Hummingbird Resources (AIM:HUM), the African gold producer, provides an operational update and announces preliminary production results for the fourth quarter ("Q4") and twelve months ended 31 December 2018 at its Yanfolila Gold Mine in Mali.
"The Group has been through an operationally challenging quarter, but I am pleased to report that we have made significant headway on the ground in resolving the issues we faced. January's production figures are in line with 2019's production guidance and mine plan and we are making positive progress with the construction of a second ball mill, which is due for completion in Q3 2019. This will increase throughput and, along with our exploration campaign, the long-term value of Yanfolila.
Over the course of Q1 we look forward to receiving the remaining drilling results from the 2018 exploration campaign and working with the team to understand how to release the expected potential of these results in our Life of Mine planning."
The Company met FY revised guidance with 91,620 ounces of gold poured. Both the mining and processing divisions at site performed well over the quarter. In Q4 the Company is pleased to report that there was a significant increase in mining rates following a review by our contract miner and an increase in mining fleet on site. The reduction in average grade of the mill feed in Q4 compared to Q3 is due to more low-grade stock piles being processed than in the original 2018 mine plan as the mining fleet was focused on remediation work.
2019 production guidance of 110,000-125,000 oz of gold is reiterated. Previously a 'target' was given for the AISC of US$800/oz for 2019. The overall budget of the remediation work remains the same but more of the costs are falling in Q1 2019 than anticipated with the Q4 AISC being lower than forecast ($1,677/oz vs a forecast of US$1,800/oz). This has led the Company to update its 'target' with a full AISC guidance for the year of US$800-850/oz.
The Group is pleased to announce that the construction of a second ball mill at the Yanfolila Mine in Mali is progressing to plan with approximately a third of the project having been completed to date and within budget. Excavation earthworks for the mill raft commenced at the end of 2018 and are ongoing with civil works underway. The project is due to be completed in Q3 2019.
Currently the Yanfolila crushing circuit is a two-stage operation, incorporating both primary and secondary crushing circuits designed to treat mainly oxides and a blend of oxide and transition ores. The second ball mill will increase throughput capacity from 1Mtpa to 1.24Mtpa, when operating with 100% fresh material, and as such offers a good return on investment in the Company's view. US$9.5m of additional debt was drawn from Coris Bank in Q4 to part-finance the US$13m capex for the construction of the second ball mill.
For the full year 2018, the Company beat its internal safety performance target. To build upon continually reducing malaria incidence rates, the Company has donated bed nets into the national bed net distribution programme and has assisted in survey and outreach programmes. The Company has continued to run a nurse shadowing programme where community nurses shadow one of the Company's contracted UK doctors.
Several community projects continue including the completion of the new clinic in Bougoudale and the poultry project, which has delivered 3,000 kg of chicken meat for sale in H2 2018 and has plans to self-finance an expansion of the future.
Environmental and Social Impact Assessment ('ESIA') is underway for permitting additional pits within the project area in line with the Company's exploration plans.
During the quarter, significant progress has been made on the pit wall remediation and the work is near completion. This has had an ongoing impact on operations, which led to a reduced production forecast for the FY 2018. The Company has resumed full capacity production in Q1 2019. The overall budget for the remediation work remains the same but slightly more of the costs than expected will fall in Q1 2019, which has led to the lower than forecast AISC for Q4 2018. However, this is fully incorporated in the 2019 guidance of US$800-850/oz.
The Company encountered a significant logistical issue in Q4 since a public bridge on the main road to site was put under a strict weight limit. The bridge remained in use in accordance with the restrictions by the Company throughout the Q4 period and presently, however, to overcome the weight limit issue, the Company mobilised a military barge to transport heavy equipment and other large loads across the river. Work on a new bridge by a Government contractor, is progressing well and the Company understands the project is due to be completed at the end of Q2 2019.
To see results of the programme please refer to press releases during the quarter on the Company's website. The remaining drilling results from the 2018 exploration campaign are expected to be released during the current quarter.
The Company re-signed the Mineral Development Agreement ('MDA') with the incumbent Government of Liberia in January 2019. We are now awaiting The Liberian Government to follow due process and inform the Company that it has been passed into law.
Dugbe is Liberia's largest gold deposit with 4.2Moz of gold in Resources and the Company has an additional +2,000km2 of highly prospective ground under licence in the country.
The Company announced on 30 April 2018 that it had implemented the Hummingbird Incentive Plan - Performance Orientated 2018 ("HIPPO2018") incentive scheme to retain and incentivise key team members to deliver efficient production from Yanfolila in its first year of operations.
The production and all-in sustaining costs ("AISC") targets for 2018 were not met and no discretionary performance awards will be made in respect of 2018.
In recognition of the critical importance of the recovery plan as announced on 29 November 2018 and to retain and incentivise key team members, the Company has amended the targets for the HIPPO2018 incentive scheme to align these with the Company's key objectives for 2019, without any increase to dilution.
As the core team is developed, further awards may be made under HIPPO2018 subject to a maximum dilution limit from HIPPO2018 of 5% of the issued share capital from time to time.
(a) Production Tranche: 1/3 of the options will vest if 120,000 (or more) ounces of gold are poured between 1 January 2019 and 31 December 2019.
(b) Cost Tranche: 1/3 of the options will vest if the Yanfolila AISC (as announced by the Company) as normalised for a US$0.86 / litre fuel price and a US$1,200 per ounce gold price is equal to or lower than US$800 per ounce sold.
(c) Performance Tranche: 1/3 of the options will vest based on the individual performance of the participant and the Company's safety performance, which is at the Board's discretion.
Once vested, any options may be exercised during a set exercise period determined by the Company and notified to the option holders. This will be a minimum of two weeks period per year when the Company is in an "open period" under MAR (either two consecutive weeks or two separate period of one week each). Unvested options will normally lapse on cessation of employment for any reason. The option holders will retain vested options following cessation of employment and will have two years from the date of cessation of employment to exercise, after which the option shall lapse.
The modification of the terms of participation of Daniel Betts and Thomas Hill in the HIPPO2018 scheme is deemed a related party transaction pursuant to the AIM Rules for Companies. The Directors, with the exception of Daniel Betts and Thomas Hill, having consulted with Strand Hanson Limited, the Company's nominated adviser, consider that the revised terms of the HIPPO2018 scheme are fair and reasonable insofar as shareholders are concerned.
Hummingbird Resources (AIM: HUM) is a leading gold production, development and exploration company. The Company has two core gold projects, the Yanfolila Gold Mine in Mali and the Dugbe Gold Project in Liberia. Yanfolila produced its first gold pour on time and budget in December 2017. Yanfolila held pre-production Probable Reserves of 709,800oz @ 3.14g/t, total Resources of 1.8Moz of gold and an additional 390,700oz of non-compliant exploration potential. The Dugbe Gold Project has Resources currently totalling 4.2Moz of gold and a completed NI 43-101 compliant PEA on the project showing a 29% IRR and US$186m NPV at a US$1,300 gold price.
In addition to Hummingbird's production and development assets, the Company also has an exploration footprint of ~4,000km2 and a 28% interest in AIM listed Cora Gold, which is advancing a portfolio of prospects in Mali and Senegal.


text:
package org.apache.camel.component.bean;

import javax.naming.Context;

import org.apache.camel.Body;
import org.apache.camel.ContextTestSupport;
import org.apache.camel.Exchange;
import org.apache.camel.Header;
import org.apache.camel.builder.RouteBuilder;
import org.apache.camel.component.mock.MockEndpoint;
import org.apache.camel.util.jndi.JndiContext;

/**
 * Unit test to demonstrate annotations combined with Exchange parameter.
 */
public class BeanWithAnnotationAndExchangeTest extends ContextTestSupport {

    public void testBeanWithAnnotationAndExchangeTest() throws Exception {
        MockEndpoint mock = getMockEndpoint("mock:result");
        mock.expectedBodiesReceived("StartMyBean");
        mock.expectedHeaderReceived("user", "admin");

        template.requestBody("direct:in", "Start");

        mock.assertIsSatisfied();
    }

    protected Context createJndiContext() throws Exception {
        JndiContext answer = new JndiContext();
        answer.bind("myBean", new MyBean());
        return answer;
    }

    protected RouteBuilder createRouteBuilder() throws Exception {
        return new RouteBuilder() {
            public void configure() throws Exception {
                from("direct:in")
                    .setHeader("user", constant("admin"))
                    .to("bean:myBean")
                    .to("mock:result");
            }
        };
    }

    public static class MyBean {

        // START SNIPPET: e1
        public void doSomething(@Header("user") String user, @Body String body, Exchange exchange) {
            assertEquals("admin", user);

            exchange.getIn().setBody(body + "MyBean");
        }
        // END SNIPPET: e1
    }

}

redpajama_set_name: RedPajamaGithub


Shales are fine-grained sedimentary geomaterials composed of clay minerals and tiny fragments (silt-sized particles) of other minerals, especially quartz and calcite. Shales are characterized by the presence of lamination and fissility which contribute in the development of a marked anisotropic behaviour. In addition, they are characterized by a very low permeability and good self-sealing potential; these properties make shales a suitable host material for many engineering applications. In this sense, the geomechanical behaviour of shales is quickly becoming one of the most important issues in modern geomechanics, largely driven by the nuclear waste geological storage and petroleum industries (i.e., the extraction of gas shale and the sequestration of CO2). In any such application, a deep understanding of the hydro-mechanical behaviour of the involved materials is of primary significance and it is indeed an exciting subject of research for the civil and environmental engineering society.
The water retention mechanisms play a major role in either fluid trapping due to the capillary forces present in low permeability reservoirs or in the resaturation of shale formations after ventilation, as in the case of deep geological repositories. The swelling/shrinkage of shale is related to suction, or the degree of saturation variations. New experimental methodologies have been recently developed at LMS for the analysis of the retention behaviour of shales (Laloui et al. 2012; Ferrari and Laloui, 2012); they involve the direct control of the shale water content and the subsequent measurement of the total suction by a psychrometer. Different techniques have also been considered at LMS for the volume measurement of the shale samples thus allowing the computation of the degree of saturation of the material.
The effects of a reduction of earth pressure on the surrounding material during the construction of a nuclear waste repository or the determination of the production capacity of shale gas reservoirs constitute some of the valuable geomechanical issues in this field of research; as a consequence, the mechanical properties and the permeability are challenging aspects to be investigated. Nonetheless, advanced testing devices have been recently developed at LMS thus providing the adequate equipment to face the mentioned challenges. In particular a high-pressure oedometer cell has been developed to analyse the hydro-mechanical behaviour of the geomaterials at high confining stresses (Salager et al. 2010; Ferrari and Laloui, 2012). The device can apply pressures up to 100 MPa; the high level of applicable vertical stress is required in order to observe the transition from the pre- to the post-yield behaviour of the material thus allowing for a mechanical characterization of the shales using methods similar to those applied to conventional soils. In order to analyse the settlement versus time curve, an analytical solution has been developed at LMS; it considers the time requested by the controller for applying the target pressure, the deformation of the apparatus, the primary consolidation settlement for a non-instantaneous loading and the secondary consolidation settlements.
A second aspect inspiring the research on shales for nuclear waste storage, shale gas and/or oil exploitation is the occurrence of high temperatures. At high depths and under high pressures, temperatures up to 100°C can be reached. The high-pressure oedometer cell presented above allows for the performance of tests in non-isothermal and controlled suction conditions. In addition, LMS is equipped with an innovative triaxial cell that can reproduce such temperatures, as well as extreme mechanical conditions, with an option for partial saturation (Seiphoori et al. 2010). LMS's thermo-hydro-mechanical (THM) triaxial cell is especially designed for this kind of situations.
Bore companies always search for efficient ways of exploitation. This affects also the engineers. One example of borehole improvement is the use of a drilling fluid, which is often water with dissolved salts. This fluid interacts with the soil with which it is in contact. In the case of partial saturation, the fluid can enter the pores of the material, for example. If saturated, a chemical gradient can result in osmotic pressures and flow of water, or diffusion of ions. All cases involve a change in the local chemistry of the pore fluid. LMS is currently researching the influence of salts on saturated soils and shales. Previous studies in the field of shale characterization focused mainly on (chemo-) poro-elasticity. LMS's approach is developed in such a way that it provides the opportunity to consider irreversible strains as well (Witteveen et al. 2013).
The mentioned points altogether form an advanced, unitary framework for the analysis of the thermo-hydro-chemo-mechanical behaviour of shales. LMS is convinced that its research adds valuable knowledge to the civil and environmental engineering community by profoundly researching the elasto-plasticity of this material.
V. Favero, A. Ferrari and L. Laloui. Water retention behaviour of shales. Fourth EAGE Shale Workshop, Porto, Portugal, April 7-9, 2014.
V. Favero, F. Alessio and L. Lyesse. Retention Properties and Permeability of Shales. Géotechnique Symposium in Print 2013, London, UK.
A. Ferrari, V. Favero, D. Manca and L. Laloui. Volumetric behavior and consolidation of shales at high confining stresses. 47th US Rock Mechanics/Geomechanics Symposium, San Francisco (USA), 26-29 June 2013.
L. Laloui, A. Ferrari. Multiphysical Testing of Soils and Shales, Springer, 2012.
L. Laloui, A. Ferrari and S. Salager. Testing the Thermo-Hydro-Mechanical Behaviour of a Shale. 3rd EAGE Shale Workshop, Barcelona, 2012.
S. Salager, A. Ferrari and L. Laloui. New experimental tools for the characterization of highly overconsolidated clayey materials in unsaturated conditions, in Mechanics of unsaturated geomaterials, p. 113-126, 2010.
A. Seiphoori, A. Ferrari and L. Laloui. An advanced calibration process for a thermo-hydro-mechanical triaxial system. International Symposium on Deformation Characteristics of Geomaterials, Séoul, 2011.
P. J. Witteveen, A. Ferrari and L. Laloui. An experimental and constitutive investigation on the chemo-mechanical behaviour of a clay, in Geotechnique -London-, vol. 63, num. 3, p. 244–255, 2013.
A. Ferrari and L. Laloui. Advances in the Testing of the Hydro-mechanical Behaviour of Shales. , Springer Series in Geomechanics and Geoengineering, 2012.


Are 2006 Volvo S80 prices going up or down? Find out on our Volvo S80 Price Trends page.
These prices reflect the current national average retail price for 2006 Volvo S80 trims at different mileages. They are based on real time analysis of our 2006 Volvo S80 listings. We update these prices daily to reflect the current retail prices for a 2006 Volvo S80.


Caroline joined CJRW in 2015. She oversees our creative process workflow, implementation and the monitoring of all of our clients' social media accounts. She enjoys working with our team to develop innovative digital campaigns. She also comes from a tourism background and enjoys incorporating some of her favorite parts of The Natural State into the monthly plans that we create for The Arkansas Department of Parks and Tourism. Caroline is a native of Jonesboro and loves traveling, hiking, running, kayaking, mountain biking and attending various live music concerts in her spare time.


Ducati adventure riders now have the opportunity to ride together and explore some great off-road adventures on a fully supported adventure experience.
Ducati Australia and New Zealand, have teamed up with premium adventure tour and rider training company Maschine to deliver an off-road adventure tour specifically for Ducati customers. Over 3 days the tour will travel north from the Hunter Valley along the Great Dividing Range into the beautiful mid-north coast region of NSW around Port Macquarie.
This region offers ideal terrain to explore on your Ducati adventure model with sweeping gravel roads, stunning vistas and valleys where the temperature drops under the canopy of trees. There will also be the occasional section of bitumen twisties to remind you of the Ducati sports heritage and just how versatile the your Ducati is.
In true Ducati style, luxury accommodation and fine meals will be a key feature of the tour. Selected exclusively to ensure the days riding is equalled with some great company, a few refreshments and the rest required to get the best experience possible during the following days ride.
Experienced tour operators Maschine will have your back all the way to help you complete the adventure. Ducati and Maschine will take care of the details so you can simply relax and enjoy the experience.


text:
Q: Bulk Rectification Capacitor Exploded on Tesla Coil Halfbridge I have been troubleshooting a clicking noise on my Tesla coil driver that causes the system to stop working if my AC line voltage got to high (80V when system is designed for 120V). Suddenly one of the main rectification capacitors (1000uF 250V) puffed smoke violently... I'm guessing the clicking sound was the capacitor breaking down and arcing internally... I have multiple small ceramic capacitors also on the circuit to bypass any RF from the main supply line.

*

*1000uF 250V mfg p/n:381LR102M250K052

*2.2uF 630V are generic film caps

*4.7nF (Schematic 0.1uF) 1kV mfg p/n:S472M39Z5UN63J5R

I'm trying to figure out if it is my design that caused the failure, or just an unlucky capacitor being ran near its rating.
Does anyone see any issue, such as an RF path through the bulk capacitance (the 1000uF caps)?

A: Design fault
Your Cap ripple current exceeding spec. on primary side by a wide margin.
Based on typical caps of that size, Imax @120Hz is rated at a few amps.
Meanwhile using half rectified AC @60Hz Zc (1000uF)= 3 ohms so ripple current starts at 80V/3 Ohms *50% df= 13.3 A then reduces as it charges up , then controlled by PWM load.
There is no provision for current limiting with ICL's on primary side or regulation with current sensing on secondary side.
Meanwhile a random power-on at 80V or even 120V into an ESR of about 0.1 Ohms can lead to >80A surge currents with a time constant depending on ESR*C = T, time constant. I might expect 100us

A: 120 VAC is the RMS (root mean square), its 169 V peak, and 338 V peak to peak. So at 80 V RMS (what your meter reads) its really ~226 V peak. I suspect it is blowing at slightly over 80 volts (closer to 88).

redpajama_set_name: RedPajamaStackExchange


Jan 28, 2015 ... A story of drinkers, genocide, and unborn girls. ... War II, when the Soviet Union lost close to 15% of its population, many of them young men.
Want to know how many people are in the world right now? ... people as the world population and 136,120,354 km2 (52,556,368 mi2)as Earth's total area.
Sep 4, 2014 ... Why Do We Have More Boys Than Girls? .... What Happens If We Bring the Sun to Earth? ... Why Do India And China Have So Many People?
Apr 23, 2018 ... With 250 babies born each minute, how many people can the Earth ... Since the 1960s, more boys than girls have been born every year.


The World's End is like nowhere else in Brighton. Four player virtual reality booths, a remote control racetrack, 50 craft beers and Wolfsmouth kitchen - you won't want to go home. Bad news, we'll kick you out at the end of the night. Good news, you can come back the next day. There's so much to do that you'll never get bored.
Seriously, what other pub in Brighton has a fully equipped retro gaming arcade upstairs? There literally aren't any. Not a single one. Apart from us.


Richard Davis has a B.M. from California State University at Northridge. He is a performer and composer in classical, jazz, popular, country, and East Indian music, and his performance credits include Phylicia Rashad, Betty Buckley, John Denver, and Illinois Jacquet. His film and television credits include Robin Hood: Prince of Thieves, The Last Boy Scout, The Fall Guy, and others.


Complete Dining Experience with Wine for Two at Marco Pierre White's London Steakhouse Co.
Choose from lunch or dinner at one of Marco Pierre White's buzzing London restaurants; London Steakhouse Co. - City in Bishopsgate or his London Steakhouse Co. - Chelsea. This fantastic dining experience starts in style with a delicious welcome cocktail and the all-inclusive package means you can enjoy a full luxury meal confident of what's on your menu.
The Luxury experience includes not only your starter, main and dessert but also a side order each, tea or coffee and a bottle of mineral water to share. Service charge is also included on all those items, so you don't need to worry about spending a penny, unless you decide to upgrade your 8oz House Cut steak to a fillet or rump steak. Of course, if you fancy going for additional food or drink on the day, you may do so at an extra cost with service charge. Although the Marco Pierre White Restaurant is a steakhouse, there are other meat, fish and vegetarian options so even if steak is not your cup of tea you can still relish in this gourmet treat.
On arrival at your chosen restaurant you'll be seated and can start perusing the menu specifically created by award-winning chef Marco Pierre White. You may choose from a range of dishes for each course, with one side each. The menu changes depending on seasonality but is sure to feature the finest quality produce available, and your meal will be served along with a bottle of wine up to the value of £30, a bottle of water with coffee or tea to finish.
Some date restrictions, including Christmas Day, Boxing Day, New Years Eve, New Years Day and Valentines Day will apply.
Service, food, wine, restaurant fabulous.
This experience was bought for me as a birthday gift and we had a fantastic time. The staff at London steakhouse Chelsea were great and looked after us really well. The food was excellent too.
Excellent food excellent cocktails and wine and very efficient staff.
"Very enjoyable freebie from Samsung"
I got a voucher for the Virgin Experience Day when I bought my washing machine. There is a bit of a palava sorting it out but I managed to follow all the instructions and got a really nice meal for two at the London Steakhouse Co in the City. Lovely atmosphere, very tasty food. The cocktail was nice and so was the bottle of wine. We upgraded our meal as I wanted the 6oz fillet. Beautifully cooked. I would use again I think. They didn't treat you like a 2nd class citizen for grabbing a bargain.
The restaurant had a great atmosphere and the tables were not too close to each other so you had privacy. The service was faultless and the food was delicious with the portions just right. The whole experience was wonderful.


text:
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redpajama_set_name: RedPajamaCommonCrawl


Hyperion, your one-stop Tools & Supplies Superstore!
The Hyperion Heat Resistant Silicon work mat is a another must have tool in your workshop. This work mat comes in a size of 33cmx21cm and comfortably allows you to work with sensitive electronic devices. The work mat is Anti Static that means, you can work with expensive components without fear of dissipating static electricity from your body. Human static discharge can render some electronic components beyond repair. And yes it is Heat resistant upto 300deg C, so you can solder/desolder pcbs, components without burning your work bench.
This mat features molded compartments on one side for easy placing of components and screws in separate compartments and not mixing them all, making for easy sorting and assembly. Further the Anti skid base ensures that you are not moving across the work bench along with the components. Hobbyists and DIY lovers will love this product and definitely want to have one. Perfectly suited for mobile repair workshops, Electronic assembly repairs, computer and laptop repairs etc.


text:
A savant-szindróma (ejtsd /səˈvɑːnt/,  annyi mint 'tudós, tanult [ember]'), amelyet néha savantizmusként említenek, egy olyan ritka állapot, amelyben a fejlődési rendellenességben szenvedő emberek egy vagy több területen olyan szakértelemmel, képességgel vagy éleselméjűséggel rendelkeznek, amelyek ellentétben állnak az egyén általános képességeinek korlátozottságával. Habár az orvostudomány által nem elismert kórmeghatározás, Darold Treffert  kutató szerint ez az állapot lehet genetikai vagy szerzett.

Treffert szerint a savant-szindrómával rendelkező emberek felénél jelentkeznek autista rendellenességek, míg a másik felének egyéb fejlődési rendellenességei vannak, mentális retardáltság, agyi károsodás illetve sérülés. Azt állítja: "…nem minden autista személynél jelentkezik a savant-szindróma, és nem minden savant-szindrómát fölmutató embernek vannak autista rendellenességei". Más kutatók szerint az autista jellemvonások és a savant képességek összekapcsolhatók, illetve kétségbe vonhatók egyes korábbi következtetések a savant-szindrómáról, mint pl. "szóbeszéd, független kutatások által meg nem erősített jelenség".

Egyes, a savantokhoz hasonló kiemelkedő részképességekkel bíró emberek esetében a páratlan képességeiken kívül semmilyen más szemmel látható abnormalitás nem figyelhető meg, bár ez az eset nagyon ritka a mentális korlátozottságtól is szenvedő savant-szindrómásokéhoz képest. Hogy ilyen esetek léteznek, az nem azt jelenti, hogy a "látszólag normális" savantok esetében ezeket a képességeket nem valamilyen agyi rendellenesség idézte elő, de mindenképp csökkenti annak az elméletnek a súlyát, miszerint minden savant munkaképtelen ("zseni savantok" létezése), illetve ama korábbi megfigyeléseken alapuló feltételezését is, miszerint a savant képességek más, "normális" képességek (a nyelvi és szociális normáknak való megfelelés stb.) rovására alakulnak ki ("trade-off"-elmélet)

Jellegzetességek

Treffert szerint szinte az összes savant általában a zseniális emlékezőtehetség egy különleges formájával rendelkezik, amelyet ő "nagyon mély, de szerfölött korlátozott"-nak jellemez. Korlátozott abban az értelemben, hogy elő tudják azt a bizonyos dolgot idézni, de gondot jelent számukra annak a gyakorlati alkalmazása. Olyan savantokkal is találkozhatunk, akiknek hihetetlen képzőművészeti vagy zenei képességei vannak. Gyakori, hogy a savantok a naptári napok átlag feletti ismeretében jeleskednek, őket "emberi naptárnak" is szoktak nevezni. Jellemző az is, hogy konkrét személyes emlékeket tudnak visszahívni bármilyen megadott dátumból. Ezekhez a "szuper erőkhöz" a fejlett memória a kulcs.

Hozzávetőlegesen a savantok fele autista, a másik felénél pedig gyakran valamilyen központi idegrendszeri betegségből vagy sérülésből származó elváltozás figyelhető meg.

Okok

Savant-szerű képességek mindenkiben rejtőzködhetnek, és azok szimulálhatók az egyénekben, amennyiben alacsony frekvenciájú mágneses rezgéseket irányítunk a bal agyféltekébe, a célból, hogy megbénítsuk ezt a domináns területet (a jobbkezes emberek legalább 90%-ánál), ezáltal lehetővé téve a kevésbe domináns jobb féltekének, hogy átvegye a másik szerepét, lehetővé téve ezzel a savant-szerű feladatok létrejöttét.

Működés

A savant-szindróma nehezen érthető. A nem széles körben elfogadott kognitív elmélet szerint a savantokban a tehetség és a hiány keveredik. Ez az elmélet azt sugallja, hogy az autista egyének hajlamosak a részletekre összpontosító feldolgozásra, és ez a kognitív modell fogékonnyá teszi mind az autista, mind pedig a nem autista egyéneket a savant képességekre. Egy másik hipotézis szerint a hiper-rendszerezés hajlamossá teszi az embereket, hogy megmutassák tehetségüket, amelyben a hiper-rendszerezés egy szélsőséges állapot a beleélő-rendszerező elméletben, amely az embereket a másik ember iránt érzett empátia képességek alapján osztályozza, szemben a külvilág tényeinek rendszerezésével. Mivel a részletek iránti figyelem kimutatható sok savant esetében, így ez a hangsúlyozott észlelés következményeként vagy érzékelési hiperszenzibilitásként értelmezhető az autista egyéneknél. Felvetődhet az az elgondolás is, mely szerint a savantok olyan alacsony szintű, olyan kevésbé feldolgozott információkkal dolgoznak, amelyek ugyan minden emberi agyban léteznek, de ezek normális körülmények között tudatosan nem elérhetőek.

Létezik olyan elmélet is, miszerint egyes autista emberek azért fejlesztenek ki savant képességeket, mert azok tulajdonképpen választ jelentenek az ő sérült szociális képességeikre. Azaz, mivel képtelenek megérteni a szociális kölcsönhatásokat, ezért velük született kényszerből figyelmet kell szentelniük arra, hogy az emberek hogyan művelik és építik föl a megtanult kölcsönhatások tárházát, amelyeket ők megérthetnek, és számukra hasznossá is tehetnek. Ennek következtében az a mód, ahogyan ők ténykednek, eleve fogékonnyá teszi őket arra, hogy a továbbiakban is elemezzék és elraktározzák az információkat, innen a 'hangsúlyozott' emlékezet. Gyakran találkozhatunk az ilyen képességekkel rendelkező emberek körében olyanokkal, akiknek például a személynevek, vagy az arcok felismerése olyan könnyen megy, mint autista spektrumú rendellenesség nélkül élő személyek esetében, miközben ők maguk nem is érzékelik, hogy ez fontos dolog, mint amilyen fontosak akár az elemek a periódusos rendszerben. Ez azonban megkülönbözteti az egyént az autista savanttól, aki fiatal korában azonosítani tudta az emberek arcának sajátosságait a neveikkel, mint egy nagyon fontos képességet megtartotta, s e képesség olyan kivételessé vált, amely meghaladja a 'normális' populáció képességeit.

A savant-szindróma hatszor gyakrabban jelentkezik a férfiak körében, mint a nőknél, de ez a különbség nem hasonló mértékben jut kifejezésre az autista populációt illetően. Ez vezetett ahhoz a föltételezéshez, hogy a Geschwind-Galaburda hipotézis alkalmazható a savant-szindrómára, miszerint mind az agyi sérülés, mind a savantizmus veleszületett tulajdonságként jelentkezik.

Epidemiológia

Treffert szerint:

 Tíz autista személy közül egy felmutat savant képességeket
 A savantok 50%-a autista; a másik 50%-nál egyéb fejlődési rendellenességek jelentkeznek, mentális retardáltság, vagy más, központi idegrendszeri károsodás illetve sérülés
 A zseniális savantok esetében jelentős mind a betegség, mind pedig a fogyatékosság mértéke
 A férfi savantok aránya a női savantokkal szemben 6:1

Egy 2009-es brit tanulmány szerint, amelyben 137 olyan szülőt vizsgáltak meg, akiknek autista a gyermeke, azt az eredményt mutatja, mely szerint a megvizsgáltak 28%-a hitte azt, hogy az ő utóda eléri a savant kritériumok szintjét, azaz, olyan képességgel vagy tehetséggel bír, "amelynek szintje még a normális emberek esetében is szokatlan lenne."

Nincs róla pontos és objektív adat, hogy hány ember rendelkezik savant képességekkel. A becslések szerint rendkívül ritka, kb. 10-ből egy autista személy rendelkezik a savant szindrómára jellemző tünetek egy bizonyos fokával.

Történet

Treffert szerint az idióta savant terminust (franciául "tanult idióta" vagy "tudásra képes idióta") először John Langdon Down alkalmazta 1887-ben, hogy leírást adjon érdekes esetek egy osztályáról. (Dr. Langdon Down nevéhez a down-szindróma (a 21. kromoszóma triszómiája) köthető. 1887-ben az "idióta" egy elfogadott osztályzása volt azon embereknek, akik 25 alatti intelligenciahányadossal rendelkeztek. Az "idióta savant" terminust a későbbiekben téves elnevezésként jelölték, mivel ma már tudjuk, hogy nem minden leírt eset felelt meg az idióta meghatározásának. Az autista savant terminust is használták ennek a rendellenességnek a diagnosztizálásához. Hasonlóan az idióta savanthoz, az autista savant terminust is téves elnevezéssé nyilvánították, mivel a savant-kórral diagnosztizáltaknak csak a fele volt egyidejűleg autista is. A diagnózis pontos megállapításának szükségszerűsége és az egyén méltóságának megőrzése érdekében a savant-szindróma, vagy savant-kór vált széles körben elfogadott terminológiává.

Társadalom és kultúra

Kim Peek volt az, akiről az Esőember (1988) című film főszereplőjét mintázták, mivel ő megasavant volt.

Dr. Murphy a Good doctor sorozatban autizmussal és savanttal küzdött, de remek sebész és boldog ember lett.

Képességek
Az emberi képességek széles repertoárját figyelembe véve érdekes, hogy a savant képességek általában csak öt fő kategóriát érintenek: a zene, általában előadás, leggyakrabban zongorán. A képzőművészet felöleli mind a rajzolást, mind a festést vagy a szobrászatot. Naptárszámítás (érdekes mód megmagyarázhatatlan képesség a legtöbb személy esetében). Matematika a villámszámolást is beleértve, vagy a prímszámok számításának képességét, pl. az egyszerű aritmetikai tudás hiányában is. Mechanikai és térbeli képességek távolságok pontos bemérése műszerek használata nélkül, összetett modellek megszerkesztésének képessége rendkívüli pontossággal, a térképkészítés és az irányok megtalálásának képessége.

A savantok körében leggyakrabban a splinter képességek fordulnak elő, amely a zene és sport adatainak, a térképek, az autórendszámok, a történelmi tények, a furcsa tárgyak, mint pl. a porszívómotor hangja, memorizálását ill. a velük való megszállott foglalkozást jelenti. Tehetséges savantoknak nevezik azokat az értelmi fogyatékos személyeket, akikben a zenei, képzőművészeti vagy más különleges képességek hangsúlyosabbak, nagyra becsültek általában egy szakterületen belül, és nagyon elütnek az általános visszamaradottságtól. A zseniális savant fogalom azon egyének számára van fenntartva, akikben a különleges képesség annyira kimagasló, hogy akkor is szenzációs lenne, ha egy nem fogyatékos személyben jelentkezne. Valójában a zseniális savantok szerfelett ritkák, száznál is kevesebbet jegyeztek föl e tárgy irodalmában több mint egy évszázad során. Treffert, a savant-kór vezető kutatójának becslése szerint talán ötven, ha él napjainkban az egész világon. A Wisconsin Orvosi Társaság (Wisconsin Medical Society) weboldala 29 savant életrajzát mutatja be. Darold Treffert volt korábban ennek a társaságnak az elnöke.

Savant személyek

Az alábbi személyek olyan ismert emberek, akiknél savant-szindrómát állapítottak meg, és tehetségüket jegyzik az azonosított területen:
Henriett Seth F. magyar költő, író
 Buckethead, virtuóz gitáros
 Kim Peek, emlékező, gyorsolvasó és számoló, de nem autista. Az élete során elolvasott 12 ezer könyvet hihetetlen pontossággal visszamondta.
 Daniel Tammet, sokoldalú brit autista savant (matematikai szinesztézia, nyelvi befogadás, memória). El tudja mondani a pí számsorát egészen 2200 számjegyig, továbbá egy hét alatt megtanult izlandiul, amely nem egy könnyű nyelv, olyan szavak szerepelnek benne, mint pl. a byrjunarörðugleikar.
 Alonzo Clemons, amerikai agyagszobrász
 Tony DeBlois, vak amerikai muzsikus
 Leslie Lemke, vak amerikai muzsikus
 Jonathan Lerman, amerikai művész
 Tristan Mendoza, Fülöp-szigeti marimba zseniális savant
 Gottfried Mind, svájci művész, autista rajzoló és állatfestő, "Raphael of Cats"
 Derek Paravicini, vak brit zenész
 Gilles Tréhin, művész, író
 James Henry Pullen, tehetséges brit ács
 Matt Savage, amerikai autista jazz zseniális savant
 Stephen Wiltshire, brit építőművész
 Richard Wawro, brit festőművész
 George és Charles Finn, naptárszámláló ikrek
 Florence 'Flo' és Katherine 'Kay' Lyman, naptárszámláló ikrek. A TLC televíziós társaság által készített dokumentumfilm mutatta be őket, Twin Savants: Flo & Kay címmel.
 Temple Grandin, a Colorado State University állattani doktora, állattenyésztési tanácsadó az állatok viselkedését illetően
 Trevor Tao, nemzetközi sakk nagymester, vitathatóan testvére (Terence Tao, jelenleg talán a világ legsikeresebb matematikusa) is savant
 Jason D. Padgett, amerikai számolóművész

Jegyzetek

Fordítás

Kapcsolódó szócikkek

 Autizmus
 Asperger-szindróma
 Eidetikus memória

Mentális zavarok
Szindrómák
Autizmus

redpajama_set_name: RedPajamaWikipedia


Commercial & Residential Architectural Projects - Pro Draft, Inc.
The short answer is "we do everything". The very nature of a drafting house works like a hub in the building industry. We work closely all aspects of the construction process including Architects, Engineers, Owners, Contractors and Federal, State and County agencies. Whether were working behind-the-scenes for individual firms or working directly with owners and agencies as the principal firm, Pro Draft Inc. has the resources and experience to get the job done right.


RåFILM arranged a drop-in animation workshop that was followed by a public screening event that took place in the public library Garaget in Malmö, Sweden. During the screening, animations that were made in the drop-in workshop earlier in the day, as well as animations made during RåFILMS workshops in Denmark and south of Sweden,were screened. The pedagogues from RåFILM also shared their experiences and knowledge learned from the workshops. The workshop and screening was very successful, with an attendance of 80 children and parents making animations and watching them on the big screen.


The 8th Young Researchers' Seminar was held on May 16 – 18, 2017 in Berlin, Germany, hosted by the German Aerospace Center (DLR).
The Young Researchers' Seminar is organised every two years in a different European country. The common vision for the Seminar is the preparation of a new generation of transport scientists and science based professionals in the area of transport.
To enable the networking of young transport researchers belonging to the Supporting Organizations Members, ECTRI, FEHRL, FERSI and from United States' Universities.
To train young researchers, by tutorial means through a retroactive manner, to elaborate, prepare papers and present oral scientific communications.
Therefore, this Seminar is not only aimed at scientific excellence, but also at presentation skills and the ability to put science into practice.
Since 2007, thanks to the Memorandum of Understanding between ECTRI and the Transportation Research Board from the United States, participation to the Seminar has been opened to young researchers and tutors from the US Universities.
What are the topics of the Seminar?
The young researchers are incited to participate by their own institutes. They are preferably post-doc (less than 5 years after PhD) and are involved in one of the 5 research domains.
The tutors are senior researchers from the Supporting Organizations but also from United States' Universities (international cooperation through ECTRI-TRB Memorandum of Understanding).
content oriented through technical sessions with oral presentations of 20 minutes and 10 minutes Q/A.
scientific methods on tools and research process sessions.
The three best papers and presentations will be selected for awards by the Steering Committee based on the tutors' recommendations and announced at the closing session of the Seminar.
Besides the scientific activities, where tutors shall moderate the content sessions that are organised under the supervision of the Steering Committee and retroact to the presentation, there are networking activities such as technical and social visits and an official dinner.


Here's my memes, along with some great quotes, for Chapter 5: Principles of True Repentance from this year's manual for Relief Society and Priesthood, Teachings of Presidents of the Church: Ezra Taft Benson. (Most wards will teach this lesson on March 8th; lessons from the manual are usually taught on the 2nd and 3rd Sunday of each month.) Please feel free to use these for non-commercial, gospel sharing purposes!
"If it were not for the perfect, sinless life of the Savior, which He willingly laid down for us, there could be no remission of sins.
"One of Satan's most effective strategies with those whom he has lured into sin is to whisper in their ears that they are not worthy to pray. He will tell you that Heavenly Father is so displeased with you that He will never hear your prayers. This is a lie, and he says it to deceive us. The power of sin is great. If we are to extricate ourselves from it, especially serious sin, we must have a power greater than ourselves.
Posted in LDS Lesson Helps, LDS Memes and tagged #didyouthinktopray, Alma, Change of Heart, Christian, Ezra Taft Benson, Forgiveness, God, Heavenly Father, Jesus Christ, LDS, Mormon, Priesthood, Relief Society, Repentance, Teachings of the Presidents of the Church, The Church of Jesus Christ of Latter-day Saints. Bookmark the permalink.


text:
Q: What code wiill run in Dartium if both Dart and JS files are linked in the page? I have a link to dart source file to develop and debug my app and a link to JS bundle file for production.
I think about putting them together like this:
<script type="application/dart" src="app.dart"></script>
<script src="app.js"></script>

I suppose regular browsers will ignore first link and use second one.
But, which of them will run in Dartium?
Should I put them together at all or should I put dart for development and js in the release dynamically?

A: The recommended way is to have these tags in your page:
<script type="application/dart" src="app.dart"></script>
<script src="packages/browser/dart.js"></script>

The dart.js file is used to check for native Dart support and either download the Dart script or load compiled JS. See this page for more info: https://www.dartdocs.org/documentation/browser/0.10.0%2B2/
When you build your app for deployment you should replace the 2 tags with the Javascript version.
<script src="app.dart.js"></script>

You could do this automatically with the dart_to_js_script_rewriter transformer.
See https://pub.dartlang.org/packages/dart_to_js_script_rewriter
For this to work, you should have this in your pubspec.yaml
dependencies:
  browser: any
  dart_to_js_script_rewriter: any
transformers:
- dart_to_js_script_rewriter


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text:
Sustainable bioproducts in concrete? FPInnovations is making it happen, and fast!
Bioproducts July 21, 2021
There's no end in sight to the worldwide interest in sustainable bio-based materials. Their role towards a global and sustainable bioeconomy is crucial. Integrating local bio-sourced products in concrete applications has specifically been a growing interest for the Canadian government and industry.
In its efforts to introduce forest-based biomaterials to new markets, FPInnovations developed expertise in concrete over the past few years and has been working with the concrete industry towards the use of innovative bioproducts in concrete applications. The concrete industry has been praised for its efforts in seeking innovative products to continuously improve its material properties, to reduce its carbon footprint, and to compensate for depletion of suitable raw material sources.
Global market trend
Micrograph of a breaking cement paste sample showing cellulose fibre anchored within the cement matrix.
The use of cellulosic bioproducts in concrete has specifically been gaining momentum in recent years, which has led to the emergence of new products across global markets such as Cellulose Filaments (CF).
"Cellulosic bioproducts hold unique characteristics and properties that make it stand out as a major player in the bioproducts market and that make it a great addition to concrete applications", says Frédéric Lory, Project Leader at FPInnovations. When derived from sustainably-managed forests such as Canada's, cellulosic bioproducts can be renewable and can reduce carbon emissions of the concrete industry through carbon storage and through reduced greenhouse gas emissions. They are also readily available in volume since they are a byproduct of other forest operations processes, and are easy to handle and transport in large quantities.
Research conducted by FPInnovations and other research groups has found that adding cellulosic bioproducts such as CF as an additive in concrete can be beneficial in many ways:
Improves the service life of concrete structures (stability at fresh state and freezing/thawing durability)
Reduces maintenance costs (better durability and longevity of structures)
Economically competitive, compared to other types of concrete additives
FPInnovations' in-house concrete lab
Measurement of the air content of fresh concrete.
To develop and enhance its expertise in concrete, FPInnovations built a remarkable in-house concrete laboratory over the span of 3 years.
Since its creation, the in-house concrete lab has received widespread recognition and praise from concrete industry players. Here's why:
The lab has testing stations for the entire life cycle of concrete: from the first few minutes of its fabrication when mixed, all the way to its end of life.
The lab has highly specialized equipment (including calorimeter, dynamic mechanical analyzer (DMA), and cement paste rheometer), that are not readily available at standard laboratories.
The lab has access to other equipment and expertise developed at FPInnovations over many years.
Storage of concrete cylinder in lime saturated bath.
The lab offers an agile environment for the development of bio-sourced products within the context of concrete production. The synergy between the concrete and the bioproducts laboratories and expertise at FPInnovations opens the door for future collaborations and allows for exciting new ventures. The lab is in constant evolution and is continuously being upgraded and fine-tuned.
Flow table test for mortar mix.
"Unique within North America, the concrete lab has been a major stepping stone towards the development of new and innovative bioproducts for concrete applications that are market-ready", adds Lory. In fact, new scientific breakthroughs in CF in concrete research are leading to major and exciting advancements in the field.
Long history with CF
FPInnovations has been at the forefront of CF research with scientists in laboratories in Montreal, Quebec and Vancouver, British Columbia. Researchers continue working towards improving the functionality of CF, and have taken it out of the lab and into production. In fact, FPInnovations' CF production technology has been commercialized twice: in 2014 in collaboration with Kruger Biomaterials, and again in 2020 in collaboration with Resolute Forest Products.
FPInnovations: a bridge between industries
FPInnovations holds a unique position as the bridge between the forestry and the concrete industries: It has expertise in bioproducts, newly-acquired expertise in concrete, as well as a complete understanding of supply and production chains.
Cement paste prism for shrinkage measurement containing cellulose fibre.
FPInnovations' position also allows it to offer a complete and dynamic solution: its research professionals are able to not just test cellulosic bioproducts in concrete applications, but also modify, improve, and adapt the integration approach based on the specific needs. The constant communication and collaboration between FPInnovations and its various partners also ensure faster product innovation and market-readiness.
Well, it's a beehive!
Scientific research is advancing fast, and FPInnovations is actively pursuing industrial solutions in response to new global economic, environmental, and societal needs. FPInnovations is focusing its efforts on creating a comprehensive strategy for the development of bio-sourced products in concrete applications.
FPInnovations latest research findings are opening the doors to new and exciting opportunities, so stay tuned! For more information, contact Frédéric Lory, Project Leader at FPInnovations.
Lignin from Canadian forests: the secret ingredient…
FPInnovations' recent publications - August 2020
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text:
title: "Become A Committer"
---
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# Become a Committer

An Apache Beam
[committer](https://www.apache.org/foundation/how-it-works.html#committers) has
write access to the repository for merging pull requests, but you don't have
to be a code contributor to become a committer. Becoming a committer means that
you have the project's trust. Read the [ASF
documentation](https://www.apache.org/dev/committers.html#committer-responsibilities)
for more about being a committer in the Apache Software Foundation.

The [PMC](https://www.apache.org/foundation/how-it-works.html#pmc-members)
makes someone a committer via nomination, discussion, and then majority vote.
We use data from as many sources as possible to inform our reasoning. Here are
some examples:

 - [dev@ archives](https://lists.apache.org/list.html?dev@beam.apache.org) and [statistics](https://lists.apache.org/trends.html?dev@beam.apache.org)
 - [user@ archives](https://lists.apache.org/list.html?user@beam.apache.org) and [statistics](https://lists.apache.org/trends.html?user@beam.apache.org)
 - [`apache-beam` StackOverflow tag](https://stackoverflow.com/questions/tagged/apache-beam)
 - Git metrics for [Beam](https://github.com/apache/beam/graphs/contributors)
 - Code reviews given and received on
   [Beam](https://github.com/apache/beam/pulls)
 - Clear areas of ownership (a runner, a DSL, IO connector, documentation,
   etc.)
 - Public events
 - Firsthand PMC testimonials

The PMC has assembled the following set of guidelines for becoming a committer.

## An Apache Beam committer...

### Takes many forms

There are many actions other than coding that build the trust we place in a
committer - code review, design discussion, user support, community outreach, improving
infrastructure, documentation, project management, etc.

### Knows, upholds, and reinforces the Apache Software Foundation code of conduct

See the [ASF
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text:
RL269 - Yelling at the Radio
This week, Merlin and John talk about:
Podcon 2017 (Shows and Events)
In the Air tonight (Music)
Production choices for the first Long Winters album (Career)
The OP-1 synthesizer (Music)
John wanting to be a record producer (Career)
The 3-item list with things to get done (Personal Development)
John's graduation-envelope from the University of Washington (Education)
The problem: John failed to be quiet, referring to Johns inability to be quiet during the "quiet is the new loud" era of Indy Rock.
The show title refers to John yelling at the radio when he listens with the ears of a producer and discovers things he would have done differently.
Merlin is trying a new audio interface and John is his first victim. He is not peaking because he hit the limiter dip switch, but John is always peaking without understanding why. He has those little meters on his interface and it looks right every time he looks at it, but when he looks away, he has a peak on it.
Podcon 2017 (RL269)
The Podcon conference was in town recently, put on by Hank Green, his brother Frank Green and the McElroy brothers. No-one had called John! Some fans told him that they were coming through town and a local journalist asked John to introduce him to the McElroy brothers because apparently they had mentioned him from the stage on their show. They always thank John at the end of every episode and tell the listeners where to get a copy of John's album, which is wonderful, but they still didn't invite him to the Podcon happening in his own town!
John was up early to meet a friend friend for coffee who was here to see the Con before he was recording with Merlin (which is Monday morning at 10:00am Pacific time). He got up, started the truck to let it warm up, got out with a glove and wiped the frost off the windows, drove to Randy's, had a chicken-fried steak and eggs and he was back in the saddle at 10:03am. After the recording he is going to a radio appearance, then he is going to his psychiatrist and then he is going to fancy dinner somewhere - all in one single day to make up for all the other days where he doesn't do anything.
In the Air tonight (RL269)
On the way home John started singing Phil Collins' first solo hit "In the Air Tonight" Of course he was having the usual thoughts about it, like "What an unusual single! What an extraordinary choice to have as a first single, who would have thought?" Then he did this thing that he very rarely does: While he was at this two-minute traffic light, he was going to get a little bit more familiar with In the Air Tonight, a song that he knows as well as his own shirt. He looked at the lyrics because they have so much story in it. He was assuming that there would be some lyrics he didn't know, like some third verse that he had never really looked at and that would gobsmack him when he would read them. John was disappointed as it turned out that he knew them all. There are only two verses and he could sing it through right now. It is even more of an accomplishment that there is nothing in those lyrics. For a long time the story went around that he was watching somebody drown or watching Sting kill his first wife in 3/4 time, but the language is very broad and he could just be mad at his neighbor or having an argument with his sister. Still we add all that menace to it because it is in his voice and the sound of foreboding.
In the Air Tonight is one of those songs that are famously hard to do at karaoke because it has a lot of space and atmospherics to it. It was around the time when Peter Gabriel was doing similar productions with great success. The first three Peter Gabriel albums had a real feel to them, but they had no cymbals! He took the cymbals away! Drummers hate that and he was the first one to ever do it! They talk about Peter Gabriel's first album being produced by Bob Ezrin! If John was reading a copy of Tape Up magazine, he would be throwing elbows and would be right in the thick of it.
Production choices for the first Long Winters album (RL269)
When you are young and listen to music only as a listener, you are not conscious of production and you don't hear the work of the producer. All of us who grew up during a guitar pop era first became aware of production when we learned about George Martin and wondered why The Beatles were so good. As you get schooled on it, you start hearing the production on a lot of things like Bohemian Rhapsody. You hear all those stories, like John Bonham wouldn't let them put the microphones close to the drums. During the making of Pink Floyd albums they used tape loops that Alan Parsons came up with. You hear the story when they were making Rumours (Fleetwood Mac) and they could see through the tape because they had done so many takes on it.
When you get into making records, you get confronted with production as a very real thing that you are deeply engaged in. John had some profound production moments during the recording of the first Long Winters record, because he was collaborating with Chris Walla, Ken Stringfellow and Sean Nelson and he can think back to a couple of key moments where a production choice not only determined the sound of the album, but the sound of the band thenceforth. He thinks of those moments as turning points and at least in one case he wishes he had gone in the other direction.
They were experimenting with a song that did not yet have a band arrangement. Some were been Western State Hurricane songs that John had changed up a lot as he was trying to reinvent stuff. He was trying to go from a band that was pretty post-grunge hard rock. They were a loud band making Indy Rock in the "quiet is the new loud" school, but John failed to be quiet. He sat down tinkering at a piano and in the process he hit upon this sound of the Roland Juno-106 Synthesizer, an instrument with a lot of parameters that can sound like a lot of things. They ran the synthesizer into a big Muff Fuzz pedal and it created this extremely pleasing fat wall of thick fuzziness, like a giant love caterpillar came into the room and wrapped John in his 5000 little stubby green arms.
It is not like they were the first band to ever run a synthesizer into a big Buff, but it created a sound that John heard in his soul, because it sounded like a really big fat guitar that had no strumming. You could play chords and make all the transitions, but there was no rhythmic aspect to the chords and you could put guitars and bass on it while underneath it there would be that low tone, this wall that would communicate this biggest Rockest sound to John. His eyes were as wide as saucers and in his mind he was reinventing everything! This wasn't during mixing, but they had been far along in the recording and John wanted this on everything. It was the sound! When "My Bloody Valentine" made Loveless, they took a Jazzmaster (Fender guitar), ran it into a big Muff and put it on everything. There are 100s of examples of bands, like The Strokes who hit upon that vocal sound that made that record.
John's discovery happened on Mimi and next it belonged on Copernicus. Mimi is a very thick production with a lot going on. John didn't want that keyboard part to be the loudest thing in the mix, but he just wanted it existing. The chords had this additional fatness that would make a unifying sound for an album and for a band. John has no idea whether or not that sound would have appealed to people more than the sound they went with and it is not a thing that is worth speculating about. The Long Winters weren't a band yet and they weren't trying to capture their sound, but John was in the rare position of being able to say that this was the sound of a new band.
John came in the next day and was like "Let's call that up", but Chris said that he had tried to make it work, but couldn't really make it work, so he had recorded over it. Chris perceived himself as the producer and it wasn't the direction he heard the band going. They had an argument about it, but Chris had already erased it. It would have been a change of direction because they had already been quite far in the making of the record. In a situation like that you feel that you don't have the time to do this because you have to get this album done, but 15 years later John realized that they had all the time in the world to make those decisions. You have your whole life to make your first record, but you only have a year to make your second record! That's the thing about the first Long Winters record: At the end it was what it was and because it was a first record, it established the tone of the band going forward.
This wasn't the sound of production that Chris had in mind and he didn't see his job as facilitating the artist, but as a guide, a collaborator or a co-author. From the second record on, John took a much greater hand in making production decisions for better and for worse. As he learned more and more about production and heard it more and more, he couldn't listen to a record anymore without hearing the production until production was his primary path into music. John arrived at a place where if the production didn't grab him right away, he doesn't want to hear it. The Canadian band "Always", the new "Portugal. The man" song and Beck-records all have great production.
Bad production is like listening to a bad podcast. His shoulders hunch up, he gets this just-sucked-on-a-lemon face and he has to get out of it. Anything with vocoder on it is bad production, even more than autotune. Vocoder in particular is an effect that is considered almost "de rigueur" (?). It was superfluous on that Kanye record that came out! Within the autotune/vocoder genre it is as necessary to the sound as distorted guitars are to metal, but John finds it so dull-witted. When he hears it, he is out! The same is true of super-gloss on stuff where everything has been glossed to the point where it is not even conceivable that there would be imperfection in it. For vocoder, you go back to Zapp and Roger (Troutman) or Peter Frampton before that. Zapp and Roger put it into an art form, maybe they beat it to death, but they did some more bounce to the ounce. Eventually people like Cher reintroduced it and "Do you believe in life after love" turned the vocoder from a memory of the distant past to a thing that you can't turn on the radio without hearing it. There is lots of stuff like that where somebody seemed to be able to take a pretty tired thing and mix it up. Merlin tends to tune out pretty quickly if it sounds like all the other stuff he has heard.
The OP-1 synthesizer (RL269)
That most recent Bon Iver record called "22, a million" is an example of a record where John was utterly fascinated by the production to the point that he was yelling at the speakers about it. There are astonishing choices being made and John could feel them being made as they went down. He had this experience of "Yes! Yes!", that thing you want from an artist: Making a choice that is both incredibly gratifying in a way where it feels like obvious / almost pandering to his bassist needs, but also completely surprising and it doesn't feel trite. If you keep scratching on the surface you realize that so much of our media is based on nostalgia and how much stuff is repackaging something familiar.
There is this keyboard called the OP-1, a beautifully machined little synth made in Stockholm, smaller than a Casio SK-1 and longer but thinner than a paper-back book. John saw it for the first time when Mr Gizmo Jonathan Coulton had it and since then he saw it in the hands of a lot of musicians he respected. It gets pulled out of bags backstage all the time! It is very gratifying to have in your hands, it is surprisingly heavy with no plastic on it, the keys feel satisfyingly solid, and it is not cheap at all. It has all this processing power, it has a sequencer, you can loop, it has drums in it and you can make all kinds of music with it. The problem is that it is $1000, so it was the type of thing where John first thought that he needed to get one of those, but then he realized that it is not cheap. The Casio SK-1 was cheap when it was new and later John found them at thrift stores for $5-10. The money for the OP-1 feels absolutely worth it.
It turned out that almost everything on the record "22, a million" was either made with or run through an OP-1, that little fucking gizmo! That is Bon Iver's whole trip! He made his first record out in his dad's cabin on a tape machine made of a beer bottle and a raccoon tail. When "22, a million" came out, John thought "Hoho, now you are Mr. got-all-the-money-in-the-world and you are making a $1 billion record in a studio!", but in fact it is just him with this fucking little thing. When John was yelling at the production, it was the best kind of yelling at the radio: He could feel himself in the producer chair and he heard those tiny choices that he disagreed with. "No, you put the effect on it the first time, but leave it off the second time!" This is what it is like to interact with a brilliantly produced thing: Not as a passive listener, not as somebody who is "wow, how did you do that?" but as somebody who knows that they have agonized over whether or not to do that and in the end they chose to do it, but if John were there, he would have argued against it. That kind of relationship to production is like when you become a musician and for the first time hear the bass line in "God only knows" and now you can never hear it without hearing that triangle.
John wanting to be a producer (RL269)
John wants to be a producer! It is an art that he really identifies with! He wants to help the musician find what they want, but then also advocate for things like "What if we didn't do it on the second one? What if we didn't go back?" John wants to be way beyond an engineer, but not to the point where he is just a name that gets slapped on it, but he would have a palette of things that may accomplish what they have told him to do. In fact, John doesn't want to be an engineer at all! He knows enough about that aspect to say: "I want to side-chain this so it only triggers the reverb when it goes above this" and the engineer knows what John is talking about. He wants to know the technology enough to be able to express what he wants and what he means, like the director is to the DP / cinematographer. You can describe it, but you got people for executing it. John wants to be in the trenches with artists making music, because it is really hard to be the writer, director, star and producer of your own film. Even if you are the writer, director and star, there is generally a producer.
There have been quite a few artists who have considered John as the producer, but he has only ever produced 3 albums that were not connected to him. The most popular one was Shelby Earls debut record "Burn the boats" and he is super-proud of it. He also produced a record for Eric Howk who is currently the guitar player in "Portugal. The man". He is a very mercurial guy and he unfortunately never released it. It is a brilliant record, but he had whatever insecurity about it and then he was like "we made that 10 years ago and it is not really relevant anymore". Then John produced a record for his niece, Elisabeth Roderick that he is also super-proud of, but it is probably hard to find. John was in the running to produce Kathleen Edwards' record "Voyageur", but then she started dating Bon Iver who was at that moment number one on the producer charts. John had a lot of angry things to yell at the speakers listening to that record, because he made a lot of choices for her music that felt obvious to John. She is a female singer/songwriter with an acoustic guitar, so you make Yankee Hotel Foxtrot, but that is probably not what she wanted in her life at the time. It was probably hard for her to say that, because Bon Iver was producing her record and she was also in a relationship with him. John and her had been talking production already and he wanted to make that album sound like the first Pretenders record.
The problem is that the life of a producer is not the life John wants. He has a lot of friends who are producers and that is the career they chose for themselves. It is very gratifying work, but you never see the sun. You go from one completely encompassing project to the next, you work in the studio for 3 weeks with these musicians who are frantically scrambling to get their vision down and you shepherd it all the way from zero to a fully fledged thing. You have to be comfortable with the idea that you don't have all the time in the world, like "That's the take! Moving on!", which is sometimes anti-perfectionism. You make choices and you go until you have a finished product. At the beginning of the record, it could be any one of 1000 things, but at the end of a record it is what it is. You can scrap it and make it again differently, but you are probably not going to, because you made it.
John wouldn't want to do this job all year long. He wouldn't want to make 12 records in a year because it would be overwhelming. He would love to make one or two records a year with somebody. Every time Death Cab goes in to make a record, he tells them that they should let him produce it. In fact, they are making a record right now. John doesn't think they understand how fantastic a job John would do as their producer, but it is not a thing that could ever happen. Every time he brings it up, there is that "Hahaha" and then a little bit of fear in their eyes that he is serious, like when Merlin asks John if he can drive.
Merlin couldn't be a producer, because it requires a skillset that makes his mind swim. A lot of people in the music world think it is a set of skills that could be learned, but there is so much effort put into recording software and recording gear of all kinds. There are so many boxes and so many instruction manuals! The era of home recordists has produced thousands of people who could legitimately describe themselves as producers, because they have produced albums on their Mac. They read the data, they tried things out, they listened to other records, they got really good sounds, ultimately they were able to competently engineer a record. There is an art that can not be learned! There is feel and emotion and when you are talking to musicians about making a record or when you are shepherding that process, you are dealing with the incredible world of this peak-ego moment for people, but it is also the place where they are most vulnerable. Their music is coming from some place inside them that they are maybe not in contact with directly, which is why it is coming out as music.
The producer is paid to raise above all of that. You are empowered by somebody to be the project manager for this piece of art, which is a lot of responsibility. At a crucial level you need to be right down in the blood and guts of it with people, because there are a million producers out there who have learned to do it on their Mac. The singer has recorded a take and asks "How is that?" and the person on the other side is "It was good, how did it sound for you?" which is not helpful at all! Not to diminish the job of the engineer and their skills to make sounds in a studio turn out amazing, but having mostly mastered that and being able to say to try it this way or do that vocal one more time is a very different skill than recording something that doesn't overdrive the speakers. You go from competent to this hazy cloudy world of value judgements, let alone being able to sit down with the singer and go "You are singing this from a place that is not completely believable, because it feels like you are singing it from a space where you are examining the protagonist. The song is written in a language as though the protagonist truly believed his situation and not that he was being examined by someone who is smarter than him. You are the singer, you have written this song in this person's voice and now you are afraid to be that person in the studio. You are thinking you are smarter than that person and you are singing it with your tongue in your cheek and it is not reading."
You need to be able to say that to a singer in the language of the person you are talking to, so they go "Right!" One way to accomplish that is to stop having your voice coming from behind your eyeballs and start trying to make your voice come from between your nipples. You need to be able to connect the intellectual experience of the singer not singing it truthfully and giving them a physiological queue that sounds crazy to someone who isn't a singer. Comparing that job to an engineer is like saying that this guy is a genius at making that race car motor run really great, so that means that he will probably also be a great team owner and a great driving instructor. It is utterly different! The problem is that guys who have taught themselves engineering on their Macs feel insulted by the suggestion that what they are doing isn't production. In the Hip Hop world, if you just make beats, you are called a producer, that is actually the name of the job. It is because the track is just somebody rhyming over what you built. You are the 808-ist, but it is just a track you made and you are not in the job working with the vocalist whether or not they are singing it from behind their eyes or not.
Rick Rubin or Dr. Dre are involved at that level, but there is a lot of music on the radio where you can just tell. As a casual listener you are not often conscious of the fact that the problem you are having with the song and the reason you don't like it is because the singer isn't believable within the music that they have written themselves. They got divorced from what they once wrote, which happens very easily. This is why John can't listen to modern Country, because he doesn't believe any of it. It is all so corny now! Just adding a pedal steel doesn't make it a country song. This is such a versatile instrument, it can make so many tones almost like a synthesizer, but it is criminally underused. The great pedal steel players should just walk out of Nashville and start working with T-Pain.
John has been thinking about being a producer for as long as the fourth Long Winters record went off the trail, because in the making of this record he had evolved to the point where he felt he was doing pretty great production work, which was a separate job from his actual job of being the songwriter and the singer. It was in some ways more interesting to him and what ended up happening was that he effectively produced an instrumental record and he never went in to do his vocals. He partly fulfilled the job of the vocals with melodic instruments and it sounded great, so John couldn't wait to mix it and it was just this frustrating thing that he got to put vocals on it and in the end he never did! He never put vocals on it and the record just sits there unfinished. From the experience of working on that production every day in conjunction with Eric Corsan who has now become a great producer in his own right and who was a great engineer even then, it felt like this was something John could do.
The 3-item list with things to get done (RL269)
In addition to having three unfinished records, four podcasts, and a book deal that he hasn't pursued, does he also need to throw his hat in the ring as a record producer? It feels like what John needs to do is figure out a method of finishing things rather than chase down another thing. That is a hell of an insight!
For 10 or 15 years, John has this list of all the things he wanted to do:
He has been trying to finish that record for 10 years.
He has been trying to finish that book for 20 years.
Has wanted to graduate from college for 20 years.
Every morning John would wake up with a long list: Put your pants on, make some toast, get out of the house, but at the end of every day he never had a list where he had checked off everything! At the end of every day, the list he had left was "graduate from college, finish that book, finish that album", which seemed quite simple because it only had three items on it. It didn't say "Start writing that book", but he already had 450 pages written and he just needed to finish it! John spent 15 years looking at that 3-item list and it was a drag to never be able to check a single thing off of it.
John has never been able to complete a project by making small, manageable choices like "all you need to do today is to cross all the t:s and dot all the i:s" or "write 500 words today".
John's graduation-envelope from the University of Washington (RL269)
In December of 2015 John received a diploma-shaped Manilla envelope from the University of Washington. He looked at it and went "There are not many things this can be and I think that this is my diploma. I think I have graduated from the university!" Even two years later, John has not yet opened it! If John went online he could probably find out whether or not he had graduated, but he is not interested in doing that either and as far as he knows, until he opens that envelope it is not official. John doesn't know why he hasn't opened it. Maybe because it would check one of those 3 things off his list and it will make those other two things on the list even starker. It is not that he waited 15 years to graduate from college, but he waited 30 years to graduate from college. He walked into Gonzaga University as a freshman in September of 1987 and that is 30 years ago, but he was already thinking about going to college when he was 10 in 1977. It is not that John at 49 years old has ever needed to have graduated and have a diploma from the University of Washington, like "there it is!" When his dad was alive, opening it, looking at it, having accomplished it and being able to show it to his dad would have meant something to him. It would also have meant something to his uncles, but now he is just afraid of feeling underwhelmed.
In the fall of 2015 John got a call from the director of the Comparative History of Ideas department John Toews, the man who took over in that role after Jim Claus died (the guy John wanted to start a civilization with). John had seen Jim Claus in the hospital where Jim told John that he should not put off graduating just because it is not perfect! Just do it! Hand in your shit and get out! John said: "Jim, you know I can't do that!" and Jim was like: "I'm telling you! You need to get out! This is my death bed command to you!"
Toews was a friend and a mentor to John and because he was about to retire, he told John that when he will be gone, there will be no living link to anyone who ever taught John or actually saw him as a living person rather than a ghostly chimera that hovers over the CHID-department, a griffin, a winged lion! Nobody will be able to interpret all those weird addenda that are attached to the pieces of paper in John's file, all the post-it notes that say "this looks like that, but in actuality it is this because he did that and somebody promised him this", all the dog-tags in there and the lock of somebody's hair. He said that if John does not graduate now, it is going to be hard later to find anybody who is going to believe it and John has had enough credits to graduate since 2001, but has been putting it off for whatever 1000 reasons!
Toews had John come down to the college where there was a Long Winters poster at the CHID-department wall. John is a chimera, a wrathe who may haunt a grandfather clock! There was all this stuff that needed to happen before he would be able to graduate and John wanted to hand in that thing about Marx he was working on and he just needed to make some modifications to it and all this stuff that he needed to do. He sat down, they had some laughs and although John's memory is hazy, he feels very certain that Toews was putting papers in front of him and had him sign things that eventually produced this envelope arriving in the mail. He got a little bit gaslighted and didn't even realize he was graduating. Then someone from the CHID-department at the university posted on his Facebook wall "Congratulations!" and John was like "For what?" and they commented back "Oh, never mind!" This is all the evidence John has! When that envelope arrived, it had icicles on it. He knew a) not to open it and b) not to throw it away, so it is on the bookshelf since then. He could frame the envelope and leave some instructions about what needs to be done in the unlikely event of his death. John worries already that not opening it is weird and framing it would be a weird affectation, although it feels right to do, because then he would be hanging stuff in his house that he wants people to ask him about.


text:
Urban water profiling for community-wide public health assessment
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Use of dual energy X-ray absorptiometry (DXA) to evaluate changes in body composition and the association with performance changes in skeleton athletes.
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'Utilising Large Sites and Historic Buildings for Tourism Promotion: (Re)Presenting Narratives of Nation Through the Arts'
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UVA-activatable caged iron chelators significantly improve the efficiency of topical aminolevulinate-based photodynamic therapy of skin cancer
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Volume adaptation of the residuum of lower limb amputees over short and long term
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Volunteers' experiences of helping hoarders and hoarders' experiences of being helped
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Wastewater-based epidemiology and future perspectives: testing urban water for community-wide public health assessment
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Wastewater-Based Epidemiology for Monitoring Community Derived Antibiotic and Resistant Genes
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Wastewater-Based Epidemiology for Monitoring Community derived Antibiotics and Resistant Genes
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Wastewater fingerprinting for community-wide public health assessment
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Wastewater profiling for community-wide human exposure assessment from environmental endocrine disrupting chemicals in personal care products
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Wastewater proteomics in community-wide molecular diagnostics of public health
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Water Infrastructure for Human Settlements: Urban – Non-Urban Linkages and Water Access
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Weighted Residence Time: A Useful Indicator of Hemolysis
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What does the Amplification of Risk look like on Twitter?
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When drink kills: Biographical construction by those left behind
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