company specializes in fulfilling its client's needs: in six to eight weeks, modifications are made with each part carefully planned, modified and reassembled following a very specific and complex technical sheet. Each of its interventions is made with the utmost respect for the timepiece, as well as with the DNA of the watchmaking house it comes from. We took a look at one of Artisans de Genève's recent works for acclaimed footballer Andrea Pirlo. These are three of the key modifications made to Andrea Pirlo's Rolex Submariner 114060.
1. Movement Revealed: To skeletonize Andrea Pirlo'sSubmariner, Artisans de Genève embarked on two years of research and development, and 37 of the most passionate craftsmen. Eventually, each component was entirely dismounted, cut and beveled by hand. The result offers a complete new insight of the mythic 3130 caliber.
2. Dial and Bezel Upgrade: Andrea Pirlo chose a forged carbon bezel, a lightweight and wear-resistant material that gives his timepiece a modern allure. It also features an openwork dial with pure lines that reveal each detail of the skeleton movement.
3. One of a Kind Case: The case features an exclusive combination of know-how with polished chamfers, satin-brushed strip and sandblasted lugs. All this gives it a delicate and distinctive contrast and shine to the timepiece.


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Please share your thoughts and reviews about new Netwrix Auditor in comments to this blog post.


text:
Q: Javascript - Finding the distance between two numbers Imagine the numbers 1 through 15
1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15

Now consider some value V from this list and another value D.
The question is, what is V - D.
But here's the catch: imagine that these values are a loop, not a linear count. In other words, "1" is right next to "15".

A: Since you can wrap around, you can compare |V - D| with |15 - |V - D||. The smallest of these numbers will be the shortest distance between V and D.
Examples:
V    D    |V - D|    |15 - |V - D||    distance
-----------------------------------------------
1    1     0          15               0
1    15    14         1                1
2    1     1          14               1
2    15    13         2                2

A: you could take the larger number then subtract the lesser number.
example in java
if(num1>num2){
num1-num2;
}else if(num2>num1){
num2-num1;
}

i dont know javascript but i know it is very similar

redpajama_set_name: RedPajamaStackExchange


Lt. David Madrigal said the shooting happened after the two men finished an overnight shift at a workplace on South Elm Avenue. The suspect was identified as Farrant Frazier, 31.
Madrigal said a new worker felt that Frazier was not carrying his share of the load and and argument ensued. A short time later, the new worker apparently shared the concerns with his supervisor.
As the new worker was waiting for an early-morning ride home, Frazier apparently fired several gunshots, striking the victim in the leg.
Anyone with information about Frazier's whereabouts is asked to call Crime Stoppers at 559-498-7867.


Before you do so, make sure your system meets the specifications a Norton antivirus requires. Also make sure that there is no other antivirus or security software already installed and running on your device. If there is one, uninstall it immediately to avoid any software conflict.
Make a call for help at our www.Norton.com/setup @ Toll-Free Number.


text:
Os Beni Urriaguel, também chamados ou grafados Ait Urriaguel, Ait Ouriaghel, Aith Waryaghar, Beni Ouriaghel ou Ait Wariaghel, são uma cabila (tribo) berbere da região do Rife, no nordeste de Marrocos. Os seus territórios tradicionais atualmente constituem a província de Al Hoceima.

Foi uma das principais cabilas que participaram na Guerra do Rife contra o protetorado espanhol de Marrocos, na década de 1920. As autoridades espanholas consideraram os Urriaguel como o núcleo da insubmissão à autoridade colonial na zona oriental do protetorado. A liderança da tribo era detida principalmente pelo clã El-Khattabi, representado na pessoa de Abd el-Krim, o líder da efémera República do Rife. A capital histórica dos Beni Urriaguel era a localidade de Ajdir, na baía de Al Hoceima, embora na atualidade a cidade mais populosa dos territórios dos Beni Urriaguel seja Imzouren e Al Hoceima.

A tribo era a mais poderosa da região, mas precisou da união com as restantes tribos para proclamar a República do Rife, que estabeleceu o Rife como um estado independente e soberano.

Notas e fontes

 in:

Urriaguel

redpajama_set_name: RedPajamaWikipedia


text:
Calvin Harris – 18 Months
2012/11/18 2 comments
Calvin Harris's cover for 18 Months
The era of the producer continues with Calvin Harris. His third album 18 Months is his first to be made up of mostly collaborations with vocalists, with the first single released 17 months ago – the last to be released next month? Like Guetta and others before him, DJs now get their in by collaborating with the big names. Guetta did it on collaborations with Akon, Flo Rida and Nicki Minaj, among many others, while Calvin did it a year ago on his collaboration with Rihanna which ended up being the biggest hit with her name on it. However, the true value of these DJs is with the lesser-known acts they choose to carry with them. Guetta has gotten some of his biggest hits helping make Sia a household name while Harris has collaborations from Florence Welsh and Ellie Gouldingto rely on.
On 18 Months, Calvin shows his expert skills in the realm of EDM right from the beginning. The record is interspersed with several instrumental tracks, showing that he isn't ready to hand himself completely over to the hit-makers he features on his songs, which makes the guests feel more like guests rather than at home. Also keeps us on our toes.
After a few songs, however, predictability sets in as we get used to Calvin's style. The electronic flow of half of the songs present little surprise. Meanwhile, the other half, tracks like We Found Love, Drinking From A Bottle, Sweet Nothing and Let's Go, are all songs that helped segway Calvin into the mainstream status he's achieved by compromising and softening his sound. It worked for him and resulted in some pretty solid songs with Rihanna and Florence. Sweet Nothing is the album's high point. Toward the end, the album steps away from the norm for several tracks on the instrumental song School as it is more of a groovy track than thumping dance, while Here 2 China is nearly straight up hip-hop.
18 Months is well done in that it isn't Calvin fully sacrificing his sound for the sake of earning mainstream success. It covers all the bases well enough to do what it was intended to do though the vocal tracks work better in mixes and playlists as the record doesn't flow well enough as an album nor a compilation. He's trying to have his cake and eat it too.
1. Green Valley
2. Bounce [featuring Kelis]
3. Feel So Close
4. We Found Love [featuring Rihanna]
5. We'll Be Coming Back [featuring Example]
6. Mansion
7. Iron [featuring Nicky Romero]
8. I Need Your Love [featuring Ellie Goulding]
9. Drinking From The Bottom [featuring Tinie Tempah]
10. Sweet Nothing [featuring Florence Welsh]
11. School
12. Here 2 China [featuring Dillon Francis and Dizzee Rascal]
13. Let's Go [featuring Ne-Yo]
14. Awooga
15. Thinking About You [featuring Ayah Marar]
Adecmr
2012/11/19	1:20 am
Love Calvin Harris! the new record is so great! the tune with florence is amazing!


As the euro has was updating its lows once again, the pound continued to staunchly defend its interests.
That is why no significant changes in the scenario for this pair has not yet happened. < p> Another question is how long the British currency can sustain, we can not exclude that the pair can accelerate and get very much down at one moment.
As long as this has not happened, there is a chance for implementation of the rising scenario, according to which in the near future we can expect resumption of impulse growth caused by the wave (iii).


In the last week of February, Cloe Cavero travelled to Madrid to present two papers related with her current research project, firstly at the Coloquios Investigadores of the Department of Art History, Universidad Autónoma de Madrid (UAM), and following at the Universidad Nacional de Educación a Distancia (UNED), in the framework of the Research Group Before Orientalism: Images of the Muslim in Iberia (15th-17th centuries) and their Mediterranean Connections.
"La niña ante la Puerta Dorada: intercesión, limpieza de sangre y santidad infantil en la edad moderna" (UAM, 26 February), is based on the assumption that cults to child martyrs, and the material culture that originated from them, must be understood as part of broader anxieties surrounding early modern children, even in those cases in which the cult originated in Medieval accusations of ritual infanticide. What was the relationship between the fragility of early modern children, and the ambiguity of their visual representations? This paper proposes a new understanding of child imagery through the reconstruction of the decoration of the lost chapel of the Holy Child of La Guardia in Madrid, which displayed Eugenio Cajés' Meeting at the Golden Gate (1605).
Conversely, "Niños mártires: Acusaciones medievales, devociones modernas y la imagen religiosa en la España de los siglos XVI y XVII" (UNED, 27 February, Sala 3.31, Facultad de Geografía y Historia, 10:30), deals instead with the process of transformation of medieval accusations of infanticide against Jews, Muslims, Conversos and Moriscos, into religious cults. The legends were modified, adapted and ultimately transformed into saintly hagiographies complying with the requirements of early modern religious norms. Instead, child martyr imagery seems to have developed in a more autonomous way, according to established visual traditions and artistic conventions. By analyzing the cults to child martyrs in Spain, this paper explores the intersections between anti-Jewish and anti-Muslim violence and early modern visual conventions in religious imagery.


Experts in vision care urge us to be diligent in taking steps to protect our eyes from the sun. By now we should all take this advice very seriously.
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This important advice must be taken very seriously. No one should be negligent. Get into the good habit of putting on your sunglasses every time you go out the door. Adding a brimmed hat is another good habit. Try walking in the shade whenever possible.
Protecting and preserving the sight we have is a high priority not just to the aging eye. Significant damage occurs early in life — that means everyone should protect their eyes from the sun at every age. Children are by no means exempt from this rule, in fact, their young eyes are the most vulnerable.
Here are 10 tips that can keep your eyes healthier this year.
Protect your eyes from the sun's harmful invisible ultraviolet rays. Exposure to UV radiation without protection can lead to a range of very serious problems, including cataracts and cancer. It can also accelerate the degenerative effects of progressive eye disease.
Select and WEAR sunglasses that block 99-100% UV-A and UV-B rays.
With sunglasses, you typically get what you pay for. Bargain sunglasses from a street vendor or dollar store may be of questionable quality and not worth the risk.
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Be aware — between 10 a.m. and 4 p.m. UV radiation is strongest — take every precaution to protect your eyes and your skin during these hours.
Wear your sunglasses on hazy days and on cloudy days.
Close fitting wraparound styles provide maximum protection.
The sun reflecting off water, sand, snow, ice, and even pavement, is more intense and warrants extra caution. It also can create vision-impairing glare.
Ask your ophthalmologist or optometrist about UV coating for your regular eyeglasses.
Bernard Landou has been the President of The Association for Macular Diseases since 2010 and the Editor-In-Chief of its Eyes Only Newsletter since 2007. He has extensively shared his experience and his perspective on living with age-related macular degeneration.
Bernard is a featured contributor at Ophthalmic Edge Patients (OE Patients), an online resource, presented by the Association for Macular Diseases, providing practical information and empowering advice for living a full and successful life with vision loss.


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text:
A duty to play with language
(image by Jim Andrews)
Almost half of Adeena Karasick's latest volume of poetry, Checking In (Talonbooks, 2018), is comprised of whimsical Facebook status updates, most of which have deeper meaning on second and third thought. Together, they speak, as the book's description notes, "to our seemingly insatiable desire for information, while acknowledging how fraught that information can be."
"It was a totally compulsive exercise over four years, where literally everything I read or watched or where I went or what I heard was fodder for the text," Karasick told the Independent about the faux updates' origins. "And, I must admit, I threw away as many lines as I kept.
"Sometimes, it was just that I couldn't get a song out of my head and then would just riff on it," she said, giving as examples, "Ulysses is listening to Siren Song on Spotify"; "Gustave Klimt is listening to KISS"; and "Salvador Dali is doing the Time Warp. Again."
Sometimes, she said, it was linguistically driven, such as, "E & G are saying F off" and "Bold italics are refusing to move into an upright position." Or, "it was just pure, silly fun" to create updates like "William Wordsworth is wandering lonely on iCloud," "Edvard Munch is watching Scream 3," "Google is mapping the territory" and "Narcissus is using his selfie stick."
"It was so obsessive," said Karasick, "that even now that the book's been published, my brain is so wired to creating those one-liners, I walk around the streets reading every sign and riff on them: 'Thin Lizzy is watching her carbs,' 'Fatwa is doing a cleanse,' 'The Pre-Pesach Jew is clearing her cookies,' 'The Long, Long Sleeper is Woke.'"
Karasick's sense of play is evident throughout Checking In. Even when describing heartbreak, confusion and other emotionally charged states, the joy she derives from words, from language and from constructing layers of meaning, is obvious.
"I think I've always had a really dark sense of humour," she said, "and there's something about taking that which is frightening or deeply disturbing and disempowering it – by not so much making fun of it, but ironically or parodically making it strange, decontextualizing it, hyberbolically defamiliarizing it.
"A lot of my work takes hard-hitting political issues, whether that be the Holocaust in Genrecide (Talonbooks, 1994) and superimposing it with the policing and massacring of language, or dealing with 9/11 in The House That Hijack Built (Talonbooks, 2004).… 'There was a Big Building that Swallowed a Plane … How Insane to Swallow a Plane….' A sense of jouissance (pleasure, play) really permeates all that I do. There's nothing more exhilarating for me than playing inside language, finding unexpected liaisons, connections, sound clusters. It's a type of erotics of the text that is for me very jewy; that jouissance, a jewy essence: all diasporic, nomadic, exilic, ex-static.
"I see this 'play' as operating with an 'assimilationist' brand of Jewish humour," she explained, "not of bombastic neurosis, but one that threatens to unleash chaos, creates unsocialized anarchy, embodies unpredictability – impassioned, engaged, shticky, outrageous and earnest all at the same time – in a post-Woody Allen/Jon Stewart/ Sarah Silverman/Sandra Bernhardish kind of way. And, sometimes, it's audacious, subversive, provocative and, in the true definition of 'irony,' explodes ontologically and cuts into the fabric of things; the smooth functioning of the quiet comfortability or the 'homeyness' of our world. That is the role of art."
Adeena Karasick's newest collection of poetry is Checking In. (photo by Safia Karasick Southey/talonbooks.com)
And one cannot separate Karasick's art from her Jewish heritage – it's "part of my DNA," she said – and from her study of Jewish texts. With a PhD in kabbalah and deconstruction, it is not surprising that, in speaking about the concept of play, she pointed to 13th-century kabbalistic mystic Avraham Abulafia's Science of the Combination of Letters, in which, she said, "we are instructed to play inside the language, using ancient practices of recombinatoric alchemy, gematriatic (numerological) substitution, combination, and, through lettristic 'skips' and 'jumps' slippage, meaning is infinitely re-circulated.
"According to kabbalistic thinking," she said, "we are commanded to permute and combine the letters; focus on them and their configurations, permutations; combine consonants into a swift motion, which heats up your thinking and increases your joy and desire so much, that you don't crave food or sleep and all other desires are annihilated. And nothing exists except the letters through which the world is being recreated, through a continual process of constructing and reconstructing borders, orders, laws, mirrors, screens, walls…. And, in accordance with the strictures of Abulafian play, to properly play is to travel inside the words within words, traces, affects, projections, sliding and slipping between the forces and intensities distributed through the texts' syntactic economy. And this very play speaks both to how everything is infinitely interconnected – reverberant with our social, consumerist, communicative patterns – generating a contiguous infolding of meaning."
She connected this type of play to "the actual conversation habits of Yiddish."
"According to etymologist Michael Wex – in his Just Say Nu (Harper: New York, 2007) – Yiddish itself is inscribed in derailment, evasion, avoidance, where the norm is not to be 'clear' but to 'seduce and lead astray,' to say the reverse of whatever's been said. For example, as we know, to say, 'Hi, how are you,' 'Shalom aleichem,' the answer is 'Aleichem shalom.' Answers are answered with a question, repetition, reversals, circumlocutions, interruptions, insertions (ptoo, ptoo, ptoo). Compliments are avoided in favour of their opposite. Or, like how you should never say what you mean because naming something (such as cancer, leprosy, pig) could bring it into existence."
As for her own existence, Karasick said, "All my life, I've been fiercely drawn to all that seems enigmatic or paradoxical, and get great pleasure in connecting the unconnectable; drawing from different genres, lexicons or mediums and reveling in ways they inform each other in radical and innovative ways, inviting us to see the world anew."
While she has spent years teaching philosophic and critical theory, and media and pop culture at various universities, as well as attending lectures on media ecology and ontology, she also watches "a lot of trashy TV," she said. "I like classical jazz and MTV videos. I read [Louis] Zukofsky, [Slovoj] Zizek and Vogue magazine. And my favourite thing to do is to mash these language systems together into a kind of linguistic tzimmes; each flavour, taste, texture informing the other, expanding the palette.
"It's especially exciting for me to break down that binary between high and low culture; draw from the music hall and the circus, erotics and spirituality; and play with ways all of this information erupts as a palimpsestic web of both sacred and secular echo-poetic referents."
Karasick writes "on the road, on buses, trains, subways, boats; in motion," she said. "I write best amid the bustle of life and, oddly, when I'm really busy is when I'm most inspired. I'm always hunting and gathering, drawing on the world around me. Though, I must say, when drenched in aching nostalgia, frustrated by contemporary politics or steeped in throbbing desire is when the work especially flows."
Approaching the poetry
"Contour XLV: With Asura," "Lorem Ipsum" and "In Cold Hollers" are all "homophonic translations, and so they all fall under the same rubric," said Karasick of three of the poems in Checking In during a brief poetry lesson over the phone.
She explained, "Each of these [works] take the same sounds of an original poem by somebody else and I've translated them. I've done an avant-garde, post-modern translation by using the same sounds and rhythms of the original poems but changing all the words, so that if one read it simultaneously with the original poem, it would sound like the same poem, but it's completely different. It's a way of commenting on the previous piece; it's translating it, moving through and across different modes."
"In Cold Hollers" is a translation of Charles Olson's 1953 poem "In Cold Hell, In Thicket"; "Contour XLV: With Asura" is based on "Canto 45 with Usura," a poem by Ezra Pound, which Karasick described as a "famously antisemitic, women-hating, Jews and women are pigs kind of poem"; and "Lorem Ipsum," which is in English, but plays on the sounds of the Latin of Cicero's "De finibus bonorum et malorum" ("On the Ends of Goods and Evils"). "Lorem ipsum is the standard placeholder text used to demonstrate the graphic elements of a document or visual presentation," writes Karasick elsewhere. "I am interested in exploring how the notion of 'place holding' gets reworked through an impossible relationship both in love and in language."
As to how to approach a poem that you've never read before, Karasick said, "On one level, it depends on how deeply one wants to penetrate the text. The way I like to read is to not worry about what everything means per se, but rather … in reading, I think the most important thing is to feel the text, to go inside and feel its rhythms, its textures…. I work a lot with sound, so I'm really interested how sound itself communicates meaning and so, therefore, a lot of this type of work is about moving with the rhythms and the textures and some of that crazed emotion, how that bleeds through, just through the way that it sounds and feels in your mouth."
Turning to the poem "Lorem Ipsum," she said the words mean "pain itself." She has translated Cicero's treatise on the theory of ethics into a "passionate love poem" about the "difficulties and grueling angst that one traverses through that. Just like love itself, or pain itself, isn't something that's easily definable, so it is with the poem itself, which takes us through this journey of multiple ways that are easily comprehensible and other parts that are strangely defamiliarized and confusing because these very strong emotions are fiercely that…. Just like in life, you come across things that are completely foreign and impenetrable, so, similarly, the poem interweaves through the familiar and the defamiliar, the expected and that which completely takes you into new arenas of wonder and confusion."
Karasick similarly takes Pound's "Canto 45" and, playing with the Yiddish word asura, which means forbidden, and the English word usury, creates a new work that's both a scathing commentary on Pound's, as well its own poem, with its own meanings.
About "In Cold Hollers," Karasick said she used the word "hollers" because it's "homophonically related to hell, but it's hollering in, calling back into Charles Olson's original '53 piece; and his original title, 'In Cold Hell, In Thicket,' refers to the opening of Dante's 'Inferno.' What seems simple, it just has layers and layers and layers of history, literary history, philosophical history, as well."
The title of Olson's poem refers particularly to "selva oscura," she said, "which is the dark wood that Dante wanders into in the middle of his life … so Olson's poem, which riffs on that, is a similar excursion into a visionary experience, where he struggles to come up with a new understanding … from his own midlife … putting a voice to his own time. It is a personal drama of experience, conflict; it really speaks to the wrenching process of living and loving that, by turns, is grueling and funny and dramatic and trivial. My translation of that is dealing with all of those things and, in a way, it's like, do you remember that old Gwen Stefani song, 'I Ain't No Hollaback Girl'? – I am a hollaback girl. I am hollering back, in cold hollers, to this cold hell, and basically calling into that history of both Dante and Olson, the history of post-modernism, 65 years later."
In talking about Olson's work and hers, Karasick said, "I sometimes like thinking of translation as trans-elation because you can never really translate anything because of culture and all the different references – in my piece, in my trans-elation, the attention is focused on a world of connected life, the personal, the political, the poetic as a system of relations. And, lastly … highlighting how the words themselves are imaginative participants; the words themselves are creating and recreating the sense of connecting the personal, the political, the poetic."
And it's not just the words, but how they are placed on a page that matters in poetry. So, for example, Karasick's "In Cold Hollers" not only plays on the sound and meaning of Olson's poem, but also mirrors its typography. "I wanted to keep it very much as he had it," she said of where the lines break and other aspects of the formatting.
"The notion of the physicality and the materiality of where the words are placed on the page has just as much meaning as what they are communicating. We're so often used to looking at the left margin … but I want the phrases to be moving and fluid, and that sense of how the white space between the words is equally as important as the words themselves. We can go back to kabbalah and the black fire on white fire, that the whole page becomes a series of fiery energy."
Format ImagePosted on November 30, 2018 November 28, 2018 Author Cynthia RamsayCategories BooksTags Adeena Karasick, culture, Judaism, kabbalah, language, mysticism, poetry, social media, Yiddish
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When electronic or electrical equipment of any type is intended for use in a hazardous area, the equipment must be ATEX certified as required by the EU directive 94/9/EC. This directive is more commonly known as the ATEX directive (from the French: ATmospheres EXplosives). Within Europe ATEX certification of products for use in potentially hazardous atmospheres is compulsory.
Hazardous areas exist where a potentially explosive mix of air and flammable gasses or air and dust or air, dust and gasses may occur. You can find all of our ATEX approved products suitable for hazardous areas on our website.
ATEX certification of products for use in potentially hazardous atmospheres is compulsory.
The ATEX directive classifies equipment into groups and categories which are defined by the marking on the equipment – see "Product marking" below.
2 Equipment that is intended for use in areas where an explosive atmosphere is likely to occur in normal operation and must ensure a high level of protection.
3 Equipment that is intended for use in areas where an explosive atmosphere is unlikely to occur in normal operation and must ensure a normal level of protection.
From the breakdown of the code below it can be seen that the product is flameproof,suitable for use in zone 1 surface applications where gas group B gases may be present and the surface temperature of the product under fault conditions will not exceed 135 ºC.
II Equipment group: II surface industries.


In a 19th-century building overlooking the Salobrar salt marshes, this relaxed, adult-only 5 star spa hotel is 3.9 km from Es Trenc beach. The nearest main towns are Campos and Colonia de Sant Jordi.
The stylish rooms offer free Wi-Fi, smart TVs and minibars. Most have terraces or balconies; some have wooden beamed ceilings. Airy suites have sitting areas or separate living rooms, and some also come with hot tubs and 4-poster beds.
In addition to an elegant restaurant with a terrace, amenities include a refined lounge and an outdoor pool. The spa has a thermal pool, a hot tub (set under a vaulted celling), a steam room and treatment rooms.


The R-39 is a Russian submarine launched ballistic missile. It has the NATO reporting name of SS-N-20 Sturgeon and the bilateral designation RSM-52.
The R-39 is a intercontinental missile, it has a three stage solid-fuel (ammonium perchlorate) boost design with a liquid-fuel post-boost unit carrying up to ten MIRV warheads. Like other SLBMs the initial launch is powered by a gas generator in the bottom of the firing tube, during the missile's passage through the water additional motors produce a gaseous wall around the missile, reducing hydrodynamic resistance. The launch system is designated D-19.
Development work began at NII Mashinostroyeniya in 1971 and the design gained official approval in 1973. Initial test flights from 1979 found problems in the solid-fuel boost engines, over half of the early flights failed. Later tests aboard a modified Typhoon class submarine were more successful and deployment began in May 1983, with 20 missiles in each submarine. Work on an improved version began immediately and was deployed from 1989. As of April 2003 100 missiles were deployed with 1000 warheads and a total throw-weight of 255 Mt.
Under the terms of the Start I and Start II treaties, from 1996 a number of R-39 missiles were destroyed, 20 in total to 2003.
A successor design, the R-29RM (SS-N-23 Skiff), was developed from the late 1980s and began testing in 1996, financial issues, development problems and early test failures seriously delayed the program. But by 2003 96 missiles of this type had been completed.


text:
Volunteers gift home repairs, smiles to disabled veteran
by: Alyssa Goard
Posted: Nov 10, 2018 / 12:39 AM CST / Updated: Nov 10, 2018 / 12:42 AM CST
AUSTIN (KXAN) — Franky Horton, 72, was born in a house on Canterbury Street in the Holly neighborhood. It's the place he still calls home today. But, Horton is a disabled veteran and the upkeep of his home gets more challenging as he grows older. He was delighted when a group of Home Depot and Meals on Wheels volunteers chose his home as one of the veteran houses in Austin they'd help to spruce up.
The volunteers touched up his roof, made replacements to his water heating system, landscaped his yard, made a flower bed with rose bushes and installed an American flag on his porch.
"It looks good, they all give compliments on my flower bed," Horton said with a smile, looking out at his new yard.
Horton served in the Air Force for two years. He enlisted because his brother was also in the service. He was in the Air Force until a life-altering accident cut his time in the military short. At that time he was stationed for two years at Seymour Johnson Air Force Base in North Carolina working as a firefighter.
Franky Horton in a wheelchair in the 1960's as he was recovering from an accident on the Air Force Base. (Photo Courtesy Franky Horton).
One day in October 1967, Horton was a passenger in a car with a few of his fellow firefighters when they were called back to the base for an emergency airplane landing.
As they were driving back, the car somehow drove into a bridge. One of Horton's friends was killed and Horton went to the hospital with serious injuries.
He spent nearly a year in the hospital. He lost one eye completely and lost almost all his vision in another. He needed a large portion of his skull replaced, and he had ruptures in his stomach.
"I've come a long way since I got hurt, I couldn't walk or nothing," Horton said.
After he was discharged, Horton moved back home to Austin where his mom helped to take care of him.
He's been on disability since then and while many daily tasks became challenging, he found joy working at the coffee shop at the nearby VA hospital.
Now he likes to spend time going walking on Austin's Hike and Bike trail every day.
Sometimes as he's walking, he'll chant to himself the songs they used sing on the base.
"Two, three, four, give me your left, your right, your left," he chanted as he walked down the path to his home.
Horton is especially delighted by the American flag the volunteers installed on his porch. After his walks, he'll sit outside with his dog Buffy and admire the red, white and blue.
"It means a lot to me because it means we're in a free country," Horton said.
Austin-Travis County
People killed in Monday apartment fire identified
Study says gentrification doesn't negatively affect longtime residents as much as previously thought, some east Austin residents disagree
Austin / 9 hours ago
APD: Most Austin murders happen during drug deals, especially marijuana sales
Crime / 11 hours ago
2 fires in 1 week: Causes still unknown in Capital Metro bus blazes
H-E-B, Walmart and Target offers discounts for teachers ahead of new school year
Education / 16 hours ago
Man involved in fatal car crash Sunday in southeast Austin identified
Local / 19 hours ago
Gas leak reported at mobile home park in Pflugerville, authorities making repairs
More Austin-Travis County News
More Austin Stories
by Chris Davis / Jul 18, 2019
AUSTIN (KXAN) — More than 100 baseballs, signed by players like Mickey Mantle, Joe DiMaggio, Cal Ripken, Jr. and Nolan Ryan, are up for auction this week.
The most prominent names are up for auction online through Saturday. The rest will be auctioned off live at the Balcones community day happening at the fields Saturday.
by Tulsi Kamath / Jul 17, 2019
AUSTIN (KXAN) — Austin fire officials released the names Wednesday of two people killed in an apartment fire Monday that also displaced nine people.
Kaitlyn Denson, 26, and Joseph Tarin, 30, were in a second-story apartment at The Woods on Barton Skyway when a fire started on the balcony in the early hours of Monday.
by Alex Caprariello / Jul 18, 2019
AUSTIN (KXAN) — Complaints tied to Austin's homeless population are growing.
Two-and-a-half weeks after new city rules were approved to decriminalize homelessness, some business owners said they're seeing more problems.
News / 1 min ago


Apart from its role in providing security, Dubai Police offers a number of services to other government departments, companies and individuals. Dubai Police makes every effort to ensure that the procedures are simple and the services are easy to access. Most of these services are offered online without the need to visit the police station.
While each police station has its own telephone number, you can call the three most used Dubai Police numbers depending on the reason for your call.
For emergencies or to get an ambulance call 999, to report crime call Dubai Police Al Ameen service on 800-4888 and for non-emergencies, you can call 901. The emergency number 999 is meant to call for urgent police intervention for accident or criminal cases as well as to call for an ambulance.
When dealing with Dubai Police, you have certain rights to ensure that you are dealing with genuine police officers and not impersonators. You have the right to ask the police officer for his/her identity card, which should have the logos of Dubai Government and Dubai Police, the personal data of the officer in both English and Arabic and a photo on the ID card resembling the officer in front of you. According to UAE Federal Law No. 250 of 87, it is illegal for anyone to impersonate a police officer and such impersonators can be fined and imprisoned for this crime.
Any police officer wanting access to your residence also needs permission from the Dubai Public Prosecutor and you are well within your rights to refuse access even if the police office has his/her ID, but does not carry permission from the Dubai Public Prosecutor.


text:
using System;
using System.Linq.Expressions;
using FluentNHibernate.Utils;

namespace FluentNHibernate.MappingModel
{
    public class VersionMapping : ColumnBasedMappingBase
    {
        public VersionMapping()
            : this(new AttributeStore())
        {}

        public VersionMapping(AttributeStore underlyingStore)
            : base(underlyingStore)
        {}

        public override void AcceptVisitor(IMappingModelVisitor visitor)
        {
            visitor.ProcessVersion(this);

            columns.Each(visitor.Visit);
        }

        public string Name
        {
            get { return attributes.Get("Name"); }
            set { attributes.Set("Name", value); }
        }

        public string Access
        {
            get { return attributes.Get("Access"); }
            set { attributes.Set("Access", value); }
        }

        public TypeReference Type
        {
            get { return attributes.Get<TypeReference>("Type"); }
            set { attributes.Set("Type", value); }
        }

        public string UnsavedValue
        {
            get { return attributes.Get("UnsavedValue"); }
            set { attributes.Set("UnsavedValue", value); }
        }

        public string Generated
        {
            get { return attributes.Get("Generated"); }
            set { attributes.Set("Generated", value); }
        }

        public Type ContainingEntityType { get; set; }
    }
}

redpajama_set_name: RedPajamaGithub


text:
Emily Lakdawalla • July 4, 2005
Deep Impact live blog
Jul 3, 2005 | 20:41 PDT | Jul 4 03:41 UTC: Ready and waiting
So I'm back at JPL now, ready for a long night. It is a bit of a zoo here in the media room. There are a lot of people with laptops and headphones, clearly attempting to focus as they write, some of them talking to themselves. There are people trying to figure out what's going on. There are people speaking authoritatively about what's going on. There is a British TV crew wandering around, repeatedly attempting to film what is clearly the opening segment to a special on Deep Impact.
Several television monitors in here are displaying NASA TV. This much I could see on my couch in my living room, and probably with a lot less distraction. But there's an energy here at JPL, even if it's only among the people who are gathered to report on the mission. It's very different from the energy among the science team, I am sure. The science team is probably poring over the new pictures coming down from the spacecraft, cracking nervous jokes, and laughing too loud about them. The reporters are focusing intensely, trying to figure out when and where to capture the best information about the mission, trying to ignore the chaos, hoping that whatever happens tonight, they'll get to witness it.
Ay ay ay. Someone is filming me. Why are they filming me? Must not have been able to get into the science area or mission control, so all they can do is film the reporters.
Anyway, not much is happening in mission control right now. Clearly the spacecraft is still working fine, because pictures are still coming down.
Jul 3, 2005 | 21:11 PDT | Jul 4 04:11 UTC: Commentary on the imaging
The engineering teams that are busily monitoring the AutoNav imaging for flyby and impactor just made some comments about the targeting of the two imagers. I'm trying to follow along with the spacecraft imaging on the Deep Impact website, but I have to admit I'm having a hard time understanding what the images are showing. My understanding is that the Impact Targeting sensor was supposed to capture a pair of images -- one exposed for the comet's coma, one for the nucleus, at the following times (relative to the encounter time):
-22 hours
-2.5h
And then "more and more rapidly until it is acquiring images every 0.7 seconds."
So up to this moment -- just under 2 hours prior to impact -- there should have been about 15 pairs of ITS images. But I find 117. Some of them are really small -- are they thumbnails? I'm not sure what they are supposed show.
There was just a flutter of activity around the monitors. It sounded like they were talking about new "OD" information -- that means "orbit determination." What's going on is that they don't actually know the comet's orbit well enough to have targeted it beforehand; they have to determine the orbit based upon the observations that the impactor and flyby craft are making right now. This is not how navigators like to fly a spacecraft.
Stay tuned...
Jul 3, 2005 | 21:16 PDT | Jul 4 04:16 UTC: It's hairy in mission control -- first Impactor Targeting Maneuver is coming up soon
They've got the volume in here turned up now, so we can hear what's going on in mission control. There is some stuff like orbit determinations about 5 kilometers off what was expected, which is pretty good targeting. But then there's hairier-sounding stuff, like "we have a rejected command from the impactor." And, later, "this is not an expected rejection."
We just heard an interesting detail about mission control. Apparently, the people monitoring the flyby craft are wearng blue; the people monitoring the impactor are wearing red. Convenient.
The first ITM is coming up in only 5 minutes.
Jul 3, 2005 | 21:22 PDT | Jul 4 04:22 UTC: Turn to burn attitude
They've computed the change in velocity (delta V) they'll need, and the spacecraft has turned in order to point its thrusters in the right direction...
Jul 3, 2005 | 21:31 PDT | Jul 4 04:31 UTC: We see TCM thrusters firing...
I don't understand all of what's being talked about in the MSA but there is a lot of activity going on. I'll try to take down some of the comments...
"We have a channel in red alarm, this is expected."
"Can you report on the flyby S-band receiver during ITM?"
"We are continuing to hold S-band lock."
"All impactor stations, you can expect a 4-5 minute telemetry delay at this time due to file management." (That has to do with the fact that the flyby craft is madly relaying information from the impactor, and falls a little behind during the ITMs.)
"We are currently receiving an image and there are 75 telemetry files in the downlink queue."
"We are back on target ID2." A fist in the air, must have been good news.
"Everything looks good."
It appears that the first burn was nominal! So far so good...
According to the impactor accelerometer, error on the thruster firing was only 0.35%, which is pretty darned good!
The reporter from Aviation Week just confirmed that his understanding of all of the conversation that just took place was that only a minor course correction was needed -- changes in targeting of only about 5 kilometers -- and that the course correction was performed nominally.
Jul 3, 2005 | 22:06 PDT | Jul 4 05:06 UTC: OD
Now most of the chatter is the various controllers figuring out exactly what happened in the trajectory correction maneuver, and then they need to figure out their orbit determination again, and then report what the AutoNav thinks it needs to do for the next maneuver.
"Another update on our OD status, we seem to have converged to B-plane coordinates 2.0 and 2.3." Based on chatter I heard earlier, I think that means they need to adjust their targeting by 2.0 kilometers in one coordinate and 2.3 in the orthogonal one in the next maneuver. But I could certainly be wrong about that. Those numbers are smaller than the first maneuver, which was 5 km in each direction, which is what you would expect.
I'm trying to pull pictures off the website, but it's clearly buckling under the strain of traffic.
11 minutes until the next maneuver...
Jul 3, 2005 | 22:18 PDT | Jul 4 05:18 UTC: Thrusters firing for TCM 2
The second of three trajectory correction maneuvers for the impactor is now underway!
The chatter is involving lots of numbers, but they are very hard to hear over the audio feed we are getting. Some numbers are describing course corrections in kilometers; others angular motion, measured in microradians. It's pretty hard to understand what's going on from here. Even the Aviation Week reporter -- who seems to be the one the other reporters are looking to for more technical understanding of what's going on -- is having a hard time getting it all.
We just saw a grainy shot of the images that are being returned from the High Resolution Imager on the Flyby craft, which are NOT being streamed out onto the web. They are resolving the nucelus beautifully. It's shaped sort of like a pear or avocado, but seems to have a big hole in one side!
But there is a nice flat spot on the "bulb" of the pear -- I think they have a good, sunny, flat spot for the impactor to aim for...
Jul 3, 2005 | 22:28 PDT | Jul 4 05:28 UTC: "Only a kilometer off the ground nav solution...
"...so a big hooray for the ground nav team," the mission controller just said. To translate: the ground navigational team has predicted the location of Tempel 1 to within one kilometer of its actual location. That's pretty good.
11 more minutes until the next, and final, trajectory correction maneuver.
Here's a quick and dirty sketch of what I saw on the monitor when they were showing those high resolution images of the comet nucleus.
Jul 3, 2005 | 22:35 PDT | Jul 4 05:35 UTC: The view is getting better
They are still talking about AutoNav images, and apparently the mission controllers like what they see. Unfortunately the website that is feeding the impactor targeting sensor and medium resolution images out to the public seems to have broken down, at least from where I'm trying to access it. I hope I get to see more of those high resolution images soon. I'd like to improve on my sketch!
Just saw it! Here's my next sketch:
There really does seem to be a big hole in one side of this comet; some of the darkest pixels on the comet are in the shadowed wall of that hole (at least that's how I interpret the picture). Around the hole are also some darkish regions. I am not sure whether those are dark because of geometry (topography) or because of some color on the surface of the comet.
Jul 3, 2005 | 22:38 PDT | Jul 4 05:38 UTC: TCM-3
The final burn looks like it'll be similar in size to the previous ones. They're going to change the speed by about 2.3 meters per second, shifting the target by 1 or 2 kilometers.
"We are just completing turn to ITM-3..." (They seem to switch between saying "TCM" and "ITM," or "Trajectory Correction Maneuver" and "Impactor Targeting Maneuver."
I am now hearing that they are indeed targeting for that brightest area at the bottom of the bulb of the pear. It turns out to be quite a good geometry for impact, because the spacecraft will be flying underneath the comet as seen from this point of view. Everything is looking really good.
Except my view of the TV set! Now all the reporters are crowding around, all trying to get a good view...
Jul 3, 2005 | 22:45 PDT | Jul 4 05:45 UTC: Approaching to impact!
Just minutes away!
The final imapctor targeting maneuver was "right on." All fault protection has been turned off for the impactor -- "you're on your own," the fault protection team said. The impactor is about to meet Tempel 1...
Five minutes away...
it is very very quiet in here now...
20 seconds to imaging sequences on flyby that will capture impact...
20 SECONDS TO IMPACT!!!
"Flight, this is telecom, we have lost the lock"
I just saw more images, "X marks the spot," there is a spot in between two circular dark rings on the bottom of the comet -- where the impactor is aimed --
The pictures are getting fuzzier, images are being degraded because of dust hits?
We've been looking at the same picture for a little while now...two very clear circular features, just above the "X" marking the aim point of the impactor...
"We still don't have confirmation of the impact, that will come a little bit later..."
CELEBRATION!
"Put that on the screen!" They are applauding, but what are they seeing?
It's a huge spray! They did it!!!!!!!!!
There is absolutely no question -- you can see a continuous cone of ejecta from the bottom of the comet in the high resolution images, coming out at a pretty shallow angle!
Here's my sketch:
"We have an image 3.7 seconds before impact."
The images of the impact are tremendous. I can't imagine what my old teacher Pete Schultz is doing right now -- he must be bouncing all over the science area. That blast of ejecta looks just like one of his experiment. This must be the culmination of his career.
Jul 3, 2005 | 23:05 PDT | Jul 4 06:05 UTC: Going into shield mode
So images are still coming back, but the spacecraft is just about to where it needs to turn into shield mode to protect itself from the worst of the comet dust surrounding the nucleus.
A reader just sent me this screencap:
We're now looking at pre-impact images taken by the impactor. There is so much detail. It looks to me like a surface that has been eaten away -- which may be sort of what happens as stuff sublimes off the comet and into space. There are two large obvious circular features, which my brain interprets as craters, but they could also have an endogenous origin, that is to say that they could have formed from some internal comet-jetting process.
But my eye keeps returning to that blast image. That comet is 15 kilomters long, and the object that hit it was the size of a washing machine, and that blast is absolutely huge. All the stuff that we can see in that cloud is fresh comet stuff -- stuff that may not have seen the light of day for more than 4 billion years. Leftover solar system ingredients that have been in the freezer all that time. It's just amazing.
The commentator is saying that the impact is bigger than he expected. But I'm going to reserve judgment on that until I hear Pete Schultz talk about it. Though, knowing Pete, I am wondering if he is going to be able to get a coherent sentence out of his mouth at the press conference. He is pretty incoherent normally. Now, he'll probably be utterly incomprehensible. But I'm sure his excitement will be communicated quite clearly...
The website is teasing me...I can see thumbnails of cool images, but can't download the full ones! Here's a tantalizing thumbnail...
A laugh from the reporters just now. Various Congresspeople have just shown up in mission control. The joke is that they never appear until a mission is successful, then they suddenly come out of the woodwork...
Jul 3, 2005 | 23:18 PDT | Jul 4 06:18 UTC: Comet bash!
I've just heard from my coworker Jennifer Vaughn, who's at the Comet Bash that the Society is hosting for the public to view what's going on with Deep Impact. she said: "What a night! The event has been great. We have about 800 people here, the speakers have been great, and, of course, the mission rocks!"
We just saw a tremendous Medium Resolution Image of the moment of impact -- there is a huge flash off the bottom of the comet, just as Pete predicted.
I'm also beginning to hear from readers, which is great. I've been supplied with this image, the one I've been talking about from the Impactor Targeting Sensor, just prior to impact:
The impact happened somewhere along that horizontal line between the two circular features. Look at that detail! Now of course the comet looks very bright against the blackness of space but that's not because the comet is icy. In fact most comets are very very dark, darker than asphalt, because the icy stuff has vaporized from the surface, leaving behind tarry gunk that's very dark. This picture looks bright only because the camera is sensitive, and the image was exposed long enough to make the dark comet look very bright.
Jul 3, 2005 | 23:26 PDT | Jul 4 06:26 UTC: Quit celebrating, get back to work.
The NASA TV commentator just said that the mission controllers have just been told they need to stop celebrating and get back to monitoring their mission -- the flyby craft is still going! The funniest thing about that comment is that she is currently interviewing Charles Elachi, the director of JPL, i.e. the boss of all those guys. He doesn't seem too concerned.
We are coming up on the moment of lookback.
Jul 3, 2005 | 23:42 PDT | Jul 4 06:42 UTC: More applause...
This time, I think it was just applause for the team. All the guys in red shirts in mission control -- the erstwhile monitors of the impactor -- are done. Their spacecraft is dead. But, unusually for space missions, that was intended, and they can celebrate the dramatic death of their craft.
The images that they are showing are fabulous. Here's another screen cap from that reader (THANK YOU!)
This one was taken by the medium resolution imager and shows the impact flash, right on the bottom of the pear, below that hole. Just where they were aiming. The color commentator they had on the NASA TV coverage kept saying he was amazed at how large the flash was. For me, I'm not sure if I'm amazed at the size of the flash, but it seems to be so broad, at such a wide angle. I'll have to ask about that if they don't talk about it at the press conference.
They've stopped the NASA TV coverage. The press briefing will be in an hour. The other reporters in the room are settiing down to work. I feel like there's probably not a lot more I can do until I see the processed images that I hope they will release at the press conference.
I just overheard an interesting comment from one of the newspaper reporters. He said that if the mission had not produced these dramatically flashy images, they wouldn't be front page news tomorrow. Because of that flash, though, they will be. Isn't that something? Regardless of the existence of the flash or not, the fact that they managed to hit a comet with half a spacecraft, and watch it from another, would be an astounding breakthrough. But it's the flash that'll make it front-page news.
I need to rest my wrists and stretch the muscles in my back and neck that have tightened me into a hunched-over position in these last few hours. I'll be back.
Jul 4, 2005 | 00:32 PDT | 07:32 UTC: The impact, in video!
OK, I've managed to get back on the raw image website, and I grabbed a whole bunch of the images that we were apparently looking at earlier. I just threw together this little animation, showing mostly Impact Targeting Sensor images, but moving at the end to some Medium Resolution Imager images. Now, I've probably dropped some frames, and these images are smaller than the ones the scientists get to use, but I have to say that this is pretty sweet as it is. I can't wait to see what the scientists produce!
NASA / JPL / U. Maryland / Emily Lakdawalla
Animation of the Deep Impact into Tempel 1
This video was assembled from 36 images taken by the impactor's camera, and twelve taken by the flyby spacecraft's camera.
Just to make things stranger here, June Lockhart (of Lost In Space fame) just showed up.
Jul 4, 2005 | 00:53 PDT | 07:53 UTC: Getting ready for the post-impact press briefing
I wandered into the auditorium a few minutes early to make sure I got a good seat. In the back of the room I bumped into my friend Trina Ray, a JPLer who is the head of the group that plans the Titan science on the Cassini mission. "I'm just lurking," she said.
Inside the room, on the left, are the press; on the right there are lots of those blue and red shirts we saw on TV. Feels like a wedding! Am I with the bride or the groom?
Seats are full now, more reporters are walking forlornly by with their laptops, looking for spots...
Ready for the triumphal press conference!
Jul 4, 2005 | 01:01 PDT | 08:01 UTC: Notes from the post-impact press briefing
I just spotted Pete Schultz and Jessica Sunshine, heading up to the front row. There are Congresspeople and other Important Persons there but as far as I'm concerned they should be the stars! -- after the engineers and navigators who got us to this point, that is.
The panel consists of Andy Danztler, Rick Grammier, Keyur Patel (that's a new name on me), and Mike A'Hearn. We all applaud as they come out.
Mike A'Hearn's getting his bald head powdered again. Poor guy! We are laughing with him...I think...
Sorry for the delay, they seem to be having some technical problems. It'd be ironic if they could accomplish the Deep Impact mission but not get a press conference going!
OK, the inevitable joke has been made, to Rick Grammier. "Rick, you've got your next job coming, to get the audiovisuals working."
I think actually that the holdup is getting the images ready to go. If true, that's worth the wait.
They keep saying "30 seconds" and counting down -- and then something holds them up. Mike A'Hearn just joked that they may be serious about the 30 seconds -- but forget to tell us the minutes part.
OK, here we go!
They are smiling this time! Andy Dantzler reminds me of Colin Mochrie, of Whose Line is it Anyway? fame...
Elachi: "I am wondering if there is a comet up there that is wondering, 'what the heck hit me?'"
David Southwood is actually sitting here, from ESA...he gets applause.
Al Diaz: "Happy Birthday, America. It's great to be on the west coast when, for the first time, the fireworks started here. Let me congratulate the science team, for a great idea, and for having the persistence to make it happen."
Andy Danztler: "What a smashing success." He gets grudging laughter. "This has been quite a hit for NASA, quite a success for the team in general. A wonderful collaboration around the world, including the ESA Rosetta spacecraft. Just in cas you missed it, we have a picture of the impact. That is phenomenal. I'm trying to think of how to describe this, but I am just speechless."
Grammier: "I'm more relaxed than the last time I was up here, that's for sure. Just to give you status on the mission, we are minus one spacecraft, the impactor, it's been totally vaporized, as per plan." He compares the video to a still from the actual impact. "We didn't go through a single contingency." He shows video of his team. "I have a fun crew, what can I say?
He showed an animation from the impactor, and the still photographers in the room started shuttering away -- but the biggest roar as we went in was from the team members in the red and blue shirts. "I think, Mike, we provided you the science you wanted." A'hearn: "Yep."
Patel: "Wow." .. "Flyby is doing great. It came out of shield mode with not a bit of damage. Between the flyby and the impactor, we were imaging the same spot within only 50 meters, which is absolutely amazing." Shows an image: "This is just incredible."
A'Hearn: "As we were sending the images off to be prepared for this press briefing we were of course still watching the images coming down. There are many more spectacular images yet to be revealed.
"There's the whole comet. It's about 5 kilometers across, 7 or 8 long in this projection. But we're not seeing the full long dimension of it in this picture. This is a closeup image. It has a scale of about 7 meters per pixel. We've gotten the highest resolution images of a comet ever. The impactor was perfect. The flyby instruments also worked beautifully. We got tremendous spectra, really strong spectral features, great thermal spectra. The flight team has just completed most of its work, we are just starting our work now. Obviously it was a very big impact, presumably we have a large crater. Interpreting the ejecta cone is going to take a bit of time. There is lots of structure in it that is of interest to interpreting the nature of the comet. I look forward to the wealth of data that will take me to retirement."
Time for press questions.
A'Hearn: "We only have 10 percent of the data down. It was still a very large ejecta cone in the first lookback imaging, which was 45 minutes later than the impact. We've made some crude estimates of the amount of material but I think we're going to hold on to them until we've had a chance to think about them."
Hubble etc.? A'Hearn: "They observed a brightness increase of about 3 magnitudes. A few telescopes reported big increases in emission lines in the spectrum."
An Australian reporter just asked whether this mission could have been pulled off without the telescope in Australia, and everybody laughed. Grammier answered: "Obviously not."
Grammier: "Yes, we did have to bother, because as we were closing in, the comet was moving too, and we didn't know the exact size and shape of this comet. First ITM was 1.26 meters per second. Next one was 2.2 meters per second, and the third one was 2.3. After each one was done, then the next cycle would pick up to do the next AutoNav solution. Our confidence started increasing, not only as the images were growing larger and we knew we were dead on. but also the adjustments were minor. In the last 30 minutes we knew we were going to have a good day."
Was the plume big? A'Hearn? "I haven't had time to sit down with the cratering experts on my team, but clearly it rules out really porous structures where you tunnel very deeply -- the aerogel capture scenario. It rules out those structures without a doubt. It probably rules out a strength dominated crater, but I won't say any more than that."
Natural vs artificial outburst? A'Hearn: artificial one was "obviously a LOT bigger."
Was comet size or shape dramatically different from expectations? A'Hearn: "Since we didn't know what to expect, it wasn't surprising."
Patel: "It survived completely intact. Every subsystem was operating nominally." A'Hearn: "Given the quality of hte lookback images, the optics survived perfectly also."
Jul 4, 2005 | 01:45 PDT | 08:45 UTC: Catching up with Pete, and later Jay...
I walked up to Pete Schultz after the press conference. "Did you get the big boom you wanted?" I asked him.
"Oh yeah," he said.
"Was it what you were hoping for?"
"Yeah. And what this tells us is, experiments work."
"Is that the lesson we should take away from this mission?" I asked.
"Damn straight."
Then I caught up with Jay Melosh (who never remembers me, but I can't blame him. I actually interviewed with him as a potential graduate student, way back when).
Anyway, I asked him if he was happy, and he most certainly was. "We expected to be surprised. I am gratified to be surprised."
Read more: mission status, explaining technology, comets, comet Tempel 1, Deep Impact
Home > Blogs > Emily Lakdawalla > 2005
Senior Editor and Planetary Evangelist for The Planetary Society
Read more articles by Emily Lakdawalla


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Wisconsin Governor Lets Millionaire Donors Know How Much It'll Take to Buy Him Off
Posted by Alec Cope | May 22, 2015 |
Source: Alternet
Wisconsin Gov. Scott Walker has put a pricetag on how much it will cost to join his inner circle, where you can meet with the 2016 GOP presidential candidate and have "dedicated staff contact" to ensure that your agenda will heard and noted.
On Monday, while Walker was making the rounds on Capitol Hill in Washington, his super PAC—the latest campaign finance loophole-contorting tactic—was handing out formal printed invitations to join at the $1 million, $500,000 and $250,000 level that described just what political investors would get for their money.
The million-dollar ticket, making one "an executive board member," would gain entrance to "Bi-Annual Retreats (Summer 2015 & Date TBA), MEMBERS ONLY briefings, Weekly Email Updates, Bi-Monthly MEMBERS ONLY Conference Calls, Dedicated Staff Time, 2 Private Dinners with VIP Special Guest(s), Inclusion in all public/regional fundraising events," and an "Exclusive Executive Board Pin."
The bottom of the invitation said it was "Paid for by Unintimidated PAC, Inc.," which was followed by "Not authorized by any candidate or candidate's committee" and had the PAC's website, UnintimidatedPAC.com. The $500,000 donors get one private dinner with the candidate and the $250,000 donors get none.
The Milwaukee Journal-Sentinel newspaper published the super PAC invitation while reporting on Walker's visit to the capitol.
Walker's super PAC charade is just the latest example of how 2016 candidates are making a mockery of the little that remains of federal campaign finance law, where the maximum legal contribution from individuals to one candidate is supposed to be $2,700 in the primaries and $2,700 in the general election.
Anybody who has been paying attention to the democracy-destroying role of big money in politics knows that every successive election cycle unearths new ways for the wealthy to buy access and influence with candidates. Does anybody giving $1 milliion to Walker's super PAC really believe their money will not gain access to Walker's ear?
This ruse of pretending campaigns are not campaigns, and unannounced candidates are not candidates, has been going on for years. It began in the mid-1970s, when the U.S. Supreme Court ruled that spending money in elections is not just an activity but an expression of free speech under the First Amendment. The Court's 2010 Citizen United ruling and others that followed in the federal courts unleashed today's super PAC. The result, seen today, is how candidates are vying for, and finding, billionaire sponsors. Ordinary voters are completely left out of this game, which especially on the GOP side will shape the nominating process.
But apart from wringing one's hands about the slow death of what is supposed to be a democratic electoral process is what Walker's latest brazen gambit says about the man himself. He's under investigation in Wisconsin by a team of bipartisan elected prosecutors for political corruption under that state's election laws. Clearly, Walker doesn't care the slightest about even keeping an appearance of not being yet another politician whose attention is for sale—or rent.
Walker is not unique in this regard. But this is another sign of his character and reveals how he's a bit of an amateur at playing in the biggest political leagues. The public might just shake their head and say, Everybody's doing it—even Hillary has a super PAC. It's true, and the explanation given is nobody can unilaterally disarm.
But Hillary isn't walking the halls of Congress this week with a proverbial million-dollar begging cup in hand. Walker's people, on the other hand, have more of a screw-you attitude: they'll do things the way they want, consequences be damned. That's a pretty good indication of the kind of president he would be. Let's hope people take notice.
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I've been posting on an irregular basis recently due to the need to keep giving my eyes a lengthy rest because I'm at the "inbetween stage" with respect to my surgery for cataracts.
My left eye was operated on three weeks ago and at present I've not got any glasses which work properly for both eyes - hence the need to remove them for long periods and NOT stare at a screen - even with enlarged text!
My second "phacoemulsification of cataract with intraocular lens implantation" - this time on my right eye - takes place at Moorfields Eye Hospital this afternoon (fingers crossed and touching wood!). Happily I will be 'asleep' at the time.
This means blogging will continue to be patchy until I'm back to 'normal vision'.
I have to wait six weeks for both new lenses to "bed in" before I can get new prescription glasses for reading and computer work in early July. Until then I'm hoping my existing glasses will work better once both eyes have the same sort of lens - but I may find I still can't stare at the screen for long.
The huge plus point so far is it has been absolutely brilliant to be able to see artwork properly again with my left eye. I'm really looking forward to going to exhibitions and having two new bionic eyes which see proper colour and tone!
PS The good news is I'm getting much better at the eye drops routine - so long as I can lie down!
PPS I'm off to hospital in less than an hour so the review of the Rory McEwen exhibition will have to wait until I get back.
Good news Katherine, that you will be able to see artwork properly again.
Imagine the artists from history who would have benefited from this surgery and how that would have affected their work and art history had it been possible 50 or more years ago.
the close-up of your left eye.
I hope all goes well with the second eye, Katherine. Three years after my own implants, I still wake up each morning thinking how wonderful it is to be able to see clearly and to be able to draw and paint without difficulty!
I've just taken my eye shield off and it's fabulous. Apart from some quite bad inflammation on one side which explains all the extra drugs I've come home with.
Apart from the bits where I notice I missed a few bit when doing the cleaning - quel horreur! Reminds me of my mother who could never see the bits on the carpet until she had her cataracts done.
It is funny how we see our parents with clearer eyes as we age ourselves..no puns intended here, and I am so happy for you that there are surgeries out there to correct your eyes! I agree with David, imagine if artists from the past had the ability to correct their vision...ahh, can't help but wonder at that.
Wishing you a speedy recovery and amazing vision that will make it all worthwhile.
So pleased all went well. Take care.


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How will the next 90 days be different for you? What can you do to make them the best, most profitable 90 days that you have ever had? Put your action plan in writing and look at it everyday. There is something powerful about putting your goals down on paper that has a meaningful and lasting affect on being successful.
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Home News Editor's Picks Encourage leadership of women in disaster risk mgmt: PM
Encourage leadership of women in disaster risk mgmt: PM
Nov 03, 2016 12:54 pm
New Delhi: Outlining a 10-point agenda forrenewing efforts for disaster risk reduction, Prime Minister Narendra Modi today stressed on encouraging involvement of women volunteers and sought greater cohesion in international response to deal with all kinds of calamities.
Inaugurating the Asian Ministerial Conference on Disaster Risk Reduction (AMCDRR) here, he emphasised on working towards risk coverage for all, starting from poor households to small and medium enterprises and multi-national corporations to nation states.
He said all development sectors must imbibe the principles of disaster risk management and encourage involvement and leadership of women as they are the biggest sufferers of any disaster.
""Women are disproportionately affected by disasters.
They also have unique strengths and insights. We must train a large number of women volunteers to support special needs of women affected by disasters.
"We need women engineers, masons and building artisans supporting reconstruction, and women self help groups assisting livelihood recovery," he said.
The Prime Minister said there should be investment in risk mapping globally, leveraging of technology to enhance the efficiency of the disaster risk management efforts and utilising the opportunities provided by social media and mobile technologies.
He also spoke of building on local capacity and initiative, ensuring that the opportunity to learn from a disaster is not wasted and bringing about greater cohesion in international response to disasters.
Modi said a fully functional Indian Ocean Tsunami Warning System has become operational and along with its Australian and Indonesian counterparts, the Indian National Centre for Ocean Information Services is mandated to issue regional tsunami bulletins.
"The same goes for improvements in cyclone early warning.
In India, if we compare the impact of cyclone events in 1999 and 2013, we can see the progress we have made…. It led to a significant reduction in loss of lives from cyclones. It is now recognised as a global best practice," he said. (More) PTI
TAGdisaster encourage Leadership mgmt PM risk women
Rajini's next film titled 'Darbar,' first look unveiled
Kambi shares about his upcoming projects


wow...16 weeks of me giving y'all suggestions on things to buy mamas and babies? I can't believe I came up with all those suggestions. For reals.
Alas, this is my last regular suggestion for what to buy. If you've been reading regularly I've gotten pretty busy with other blogging & writing gigs, that something had to give. I hope that I've given you enough guidance that you can walk into the baby aisle and think, "What would V think? Is this really necessary?" Don't fret, if I get hit by inspiration, I'll post another suggestion.
So my last suggestion for something that a mom and her baby will NEED is a gift certificate for dinner. And yes, it really should be for some place that delivers.
And honestly, ask her if she wants some company. Many people are scared to invite themselves over. If you're that good of a friend, she'll enjoy the company and if she's not in the mood, she'll be honest with ya.
Good luck out there, I know it's a jungle! If you ever have a question, just drop me a line.


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Arrigorriaga es una estación ferroviaria situada en el municipio español de Arrigorriaga en la provincia de Vizcaya, comunidad autónoma del País Vasco. Forma parte de la línea C-3 de Cercanías Bilbao operada por Renfe.

Situación ferroviaria
La estación se encuentra en el punto kilométrico 239,5 de la línea férrea de Castejón a Bilbao por Logroño y Miranda de Ebro a 58 metros de altitud.

Historia
La estación fue inaugurada el 1 de marzo de 1863 con la apertura del tramo Bilbao-Orduña de la línea férrea que pretendía unir Castejón con Bilbao. Las obras corrieron a cargo de la Compañía del Ferrocarril de Tudela a Bilbao creada en 1857. En 1865 la compañía se declaró en suspensión de pagos por no poder superar las dificultades económicas derivadas de la inversión realizada en la construcción de la línea y fue intervenida por el Banco de Bilbao.  En 1878, fue absorbida por Norte que mantuvo la titularidad de la estación hasta la nacionalización del ferrocarril en España en 1941 y la creación de RENFE.

Desde el 31 de diciembre de 2004 Renfe explota la línea mientras que Adif es la titular de las instalaciones ferroviarias.

La estación
Se sitúa al noroeste del municipio. El edificio de viajeros es una clara muestra de la arquitectura local. Es de base rectangular, de dos alturas, en piedra y está recubierto por una amplio tejado en pico de dos vertientes. Dispone de dos andenes, uno lateral y otro central y de cuatro vías. Un paso subterráneo permite el cambio de uno a otro. En el exterior existe un aparcamiento habilitado.

Servicios ferroviarios

Cercanías
Los trenes de la línea C-3 de la red de Cercanías Bilbao que opera Renfe tienen parada en la estación. Entre semana la frecuencia media es de un tren cada diez-veinte minutos, elevándose los fines de semana a una media de un tren cada treinta  minutos. El trayecto Miravalles - Bilbao Abando se cumple entre 13 y 12 minutos siendo el tiempo más bajo el que realizan los trenes CIVIS al no realizar todas las paradas de la línea.

Referencias

Enlaces externos
 Cercanías Bilbao en la web de Renfe.

Arrigorriaga
Arrigorriaga


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Anne Hazelton
What is the O-G Approach?
Some Signs of Dyslexia
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Becoming an O-G Tutor
Find our office!
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Scroll down to find where we are, how to contact us, and directions to the new office.
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Our new office address is:
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From the north:
Travel south along Lake Otis Parkway, from 36th Ave. At 42nd Ave., turn left and drive east along 42nd Ave. Turn right onto Laurel St., and drive south. 4325 is on the left side of the road. Park on the south side of the building.
From the east:
Travel west along Tudor Rd. At Laurel St., turn right and drive north along Laurel St. 4325 is on your right. Park on the south side of the building.
From the south:
Travel north along Lake Otis Parkway, from Tudor Rd. At 42nd Ave., turn right and drive east along 42nd Ave. Turn right onto Laurel St., and drive south. 4325 is on the left side of the road. Park on the south side of the building.
From the west:
Travel east along Tudor Rd. At Lake Otis Parkway, turn left and drive north along Lake Otis Parkway. At 42nd Ave., turn right and drive east along 42nd Ave. Turn right onto Laurel St., and drive south. 4325 is on the left side of the road. Park on the south side of the building.
In the Building
Go in the front door (under the red '100' awning) and turn right in the waiting area. Anne's office is the second door on the right side, and the door immediately opposite is our other office and class room.
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Scottish building regulations proposed changes to energy standards consultation
Estate agents, Letting agents
The Scottish Government sought views on their proposals to include the introduction of an energy target for new buildings, in addition to the current emissions target, as well as an uplift to the 2015 standard of energy efficiency for new buildings – both domestic and non-domestic.
Propertymark supports the implementation of an energy target for new buildings which would enable occupiers to benefit from energy savings, but urged the Scottish Government to introduce any improvement to emissions standards in a phased manner to enable developers to adjust to new regulations and mitigate any increased costs passed on to purchasers of the new property.
The proposals also include new regulations relating to the installation of electric vehicle (EV) charging points and associated infrastructure such that all new residential buildings with a parking space will be required to have at least one EV charge point socket or ducting infrastructure, dependent on a cost cap.
Propertymark urges the Scottish Government to ensure that sufficient information on EV charging infrastructure is made available within the Home Report, particularly where a cost exemption applies, to ensure that prospective owners are aware of potential costs of future charge point installation.
Also outlined in our response was a recommendation to adopt a graded approach to the cost exemption to acknowledge development size, so that a new scheme of fewer than 20 homes with associated parking might be subject to a lower-cost cap than a scheme of more than 50 homes. This would help to mitigate any viability concerns for small developments, including self-build, whilst ensuring that larger developments were only exempt from installing charge points in the most cost-prohibitive circumstances.
Scottish Building Regulations Proposed Changes to Energy Standards - Response from Propertymark November 2021.pdf 158 KB
House building Energy efficiency
Report urges governments to declare climate emergency
A new report, published by the Royal Institute of British Architects (RIBA), in partnership with Architects Declare, has called on the built environment sector to drastically reduce its carbon emissions to work towards the UK Government's Net Zero: Build Back Greener Strategy.
Propertymark's energy efficiency guide
Propertymark has long called for the implementation of a well-costed, long-term financial plan to support homeowners and landlords to improve the energy efficiency of their properties.
A New Deal for Tenants in Scotland consultation
A Draft Rented Sector Strategy has been published by the Scottish Government, setting out how they will work with landlords and tenants to provide accessible and affordable homes.
Scottish Budget announcement includes 110k affordable homes plan
The Budget 2022-2023, announced 9 December 2021, focuses on business recovery, as well as investing in energy efficiency measures, public services and delivering house building projects.