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Home Dancer Tips Dance Dictionary
Dance Dictionary
Brush up on your dance lingo with engaging glossaries of dance and anatomy terms. Don't forget to explore terrific links and references!
Theatre Terms
Eras and 'Isms'
General Dance and Arts Vocabulary
Additional Reference Material
I. Dance Technique
Adage: (French) In ballet, a slow section of a pas de deux or an exercise in a dance class focussing on slow, controlled movements that highlight balance and extension, and require strength and poise.
Adagio: (Italian, "slowly") The part of a dance class where exercises for balance and sustained movement are performed; a musical composition performed at a slow tempo.
Alignment: Creating harmony with the body so that unbroken lines are formed with the arms and legs without displacement of the torso.
Allegro: (Italian) The part of a dance class, divided into petit ("small") and grand ("large") allegro, where exercises for jumps, turns and travelling are performed; a musical composition performed at a brisk and lively tempo.
Arabesque: (French) In ballet, a pose held on one leg with the other leg and both arms extended away and up from the centre of the body; also, positioning of the arms in relation to the legs. As with positions of the feet, each position is distinguished by a number, such as first, second and third arabesque.
Ballon: (French, "balloon") The ability to sustain jumps or movements in the air; the appearance of weightlessness.
Ballet techniques: There are several different ballet techniques or methods, where students learn a set syllabus according to their level and complete yearly exams. The three most common ballet techniques in Canada are Cecchetti, Russian or Vaganova, and Royal Academy of Dance (RAD).
The Cecchetti technique was developed by the Cecchetti Society from the teachings of the great Italian ballet master Enrico Cecchetti.
The Russian or Vaganova technique is named after and derived from the teachings of Agrippina Vaganova, who was the artistic director of the Kirov Ballet for many years. The Vaganova method forms the core of the program at the Royal Winnipeg Ballet School and at the National Ballet School.
The RAD technique was developed in Great Britain and is the most common ballet technique taught in community dance schools across Canada.
In each technique, names for certain steps and positions of the body are not always the same. For example, the arm position known as "fifth en bas" in Cecchetti is known as "preparatory" in Vaganova and as "bras bas" in RAD.
Barre: (French, "bar") A horizontal pole, either attached to the wall or freestanding, to support dancers while stretching, warming up or doing exercises "at the barre". Barre exercises like pliés, battements and ronds de jambe form the first part of a traditional ballet class and are the basis for all technique.
Barrel jump: A turning jump in the air where the body is parallel with or horizontal to the floor.
Battement: (French) In ballet, the "beating" of either a stretched or flexed leg.
A battement tendu is an extension of the working leg away from the supporting leg, stretching from first or fifth position along the floor until reaching pointe tendu (when the toes are fully pointed) on the floor.
A battement dégagé (also known as a battement glissé or a battement tendu jeté ) begins and ends the same as a battement tendu except that it leaves the floor to a height of 15 cm after reaching pointe tendu.
In a battement fondu (from fondre, "to melt") both the working and supporting legs bend smoothly as the toe of the working leg touches the supporting leg (either just above the ankle or mid-point on the front, side or back of the shin/calf), then both stretch as the working leg is extended to pointe tendu à terre ("on the ground") or en l'air ("in the air").
Like a battement fondu, in a battement frappé (from frapper, "to hit" or "to strike") the working leg bends as it is drawn toward the supporting leg. However, in a battement frappé, the foot flexes when it touches the supporting leg (just above the ankle or mid-point on the front, side or back of the shin/calf), then strikes the floor with the ball of the foot as the working leg is extended to pointe tendu à terre ("on the ground") or en l'air ("in the air").
A petit battement is a small, accented "beat" of the working leg with the knee bent and the foot flexed or pointed, either against, or in front and behind, the supporting leg.
A grand battement begins and ends the same as a battement tendu except that it leaves the floor to a height of 90° (a right angle made by the working and supporting legs) or greater after reaching pointe tendu.
All battements may be performed en croix ("in a cross"), which means en avant (in front of the body), à la seconde (to the side of the body) and derrière (to the back). They can also be done en plié (with the supporting leg bent) or en relevé (with the heel of the supporting leg raised off the floor).
Centre work: Exercises performed away from the barre in the centre of the studio. Centre work includes adage and allegro exercises.
Corps de ballet: (French, "body of the ballet") In ballet, performers who do not have lead roles and perform during group scenes or action. In narrative ballets, members of the corps de ballet will perform roles such as peasants, wedding guests and swans.
Contraction: A hollowing and tightening of the muscles in the core of the body.
Danse d'école: (French) A dancing school.
Enchaînement: (French) A "chain" or linked sequence of movements.
Extension: Stretching or elongating the limbs or torso.
Footwork: Isolated and often complex movements of the feet as in flamenco, step dancing or bharata natyam.
Improvisation: Movements that are created spontaneously by the dancer with or without specific direction, either individually or with other dancers. Contact improvisation is a form of instantaneous composition based on immediate response to body contact between dancers. Steve Paxton is the inventor of contact improv.
Inversion: A movement that places the body upside down.
Isolation: A focussed movement of only one part of the body at a time.
Pas de deux: (French) In ballet, a sequence or dance for two dancers.
Pirouette: (French) In ballet, a spin or turn of the body performed on one leg. Pirouettes may be performed en dehors (turning away from the supporting leg) or en dedans (turning toward the supporting leg).
Plié: (French; from plier, "to fold" or "to bend") In ballet, a bending of the knees. This can be done either in demi-plié ("half-plié"), where the heels remain on the floor, or in grand plié (large or full plié), where, except in second position of the feet, the heels leave the floor at the deepest point of the bend.
Port de bras: (French, "carriage of the arms") In ballet, arm movements around the body.
Positions of the feet: In ballet, there are five basic positions of the feet, all with the feet turned out:
In first position, with the heels touching, both feet are turned outwards and in line.
In second position, the feet remain turned outwards and in line but the heels are separated, with equal weight on both feet.
In third position, one foot overlaps in front of the other so that the heel of the front foot rests against the anklebone of the back foot.
In fourth position, one foot is still in front of the other but the feet are separated, with equal weight on both feet. In an open fourth position, the heels stay in line. In a closed fourth position, the heels overlap.
In fifth position, the feet are turned outwards and overlap so that the feet come together toe to heel and heel to toe.
In contemporary dance, the feet may be in parallel (i.e. not turned out) in first, second and fourth positions, and, sometimes, in fifth position.
Rond de jambe: (French) In ballet, a movement that goes "round the leg". A rond de jambe may be performed in two ways:
À terre ("on the ground"), where the pointed toe of a stretched working leg traces a circular pattern en dehors (from the front of the body to the back), or en dedans (from back to front), passing each time through first position of the feet.
En l'air ("in the air"), either petit, with the working leg raised just a few centimetres from the ground, or grand, where it is raised to 90°. A rond de jambe en l'air may also be performed as an isolated movement with the working leg raised à la seconde (to the side) and the knee bending and straightening as the toe describes quick circular patterns in the air without moving the thigh.
Sauté: (French) In ballet, a "jump".
Spiral: A twisting movement of the torso around the central axis of the spine.
Spotting: Maintaining a focal point while turning to prevent becoming disoriented in space.
Structured improvisation: Ideas or instructions given to guide improvised movements.
Tilt: In modern dance, a movement like an arabesque except that the trunk leans away from the extended leg toward the floor.
Tour en l'air: (French) A "turn in the air".
Turnout: A way of standing and using the legs that is initiated in the pelvis, where both sides of the body rotate outwards from the hips, away from the spine.
Warm-up: Movements and stretching performed before or at the beginning of a class or performance to prepare the body for more demanding movements and to prevent injury.
Warm-down: Movements and stretching performed after or at the end of a class or performance to release tension from the body and to prevent injury.
II. Theatre Terms
Auditorium: The part or area of the theatre where the audience sits to watch a show.
Backdrop: A piece of material hung at the back of the stage, often painted with scenes.
Backstage: The area that is off the stage, including wings, dressing rooms, control booths and green room.
Blocking: Placement of the performers on stage in relation to the action, to the sets and to each other for optimum sight lines.
Call a cue or a show: Instructions given to performers and crew members by the stage manager during a performance.
Catwalk: In a theatre, a bridge above the stage where lights, ropes and cables are secured. [See Flies or fly gallery.]
Cue: For dancers, a signal, whether verbal, visual or musical, that prompts them to move; in lighting, a specific combination of light position, colour and intensity; also, an instruction given by the stage manager.
Curtain call: When the curtains are opened ("called") after a performance and performers take their bows.
Curtain fall: Either the end of a performance or the end of a series of performances.
Cyclorama: A suspended backdrop at the rear of the stage onto which lights are projected.
Crew: A group of technical people who work backstage during a performance.
Dressing room: A room backstage where performers prepare their costumes, hair and make-up before, during and after performances.
Dress rehearsal: The last rehearsal of a completed dance in costume with all lights and sets prior to the première.
Drop: A flat piece of fabric hung from the fly gallery.
Flat: A flat piece of scenery consisting of a wooden or steel frame covered with wooden panelling or canvas.
Flies or fly gallery: The space over the stage and out of view of the audience used to store scenery.
Fly: To suspend sets, lights or props above the stage floor.
Front of house: The entrance, lobby and seating area of a theatre.
Green room: A quiet room backstage where performers can relax between performances and greet members of the public.
House: An abbreviation of front of house ; also used to refer to the audience.
Props: Short for "properties", items or objects positioned on stage or carried by performers.
Plot: A diagram or schematic drawing of lighting positions and intensities.
Proscenium arch: The arch that forms a frame at the front of a stage.
Rig: To secure or hang lights or sets to cables on bars suspended above the stage in the fly gallery.
Run-through: A rehearsal of a completed work without interruption.
Scenic design: The creation of theatrical scenery, also known as stage or set design.
Scenography: The practice of designing and making scenic elements such as sets, props, costumes and scenery.
Sight lines: Unobstructed lines of vision so that all stage elements are visible from the audience.
Traps: A part of the stage floor that can open and close, allowing performers or objects to appear or disappear from the stage.
Venue: A theatre or performance space.
Wings: Drops or flats at the side of the stage positioned to form corridors to facilitate entrances and exits to and from the stage. Wings also prevent offstage performers and crew from being seen by the audience.
III. Stage Directions
Centre stage: The central or middle area of the stage.
Downstage: When facing the audience, the area closest to the audience.
Upstage: When facing the audience, the area farthest away from the audience.
Stage right: When facing the audience, the area of the stage to the right of centre.
Stage left: When facing the audience, the area of the stage to the left of centre.
Backdrop / Cyclorama:
Upstage Right
Upstage Centre
Upstage Left
Stage Right
Stage Left
Downstage Right
Downstage Centre
Downstage Left
<----------------------------- b="">Proscenium Arch
----------------------------->
IV. Eras and 'Isms'
Bauhaus: An approach to design developed and taught at the Staatliches Bauhaus, an art and architecture school in Germany that operated from 1919 to 1933. The Bauhaus aimed to unify art, craft and technology. It had a major impact on art, furniture design and architecture trends worldwide as many of its key figures, such as Walter Gropius, Hannes Meyer and Mies van der Rohe, fled or were exiled by the Nazi regime. Choreographer Oskar Schlemmer, who joined the faculty of the Bauhaus school in 1921, was known for his Bauhaus style of movement called "architectonic dances".
Classical ballet: A traditional style of ballet that stresses established academic technique; ballet that follows 19th-century style and structure. The Sleeping Beauty, The Nutcracker and Swan Lake are examples of classical ballets.
Classics: Pieces of music or choreography created in the past that represent a historical period and/or that influence present styles.
Cubism: First coined by a French art critic in 1908 to describe an avant-garde art movement that revolutionized European painting and sculpture in the early 20th century. In cubist artworks, the subjects are broken up and reassembled in an abstracted form so that several different aspects, or faces, are seen simultaneously. The first artists to be identified as cubists were Georges Braque and Pablo Picasso. Cubism gave rise to the development of new trends in art such as futurism, constructivism and expressionism. The work of Léonide Massine, a dancer and later a choreographer with Les Ballets Russes, was influenced by the cubist movement.
Czarist Russia: Also known as Imperial Russia, a period of Russian history from the expansion of the Russian Empire under Peter the Great to the end of the reign of the last tsar, Nicholas II, who was assasinated at the start of the Russian Revolution in 1917. Dancers such as Anna Pavlova, Vaslav Nijinsky and Bronislava Nijinska first came to world attention during this time period.
Expressionism: The tendency to distort reality for emotional effect or to convey emotional angst. Expressionism is exhibited in many art forms, including painting, literature, film, music and dance. The term was coined by Czech art historian Antonín Matejcek in 1910 as the opposite of impressionism. Some of the movement's leading painters were Wassily Kandinsky, Oskar Kokoschka, Edvard Munch and Egon Schiele. The novels of Franz Kafka are often described as expressionist, as is a movement in early 20th-century German theatre centred around Georg Kaiser and Ernst Toller. In music, Arnold Schoenberg and Anton Webern wrote pieces described as expressionist. Mary Wigman, one of the leading proponents of German modern dance, also created expressionist works. [ Read more. ]
Gesamtkunstwerk: (German, "synthesis of the arts") Total artwork in which the different arts are united into a harmonious whole so that no single discipline dominates.
Modernism: In a cultural historical sense, the new artistic and literary styles that emerged in the decades before the First World War began in 1914. In this period, artists rebelled against the traditional norms of the late Victorian era to focus on issues of progress, innovation and the rejection of tradition. The lines between high art and popular culture blurred as products of consumer culture became cultural icons and gave rise to new trends in art and design. Dance artists such as Michel Fokine, Vaslav Nijinsky and Bronislava Nijinska embraced the modernist aesthetic, moving away from the traditions and restrictions of Imperialist ballet in their native Russia.
Nineteenth century: The period from 1801 to 1900; also referred to as the 1800s. The Industrial Revolution which had its roots in the preceding century continued to expand, and inventions such as the telephone, photography, the steam engine and the automobile were major landmarks. Carlo Blasis, Fanny Elssler, Filippo Taglioni, Marie Taglioni and Marius Petipa were all significant dance innovators of the 19th century during the classical and romantic eras of ballet.
Post-modernism: Applied to a wide-ranging set of developments in critical theory, philosophy, architecture, art, literature and culture that are generally characterized as either emerging from or commenting on modernism. Post-modernism was first identified as a theoretical discipline in the 1980s. In general, post-modernism distrusts claims about truth, ethics and beauty - the so-called "grand narratives".
In dance, post-modernism was a reaction to the first wave of modern dance. It typically features deconstruction of narrative and a cross-disciplinary approach to creation and performance. Post-modern choreographers include Trisha Brown, Meredith Monk, Steve Paxton, Yvonne Rainer, Anne Teresa De Keersmaeker, William Forsythe and Paul-André Fortier.
Romantic Ballet: The romantic era of ballet lasted from the early to mid-19 th century and is often referred to as ballet's "golden age". The advent of the romantic era in dance can be traced to a performance by Marie Taglioni in the opera Robert le Diable in 1831. Taglioni is said to have appeared weightless and otherworldly on stage. The next year, her father Filippo Taglioni choreographed La Sylphide for his daughter and the romantic ballet was born. The image of women in ballet as ethereal and untouchable, the idea of impossible love, the tension between everyday reality and the supernatural became signature motifs. The use of gauzy white skirts and pointe shoes heightened the illusion of ethereality. Other great ballerinas of the time are Fanny Elssler and Carlotta Grisi.
Romanticism: An artistic and intellectual movement that originated in the late 18th century and stressed strong emotion and the power of the individual imagination.
Twentieth century: Lasting from 1901 to 2000, the 20th century saw a remarkable shift in the way that vast numbers of people lived. The advent of television, birth control, space travel, cellular phones and the Internet came as the result of major technological, medical, social, ideological and political advances. Mass media and telecommunications heralded the spread of American culture across the globe, and through this new connectedness created the image of a "global village". The 20th century saw the rise of both modern and post-modern dance, the proliferation of ballet throughout the world and the recognition of world dance as equal to western classical forms.
V. General Dance and Arts Vocabulary
Aesthetic: Qualities that are considered both beautiful and highly prized; also, a set of principles underlying a work of art.
Agility: The quality or state of being agile, supple and fast moving.
Amateur: A dancer who has not yet reached a professional level of dance expertise or experience, and who may dance for personal enjoyment rather than as a career; also, a dancer who is not paid for his or her work.
Arts council: An impartial funding body that specializes in financial support for the arts. In Canada, there are national, provincial and municipal arts councils.
Artist-in-residence: A respected artist who is employed to create for a particular dance company, theatre or institution.
Arts patron: A person who "patronizes" the arts by making monetary donations, volunteering their time, buying tickets and/or advocating for the art form.
Canon: The same or similar movement performed by dancers one after another.
Cast: All of the performers in a production.
Character dance: National, world or traditional dances, often derived from European folk dances.
Character role: In dance, a performing role that requires strong acting skills in addition to dancing.
Character shoe: A special leather shoe or boot with a heel, worn when performing national or world dances.
Charter member: A founding or original member of an organization.
Choreography: Movement and shaping of the body in space as designed by the choreographer.
Chorus: Performers who do not have lead roles and perform during group scenes or action.
Collaboration: When two or more artists work together in a creative process.
Collective: A group of artists with common artistic goals who choose to create work together.
Company: A group of artists who, with the support of technical and administrative staff and operational funding, create work on a seasonal basis.
Concerto: A piece of music written for orchestra and soloist (e.g. orchestra and violin).
Contract: A binding, legal agreement between two parties that specifies conditions of employment.
Counterpoint: Phrasing of movement in opposition to a rhythm.
Finale: (Italian, "final") The closing sequence or scene in a performance; may include the entire cast performing with high energy or emotion as in a grand finale.
Impresario: (Italian) A person who is responsible for securing finances, making programming decisions, and assembling cast and crew for a public entertainment. For example, Serge Diaghilev was the impresario of his company, Les Ballets Russes. The role is similar to that of a producer.
Independent dance artist: A dancer who is not employed on a regular basis by a company but works from project to project.
Installation: Visual art that is created for a specific gallery space or outdoor site, comprised of individual works intended to be viewed as a whole.
Interpretation: The way an artist chooses to interpret or perform choreography from his or her own unique perspective.
Kinesphere: The three-dimensional space in which all movement of the body takes place.
Kinetic awareness: Sensory perception of the body in motion.
Lyricism: The capacity to dance in a lyrical manner with emotional intensity.
Marley: A type of smooth, slip-resistant, synthetic flooring designed especially for dancing.
Matinée: (French) A performance during the day, usually in the afternoon.
Mixed-ability dance: The inclusion of dancers with disabilities.
Moderato: (Italian) A musical composition performed at a medium or "moderate" tempo.
Modern dance: Developed in the early 20th century, and usually referring to concert dance in the West. Rebelling against classical ballet technique and hierarchy, and structured costumes and shoes, early modern dance pioneers began to practice "free dance". In America, Loie Fuller, Isadora Duncan and Ruth St. Denis developed their own styles of free dance, paving the way for American modern dance pioneers Martha Graham, José Limón and Doris Humphrey. In Europe, Rudolf von Laban, Émile Jaques-Dalcroze and François Delsarte developed theories of human movement and methods of instruction that led to the development of European modern and expressionist dance.
Motif: A recurring image or thematic element.
Muse: A person who inspires an artist to create.
Musicality: The ability to effectively express the tempo and melodic qualities of music with the body.
Musique concrète: (French) Music made up of "concrete", real-world sounds that are recorded and then manipulated electronically.
Negative space: The space surrounding a body or between multiple bodies that is not occupied.
Notation: A written method for documenting and recording movement; also referred to as choreology. Examples include Labanotation (developed by the students of Rudolf von Laban ) and Benesh notation (developed by Rudolf Benesh).
Pedagogy: The strategies, methods and philosophies applied to teaching.
Performing arts: Art that is performed such as dance, theatre, music and opera.
Phrase: A short series of linked movements or a short passage of music.
Plot: A story or pattern of events that make up a narrative; also, a diagram or schematic drawing of lighting positions and intensities.
Pointe shoe: In ballet, a special shoe with a reinforced toe that allows the dancer to perform on the tips of the toes.
Positive space: The space that a body uses or occupies.
Powwow: A meeting or gathering of North American First Nations that may include dancing and singing.
Première: (French, "first") The very first public performance of a piece of choreography; also, "opening night".
Production: All of the elements involved in a performance, or relating specifically to technical or behind-the-scenes aspects.
Professional: A person who is paid for his or her work and who has completed pre-professional training; the opposite of amateur.
Protégé: (French, "protected") A younger artist who has been trained or mentored by a senior artist.
Rank of étoile: (French, "star") Common in Francophone ballet, a dancer (such as Sylvie Guillem ) who has reached the height of his or her career and fame. Étoile is equivalent to the rank of prima ballerina or danseur noble.
Refus Global: A collective manifesto published in 1948 by Québécois painter Paul-Émile Borduas, founder of the automatiste movement.
Repertoire: The collection of choreographic works that an individual artist or dance company may perform.
Restaging: A new interpretation of an existing choreographic work.
Retrograde: Moving in a direction that is opposite to that of similar bodies.
Score: The piece or pieces of music selected for a particular choreography ; the range of physical movements provided for analysis in Labanotation; also, the instructions provided for improvisation.
Set design: The design of theatrical scenery or sets, also known as stage or scenic design.
Signature work: A work that defines a dancer's or a choreographer's style.
Site-specific work: A work created and performed in a non-traditional setting.
Sprung floor: A specially designed floor that has a quality of resilience. A sprung floor is valuable for dancers as it absorbs some of the strain placed on their bodies during jumps and other movement.
Stage fright: Anxiety or nervousness before or during a performance that may impair a dancer's ability to perform.
Stagecraft: The practice of making or staging a production, involving the creation of sets, props, lights and costumes; the placement of scenic elements, including performers; the timing of action; and the appropriate use of stage conventions.
Step: A movement of the body that involves a transfer of weight.
Strike: Taking down and removing sets, props, lights, etc. after a performance has ended.
Suite: A series of pieces of music with a common theme or motif.
Symphony: A long musical score for orchestra divided into three to five movements or sections.
Tableau: (French) A "picture" created by a group of dancers in stillness.
Taiko: (Japanese) A "big drum".
Technical virtuosity: A dancer's ability to perform complex movements with clarity, ease and zeal.
Technique: The correct means of executing a movement; also, a particular variety or sub-genre of a dance form (e.g. Graham technique is a sub-genre of modern dance).
Theatrical dance: Dance where the primary purpose is presentation before an audience.
Transposition: The act of changing the key of a musical composition.
Troupe: A group of performers, especially one that tours.
Tutu: In ballet, a skirt made of multiple layers of a light, stiff fabric called tulle. A romantic tutu falls between the knee and the ankle, while the classical tutu is much shorter, fanning away from the dancer's body at hip level.
Visual art: Drawing, painting, sculpture and photography.
VI. Additional Reference Material
For more ballet terminology, American Ballet Theatre's online dictionary offers English definitions of ballet technique: http://www.abt.org/education/dictionary/index.html
The following reference books are also recommended:
Dictionary of Classical Ballet Terminology by Rhonda Ryman, published by the Royal Academy of Dancing, 1998. Note: provides equivalent terms in Cecchetti and Vaganova techniques.
Dictionary of Dance: Words, Terms and Phrases edited by Susan Macpherson, published by Dance Collection Danse Press/es, 1996.
International Dictionary of Modern Dance edited by Taryn Benbow-Pfalzgraf and Glynis Benbow-Niemier, published by St. James Press, 1998.
International Encyclopedia of Dance, founding editor Selma Jeanne Cohen, published by Oxford University Press, 1998.
Oxford Dictionary of Dance by Debra Craine and Judith Mackrell, published by Oxford University Press, 2000


Authenticity of the Baha´i texts isn´t as simple as one would initially think. After all the assumption is that since the Baha´i Faith is such a young religion and since all of the texts were authenticated personally by the Manifestation, there should be no qualms at all about this issue.
Fortunately, the truth is somewhat different. Fortunate, because it gives scholars an opportunity for some original research and thought. If you are interested in an example of such dialogue, you may want to check out Talisman´s discussion of "The Promulgation of Universal Peace" in the first week of January 2005 (check the archives).
On a different note, but same topic, I read recently an interesting article about scholars working on authenticating Quranic text based on very, very old copies of the Quran. Since the Quran has been transcribed over many generations by hand, there are some errors that have inevitable crept in. These scholars made a find of historical proportions where they unearthed, behind a mosque wall, a Quran cemetary.
That is, a place where old copies of the Quran, worn out from use, were deposited. This is an ancient tradition due to the extreme respect that Muslims place for the physical word of God. It would be unthinkable to simply discard or burn or in any other way dispose of the Quran. Anyway, thanks to this ancient custom these scientists discovered a treasure trove of very ancient Qurans which allowed them to slowly create a timeline and trace back any and all changes over the years.
Needless to mention, such a scholarly work is extremely dangerous because Muslims can be rather prickly when you suggest that their text came through any other form than pure descent or revelation from God (and what religion isn´t?). I found this article extremely interesting because it is a commonly known thing that the Quran is little understood today. Some say this is because it was written in a very ancient version of Arabic. This new theory states that maybe we don´t understand it because some scribe wrote down the wrong letter or word. I´ll try to find it and post it if I can (in the meantime if you know what I´m referring to, reply with the link please and help us all out).
As part of our class newsletters last December and earlier this year, and then mostly as a side issue, Tony Lee and Denis MacEoin, one of our English correspondents, offered their own classification system of Baha'i Writings. Their reason for compiling these outlines was to rank the relative importance of statements attributed to or written by the Central Figures of the Faith, the Guardian and the Universal House of Justice. Such a ranking is important because, for example, remarks jotted down by Baha'i visitors to Israel when in the presence of Shoghi Effendi have come to be known as pilgrim's notes and have no authenticity nor binding affect at all.
When Lee and MacEoin submitted their outlines to the class both invited comments to the proposals. Our Baha'i study class of April 17 heard one such commentary from Dr. Amin Banani. Here is a summary of what he said.
The Lee and MacEoin outlines set up gradations of relative authenticity by ranking Baha'i writings in an order of importance. The underlying assumption is that such a hierarchy sets out the authority and importance of each source. While attempts such as those offered by Lee and MacEoin are interesting and thought provoking, it is up to Baha'i administrative institutions, specifically, the Universal House of Justice, to make decisions about how authentic (and therefore reliable) various Baha'i works are. Rating which writings are more valid or less valid is not up to individual Baha'is, no matter how well intentioned and sincere they are.
Efforts to determine authenticity (and thereby judge authority) are not new with the Bah'ai Faith. Judaism, Christianity and Islam have all been subjected to this same inquiry. What such efforts boil down to is a question of: How do we distinguish between the Words of God and the words of man? Taking Islam, as an example, the tone and style of the Quran have convinced some Muslim scholars there is, on God's part, a "Divine preference for the Arabic language." This assumption has become part of a fundamentalist credo in Islam. Since the Quran was written in Arabic, there are, in Muslim views, prohibitions against translating the Holy Book into other languages. But, this interdiction, rather than hampering the spread of Islam, instead has served to make Arabic the "lingua franca" of the Muslim world. Once knowledgeable in Arabic, a necessity for reading the Quran, the languge becomes the common tongue for Muslims from different areas to communicate with each other.
The whole notion of how God communicates to man through a prophet relates to the twin subjects of classification and authenticity of religious scripture. The history of religion is a history of God revealing His Will through some chosen instrument. Baha'is call this a manifestation. These people must use words to convey God's message as revealed to them. It is from this transformation (Will of God into words of prophet) that the whole idea of the "creative word" comes into being. (Still with us here gang?) The beginning of the act of divine creation often is described in terms of an oral command, a word or set of words. Verses in the Quran frequently begin with the command: "Say!" (Near the beginning of the Bible, in Genesis I, chapter 3, it reads "And God said, 'Let there be light:' and there was light.") Baha'u'llah affirms this concept of the creative word, saying it is proof of the validity of religious revelation.
FOLLOW-UP DEPT. During our general comment section, Dr. Banani was asked what particular significance the Yazd incident and trial (see April 6 newsletter) played in the Baha'i history of modern Iran. He replied that there was nothing very noteworthy about the entire matter except that it occured at the close of a period of relatice calm that existed in Persian from the 1920′s up through the 1940′s, when the Baha'is were left pretty much alone. But the arrest and 1952 kangaroo-court trial of more than a dozen Baha'is on trumped up charges of murder set off a "realization that, at any time, abridgement of their human rights could take place," Dr. Banani said.
Kul alm wa enta bekher!


text:
The 1998–99 ISU Junior Grand Prix was the second season of the ISU Junior Grand Prix, a series of international junior level competitions organized by the International Skating Union. It was the junior-level complement to the Grand Prix of Figure Skating, which was for senior-level skaters. Skaters competed in the disciplines of men's singles, ladies' singles, pair skating, and ice dance. The top skaters from the series met at the Junior Grand Prix Final.

Competitions
The locations of the JGP events change yearly. In the 1998–99 season, the series was composed of the following events:

Junior Grand Prix Final qualifiers
The following skaters qualified for the 1998–99 Junior Grand Prix Final, in order of qualification.

There were eight qualifiers in singles and six in pairs and ice dance.

Medalists

Men

Ladies

Pairs

Ice dance

Medals table

References

External links
 1998–99 Results
 1998–99 Junior Grand Prix Final result

ISU Junior Grand Prix
1998 in figure skating
1999 in figure skating

redpajama_set_name: RedPajamaWikipedia


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Forest Row Energy Co-op Wins a Community Energy Award from M&S!
After much hard work and with fantastic support and partnerships within our amazing community, Forest Row Energy Co-op are thrilled to have been announced today as one of the 'Judges Winners' in this year's M&S Community Energy Fund.
The funds will be used as part of Forest Row Energy Co-op's 'Solar Power to the People' Project which includes a solar installation with battery storage at Forest Row's Community Centre. The project is also part of bigger plans for the community energy movement in the area.
Esmé Michelle Wild, Director of Funding and Projects at Forest Row Energy said 'We are absolutely over the moon that the judges have recognised all our hard work. Winning this award means that we will now not only be able to move forward with this project but that we will be able to take the community energy movement in the region to the next level.
As part of the project we have the developed skills, partnerships and project management processes that will allow us to attract further funding and be ready to go on a whole range of other renewable energy projects in and around Forest Row. Today we are a big step closer to achieving our vision for local renewable energy – to power our community by clean, green renewable energy and become self-sufficient in our energy needs.'
This project has been in the making for around 2 years. Along the way Forest Row Energy Co-op have been successful in partnering with Forest Row Parish Council to gain planning permission for the solar installation on the Grade II listed community centre, engaging local business, inspiring Powervault to provide free battery storage worth £6,000 as part of the project and gaining the votes of over 1250 supporters in Forest Row and further afield as part of the M&S community energy competition.
The solar installation on the Forest Row Community Centre will power the preparation of sustainable meals for local people, community services such as the local library and electric car charging. The installation will produce enough power for around 7,000 community meals or for 580 car charges each year at the electric car charging point.
The battery storage that will be donated by Powervault will mean that energy generated from the solar panels will be stored and used directly, rather than being exported to the grid and then bought back at a higher price.
The M&S judges said that the project was 'One of the most innovative projects to feature in this year's competition, Forest Row's vision to power a community through local energy production and create a self-sufficient energy movement was extremely popular with the judges. As community energy initiatives continue to grow, the judges felt that Forest Row's ambition to develop a resource that helps other community energy projects, beyond their own, was highly commendable and deserved to be recognised.'
We are now exited to be making plans to get the installation up and running in the New Year and about making next steps to create positive change, sustainability and energy self-sufficiency in the community. A big thank you to everyone that has helped, supported and voted for this project.
Forest Row Energy Co-operative Ltd 2021

redpajama_set_name: RedPajamaCommonCrawl


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Миран Тепеш  (, род. 25 апреля 1961 года в Любляне, Словения) — югославский прыгун с трамплина, спортивный функционер. Серебряный призёр Зимних Олимпийских игр 1988 года в составе сборной Югославии в командных соревнованиях.

Карьера
Миран Тепеш дебютировал в Кубке Мира по прыжкам на лыжах с трамплина 30 декабря 1979 года в немецком Оберсдорфе. Показав хорошие результаты был призван защищать цвета югославского флага на Зимних Олимпийских играх 1980 года в Лейк-Плесиде, где он занял 40 место на большом трамплине и 42 место на нормальном трамплине. На домашних Олимпийских Играх в Сараево лучшим местом стало 27 на нормальном трамплине. Первый подиум (2 место) словенец завоевал 23 февраля 1985 года на гигантском трамплине в Гаррахове. Зимние Олимпийские Игры 1988 года в канадском Калгари стали самыми успешными для словенца. В составе команды Югославии он завоевал серебряную медаль, а личных соревнованиях показал 10 место на большом трамплине и в шаге от медали (4 место) остановился на нормальном. Девять раз Миран Тепеш поднимался на пьедестал почета на этапах Кубка Мира (7 вторых мест и два третьих), однако победа так ему и не досталась. Последний прыжок совершил в родной Планице 29 марта 1992 года. После завершения спортивной карьеры Миран Тепеш перешёл работать в Международную федерацию лыжного спорта. Сейчас в должности спортивного функционера он отвечает за дачу разрешающего сигнала для старта прыгунов на Кубке Мира.

Личная жизнь
У Мирана Тепеша спортивная семья. Его сын Юрий и дочь Аня пошли по его стопам и занимаются прыжками на лыжах. Словенец страстный моряк, два раза плавал вокруг света на своей парусной лодке "Skokica".

Ссылки

Серебряные призёры зимних Олимпийских игр 1988 года
Прыгуны с трамплина на зимних Олимпийских играх 1980 года
Прыгуны с трамплина на зимних Олимпийских играх 1984 года
Прыгуны с трамплина на зимних Олимпийских играх 1988 года


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VHS-C er en standard for en meget kompakt udgave af VHS-videobåndet udviklet af japanske JVC. VHS-C-systemet kom på markedet i 1982 og blev brugt i videokameraer. I videokameraets kasetterum sidder et videohoved, som aflæser & -skriver 2 slags informationer fra båndet: kontrolinformation & lyd/videoinformation. Data og hovedet er i en 45 graders vinkel så dette læses skråt. Dette er gjort for at formindske størrelsen på båndet optimalt. Alternativet ville have været et 1 cm tyndt 1 meter bredt bånd som ville kræve en gigantisk maskine at afspille. Med den skrå metode komprimeres størrelsen enormt. Dette kan visualiseres ved at sammenligne skråstreger og streger ved siden af hinanden:

////////// skråstreger (45 grader)

 streger (0 grader)

Et VHS-C-bånd kan sættes i en adapter, så det kan afspilles i en VHS- eller S-VHS-maskine. En adapter er som regel mærket med et S-VHS-logo. Den giver en S-VHS-maskine mulighed for at registrere, om båndet har et særligt hul. S-VHS-C-bånd har et hul der viser løbeværket, at der kan optages i S-VHS-kvalitet. En VHS-maskine vil blot prøve at afspille båndet, hvilket kan lade sig gøre, hvis det er et VHS-C-bånd.

S-VHS-C- VHS-C- S-VHS- og VHS-bånd er ½ ″ (1,27 cm) brede.

Se også
 S-VHS-C
 VHS
 S-VHS
 Betamax
 U-matic
 Video 2000
 PAL
 SECAM
 NTSC

Eksterne henvisninger
Video på Den Store Danske

VHS


Philosophical | Akama Thomson, M.A.
This entry was posted in Philosophical on 5 October, 2017 by Akama.
This entry was posted in Philosophical on 19 July, 2013 by Akama.
This entry was posted in Philosophical on 27 April, 2013 by Akama.
This entry was posted in Philosophical on 2 April, 2013 by Akama.


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About Columbia, SC
Columbia is the state capital and largest city in the U.S. state of South Carolina. The population was 129,272 according to the 2010 census. Columbia is the county seat of Richland County, but a portion of the city extends into neighboring Lexington County. The city is the center of a metropolitan statistical area of 767,598, the largest within the state. The name Columbia was a poetic term for the Americas derived from Christopher Columbus.
Located 13 miles (21 km) northwest of South Carolina's geographic center, Columbia is the primary city of the Midlands region of South Carolina, which comprises several counties in the central portion of the state. The city lies at the confluence of two rivers, the Saluda and the Broad, which merge at Columbia to form the Congaree River. CNNMoney.com named Columbia as one of America's 25 best places to retire, and US News & World Report ranked the city sixth on its 2009 America's Best Affordable Places to Retire list.
With roots that are unmistakably Southern and a forward-thinking and dynamic pulse, there are a multitude of reasons why Columbia, SC is known to be "Famously Hot." Easy to access by three major interstates (I-77, I-26, and I-20), Columbia is situated in the center of the state of South Carolina at the convergence of three rippling rivers lined by a shady riverwalk perfect for jogging and walking. The area's population is over 700,000, with thriving colleges and universities, award-winning hospital systems and diverse and charming neighborhoods to suit any lifestyle. Several entertainment districts with outdoor cafes, coffee shops, art galleries and shops present year-round opportunities for socializing and enjoying the outdoors. Historic homes and antebellum mansions nod to a bygone era while high-tech start-up companies and arts enthusiasts thrive in the urban revitalization occurring in the downtown area. Columbia may be known for its "hot spots", but opens the eyes of visitors and residents daily to a "surprisingly cool" lifestyle and culture.


If you're building or renovating a house, you'll need to decide on the type of heating system you want in it. There are a few options in residential heating, so you don't necessarily have to go with a forced air furnace, although furnaces are a popular choice. Here's a look at some home heating options you have.
Radiant floor heating is a good choice if you want to warm up the floors in your home. If you plan to put in concrete or stone floors, a radiant floor heating system will keep them from being chilly in the winter. Stone holds and transfers heat well, so your entire floor is like a huge heater that warms the room from the bottom up. Electricity or hot water power these systems.
While you can't heat your entire home with a fireplace unless you have a small cabin, a gas fireplace is an excellent form of heat for the living or family room. Gas heat is much easier to control than heat from a wood fire, and a gas fireplace is much more convenient to operate. You won't have to gather wood, and you can turn the fireplace on with a remote control.
You can choose a gas or electric furnace for your home that heats your house by blowing warm air through ducts. Models sold today are energy-efficient, and they often share an air handler and ducts with a central air conditioning system which helps control costs. A furnace could be the best choice if you want a reliable form of residential heating that you are familiar with.
Steam and hot water can be used to heat a home in different ways. You might install water heaters along the baseboards in your home, or you might install a steam radiator. Radiators were once very common and are still found in older homes. Radiators and water heaters are powered by a boiler that operates on gas or electricity.
When you choose a new heating system for your home, you must first choose if you want to power it with gas or electricity. Then, you can compare the pros and cons of heating with forced air against heating with a radiant system. Also, don't forget about the ducts you'll need for a traditional furnace. If you're renovating, you may decide using a ductless method is a better choice for the best utilization of space.


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Mihail Petroveanu () a fost un critic și istoric literar român.

El a fost căsătorit cu poeta Veronica Porumbacu. Cuplul a murit în timpul cutremurului din 1977, în locuința din strada Bibliotecii (blocul în care se afla s-a prăbușit).

Opera
 Pagini critice, București, 1958;
 Tudor Arghezi, poetul, București, 1961;
 Profiluri lirice contemporane, București, 1963;
 Studii literare, București, 1966;
 George Bacovia, București, 1969;
 Traiectorii lirice, București, 1974.

Traduceri
 Jules Verne, Copiii căpitanului Grant, București, 1950.

Note

Legături externe
Geo Șerban, Meandrele memoriei. Pentru Milo, Observatorulcultural.ro, Nr. 587 din august 2011, accesat la 6 august 2013

Nașteri în 1923
Decedați în timpul cutremurului din 1977
Scriitori români din secolul al XX-lea
Critici literari români
Traducători români
Istorici literari români
Bucureșteni
Absolvenți ai Universității din București


Today, Mayor Provenzano offered the following remarks regarding the appointment of Asima Vezina as Algoma University's new President and Vice-Chancellor.
"For many years, Algoma University has played a vital role in our community providing excellent learning and development opportunities. I congratulate Asima Vezina on her appointment as Algoma University's new President and Vice-Chancellor and welcome her leadership.
Asima's academic background is extensive and comes at an important time in the University's development. As a proven leader, her experience and passion for education will undoubtedly be an asset to the University and to our community. An accomplished and respected academic, I am confident that Asima will seize the opportunities ahead, charting a successful course for the future of Algoma University. I look forward to working with her supporting our community's growth as our relationship with Algoma University continues to deepen.
I would also like to offer sincere thanks and appreciation to Dr. Celia Ross for her commitment to Algoma University during her tenure as Acting President and Vice-Chancellor. With her leadership we have created a strong foundation of partnership, innovation and community connections that will continue to help lead Sault Ste. Marie into the future.
As a key post-secondary institution in our community, Algoma University has done an outstanding job of educating the next generation of leaders. I look forward to working with Algoma University under Asima's leadership and building on our shared successes for the betterment of our community."


text:
THE ENEMY OF ALBANIANS
written by Admin March 13, 2022 461 views
Over all, we – Albanians – should understand that Albania was occupied in 1912 by the British Empire and its corrupt bankers after a saga of wars against the Ottoman Empire, where the Balkans was its stronghold.
From a secular point of view, the Ottoman Empire had a significance for guaranteeing a balance of the world order and to provide a real alternative to the world, apart from its geopolitical position, territorial vastness, natural recourses – especially the emerging oil, and the custody of the three holy lands – dear to Muslims, Christians and Jews.
To Muslims, the Ottoman Empire was the last central government and the political shelter to administer their affairs and protect them against enemies since the advent of Islam in the 7th century.
The collapse of the Ottoman Empire and the introduction of independent nation-states, which was invented by the British Empire – the arch enemy – as a mechanism in order to maintain its power through spy-leaders and appointed governors was a sad day for all Muslims around the world, but it was even sadder for those in the Balkans; and this sadness was not limited to them only, but included their fellow Christians and Jews living in the territories of this empire.
Clearly, we – Albanians – understand that every government appointed by the West since the occupation of 1912 has been acting no better than a foreign occupier, for they represent and they are the occupier, indeed.
We are in a post factum situation. The facts speak for themselves. There is no need to speculate. There is no need to resort to propaganda and lies. The facts which expose the Albanian government as a foreign enemy or occupier are the elephant in the room.
Ahmed Zogolli, later Zogu – God knows his real name, did to Albanians what exactly any foreign occupier would have done. He killed the elite, stole the gold from people, banned elements of Islam related to women, reformed the society by getting rid of the tribal system so to facilitate the infiltration of foreigners in Albania such as Fan Noli and his likes, and above all, he abandoned the country in 1939.
Enver Hoxha followed in his footsteps. He banned the religion altogether, changed the culture and language and history, killed the remaining elite and intellectuals, facilitated the raping of the Albanian women in an organized way, forced all the population to be members of the Albanian intelligence service, and impoverished the country to the borderline of starvation.
In 1991, the terrorist regime of E. Hoxha was reformed politically, but in essence nothing changed. The country has continued to be under siege of the same people who have been ruling since 1912. Different from the previous regime, in 1990s onward, Albanians went through an ethnic cleansing, by forcing people to abandon the country and never be able to return.
The change comes only by knowing the truth and only the truth.
My dear Albanian, never be afraid of the truth!
UKRAINE, SADDAM HUSSEIN AND MUAMMAR GADDAFI
ALBANIA IS NOT AT WAR


It doesn't matter if it's for business or pleasure. Consult with your travel agent and pick from a plethora of airline options that are open to you. Naturally, you'd want one that offered attractive airfares and expansive legroom.
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Sometimes which airline you should choose can be a case of the right place at the right time. You might wonder what the actual 'right' time is to buy a ticket. We recommend going shopping at least 6-8 weeks in advance of your upcoming journey, not a month prior.
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When you jump in a pool, it's breaking the surface that requires the most force; once submerged, it's easier to plunge deeper. This effect has to do with the way liquid molecules attract each other. Those on top have neighbors only on one side and cling all the more tenaciously to them, forming a kind of skin. On a waterproof surface, rain will run in droplets, with all the outside molecules drawn inward.
Soap reduces the surface tension of water so it gets into clothes, hair, and other textured things by essentially coating the water molecules and making them more slippery. One end of the soap molecule is drawn to water molecules, while the other end repels water.
Every year hundreds of thousands Muslims converge on Mecca to perform the Hajji, the pilgrimage that is a duty of their faith. Designed to host this influx, the Hajji Terminal at Saudi Arabia.s King Abdulaziz International Airport is s strikingly modern, open air tent village covering 120 acres.
Most buildings hold their structure up by the weight of things pushed together stacked bricks and joists, for example. But the Hajji Terminal relies instead on tension , the force created when things are pulled apart.
In the roofs of the Hajji Terminal, vast swathes of lightweight, flexible, Teflon coated fiberglass fabric are suspended in cone shapes on taut steel cables.
This Terminal was built to accommodate the pilgrims on their way to Mecca during the holy month. Up to 100,000 people pass through it in one day.
The fabric roof covers 430,000 sq.m. of plan area which is by far the largest roof structure in the world. Made of Teflon coated fiberglass the roof reflects most of the heat. Acting like a forest in the desert it provides comfort without requiring mechanical energy.
The roof consists of 10 modules of 320m by 138m, each having 21 tentlike units. Their peaks are suspended from steel pylons leaving the space under the units wide open.
Cost of the roof structure: $ 180 million.
Roof Design Consultant and Structural Engineer : Geiger Berger Associates. Horst Berger, Principal-in-charge.


Hier wird dem Automaten befohlen, innerhalb X und Live-Chat.
With the new class system, eight-player raids, and an overhauled game engine, there should be a lot to love in The Division 2 for anyone who enjoys shooting thugs and looting their bodies for better gear.
A new game from the masters of the action-RPG FromSoftware tends to be a blessing and a curse all at once. A blessing, because it means another lovingly crafted world to explore and soak up for months.
Set in a mythologised take on Feudal Japan, Sekiro: Shadows Die Twice will continue the FromSoft hack-and-slash tradition with thematic tweaks and forward-thinking changes to suit the new milieu.
The most enticing feature spotted so far? A grappling hook, which could drastically change how we traverse the expertly made zones and arenas.
Tracking Track 42 A Fold Apart Game pc. Tracking Track 43 Feb 15 12 Days Left. Metro Exodus Game pc. Dawn of New Riders Game pc.
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Tracking Track 86 Yakuza Kiwami Game pc. Feb 22 2 Weeks Left. Want some other influences to get your brain running? Fingers crossed for magical talking cat companions.
Challenging combat demands plenty of dodge-rolling and pits you against huge bosses. Subtle, thy name is Platinum. Control looks like Remedy are trying to refine the reality-shifting gunplay of Quantum Break, adding in more environmental destruction and a more open-ended quest structure.
As Jesse Faden, you discover a labyrinth that serves as the headquarters of the Federal Bureau of Control, which can only mean good things.
And you thought your job application was tough. Developer Moon Studios debuted a trailer at E3 showing off a painterly, yet blighted landscape before ending on the titular Ori comforting a young owl mourning over the bodies of its dead parents.
No one ever said beauty had to be pleasant. Black Flag is expanded on in this multiplayer pirate ship sailing game. Gang up with four other friends to pelt enemy teams with cannon fire or just go it on your own to hunt down AI rivals and build your fleet.
But how am I killing dudes, you ask? More specifically, two best buddies named Milo and Lola will be challenging the dark lord, who grants anyone who can beat him in a drinking competition re-entry back to Earth.
You fight huge demons with even bigger swords in an crumbling, interconnected world. There are PC Gamer writers youngers than that. Gear it up well enough and you can use it as movable cover, a mobile storage container, or plant a lovely little turret in the backside.
Sumo Digital, the same developer behind the brilliant Sonic All-Stars Racing games, is back for Team Sonic Racing, which focuses solely on the Sonic universe and puts drivers in teams as they vie for a combined score rather than pole position.
But the vibrant visuals and finely tuned fundamentals are still there, with all the boosting, item-blasting, and mid-air tricking you could hope for.
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If all the bright colors and Andrew W. After a giant asteroid decimates most of humankind, the survivors have to fend for themselves against legions of vicious bandits and mutants with murderous tendencies.
Rage 2 brings back the lethal boomerang known as the wingstick, and amps up the firefights with plenty of dashing and an adrenaline-pumping, neon-soaked berserker mode.
In the desolate post-apocalypse of Phoenix Point, humanity has split into factions following a viral outbreak, and horrific aliens are terrorizing the wastes.
TBA BananaSoft Link RPG What if you took the Mario RPGs but swapped out plumbers for a cursed mechanic who is a reluctant host to a supernatural parasite and a beast-person mage-in-training who knows the netherworld like the back of her hand?
If it sounds like your thing, give the demo a play. Galactic Cafe is celebrating a console port by adding new choices and new endings on top of the original classic.
The Masquerade adventure please? Read our huge preview here. It spreads, and explosions tear away at the rock walls rather than leave them untouched like in so many other games.
Combining these whacky reactions will result in some cool enemy and personal deaths by acid, crumbling rocks, or pooling liquids. Main character Miriam has a range of familiar magic abilities, including the use of a whip, as she fights off against bloodletting bosses and their minions.
Check out our interview. Also it has time travel, and a supernatural side that draws from Robert W. This PC-only turn-based strategy game is a prequel set 12 years before the original game.
Massive boss battles, you say? The original never came out on PC. Also, your spouse can be a tomato. The mountain itself is punishment enough.
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Check out the What to Expect/Bring page for a more detailed list.
There are NO car-camping or RV hookups available.
No open fires. This valley is one of the driest in Colorado. Let's do our part in Wildfire prevention.
Please email us at Festivalofthemuses@gmail.com with any questions or concerns.


text:
Q: How to load .txt into canvas i'm not to bad at javascript myself but i am wondering for a few days at this moment wheter it's possible or not. And if it is, who can help me ?
i need to build a single page application , and i am at the early phase.
now one part where i am stuck at the moment is.
i wish to load different kind of questions into a canvas.
=> java of the canvas
var Question = 'questions'; //<= **this is the part that needs to be corrected**

  var canvas = document.getElementById('myCanvas');
  var ctx = canvas.getContext('2d');
  ctx.font = 'italic 18px Arial';
  ctx.textAlign = 'center';
  ctx. textBaseline = 'middle';
  ctx.fillStyle = 'red';  // a color name or by using rgb/rgba/hex values
  ctx.fillText(Question,100,50)// text and position

to be more clear.
i have let's say 10 questions. i want to load them one by one into the canvas by clicking a button. but i can't figure out how to load .txt files into the canvas can anyone PLEASE help me ?
thanx in advance , any help would be much appriciated

A: You need to issue AJAX GET request, load text file data, and use response text as a question. Something like this:
var request = new XMLHttpRequest();
request.open('GET', 'question.txt', true);

request.onload = function() {
    if (request.status >= 200 && request.status < 400){
        var Question = request.responseText;
        ctx.fillText(Question, 100, 50)
    }
};

request.send();

This is a basic idea. I guess, depending on file contents you might want to process response text somehow before rendering on the canvas.
Demo: http://plnkr.co/edit/3OX8xI7h43CSlcuWowQ5?p=preview

A: You just need 1) a list of questions and 2) to reset the canvas when setting a new question:
var questionIndex = 0;
var questions = [
        "question 1",
        "question 2",
        "question 3"
    ];

function nextQuestion() {
    var canvas = document.getElementById('myCanvas');
    var ctx = canvas.getContext('2d');
    ctx.clearRect(0, 0, canvas.width, canvas.height);
    ctx.font = 'italic 18px Arial';
    ctx.textAlign = 'center';
    ctx.textBaseline = 'middle';
    ctx.fillStyle = 'red';  // a color name or by using rgb/rgba/hex values
    ctx.fillText(questions[questionIndex++], 100, 50)// text and position
    if (questionIndex > questions.length - 1) {
        questionIndex = 0;
    }
}

..
<canvas id="myCanvas"></canvas>
<input type="button" id="btnNext" onclick="nextQuestion()" value="Next Question" />

http://jsfiddle.net/oehq2c0p/

redpajama_set_name: RedPajamaStackExchange


Spiritual thirsty and hungering for God are that key phrases that help to focus on the central message. The story is told about four sailors whose ship had sunk and were now adrift on a lifeboat on the Atlantic Ocean. They were near the equator and were so thirsty that they were squeezing moisture from pieces of canvas on their small lifeboat. When rescuers finally responded to the SOS and arrived, the sailors were almost dying from dehydration. After reviving them, the rescuers informed the sailors that: while they were fighting over a few drops of moisture, they had actually been floating on drinkable water! They were near the Amazon River - a river so huge that it pushes fresh water far out into the ocean. They could have dipped a bucket off the side of their boat and drawn out drinkable water. I tell this story because at times we resemble the sailors on that lifeboat - thirsty, but unaware of a readily available source of fresh water – Jesus Christ. We are hard-wired to hunger and thirst for God. At times like the sailors on the lifeboat we get disoriented and begin to drink dirty water and to eat junk food while the lord is offering us a banquet. In the first reading the Israelites are in exile. They have become disoriented and abandoned their God. That is why the Lord through the prophet Isaiah invites all people to "come to the water… eat and drink for free." Nowhere does such a world of free lunch exist except what God offers us.
In the gospel reading Jesus multiplies five loaves and two fish to feed a crowd of about 5,000 who have followed him in a deserted place. Jesus has been teaching the crowds with God's word all day. When evening comes, the disciples plead with Jesus to dismiss the crowds, but Jesus out of compassion asks the disciples to feed the people. All they have is five loaves and two fish. Then Jesus asks them to bring the loaves and the fish to him. You can imagine what was going on in the minds of the disciples. What next! They had forgotten that Jesus can multiply these loaves and the fish to feed a multitude. Then, he took the loaves, blessed and broke them and gave them to the disciples to give to the people. We hear that "All ate and were satisfied." The feeding of the 5,000 teaches about God's providential care for our basic needs but it also points to how God cares for our spiritual hunger. We are hard-wired for hungering and thirsting for God. Hunger and thirst for God is at the very root of our being. It's the way God made us. As saint Augustine said "Because God has made us for Himself, our hearts are restless until they rest in Him." (Lib 1,1-2,2.5,5) We yearn for God; we hunger for God. When there is no hunger for the presence of God, it is an indicator that something is wrong spiritually. Because that hunger is so basic to human nature, it often finds fulfilment in other areas rather than in seeking God. When one loses appetite for God one will soon die of spiritual hunger. Both the first reading and the Gospel call us back to the source of water and to the one who feeds us. For disciples and stewards, when we have more and more thirst and hunger for God that is a good sign of spiritual health. So what message do we take home this Sunday? 1) We are hard-wired for hungering and thirsting for God. Hunger and thirst for God is at the very root of our being. It's the way God made us. 2) When one loses appetite for God one will soon die of spiritual hunger. 3) The source of fresh waters (Jesus Christ) is right here inviting us to come and eat and drink at every Eucharistic celebration. "Come to the water!" Come and eat; come and drink.


text:
Japan Tokyo Paris France France Olympic Team France government Emmanuel Macron Tony Estanguet Marine Le Pen Sebastian Coe Sports General news 2020 Tokyo Olympic Games Summer Olympic games Olympic games Presidential elections National elections Elections Government and politics 2024 Olympic Games Men's sports Men's canoe slalom Men's canoeing and kayaking Canoeing and kayaking Canoe slalom
Paris Olympics moves up with two presidents on center stage
FILE - In this June 1, 2021, file photo, Paris 2024 president, and three-time Olympic champion, Tony Estanguet poses for a photo outside Paris. The 2024 Paris Olympics emerges fully on Sunday, Aug. 8 from its unexpected extra year in the shadows with a formal handover from Tokyo. (AP Photo/Nicolas Garriga, File)
French President Emmanuel Macron, left, United States first lady Jill Biden, top right, and Paris 2024 president, and three-time Olympic champion, Tony Estanguet, bottom right, applaud as they watch a women's 3-on-3 basketball game between the United States and France at the 2020 Summer Olympics, Saturday, July 24, 2021, in Tokyo, Japan. The 2024 Paris Olympics emerges fully on Sunday, Aug. 8 from its unexpected extra year in the shadows with a formal handover from Tokyo. (AP Photo/Jeff Roberson)
FILE - In this Feb. 27, 2018, file photo, France's President Emmanuel Macron, Paris mayor Anne Hidalgo, center, and Paris 2024 Games' chief Tony Estanguet, right, attend the inauguration of the Olympic Committee site for the Paris 2024 Olympic games and 2024 Paralympic games at the Stade de France stadium in Saint-Denis, outside Paris. The 2024 Paris Olympics emerges fully on Sunday, Aug. 8, 2021, from its unexpected extra year in the shadows with a formal handover from Tokyo. Macron and Estanguet began working together within days of the French presidential election in May 2017. (Ludovic Marin/Pool Photo via AP, File)


Talk Saves Lives: An Introduction to Suicide Prevention is a community-based presentation that covers the general scope of suicide, the research on prevention, and what people can do to fight suicide.
Attendees will learn what suicide is, who it affects, the risk and warning signs of suicide, and how together we can help prevent it.
Community members age 15 or older who want to learn more about suicide prevention are welcome to attend.
Sponsored by FUMCR's Points of Light Caring Ministry.


SunTzuGames is owned 100% by Emil Larsen.
The company is located in Faxe (Denmark, EU) tax number: 29269726.
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I can't offer any refunds on digital purchases, no matter if the available files have been downloaded or not.
Your digital purchase (downloadable files) will be available for 90 days after the purchase.
Your digital purchase (downloadable files) can be downloaded up to 50 times by you.
As a general rule I can't offer any refunds on special edition products (e.g. Kickstarter editions). I might however make specific promises or guarantees through the Kickstarter campaigns themselves.


Christening is one of the most pleasant moments in the life of each family, and certainly a special day for the child itself. Naturally due to of little age may not be able to realize what happened that day, but certainly growing up any kid would be able to enjoy these moments while enjoying high quality photos of a professionally covered christening.
Besides what I have learned from my years of experience in photography social events, especially weddings and christenings, is that the most important is to allow photographer to capture with his lens not just some typical images from the Sacrament itself and church, but the emotions that dominate, and to keep alive over time.
If you choose to trust my services for this very pleasant moment for your child but also for your whole family, I think it is very important for the best photography of baptism to fully exploit the family and religious-spiritual character of the day.
After baptism followed by photos with godfathers, parents, family, the wishes of the guests, the interior or the courtyard of the church and many beautiful photographs will be taken during the reception or the children's party that might follow!
Through this whole process, the main emphasis is to manage through the photo shoot to highlight every detail of baptism and the reception, however small it may be, with tact and respect your wishes!


Hartford, Conn. - December 5, 2018 - The Springfield College men's basketball team was held to a season-low point total as it dropped a 69-52 decision at Trinity College in non-conference play on Wednesday night in Oosting Gymnasium.
Trinity improved to 6-2 with its third victory in a row, while the Pride lost for the fourth-straight out to fall to 2-4. All six of Springfield's games so far this season have been on the road.
Heath Post (Cheshire, Conn.) totaled 18 points and seven rebounds for Springfield, while Jake Ross (Northampton, Mass.) made his return to the lineup and registered 14 points and seven boards of his own. Springfield shot just 15-for-52 (29%) from the floor, including just 6-of-24 from beyond the arc, and was outscored in the paint by a 30-8 margin.
For Trinity, Nick Seretta (Greenfield, Mass.) scored 14 points, Connor Merinder (Andover, Mass.) and Christian Porydzy (South Glastonbury, Conn.) had 13 points each, while Merinder added a game-high nine rebounds.
Ross pulled up for a triple in transition to give Springfield a 10-7 edge at the 16:27 mark of the first half, but the hosts would respond with a 12-4 push to earn a five-point cushion with 8:42 on the clock. Over the next four-plus minutes, Springfield would get manufacture 13-4 burst, fueled by eight points from Ross, as the Pride owned a 28-23 edge with just over two minutes left in the stanza. However, the Bantams would score the final six points of the frame to head into halftime with a 29-28 edge.
The Bantams netted 16 of the first 20 points in the second stanza to go ahead, 45-32, with 14:11 remaining. Springfield got within single digits for the last time at 47-39 on a jumper by Post with 11:17 on the clock, but Trinity answered with a three-pointer and would coast to the non-conference win. Trinity held Springfield to just 24 points in the second half while shooting nearly 57% from the floor en route to 40 points of their own.
Springfield will play for the first time in Blake Arena this season on Saturday when it hosts Williams, who is currently ranked No. 2 in the latest D3hoops.com National Poll. Game time is slated for 3 pm.


text:
BCCI Proposes To Launch England Tests In A Bid To Oblige The Rest Of IPL 2021
IPL2021
The Board of Control for Cricket in India, it has been learned, has proposed to England and Wales Cricket Board to propel the beginning of the 5-match Test arrangement from August to the furthest limit of July in a bid to oblige a window for the rest of the Indian Premier League in September. IPL 2021 was uncertainly delayed on May 4 because of positive Covid-19 cases in bio-rises in India.After the World Test Championship last, beginning June 18 in Southampton, India is set to take on England in a 5-Test arrangement in England. The eagerly awaited arrangement is planned to begin from August 4 and run until September 14. India players will remain back in the UK in the period of July, planning for the Test arrangement after the WTC last. As it runs out, the BCCI has proposed to propel each Test by seven days. The England cricket board is yet to react to the solicitation. Endeavors are on from BCCI's finish to discover a window to finish the rest of IPL 2021. 29 matches were played in India before the competition was suspended. Strikingly, BCCI president Sourav Ganguly had said recently that the board will lose near Rs 2,500 crore if the rest of the IPL season doesn't happen. Nonetheless, he had kept up that it was too soon to discuss another window for IPL 2021.Outstandingly, upwards of 3 English provinces had communicated interest in facilitating the rest of the IPL in England. In any case, there are many strategic and business troubles for the ECB with regards to rescheduling the Test arrangement. While it will be hard for the host to load up to reschedule travel, losing plans, and ticket deals. Outstandingly, the ticket deals for the Test arrangement are now in progress. Telecasters timetable and game plans will likewise be hit if the Test arrangement is rejigged. Outstandingly, England plays 3 ODIs and as a large number against Pakistan at home between July 8 and 20. The debut version of The Hundred, which was delayed a year ago because of Covid-19, is planned to get in progress from July 21 and go on till August 21. The ECB had said that star England players will be permitted to play the initial 10 days of the Hundred to give the competition an early lift. It was likewise reported that the England players can play the knockout matches as there is over seven days' hole between the second and third Test between India and England.Notably, the Pakistan Cricket Board on Thursday affirmed that the rest of the Pakistan Super League 2021 season, which was suspended in March because of Covid-19, will be held in the UAE from June 1. The PCB and the establishments got the essential clearances from the UAE on Thursday. The UAE can likewise arise as an elective alternative to have the rest of the IPL 2021 season, considering the Covid-19 emergency in India.India tour of England 2021 schedule:World Test Championship final - June 18 in Southampton1st Test vs England - From August 4 in Nottingham2nd Test - From August 12 in London3rd Test - From August 25 in Leeds4th Test - From September 2 in London5th Test - From September 10 in Manchester.Also read: India Women's Team To Play Maiden Day-Night Test In Australia, Says BCCI Secretary Jay Shah
IPL 2021 May Resume In 3rd Week Of September In UAE
The delayed Indian Premier League (IPL) 2021 will continue probably on September 18 or 19 in the UAE with upwards of 10 twofold headers expected to be played during a three-week window, a senior BCCI official told on Tuesday. The last may be hung on October 9 or 10. The three-week window will be sufficient for the alliance to finish its excess 31 games for the season, a mutually advantageous situation for every one of the essential partners including the BCCI, establishments, and telecasters. The IPL 2021 was deferred on May 4 after various COVID-19 cases inside its profile bubble became exposed. "The BCCI has addressed every one of the partners and the reasonable beginning could be between September eighteenth to twentieth. Since September 18 is a Saturday and 19 a Sunday, almost certainly, you would need to re-start it on an end of the week date," the authority told on states of anonymity."Also, October ninth or tenth will be the last as it's the end of the week. We are finishing the schedule and there will be 10 twofold headers and seven evening matches alongside four primary games (two qualifiers, one eliminator, and the last), which finishes the rundown of 31 matches," the authority added. The Indian group's last Test match against England is set to complete on September 14 at Manchester and on the following day, the entire group (save Hanuma Vihari and Abhimanyu Easwaran) will be traveled to UAE in a contracted trip for an "air pocket to bubble" move. "The Indian group and the English players who will be accessible will fly in a similar contract departure from Manchester to Dubai. Essentially, the West Indies players will likewise fly in subsequent to finishing the Caribbean Premier League commitment. There will be a three-day isolate for players showing up from the UK and the Caribbean," the source said. An establishment official affirmed that correspondence from BCCI has gone ahead with the matter.We have been advised by the BCCI to be prepared for the competition. We have been given a September 15 to 20 window," a group official said. India's white-ball arrangement against South Africa dropped.The BCCI has chosen to drop India's T20 arrangement against South Africa planned for September, which was a development to the side's T20 World Cup arrangements. "The arrangement can't be held and regardless there can't be the any better groundwork for the T20 World Cup than playing a focused energy competition like IPL. Since the T20 World Cup will begin within a week or 10 days after the finish of the IPL, the SA arrangement must be held sometime in the not too distant future. "Quite possibly India may play additional games when they visit South Africa ahead of schedule one year from now," the source said.The India home season likewise had a two-Test arrangement against New Zealand in November and the dates of which could be moved relying on when the T20 World Cup closes. While BCCI, as of now, won't surrender its facilitating rights and stand by how the COVID-19 circumstance in India works out, there is almost no opportunity that nations will need to venture out to India which is confronting its most noticeably awful wellbeing crisis since autonomy.Also read: England vs India Test Series Itinerary Unlikely To Change After ECB-BCCI Back-Channel Talks: Report