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June 25, 2015 May 16, 2018 by Matt
Thanks to its flawless balance, Splatoon manages to be, at the same time, deep, competitive, and highly accessible
As far as the Nintendo canon goes, Splatoon is – simultaneously – a point far out of the curve and a game whose nature is right at home with the company's other franchises. Not only is its existence inside the third-person shooting genre an oddity for the new property of a developer usually focused on platformers and other whimsical adventures, its narrow focus on online multiplayer matches also represents quite a sharp turn for one of the last bastions where local couch competition stood strong and tall. At the same time, the title is a perfect summarization of the Big N's spirit: a colorful, accessible, ridiculously fun, surprisingly deep, and light-hearted family friendly experience.
Splatoon has its home in a world where humans have succeeded in annihilating themselves out of the surface of the earth – that backstory is, indeed, shockingly dark for such a bright-looking work. With our planet's solid portion now lacking a dominant race, both squids and octopuses slowly clawed their way out of the sea, transforming into humanoid species that were able to switch at will between their two-legged shapes and their original watery forms. War ensued between both legions and, with squids coming out on top, they developed a society on the ruins of human civilization. The main heritage of that conflict was the creature's love for a sport that replicated those battles with a huge amount of ink-spilling weapons; that's where Splatoon's outrageous level of fun resides.
The game begins when the player's inkling, an avatar that can be freely customized at any moment, walks up to Inkopolis – the city that serves as the hub for all the engaging battling. During that five-minute journey, Splatoon smartly introduces all of its core mechanics to gamers through a seamless tutorial. From straightforward moves such as jumping and firing ink from one's gun of choice, to more advanced techniques like turning into a squid to hide in ink or activating secondary weapons, all of the moves are done with the simplicity of a button press and are utterly responsive thanks to one of the system's tightest and most intuitive control setups.
True to Nintendo's philosophy to give gamers the chance to customize their experience, both aiming and camera movements can be mapped to either an analog stick or to the Gamepad's motion, both of which can have their respective sensitivities properly adjusted. The former is suitable to those who are used to the dual-analog configuration in most shooters and the latter offers a steeper learning curve whose reward is far more precision and shorter reaction times.
With accessibility fully conquered through its control scheme and easy-to-perform mechanics, Splatoon moves on to achieve its second remarkable quality: competitiveness. As a statement on how the title's core is its 4 vs. 4 online multiplayer madness, the entrance to the worldwide lobby sits right in the center of Inkopolis. Two modes are currently available (with more to come), one of which is Turf Wars, where players compete to see which team inks more turf within three minutes; and Splat Zones, where inklings must fill specific areas of the map with their team's color, which will cause a timer to begin winding down, awarding victory to the team whose clock first reaches 0.
The matchmaking occurs almost instantaneously and within a few seconds the battle is underway. That wonderful efficiency, though, comes at the cost of a few features. For starters, the algorithm has no regards towards balancing both teams, sometimes setting up battles where groups filled with high-leveled players face a bunch of newcomers. Secondly, and most aggravating of all, Nintendo has opted to randomize the stage selection; although that is in fact a quality, given it avoids the underutilization of certain maps that eventually plagues all online multiplayer games, it is baffling that – out of the nearly 10 levels currently available – only two can be chosen at any given time.
Every four hours, the game changes – for each multiplayer mode – the two maps that can be selected by the randomizer, but that strategy – one that is far worse than allowing the script to choose among the whole pool of existing choices – causes players that want to sit down and devote themselves to a lengthy session of Splatoon (something that will happen often due to the game's addictive nature) to play the same two levels over and over again for a long period of time. Although the game's general fun makes up for that repetition, it is something that could have been easily avoided.
When the battle begins, though, all minor issues that surround Splatoon are promptly forgotten. As those mad artists armed with a myriad of weapons start painting scenarios that were originally a pale canvas, Nintendo reaches for the kind of fun and competition found in the company's other two multiplayer giants: Mario Kart and Super Smash Bros. It is arguable, however, that Splatoon attains competitiveness in a much smoother and smarter way than that enormous pair, because while both of those titles embrace rookies and experts alike and try to give them equal chances to win through the creation of devices that allow those on the losing end to suddenly raise their chances of victory, Splatoon achieves the same with pure built-in balance.
Sure, the lack of items and other luck-based shortcuts means that here – to the relief of many – sheer skill is on the winning side much more frequently; however, that does not mean the ride is not fun or satisfying for both parties. Firstly, the Turf Wars mode, conceived with the goal of serving as the game's more casual sort of competition, awards covering ground in paint more than killing foes and sending them back to their team's re-spawn point. Given that painting terrain is a matter of pressing a button and aiming towards the ground – at least until one comes face-to-face with an enemy squid – all players, regardless of age and experience, can feel the satisfaction of contributing to the greater good.
Secondly, gunfights are – more often than not – decided by strategy and situational reactions, and not by who aims more accurately; a trick pulled off thanks to three central reasons. The first one is how well-structured the stages are. In terms of theme, due to a very cohesive focus on urban areas, they are a bit lacking as far as variety goes; nonetheless, their design is impeccable. Vertical variations, wide spaces, enclosed hallways, and tight corners support a wide array of approaches that include sneaking up on foes, going head-on into all-out 4 vs. 4 warfare, or looking for advantageous positions from which a large portion of the map can be observed.
All of those nuances are supported by the second pillar that makes combat so exciting: the ramifications of the characters' ability to turn into a squid and swim while occult by their team's ink. It is a skill that kicks the door open towards various gameplay possibilities, such as secretly stalking enemies, setting up surprise attacks, or inking walls – which do not count towards the final score of painted turf – in order to access elevated locations quickly.
As an extra touch, and in a smart use of the Gamepad, players will be able to view a map that displays how the stage is currently painted and the position of their allies. More than a visual aid, the map can be used to jump to a friend's location or to the re-spawn point with a simple touch. The downside of that move, however, and one that adds strategic layers to its usage, is that a marker will display the jump's ending point, allowing nearby enemies to patiently wait for the jumper's arrival to shoot him down.
Splatoon's astounding balance – its most polished and remarkable feature – comes together in its weaponry; all guns are perfectly viable options and the available arsenal is flooring. The more powerful ones are held back either by slow firing rates, heavy ink consumption – which forces players to reload frequently by swimming in ink, or poor range; whereas the weakest ones tend to be superior in those three areas. The weapons support an amazing array of play-styles, given they can behave like standard pistols, machine-guns, long-ranged snipping tools, one-hit kill blasters that fire slowly and eat a lot of ink, and even the wacky – and appropriately themed – paint rollers and paint brushes.
Every standard weapon comes with a predetermined sub-weapon and a special move that is unlocked whenever players fill up a meter. The former group includes different sorts of bombs, sprinklers, mines, seeker bots, and others; while the latter features a ink-tornado-firing bazooka, an air strike, a temporary shield, a radar that tells enemies' positions, and even the ability to turn into a kraken. With all of those pieces added, players will have an incredible amount of choices to consider and to explore before they can settle on a gun that suits their taste or that is more effective on the stages that are available on the randomizer's pool of options.
The game's balance only truly suffers when disconnects, which are generally infrequent, take place before or during a battle. As a misstep, Nintendo opted not to replace those that disconnect – accidentally or not – with a CPU-controlled character, which means that any team that loses a member will be in severe trouble when the match begins. Other than that, Splatoon's colored wars are affairs that invariably keep players on the edge of their seats thanks to their fast pace, strategic undertones, and – especially – the fact that most matches hang in a very tight balance since any small accumulation of gunfight defeats by any team can allow the other side to quickly advance and regain lost ground.
As players battle, experience points are earned and higher levels are reached, which unlock new weapons and clothing to be purchased on Inkopolis' shops. The latter are especially important because, other than giving one's inkling their own sense of style, they come with one main ability and – as each piece is leveled up – new ones (up to four) are added. Those include higher attack or defense, the ability to swim undetected, quicker re-spawns, ink-saving, and countless others. The gathering of a set of abilities that goes along with one's play-style and weapon of choice is key when it comes to succeeding against Splatoon's more experienced players.
As a pleasant company to the game's true meat, Nintendo has devised a six-to-eight-hour single-player mode where players are recruited to go through five worlds, each with a bunch of levels and a boss, in order to stop the rise of the octoling army. Taking place in clever stages with a Super Mario Galaxy vibe that has the hero jumping between disconnect areas and obstacles, the mode is an entertaining mixture of shooting and platforming that has some flashes of brilliant game design.
Splatoon's overall package is excellent. As an evidence of its status as the first step of what will hopefully become a long-standing franchise, a few areas and quirks offer plenty of room for improvement – such as the disappointing lack of a communication system that could have been implemented via a group of short and predetermined messages mapped to the control. However, the bottom-line is that by tackling a genre with which they were not familiar, Nintendo has unearthed a gameplay that thanks to its flawless balance manages to be, at the same time, deep, competitive, and highly accessible.
Like the best games of the company's canon, Splatoon will welcome people from all ages and gaming backgrounds and immediately charm them; and, in the long run, it will offer a great constant and lengthy learning curve to those who want to become masters of this delightful world where mad wars of paint are the main source of entertainment.
Posted in Reviews, Wii UTagged games, gaming, nintendo, review, splatoon, Wii U
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6 thoughts on "Splatoon"
themancalledscott says:
Splatoon is a great game, and very addicting! I hope in the coming months it only gets better!
I really do have to wonder about the memes though. Why exactly is saying "are you a kid? Or are you a squid?" supposed to be funny? I really don't get gamer humor these days.
I guess that, up until August, it will slowly and surely get better!
I don't get it either… maybe I am getting old. But hey, it is working, because the game has been moving plenty of copies.
YvoCaro says:
High praise for the game! I'm glad Nintendo managed to get an entirely new title out, and did a great job at it as well!
I am glad too. The more I play it, the more I love it. Splatoon is awesome!
thebyrnedisplay says:
Nintendo's Splatoon got me back into multiplayer shooters! It's one of my favorite games on the WiiU. I think you're onto something cool with the accessibility aspect. Doing well and getting top scores in a match had less to do with killing and more to do with field domination. If someone is getting wrecked by a good player, they can find a space out of the firefight and rack up points for being sneaky. This is one game that I hope becomes a franchise.
Thanks for reading and for the comment!
I am pretty confident it will become a franchise. I am guessing it sold much more than Nintendo had anticipated. Splatoon will get its second installment on the NX, I think.


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Herda steht für

 Herda (Göttin), germanische Göttin
 Herda (Werra-Suhl-Tal), Ortsteil der Stadt Werra-Suhl-Tal im Wartburgkreis in Thüringen

Herda ist der Familienname folgender Personen:

 Franz Herda (1887–1965), deutscher Maler
 Johannes Herda (* 1929), deutscher Lehrer, MdV, Mitglied des Hauptvorstandes der CDU
 Josef Herda (1910–1985), tschechoslowakischer Ringer
 Richard Herda-Vogel (1900–1965), deutscher Kunstmaler und Graphiker

redpajama_set_name: RedPajamaWikipedia


ATLANTA — Only a Mets' fan would be able to take solace in the end of Chipper Jones' illustrious 19-year career coming as it did on a night where he made a critical throwing error, grounded out in the seventh inning as the potential tying run, and went 1-for-5 in a play-in, play-out, playoff defeat.
Jones made a fourth-inning throwing error on Matt Holliday's potential double-play grounder.
The third baseman's throw attempting to nail Carlos Beltran for the force at second sailed over Dan Uggla's head and into right field, thus creating a situation on which the Cards capitalized by scoring three runs for a 3-0 lead against Kris Medlen, only one of them earned.
That play could have been lost in the blizzard of controversy that blanketed the game in the wake of umpire Sam Holbrook's bizarre infield fly rule call against the Braves in the eighth, but Jones cited it as critical in the defeat in which the Cardinals scored four unearned runs overall.
"Ultimately I think when we look back on this loss, we need to look at ourselves in the mirror," said Jones.
"That call is kind of a gray area, but I'm not willing to say that cost us the ballgame. Ultimately, three errors cost us the ballgame, mine probably being the biggest.
Jones retires at the age of 40 with a .303 career average, 2,726 hits, 468 homers, 1,623 RBIs and a history of beating up on the Mets.
"I don't think it will [sink in] for a few days, maybe a week," Jones said.
"My heart is broken not for me, my heart is broken for my teammates, my coaching staff and all those fans who have been great to us.


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Home » Countries » Italy » Rome » Transportation
Rome metro map
Rome metro map. The map shows location of subway stations and subway lines on a map of the city. The map will be useful to tourists visiting Rome. Rome travel guide.
In the right part of the map is a list of metro stations of Rome. Select the desired station and its location will be shown on the map.
You can use the search service to find you the desired location and the nearest metro station in Rome.
Select station
Find a hotel | Buy air ticket | Airport transfer | Car rental | Guided tours
You can also look at the light version of the map for mobile devices (without advertising and additional information).
The nearest metro station
The nearest metro station to some places in the city of Rome. This can help you make the route to the desired place in Rome.
Colosseo Metro Station
The Colosseum is the most famous landmark in Rome.
Roman Forum. Here was the center of social life of ancient Rome.
Capitol. This is one of the seven hills on which ancient Rome was located.
Ottaviano Metro Station
The Vatican, St. Peter's Square and Basilica of Saint Peter are located near this station. It is also convenient to get to the Vatican Museums from metro station Cipro.
Metro station Barberini - Fontana di Trevi
This is the nearest metro station to one of the most famous fountains in the world - Trevi Fountain.
The metro station Spagna
Spagna Metro Station is the nearest for places: Plaza de España, the Spanish Steps, Barcaccia Fountain, Villa Medici. It is also possible to walk to the Pantheon from here. Some of the most popular shopping streets of Rome are located near the station.
Information about some of the subway station in Rome and closest to them sites and attractions:
EUR Fermi. There are several mosaics in the hall of the station. Nearby: Roma Convention Center - La Nuvola, National Museum of the Middle Ages, PalaLottomatica multi-purpose sports and entertainment arena.
Laurentina metro station. It is also the terminus for several suburban bus routes. Nearby: Museum of the Roman Civilization, Three Fountains Abbey, Sant'Eugenio Hospital.
EUR Palasport station. Near the station there are: artificial lake (was created for the Olympic Games 1960), Park Il Parco Centrale del Lago.
EUR Magliana station. There are located nearby: railway Ferrovia Roma - Lido station. Italian Civilization Palace is located nearby (The Palazzo della Civiltà Italiana, architectural landmark, 1940).
Garbatella station. The University of Roma Tre University is located nearby (Università degli Studi Roma Tre).
Piramide station. There are located nearby: the pyramid of Cestius (Roman mausoleum built in the shape of an Egyptian pyramid), the railway stations Roma Porta San Paolo and Roma Ostiense Station.
Circo Massimo station. Nearby attractions: Aventine Hill, the ancient Roman Circus Maximus (Circus Maximus), the Caracalla's Baths of.
Tiburtina metro station. The station is located under the railway station Roma Tiburtina, which serves as the regional routes, as well as high-speed railway line Milan - Napoli. It is possible to get to Rome, Leonardo da Vinci (Fiumicino) airport by the metropolitan train FM1. There are also the bus station nearby.
Cavour Metro Station is the closest to Santa Maria Maggiore.
Policlinico Metro Station is the nearest to the Sapienza University of Rome.

redpajama_set_name: RedPajamaCommonCrawl


Virtual and Augmented Reality are advanced technologies that are making waves, in the recent times, but there is striking difference between them. Virtual Reality(VR) immerses your senses in an artificial world that belongs only to the digital realm. But, Augmented Reality (AR) actually imposes images and sound in the real-world environment. This way AR actually uses the existing environment – overlaying with new information.
Going back to the origin of the term AR, it was coined in 1990 by Boeing researcher Thomas Caudell. It explained the head-mounted displays of electricians who worked with the assembly of complicated wiring.
Today, AR as a technology is used in diverse industries – starting from oil and gas and right up to travel and archaeology as well as education. It is also utilized in the simulation, aircraft assembly, medical procedures and in the military due this various Mobile Application Development Company are in demand now.
Moreover, in 2013, we saw the advent of Google Glass from the tech giant Google, just an interface of AR with the wearable interface – that is Google Glass. In fact, in 2020, the smart Augmented Reality Glasses is expected to reach 5.4 million units. In addition to this, the global market of AR will reach $ 90 million US dollars by 2020.
Furthermore, the AR designer and the Visual Effects specialist in Hollywood, Raffael Dickreuter has used the 3D computer interfaces in the film like Iron Man.
However, many of the users have a look at the AR technology through their smartphones. One remarkable experience to cite is AR when used in the museum installations of the likes of exhibits at Smithsonian in Washington D.C. The visitors have the ability to visualize the skin over the displayed animal skeletons, through their mobile apps.
In this post, we provide you with insights on Applications of AR technology.
How AR is Shaping the Real-World Environment?
AR is acting as a driver for the automotive industry. It offers the most incredible user experience akin to what we often see in a sci-fi movie. First, the technology allows a potential client to have an experience that is similar to riding the vehicle.
Volkswagen, the German carmaker has launched an app that provide the users with 3D experience in driving the car. Moreover, the users will get a 360-degree view of the car and will get an external view through the window.
The users who wear the augmented reality headsets are provided with information content in the form of videos, animation and virtual images. The real world that can be seen through the glasses add virtual elements on it. This way it provides an enhanced view to the user.
Microsoft's HoloLens or Facebook's Oculus VR are examples of higher end headsets, but not affordable by many users. Affordable headsets can be used for the tablets and smartphones.
When there is an integration of game, visual and audio content with the user's environment in real-time then that becomes Augmented Reality gaming. Unlike the Virtual Reality games, the AR games create a playing field within the already existing environment.
It is better expressed as the superimposition of a pre-created environment on top the actual environment of the user. Pokémon GO used a location-based augmented reality environment. It is considered as a pathbreaking AR app for gaming.
An advanced technology like AR is a revolutionary concept that will change the way the data is accessible by physicians for patient care- whether in their clinic or in their operation room.
The surgeons usually have anatomical data at their disposal. But, they only get a two-dimensional view of these images available to them. They need to review this prior to the surgery or have a look at these – during the surgery. AR will provide the vital information to the surgeons in the form of heads-up display.
The application of AR in training has tremendous potential. There is a simulation of patient encounters in AR/VR. The doctors will commit the mistakes on virtual patients and not real ones.
The Heads-Up display (HUD) and Head-Mounted display (HMD) are two of the major applications that we can speak of, for understanding AR in military applications. The fighter pilot's view has a transparent display with HUD.
This helps to display some of the critical data for the pilot such as horizon, line, altitude and airspeed. The advantage lies in the fact that the pilot does not have to look down at the aircraft's instrumentation for the data.
However, the ground troops make use of AR in the form of HMD. This gives information on the enemy locations. The same technology applies in simulation – used for training purposes.
We conclude to say that the growth projected by AR applications shows no signs of decline. The report from Markets and Markets state that the field will be worth 56.8 billion dollars by 2020 and the AR applications and platforms will be applied to the fields of aviation, defense and mainstream purposes.
Moreover, the interest for AR-based applications is growing in the smartphones carried by the consumers. It is sure to generate interest in the minds of the users, so long as it is capable of offering innovative and superior user experiences.
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Nearly 1 in 5 new infections detected in children and teenagers
Credit: Belga
Almost one in five new Covid-19 infections are currently detected in children and teenagers in Belgium, health officials stated during a press conference on Tuesday.
Over the past week, the biggest increase in the number of infections was seen in children (+84%) and teenagers (+18%), according to virologist and interfederal Covid-19 spokesperson Steven Van Gucht.
"In total, almost one in five new infections is now detected in children and teenagers," Van Gucht said. "Undoubtedly, this is partly due to the extensive testing campaigns currently being carried out in outbreaks in various schools."
Belgium's coronavirus infections and hospitalisations continue to rise
Close schools to avoid third wave with UK variant, expert warns
Covid-19 Testing in Belgium: Who, What, When, Where & How
Since this week and because of the more infectious UK variant, primary school children who, in class or during lunch, sat next to a child who tested positive for Covid-19, will also be considered high-risk contacts.
The change from being considered low-risk contacts to high-risk contacts means that they will now also have to get tested on day 1 and 7 of their quarantine.
An in-depth explanation of the latest update to Belgium's testing strategy can be found here.
Maïthé Chini


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Will we ever see government ambitions to transform community services achieved?
15 February, 2019 By Steve Ford
The sunshine we've enjoyed over the last few days suggests spring is on the way at last, but winter seems reluctant to loosen its icy grip on the health service.
The proportion of patients spending more than four hours in accident and emergency rose to 15.6% in January – the highest ever in this set of data, according to latest NHS perfomance figures.
New monthly combined performance and weekly winter performance data from NHS England also reveals that only two major A&E departments met the four-hour target.
"The service is inexorably and inevitably losing its battle against targets"
However, the data shows that the NHS treated an extra 75,670 patients within four hours compared with last year.
Total attendances in January were 2,112,000, a rise of 5.6% year on year, while the 564,000 emergency admissions were 7.2% higher than last year and the highest number on record.
So, what does all this tell us? Basically, that patient numbers are rising relentlessly, and NHS staff and the service in general are getting better and better at dealing with them. However, the service is inexorably and inevitably losing its battle against targets.
This situation cannot be allowed to continue indefinitely. That would surely see the day when everyone in the country was either a patient being treated or an employee of the NHS.
However, more seriously, we have been talking about this issue for years, most notably the need to boost use of community services to both prevent admissions and get people home again safely after their acute stay.
The NHS Long Term Plan repeats this ambition, with emphasis on community-based rapid response teams that will be expected to swing into action within two hours to prevent vulnerable patients being taken to hospital as part of efforts to provide more care closer to home.
Implementation of such initiatives cannot come soon enough. According to analysts at the Nuffield Trust "today's figures remind us that the NHS is fighting a losing battle in trying to meet its commitments to provide timely healthcare in the face of the pressure it is under".
"This situation has a serious impact on hundreds of thousands of patients, and will be demoralising for many staff," the think tank warned.
Meanwhile, NHS Providers, which represents health service organisations, said the figures showed winter demand for NHS care had "once again put significant strain on trusts and staff".
It also noted that the rise in the numbers being treated was "largely down to the work trusts have been doing to improve patient flow and reducing the time patients spend in hospital".
"Improved joined-up working with partners in the community and primary care is also helping to support trusts to manage demand better," it stated.
But like other potentially catastrophic issues, such as climate change and antibiotic resistance, we discuss the problem and potential solutions endlessly but never seem to get on with tackling it.
Way back in 2008, we had the Delivering Care Closer to Home – a 56-page plan entirely devoted to resolving the problem of too many patients being treated in acute settings. Whatever happened to that?
"It would be wonderful to one day be able to write about this problem as a thing of the past"
Then, to much fanfare, in 2015 we had the announcement of sustainability and transformation partnerships that were (sorry are) intended to drive integrated care at local level, again with the ultimate ambition of keeping patients out of hospital.
STPs have now evolved into what NHS England calls integrated care systems but we still largely await the revolution in change, as the figures published yesterday clearly demonstrate.
It would be wonderful to one day be able to write about this problem as a thing of the past. Here's hoping. But for now, I want to pay tribute to the hard work of all the nurses in every setting working towards this ambition.
US nurses 'live' mapping opioid overdoses to inform practice
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Nurses in New York are using geospatial mapping of opioid overdoses to inform clinical practice at a local clinic level in "real time", according to US researchers.
Nurse-led A&E pilot 'improving cardiac care and cutting admissions'
Early evidence suggests a nurse-led scheme to assess and support people with heart conditions while in accident and emergency is helping slash A&E admissions.
A&E nurse calls on public to give staff a 'break' in online post
20 March 2019Megan Ford
An accident and emergency nurse in the North of England has spoken out about the harsh realities of life as a nurse working in the A&E department, following a series of patient backlash.
Shropshire emergency nurse numbers set to nearly double
31 May 2019Megan Ford
The number of nursing staff across two accident and emergency departments in Shropshire are set to almost double, after plans to boost the workforce were backed by an NHS trust's board.
Accident & Emergency Nurses
Earn up to £46ph


The South Australian Government commissioned the Review of Health and Medical Research in South Australia, conducted by Professor John Shine and Mr Alan Young AM, which recommended the establishment of a dedicated, flagship research institute for South Australia.
In response to this recommendation, the South Australian Government committed to establish SAHMRI in 2008, and the Federal Government allocated $200 million to build our research facility. In December 2009, SAHMRI was incorporated as the state's first independent flagship health and medical research institute.
Actively fostering and nurturing a new generation of the top research minds, and undertaking extensive and interactive community engagement and education programs.
A new review of 70 studies involving nearly 20,000 women found taking omega-3 supplements in pregnancy reduces the risk of premature labour.
Once upon a time, a group of disheartened scientists found their tearoom bereft of teaspoons. They explored the problem with a longitudinal study design.
Stillbirth deeply and profoundly affects parents and families. Here are five actions in response to this hidden tragedy.
Fish oil capsules are marketed as prenatal supplements to improve brain development in children. But now top quality evidence suggests they won't make any difference in women eating a balanced diet.


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The Battle of Rivoli (14–15 January 1797) was a key victory in the French campaign in Italy against Austria. Napoleon Bonaparte's 23,000 Frenchmen defeated an attack of 28,000 Austrians under General of the Artillery Jozsef Alvinczi, ending Austria's fourth and final attempt to relieve the siege of Mantua. Rivoli further demonstrated Napoleon's capability and deftness as a military commander and led to the French consolidation of northern Italy.

Forces
See Rivoli 1797 Campaign Order of Battle.

Prelude
Alvinczi's plan was to rush and overwhelm Barthélemy Joubert in the mountains east of Lake Garda by concentrating 28,000 men in five separate columns, and thereby gain access to the open country north of Mantua where Austrian superior numbers would be able to defeat Bonaparte's smaller Army of Italy.  Alvinczi attacked Joubert's 10,000 men on 12 January. However Joubert held him off and was subsequently joined by Louis-Alexandre Berthier and, at 2 am on 14 January, by Bonaparte, who brought up elements of André Masséna's division to support Joubert's efforts to form a defensive line on favorable ground just north of Rivoli  on the Trambasore Heights. The battle would be a contest between Alvinczi's efforts to concentrate his dispersed columns versus the arrival of French reinforcements.

Battle

The morning of Saturday 14 January found Alvinczi engaging the division of Joubert. He had united three Austrian columns between Caprino on the right and the chapel of San Marco on the left; the brigade of Franz Josef de Lusignan was advancing to the north of Monte Baldo; and the troops of Peter Vitus von Quosdanovich and Josef Philipp Vukassovich were pouring down the roads on either side of the Adige. Before daybreak as the French were moving on the road from Rivoli to Incanale Joubert attacked and drove the Austrians from the chapel of San Marco.

At 9 a.m., the Austrian brigades of Samuel Koblos and Anton Lipthay counterattacked the French forces on the Trambasore Heights. Another column under Prince Heinrich of Reuss-Plauen attempted to turn the French right via the Rivoli gorge. Meanwhile, on the French right flank, Vukassovich had advanced down the east bank of the Adige and had established batteries opposite Osteria. The fire of his guns and the pressure from Quosdanovich forced the French out of the village of Osteria and onto the Rivoli plateau. By about 11 a.m. the position of Bonaparte was becoming desperate: an Austrian column under Lusignan was cutting off his retreat south of Rivoli. To reopen his line of retreat Bonaparte turned to Massena's 18th Demi-brigade ("the Brave"), newly arrived from Lake Garda. Meanwhile, Alvinczi was on the Trambasore Heights urging his victorious battalions forward, though they were unformed by combat and rough terrain.

With the 18th dispatched to check Lusignan, Bonaparte turned all his attention to  Quosdanovich. He understood the defeat of this column was the key to the battle. Unfortunately the French had very few reserves left and mostly had to accomplish this with troops already at hand. Making the best of interior lines and his advantage in artillery, Bonaparte thinned out Joubert's lines facing the Austrians frontally at the Trambasore Heights as much as possible and concentrated them before the gorge. A battery of 15 French guns were massed and poured canister shot at point blank range into the advancing Austrian column that was emerging from the gorge. This devastating firepower struck first on the advancing Austrian dragoons who broke and stampeded through their own infantry causing mass chaos. At this juncture the brigade of Charles Leclerc assaulted the column frontally while Joubert laid down heavy flanking fire from San Marco. Here Antoine Charles de Lasalle with just 26 horseman of the 22nd Horse Chasseurs charged into the melee. Lasalle's men captured a whole Austrian battalion and seized 5 enemy flags.
In the centre the battle was not yet won; Joseph Ocskay renewed his attack from San Marco and drove back the brigade of Honoré Vial. But at midday French cavalry under Joachim Murat charged the flanks of Ocskay's troops, which were driven back to the positions they occupied in the morning.

Quosdanovich realized he could not force the defile and ordered his troops to fall back out of artillery range. Meanwhile, while Lusignan was being engaged frontally by the brigade of Guillaume Brune, the division of Gabriel Rey, coming up from Castelnuovo and the brigade of Claude Victor (reserve) began to arrive. They crushed the Austrian column of Lusignan who fled west with less than 2,000 men remaining.
The French lost 3,200 killed and wounded and 1,000 captured, while the Austrians suffered 4,000 killed and wounded, plus 8,000 men and 40 guns captured. One authority gives the French 5,000 and the Austrians 14,000 total losses.

Aftermath
The next day Joubert and Rey began a successful pursuit of Alvinczi, all but destroying his columns, the remnants of which fled north up into the Adige Valley in confusion. The Battle of Rivoli was Bonaparte's greatest victory at the time. After that he turned his attention to Giovanni di Provera. On 13 January his corps (9,000 men) had crossed north of Legnano and driven straight for the relief of Mantua which was besieged by French forces under Jean Sérurier. At night on 15 January Provera sent a message to Dagobert Sigmund von Wurmser to break out in a concerted attack. On 16 January, when Wurmser attacked he was driven back into Mantua by Sérurier. The Austrians were attacked from the front by Masséna (who had force marched from Rivoli) and from the rear by the division of Pierre Augereau, and were thus forced to surrender the entire force. The Austrian army in North Italy had ceased to exist. On 2 February Mantua surrendered with its garrison of 16,000 men, all that remained of an army of 30,000. The troops marched out with the 'honours of war', and laid down their arms. Wurmser with his staff and an escort were allowed to go free. The remainder were sent to Austria after swearing an oath to not serve against the French for a year, 1,500 guns were found in the fortress. On 18 February Bonaparte proceeded with 8,000 men to Rome, determined to come to a settlement with the Papal States, which had shown covert hostility so long as the campaign had proceeded with uncertainty as to the fate of Italy. But with the fall of Mantua the Austrians were finally driven from Italian soil, and Pope Pius VI agreed to an armistice dictated by Bonaparte in Tolentino. Snow had closed the Alpine passes, but Austria still refused Bonaparte terms of a peace agreement. He prepared one last campaign to the east, into the heartland of Austria to the gates of Vienna itself.

Legacy
The Rue de Rivoli, a street in central Paris, is named after the battle.

Notes

References

External links
 Photographs of the battlefield of Rivoli

Conflicts in 1797
Battles involving Austria
1797 in Austria
1797 in France
Battles of the War of the First Coalition
Battles in Veneto
Battles inscribed on the Arc de Triomphe


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text:
Sentenced to Die in Prison for Stealing Tools?
Why are more than 3,000 inmates serving life without parole in state and federal prisons across the United States for non-violent offenses?
Vince Beiser
The watch tower at a California prison. (PHOTO: SPIRIT OF AMERICA/SHUTTERSTOCK)
Just when you think you've heard everything about America's mass incarceration epidemic, out comes the ACLU with a new angle: Over 3,000 people here in the Land of the Free are locked up for life, with no chance of parole, for crimes in which no one was hurt.
The U.S. now incarcerates more of its citizens than any other country in the world.
The ACLU found 3,278 inmates serving life without parole in state and federal prisons for non-violent offenses, mostly drugs and theft. There are almost certainly more, but most states didn't provide data to the report's authors. Of those 3,278, 65 percent are black, 18 percent are white, and 16 percent are Latino—"evidence of extreme racial disparities," the report underlines. It will cost taxpayers an estimated $1.8 billion to keep those folks locked up. The full report features profiles of dozens of these prisoners, including the poor schmuck doing life for snaffling some tools from a tool shed.
Why would judges deal out such extraordinary punishments for such picayune offenses? Mainly because they have no choice. In most cases, these lifers' terms were mandated by minimum sentencing and "Three Strikes You're Out"-type laws passed during the hysteria over crack and youth gangs in the 1980s, part of a wave of tough-on-crime legislation that has quadrupled America's prison population to a record-shattering two million-plus inmates. The U.S., as a result, now incarcerates more of its citizens than any other country in the world.
Life without parole is also a distinctly American punishment. Very few other countries use it. And we are almost the only nation that locks up juvenile offenders for life, a punishment we've imposed on thousands of teenagers. All told, nearly 50,000 Americans will stay behind bars until they die.
PrisonIncarcerationACLU
Vince Beiser is an award-winning writer whose work has appeared in Wired, Harper's, The Atlantic, Mother Jones, and Rolling Stone, among other publications. A graduate of the University of California–Berkeley, he lives in Los Angeles.
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Cisco Systems Inc. last week introduced modules for its Catalyst 6500 enterprise network switch that provide 1Gbps and 10Gbps Ethernet ports and new quality-of-service and securiy features.
Among the new modules is a blade with 24 small form-factor pluggable gigabit Ethernet ports, which can be configured for copper or fibre and costs US$15,000.
A 48-port blade also now is available that supports 10/100/1000Mbps Ethernet on each port and supports Jumbo Frames, which allows Ethernet frames as large as 9Kb (the Institute of Electrical and Electronics Engineers standard is 1.5Kb). Jumbo Frames can be useful for moving large blocks of data over a LAN, such as for network backup. Like the 24-port blade, it costs US$15,000.
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Cisco also announced optical ports for its four-port 10Gbps Ethernet modules, which were introduced in March and cost US$20,000. The optical inserts let users deploy 10Gbps Ethernet over multi-mode fibre. They include 850nm 10GBase-SR and 1310nm 10GBase-LX4 inserts, which cost US$3,000 and US$4,000, respectively. Both are based on the XENPAK design standard for 10Gbps Ethernet modular optics. The 10GBase-SR insert can be used to run 10Gbps Ethernet over multi-mode fiber up to 200 feet, while the 10GBase-LX4 can stretch 10G links up to 1,000 feet.
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text:
Vita is a town and comune in inland south-western Sicily, Italy, administratively part of the province of Trapani. It is the smallest municipality area of the province of Trapani at about . It is also characterized by the second highest elevation in the province, after Erice.

The town was founded in the early 17th century, under the Spaniards, by a noble from Calatafimi, Vito Sicomo. The birth of the township was then ratified by King Philip III of Spain on March 11, 1607.

In 1860, the town gave its full support to the Mille led by Giuseppe Garibaldi. In the early 20th century, the city reached its highest population, with c. 6,000 inhabitants. More recently, its inhabitants have slowly left the town in order to move towards Northern Italy and foreign countries, with possibly its largest emigrant community located in Toronto, Ontario, Canada. Vita was heavily damaged by the 1968 Belice earthquake, and rebuilt in a new urban zone, close to the old one.

The derivation of the name is uncertain: it is possibly associated to the founder's name, but might either be of Arab origin (there is a town named Vita in Algeria too), or even somehow associated to the same Italian word which means life.

References

Sources
 History of Vita

Municipalities of the Province of Trapani


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text:
Entropy slams IPO candidate Zap's corporate governance
9 Aug, 2018 15:28
Aviv Levy
The Israeli investment institutions consultancy company is not enthusiastic about how the online ad group, which plans a TASE IPO, is managed.
While Apax Partners is conducting other discussions with investment institutions in order to rescue the offering by Internet company Zap from complete failure, Entropy, which provides consultation for investment institutions, is shining a spotlight on another aspect of the company making the offering - poor corporate governance.
A commentary on the subject published by Entropy ahead of the planned offering by Zap described the company's corporate governance as poor and states that up until now, a number of elements that are an inherent part of corporate governance have yet to be implemented and will therefore be given weight in an assessment of the company."
The Zap group is active in advertising and providing of management tools for small and medium-sized businesses. According to figures from the company, 400,00 businesses are registered on the group's websites and it has 23,000 paying customers and 16 million hits a month. Zap currently has 23 websites. Among the most prominent are Zap Price Comparison, the Rest restaurants website, Mitchatnim (a matchmaking website), the Zap Doctors medical website, Zap Deliveries, and other content areas, including law, design, hobbies, and so forth.
No remuneration and dividend policy
Among the weaknesses in Zap's corporate governance cited by Entropy is the composition of the company's three-member board of directors, "all three of whom are simultaneously serving as directors in companies related to the controlling shareholder in the company. One of them, Zehavit Cohen, is CEO of Apax Israel and a partner in global company Apax Partners."
"The director who signed the financial statements attached to the draft prospectus has no academic financial training and no academic training in the company's field of business. He also provides the group's company with consultation services through a private company under his control," Entropy writes. These services are provided for NIS 20,000 a month, plus individual consultancy for up to NIS 10,000 a month.
The director in question is Itay Shiloni, who has a BA in theater and a PhD in psychology. In addition to providing consultancy services, he is a lecturer at the Arison School of Business Administration at the Herzliya Interdisciplinary Center and a director in other Apax companies, such as Schulz Catering. Shiloni received NIS 370,000 from the company in 2017.
Other points mentioned by Entropy involving corporate governance at Zap are that the company has not adopted a dividend distribution policy or a remuneration policy and has not yet appointed an internal auditor.
Entropy accordingly gives Zap's corporate governance a negative and below average mark, leading to the conclusion that "The materialization of failures and negative events resulting from faulty management mechanisms, failures in auditing arrangements, and poor organizational culture" is highly likely. This rating does not indicate the company's value or the feasibility of its offering; it refers to the way the company is managed and the possibility of a failure in corporate governance.
Zap said, "The Zap group's corporate governance is appropriate for a private company. When the Zap group becomes a company whose shares are listed on the TASE, the composition of the group's board of directors and the relevant rules will change in accordance with the requirements for a public company."
Investment institutions want a lower company value
Apax Partners, the controlling shareholder in Zap, and the underwriters for the offering, headed by Leumi Partners, have been holding intensive talks in recent days with a number of prominent investment institutions in the market in an attempt to reach understandings about the price at which the offering could take place.
As reported this week by "Globes," the investment institutions want to lower the company value for Zap in its IPO by 40% to NIS 400 million, which Apax finds it hard to accept. Apax, led by Zehavit Cohen, plans to hold the IPO at a company value of NIS 650-700 million, four times the value at which it acquired ownership of Zap from a series of investment institutions in 2015, and yesterday filed for an IPO for the second time.
Little transparency, processes just beginning
Despite the focus on Zap, it is not the only company in this position. Following the wave of IPOs on the TASE, with nearly 30 new companies since the beginning of 2017, Entropy recently began rating corporate governance in the companies that are candidates for joining the trading arena. The resulting data shows that these companies feature a low level of corporate governance.
In the framework of its activity relating to corporate governance, Entropy reviewed all of the recent companies whose IPOs were imminent, completed, or failed. Among the companies already listed on the TASE are Globrands, Delek Royalties, and Clal Beverages. Companies whose IPOs failed include Fresh Market and Ace. Candidates for a future IPO included in Entropy's survey include Reit Azorim - Living.
Entropy explains that because these companies are just now becoming public companies, their level of corporate governance is usually fairly low, among other things due to the low level of transparency and processes in the initial stages, which are likely to improve later and contribute to achieving the necessary level.
Apax set for Zap TASE floatation next month
Entropy corporate governance CEO Adv. Matti Aharon says, "New companies holding an IPO are usually terra incognita to investments and their level of corporate governance helps quantify the risk. A risk in the level of corporate governance can affect the company's business risk. In the past two years, we have seen quite a few offerings with a level of risk that materialized. We are therefore expressing opinions on this point."
Aharon adds, "As a trend, no company comes to the TASE with a reasonable level of corporate governance. They all have a low level of corporate governance and investors have to realize this and take it into account in their negotiations over the value in the offering in order to reduce the risk.
"There are many significant aspects concerning a company's corporate governance and not all of them can be adopted from the first day. If a company is more prepared in this matter, however, it can help attract the type of investors willing to take part in the IPO. It will be more comfortable for investment institutions in the pension and insurance sectors to invest.
"It is best for private companies considering an IPO to improve their corporate governance milestones, or at least to devise a plan that will show investors how they plan to improve the company's corporate governance.
"Such improvement achieved ahead of the IPO will enable the company to reduce the large corporate governance risk in becoming a public company. On the one hand, it will provide better access to investors whose investment considerations also taken the company's level of risk into account. In other words, raising the level of corporate governance in companies holding IPOs will serve a company seeking to reduce its risk, while at the same time making the IPO more attractive in terms of risk.
"As a trend, it takes new companies about one quarter in order to appoint external directors. It takes them a few months to establish an internal auditing plan. They do not address the subject of remuneration in the first years following the IPO."
Published by Globes [online], Israel business news - www.globes-online.com - on August 9, 2018
Zehavit Cohen photo: Rami Zarnegar


text:
La Noguera és un monument del municipi de Vilanova de Sau (Osona) inclòs en l'Inventari del Patrimoni Arquitectònic Català.

Descripció
Masia de planta quadrada coberta a dues vessants i amb el carener perpendicular a la façana, orientada a migdia. Està situada a un lloc enlairat, al bell mig d'una carena, amb una era de pedra al davant. Consta de planta baixa i un pis. A la planta s'obre un portal d'arc còncau i dues finestres, al primer pis es repeteixen les mateixes finestres i al centre hi ha una gran obertura d'arc de mig punt, amb barana catalana. La resta de l'edifici té petites finestres.

És construïda amb granit vermell, unit amb fang. Algunes obertures estan emmarcades per carreus de pedra i altres per totxo massís. L'estat de conservació és mitjà donat que es troba abandonada.

Història
Masia situada dines el terme de l'antiga parròquia de Sant Pere de Castanyadell, que junt amb les parròquies de Santa Maria de Vilanova, Sant Romà de Sau, Sant Andreu de Bancells i Sant Martí de Querós formaven part del terme civil de Sau.

Al  aquesta parròquia comptava amb 6 o 7 famílies, entre les quals no hi figura LA NOGUERA. És fàcil que aquesta masia es construís als segles següents, moment en què Sant Pere va experimentar un cert creixement demogràfic de manera que al  comptava amb 19 famílies; malgrat aquesta hipòtesi no hi ha cap dada que ho verifiqui. La casa roman abandonada degut al despoblament que pateix la zona.

Referències

Enllaços externs

Patrimoni monumental de Vilanova de Sau
Noguera


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As the lyrical story unfolds, the movie shows us a different, more cynical view of life. The hell of war is depicted as soldiers wince in pain from their injuries.
What Are Octave Strings on a Greek Bouzouki?


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Prynne week: Hands and Biting the Air.
After today I'm going to leave BTA and move on to the work on George Herbert's Love III because I'm conscious that there's only four days left and many things that I want to pay attention to. First, a few thoughts on 'meaning'. I'm of the view that, as with Celan, we shouldn't expect an an all-encompassing overview of what's going on. I'm also mindful of Prynne's Mental Ears and Poetic Work essay where he writes "I am rather frequently accused of more or less altogether taken leave of discernible sense. In fact I believe this accusation to be more of less true, and not to me alarmingly so, because for what so long has seemed the arduous royal road into the domain of poetry ("what does it mean") seems less and less an unavoidably necessary precondition for successful reading". So, in these pieces I may be trying to unpick a number of threads that appear to make a kind of 'sense'to me but I also recognise that there's too many ambiguities and intertwined subjects for complete sense to be made. So far I have armed conflict alongside Big Pharma but these are both still provisional and may indicate completely different subjects altogether.
Today, instead of working out 'what' I'm going to have a go at 'why'. By this I mean attending to the repeated use of the word 'hand' and things closely related to hands and what hands do. I'm an enormous fan of repetition and recognise it, in any form, to be a particularly strong means of expression. Those that read Monday's piece on BTA may have noticed that the word crops up three times in the first eight lines of the poem. It then reappears with unusual frequency throughout the rest of the sequence. I'd like to start by highlight the third of these: Enough out of one hand / to grasp another and the last two line of this poem: a country prosperous and blue and bright over / and blindness forever in hand on hand proverb. These appear to be connected especially if I take the proverb to be a bird in the hand is worth two in the bush It seems to my small brain that any process of negotiation involves letting go of some of what you've got in order to get more of what you want. In the good old days when we had effective strikes, workers may have closed down a number of factories and have these standing idle so they can get management to either agree terms or reach a beneficial compromise. In Ulster, the situation was a bit more complex- this was a three-sided civil war with all three parties having a different set of objectives. Paramilitaries on both sides of the community could have carried on their murderous campaigns against each other and the British army but (for different reasons) chose to give that campaign up in favour of a political settlement. In order to achieve this both sides had to disarm- ie give up what strength they had in return for that much fatter bird in the bush. Of course, this might be too 'neat' but it might tie in with yesterday's 'thread' especially if the eternal blindness refers to the ongoing inability of either side to understand the other's point of view and aspirations.
This mutual obduracy might also occur if we take 'rag' as a ragstone (i.e a hard sedimentary rock that can be broken up and fashioned into paving stones) and for 'pacify' to have the same connotations as 'mollify' in the second poem that I wrote about yesterday. Would it be too easy to read 'hand attachment in' as both giving in an attachment and that hand attachment being a firearm? It probably would.
Before we go any further, it might be useful to consider the why question. Apart from the possible linkage of a thread of sense, is there any other reason to use repetition to this extent? The reiteration of a phrase or image or melody serves to give emphasis, to perhaps signal up this element for greater attention than what surrounds it. In songs a chorus can contain the main theme and give structure to the whole by establishing a kind of rhythm. There's also Prynne's strong interest in work songs which rely on a degree of repetition in the chorus. It may be an exploration of using the same word in different ways. Or, it may be none of these.
stare in daylight, one hand washes the other.
Both of these throw down a number of challenges, the first doesn't use 'hand' but has two verbs that normally need a hand to be carried out. The preceding sentence ends with "got a banner" so it may be this that someone is being told to hold. As in most civil ways, the flying and display of flags and the respective flag colours was a wearily regular feature throughout the Ulster conflict(s). This ties in with "leasing forage behaviour". The OED defines the verb to forage as: "To collect forage from; to overrun (a country) for the purpose of obtaining or destroying supplies; to lay under contribution for forage. Also in wider sense, to plunder, pillage, ravage". To lease something is (in my improbably broad sense) is to allow something to be used for a specific length of time in return for a payment. So, the waving of the flag on marches and demonstrations may be seen as a precursor for plunder and pillage- this can perhaps be more starkly seen in the atrocities that followed the break-up of Yugoslavia.
It might also be that this 'leasing' refers to the National Institute for Clinical Excellence (NICE) approves drugs for prescription use in the UK- the high price of some of these could be said to be plundering the country's finances.
'Wash the novice wrist' would seem to be fairly clear but not make a huge amount of sense in this context. Slightly more of a sense-thread is to be found if the verb is taken as an adjective to mean washy or weak or tender. So what we might infer is that this novice or new recruit has a weak wrist and is only capable of making things with screws and bolts so that they can be easily undone. This is probably an example of chronic overreading but it's nevertheless worth some further thought.
The second hand (weak and almost accidental play on words) in the poem might refer to blessing bestowed or absolution (washing) that is given by the clergy. There has yet to be a thorough and independent examination of the role of elements of the Catholic and Presbyterian churches in terms of tacit support given to the respective armed factions. We speak of the guilty as having 'blood on their hands' and, according to the tenets of Catholicism this blood can be cleaned of by means of confession and penance. The equivalent in Protestant terms it to identify yourself as a sinner before the eyes of God although there is some disagreement as to what this might result in.
In both Ulster and the Balkans it is possible to see some of the main protagonists as proclaiming and undertaking a religious cause or duty- in this way the respective clergy can be seen as the religious 'arm' of the struggle on of whose roles is to provided a kind of moral justification for the violence.
Even as I write this I have doubts as to whether things can be this straightforward, especially as "in the mouth long-dated" seems better suited to a medical reading. This is further complicated if 'dulcet' is taken as an equivalent to a doucet which is a kind of musical pipe or flute, which brings us the the Orange marching season and how a cessation of the most provocative of these was seen as an important element of the peace process.
So, many more things to think about and I haven't begun to look at the economic and financial terms that crop up through the sequence, which might help with the threads that seem to be present.
That's enough of BTA for now, next I want to give some more attention to Prynne's remarkable work on Herbert's Love III which may demonstrate how much thought we need to put into our reading.
In the past I've taken the 'forensic' route with the above sequence, reproducing one of the poems and then trying to identify those phrases that might make some kind of sense. I find this process to be both absorbing and addictive so this is an attempt to wean myself off 'close' reading and give some consideration to the sequence as a whole.
I'm still making the assumption that the poems in 'Streak' are linked in ways other than the fact that each consists of six quatrains and that one of these linkages relates to the recent civil war in Ulster with a specific focus on the hunger strikes of 1980 and 1981. Having re-read the sequence a couple of times I think I've identified a number of places where things become more than a little intense.
The motive for ardency is in part supplied by the scarcely bridgeable rift between the possibly actual and the intensely desired (the two senses of listen even in deep memory this separation must remain a disruption to unified human consciousness, which may in this era locate one of the primal tasks of the poet of this kind to make danger or desire upon the surface of the universal earth.
The 'point' of this is that 'oh' does occur in the 'Streak' sequence and there appear to be other statements of intense feeling as well. With regard to Ulster, is it reasonable to characterise British involvement in the recent 'Troubles' as attempting in part to resolve the gulf between what was possible and what was desired by the various factions. This, of course, could be yet another example of me running away with myself but it does seem worth bearing in mind at this stage.
Now we come to timing and the fact that 'Streak' was the first work to be published after 'Field Notes' and the observation that 'To Pollen' doesn't contain a single 'Oh'. The only other relevant observation is that the above seems to be a quite ardent/fervent expression of what poetry (of this kind) might be about at a quite deep level.
Beginning to think about 'oh then at must' I think I see what Robert Potts meant when he described this sequence in one word – "impenetrable" but there are do appear to be a number of ways in. The first is to ask what difference would there be if the 'oh' wasn't present. When I say 'oh then' this tends to indicate that I have just realised something and am extrapolating from it. For example, if I'm told that it is raining I may respond with 'oh, then I won't go for a walk until later' because walking in the rain isn't much fun.
I'm struggling to see how 'at must' relates in any way to ardency especially when placed with this flurry of repetition. There is a very, very slight possibility that 'must' is actually the Middle English variant of 'most' and a slightly greater chance that it is used as an expression of " a command, obligation, or necessity; (hence) an obligation, a duty; a compulsion" (OED). I'm currently inclined towards " Expressing a fixed or certain futurity: am (is, are) fated or certain to, shall certainly or inevitably" because it seems to fit best with the certainty of 'it was it was' and contrasts with the maybes in the following line.
The previous stanza ends with a full stop so this extract does contain the full sentence. Things may be a bit clearer in this instance. The notorious use of internment (imprisonment without trial) by the British government between 1971 and 1975 resulted in a rise in the membership of paramilitary groups. So 'sweep flight' may refer to the initial arrests and 'profligate disposal' to the fact that many (over 1900) were incarcerated whilst 'buck more in and ready' may refer to internment causing more individuals to go against 'normal' law-abiding practices and to join the IRA and other groups and to be ready to participate in violent acts. If this is the case then 'oh' here is likely to represent an ardent (as in keenly felt) lament or disappointment at the brutality and crass stupidity that characterised so much of British policy throughout the seventies.
lay hard trimming fast the sluice unclued eye into.
I have spent ten minutes in the company of rules 88 and 89 of the Hong Kong Jockey Club and can now confirm that a jockey 'weighs out' before a race and weighs in after it and that the rules about this are quite complex. This, of course, does not help with either the bafflement or the ardency. The eagle-eyed amongst you will note the proximity of 'must' and some may recall that 'lamp' as a verb can mean to strike or to thrash, especially in northern dialect. So somebody may be being beaten up in order to either deter or intimidate others. 'Brag' as a verb can mean both arrogant and boastful language and a " Show, pomp, display; pompous demeanour or carriage" which brings to my mind the deeply weird Orange marches that continue to be such a source of conflict.
If this particular 'oh' does not indicate ardency then might it indicate a kind of bored resignation because all parties during the Troubles continued to make the same mistakes and adopt the same nonsensical 'positions'. There's also the slim possibility that the verification involved in weighing out a jockey might nod towards the actions of the independent group set up to monitor if the IRA was actually disarming.
pitch acid hob. Loop for fray unpick over flint skies.
I'm not going to even attempt the 'torted'. 'decept', 'runnel' route because that is likely to take me into forensic fretting over signification and what I'm trying to do here is to examine the nature of the 'oh'. It can of course be argued that in order to grasp the oh then I need to understand the context. I accept this but also point out that this particular 'oh' seems to be another expression of either dismay, exasperation or disappointment and doesn't seem to contain very much ardency- although we can be ardently exasperated, can't we?
'Same' is repeated throughout the sequence and one day I will try and make sense of the various ways in which it is deployed. Is this particular same involved in some kind of coaching or education? Does 'striker' refer to hunger striker and what might this defect be? The strike was in part an extension of the blanket protest against the withdrawal of political status for IRA prisoners and the requirement that such prisoners should wear 'ordinary' prison uniform. I'd like to think that this 'oh' is an expression of fervent regret but that might be more about my feelings about the hunger strike than Prynne's.
This is an echo of the startling "and the blood of the children ran through the streets / without fuss, like children's blood" which occurs halfway through the poem.
So here we have a poem which is about the Spanish Civil War and which uses repetition to give emphasis to one particular horrific image. Whether this 'works' or not is open to debate but it had made enough of an impression on me to remember it for twenty five years without actually re-reading the poem.
(There should be a bigger gap between the third stanza and the last line but WordPress won't play ball).
Being deeply shallow, I have in the past described this as a 'riff' and have gone so far as to take issue with John Wilkinson's much more complex explanation. I don't intend to offer any further interpretation here other than to point out that a lot of words do get repeated in a very few lines.
Whilst thinking about this I realised that the word 'same' can denote a repetition and that this word is used somewhat bafflingly in "Streak~Willing~Entourage~Artesian" and that I'd put off thinking about this use whilst trying to work out what Prynne is saying.
cut your hand the close hand perfectly yours for.
the box befitted frank aside simulate by adoption.
The attentive among you will recognise that there is a fair amount of repetition going one here in addition to the frequent use of 'same'.
There is also the frequent use of 'box', 'tight' and 'side' to consider.
In the past I've put forward the view that this sequence is in part 'about' the recent civil war in Ulster and this is further justified here by the use of blanket which I'm taking as a reference to the blanket protest carried out by Republican prisoners at the Maze prison in response to the British government's decision to deny them political status. This led eventually to the hunger strike at the prison which killed ten men.
This, of course, is nothing more than a guess but it's a guess that's informed by bits from other parts of the sequence and I have yet to come across anything that points in another direction other than the 'same plastic fervid embankment' in the third poem.
Without venturing into possible meanings for any of this poem, it is profitable to look at the way that certain words are used. We start with something being inside a box that is shut tight and that this thing is said to be both 'off' and 'out'. Things get much more complicated on the second line with the appearance of a 'summer box' that might be closed on all sides but also may only be closed on three, the fourth side being glazed.
Prior to opening the OED, I threw 'box ' and 'same' around in my head and it occurred to me that a lot of British political thinking about and attitude towards Ireland hasn't changed in any significant fashion since the 16th century and a lot of our dealings with the Irish stems from the same set of false imperial perceptions which have caused conflict to repeat itself in the same way through the years.
I then started to wonder about 'box' as a more abstract term, as a rigid way of thinking- to be creative is said to involve thinking outside the box. I then decided that box as a kind of imperialist way of thinking was probably far too pretentious and speculative. I then turned to the OED.
I think that all of these have some potential in pointing to what Prynne might be referring to. It could also be that he is referring to several of these definitions at once. For my purposes the last of these seems a good place to start- being in the same box is to be in the same unhappy predicament. It could be argued that all three of the main groupings in the civil war were stuck in a similar and unhappy predicament.
Feeling rather pleased with myself, I again tried to make sense of the first two lines and was disappointed that the above leg-work had not yielded revelatory results. Still not able to identify this thing that is said to be both off and out and unable to determine whether 'summer' relates to the season (as with 'same day' and same 'hours' in the third stanza) or to one of the other definitions although 'one who makes a summary' might get us somewhere.
The next method of approach is to think about what repetition hopes to achieve and see how these fit into the above.
way ever on transit long for this and similar.
I know that I said I would concentrate on the first and third stanzas of this (the second poem in 'Streak, willing, entourage, artesian') but further reflection tells me that this is a flawed approach to something this non-linear. I will therefore try to point out the bits that can be gleaned with a degree of attention and those that are utterly resistant.
My hypothesis (guess) is that this poem is 'about' the recent civil war in Ulster although I am still prepared to overturn this guess if I come across anything that points in another direction. To this end I have begun to delve into the Cain archive and to read witness testimony given to the Bloody Sunday Inquiry and I am amazed about how much I had forgotten.
I'd like to start with 'Be all best profane / broken tenuous' from the fourth stanza. I'm taking 'Be all best' as an instruction to do your best which seems fairly clear but 'profane' is causing me problems. As a noun profane means someone or thing which makes something secular or unholy, as a verb it can also mean to desecrate, abuse or insult whilst the adjective can be used to someone who is uninitiated in religious practice. Throughout the Troubles, Ulster was sunk deep in religious issues, from the casting of hunger strikers as martyrs to the anti-catholic rants of Ian Paisley and his ilk the conflict was mired in arguments about God with each side viewing the other as (at the very least) profane.
This use of the word to refer to the conflict doesn't help very much with this part of the poem, it occurs to me that these words could be an address to the reader. Prynne has done this before in 'To Pollen' with its reference to the 'resilient brotherhood' and the question about 'the one inclined'. I'll try and show how this reading makes more sense than does a reference to the Ulster conflict.
'Be all best' could be an instruction that recognises that all readers can only do what they can because the full meaning of a poem will always remain elusive. 'Profane' as a verb may be an instruction to overlook the religious elements of the conflict in favour of a more materialist analysis. Part of the first stanza reads 'folly to love acre the same'- if we give acre its subsidiary meaning of 'land' then this could point to the fact that the fundamental political difference separating both sides was (is) whether the six counties should become part of the Irish Republic or remain as part of the United Kingdom. This would seem to make sense but taking religion out of the equation overlooks at least some of the fuel that lit and sustained the fire.
'Broken' and 'tenuous' are words that have a direct bearing on Prynne's work. Many writers have commented on the fragmented nature of poems where competing discourses collide with each other and I've found this one of the most attractive (if that's the right word) aspects of the work.
I've used tenuous to describe my own reading of Prynne and others have stated that readers are only ever likely to get a partial understanding of what's going on. Some have pointed out that readers should construct their own meanings from the poem, treating each piece as an open text. I don't hold with this view because I find that there's enough in even the most obscure poems to glean what Prynne may be about.
'Tenuous' could also refer to the actions involved in writing the poem. The disaster that was the Ulster conflict was multi-faceted and does not lend itself easily to analysis. There are territory, religion, civil rights, colonial and military dimensions to consider as well as the fact that the working class of both sides were intent on killing each other in large numbers. So, any analysis will be tenuous at best- is this what Prynne is saying?
We then have a comma- these are often missing from Prynne's work and they are often used to introduce a new line of thought but on this occasion I'll try and show that the line continues to make some kind of sense. 'Each strand as fine torrid / at leave to play' refers to the poem and the act of reading it. I'm taking the primary meaning of each and strand to indicate that both the elements of the conflict and the various dimensions of the poem are being referred to. 'Fine' as a noun can mean the end of something and the verb can mean bringing to and end so this may be an instruction to follow both types of thread to their conclusion.
'Torrid' is interesting because, in addition to its normal meaning, the OED states that it can refer to the atmosphere affecting those at risk of religious persecution. It may therefore allude to Ulster Catholics feeling persecuted by the Protestant majority or to loyalists feeling that they are being killed because of their faith. On the other hand it could refer to the position Prynne feels himself to be in as a poet. It is true to say that Prynne has been more vilified by the poetry establishment than any other writer in the last thirty years and that this has often taken the form of puerile personal attacks which could be seen as a form of persecution. Whilst this may or may not be correct, it is interesting to note that Paul Celan (a major predecessor in the difficulty stakes) had a persecution complex too.
'At / leave to play' I'm taking as a description of the activity of the reader who is free to construct her own reading of the various strands. I don't think this is a reference to Prynne because his work suggests that he takes himself far to seriously for that.
I'm going to leave this theme for a while primarily because I want to write about Keston Sutherland's 'Stress Position' and the thorny matter of dialectical consciousness but also because I need a rest before I tackle rush fractures and pelmet crabs……..


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Tribeca Film Festival: Interview with director Scott Rettberg and producer Megan Sleeper of 'New York Says Thank You'
What is the film 'New York Says Thank You' all about?" New York Says Thank You is an epic story following the journey of New Yorkers whose lives were touched by September 11 as they travel the country helping communities rebuild after disasters. Along the way, they face their emotions and ultimately triumph over tragedy through an idea that evolved from a five-year-old New York City boy.
Interview with director Scott Rettberg and producer Megan Sleeper.
VIMOOZ: What led you to make a documentary on this subject?
Rettberg: I've always been interested in documentary, and I've always wanted to do an an "American" film, that could be a classic and explore something about the country. I heard about the project from my mom ( the story of the five year old boy in New York wanting to give back to the people affected by the fires in California) and was moved by how people had come together out of tragedy, just jumping in to help other communities. I wanted to capture that kind of human spirit that comes out of the worst conditions.
VIMOOZ: How did you first meet the main subjects of the film? How well did you get to know them?
Rettberg: I found out about a church build in Indiana in 2006, and rushed to observe the process. I got to know everyone involved. I then found the four main subjects in NY who are volunteers– a construction worker, two firefighters and a financial advisor.
Sleeper: I followed Scott to the builds, and I was very involved with the building and volunteering; I conducted the interviews with the four main subjects and others. I got to know people all over the country, and I now think of many of them as family.
VIMOOZ: How long did the film take to make?
Rettberg: It took five years; it turned into a much bigger film than I initially thought it would be. The film begins with a rebuild of the Iowa Boy Scout Camp in 2009 and then shows flashbacks of previous builds.
VIMOOZ: What was the experience like making a feature film versus your experience with television?
Rettberg: It was a learning experience, and it opened my eyes to compassion during the process. Everyone in the crew are accomplished in the industry, and they took off for a couple of weeks here and there to give their time to this project, so it was a labor of love for everyone.
Sleeper: I do casting for reality TV shows, and I took my experience in that and used it while interviewing for this documentary. I was able to bring some of that experience into this project. It was a different experience from TV because I was working on the same subject for five years.
VIMOOZ: Have the subjects of the film seen it? If so, what was their reaction?
Rettberg: I did have private screenings for the four main subjects. Since the subject is a sensitive one, I wanted them to have a chance to see it in a private setting. Charlie, the construction worker, who was suspicious of me just being another exploitative reporter, was very happy with the film and said it was much better than he thought it would be.
VIMOOZ: Do you prefer feature films to television or do enjoy working in both fields?
Rettberg: I absolutely want to make more feature documentaries. I, and most of the crew, work in television for an income, but I'd love to be able to balance that work with my passion for documentaries.
Sleeper: I want to work on more documentaries; I recently worked on a short documentary in Armenia, which was a great experience. So I will probably continue to work in both fields.
VIMOOZ: How do you feel about your film being at Tribeca?
Rettberg: Tribeca has always been the place for the film. The festival brought a spotlight back to Manhattan, and built a community, which is what the film is all about– the community of NYC and good people coming together. Tribeca was always my dream; the story of the film is parallel to the story of Tribeca.
VIMOOZ: Has the film been to other festivals/ will it?
Rettberg: We're interested in other festivals but there's nothing final yet, probably in the future.
VIMOOZ: What are your hopes for this film; how do you hope to distribute it?
Rettberg: Our goal is to inspire people to volunteer, so we're trying to make it as widely available as possible, especially on the 10 year anniversary of 9/11, either theatrically or some other platform in different communities. We're looking into all forms of distribution, including online.
Sleeper: The most important thing is to inspire people to help, and being able to do that on the anniversary is a big goal. We want to be able to show a film about the good that came out of 9/11.
VIMOOZ: Any new projects?
Retteberg: My entire focus right now is this film and Tribeca. There have been other projects pitched, but nothing to announce yet.
Sleeper: No, I have no other projects right now.
{youtube}4gi11e71tXc{/youtube}
2023 Tribeca Festival Announces Dates
Watch a Clip for ZANZIBAR: TROUBLE IN PARADISE, Immersive Tribeca Fest Documentary on Climate Change
THE COURTROOM Trailer. Genre Bending Drama by Lee Sunday Evans Debuted at Tribeca
Watch First Look at REINVENTING MIRAZUR - Deep Dive Documentary on Renowned Chef Mauro Colagreco
Watch a Clip from FASHION REIMAGINED - Becky Hutner's Documentary on Rising Star Fashion Designer Amy Powney
Tribeca Film Festival Announces 2022 Audience Award Winners
Tribeca Film Festival: Interview with the 3 Directors of 'The Swell Season'


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Prîstanțiine (în ) este un sat în comuna Mala Pereșcepîna din raionul Novi Sanjarî, regiunea Poltava, Ucraina.

Demografie

Conform recensământului din 2001, majoritatea populației localității Prîstanțiine era vorbitoare de ucraineană (%), existând în minoritate și vorbitori de alte limbi.

Note

Prîstanțiine, Mala Pereșcepîna, Novi Sanjarî, Poltava
Prîstanțiine, Mala Pereșcepîna, Novi Sanjarî, Poltava
Prîstanțiine, Mala Pereșcepîna, Novi Sanjarî, Poltava