text:
My Father, Robin Williams, and Me
I feel compelled to write this, as I sit alone in my apartment tearfully reading through the outpouring of grief at the news of Robin Williams' passing. It is no dispute that he was beloved by many, and this sudden and unexpected loss of a such an icon demands to be felt. So many childhoods were molded and enriched by Mr. Williams, and mine was no exception. Jumanji, Toys, Mrs. Doubtfire, Hook, Aladdin, Flubber; all of these films and more are near and dear to my heart, bringing me that pure and uninhibited joy of laughter that is uniquely felt through the eyes of a child.
But Robin Williams has always felt like so much more to me than just an actor on a screen. Growing up, my father was on disability due to increasing health complications from type 1 diabetes, so he was a stay-at-home dad. We would spend hours together watching classic '60s sitcoms; The Beverly Hillbillies, The Andy Griffith Show, and Green Acres were amongst his favorites, and the theme songs to these shows (now forever engrained in my memory) always bring a smile to my face. When not indulging in our favorite throwback shows, we could be found watching any number of classic films. This bonding time with my dad instilled in me a passion for TV and film—with its ability to tell stories, to connect people, and to transport a person to another place and time. It is a passion that has stuck with me throughout my life, to the point of pursuing a degree in Film and Media Production.My point here is that my father had impeccable taste, a palette he passed on to me through a childhood of careful curation. True to his taste and keen eye, Robin Williams was amongst his favorite actors, and I have countless happy memories snuggling with my dad on the couch watching his films, from all those mentioned above to his countless other treasures like Good Morning Vietnam, Dead Poet's Society, Patch Adams, and Jack (a particular favorite of mine as it shared my dad's namesake). I came to cherish Williams, for he seemed to share so many qualities with another stand up guy I cherished above all others, my father.
When my father passed away after years of battling with his illness, my world shattered. I had just turned 21, and even though I was technically an adult, I never felt younger or more lost. He was, and still is, the most important person in my life. I had experienced plenty of close losses through uncles and grandparents, and always knew from a very young age that I would lose my dad too soon. Knowing this made me cling to and cherish him all the more, a knowledge that made losing him the biggest fear in my young adult life. It has been three years since he passed away, and in that time I have become a student of grief. I have learned that while the five stages are real, they are not linear, and one can travel back and forth among them freely. Grief ebbs and flows, and while I miss my father fiercely each and every day, some days it is easier to manage that grief, and others are harder. Today has been one of those hard days.
This truly speaks to the tremendous talent and unique spirit that is Robin Williams, and I say is, not was, for we will forever have the ability to share in his memory through the body of work he left behind, and the lives he touched along the way. After losing my dad, I would watch Mrs. Doubtfire to feel closer to him, not only because Daniel Hillard is one of the greatest on-screen fathers in cinematic history, but because it starred Williams, a go-to father figure for me when I so severely missed my own. To me they have always been kindred spirits, right down to their eyes, which seemed to share this same spark for life, a combination of child-like wonder and mischief mixed with the wisdom of a soul far beyond his years.My heart especially goes out to his children, for I know what it is to lose an amazing father. It is a pain in your heart you carry with you always, but one that can be softened with time. My heart breaks seeing his last Instagram post, a photo of himself and his daughter Zelda when she was a little girl, and resonates with me more than I could ever express in words.
In the sea of condolences we received after my father's funeral, one has always stuck out amongst the rest and has brought me comfort ever since. "Though you may not see the humming-bird sing, if you listen closely, you can always hear his song." I have looked at it as a beautiful way of expressing how a relationship with a loved one does not end with their death, but evolves.
Ashli Krieps is a 24-year-old Iowa transplant chasing her dreams studying Film & Media Production on the sunny West Coast. When not assisting everyone with their Apple products, you may find her submerged in any of numerous fandoms (Harry Potter above all), reading a book, or dancing by herself in her living room. You may check out her work on Vimeo, or follow her on Twitter & Tumblr if you feel so inclined.
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The Mrs. Doubtfire cast reunited for the first time in 25 years, and their Robin Williams stories will make your heart full
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This section provides that this Act does not come into force immediately. It comes into force in accordance with commencement orders made by the Welsh Ministers.
() Section 188 – Coming into force. Legislation.


Potters Fields Park lies at the very heart of London, on the southern side of the Thames. It has sweeping views of the river and iconic views of Tower Bridge, the Tower of London, the 'Gherkin', the gleaming towers of the City of London, the glass dome of City Hall and HMS Belfast. The spacious lawns, peaceful planted areas and riverside location make Potters Fields Park a unique green open space for everyone to enjoy.
Extensively landscaped in 2007, the park you see today has been transformed into a beautiful, world class facility, which hundreds of people pass through and enjoy on a daily basis.
Landscape architects Gross Max created a place for public events and private contemplation; a park which reflects upon its distinctive local history, and provides a safe, clean and restful space within the bustle of the city.
Its sweeping expanses of grass, whispering trees, quiet walkways and colourful herbaceous garden by Piet Oudolf, world famous plantsman, provide an oasis of peace. Bring the family for a picnic; lie on the grass and read a book; have a drink and a bite to eat from the cafe; or just stroll through the park on your way to work – there are so many ways to relax.
It's your park, and we want you to enjoy it.
The park is subject to London Borough of Southwark's byelaws.
The park is managed by the Potters Fields Park Management Trust.
There is a host of wildlife in Potters Fields Park, thanks to the naturalistic garden design with herbaceous perennial beds. We also try to encourage wildlife with bee hives, bird & bat boxes, bluebell meadows and insect hotels.
We always endeavour to improve the wildlife on the park so if you have any ideas or have seen anything on the park please let us know.
Potters Fields Park supports a huge array of plants and you can explore them in detail here. There are over 50 species in the beds and many tree species throughout the park.
The colourful herbaceous garden at the back of the park was designed by Piet Oudolf, world famous plantsman who also designed the highline in New York.
The park has a naturalistic garden design with herbaceous perennial beds. This means that planting is left up over autumn and winter which saves on water and plant replacements. It also encourages wildlife on site.
It's very important to us that the local community enjoys Potters Fields Park and is able to get involved as much as possible. We also feel that the space should be used to educate the public and especially local school children on plants and wildlife.
This section will be updated with new community events and activities for you to take part in.
Whether it's a Big Picnic festival, a free yoga or fitness class, wildlife and plant-spotting clubs or volunteering your time to help, there is sure to be something for everyone.
Community is at the heart of what we want to achieve at Potters Fields Park Trust and we welcome any feedback or ideas.
In August 2017 the Trust started looking after the management of St John's Churchyard park. The park lies to the South of Tooley Street, just across the road from Potters Fields Park. It is a mature green open space designated Borough Open Land (BOL) within the London Borough of Southwark.
There will be lots of changes and improvements, with our dedicated gardening and cleaning team a regular daily presence. Please say hello to them and pass on any feedback or comments you may have.
There are no commercial aspirations for this community park and our primary aim is to make a beautiful green open space for all to enjoy.
Send a question to our gardener - he'll answer anything!
We love it when you ask questions! We just need you to know that by submitting this form you are allowing us to answer your enquiries via email, we won't use your info for any other purposes.
Potters Fields Park has many links with the past, from its rise from the waters of the Thames, to becoming the second financial hub for London.
In the early 1600s, the area became famous for English Delftware after religious persecution forced many Dutch potters to flee from Holland. The Pickleherring Pottery was established in 1618, closing in 1708. In the 1750s, a number of new wharves were built and by 1856 there were two granaries operating from Potters Fields site. Tower Bridge opened in 1894 and by 1906 the Park's river frontage was formed of new wharves and warehousing as part of the Upper Pool of London.
In 1982, a master plan was agreed for the riverside area, including Potters Fields Park.
Potters Fields Park is managed by Potters Fields Park Management Trust, a not-for-profit organisation. You can view the Executive Summary of our 3 year Business Plan here.
To assist in the provision of recreational facilities to improve the quality of life for visitors to the Park.


text:
Turbinaria conspicua är en korallart som beskrevs av Bernard 1896. Turbinaria conspicua ingår i släktet Turbinaria och familjen Dendrophylliidae. IUCN kategoriserar arten globalt som livskraftig. Inga underarter finns listade i Catalogue of Life.

Källor

Stenkoraller
conspicua

redpajama_set_name: RedPajamaWikipedia


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ARMORALL Speed Wax Spray/ 44500EN / Contains a speed wax spray 500ml bottle.


text:
FTX CEO: Billionaires Should be Taxed More
Sam Bankman-Fried – Chief Executive Officer of the cryptocurrency exchange FTX – believes billionaires like him should get taxed at a higher percentage rate. The crypto boss admitted he plans to donate "almost everything" that he earns in his lifetime to charity causes.
Taxing The Rich Sounds Fair
Earlier this year, the US government contemplated imposing a new tax rule. A move that sounds good on paper for some – cure the shuttered economy and bring fresh funds into the Treasury, which later the authorities could distribute accordingly.
The legislation targets mainly the wealthiest individuals. If the bill becomes official, it would mean that the American billionaires, who are more than 600, will be slammed with an additional percentage.
In a recent interview for CNN, Sam Bankman-Fried – Founder of the cryptocurrency trading venue FTX and one of the US billionaires – said he is an advocate of this idea. Despite admitting he is not an expert in the field, he stated that collecting more tax from people like him sounds "totally reasonable."
"I would be generally supportive of that," he added.
On another note, the 29-year-old, known as the richest billionaire under 30, opined that taking part in charities is more important than taxation. He vowed to distribute "almost everything" that he makes over the course of his life to donation causes. These include fights against poverty, pandemic preparedness, and global warming-related projects.
"It's incumbent upon us to give back not just for our own sake and not reputation. It's important to give back to help the world," the top executive emphasized.
Nonetheless, Bankman-Fried argued that some donations are pointless. "Naming buildings after yourself" is one of them, and it has nothing in common with those charities that aim to create global well-being for humanity.
FTX CEO, Sam Bankman-Fried. Source: Bloomberg
Buterin Donates Too
Vitalik Buterin is another young billionaire part of the cryptocurrency industry. In May this year, Ethereum's Co-Founder allocated 50 trillion SHIB tokens to India Covid Relief Fund alongside 500 ETH. At the time of the donation, the amount was worth around $1 billion.
Back then, India was struggling with its worst wave of coronavirus infections, and the health sector was barely coping with the crisis. Buterin outlined the severe problem COVID-19 has created for the Asian country and the entire world and said:
"It's important to think about the longer term future too."
Featured Image Courtesy of Forbes
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The Neptun Education System of the University of Pécs is not available temporarily on 13 January 2019 (Sunday) between 11:00 p.m. and 12:00 p.m.
To avoid any inconvenience, please be informed about your payment obligations on ETR web interface before the shutdown of ETR on October 30, 2015. We will soon provide you with information regarding the new "joint accounts" payment system of Neptun administration system.
Please also note that after the shutdown you will not be able to modify invoices issued from ETR, so if you previously requested an invoice but not used it yet, please be sure to check that the data on the invoice are correct.
The Neptun's messaging functionality works just like other messaging applications. The users can communicate with each other in the system and the system itself also sends informative messages. The users can set to receive these system messages at their e-mail accounts as well.
According to the Code of Studies and Examinations of the University of Pécs: 33/A (1) In the frame of Campus-course the organizational units of the University offer courses available for each student according to the schedule determined by the Educational Directorate for each semester (offering period). (3) Registration for the Campus-course shall be possible from the last workday of the instruction period starting the earliest until the last workday of September or until the last workday of February (registration period).
On the interface of Administration / Requests you can fill in the request templates uploaded by the institution.
Here you are allowed to put in requests electronically to your institution. The requests can be varied according to the case types. The institution edits and uploads their templates to the system. They are displayed for you only in this case.
On the tab of "Available request forms" you have the option to fill in requests uploaded by the institution. This can be done by clicking on the name of the requests or on the line-end "Options/Select" link.
The request appears as part of the interface and after its filling it will be forwarded with the "Save" button. The suspension of filling Request is also possible. You can continue or re-start the filling later with the dedicated button. A red X appears in the "Request filled" column, if you have suspended the filling of the request. The abandoned request may be continued or restarted.
In this window you can upload a file from a library with the "Browse" button and you can also enter a description to it in the "Description" field.
The upload takes place with the "Upload new attachment to request" button.
On the tab of "Submitted requests" you can see your requests that were filled and handed in till now. It might be set that a given request how many times can be completed.
The invalidated requests are not counted in the student's maximum number of available requests.
Since during filling some requests, you may need to see information of your other training, so in case of such requests templates we suggest that you should use the "Suspend filling in" checkbox in order to save the data already filled in during the submission of the request.
The Neptun, similarly to the previous education system, is available from the central website of the university and from the websites of the organization units of the unirversity by clicking on the icon which indicates the education system. Web browsers supported by the software: Microsoft Internet Explorer, Mozilla Firefox, Google Chrome. It is recommended to save the Neptun's website as a bookmark in the favorite browser. On entering the Neptun web interface a login screen appears, on which we can login by selecting the identifier (EHA code) and password received (and the language) from the institution. The Neptun's interfaces are available in three languages: Hungarian, English, German. If you find terms which are not appropriate for the set language (error alerts, orders, other expressions), please send your comments to the following email address: neptun@listserv.pte.hu By changing the language the Hungarian texts on the interface, necessary for login, would also change to the actual language. At the bottom half of the interface you can find the latest news, downloadable documents and useful links uploaded by the institution arbitrarily (in different languages only news, descriptions and documents of the current language will appear). If you try to login the Neptun on a not supported web browser, the program will not let you enter, but a warning message will appear which informs you that you are using an unsupported browser. In such a case, the links for downloading the current versions of the supported browsers will be also displayed, by clicking on which the supported version can be downloaded easily, quickly and for free.
The student may request a full or partial refund of the fees and charges already paid and registered in the educational system if the student did not use the service or only used a portion of it. This tutorial will show the steps of this process.
When logging in this screen first, all exams being posterior to the actual date and announced in the current semester will be shown automatically, but you can also refine the list.
If you are only interested in the exams of a particular subject, select the subject in the "Subjects" dropdown menu and click on "List exams".
The two most significant details are the subject name and the exam date, but beyond them you can see other data in the line such as: "Type", "Limit", "Member/Limit", "Classrooms", "Lecturers", and "Description".
At exams (in the line of the given exam) a red exclamation mark icon is displayed when the number of the taken exam is less than the minimum number defined by the institution. Thus, on the interface you are informed when registering for an examination and when viewing your already taken exams about which exams are not met the appropriate number.
You have the possibility to view the results previously acquired from the subject of the given exam on the "Exams/Exam registration" menu item as well. If you already have a result from the subject of the announced exam, then by clicking the plus icon in front of the line of the exam an internal list opens which contains as many lines as many earlier results you have.
If you have found the searched exam, click on the name of the exam subject or on the line-end "Options /Exam data" link, and data of the selected exam appear in a pop-up window (basic data, courses/registered students, examiners, history).
To register for an exam click on the "Registration" within the "Options" icon in the line of the certain date on the Exam registration interface.
You are able to register for (or drop) an exam only in the exam period specified by the institution/lecturer.
You will receive an automatic system message about your exam registration as well.
You will get this message even if someone else has registered you for the exam.
If you have already registered for the exam, letters of the line of the exam appears in blue and when dragging the mouse over the line a tooltip (popup information box) informs you that you have already applied for this exam. In such cases the "Registration" link is also inactive (but the "Deregistration" link turns into active as previously described, so you can drop the exam just from here).
In this case the system tries to deregister you from the exam concerned and gives a confirmation about successful or unsuccessful operation.
You will receive an automatic system message about deregistration as well, either you have or someone else has performed deregistration from the exam.
If you would like to change the exam of a subject to another exam date, the "Change exam" option appears by clicking on the "Options" icon of the line of the exam in the list of exams.
If you would like to change the exam of a subject to another exam date, click on the "Change exam" option at the end of the line of the exam to be changed.
Then you can view all the other announced exams of the subject in a pop-up window to which you can change the selected exam occasion.
In the exam change window, select the exam occasion to which you wish to change the exam and click the icon at the end of the line of the given exam and then on the "Change exam" label.
Before saving the operation, the program asks a confirmation question in a pop-up window in which you can confirm the exam change intention.
Naturally, exam change is only possible among future exam occasions.
Students have the possibility to pay tuition fee or other charges through Neptun System. By clicking the menu of "Finances" , "Payment" the unpaid items will appear.
If imposing items is allowed for students in your institution, the "Transcribe item" link is available below the filter section, found directly below the height of the "List" button, on the left side of the page. When clicking it, a popup window appears, in which you may transcribe a payment obligation for yourself.
Item data is to be entered in order, one by one, selecting required settings from dropdown menus. For further information about the meaning of settings and the rules concerning various payment obligations please consult the Registrar's department at your institution.
First you have to select the payment title (e.g. service title, which may be a separate procedure or late fees) because additional fields will appear according to the title then.
In case of repeat exam and service titles the institution may require selecting the subject from the "Subject" drop-down menu (for easy identification the subject code also appears after the subject name). In case of service title this depends on the service type.
If you have set everything correctly, then click on the "Create item" button. The system provides feedback whether the imposition was successful or not, and then on the "Payments" tab after setting the filters correctly the transcribed item will immediately appear among your active items.
The name of the imposition item will be the fee type belonging to the payment title (e.g. within service title, the name of an item transcribed with "Deadline omission fee" fee type will be "Deadline omission fee").
The payment process is the same as the normal payment process.
In Neptun, students can only delete unpaid items transcribed by themselves, but not items transcribed by administrators, lecturers of the institution or generated by the system. Accordingly, if the student would delete an item subscribed by someone else, the program prevents the operation and a warning message notifies him/her that only own item can be deleted.
After marking the check boxes in the list of the items to be deleted, click "Delete" button at the bottom of the page.
Dear Citizens of the University of Pécs!


N2IRJ's W1WCR-DESIGNED Beverage antenna was back in action during the latest Liberty Net, and, if the increased check-ins of new stations are any indication, it seems that more and more people are discovering, enjoying, and participating in the longest-running discussion net on the amateur radio airwaves.
A HUGE RAIN AND WIND storm enveloped eastern North America on Saturday, sent static into the ionosphere, and knocked down antennas — including N2IRJ's low-noise Beverage. But back-ups were brought into play within an hour and the longest-running discussion net on amateur radio — the Liberty Net — brought its hallmark intellectual excitement to the airwaves in excellent form.
THE LIBERTY NET continues to become more and more well-known, with numerous new stations hearing about us and checking in every week. The Net Control Station, W1WCR, maintains a list of check-ins and everyone gets his turn — but with the large number of newcomers, that can sometimes take an hour!
CRUSHED BY MANY FEET of snow this severe New Jersey winter, N2IRJ's low-noise receiving antenna nevertheless continues to perform, bringing us this week's Liberty Net recording with almost perfect reception despite variable — and at times very long — skip, and even a few attempts at malicious interference.
THE CONTINUING ANNOYANCE of DRM transmissions from the BBC means that the weekly Saturday night Liberty Net is meeting a little higher up the band than usual, this week on 3969 kHz. But participants are getting used to the change, since check-ins were numerous despite ionospheric disturbances that made close-in stations fade at times.
RADIO CONDITIONS were unsettled this week, but N2IRJ's superb low-noise receiving setup allowed excellent copy of almost all stations on the latest session of the Liberty Net, and there were a large number of new stations checking in as the word spreads about the most exciting net on amateur radio. Since the BBC's DRM transmission has been wiping out the area around 3950 kHz (why can't the broadcasters move to 90 meters and leave 75 meters alone?), the net has been favoring 3966 kHz.
THE TOTALLY BOGUS nature of the Republican establishment was a major focus of the Liberty Net this last week of Summer, and propagation coöperated to make the dialogue audible across most of the continent.
Expect even better conditions as the Fall season approaches and static dies down.
CONDITIONS were excellent and the longest-running discussion net on amateur radio, the Liberty Net, did itself proud once again with in-depth discussions and debate about the political, social, and economic issues that will determine the future of our civilization.
LATELY there's been some real disagreement and debate on the Liberty Net, the longest-running discussion net in Amateur Radio history. Some participants believe that virtually all politicians are liars and totally corrupt servants of the moneyed oligarchs, except perhaps for a tiny number of right-libertarians like Ron and Rand Paul, and populists like James Traficant and Eliot Spitzer. Other "Liberty Netters" believe that the only exceptions to criminal politicians can be found in left-progressives like Dennis Kucinich and the late Ted Kennedy. Is this conflict resolvable? The two sides also have diametrically opposed views on the Tea Party movement. Will patriots who oppose the oligarchs ever come to a consensus? I don't know, but the free speech and cross-fertilization of ideas are bracing and thought-provoking.


text:
Q: IndexError: list index out of range Alguém pode me ajudar? Estou recebendo o erro abaixo, entendi que o programa tenta acessar uma posição inexistente, porém não consigo corrigir...O código é um trabalho que tenho que completar e incrementar:

IndexError                                Traceback (most recent call
last)  in ()
12 cObject.computeMapping("corpus.txt")
13 # Chamada do algoritmo genetico
---> 14 listLog = geneticAlgorithm(cObject, message)
 in geneticAlgorithm(cypherObject,
mensagemCodificada, tamanhoPopulacao, numeroGeracoes, nMelhores)
26       # Fitness pode ser uma lista que armazena os valores de probabilidade
27       print("I antes do fitness:", i, "J antes do fitness:", j)
---> 28       fitness, mensagemTraduzida = cypherObject.computeLogProbability(mensagemCodificada, populacao[j])
29       print("I depois do fitness:", i, "I depois do fitness:", j, "\n")
30
IndexError: list index out of range

O trecho do código com o problema:
def geneticAlgorithm(cypherObject, mensagemCodificada, tamanhoPopulacao=10, numeroGeracoes=10, nMelhores=10):

  # Observacoes
  #   Guardar a melhor probabilidade (criar variavel)
  #   Criar uma variavel para armazenar a melhor traducao

  # Gerar uma populacao inicial
  populacao = []
  newPopulacao = []
  fitness = []
  listaLogProbabilidade = []
  melhorTraducao = []

  listaFitness = []
  for i in range(tamanhoPopulacao):
    listaCaracteres = list(cypherObject.getAlphabet())
    random.shuffle(listaCaracteres)
    resultado = "".join(listaCaracteres)
    populacao.append(resultado)
    print("\n", populacao) # teste para validar se a população está sendo gerada corretamente.

  for i in range(numeroGeracoes):
    # Calcular o fitness da populacao
    #print("Teste de for do i:", i)
    for j in range(tamanhoPopulacao):
      # Fitness pode ser uma lista que armazena os valores de probabilidade
      print("I antes do fitness:", i, "J antes do fitness:", j)
      fitness, mensagemTraduzida = cypherObject.computeLogProbability(mensagemCodificada, populacao[j])
      print("I depois do fitness:", i, "I depois do fitness:", j, "\n")

    # Selecionar os melhores valores de fitness (Posso ordenar os valores de fitness)
    # https://numpy.org/doc/stable/reference/generated/numpy.argsort.html
    # Ordenar valores e retornar os indices dos valores
    listaFitnessIndices =  np.argsort(listaFitness)[::-1]

    # Aplicar alteracoes na populacao
    #   Selecionar os N melhores
    #   Adicionar cromossomos mutados
    #   Cruzamento dos N melhores (Implementar depois)
    #   populacao[algum indice] = ['axcke'] (Mutacao do cromossomo)
    #       Sugestao: Trocar posicoes do vetor de lugar
    #         Ajudou a cair menos em maximos locais
    #   Gerar novos cromossomos de forma aleatoria (primeiro trecho do codigo)

    populacao = newPopulacao.copy()

  return listaLogProbabilidade, melhorTraducao

A: Você instanciou a lista aqui:
listaFitness = []
for i in range(tamanhoPopulacao):

Depois usou ela aqui:
listaFitnessIndices =  np.argsort(listaFitness)[::-1]

Mas neste meio caminho entre instanciar ela e usar você não a preencheu, acho que deve ter esquecido algum código, se no seu código for possível que em alguma situação a lista não seja preenchida não pode esquecer de verificar se a variável está preenchida com alguma coisa antes de usar ela.

redpajama_set_name: RedPajamaStackExchange


text:
All posts tagged "LGBT Asia"
LIFESTYLE & CULTURE1 month ago
LGBT athletes who have been an inspiration on and off the field
There are some sports stars across the US and the world who are out and proud. They are paving a path for new generations, so let's...
Religious Harmony Act of Singapore amended to list sexual orientation as protected ground against discrimination
On October 9, 2019, the Religious Harmony Act of Singapore was amended to specifically list sexual orientation as a protected ground against religiously motivated hate speech,...
Bhutan moves to decriminalize homosexuality
The tiny Himalayan kingdom's parliament became the world's latest to decriminalize homosexuality.
From the Editor8 months ago
5 Things businesses can do to (truly) impact the LGBTQIA community
Already, numerous companies have been releasing Pride-related merchandise, out to get the pink currency by blinding members of the LGBTQIA community with glitters. But profiting from...
In first for Asia, Taiwan parliament legalizes same-sex unions
Taiwan became the first place in Asia to legalize marriage equality, as it passed a bill that allows same-sex couples to form "exclusive permanent unions" and...
5 Things funders/donor agencies can do to ACTUALLY help the LGBTQIA community
When their LGBTQIA-related projects are funded, it is okay for organizations to (also) please the funders. But... shouldn't the beneficiaries be the main focus since these...
Brunei halts death penalty for gay sex after massive outcry
Brunei backtracked on enforcing laws introduced last month that would have made sex between men (along with adultery) punishable by stoning to death.
FEATURES10 months ago
What it's like to be a queer woman in Brunei…
Generally speaking, "living in Brunei as a woman - no matter what background, what orientation - everyone knows that being a woman is hard… and its...
LIFESTYLE & CULTURE10 months ago
Brunei to stone LGBTQIA people, adulterers to death
Ruled for 51 years by Sultan Hassanal Bolkiah, the Southeast Asian nation plans to implement a severe interpretation of Islamic sharia law. Under the strict laws,...
#KaraniwangLGBT31 seconds ago


Copanello have performed to crowds of more than 15,000 people at St Mary's Cathedral for the Lights of Christmas celebrations on Christmas Eve 2014 and 2015.
In addition to this they have also performed for high profile clients including the U.S Consul General for an Australian Opera Awards Committee function.
"As performers we are committed to doing our part to help charity and we are pleased to support this wonderful community and charity Christmas Lights display to help out Red Nose, Cure Brain Cancer Foundation and Humpty Dumpty Foundation".
I have been performing at Cambage Court Christmas Lights since I was a Semi Finalist on Australia's Got Talent in 2010. I really enjoy being a part of such a great community event that supports important causes including the Red Nose, Cure Brain Cancer Foundation and Humpty Dumpty Foundation.


At Berkshire Food Co-op, we believe in giving back to the community. After all, we were created by the community and our success should be everyone's success. Through charitable donations, we turn financial profit into meaningful assistance for local organizations that make life better in southern Berkshire county and the surrounding region. Each year we give back more than $20,000 to our community through our Round Up for Change and Real Good Giving programs.
Doing REAL GOOD is a core tenet of our Co-op values. That's why every customer, every day is asked if they'd like to round up their total to the nearest dollar so their spare change can MAKE BIG CHANGE in our community. Each year, there are twelve recipient organizations that have been democratically selected by our Owners and each month one of those organizations will receive the money raised through our ROUND UP FOR CHANGE program.
As decided by the Owners who voted at the 2018 annual meeting, the organizations that will benefit from your spare change in 2019 are listed below.
Is there an organization you'd like to see on the ballot at the next annual meeting?
Nominate them now and we'll put them on the ballot!
Here are the 2019 Round Up Recipients!
The Real Good Giving program is a charitable, democratically-run program led by members of our staff representing almost every department of the Co-op. Through charitable donations, we turn financial profit into meaningful assistance for local non-profit organizations that enhance southern Berkshire county and the surrounding region.
You're local. We define local as being located within 100 miles of the Co-op.
The mission of your organization aligns with Berkshire Food Co-op's Ends.
We give equal consideration to all eligible requests.
We will consider supporting events held by individuals, partisan organizations, or organizations that advance any particular religious beliefs if the event is open to the ALL in the southern Berkshire county community.
Past support of your organization or event is not a guarantee of future support. While we would love to continue long traditions of supporting your organization, we also want to be fair.
Due to the volume of applications and the nature of limited budgets, it is not possible for Real Good Giving to fulfill every request for help.
We understand that things come up. Unfortunately, we cannot expedite or make exceptions for requests made after the applicable deadlines. Please submit your application on time.
In receiving a donation, your organization is agreeing to co-marketing opportunities which may include your displaying of the Berkshire Food Co-op logo on printed material, websites, mentions on social media. As well as Berkshire Food Co-op using your logo on social media and in print. We'll be sure to tell people who you are and what your awesome organization does.
Small Donations ($1-$99) The Co-op sets a monthly budget to be distributed as smaller donations, available by request. Such requests should be received by the 15th of the month prior to the date needed or date of the event. Applicants will be notified by the the first day of the month following the receipt of their request.
For example: A completed application should be submitted by September 15 for an event held on October 31. Notification will be delivered by October 1.


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Donate to Healing of Memories
About Healing of Memories
A message from Father Michael
Our support appeal
Apartheid-era ANC chaplain Lapsley to discuss 'healing of memories' with pope
Father Michael Lapsley said he was excited at the chance of meeting Pope Francis.
Not many people can boast of a private audience with a pope. That's about to change for Anglican priest, Father Michael Lapsley, who will soon be able to tick it off his bucket list.
On June 15, Lapsley will have a private audience with Pope Francis at the Vatican, in Rome, Italy, where he will discuss various topics, key among which is "healing of memories".
Lapsley was expelled from the country in September 1976 and went to live in Lesotho, where he continued his studies and became a member of the ANC and a chaplain to the organisation in exile. He travelled the world, mobilising faith communities, in particular, to oppose apartheid and support the liberation Struggle. After a police raid in Maseru in 1982 in which 42 people were killed, he moved to Zimbabwe. It was here in 1990, three months after ANC leader Nelson Mandela's release from prison, he was sent a letter bomb by the Civil Co-operation Bureau, a covert outfit of the apartheid security forces. It was hidden inside two religious magazines. He lost both hands and the sight in his left eye, and was seriously burnt.
Today, he is director for the Institute for the Healing of Memories, in Claremont, Cape Town and is in this capacity he will meet the pope.
"Through our work at the institute, we have a contact in the Vatican and I was invited by the pope himself. This meeting has been more than a year in the making. It is a great privilege."
He will present the pope with a Spanish version of his memoirs, Healing of Memories, and his discussions with the pope will focus on "the importance and acknowledgement of the journeys of healing".
"I am doing this because of the role the pope is playing in the world. He has great emphasis on mercy and compassion. In fact, it is his invitation for people to respond with kindness and generosity to human suffering that made me want to undertake this trip."
Lapsley was full of praise for Pope Francis, saying he was "unprecedented" in his interaction with all faiths, especially Muslims. "Popes in the past have interacted with different faiths but it is the hallmark of Pope Francis to interact with different faiths. Muslim prayers have been held at the Vatican, encouraging in light of growing Islamaphobia around the world."
Lapsley said he hoped to share his message and work in healing of memories with the pope, saying that people all over the world needed help to recover emotionally, spiritually and psychologically from trauma.
He used the TRC process as an example of how people could heal from the wounds of the past.
"The past always comes in and out of focus. When Winnie (Madikizela-Mandela) passed away, we as a nation were reminded of our woundedness but also how we failed to acknowledge Winnie's woundedness. The same can be said for the inquest into the death of (Ahmed) Timol. While the TRC was a good thing, the recommendations made there still need to be looked into," said Lapsley.
He is a believer that though conflicts end and wounds heal, the same does not always happen for the survivors of trauma unless there has been an acknowledgement of their pain.
The work of the Institute for the Healing of Memories is about remembering without being a prisoner of one's memories. "Pope Francis has heard the pain of people. He has walked beside them," said Lapsley, regarding the pope's condemnation of sex scandals that have plagued the church for decades.
While this is not his first visit, he would like to see St Peter's Cathedral and the Colosseum . Lapsley, who turns 70 on June 2,hopes to tour parts of the Vatican he has not seen.
The Institute for the Healing of Memories will hold a fundraising event at St George's Cathedral on May 17, featuring the Gentleman's Ensemble from Gugulethu.
Source: https://www.iol.co.za/weekend-argus/news/apartheid-era-anc-chaplain-lapsley-to-discuss-healing-of-memories-with-pope-23029384
Support our work by donating online. Simply click the button and you will be redirected to the Credit Card payment facility.
The Institute for the Healing of Memories seeks to contribute to the healing journey of individuals, communities and nations. Our work is grounded in the belief that we are all in need of healing, because of what we have done, what we have failed to do, and what has been done to us.
North American Website
Institute for Healing of Memories
5 Eastry Road, Claremont,
Cape Town, 7708, South Africa
© 2011 - 2020 The Institute for Healing of Memories. All Rights Reserved.
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This scent combines amber with myrrh, vanilla, and Egyptian musk. French lavender is added to sweeten up the mix. Very seductive and sophisticated. 6oz. shea butter bath bar superfatted to be extra moisturizing.


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Dibrugarh University (M.Com - Distance) - Organisation Behaviour (Aug' 2013)
(August)
(Organisational Behaviour and Theory)
Full Marks – 80
Time – Three Hours
The figures in the margin indicate full marks for the questions.
Answer all the questions.
1. (a) What is meant by "organising"? Briefly explain the steps involved in the organising process. 4+12=16
(b) What is the contingency approach to organisation? Explain its salient features. 9+7=16
2. (a) Explain the term Departmentation. Examine the factors that govern the choice of any particular basis of departmentation. 6+10=16
(b) Explain the sources of authority and discuss the reasons for delegating the authority. 8+8=16
3. (a) Describe the basic process by which learning takes place. Is the use of reinforcement sufficient to change behaviour effectively? 9+7=16
(b) State and explain the differences between the theory X and theory Y. 16
4. (a) Bring out the essence of Porter and Lawer theory of motivation. Do you think that the model is comprehensive? Justify your answer with examples. 16
(b) "Good leadership is an integral part of effective direction." Discuss the statement. 16
5. (a) What criteria are used for judging the effectiveness of an organisation? How does the degree of integration of goals affect organisational accomplishment? 9+7=16
(b) Write short notes on any two of the following: 8+8=16
1) Communication process.
2) Communication networks.
3) Characteristics of grapevine.
4) Formal communication.


Every person who follows the rules of our Code of Ethic may be one of us.
A member can be active or supporting.
Active member has all the rights and privileges and fulfills the duties due to its membership. A member has a right to hold a position in the Club or District and a right to vote in all matters subject to voting, among others. The duties are e.g. regular attendance in Club meetings, paying monthly fees on time, and active participation in Club activities.
Supporting member is a locally based person who cannot participate actively in Club's activities but wants to support the Club and its charity initiatives and be associated with the Club. The status is granted by invitation from the Club. Supporting member has a right to vote in all matters related to the Club, is obliged to pay the membership fees but cannot be elected to any posts in the Club.


The Rogue ~300′ Asteroid That Came Way Too Close To Earth Yesterday, April 15, 2018!
It could have been a heyday for the Nibiru freaks who are hoping (yet again) for a 'pie in the sky' Earth collision on April 23, 2018.
This was 8 days early.
We (and that I mean the 'Catalina Sky Survey' in Tucson, Arizona) only discovered it 24-hours prior to that! Yes, you read that right. It came straight out of the blue just 24-hours before whizzing by us. I have always claimed that this is the problem we will have with asteroids and comets. What we have to worry about are the ones that sneak up upon us like this one.
It was pretty big. Around the same size as the meteoroid that exploded above Tunguska, Russia in June 1908. If this had hit Earth, or exploded in the atmosphere, it would NOT have wiped us all out. But, it would have caused a huge amount of devastation.


text:
Q: BigQuery - Query to find row with same ID in multiple table There are 2 table in BigQuery:
[user_info]
id    name    country
-----------------
27    jack     USA
48    tom      ENG
50    Kevin    SWD
81    noname   unknown

[user_profile]
id     email                 subscribed
-------------------------------------
48     test1@gmail.com       false
61     testagain@gmail.com   true

And I want to get list of 'id' and 'name' which 'id' exists in both table. In this case, it will be:
id    name
---------------------------------
48    tom

How can I make query for this process?

A: Try using exists logic:
SELECT id, name
FROM user_info ui
WHERE EXISTS (SELECT 1 FROM user_profile up WHERE up.id = ui.id);

Or, use an inner join:
SELECT ui.id, ui.name
FROM user_info ui
INNER JOIN user_profile up
    ON up.id = ui.id;


Complete the form first, then click on the submit button.
Upon receipt, a confirmation number(your ID number) will be sent to you automatically by an email.
Title Dr. Prof. Mr. Ms.
Name of the city where you want to apply for your visa.
For further information, Please contact the ICHEP'04 Organizing Committee.


text:
kim trainor
Ledi (2018)
Karyotype (2015)
Readings & Festivals
Course Offerings, Fall 2019
the disciplinary censoring of lyric poetry
December 5, 2016 § Leave a comment
"Today poetry is largely ignored by literary studies because it forces the question of the category of the poetic as such, for poetry does not respond very well to current constructions of the 'discipline' of literary study, which emphasize the social, economic, or political determinants of literary production. Literary production may be so determined, but critical approaches to poetry from these angles cannot tell us much about the nature and function of poetic language, which may be said to be the marker of the literary, the presumed object of literary study. The form that the disciplinary censoring of lyric poetry takes today is a determined evasion of the special status of poetic language as such. Under the mandate to 'historicize,' for example, the lyric reduces to a documentary of the inner experiences and private affairs of a bourgeois 'individual.' The lyric is a foundational genre, and its history spans millennia; it comprises a wide variety of practices, ranging in the West from Sappho to rap. 'Historicizing' the lyric as essentially a late-eighteenth-and nineteenth-century European invention in effect universalizes a historically and geographically specific model of a subject. And the term 'lyric,' still used in this sense, has come to serve as an ideological weapon in the ongoing politicized poetry wars. Whether the lyric is read as oppositional or complicitous, it is still understood to be the self-expression of a prior, private, constitutive subject. Lyric language is a radically public language, but it will not submit to treatment as a social document – of a certain stage of capitalism, for example – because there is no 'individual' in the lyric in any ordinary sense of the term…"
–Mutlu Konuk Blasing, from Lyric Poetry: The Pain and the Pleasure of Words (2007)
scattershot notes on lyric and dna
September 30, 2014 § Leave a comment
Osip Mandelstam described a poem as the Egyptian ship of the dead, where "all the needs of life have been stored, nothing has been forgotten in that ship." A poem carries the condensed storehouse of language and the knowledge that language holds. A poem inherits and recombines rhythms, cadences, words, sometimes whole lines, from other poems, from a body of world poetry, and carries this knowledge into the future. Sometimes a poem arrives intact, sometimes we receive only a fragment, a slip of DNA preserved by chance in the sands.[1]
Poetry, poetic language, is often language at its most condensed and compressed: generative capabilities of ambiguity, polyvalency–syllables, rhythms, as well as meanings sparking or being catalysts off of one another. But the prevailing mode is sensual and generative, the semantic a shadow of the sound, epiphenomenal.
Kristeva's concepts of the semiotic and symbolic modalities may be relevant here, as they find expression in genotext ('vague traces of skipping reels of rhyme', language as riverrun, the sensuality & materiality of the body) and phenotext (aboutness, clarity, the 'pure phenotext' of a mathematical proof, as described by Leon Roudiez). [2]
(I would include here some reference to Attridge's work on Joyce, whose language he argues displays the very conditions of the possibility of meaning production: the workings laid bare. How the many attempts to see the 'skeletal key' of Finnegans Wake fail to hear its poetry: "the properties of language, its instability and shiftiness, its material patterns and coincidences, its intertextual slidings, its freedom from determining sources or goals, its independence from its referents, even its refusal to be bound by a single language system." p.231 Peculiar Language. And: the pleasure in "writing's proliferating energies" that we find in FW, various relations to "ecriture, genotext, signifiance, heteroglossia, dissemination, rhetoricity, performativity, scriptibilite."p.236).
But above all, the generative capacity of poetic language.
[1] "Genomes change. Different versions of genes rise and fall in popularity driven often by the rise and fall of diseases. There is a regrettable human tendency to exaggerate stability, to believe in equilibrium. In fact the genome is a dynamic, changing scene…The genome that we decipher in this generation is but a snapshot of an ever-changing document. There is no definitive edition." Ridley, p.146. Genome as draft.
[2] Rachel Blau DuPlessis: "Thinking about language in my poetry, I imagine a line below which is inarticulate speech, aphasia, stammer and above which is at least moderate, habitual fluency, certainly grammaticalness, and the potential for apt, witty images, perceptive, telling and therefore guaranteed 'poetic'" The Pink Guitar, p.144.
language, flesh, clay: miscellany 4
May 31, 2014 § Leave a comment
"Dear Lorca, I would like to make poems out of real objects. The lemon to be a lemon that the reader could cut or squeeze or taste — a real lemon like a newspaper in a collage is a real newspaper…" Jack Spiller qtd. in Gerald L. Bruns, The Material of Poetry, p.9
— "Imagine a poem of pure extension, that is, one that does not mirror the world but contacts it as if language were a mode of touching and not just saying." Bruns, p.9
— "Marx had hoped that over time new human senses would develop; he never seemed to have imagined that entire spheres of sense experience might be lost for many first-world people: a tacit knowledge of tools and forms of dancing or of carrying infants, the disappearance of ways of living with animals or cultivating plant life, along with the smell and feel and sounds and even tastes that accompanied such practices; the sound of wind in uninhabited spaces; the weight of ripe things not yet harvested. These experiences are gone, and even their names will soon be gone. The historical body of poetic forms is more and more an archive of lost sensual experiences; by now an aura of nostalgia accrues around the notion of the poetic itself." Susan Stewart, Poetry and the Fate of the Senses p.332
— "The odd carnality of words is that they arise ex nihilo, become incarnate in their saying, then instantly depart while at the same time they leave an imprint that resounds." p.27 Terrence Des Pres, Praises and Dispraises: Poetry and Politics, the 20th Century
— "'It is an impossible absolute that all words, that the texts, be written in such a way as to allow the words their complete semantic thickness. This is impossible. But if one has that sensitivity to the thickness of words, to the fact that they do have a history, that they have provoked associations of different ideas in each language and in each of the periods of the evolution of language, then this provides a much thicker material that is not superficial, which is a thing that one can mold precisely because it has the quality, the thickness, of potter's clay. It is a physical object with many dimensions.'" Francis Ponge, qtd in Bruns, Modern Poetry and the Idea of Language p.280
— reading Elizabeth Bishop's 'The Fish': "Here's a beautiful series of echoes. Sometimes it's simply the chiming of a repeated vowel (far and larger; scratched and glass); sometimes it's a more complete rhyme (shallow and yellow, backed and packed). Then there are echoed initial consonants (tarnished and tinfoil), and subtle groups of near-rhymes (seen and lenses and isinglass). Such music-making lends the surface of language the complexity and interest of the surface that's being observed. The tongue and the muscles of the jaw must work to produce these sounds; even when we're reading silently there's a subtle physical participation taking place, an unspoken sounding of the poem's words. This physicality — heightened by a progression of sounds whose thickness means we have to labor to enunciate them — is a way of mirroring the physicality of the world." pp.25-6, Mark Doty, The Art of Description
— "The musicality of poetry, its sonic texture, is a value in itself. It is, to some degree, the essence of poetry, that which makes the poem irreplaceable by a straight-forward translation into prose: the poem's body of sound is its specific, particular flesh." p.117 Mark Doty
"poetry was to be found everywhere": miscellany 1
September 19, 2013 § 2 Comments
"Poetry was to be found everywhere."
— Ward, John Keats: The Making of a Poet, p.138
"The abandonment of the autonomy of the will of the speaking person as a speaker constitutes a form of knowledge — poetic knowledge. The knowledge that not 'I' speaks but 'language speaks.' (Heidegger)."
— Grossman, Summa Lyrica, p.210
"Seriousness is the state of feeling which arises when consciousness, encompassing the circumscription of its own life, becomes centred in itself and becomes heavy with the gravity of its own solitude. Seriousness is a quality of lyric."
— Summa Lyrica, p.240
Papaver Orientale, 'Beauty of Livermore': "Crimson-scarlet with black basal blotch"; "Clumps of divided leaves clothed in bristly hairs catch the light, especially if spotted with dew, and sumptuous flowers, crumpled at first, open to reveal satiny petals and a boss of dark, velvety stamens."
Anemone x Hybrida, 'Honorine Jobert': "The pristine white flowers on five-foot stems, appear luminous at dusk." (flower manual — which one??)
a poem consists of : a) movement in time (prosody), and b) movement in intellectual time (poetic mode–the analogue of plot in fiction)
— Mary Kinzie, A Poet's Guide to Poetry, p.14
Kinzie, on reading a poem: "Words. You are not just reading messages or extracting meanings or drafting editorials to put into lines: You are thinking in words. You are thinking so hard in the atmosphere created by words that they enter you like your breathing. This means first, looking at words by themselves, with all their weight and subtlety; it helps to think about their length, complexity, and language of origin, too." p.5/6
and: "One of the ways a poem grows, which the act of reading imitates, is to send out tendrils from the word toward the sentence of which it becomes a part, and from the sentence to the surrounding trellis of the lines." p.6
M: "Poetry. Tamatoe (rymeing poem)
red sliced or diced Jucy or
nice in my Hand squishy squishy squishy"
M: "Poetry. Lemon. (non rhymeing poem.)
sour lemon and lime flaver sour sour more sour."
"As M. H. Abrams notes, Coleridge held that 'literary invention involves the natural, unplanned, and unconscious process by which things grow.' Like a plant, the poet gathers material from the atmosphere around him and puts out branches and leaves. The poem itself, also like a plant, begins with a seed or 'germ.' It finds its natural or inherent shape, having assimilated materials from the atmosphere."
— Jay Parini, Why Poetry Matters, p.14
"The first consequence of the first reading [of a poem] is the silence of the reader who was a speaker–his privilege as a speaker has been conceded to the speaker in the poem. The final consequence of first reading is the silence of acknowledgement of difference, the primordial apprehension, not of the otherness of another in terms of characterizing marks, but of the characterizing marks of another in terms of the inference of something personal which is not the self–the new planet, the unnamed thing which was always there but never to this moment acknowledged. This is the paradox of discovery. Discovery creates nothing but concedes the existence of a thing 'not previously known.'"
— Summa Lyrica, p320
"Prickly leaves twined around pale brown letters. A tiny red dragon's head was spitting out flowers over the stained paper." — Inkheart, p.39
"My hand is cramped from penwork
My quill has a tapered point.
Its bird-mouth issues a blue-dark
Beetle-sparkle of ink."
–Seamus Heaney, translation from the Irish, "Colum Cille Cecinit, I. Is scith mo chrob on scribainn"
"The memory of my 'builder' is a storehouse of materials used by his predecessors: these discoveries, their signs and symbols. This is how poets carry on 'the conversation begun before us' — to use Pasternak's phrase for their response to each other that knows no bounds of time or space. As transformed in the mind of a new 'builder,' such borrowed elements help to bring out his purely personal feelings, thoughts, and experiences. Words themselves, in fact, are nothing but distillations of the meaning put into them by all the generations who have ever spoken the language — besides what was already built into them during the pre-history of the language, before it split off from the group to which it belongs."
— N. Mandelstam, Hope Abandoned, p.620
"The Orphic machine is the poem: a severed head with face turned away that sings."; "Each poem is a reinvention of the speech source, because each poem establishes again, and is also identical with, the fictional 'I' (the severed head) which is the machine that has speech as its product."
— Summa Lyrica, p. 364
"Think of it as the shell, the skull, the mummy, the golden bird, the garden, the rose, the ark, the bee-box, the labyrinth, the whale, the stone, the grail, the bridge, the tower, the pyramid, the temple, the knot, the breast, the mountain, the sea, the harp, the wind, the countenance…The source of speech, the source of poetry and the source of world are co-implicated. Symbolic representations of the origination of poetic utterance in Orphic objects and machines indicates that poetry is the speaking of being and that being comes first. Poetry is the speaking of being in the process of discovering itself as an occasion of the visibility of a person. The Orphic machine is the state of the object at the point of that discovery. Poetry issues from world at the point of submission of world to countenance, that is to say, at the point of its brokeness as world."
"Williams was turned to ash on August 15 on the coast of Tuscany, Shelley the day after at Viareggio on pyres of pine, frankincense, wine, oil, honey, and salt."
— Posthumous Keats, Stanley Plumly, p.101
from Modern Poetry and the Idea of Language, Gerald Bruns:
–that to Aristotle, "Words thus appear to be regarded as so many atoms in space, available for combination into molecules according to a linear model. This linear model is clearly at work in Aristotle's discussion of diction in the Poetics, where he distinguishes, together with the letter, noun, and verb, the syndesmos and arthron, two anatomical terms meaning 'ligament' and 'joint.'" p.29 i.e. they bind together parts of the sentence (conjunctions or articles)
–"It was customary among the Greeks to identify the letters of the alphabet (and with them the indivisible sounds of speech) as stoicheia, literally physical particles…" p.30
–on Rabelais's Gargantua and Pantagruel, in the 4th book, P. & friends encounter strange sounds at sea — frozen words and cries of people in a bloody battle the winter before, their words frozen in the air; as the thaw comes, the words melt and can be heard
–P. throws "'on the deck a whole handful of frozen words…and when we had somewhat warmed them between our hands, they melted like snow and we really heard them.'"
–"This frozen state is another way of describing the condition of the written (and particularly the printed) word, the word reduced to the extended, purely spatial mode of existence of the phonetic alphabet. It was by means of the alphabet that man learned how to fix the spoken word in space by transforming it into a sequence of objects. To read the written or printed word, of course, is simply to reverse this process: it is to re-create the utterance, to return it from space into time." p.37
–"Signmund Burckhardt, in an essay entitled 'The Poet as Fool and Priest,' has observed that 'the nature and primary function of the most important poetic devices–especially rhyme, meter, and metaphor–is to release words in some measure from their bondage to meaning, their purely referential role, and to give or restore to them the corporeality which a true medium needs.' After all, language for a poet is rarely or never a purely transitive medium–a medium acted upon solely for the purposes of signification. Gerard Manley Hopkins once said, in his essay 'Rhythm and the Other Structural Parts of Rhetoric-Verse,' that 'we may think of words as heavy bodies, as indoor and out of door objects of nature and man's art'; and he went on to observe that, like natural bodies, words possess centres of gravity and centres of illumination. The function of a word in a rhythmic structure is to be found in the relationship or interplay between these two centres, which determines, respectively, its stress and pitch." p.196-7
–"'It is an impossible absolute that all words, that the texts, be written in such a way as to allow the words their complete semantic thickness. This is impossible. But if one has that sensitivity to the thickness of words, to the fact that they do have a history, that they have provoked associations of language, then this provides a much thicker material that is not superficial, which is a thing that one can mould precisely because it has the quality, the thickness, of potter's clay. It is a physical object with many dimensions.'"
— Francis Ponge, qtd in Bruns, p.280-1
Rosalind, teasing the lovesick Orlando: "There is a man haunts the Forest, that abuses our yong plants with carving Rosalinde on their barkes; hangs Oades upon Hawthornes, and Elegies on brambles; all (forsooth) deifying the name of Rosalinde." III.ii.352-5
"But 'He is a god in my eyes,' fragile and ephemeral as the action it imitates might seem, catches and holds the light of things as they are, everywhere, always, as surely as does the Iliad or the Antigone."
— W. R. Johnson, The Idea of Lyric, p.83
"'The circumstances of my life, living in the domain of a foreign tongue, have meant that I deal much more consciously with my language than before — and yet: the How and Why of that qualitative change the word experiences, to become a word in a poem, I'm unable to define more closely even today. Poetry, Paul Valery says somewhere, is language in statu nascendi, language becoming free.'"
— Paul Celan, qtd in Felstiner, p.77
"It is Keats's use of consonance, however, as a stay against the flow of vowels, that really grounds the substance of the music to its meaning–both its source and statement. Keats's consonants hold what his vowels would let go, the 'subtle' tension of which enacts the mortality of 'the wasted breath' that Yeats himself calls lyric poetry."
–Plumly, Posthumous Keats, p.345
poems and things
In The Material of Poetry Gerald Bruns, with reference to the French poet Francis Ponge, discusses the idea of "taking the side of things," as in "siding with things against human egocentrism, meaning (among other things) not just anthropocentrism but human self-importance, what we might call high-culture humanism that regards 'Expressions of the Spirit' as foundational, world-making, and the source of the true, good, and beautiful." p.87 He relates this to the concept of objectivism and Louis Zukofsky. The idea of "sincerity" in Louis Zukofsky, Bruns suggests,
"does not mean speaking from the heart; it means (counterintuitively, perhaps) careful attention to the things of the world and a kind of selflessness and straightforwardness with respect to them — for example, not turning them into metaphors or stand-ins for one's own experiences." p.88.
Bruns then elaborates upon construction vs. expression; the poem as constructed by materials/things, not an act of self-expression:
"One has to imagine a poem that seeks proximity with things and not a cognitive transcendence that grasps or contains them or makes them transparent to view. (Proximity here means what the French philosopher Emmanuel Levinas means when he says: 'The visible caresses the eye. One sees and hears like one touches…. The proximity of things is poetry.)'"p.89
Bruns speaks of a poem that "shares the ontology of the thing" p.88.
How might this concept of construction versus expression — and the concerns expressed above over a devouring "cognitive transcendence" contrasted with "selflessness" — be connected to certain movements towards the concrete and the unadorned in some post-war Polish poetry, such as that of Tadeusz Różewicz and Zbigniew Herbert?
Czesław Miłosz, Madeline G. Levine, and Clare Cavanagh have all documented this rejection of the transcendent, the symbolic, the 'poetic', a rejection in fact of all of the 'toolkit' associated with poetry (metre, metaphor, simile, and so on), as some poets came to see poetry and language itself as complicit with or even the instrument used to carry out the atrocities of the Second World War.
In a somewhat different context, but with similar concerns, Roumanian-born poet Paul Celan, who lost both of his parents in an internment camp during the war, and was himself held in a labour camp, engaged with the German language in particular, his "mother tongue," where his later collections reworked the very language itself through excavation of its etymologies and unfamiliar or archaic registers, both at the level of the word and the phoneme and morpheme.
Tadeusz Różewicz, who was in his early twenties during the war, a member of the Polish underground, and whose older brother Janusz was executed by the Gestapo, began after the war to write poems stripped of the 'poetic.' Here is an excerpt from "In the Midst of Life":
this is a table I said
this is a table
there is bread and a knife on the table
knife serves to cut bread
people are nourished by bread
— from Selected Poems (Penguin 1976) transl. Adam Czerniawski
It is as if he needs to rebuild language, which in so doing rebuilds a destroyed world, syllable by syllable, word by word, beginning with the simplest of things. The speaker in this poem reminds himself of the ways in which a knife can be reimagined not as weapon but as tool which serves human interests, in this case, used to slice bread to nourish people. (I'll come back in a moment to a much later poem Różewicz wrote about a knife.) Yet here the thing is not considered solely in relation to its own existence, in and of itself, but as it relates to human needs.
Or consider Herbert's poem, "The Stone:"
is a perfect creature
equal to itself
mindful of its limits
filled exactly
with a pebbly meaning
with a scent which does not remind one of anything
does not frighten anything away does not arouse desire
— from Post-War Polish Poetry (Penguin 1965) Ed. & Transl. Miłosz
Herbert seems to approach this stone with the kind of "selflessness" and "straightforwardness" Bruns describes above. Yet there is not simply an appreciation here of the stone/pebble for its own pebble-ness or "pebbly meaning." Herbert begins to approach the "proximity of things," yet we are inevitably drawn towards a larger political context which encompasses knowledge of events such as the razing of the Warsaw ghetto, the Warsaw uprising, and the Holocaust. The speaker of the poem finds solace in this non-human world which exists without desire, and, inevitably, without the violence and inhumanity Herbert witnessed (as with Różewicz, Herbert was also a member of the Polish underground). Similarly, poets writing under the socialist regime in Poland found that simply to write a private domestic poem, a poem set in the privacy of one's own 'room' came to have political implications.
Różewicz writes a much later poem about a knife. His later poems become much less austere, and more eclectic in that they gather much of the everyday world into them. (For English speakers, these can be found most recently in Sobbing Superpower: Selected Poems, translated by Joanna Trzeciak, a great collection which was nominated for a Griffin prize several years ago).
The poem is called "the professor's knife" from a title of the same name, 2001. It's a wide-ranging free-verse multi-sectioned poem, conversational in tone, incorporating in several sections dialogue between the speaker/Różewicz and his professor friend Mieczysław as they eat breakfast together, talking and quarrelling affectionately with one another. In this excerpt readers familiar with his poetry hear echoes of the much earlier poem on a knife which cuts bread, and see the ways in which he opens up and is in dialogue with his earlier, more severe relationship to poetry:
after all these years I'm sitting with Mieczysław
the twentieth century is ending
I slice bread on a cutting board
spread butter on it
add a pinch of salt
"Tadeusz, you eat too much bread…"
I smile I like bread
'you know' — I say —
'a slice of fresh bread
a slice, a heel
buttered
or with bacon bits in lard
with a dash of ground pepper'
Mieczysław rolls his eyes
The object or 'thing' the 6-part poem circles around is a knife made out of a barrel hoop, which his friend Mieczysław ("the Professor") has preserved all these years, a knife he once used in the concentration camps. At the same time, throughout the poem there are references to a freight train speeding through meadows and forests; both knife and train flicker in and out of memory, in and out of their present benign existence. This simultaneously recalls their earlier use during the war, the train carrying Jews to the concentration camps, the knife which was concealed in the hem of a prison uniform. Human-made things, artefacts, are almost always implicated in their particular uses, their histories:
I first saw it
on the Professor's desk
sometime around the middle of the twentieth century
strange knife I thought
neither a letter opener
nor a potato peeler
neither a paring knife nor a carving knife
'strange knife' I thought
it lay between a book on Cubism
and the last page of a review article
he must use it as a letter opener
in the concentration camp
he peeled potatoes with it
or used it for shaving
why yes — the Professor said —
vegetable peels could save you
from starving to death
his orderly desktop reflected
the state of his mind
you know Mieczysław I will write a poem
about this knife….
poems and other domestic objects
April 6, 2013 § Leave a comment
"It is worth one's while, at certain hours of the day or night, to scrutinize useful objects in repose: wheels that have rolled across long dusty distances with their enormous loads of crops or ore, charcoal sacks, barrels, baskets, the hafts and handles of carpenter's tools. The contact these objects have had with man and earth may serve as a valuable lesson to a tortured lyric poet. Worn surfaces, the wear inflicted by human hands, the sometimes tragic, always pathetic, emanations from these objects give reality a magnetism that should not be scorned.
Man's nebulous impurity can be perceived in them: the affinity for groups, the use and obsolescence of materials, the mark of a hand or a foot, the constancy of the human presence that permeates every surface."
–from "Some Thoughts on Impure Poetry," quoted in the Introduction to Residence on Earth xii-xiii
Neruda, who wrote odes on socks, a table, a chair, here describes the marks of labour carried by objects. In an earlier post ("the poem as artefact that carries traces of its own making") I've considered, with reference to Elaine Scarry's extension of Marx in The Body in Pain, the traces of making that objects carry — the cloth which is "soaked" in labour, which carries traces of sweat, blood, the pin pricks and marks, the very weave of the cloth — and the subsequent alienation of the maker from such labour.
The objects Neruda describes here seem to come largely from the stereotypically masculine realm of labour: carpenter's tools, wheels that bear heavy crops, charcoal sacks. Does he romanticize these common objects, and is there an attempt also to valorize poetry — I mean, to give more every day value to it — by placing it on the same footing as a sack that carries charcoal, or a wheel that bears a heavy load?
Heaney's poetry also values such tools and the labour of the farm, in his case, the result of his having been raised on a small farm-holding in Northern Ireland. From his earliest collection, with the pen as substitute for the spade (and gun), he invokes the earth. Later collections return often to the trope of the plough and the ploughshare (again, with reference to the boustrophedon and versus, to the modern line's turn at the end of each verse, and to the lovely image of the poem which turns back time):
My father's ploughing one, two, three, four sides
Of the lea ground where I sit all-seeing
At centre field, my back to the thorn tree
They never cut. The horses are all hoof
And burnished flank, I am all foreknowledge.
Of the poem as a ploughshare that turns time
Up and over…
–'Poet's Chair,' in The Spirit Level
The many domestic objects which work their way into his poetry are not limited to the masculine realm. There's the turnip-snedder in District and Circle: in an age of "bare hands/and cast iron,//the clamp-on meat-mincer,/the double flywheeled water-pump,//it dug its heels in among wooden tubs/and troughs of slops…" There's also the beautiful dedicatory poems to North, in particular "Sunlight," dedicated to his aunt Mary:
There was a sunlit absence.
The helmeted pump in the yard
heated its iron,
water honeyed
in the slung bucket
and the sun stood
like a griddle cooling
He goes on to describe her floured hands and apron as she makes scones, the "plaque of heat" given off by the stove, dusting the board with a goose's wing. Then comes the quiet moment as she has time to rest between work:
here is a space
again, the scone rising
to the tick of two clocks.
And here is love
like a tinsmith's scoop
sunk past its gleam
in the meal-bin.
Time is love and food, and the preparing of it, and plenitude — love as a scoop that is "sunk past its gleam." North quickly descends into the darkness of myth, but still finds its ground in the archaeological objects of a distant Viking and Iron Age past. In this description of baking in the dedicatory poem, there is still the fairly strict demarcation of male and female roles, as there also tends to be when Heaney lays out his various schemata of English/Irish roots in his theoretical explorations of his own poetry: masculine, consonantal, air, clarity and light, the long line of iambic pentameter, all contrasted with feminine, vowelled, earth, darkness, the short, cutting line of North.
I turn often to Eavan Boland to read poetry with domestic objects and experiences from a woman's perspective: fabric, cloth, the kitchen, children, illness, the confined spaces of small rooms in the suburbs. Boland is particularly fine in her poems that incorporate cloth. For example, in The Journey when she describes her search for a language like lace, or in "The Unlived Life," her description of quilting in the new world:
to formalize the terrors of routine
in the algebras of a marriage quilt
on alternate mornings when you knew
that all you owned was what you shared.
Cloth in its long history is the history of women. Elizabeth Wayland Barber traces this labour in Women's Work: The First 20,000 Years: Women, Cloth, and Society in Early Times, and in The Mummies of Ürümchi, where she describes the woven textiles of the Beauty of Loulan and other mummies found on the edge of the Taklamakan desert, along the old Silk Road. Cloth, like DNA, carries signatures, traces of its history, of how and when it was made, of where it comes from. Cloth is analogue for language and for skin, which comes into close contact with another.
In The Material of Poetry, Gerald Bruns, citing Levinas, describes poetry as object, as ethical contact with the world, language as skin. The aural qualities of a poem operate on a different level from the visual which emphasizes objectification, sudden complete comprehension, totality, versus the unfolding of sound over time, which is partial, incremental, and intimate as touch (as radio is more intimate than television). Poetry requires listening, which
"involves a form of subjectivity — indeed a kind of experience — different from seeing; it implies or entails a porous, as against a self-contained, mode of being, and it also implies a different world from the one that seeing, perception, observation or conceptualization constructs or projects onto the screen of consciousness. In an essay on 'The Transcendence of Words,' Levinas says, 'To see is to be in a world that is entirely here and self-sufficient.' Sound, however, undoes this state of self-sufficiency and contentment — and it is important to know that Levinas is thinking of the sounds of words rather than, say musicalized or harmonized sounds. Specifically, he is thinking of voiced sounds in which sound is no longer a semantic medium or the embodiment of aesthetic form but rather a mode of sensibility irreducible to vision, comprehension, or containment within categories." p.44
Bruns is referring here to the role of sound in poetry over and above its semantic content; we're within earshot perhaps of Kristeva's distinction between genotext and phenotext. He notes also how sound overwhelms the firm borders of the self; "sound bleeds the self." p.45. Listening to a poem is to exist in the "mode of being touched." p.43 The poet's relationship to language is one of listening. [1]
Similarly, Robert Pinsky, in Democracy, Culture, and the Voice of Poetry, speaking of the Favourite Poem Project, describes the reading of a poem as being inhabited by it, of giving oneself up to this mode of being touched. In fact, the reader becomes "an actual, living medium for the poem." p.61 This is Jane Hirshfield again, on taking the poet's breath into your body, to give life to his or her words once more. There is a cohabitation in this, a living with another for the time it takes to speak the poem, a willingness to become the medium for that person's voice.
But I have gone somewhat astray — or perhaps not. The experience of a poem, as in the wearing of cloth, or in the pleasure of touch, is one of proximity. I was describing cloth as analogue of poem and skin. In Boland's poetry cloth is intimate with the human body, linked to both labour and desire, and its accompanying dangers:
Tonight in rooms where skirts appear steeped in tea
when they are only deep in shadow and where heat
collects at the waist, the wrist, is wet at the base of the neck,
the secrets of the dark will be the truths of the body
a young girl feels and hides even from herself….
(2. How the Dance Came to the City in Domestic Violence)
Boland describes many other kinds of domestic objects in her poetry. Here she is writing about antibiotics, from the title poem of The Journey:
And then the dark fell and 'there has never'
I said 'been a poem to an antibiotic:
never a word to compare with the odes on
the flower of the raw sloe for fever
Depend on it, somewhere a poet is wasting
his sweet uncluttered metres on the obvious
emblem instead of the real thing.
Perhaps I am stretching things by thinking of an antibiotic as artefact or domestic object, but I take my lead from Scarry and her wide-ranging account of the role of human artefacts, including language, in making the world. This brings me back to Neruda again, and his insistence on an impure poetry, an insistence on poem as labouring object, and Scarry's description of a poem as being able to work on the world in a positive sense, to rework it, and change ourselves as a result. I'm thinking of the use of a poem in a very diffuse way as this ability to work upon the world by working upon — by touching — another's consciousness, and transforming it.
[1] I'm less convinced by Bruns' defence of sound poetry as joyous vociferation; what he describes as an opening of the self to sound (and he describes exclusively male projects and projections here) feels more like unwelcome, one-way invasion, of being forced open.
Thomas Wyatt's heart
March 24, 2013 § Leave a comment
Alas, and is there no remedy
But have I thus lost it wilfully?
Iwis it was a thing all too dear
To be bestowed and wist not where:
It was mine heart! I pray you heartily
Help me to seek.
Just now I am reading Nicola Shulman's Graven with Diamonds: The Many Lives of Thomas Wyatt: Courtier, Poet, Assassin, Spy. I was immediately drawn to Shulman's insistence that in Wyatt's time, poetry had uses — it could do things (Wyatt's poetry a refutation, she argues, of Auden's "Poetry makes nothing happen."). There are two aspects of this claim that converge with my own preoccupations with the uses of poetry: first, the simple idea that a poem can have a particular effect in the world, and second, that the political context, the system, within which a poem is written, will imprint its language and determine its uses.
I want to return to this second point in a later post that considers the political system in relation to a poem's production and its strategies of resistance to oppressive political structures; Clare Cavanagh's important book, Lyric Poetry and Modern Politics: Russian, Poland, and the West, has much to say on this subject. Cavanagh points out that the very fact that poetry has no immediate material or economic use, and resists any attempts to control or organize it (as socialist realism tried to do), paradoxically increased its value in post-war Poland — the lyric poem came to represent a kind of elusive freedom, a private space which the state sought to annihilate. This makes me think also of John Donne's insistence, over 300 years earlier, on the lovers' room as a private space where the state must not intrude ("Busie old foole, unruly Sunne,/Why dost thou thus,/Through windowes, and through curtaines call on us?") — although in Donne's poetry this private space is often defined in opposition to, and appropriates the language of, the state.
The freedom of the lyric is linked to the metaphorical and polyvalent nature of language in this most compressed form; meaning is elusive; a line can be interpreted in multiple ways. Shulman explores Wyatt's adept use of the poem as encrypted message. She points out that "Historicist critics…began to realise that Wyatt, like Mandelstam or Akhmatova, was a poet writing under tyranny, who might yield insights into life under the Tudor Stalin" (p.16). [1] Wyatt's poems she suggests can be read as coded responses to the complex web of power at the court of Henry VIII; his 'lute' is symbol of the poet's ability to speak freely: "My lute and strings may not deny/But as I strike they must obey….Blame not my lute".
But it is her first point I am more interested in for now: that in Wyatt's time, poetry had social currency; it could do things. Shulman demonstrates the function of a Wyatt poem within the game of courtly love as it was played in the court of Henry VIII, a game designed to channel the sexual frustrations of young men and women in confined quarters. The women needed to preserve their virginity in order to enter into the lists of marriage, which consolidated economic and family ties. The men, as always, had less to lose. Both wanted sex, and couldn't have it. Courtly love codified and sublimated these heterosexual desires in its games, its masques, its poems, its role-playing; young men could be lovers addressing their Lady; if they couldn't have sex, they could all at least play the game. (And perhaps, Shulman notes, some played the game as cover for an actual affair, which must have heightened the excitement of the game, and the affair.) Here's where Wyatt comes in — poems played a significant role in the game, and Wyatt could write a good poem.
Shulman observes that "an early 16th-century lyric was more than the words that were written in it. It had a life as a material object as well. To us now, a poem means the same whether we read it on a computer screen or in a newspaper or a book of poetry; but to the ladies and gentlemen of the early Tudor court, a poem on a piece of paper was also a material thing, like a flower or a handkerchief, or a jewel" (p.72). This was true also in the imperial court of Heian Japan where poetry served various social functions, including its use by officials as a form of inter-governmental memo [2]; similarly, a poem's physical appearance and presentation — kind and colour of paper, folded in a particular way, delivered at a particular time, attached to an iris root or sprig of cherry blossom — played as meaningful a role as the words themselves.
But I have promised Thomas Wyatt's heart:
Help me to seek for I lost it there;
And if that ye have found it, yet that be here,
And seek to convey it secretly
Or else it will plain and then appair.
But rather restore it mannerly
Since that I do ask it thus honestly,
For to lose it it sitteth me too near.
The riddle lies, Shulman tells us, in the knowledge that the heart he seeks was a heart-shaped cloth-covered balloon that would "plain and then appair" — complain and then be damaged — with rough handling; it would have been used in some undocumented game of hide and seek played by the courtly lovers. The poem might have been a clue, instructions on how to play the game. Within that particular social context, the poem comes to life. I like this observation Shulman then makes about the poem as a light bulb of sorts: "When we think of a courtly lyric we must imagine it as a thing with latent energy, that lit up when the right social circuitry was connected" (p.85) — poetry as currency.
[1] I've seen estimates for the number of victims under Stalin's reign range between 20 000 000 and 60 000 000; estimates for the number of victims under Henry VIII, between 54 000 and 72 000. I don't know what this represents proportionally of the citizens under their control.
[2] In The World of the Shining Prince: Court Life in Ancient Japan, Ivan Morris observes of a new government appointment in the year 962: "…when a certain Imperial Prince who is serving as Minister of Military Affairs wishes to ask the newly appointed Assistant Minister why he is so lax in reporting for duty, he does not dream of sending the curt memorandum that would be normal in a more businesslike form of bureaucracy; instead he indites an elegant poem, replete with word-plays, in which he compares the Assistant Minister and himself to two strands that have been coiled together in a single thread and asks his subordinate why he has stopped 'reeling the silk.' There follows a long exchange of increasingly obscure poems, all ringing the changes on the silk-reeling image, in the course of which the two gentlemen appear to have forgotten entirely about the original, rather prosaic, purpose of their correspondence" (p.192).
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What is the relationship between regime type and educational opportunity? Do wealthier countries always produce better educational outcomes? Challenging a recent consensus about the straightforward positive impact of democracy on education, I argue that the wealth of the economy and its distribution among social classes interact with political regimes to produce different types of education policies and outcomes; such outcomes also depend on the ideological orientation of the dictatorship. I formalize this account with a model of class-based decision-making under different regime types, and constructed a new cross-national data set on educational outcomes and regime ideology to test the model. In an empirical analysis on educational expansion in the world during the post-war period, the statistical results tend to confirm the theoretical results of the model. I also discuss qualitative evidence from case analyses to show the mechanisms within the policy realm of hypotheses. The results have implications for our understanding of the impact of regime type on public goods provision.


text:
Q: Access restriction: The constructor Provider() is not accessible due to restriction on required library jdk1.6.0\jre\lib\jsse.jar? i am using javax.Mail api with authenticator, but this below code giving
Access restriction: The constructor Provider() is not accessible due to restriction on required library C:\Program Files (x86)\Java\jdk1.6.0\jre\lib\jsse.jar
java.security.Security.addProvider(new com.sun.net.ssl.internal.ssl.Provider());

how to resolve this.

A: i just removed JRE system library from my project build path and re added. just the error message disappears, how it happened i don't know but my error got resolved.

A: In my case, it occurred before I update Maven Project.
In eclipse I do this:
Project → Properties → Java Build Path → Edit JRE System Library:

Select Workspace default JRE
I noticed that every time when I Update Maven, the problem occurs again.
And I have to do everything again.
What have I to do for not need repeat the steps again, after Update Maven Project?

A: In my case I was upgrading a project to use Maven and run under Payara 5.
Removing then re adding the JRE from the project build path made the error go away, but each time I changed the build path (removing one library at a time in favor of Maven POM entry) the error came back.
This worked for me:
Properties -> Project Facets -> Runtimes tab
Changed to Payara 5 Runtime.


for 3 weeks now, OO has gotten into a continuous save where I have to <CTR>-ALT-DEL and "end task".
Has become more often this week. Very annoying because I have to go back and redo the last operations.
I have AutoSave set at 1 min from 4 min, but happens just as often.
Do I need to "REPAIR" or "REINSTALL"?
If you want save one or more huge file/s/, the AutoSave can not finishing the previous process, but it must start the next saving process. Set the intervall at least to 10...15 min.
If it is a slow save (i.e. more than 1 minute - we don't know what is happening by way of tidy-up after the actual save) , the 1 min interval may not allow it finish the behind the scenes housekeeping and kick into another save.
Try 15 or 30 minutes, just to see.
Is it just with one spreadsheet file? Or with all files?
Which strongly suggests that file is the cause of the problem. Have you a "circular" problem where a calculation changes one of the cells involved in doing the calculation so the calculation gets done again which changes the cell again ..., and so on ad infinitum?
Upload the file for someone to have a look at it.
You wanted to see the file or program?
Let me know and I will give you access to my 'puter.
PLease send me the file - I have sent a Message/email with my ID.
Won't change anything if you don't reset your OpenOffice user profile.


Electronic optical "liquid level control system" for filling includes two liquid sensors for high and low set point control of fluids. Only power and a valve or relay is required to complete the level control system. Compatible with 5-24Vdc valves and relays. Available with optional RX1 outlet kit for direct control of 120Vac pumps, valves and other equipment.
Electronic optical liquid sensors are durable, have no moving parts and are easy to maintain. LED illuminates body to indicate when they are activated. Other intelligent functions include "stable state" switching to detect splashing, one-second output debounce and error indication.
The low-level sensor turns on a pump or valve to operate until the high-level sensor is activated. SXL-2 and SXL-2S sensors combine to form the liquid level control system. Sensors may be installed using the 1/4" NPT thread or with the included o-ring and nut for thin-walled tanks.