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Home>Nutrition
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Higher CO2 levels will make food less nutritious and even toxic
TAGS: Health & Wellness
Climate change is making some crops less nutritious while others can even become toxic. What can be done, and could food fortification become even more important?
Niamh Michail | Jul 16, 2020
Kristie Ebi, professor of global health and environmental and occupational health sciences at the University of Washington, studies the impact of climate change on the nutrient content of food.
With colleagues, she conducted outdoor field studies in China and Japan, growing different strains of rice in air that had the same atmospheric concentration of CO2 that is predicted for the year 2100.
They found the rice grown in these conditions had 17% less vitamin B1 (thiamine), 17% less vitamin B2 (riboflavin); 13% less vitamin B5 (pantothenic acid); and 30% less vitamin B9 (folate) than rice grown under current CO2 concentrations.
The issue of crop nutrient loss is not limited to rice. Current scientific understanding is that when major cereal crops are exposed to higher concentrations of CO2, they respond by synthesizing more carbohydrates, less protein, and fewer minerals, she said, and wheat is also vulnerable.
Climate change will make rice less nutritious, Ebi concluded, putting millions who rely on cereals to provide calories at risk.
In addition to worsening micronutrient deficiencies, some researchers suggest the problem could even make the obesity crisis worse. When faced with a mineral deficient diet, people may unconsciously compensate by eating more of the carb-rich, starchy cereals that form the bulk of their daily diet.
Irakli Loladze from the Catholic University of Daegu, Republic of Korea, who analysed data on nutrient levels in 130 plant varieties said:
"Clearly, adding a spoonful of sugar sporadically to one's diet is not a cause for concern. However, the inescapable pervasiveness of globally rising atmospheric CO2 concentrations raises new questions: What are health consequences, if any, of diluting every 100 g of dry mass of raw plant products with a spoonful of starch-and-sugar mixture? What are the consequences if the dilution is not sporadic but unavoidable and lifelong?"
While Loladze said this question is better left for nutritionists, he noted the World Health Organization recommends that the intake of free sugars does not exceed 5% total energy, equivalent to between five and eight teaspoons of sugar for a typical 2000–3000 kcal diet per day.
Accumulation of toxins in crops
Environmental stresses can also trigger biochemical reactions in plants that go beyond a depletion of minerals; in some cases, toxic compounds like nitrates can accumulate. What's more, some of the most susceptible crops to nitrate accumulation are also some of the world's most important food crops including barley, maize, millet, sorghum, soy, and wheat.
In normal growing conditions, plants convert nitrate into amino acids and protein. During drought, however, this process is slowed down or even halted, which causes nitrate to accumulate indefinitely, leading to levels that can be toxic to humans and animals.
Other crops, such as cassava – a staple food in many African and Latin American countries – can build up dangerous levels of toxic hydrogen cyanide when they are water-stressed.
A 2016 report by the United Nations Environment Programme (UNEP)selected toxic accumulation in crops as an emerging environmental concern in the era of climate change.
It warned that, given the delays in the past 25 years in mitigating and adapting to climate change, such losses and damages from climate change are "inevitable" and would have profound consequences for ecosystems, people, and economies. "This is already happening," it said.
Solutions to tackle nutrient depletion
So, what can be done?
Non-profit organisation Global Alliance for Improved Nutrition (GAIN) is in favour of two tools to tackle nutrient depletion in crops caused by climate change – biofortification and mass fortification.
Biofortification involves developing nutrient-enriched staple crop varieties that are nutritious, high-yielding and climate-smart – GAIN uses traditional plant breeding methods but it can also be done through genetic modification – while mass fortification involves adding vitamins and minerals during food processing to staples, such as maize meal, wheat flour, and rice.
The work of GAIN involves rolling out both biofortification and mass fortification across Africa and Asia. Penjani Mkambula, lead for food policy and finance at GAIN's food fortification programme told Fi Global Insights that mass fortification is effective because it can reach large segments of populations and does not require changes to consumption patterns.
According to the Geneva, Switzerland-headquartered organisation, there are also few negatives consequences to mass fortification. It recently commissioned an analysis by environmental strategic consultancy Quantis to calculate the carbon footprint of fortified foods. Quantis concluded that, given the small quantity of vitamins or minerals added to the food, the carbon footprint of fortification is 1,000 times less than the impact of the food itself.
"[This is] more so when we consider that the alternative would be to develop new nutrient-dense foods or farming more land to offset the nutrients losses due to climate change," Mkambula added.
Mass food fortification is also a cost-effective solution. GAIN estimates that every $1 invested in fortification generates $27 in economic return from averted disease, improved earnings, and enhanced work productivity, and it has been backed by the World Bank as one of the best investments in development for its cost effectiveness.
However, fortification's proven effectiveness (and cost-effectiveness) in tackling hidden hunger has not resulted in a universal roll-out that has put an end to the problem.
Writing in E-Life Sciences, Loladze highlighted "the reality of logistic, economic, and cultural hurdles for fortification" which means it remains inaccessible for millions of people around the world.
Iodine deficiency, for instance, has been eradicated in developed countries simply by fortifying table salt with iodine but iodine deficiency is still responsible for preventable conditions, such as brain damage and lower IQ in children, in many parts of the developing world.
As for crop toxicity triggered by a plant's own biochemical responses, UNEP said this has "yet to be resolved" although the methods used to detect toxins are becoming cheaper and more mobile, which can facilitate their uptake and help ensure food is safe to eat.
Industry must accept responsibility
Mitigating climate change, the root cause of the problem, requires action from all sectors of the finance and business worlds.
The UN Environment Programme called on the financial sector to recognise that its role is not confined solely to enhancing economic growth; it also has a critical role to play in investing in low-carbon, resource-efficient and environmentally sound assets.
In addition to individual company pledges, industrial players are increasingly coming together to adopt sector-wide pledges that aim to stimulate peers through pre-competitive collaboration.
One innovative solution led by the financial sector is We Mean Business, said UNEP. The coalition of over 554 global companies and investors, with combined revenue of US$7.8 trillion has committed to decarbonising their businesses by actions such as using electricity from renewable sources, reducing short-lived climate pollutants, or investing in low carbon assets.
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IRAN PLAST 2016
Tehran Permanent Fair Ground, Iran
TPEs are silently taking over
Also, download this story from the electronic issue here
Thermoplastic elastomers (TPEs) have found a discreet way to take over the world. The interior of cars, that rubber ducky, toothbrushes, shoes, they are all made of TPEs. We barely notice them, but they're everywhere.
These materials are replacing rubber in many industries. Bulk of the demand is from the automotive industry, but TPEs are also used in the building and construction, engineering, footwear, wires and cable, medical, and many other industries. The TPE production is a billion dollar industry, and is only expected to grow within the next five years.
Manufacturers play a key role since they have and continue to innovate TPE, so that it can replace thermoplastics and natural rubber in many applications. Unlike rubber, TPEs are fully recyclable. They possess good mechanical properties and have a lower density than other classes of polymers, such as polyvinyl chloride (PVC) and cross-linked elastomers (EPDM).
While the material is manufactured in multiple regions, the supply mainly goes to the two major markets: Asia and North America. Combined, the two regions took up 70% of the TPE market in 2014, according to Markets and Markets.
Asia Pacific was the highest consumer of TPE, accounting for 40% of the total consumption last year. Grand View Research says that rapidly-growing countries like India are the major players, making a combined total of 66% of the regional demand. North America is the second-largest market for TPE, backed by its automotive industry.
A study by Markets and Markets projects that in 2020, the TPE market size will grow to US$27.8 billion with a CAGR of 8.5% over the next five years. A large chunk of the market - US$11.9 billion to be exact – will come from the automotive industry. Asia will still have the highest demand because of the increasing car sales in countries like India and China. Asia Pacific will still be the market leader by 2020.
Freedonia Group came up with similar predictions. The group said China is already the highest consumer of TPEs by volume. The country's demand will grow at 8% CAGR until 2017.
Other regions will also have an increased demand for TPE. Africa and the Middle East region currently have the lowest demand for TPE, but will see an improvement by 2017. Western Europe will also have its share of market growth, but will have only a small share of the global demand.
The group also says that by 2017, Styrenic block copolymers (SBCs) will be the leading TPE type, as it is today. Growth will be slow since the market is already saturated with SBCs. POEs or polyolefin elastomers will grow fastest because they are new and steadily accepted as additives for packaging adhesives and plastics. TPVs, or thermoplastic vulcanisates, will also be strong since the material is expanding from the automotive industry to other fields like consumer and medical products.
TPEs used in sustainable material
For more than five years compounds from TPE specialist Kraiburg have been used in Wopex pencils from manufacturer Staedtler. Since January 2015 the company also offers coloured pencils from the Wopex series with a soft component that comes from Germany-headquartered Kraiburg.
The special feature of the pencils is the sustainable production process: the base material is a natural fibre composite material, with 70% wood and 30% polymers and additives. Since the compound from Kraiburg's Thermolast K portfolio already demonstrated good adhesion to the wood-polymer material of the Wopex pencil, the TPE is also applied to the coloured pencils, by means of co-extrusion.
TPE based on SBC for automotive sector
TPEs will be high in demand as automobile makers push to reduce their vehicles' weight. One example of TPE use comes from car windows that can be framed more economically and more securely with a novel TPE based on styrene block copolymers (TPS), as opposed to rubber seals. Advantageously, the typically low viscosity of TPS leads to reduced glass breakage and allows thinner glass to be used.
TPS has especially enjoyed stellar growth in the automotive and industrial sectors in recent years as well as in the consumer and medical sectors. A key advantage of TPS is its production flexibility, which opens it up to a diverse range of products. TPS are physically blended formulations that can be customised via the choice of additives, dyes and other thermoplastics.
The number of individual ingredients usually ranges from five to ten and can be varied so as to influence properties, such as appearance and weathering resistance or ease of processing. Another plus is that TPS articles can be produced economically by injection moulding
The walls of TPS articles can be up to 10% thinner than commercial TPEs, a fact which reduces the cycle time. Adding to the growth of TPS has been the fact that they can be co-injection moulded, especially with thermoplastics. Manufacturers are now also turning increasingly to TPS for new parts that offer new features.
TPS is also much less demanding in terms of processing parameters than other TPE materials, such as TPVs (thermoplastic vulcanisates) and TPUs (thermoplastic polyurethane elastomers).
As a result, they are not expected to experience significant loss of UV resistance at critical processing parameters, e. g. in components exposed to high shear rates or elevated temperatures.
Thus, these new high-Flow materials meet all the requirements imposed by automotive manufacturers. With a change of viscosity but all other typical properties retained, TPS can now be moulded around even thinner glass and laminated panes. It is already being used for applications that involve very long flow paths, for example, moulding around rear windows and vehicle roofs. The novel compounds boost flow lengths by 34% compared with those of previous TPS compounds. Because the cavity pressure can be lowered from, 1,000 to 550 bar, and the melt temperature lowered by 35°C, cycle times can be cut by 10%.
Medical sector taking an interest
While the automotive sector commands the highest use for TPEs, medical market is also growing. Taking this into consideration, Swedish supplier Hexpol TPE, part of Elasto, has expanded their range of Mediprene TPE compounds for plunger seals in single-use syringes.
Niklas Ottosson, Medical Technical Manager for Elasto commented, "Over recent years there has been a rise in demand for singleuse syringes and a clear move from rubber to TPE for plunger seals."
The grades are sterilisable with gamma, EtO and steam and representative grades have passed cytotoxicity tests according to ISO 10993-5 and biocompatibility tests according to USP Class VI. The grades are also available in a range of hardnesses from 43 to 73 Shore A. The TPE seal, which is mounted on the end of the plunger, needs to provide a leakproof seal with the syringe barrel, and TPEs are said to offer low compression set helping to maintain seal integrity.
The grades are available as translucent or coloured compounds, made from medical grade raw materials.
Alongside their material advantages, because of the cost and speed at which they can be manufactured, the TPEs are being specified as an alternative to thermoset rubber. Consistent shrinkage also allows for tight dimensional tolerances with fewer process steps and without the need for additional operations such as trimming.

redpajama_set_name: RedPajamaCommonCrawl


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American Eagle Outfitters, Inc., также известный как American Eagle — американская розничная компания по продаже одежды и аксессуаров, со штаб-квартирой в Питтсбурге, штат Пенсильвания. Она была основана в 1977 году братьями Джерри и Марком Силверманами в качестве дочерней компании розничной торговли Ventures, Inc., которая также владела брендом мужской одежды Silverman. Братья продали свою собственость в 1991 году Иакову Прайсу из Ноксвилла, Теннесси. American Eagle Outfitters также является материнской компанией Aerie.

Бренд рассчитан на студентов и учеников старшей школы. В 1977 году первый магазин American Eagle Outfitters открылся в Новай, Мичиган.

По состоянию на январь 2021 года работает 901 магазин American Eagle Stores, 175 магазинов Aerie и 2 магазина Todd Snyder в США, Канаде, Мексике и Гонконге.

Среди популярных продуктов бренда — джинсы, рубашки поло, футболки, верхняя одежда и купальники.

Примечания

redpajama_set_name: RedPajamaWikipedia


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[UPDATE] Six Arrested After Incident In Secret Subterranean "Party Room" Under Columbus Circle Subway Entrance
Emma Whitford
Flickr/Triborough
A homeless woman was hospitalized last night after NYPD officers responded to a small utility closet inside the 59th Street-Columbus Circle subway station, connected to Trump International Hotel and Tower. She and six other men, also homeless, had reportedly been "partying" there. Officers responded to the scene just before 9:00 p.m.
The Post initially reported that the woman, who has yet to be identified, had been raped inside the subway station. (The pee-obsessed Post also made sure to report that the woman had been "urinating on a tree" nearby before she entered the station.) In an update, the tabloid reported that although the woman initially told officers that she had been sexually assaulted, she did not make a formal complaint. However, she was reportedly seen being dragged into the room.
An NYPD spokesman tells us that "at this time, there was no rape." The six men discovered in the utility "party" room have been charged with criminal tresspass. The NYPD identifies them as Juan Caballero-Camacho, age 55; Christopher Batista, 25; Ricardo Andujar, 20; Christian Rolon, 22; Luis Jimenez-Perez, 31; and Ariel Hinojosa-Taveras, 23. The woman, who was taken to Saint Luke's Hospital for detox treatment, was not charged.
A witness who works near the station told the Post that he sees this particular group of men "all the time... They're always drunk. They're always drinking. They're always down there."
We have reached out to the Trump International Hotel and Tower and the MTA for comment, and will update with any further information.
UPDATE: An MTA spokesman confirms that the utility room is not technically part of the subway. It's a utility room underneath the Columbus Circle-59th Street Subway entrance, but is in fact owned by the International Trump Hotel and Tower.
Subway Party Room


This weekend, the Penn boys rugby team will be hosting and competing for the Midwest championship at the Moose Rugby Grounds in Elkhart.
There will be a lot of talent at the tournament. The tournament features seven nationally ranked teams.
Five nationally ranked teams will be in the single-school bracket, the bracket that includes Penn.
Penn and the rest of the field will be taking aim at defending champion and currently the top-ranked team in the nation, St. Edwards of Cleveland, Ohio.
Currently ranked fourth in the nation, the Penn boys will open the tournament by facing defending Michigan state champion West Ottawa at 1 p.m. on Saturday.
Penn should play the winner of No. 7 St. Ignatius against No. 17 Brownsburg at 6 p.m. on Saturday.


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Good Quality Seed is Pre-Requisite for High Productivity in Rice. Variety of New Rice Hybrid Seed will raise the Crop per Acre Yield: Dr. Yusuf Zafar T.I., Chairman PARC
Efforts of PARC scientists are admirable for developing agri. Sector& food security in Pakistan, Mrs. Krishna Kumari, Senator
Islamabad (17thOctober, 2018)....... International event jointly arranged for Training of Pakistani Professionals on Hybrid Rice Technology by Pakistan and China in September concluded at National Agricultural Research Centre. Major aim of this effortwas train a force on Hybrid Seed Development and seed production in addition to adoption of Hybrid Rice Promotion for productivity enhancement, profitability and extra surpluses for increasing exports. The Chinese experts along-with participants of the training course travelled in the traditional kallar tract of the Punjab. The purpose was to understand exact Hybrid Seed requirements of Pakistan for different regions and showcase the Hybrid Rice varieties. Closing Ceremony of "2018 Training Course on Hybrid Rice Technology in Pakistan" was held at NARC, Islamabad.
Addressing to the closing ceremony participants, the Chief Guest, Dr. Yusuf Zafar, T.I, Chairman, Pakistan Agricultural Research Council (PARC) said that the new rice varieties would help Pakistani farmers to significantly increase per acre yield and hence the country would be able to export more rice to other countries. For the purpose, Good quality seed is pre-requisite for high productivity; this will raise crop per acre yield.
Dr. Humayun Javed, Sr. Joint Secretary, Ministry of National Food Security & Research, in his address, expressed that cooperation between Pakistan and China has enabled Pakistan to export hybrid rice seeds for the first time in the country's agriculture history. He appreciated role of the stakeholders for taking interest in rice research and development and working in close collaboration with the public sector.
Speaking on the occasion, Dr. Muhammad Anjum Ali, Member, Plant Sciences Division, PARC appreciated Chinese support to improve rice productivity in Pakistan. He further emphasized that introduction of new rice varieties would not only produce promising crop yields but also help farmers to raise their incomes to improve their livelihood and ultimately play role in building of overall economy of the country. Dr. Ghulam Muhammad Ali, DG, NARC thanked all the participants including guests and also showed gratitude to Govt. of China & Pakistan.
Dr. Zheng Bing, Secretary Chinese Embassy showed his full support and commitment for the betterment of Agriculture Sector in Pakistan. Prof. Wang Xiosong, Deputy General Manager, Longping High-Tech Agricultural Co. Ltd, China and Senator Mrs. Krishana Kumari also attended this event and appreciated the efforts of PARC for training of agriculture professionals and expected that fruit of their efforts will bore fruit in the shape of improvement in socio-economic conditions in the rural life especially poor farm laborers. She also added that efforts of PARC scientists for developing of Agri. Sector & Food Security in Pakistan are admirable.
( Maqbool Shahbaz)
Director (PR&P) PARC
Mobile 0332-9243291 Edited by: Muhammad Fiaz Joyia
Director (DSC&P), NARC
Cell: 0301-5158970


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Home / Blog / Breakwater grabs two Atlantic Book Awards nominations
Breakwater grabs two Atlantic Book Awards nominations
Posted on March 21, 2013 February 18, 2014 by breakwaterbooks
The Atlantic Book Awards shortlists were released yesterday — and we're very pleased to report that we've got two Breakwater nominees!
Braco, the debut novel by former Canadian Forces peacekeeper Lesleyanne Ryan, has been nominated for the Margaret and John Savage First Book Award. Told from a kaleidoscope of perspectives, Braco follows fourteen-year old Bosnian refugee Atif Stavic as he crosses forty kilometres of enemy territory to rejoin his family after the fall of Srebrenica in 1995.
**and**
In the Field by Joan Sullivan has been shortlisted for the Rogers Communications Award for Non-Fiction. A compelling history, In the Field examines the legacy of the death of Lieutenant Steven Norris of the Royal Newfoundland Regiment: both the immediate effect on his community and, almost ninety years later, the lasting impact of his story.
Ryan and Sullivan just did a tag-team Book Club reading here at Breakwater Headquarters, and we couldn't be happier to see them on the Atlantic Book Awards list together, as well! For information on the awards or to set up an interview or Book Club visit, please contact Elisabeth de Mariaffi:
(709) 722-6680 x 226, or by email, elisabeth@breakwaterbooks.com
The 2013 Atlantic Book Awards and Festival runs May 9-16 with free literary events taking place in all four Atlantic Provinces. Festival details will be available at www.atlanticbookawards.ca in the coming weeks. Winners of the 2013 Atlantic Book Awards will be announced at a special awards show on the last night of the week-long festival, Thursday, May 16, at 7:00 p.m. at the Alderney Landing Theatre in Dartmouth, NS. It's a special year this year for the Dartmouth Book Awards – 2013 is the 25th anniversary of these awards, some of the oldest in Canada.
Tagged Atlantic Book Awards, Atlantic Canada, books, Bosnia, Breakwater Books, Joan Sullivan, Lesleyanne Ryan, Newfoundland, Newfoundland Book, Newfoundland Regiment, war
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One thought on "Breakwater grabs two Atlantic Book Awards nominations"
Maurice A. Barry says:
Good luck! Nice to see a few entries from the home team in the running.


This simulation is being developed for students in a Philosophy of Religion course. The students routinely request exposure to philosophical concepts outside of the Christian and Jewish traditions, and the ancient Egyptian concepts of Maat, Chaos, and Renewal are especially useful to teachers interested in highlighting the foundational philosophical concepts of Christianity.
While lost to contemporary society, Egyptian religion had a tremendous impact on the development of Jewish, and hence Christian, assumptions about the nature of the cosmos and the moral imperatives of human existence. Teaching the Egyptian Book of the Dead accomplishes a fundamental task for the philosophy of religion curriculum. It aids in understanding Western religions, and especially Christianity, as historical institutions emerging within context and from history, as opposed to sui generis formulations of revealed truth.
This project will utilize the virtual world Second Life to develop a simulation of the Pharaoh's journey through the afterlife to merge with Ra. This simulation will be based on the Book of Gates and will consist of a vivid recreation of the twelve hours of the afterlife, during which the deceased faces a series of trials, and if successful, merges with the Egyptian sun god Ra.
The simulation will allow students to play the role of the deceased Egyptian Pharaoh. Pharaohs were considered Ra's presence on earth. The Pharaoh represented organized Egyptian society, and his or her purpose was to maintain the order of the universe and protect it from Chaos. Each Pharaoh spent their life preparing for death. As a deceased Pharaoh, the student will be responsible for immense task of successfully navigating the afterlife to maintain the cosmic order. Failure means that the universe will be unmade. The student must accomplish twelve tasks if the universe is to continue and the proper order of things is to be maintained.
EduPunxers are starting to storyboard the simulation for the Egyptian Book of the Dead in Second Life and are always looking for collaborators.


Published by the illustrious UK stationary and art book house, I had a number of books by this man and others who were made famous by this society. (I.E. Ella Bruce, Jean Gilder, Truda Mordue, Audrey Tarrant, but most namely Molly Brett -- I'll be posting on her in the days to come). This guy talks a little about the author and the society, but his blog post was the most I could find without going too deep.
Needless to say, these books littered my bedroom floor when I was wee. This one in particular happens to be my son's favorite of the Mexican moment. It is yet another tale of a naive domestic animal that believes his cushy, caged life is far superior to a wild one. I imagine under the influence of Beatrix Potter -- who was and is a national monument in the UK -- there were a lot of British illustrators who grew up wanting to draw and write stories in a similar style. The Medici Society authors all did it... i.e. spin sweet stories of quaint talking animals roaming the English countryside.
Podge is a guinea pig with an adorable cowlick. Told from his point of view, the story opens with him getting plucked from the pet store and out to a new home with his two elementary-school masters. The likable Podge quickly becomes friends with some of the local wildlife. A romp with an impish rabbit almost gets him disemboweled by a hawk -- making him thoroughly appreciate his luxe wire mesh walls and bed of fresh hay. Too cute is this scene where the rabbit (aka Floppitty) introduces Podge to his hare family.
"We've never seen anyone quite like him before. What exactly IS he?"
All of the rabbits stared at me very hard. I began to wish very much that I had long ears and some sort of tail.
"It's a sort of a pig thing and costs about a guinea," explained Floppitty. "He's very rare you know, so I brought him to show you -- and show you to him."
"I haven't heard him grunt," said one young rabbit. "Farmer Mangold's pig grunts no end--and his ears flop over his eyes."
"That just shows how rare this one is," said Floppitty.
These books are must-haves for those wanting to raise a houseful of Poppins' tots, as I'm sure every Generation X kid in the United Kingdom fell asleep to these stories. Definitely worth rediscovering.


Temulawak (Curcuma xanthorrhiza. Roxb.) is very usefull herbal medicines. Family: Zingiberaceae, this plants has been very helpful in the world of health, either for treatment or to simply support your health to be excellent.
Has the Latin name Curcuma Curcuma xanthorrhiza which is medicinal plants belonging to the tribe-finding, this plant native to Indonesia, especially from Java island.
However, siring the changing times where the many benefits of temulawak so that the plant can also be found in other regions such as southeast asia china, india japan and korea.
Starch 48.18% - 59.64% - helps metabolize.
Here are 10 benefits of efficacy of temulawak to help improve your health.
1. Temulawak is believed to smooth milk by way of 20 grams of temulawak rhizome washed and shredded, grated squeezed and filtered results then boiled until boiling, after cooled, mix with 2 tablespoons honey and then mixed well and drunk in the morning and evening.
2. Temulawak is believed to be an antioxidant that is able to maintain good health and able to cope with the free radicals that attack the body.
3. Temulawak can lower the blood fat that it contains curcuminoid in the turmeric. And also the curcuminoid fraction can lower triglycerides, total cholesterol, and can increase levels of good cholesterol (HDL).
4. Temulawak can also stimulate appetite caused by the effects of essential oils that have properties karminativum.
5. The benefits of temulawak has the ability to maintain healthy liver function due to the ginger contains kalagoga which serves to regulate the production of bile in the liver and stimulates gallbladder emptying.
6. Temulawak is also believed to cure menstrual pain.
7. Temulawak has the ability to treat acne.
8. The benefits of temulawak can help prevent blood clots because of the turmeric contains curcumin, which serves to inhibit the formation of thromboxane B-2 which is a compound that has a function as a blood coagulant.
9. Temulawak is helpful for reducing inflammation and joint pain, it is due to the content of curcumin as an anti-inflammatory that can decrease pain and arthritis.
10. Efficacy of temulawak also has the ability to fix digestive function. With the temulawak rhizome powder that is able to increase the activity of the fluid that is in the stomach that can help the process of digestion and metabolism in the small intestine reduces contraction.
By knowing that the magnitude of the efficacy of temulawak to maintain our health. It is unfortunate if we do not make the most of.


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La Linea de la Concepcion
The most significant fact about La Linea de la Concepcion is its proximity to Gibraltar, a British territory from which the La Linea of today got much of its social and economic influences.
Geographically, it is a plain over Algericas Bay. Its main activities are fishing and horticulture.
It holds the distinction as the youngest among the towns in Spain where cost of living is low.
Linea De La Concepcion rises above sea level by about 4 miles. With inhabitants of more than 60,000, it is a vacation getaway with pleasant and convenient amenities. And, with daily bus services coming and going its neighbouring cities and towns, it is truly a leisure trip.
La Linea de la Concepcion has a chequered past of invasions from English forces and by Spain of Gibraltar to England which has dramatically affected La Linea.
The history of this town dates back to the Fall of Gibraltar
Earlier, La Linea was occupied by the invading English Forces who were trying to get to Gibraltar. Seeing the military importance of La Linea, Felipe V ordered its invasion but failed. By virtue of the Treaty of Utrecht, to which Spain was a signatory, Gibraltar was surrendered to England.
To totally eliminate interaction with Gibraltar, a fortress was built in 1730. This was named "La Linea de Gibraltar". But due to the invasion of Napoleon and his troops, Spain entered into a coalition with England to fight the invading army. The fortress was then destroyed by England to shun takeover of it by the French.
After its troubled past, when hostilities were finally over, many Gibaltarians stayed at La Linea and set up community there. Soon this grew and in 1870, La Linea was separated from San Roque. A name was decided for this new town. La Linea de la Concepcion came to be since the town's patron saint during the war was the Immaculate Concepcion.
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Duke Nukem, Half-Life 3, ReactOS. What do they all have in common? An extremely long development time. In this article, we will focus on the last, a project that started in 1996 as an attempt to provide a free, Windows-compatible operating system to the masses.
Fast forward 20 years, ReactOS is a living, breathing entity, having recently reached a semi-mature 0.4.1 release. Lots of stuff has been happening under the hood, enough to warrant some real-life testing. Anyhow, here be Dedoimedo's first stab at this interesting little system.
I started by downloading the two available images. Live does as advertised, and it will not install if you try. The setup will exit with an error. Instead, Boot allows you to commit ReactOS to the disk in a fashion very similar to what Windows XP used to do.
My next step was to create a virtual machine in VirtualBox, because I was still hesitant to try this operating system on physical hardware. I will have to wait, whenever that happens, for the full 1.0 release. Then, I also tested the Live edition.
It booted fine, very quickly - almost but not quite as fast as KolibriOS. The system has a classic Windows 2000 look. The feel and the behavior are almost identical. However, I did not make much progress with this specific edition, because there was no browser available, and I couldn't figure out how to setup one, or use some kind of a command line download tool. So this one was a short, quick demo.
I fired up the second ISO, and it offered to install the system. Choose a partition, format it, only FAT is available, complete a post-install setup with your timezone, user and such, and within less than 3 minutes, you will have ReactOS available for use.
The installed system is far more convenient, and it comes with some interesting goodies. The chief amongst them is the Application Manager, which allows you to download and setup various versions of many common, popular programs, including Firefox, Opera, K-Meleon, Pidgin, TightVNC, LibreOffice, Abiword, GIMP, VLC, and others. It's the usual mix of free software that you would expect to see in a typical Linux distro or a nerdy Windows system with a heavy bias for open-source stuff. But it does feel a little 2006 in terms of variety and offering. Somewhat like winetricks in a way.
The Application Manager worked mostly okay, and it installed a bunch of software that I needed. LibreOffice was a no-go, and both available entries simply resulted in an error. Most likely a malformed download link. The rest was fine, and the software comes with an update option, which means you will probably be able to update all your programs in one sweet, quick procedure.
After a while, I began enjoying myself, ever so moderately. There were still glitches and freezes here and there, but the system was behaving. Firefox struggled with some of the pages, but then it had no problem playing HD media. The same goes for VLC. Steam was there, too, go figure. Abiword also runs fine, and system usage is low when nothing is happening, and then quite high when you start opening programs and using them.
You must admit it's good timing.
The desktop wallpaper would not render well at first, and I had to log off before it would show on the entire screen. Downloads were also somewhat slow, capped at 2.5MB/sec for some reason, which I think has to do with the fact the system identifies the Ethernet network as only 10Mbps capable. Not sure, but could be.
Then, I installed GIMP, and the whole thing froze. After rebooting, ReactOS would just not come up. I got a blank blue desktop background and a mouse cursor. That's all. And with that, I ended the active part of this review.
There are several cardinal issues with this project, and I'm not talking about the somewhat clunky way the operating system runs as a guest in VirtualBox, as we saw above. That's trivial, and that will be fixed, including resolution, drivers, mouse integration, and such.
The real issues rest in how the system runs and behaves. The Windows 2000 look & feel most likely creates a relevance problem for most people, a direct result of an extremely long development cycle, which in itself ticks a number on this list. Something that started with great zeal and appeal and message and actual impact 15 years ago may no longer ring true in the modern reality. Yes, you can argue that the desktop aesthetics and GUI ergonomics are largely irrelevant, but that's not quite true. You cannot just disregard an important piece of a typical daily usage model, or the fact there's been some progress, if not quite evolution, in the desktop work flows. So, what will be the killer feature?
Functionality wise, this is still an early release, and bugs and issues are aplenty. This is expected, because ReactOS is still in heavy development. But there's just not enough consistency in how applications behave and render on the screen, not all programs have the same window elements or borders, and there were some unexpected problems with Web pages here and there. Worth taking into account toward the next big release, because most people will notice these and complain. Desktop niggles are also quite important.
ReactOS is an impressive project. It really is. 20 years of hard work, millions of lines of codes, hundreds of developers, and you still get a free, open-source system that is compatible with Windows. Much better than WINE. Bigger too. But.
It is impossible to judge software in a technological vacuum. We have to take the reality into account, and if you ignore the financial and ideological considerations of Microsoft products, ReactOS has a very tricky market position. Not quite Linux, not quite Windows. People who need Windows will probably use it, and those who don't quite depend on proprietary software will probably prefer the proven record of Linux.
Then, the project is slow. Understandably so, but the relevance piece cannot be ignored, again. I really would like to see ReactOS go official, stable, fast, elegant, modern, and fully loaded with all the goodies. However, I don't know when that will happen. Or if. Say Year 2020 brings us ReactOS in all its might, how will it scale against Windows whatever number will be the prime Microsoft offering at that point. What about support, longevity, stability, and overall quality? Say what you will, but Microsoft does not rule 90% of the desktop market for no good reason.
I can't possibly answer all these questions, and that's what frightens me. I want ReactOS to succeed, but I'm afraid most people will just shrug it off with indifference. The system will need more than just the zero price tag to sway people over. Because fact, Linux is largely free, and yet, it's not making Windows go away. It's all about the apps, and the actual usage needs, and for most people, it comes down to Office and games. Hardware support, too. Well, I've rambled enough, I'm spinning in circles, and I haven't given you any closure. Nor will I today.
One thing is certain: ReactOS is a huge, complex beast. I admire the effort. But I just hope it's the right peg for the right hole, when and finally it becomes a stable product. One day. On my to-watch list. Final verdict: I like, I hope it succeeds, but I'm skeptical of what the world has in store for ReactOS.


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In Outer Space, There Is No Up or Down
Written by Joanie Faletto
Ever stare into the night sky and wonder what's going on up there? Ask a cosmologist and their response would likely be "Up where?" There's probably no such thing as "up" in outer space. Or "down," for that matter. Feeling dizzy?
Related Video: 5 Ways Space Can Drive You Insane
According to a study published in September 2016, the universe probably doesn't have a preferred direction. That is, there is no up, down, right, left — no "correct" orientation at all. The researchers from University College London and Imperial College believe the universe is isotropic, which means that it looks the same no matter how you view it.
The researchers estimate that there's only a 1-in-121,000 chance that the universe has a preferred direction — the best evidence yet for an isotropic universe. They were able to determine this by looking at the cosmic microwave background (CMB): the ancient afterglow left over from the Big Bang. The team used the European Space Agency's Planck spacecraft, which collected data from 2009 to 2013, to give us the most precise measurements of the CMB yet.
Let's imagine for a second that the universe does have a "right" direction —that is, it's anisotropic. This would mean that the universe is expanding at different speeds in different directions from some central point or specific axis, thus pulling and stretching the CMB into identifiable shapes and patterns. The data showed that the CMB is random noise and probably doesn't include patterns or other clues that would point toward an anisotropic universe. Basically, the universe is a well-blended mixture of space stuff that grew from a homogenous universe soup.
Expedition 38 crew members pose for an in-flight crew portrait in the Kibo laboratory of the International Space Station on Feb. 22, 2014.
The idea that the universe is isotropic is definitely a relief. "It's a much more comprehensive analysis than in previous cases," Anthony Challinor, a cosmologist at the University of Cambridge in the United Kingdom who was not involved in the work, told Science Magazine. "The question of how isotropic is the universe is of fundamental importance." The work cosmologists do, and have done, rests on the assumption that the universe is isotropic. If it weren't, then we could just go ahead and throw our understanding of the evolution of the universe out the window. Phew.
"For the first time, we really exclude anisotropy," Daniela Saadeh, a cosmologist at University College London, tells Science. "Before, it was only that it hadn't been probed."
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For a hilarious exploration into the everyday concerns that will come up on a trip to Mars, check out Mary Roach's "Packing for Mars: The Curious Science of Life in the Void." We handpick reading recommendations we think you may like. If you choose to make a purchase, Curiosity will get a share of the sale.
Written by Joanie Faletto January 3, 2018
Believe It or Not, Science Still Can't Explain Gravity
Gravity Outer Space


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MSVR Appointed Sporting Provider for 2020 ABB Formula E London E-Prix - Fri 20 December 2019
MotorSport Vision Racing (MSVR) is delighted to announce that it will reprise its role as the appointed sporting provider for the ABB FIA Formula E London E-Prix next summer. After a brief hiatus from the capital city, the 2020 event will take place on 25th and 26th July at the ExCeL Centre (subject to FIA homologation).
Featuring all-electric racing and a fresh, modern approach Formula E enjoyed a successful inaugural season in 2014/15. The sixth season of the ABB FIA Formula E Championship kicked-off with the Diriyah E-Prix on 22/23 November, and will conclude in London after visiting no fewer than 10 other cities around the world. The championship has continued to grow year on year, now boasting 24 drivers across 12 teams. Both Mercedes-Benz and Porsche have made their debuts this season, bolstering the line-up of mainstream manufacturers on the grid and reinforcing the importance of the championship to the wider industry.
In recognition of the achievements and significance of the championship, it has recently been announced that the 2020/21 season will gain full World Championship status from the sport's global governing body, the FIA.
MSVR is excited to continue its successful partnership with Formula E, having been the sporting provider for both of the previous London rounds, held at Battersea Park in 2015 and 2016. The club's responsibilities will include the provision and management of national event officials, technical scrutineers, medical and fire cover, plus pit and track marshals. MSVR will also organise provision of emergency and recovery vehicles.
The application process for marshals is now open via the MSVR website. The success of the previous London events was due in no small part to the hard work of the many volunteer marshals and officials, and we look forward to a repeat of that next year.
Simon Gnana-Pragasam, MSVR Race Operations Manager, said: "We are thrilled to revive our relationship with the ABB FIA Formula E Championship in 2020. The championship has grown exponentially since its last visit to the UK, and with London once again hosting the double-header season finale, all eyes will undoubtedly be on the capital in July. MSVR has a proven track record after the 2015 and 2016 events and will stop at nothing to make the 2020 London E-Prix the best yet."
Further details about the event will be released in the coming weeks and months. For enquiries relating to MSVR's involvement in the London E-Prix, please email FormulaE@msvracing.co.uk. For general information about the ABB FIA Formula E Championship, please visit the official website at www.fiaformulae.com
Image credits: fiaformulae.com
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cross-boundary exploration. Romeo and Juliet is one of the troupe's finest examples of where East meets West. Shakespeare's classic play has been given a stylish, modern and, above all, Chinese look. Most of the innovation, the troupe's director Li Ying says, was inspired by traditional Chinese culture. Props include paper fans, silk umbrellas and Peking Opera masks.
"We wanted to create a version of Romeo and Juliet that was modern in terms of aesthetics, with Chinese elements, such as the value system and emotions," said Li Ying. Li choreographed the work with her husband Pan Jiabin, the Artistic Director.
Jiabin Pan and Ying Li are husband and wife. Pan started his dance career at the Liberation Army Dance Group in Jinan, Shandong Province, where he met Li in Beijing. They both graduated from Beijing Dance Academy in 1987 and joined the National Ballet of China as principal dancers In the same year. In 1992, they were recruited to join the Ballet Met in Columbus, Ohio in the United States, before dancing with the Pittsburgh Ballet Theatre for twelve years until retiring from the stage in 2006.
Both have received numerous international awards and recognition, including the 12th Varna International Ballet Competition (1986), and the 5th Osaka International Ballet Competition (1987). They were invited to perform at the 10th International Ballet Festival in Cuba (1987) and the Andersen Festival in Copenhagen, Denmark (1988). They were invited by the host of PBS Children's Education Programme to be the program's guest artists. Pittsburgh Magazine honoured Pan as an Outstanding Artist, and the Pittsburgh Cultural Arts Foundation honoured Li with an Institute Achievement Award.
In 2007, Ying Li and Jiabin Pan returned to Suzhou to further their love of ballet and pursue their passion of choreography when they were invited by Pan's hometown Suzhou to start a ballet troupe.
Chinese history, into a well-acknowledged ballet production Legend of Beauty, which received funding from the China National Endowment for the Arts in 2014. Under their leadership, Suzhou Ballet Theatre is in constant innovation in creating legacy and making ballet history in China.
Suzhou Ballet Theatre was established and founded by Suzhou Culture and Arts Centre in June 2007. It is one of the sixth professional ballet companies in China and the only one in Jiangsu Province.
Led by artistic directors Ying Li and Jiabin Pan, the Theatre incorporates original works and aspires to produce new pieces while developing dancers to reach their fullest potential. The company members come from major ballet companies in China, including the prestigious Beijing Dance Academy. This group is the youngest, most energetic and vibrant ballet company in modern China.
The company has performed many classical Pas de Deux, such as Swan Lake, The Nutcracker, La Sylphide, Sleeping Beauty, and Coppelia. Artistic directors have created many new works for the company: Double Happiness, Chopin's Poem, Dancing on Rock, and Su SHOW to promote the culture of Suzhou.
In 2010, the Company choreographed a Chinese version of Romeo and Juliet, which sets itself apart from other classical versions in the world. In 2011, the Company chose Coppelia as its annual production, which displays the creative and innovative characteristics of the Company. In 2012, the Company created Legend of Beauty, which portrays a legacy intertwined with affection and hatred, romance and conflicts based on Chinese culture during the historical background of Wu-Yue hegemony. A very special mice version of The Nutcracker was created and performed in 2013. In 2014, the Company choreographed a new version of Carmen to give the Ballet a modern interpretation while maintaining the dynamic, exciting plot of original. Carmen was invited to perform at the XXII international Opera Festival in Nova Opera in Bydgoszcz, Poland in 2015.
The Company has both a national and international reputation. In March and June 2012, the Company successfully performed its Chinese version of Romeo and Juliet at National Centre for the Performing Arts in Beijing and Shanghai Grand Theatre, two of the highest-status palaces for performing arts in China. In November 2013, the Company's Romeo and Juliet was invited to perform at the 1st China International Ballet Festival. In 2014, the Company's Legend of Beauty became the funded recipient of China National Endowment for the Arts.
Het Suzhou Ballet Theatre, één van China's meest veelbelovende balletgezelschappen, heeft zich van het begin af aan toegelegd op het verkennen van grenzen in het algemeen en het mixen van interculturele aspecten in het bijzonder. Eén van de beste voorbeelden hiervan is hun interpretatie van Shakespeare's "Romeo & Julia".
Het stuk heeft onder leiding van de met meerdere internationale prijzen onderscheidde Jiabin Pan en Ying Li een stijlvolle, moderne en bovenal Chinese sfeer meegekregen. Zij hebben daarbij Shakespeare's "Romeo & Julia" verweven met de eeuwenoude Chinese parabel van "The Butterfly Lovers". Een verhaal dat een grote vergelijking toont met "Romeo & Julia" maar dan doorspekt met Chinese mystiek. De oudste vastgelegde versie van "The Butterfly Lovers" stamt overigens uit de tijd van de Tang dynastie ca 700 na Chr. en wordt gerekend tot één van de vier grote volksvertellingen in China.
"We wilden een versie van Romeo & Julia creëren die modern is in termen als esthetiek, maar tegelijkertijd de typische Chinese opvattingen qua emoties en normen en waarden in zich herbergt" zegt Li hierover, die de choreografie van deze productie samen met haar man Pan Jiabin voor haar rekening heeft genomen.
Jiabin Pan and Ying Li zijn naast collega's ook een echtpaar. Pan ontmoette Li in Beijing. Daar studeerden zij in 1987 beiden af aan de Beijing Dance Academy om vervolgens samen de hoofddansers te worden van het Nationale Ballet van China. In 1992, werden zijn gevraagd voor het Ballet Met in Colombus, Ohio in de Verenigde Staten om vervolgens de overstap te maken naar het Pittsburgh Ballet Theatre. Daar hebben zij 12 jaar met veel succes gedanst.
Beiden hebben gedurende hun carrière meerder internationale prijzen en onderscheidingen mogen ontvangen, waaronder de 12th Varna International Ballet Competition en de Osaka International Ballet Competition. Ook waren zij uitgenodigd voor 10th International Ballet Festival in Cuba (1987) en het Andersen Festival in Kopenhagen, Denemarken(1988). Pittsburgh Magazine heeft Pan onderscheiden "as an Outstanding Artist", en de Pittsburgh Cultural Arts Foundation heeft Li onderscheiden met een "Institute Achievement Award".
In 2007, keerden zij terug naar Suzhou om hun eigen balletgezelschap op te richten waarmee zij nu furore maken. Zo hebben zij o.a. de volgende producties op hun naam staan: Double Happiness, Chopin's Poem, Dancing on Rock (2008), Su SHOW (2009), Romeo and Juliet (2010), Coppelia (2011), Legend of Beauty (2012), The Nutcracker (2013) en Carmen (2014).


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Rewriting Hafez: Re-theorizing Untranslatability in Persian Poetry
Posted on July 8, 2014 December 3, 2020
Ajam Media Collective
This article was written by a guest contributor and solely reflects the views of the author.
A guest post by Aria Fani. A native of Shiraz, Aria Fani studies towards a Ph.D. in Near Eastern Studies at the University of California in Berkeley. All translations are by the author unless otherwise noted. ariafani@berkeley.edu
Tilework underneath the dome of the Hafeziyeh (Photo Credit: Aria Fani).
و الشعر لا يسطاع ان يترجم و لا يجوز عليه النقل. و متی حول تقطع نظمه و بطل وزنه و ذهب حسنه و سقط موضع التعجب منه و صار كالكلام المنثور. و الكلام المنثور المبتدأ علی ذلك احسن و اوقع من المنثور الذي حول من موزون الشعر– الجاحظ | كتاب الحيوان
Poetry [shi'r] is untranslatable; it cannot be transferred from one language into another. Translation breaks its metrical arrangements [naẓim] and spoils the rhythm [wazin], ruins its aesthetics [ḥusn], and flattens the element of wonder [muḍi' al-ta'ajjub]. Translation turns poetry into prose, and prose originally written as such is preferred over what has been turned into prose as a result of translating verse– al-Jaḥiẓ | Kitab al-Hayawan.
Near Eastern thinkers, perhaps as early as al-Jaḥiẓ, the eighth century Arab writer and polemicist, have commented on the problem of literary translation, particularly concerning poetry. While al-Jaḥiẓ points to broad challenges encountered in translating lyrical poetry, he gives more weight to translation as an end result, characterized by various layers of loss consequent to this linguistic transfer. One implication of reading translation merely as a product is to indict translation as an intellectual enterprise—as often has been done—and place it within the reductionist model of "betrayal" versus "faithfulness." However, al-Jaḥiẓ's view also lends itself to the notion of developing a critical awareness towards translation as a process of linguistic and cultural negotiation between the source and target language and their literary traditions. In other words, literary translation does not end by acknowledging the concept of untranslatability, it begins with it and furthermore testifies to the translator's difficult task of doing justice to what he or she perceives as the poem's internal vision.
Untranslatability is a trope standard to writing and rewriting, and is not limited to translation. In this vein, one can view failures, disappointments, and success not as a fixed form of assessment, but as an open discussion of the translator's vision and accommodations within the fluid context of his or her era, language, target audience, and mode of reading. Untranslatability can be a humbling acknowledgement made by a translator well-acquainted with the poetic system of the source language, one who fully understands components such as naẓim, wazin, ḥusn, and muḍi' al-ta'ajjub, prior to translating the work. "Untranslatable" could indicate that no translator has yet engaged this process for a "general" audience, or existing translations have not found wide readership. It is translation as a process of negotiating between two (or more) literary traditions, models of reading, and target audiences that I am concerned with in this article, and less with its end result.
The Hafeziyeh in Shiraz, Iran (Photo Credit: Aria Fani).
Translation can be characterized as an interplay between literary traditions (source and target languages are rooted in multiple traditions of their own), a process that illuminates the difference in approaches to and articulation of poeticity. Consequently, linguistic and cultural challenges arise that need to be addressed by the translator regardless of his or her approach to translation. The Persian literary tradition presents unique challenges that are particularly well-revealed in the ghazaliyyāt of Shams al-Din Muhammad Hafez of Shiraz (circa 1315-1389), a poet who is widely read in Persianate societies. Poets and scholars alike have expressed the difficulty of translating Hafez.
In his famous essay, "On Not Translating Hafez" (New England Review, 1999), Dick Davis engages the many facets of translating the Persian poet, maintaining at the end that his verse is untranslatable. Davis, who has now attempted the feat himself in his Faces of Love: Hafez and the Poets of Shiraz (Penguin Books, 2013), characterizes these challenges broadly as linguistic and cultural. Linguistic challenges are often in the form of translating idioms, puns, and rhymed phrases. Cultural resonance, embedded in the source text, constitutes even greater weight for the translator; the ghazals of Hafez are composed against the backdrop of an intertextual dialogue with various dimensions of Islam, a background readily accessible to certain Persian readers and largely missing in cultural and linguistic communities in the West.
As an example of cultural resonance, Davis uses wine metaphors in the poetry of Hafez to further unpack this challenge. He writes: "It would never occur to a Western poet to express the forbidden intoxications of mysticism by alluding to the forbidden intoxications of wine, for the simple fact that the intoxications of wine have never (if we exclude the brief and local moment of prohibition in the United States) been forbidden in the West." The Hafezian metaphor resides in the realm of culture, not words or images; it is a capacity he exploits throughout his poetry.
Similarly, in an essay entitled dar tarjumah napaziri-i shi'r [On the Untranslatability of Poetry, Iran shinasi, 2002], Mohammad Reza Shafi'i-Kadkani highlights the difficulty of communicating the semantic complexity of Hafezian metaphors while arriving at the same conclusion: Hafez is untranslatable. Shafi'i offers a beyt (line) as case in point, and zeroes in on one phrase of a single misra' (hemistich). Here I will unpack the entire beyt, partially relying on the commentaries of Shafi'i and Baha al-din Khurramshahi [ḤāfiẓʹNāmah, Shirkat-i Intishārāt-i ʻIlmī va Farhangī, 2005]:
Transliteration:
bih may sajādih rangin kun garat pir-i mughān guyad
kih sālik bikhabar nabvad z-i rāh-u-rasm-i manzilhā
The literal translation of this ghazal, closely approximating the Persian syntax, is as follows: "with wine prayer rug make colorful, should pir-i mughan ask /// for salik oblivious should not be to the path and way of Homes." Reproducing the rhyme and meter of the Hafezian ghazal—a quality intimately associated with classical Persian poetry as with all poetry—is very challenging, one that most translators of Hafez decide not to undertake. The first misra' directly addresses readers in second person singular, and is grammatically conditional (do "x" if one were to ask you). Its central concepts are wine, prayer rug, and pir-i mughan: Wine, evoked as an impure element, is positioned against the cleanliness and purity of the prayer rug, a small carpet placed between the bare ground and the Muslim worshipper. Furthermore, both prayer rug and wine can be read as metonymy for orthodox religiosity and the forbidden respectively.
Pir-i mughan is principally a Zoroastrian elder who sells wine, and has later gained different semantic layers through Sufi teachings. However, in this context, the earlier referent is being evoked. The second misra' is grammatically ambiguous for nabvad is both imperative and indicative; some have translated nabvad as an opinion or piece of advice (Pilgrims should show each stage's rule), while others have rendered it as a statement (That seasoned voyager knows the ways of the road). In both translations, the ambiguity of the Persian is necessarily removed.
Salik is approximated by wayfarer or seeker—one who embarks on a journey. Salik is deeply rooted in Sufi traditions, a protean and transnational phenomenon that broadly captures the mystical dimensions of Islam.Rah-u-rasm refers to the path and the way of mystical principles; although grounded in a different tradition, Christian poetry makes use of these concepts as well;one such example is "Enter not into the path of the wicked, and go not in the way of evil men" [Proverbs 4:14, KJV]. Rah-u-rasm has been translated as each stage and the ways respectively by Dick Davis and Peter Avery and John Heath-Stubbs. Last, but not least, the concept of manzil is approximated by the "realm of the divine," sought by the seeker. Thus far, our rough draft appears as follows; the Persian terms are retained in the English to further invite non-initiated readers to research these concepts:
Make your prayer rug colorful with wine, if pir-i mughan asks you
for salik shouldn't be oblivious to the way of the higher path.
Having annotated the linguistic aspect of the source text, the translator arrives at a different problem: how does one uproot the poem from its cultural soil and replant it in an unaccustomed earth? This is an area in which a literal translation may not prove to be a viable option. For instance, "make your prayer rug colorful with wine" accurately reflects the Persian, but fails to convey the subversive message of the ghazal's speaker for English readers unfamiliar with Perso-Islamic culture. Hafez's metaphor functions through a source domain—readily accessible for Persian readers who are familiar with Qur'anic and pre-Islamic lore and intertextuality—in which wine is conceptualized as najis, or impure, and prayer rug as tahir, or free of impurity.
The concept of najis/tahir is grounded in a cultural understanding of cleanliness, partially informed by sharia, one that is not closely approximated by the English terms clean/unclean.Clean for most English-language readers may simply mean free from dirt, marks, or stains, while pure–free from a contaminating substance–is closer in meaning, all the same fails to convey the cultural significance of tahir in Perso-Islamic culture.
Wine has its own semantic associations in the West, for example it can symbolize the Blood of Christ, and as such can be deemed Holy. The sacrilegious request of the pir-i mughan is entirely lost in a literal translation, and would need to rely on footnotes–or other forms of discussion– to convey the poem's central metaphor. It must also be added that Hafez's ghazal speaks from the margins of mainstream Sufism at the time; it is a Zoroastrian wine-seller that shows the seeker "the Path and the Way," not a spiritual Sufi leader to whose (institutional) order he adheres. From every angle, this ghazal is culturally and socially subversive.
Our discussion of the linguistic and cultural aspects of translating Hafez merely scratches the surface of the dialogue between literary traditions; in this case, subversive, Sufi, Islamic, Persian, Christian, and English traditions are implicated. It is a dialogue shaped by the poetry of Hafez and mediated by his translator(s) as well as publisher(s). It goes without saying that it is absolutely paramount that such mediators be fully bilingual and competently bicultural.
Photograph of Walter Benjamin by Gisèle Freund
More often than not Hafez's verse has been rendered into English by translators whose lack of proficiency in Persian does not allow them to engage the source text directly; they are more accurately characterized as "versioners, adapters and impersonators" by Franklin Lewis [Rumi: Swallowing the Sun, Oneworld, 2008, xiv]. The list of individuals who have attempted to use Hafez as a ladder to climb into literary fame is rather lengthy; it will suffice to mention Daniel Ladinsky, contemporary American poet, who has sold several collections of poetry as "translations" of Hafez. Ladinsky does not know Persian while his poems bear little or no resemblance to what Hafez has composed. Ladinsky's work–and others who adhere to the literary model of cultural appropriation–exists as a symptom of highly unequal power relations between the source and target language and culture, in this case Persian and English are implicated. If examined as a symptom of an asymmetrical cultural context–and not an indictment of translation–such reductive models can critically inform the development of more egalitarian metaphors for translation, namely translation as inter-cultural negotiation.
Many contemporary thinkers have offered us thought provoking metaphors for the difficulty of translation. Walter Benjamin's influential essay, "The Task of the Translator" (1923), itself a retelling of multiple traditions—Jewish, Kabbalistic, Christian—underlines the importance of allowing the source text to shine through the target language. He treats translation as a "mode" that allows the kinship of languages to be "conveyed," a relationship best highlighted by "conveying the form and meaning of the original as accurately as possible" (Illuminations, Harcourt, Brace & World, pp. 69-82). The translator's efforts to meditate on all the possibilities offered by English and bend the target language beyond its comfort zone to accommodate the Persian mode of signification will highlight the kinship between English and Persian and demonstrate what this negotiation can achieve.
Rather than placing translation within the reductive and primitive metaphors of betrayal and faithfulness, one might suggest a creative and scholarly process of inter-cultural and linguistic negotiation—a more productive and egalitarian model—that enriches the target language by expanding its linguistic components, offering new cultural metaphors, and cultivating its theoretical landscape, and equally adds deeper nuances to the reception of the literary work in the source language. Vigorous engagement with the work—consequent to the process of negotiation—often results in rewarding moments, however brief the moment of contact between the source and target language may be, as powerfully underlined by Benjamin. Such translations bring the reader closer to the source text, much like a detour that never loses sight of the main road and attempts to guide the reader via its own road signs, albeit placed in different locations. Only a brief examination of two translations of Hafez's beyt demonstrates the different creative and scholarly measures taken by its translators:
به می سجاده رنگین کن گرت پیر مغان گوید
که سالک بی خبر نبود ز راه و رسم منزل ها
And if the wine-seller says wine
Should dye your prayer-mat…dye it!
Pilgrims should show each stage's rule
And seek to satisfy it.
(Faces of Love, pg 10)
Stain your prayer-mat with wine if the Master tells you:
That seasoned voyager knows the ways of the road.
–Peter Avery & John Heath-Stubbs
(Hafiz of Shiraz, Handsel Books, 2003, pg. 25)
Dick Davis has opted for a simple and contemporary diction and has remained close to the source text. Although different from the mono-rhyme of the Persian ghazal, his translation has developed its own rhyme at the end of each even misra', and every beyt has been expanded to four lines:
Davis' translation is aligned with Khurramshahi's interpretation, namely that pir-i mughan in this ghazal alludes to a Zoroastrian wine-seller, and its mystical reading (pir as a Sufi sage) is only suggested in the background. To keep mystical interpretations of Hafezian figures seamlessly in the background, he has rendered salik as pilgrim, as opposed to seeker. The concept of rah-u-rasm that guides the salik to manzilha is expressed through "seek[ing] to satisfy each stage's rule," which reflects the notion of traversing levels of mystical Islam, critiqued by Hafez in this ghazal.
Peter Avery and John Heath-Stubbs' translation does not rhyme; all the same, it has struck its own meter in English. They have opted for stain, rather than rangin kun [make colorful]; their rendition may not reflect the source lexicon, but does convey the Hafezian metaphor, a reasonable compensation. However, they have decided to over-impose a mystical interpretation on the ghazal by translating pir-mughan as "the Master," which necessarily defangs Hafez's critique of institutional Sufism and its practices. "Ways of the road" reflects the linguistic metaphor of the source text that "Goals are Destinations," embedded in rah and manzil. Both versions are close to the source text and, through recalling different possibilities of English, they have put Persian and English poetics in conversation with one another.
Hafez was first introduced to English-speaking readers through Sir Williams Jones's version of a ghazal, titled "A Persian Song of Hafiz" in 1771. Translators of Hafez have come a long way ever since, taking his poetry in numerous directions based on their local variant, target audience, reading models, and approaches to translation. Julie Meisami's essay in the Encyclopedia of Literary Translation Into English examines the historical and stylistic trajectory of these works [Routledge, 2000, pp. 600-602]. Hafez's English translations, all surrounding his work akin to exegetical exercises of the Persian, have histories and traditions of their own. For instance, there are as many equivalents suggested for pir-i mughan and salik as there are English translators of Hafez.
Translation pir-i mughan salik Metaphor
Arberry, A. J., Hafiz: Fifty poems, 1947. taverner [one] whose wont is on this road to go Let wine upon the prayer-mat flow
Clarke, H. W. The Divan of Hafiz, 1974. Pir of the magians (the perfect murshid) holy traveller (the perfect murshid) With wine, becolour the prayer-mat
Kashani, A. A., Odes of Hafiz: Poetical Horoscope, 1984. The experienced sage us/my friend "Wash your prayer-rug in red wine, my friend"
Bell, G. The Teachings of Hafiz, 1985. Tavern-keeper traveller "With wine, with red wine your prayer carpet dye!"
Smith, P. Divan of Hafiz, 1986. Master This experienced traveller With wine dye your prayer-mat
Gray, E. The Green Sea of Heaven, 1995. Magus traveller Stain your prayer mat with wine
Alston, A. J., In Search of Hafiz, 1996. Magian Teacher the true traveller Dye your prayer-carpet in wine
Newell, J. R. The Songs of Hafiz, 2001. master that holy one Dye your prayer mat red with wine
If examined carefully in the light of translation as a process—not merely an end result—of cultural and linguistic negotiation, these translations can point us to new and unprecedented horizons and challenge the idea of languages as fixed and unevolving literary idioms strictly associated with a particular religion or culture. In the past several decades, English has become a common vehicle for the expression of Islamic and Sufi thought, both through creative and scholarly writing. The central metaphor of Hafez's ghazal may be unique to Persian, but the source concepts it evokes–that of religiosity and subversion–is common among all languages. English will continue to search for the voice of Hafez—and poets in other languages—and with each vigorous process of negotiation, we move a step closer in the Benjaminian direction of highlighting the "kinship" of all languages, their interconnectedness in what they wish to express.
This essay was written in close dialogue with Chana Kronfeld and my colleagues in her graduate seminar, "The Politics and Poetics of Translation" at the University of California, Berkeley. I would also like to thank my colleagues Leyla Rouhi, Tracy Cummings, and Franklin Lewis for their critical comments.
1. Davis, Dick. "On Not Translating Hafez." New England Review (1990), Vol. 25, No. ½, Translation: Double Issue (Winter-Spring, 2004), pp. 310-318.
2. Shafi'i-Kadkani, Mohammad Reza. "Dar tarjumah napaziri-i shi'r." Iran shinasi. 56 (1381/2002): 743-749. Iran Shinasi may not be the primary publisher of this essay as it has been featured in various other publications in Iran and abroad.
3. Hāfiz, and Bahā' -D. Khurramshāhī. ḤāfiẓʹNāmah: Sharḥ-i Alfāẓ, Aʻlām, Mafāhīm-i Kalīdī Va Abyāt-i Dushvār-i Ḥāfiẓ. Tihrān: Shirkat-i Intishārāt-i ʻIlmī va Farhangī, 2005.
4. Davis, Dick, Ḥāfiẓ, Zākānī N.-D. ʻUbayd, and Malik K. Jahān. Faces of Love: Hafez and the Poets of Shiraz. New York: Penguin Books, 2013. Pg. 10.
5. Ḥāfiẓ, Peter Avery, and John Heath-Stubbs. Hafiz of Shiraz: Thirty Poems: an Introduction to the Sufi Master. New York, NY: Handsel Books, 2003. Pg. 25.
6. On the question of mystical Islam, please see: Schimmel, Annemarie. Mystical Dimensions of Islam. Chapel Hill: University of North Carolina Press, 1975.
7. Jalāl, al-Dīn Rumi, and Franklin Lewis. Rumi: Swallowing the Sun: Poems Translated from the Persian. Oxford, England: Oneworld, 2008. xiv.
8. Benjamin, Walter. "The Task of the Translator." Illuminations. New York: Harcourt, Brace & World, 1968, pp. 69-82.
9. I have benefited from George Lakoff's metaphor theory. See: Lakoff, George, and Mark Turner. More Than Cool Reason: A Field Guide to Poetic Metaphor. Chicago: University of Chicago Press, 1989.
10. Meisami, Julie. "Shams al-Din Muhammad Hafiz" Encyclopedia of Literary Translation Into English. London/Chicago: Routledge, 2000, pp. 600-602.
Hafez
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byAlex Shams
felixderosen says:
Amazingly written. Clear and concise. Thank you!
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Thank you for this excellent essay. I am curious what the author makes of Geoffrey Squire's _Hafez: Translations and Interpretations of the Ghazals_ just out this year. In my early assessment he seems to be working in the vein of the transparent negotiation you write of, and from a place of language proficiency, cultural understanding, thorough scholarship, and English prosody.
Aria Fani says:
Sahar, thank you for your comment. I am in the process of expanding this piece for a talk at UC Berkeley, wherein Spanish and Arabic translations will also be considered, and I will definitely look at Squire's new translations as well. Many thanks!
mquay says:
Thank you for this concise and illuminating account of a complicated topic. I was wondering if the author had seen Parvin Loloi's book Hafez, Master of Persian Poetry: A Critical Bibliography. The title is a bit misleading but it's actually entirely concerned with the tradition of English translations of Hafez's Divan. I found it incredibly thorough and useful. I had wanted to undertake a similar task as you have done here but with "agar ān tork-e shīrāzī." After reading her chapter on it, however, I knew I could never do the topic justice!
http://www.ibtauris.com/Books/Literature%20%20literary%20studies/Poetry/Poetry%20anthologies%20various%20poets/Hafiz%20Master%20of%20Persian%20Poetry%20A%20Critical%20Bibliography.aspx?menuitem=%7B9FBE298D-9FCE-4C9A-A4FA-3C2B6D2D7D48%7D
Thank you for reading! I have seen Parvin Loloi's very useful bibliography, and also did fine the title problematic (it's time to shed these titles–Master of– at the core of which lies an assignment of uncritical grandeur). Critical approaches to translation are fairly new to the field of Persian Studies, and we can all learn from one another. I highly encourage you to write your essay, engaging "agar ān tork-e shīrāzī."
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For Dick Davis, Hafez's phrase pir-e moghân [Zorastrian elder] becomes "the wine seller," while for Peter Avery and John Heath-Stubbs it becomes "the Master." A.J. Artery renders it as "taverner" and Elizabeth Gray translates it as "Magus." Aria Fani's literally translates the couplet from QG1/Kh1 in which the phrase appears as "with wine prayer rug make colorful, should pir-i mughan ask / for salik oblivious should not be to the path and way of Homes [sic]." Hâfez's couplet reads: be may sajjâdé rangin kon garat pir-e moghân guyad / chon sâlek bikhabar nabvad ze râh-o rasm-e manzelhâ [color (your/the) prayer mat/cloth/rug with wine should the Magian/Zoroastrian elder tell you (to do so) because the (experienced) traveler [e.g., Magian elder] is not unfamiliar with the route(s) and way(s) of (caravan) stages/stopping places]. Might not "Zoroastrian elder" or "Magian elder" better resonate for English readers of poetry than the cited translations of pir-e moghân? Also, as QG142/136 shows, isn't pir-e moghân more than a "wine seller" or "taverner"? There, the Magian elder is a mysterious spiritual guide who knows truths beyond what books reveal and is the solver of problems of the heart and possessor of the cup of Jamshid. Here, in QG1/Kh1, he is one who may command religious sacrilege because he knows things the rest of us do not know. And, on the basis of previous acquaintance with the role of the Magian elder together with the prayer rug, the sâlek ([1] traveller, [2] traveller on life's road, or [3] traveller on the road of gnostic love), and the manzelhâ (stages on a journey, e.g., the stages or maqâmât undergone by a person striving for mystical vision and perfection), readers will assume that the love described to this point in QG1/Kh1 is somehow more than secular, romantic love and that it is the total giving of self in the love of what the lover perceives as the perfect and irresistible object of desire. At the same time, the Hâfezian speaker may not be advocating literally sacrilegious or otherwise heterodox behavior, but may rather be inviting himself and his auditors/readers to take parallel or analogous risks and trust their hearts in their own circumstances that would parallel the literally or literarily exaggerated behavior in the ghazal.
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text:
Poland's leaders campaign to save wild cows from slaughter
WARSAW, Poland (AP) — Poland's ruling party leader and the president have weighed in to save the lives of a herd of some 180 cows and bulls that went feral after years of neglect and were ordered slaughtered.
Poland's most powerful politician, Jaroslaw Kaczynski, said this week the herd in the rural community of Deszczno should be saved for humanitarian reasons. Famed Cat-lover Kaczynski said he wants Poles to know that many politicians are friends to animals.
President Andrzej Duda also tweeted to say the herd should be saved.
In response, Agriculture Minister Jan Krzysztof Ardanowski said the animals will be examined and put under the care of a state-owned farm.
The deputy governor in Deszczno, Aleksander Szperka, said Friday he is waiting for the herd — which remains on fenced-off land — to be taken away.


If your not getting heat but you are spinning your problem is either the thermostat or the heating element. Both are located in the rear of most dryers and can be easily replaced. It shouldnt be too expensive to replace them yourself and its pretty easy to do. However finding the correct parts for a machine that old may be difficult. Check with an appliance parts store in your area and make sure you have the model number of your machine ready.
I have a Kenmore Dryer, Model 96292110. It runs, but it does not heat the air. I have checked the circuit breakers. They are fine.
If your Maytag dryer has mysteriously stopped producing heat, a blown thermal fuse may be the cause of your problem. In Whirlpool dryers,thermal fuses are safety switches that are designed to disrupt the flow of electricity to your dryer's heating mechanisms once the dryer reaches a predetermined maximum temperature, usually somewhere around 180 degrees F.
Thankfully, troubleshooting the thermal fuse in a Maytag dryer is easier than it sounds.
Instructions And Things You'll Needed.
Screwdriver,Towel,Electrical tape,Replacement thermal fuse, if necessary.
1 Clean out thelint screen in your Maytag clothes dryer. Lint buildup can cause your dryerto overheat, triggering the thermal fuse to disrupt power to your dryer'sheating mechanisms. Take the lint screen out of your Whirlpool dryer and washit in warm water. Dry the screen thoroughly before replacing it.
2 Look behindthe dryer to check its flexible exhaust hose for kinks or obstructions.Disconnect the exhaust hose from the back of your dryer and clean out any lintthat has built up.
3 Go outside andcheck your Maytag dryer's exhaust vent for obstructions. Lint buildup, birdnests or other obstructions in the outside exhaust vent can trigger yourdryer's thermal fuse.
4 Disconnectyour dryer from its power source before attempting to access its thermal fuse.
5 Access the thermal fuse in your Maytag dryer byremoving the back panel. Remove the screws that hold the back panel in placeand it should easily come free.
6 Look betweenthe dryer's blower housing and exhaust to locate its thermal fuse. The thermalfuse in a Whirlpool dryer looks like a white plastic strip that has two wiresconnected to it.
7 Bypass the thermal fuse in your Maytag dryer whileyou perform a quick diagnostic test. Use electrical tape to tape together thetwo wires connected to the thermal fuse. Reassemble your dryer and plug it backin. Set the dryer to a timed heated drying cycle and press "Start."If the dryer produces heat with its thermal fuse bypassed, it means the thermalfuse needs to be replaced.
8 Replace a blown thermal fuse in your Maytag dryer.Disconnect the power and remove the back panel. Remove the electrical tape thatyou used to perform the diagnostic test and disconnect the wires from thethermal fuse. Remove the screws that secure the thermal fuse to the dryer anddiscard the blown fuse. Attach the replacement thermal fuse by replacing andtightening the screws. Attach the wires to the new thermal fuse.
To be fair, this failure's usually not the thermal fuse's fault, but the real cause lies in a partially (or completely) clogged dryer vent system. In those cases, the thermal fuse is just doing the job it was designed for.
Thermal fuses, or thermal cutoffs, are small electrical temperature sensitive 'switches' designed to interrupt electrical current flow when heated to their specific rated 'trip' temperature.
Unlike a thermostat, which automatically resets itself when the temperature drops, thermal fuses are more like their cousins, electrical fuses, another single-use type device that can't be reset and must be replaced when it fails or is triggered.
I think the first item is what is bad. here's where to start.
check the thermostat and heating element or thermodisc was open.
My dryer spins but does not heat up. What should I do?
It's most likely a thermal fuse (some call it a thermostat) which has overheated and opened, stopping the current to the heating coil.
These are usually accessed by pulling off a panel on the bottom front or removing the back.
There are usually 3 of these devices with two or sometimes 3 wires plugged into them. They are about the size of a Chicken McNugget. One is the thermal fuse, one is low heat thermostat, other is high heat thermostat.
Check these for continuity with one of the wires going to it unplugged. If the meter shows no current going through it, it is bad and needs to be replaced.
More info, let me know.
Newer models have access through the front lower panel. Removing the panel will expose the t-stats and all other parts. Remember to disconnect all power to dryer before servicing. Disconnect the wires to the thermal fuse and join them together. Connect dryer and start, if it heats up then your fuse is bad. Costs about 10 bucks.
I have the same AEG T57800 dryer. Problem, no heat. Couldn't find a service manual anywhere on the net. Checked for fuses and saw none. Thermostats on heater appeared fine, showing current flow. Replaced heating element 112 54 84 41/8, via local dealer - Respond Services from Electrolux UK in Durham DL5 6ED (£68), still no heat. Called service tech who replaced the PCB - 973916012018008 (£135 + £85 callout charge). Very, Very annoyed at this as the dryer is only 3.5 yrs old.
Yes there is a fuse in the dryer. The black circular thing is a high limit thermostat. Beneath it is the thermal fuse. It is smaller (dime size) and is mounted to the right side of the heating element housing. It is alittle tough to see and get at. You must use the original Maytag part kit.It comes with a new high limit therm. and fuse.


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Sonex Aircraft, LLC has completed the transition to a new Warehouse facility. The building was originally constructed in late 2004 and used as a storage hangar until heated and insulated this Fall, creating a new 5,400 sq ft Warehouse facility to receive, store, pack and ship parts for the Sonex, Waiex, Xenos and AeroConversions products. The former warehouse has been transformed into a new Flight Center (pictured bottom, right), to house our fleet of flying aircraft and free-up workspace in the adjacent Research & Development hangar. These new Warehouse and Flight Center facilities will help Sonex Aircraft, LLC more efficiently and economically serve our customers while providing the space required to accomodate the pace of growth for the Sonex Aircraft and AeroConversions marketplace.


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All Eyes on Arizona's Independent Redistricting Commission
By Paul Waugaman|2020-09-26T17:29:55-07:00September 26th, 2020|Arizona, Elections|
While we have been distracted by the incumbent president's continuing acts of ignorance and outrage, another process important to our political health in Arizona has been underway. The selection process to select members for the 2021 Arizona Independent Redistricting Commission has begun.
Arizona's efforts to make this system work have served as a benchmark for other states trying to control political influences in the redistricting process.
The non-partisan Commission was established by a citizen-proposed initiative in 2000 to review and redraw electoral districts for the U.S. House of Representatives and the state Legislature. The idea was to remove the obviously partisan hands of the Legislature from redrawing these districts to favor the advantage of the party then in.
This approach for Arizona was particularly important as the state's population had been growing rapidly. It continues to do so today. The membership of the Commission is balanced between the Democrats, Republicans with an independent Chairperson selected by the four partisan members
US Supreme Court upholds
The first Commission did its work following the 2000 census with relative ease. However, work following the 2010 census became politicized. This resulted in litigation at both the state and federal level, which finally resulted in the U.S. Supreme Court upholding the validity of the citizen initiative that established the Commission. The Court also upheld the validity of the process and resulting districts drawn by the Commission in the 2010 cycle for both state legislative districts and U.S. House districts.
Last month, 12 Democrats, 10 independents, and six Republicans from Pima County submitted applications before the August 20 deadline. The Commission on Appellate Courts Appointments is now winnowing a total list of 138 applicants (including the Pima County applicants) to a shortlist of 10 Democrats, 10 Republicans, and five independents. Legislative leaders of both parties will select two from each party.
The final four, so to speak, will choose an independent candidate from the panel of five, who will serve as the Commission Chair. Using the 2020 census data, the Commission will begin work on establishing new Congressional and Legislative districts "starting from scratch," as the Commission's mission statement says, rather than rejiggering existing districts.
Pima County Democrats still in the candidate pool as the separate Commission on Appellate Court Appointments continues its review are:
Martha M. Durkin, a retired attorney from Tucson and the Tucson Unified School District.
Dale L. Keyes, retired senior program manager at U.S. Institute for Environmental Conflict Resolution.
Robert P. Kovitz, who formerly worked on community action programs for Pima County.
Mark T. Murphy, a water research scientist previously on Environmental Protection Agency Advisory Board Panel.
Teresa D. Wyatt, former director of Children's Clinics for Rehabilitative Services.
The Commission will interview them before a final list of 10 nominees from around the state is presented to Democratic Legislative leaders.
Congratulations, thanks, and best wishes to these Democrats as the selection process continues. More information on this process and the Commission's work is available at the Commission's Website: https://azredistricting.org/
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About the Author: Paul Waugaman
Paul Waugaman lives in Tucson near his children and grandchildren, and is active in the OLLI program at the University of Arizona and his church. He retired from a 45-year career in biomedical research administration, having worked for a government research agency, two academic institutions, and as co-founder of a consulting practice. He has also taught U.S. history and several courses on technology management practices and volunteered for Democratic candidates in Maryland, North Carolina and Arizona.
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