text:
Request for Comments (RFC)-- "Искане (заявка) за обсъждане" е издание на Работната група за интернет инженеринг (IETF) и Интернет общество (ISoc) – основните органи в областта на техническите разработки и определянето на стандарти за Интернет.

RFC е термин за компютърни мрежи и Интернет и представлява работен документ с пореден номер в серия от такива документи, съдържащ предложения за стандарти и/или допълнителна информация. Тези документи се използват широко както от комерсиални, така и от некомерсиални софтуерни производители, от общностите на Интернет и Юникс потребителите. Поредицата от RFC документи започва през 1969 като част от проекта ARPANET, предшественик на Интернет. Днес това е официалният канал, през който IETF и други Интернет организации публикуват стандарти. RFC-тата покриват и други теми като нови разработки и коментари относно текущото състояние на Интернет.

RFC-та се публикуват от редактор, който е подчинен на IAB. Веднъж получило номер и публикувано, RFC никога не се отменя или скрива, а се замества от публикацията на ново. За да се определи кои RFC-та са активни Интернет стандарти и кои са остарели, се използва Internet Standard 1 (STD 1), който се публикува периодично като RFC.

RFC-та могат да се намерят в Интернет на адрес www.ietf.org/rfc.html, както и на много други места чрез anonymous FTP, gopher, и други системи за извличане на документи от Интернет.

Всяко RFC се публикува в ASCII текстов формат, като има и други формати. Нормативната версия е винаги в ASCII формат.

RFC-тата се създават по начин, който е доста по-различен от начина, използван от специализирани в създаването на формални стандарти организации, каквато е например ANSI. Те често се обменят между технически експерти, работещи по тяхно собствено желание, като резултатите могат да се прегледат от всички с достъп до интернет. На практика, RFC-та върху стандарти обикновено се изработват от експерти, участващи в работни групи, които първо публикуват чернови (Internet-Drafts) на стандартите. Така се позволява голям брой хора да прегледат документите още преди те да се превърнат в RFC-та.

Традицията RFC-тата да се пишат от прагматични, водени от опита си личности или малки работни групи, след като това, което описват вече са го направили, има сериозни предимства пред по-формалния процес, типичен за ANSI или ISO.

Едно от тези предимства е традицията да се пишат шеговити RFC-та. Обикновено се публикува поне едно годишно, често за деня на шегата.

RFC-тата са удивителни най-вече с това, колко добре работят – в тях липсват неяснотите, широко разпространени в неформалните спецификации, както и недомислиците, които често присъстват във формалните стандарти.

За детайли относно RFC-тата и техния живот, вижте RFC 2026, "The Internet Standards Process, Revision 3".

RFC 1, озаглавено "Host Software", е написано от Стив Крокър от Калифорнийски университет – Лос Анджелис и е публикувано на 7 април, 1969.

Пълен списък от RFC-та в текстов формат може да се намери на уеб сайта на IETF. Всяко публикувано RFC може да бъде директно свалено от адрес www.ietf.org/rfc/rfc#.txt, като знака # се замени с номера на RFC-то.

Списък на най-важните RFC-та

Външни препратки
 RFC Editor
 Official RFC standardization status
 Internet RFC database
 RFC Errata
 RFC Frequently Asked Questions
 RFC Index
 IETF's RFC page
 RFC Index

Компютърни стандарти

redpajama_set_name: RedPajamaWikipedia


This place has a huge selection of glasses..the biggest I've ever seen anywhere! the staff is friendly and super helpful.
Excellent location to handle all of your eyecare needs. I would highly recommend to all of my friends and family!!
15. Henry Ford Optimeyes - M.A. Schwartz, O.D.
Very poor customer service over the phone. I am very unhappy with this place. Getting information from them is like pulling teeth. My son had his eye exam here and got a flimsy pair of glasses. After breaking those, I had to pull teeth to get his prescription from them but they didn't give me his pupil distance so that I could get another pair made. The person on the phone is professionally unpleasant and the whole experience left a bad taste in my mouth. Will never deal with them again.


DART Aerospace and its Russian distributor Heliatica LLC announce that SkyTech LLC (SkyService), located in Almaty region in the Republic of Kazakhstan, installed the PA100 PUREair engine protection system on its new Airbus H130 helicopter. The aircraft completion was performed by Heliswiss Ibérica in Barcelona.
SkyService is a multi-mission operator performing high altitude flights in breathtaking mountain areas such as glacier Tujuk-Su, the peaks of Khan Tengri in the Charyn Canyon and Talgar in Zailijsky Ala Tau foothills, among others. SkyService was looking for the best engine protection system offering consistent engine air filtration performance without restrictions on operations in falling and blowing snow and minimal impact on engine output in order to perform missions at altitudes over 4,500 meters (14,764 feet).
In only its first year of full certification, the PA100 is in service with more than 10 operators worldwide, with over 20 additional installations planned this year. In partnership with Heliatica, DART Aerospace's products will be exhibited at the ninth International Helicopter Industry Exhibition, HeliRussia 2016 in Moscow from May 19 to 21. The PA100 PUREair engine protection system will be displayed along with other DART solutions.
The PA100 PUREair System, co-developed by Pall Aerospace and DART Aerospace, is a totally redesigned, reengineered, and retested engine intake protection system that is self-cleaning and virtually maintenance-free unlike other barrier-type air filtration systems qualified for these aircraft. The fourth generation vortex generator technology used in the PA100 PUREair System leverages the latest advancements from Pall Aerospace research and development, including 3D computational fluid dynamics, optimized system design and innovative nano-material technologies to achieve optimal engine protection for harsh operating environments.


Vintage Christmas Paper from MME, Velvet Ribbon, Pearls.
For this card I have used the new Fairy Dust woodmounted stamp from Penny Black.
Versaille Collection: Mirror Gallery Paper, Plaster Embellishments, Brads.
French Journey Collection: Avignon Paper, Moments of Happiness Stamp set.
Ribbon - Colorful Dreams , Paper flower - Gardenia.
Have you seen the wonderful new Christmas collection, Season's Greetings from Penny Black?
Frosty Fun (image) and Wonderful & Jolly (sentiment).
Paper by BoBunny, Ribbon, Pearls & Glitter.


text:
Microbicides
Microbicides 2006: High concentrations of lime juice kill HIV but too caustic to use as a microbicide
Theo Smart
Vaginal douching
Preclinical studies
Using high concentrations of lime juice as a vaginal douche to prevent HIV or other sexually transmitted infections (STIs) can cause severe abrasions to the vaginal epithelium, and would probably only increase the risk of HIV transmission, according to a safety study presented at the Microbicides 2006 conference this week in Cape Town, South Africa. Although another study suggested that using lower concentrations (up to 20%) may be safer, laboratory studies have found such concentrations are too low to kill HIV.
Douching the vagina (with soap and water, or other liquids such as vinegar, diluted lemon or lime juice — even soft drinks) is a common cultural practice in Africa, particularly after sex. According to one study in Mozambique "both women and men believe that vaginal cleansing should occur routinely after sex to remove impurities and prevent diseases." A survey of 266 women and 174 men in Zimbabwe indicated that 97.4% of the women washed the inside of the vagina and that 140 (80.5%) men assented to the practice
Previous studies have documented that sex workers in Nigeria commonly use high concentrations (50% or 100%) of lime juice intravaginally to prevent either HIV or STIs or pregnancy — even though this is essentially just a folk remedy.
A laboratory study of lime juice presented at the conference found that it does indeed kill HIV. At a 10% concentration, lime juice can inactivate HIV within five minutes. But in the presence of semen, it takes a 50% concentration at least 30 minutes to kill all the virus — shorter time periods or lower concentrations fail to demonstrate significant inactivation.
But the study also found some suggestions that lime juice might damage mucosal tissues — particularly if the tissue was already irritated. A second preclinical study, which also looked at lemon juice, found that both juices were markedly toxic to a variety of human cells, and concluded that while the juice might kill HIV in the cultures, it killed everything in the culture.
Nevertheless, women do it — and, if effective, the potential benefits would be great.
"Limes are easily accessible, they're inexpensive and if lime juice were to be proven safe and effective, it would be wonderful and an answer to many people's prayers," said Dr. Christine Mauck, who presented one of the safety studies.
Two studies set out to determine the safety of douching with lime juice using different concentrations. One, conducted by Dr Anke Hemmerling,of the University of California, Berkeley, concluded that the practice was relatively safe — at lower concentrations.
In her trial, twenty-five women were randomly assigned to apply a tampon soaked either without juice or with a 10% or 20% concentration of lime juice for 14 consecutive days. Tests for genital infections, measurement for signs of inflammation and a colposcopy were performed before and after treatment.
None of the participants showed signs of severe vaginal irritation, although more than 70% of women in all groups reported minor and temporary side effects such as dryness. No other significant problems were observed. However, in light of the preclinical activity studies, these concentrations would be unlikely to affect HIV transmission.
Dr. Mauck's study compared three concentrations of lime juice (25%, 50% and 100%) to plain water in 47 abstinent women who applied 24 ml of their assigned fluid twice daily for 6 consecutive days in 2 consecutive menstrual cycles, using either a douche or a fluid-saturated modified tampon in each cycle. Vaginal health was evaluated by colposcopy and cervicovaginal lavages (CVLs) at baseline, one hour after the first application (colposcopy only) and on days 3 and 7.
All study arms experienced some genital irritation — even with water. But at the two higher concentrations of lime juice, there were deep abrasions to the women's vaginal epithelium. At the highest dose, more than 65% had genital irritation, 50% experienced deep epithelial abrasions and more than 70% reported experiencing pain.
According to Dr. Mauck, high concentrations of lime juice are even more harmful than nonoxynol-9, which despite being used as a microbicide for years, was shown to so irritate the mucosa that it actually increased HIV transmission.
"There's a very small level of safety and a low therapeutic index — that's the biggest problem with lime juice. While lime juice is inexpensive and available, this does not justify holding it to a lower standard of safety and efficacy than a microbicide being developed as a drug. To do so would be unfair to the women who so desperately need and deserve a safe and effective prevention method, Dr. Mauck concluded."
Hemmerling A et al. The safety of lime juice used vaginally. Microbicides 2006 Conference, Cape Town, abstract PB28, 2006.
Fletcher P et al. Preclinical evaluation of lime juice as a potential microbicide. Microbicides 2006 Conference, Cape Town, abstract PA30, 2006.
Lackman-Smith C et al. Preclinical evaluations of lemon and lime juice as microbicide candidates. Microbicides 2006 Conference, Cape Town, abstract PA93, 2006.
Mauck C. 6-Day safety trial of intravaginal lime juice (in three concentrations) Vs. water, applied twice daily. Microbicides 2006 Conference, Cape Town, abstract OB3, 2006.
Going local – prevention conference hears about rings, douches, and soluble suppositories31 October 2018
Vaginal rings, films, inserts or gels – it's all about choice26 October 2018
The vaginal ring: more HOPE to the DREAM? Higher adherence and better effectiveness seen in open-label ring studies08 March 2018
Schistosomiasis increases risk of infection with HIV, especially for women and is also associated with a higher HIV viral load20 November 2017
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Novel HIV-1 Inhibitor Shows Promise for Future Treatment of HIV in WomenInfectious Disease Advisor - 26 June 2019
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First Multipurpose Gel Designed to Prevent HIV, HSV, and HPV Simultaneously in Women and Men Advances in Clinical TrialsPopulation Council - 25 June 2018
In the Era of Daily PrEP, Feds May Stop Research Funding Gels, Rings, and Douches for HIV PreventionThe Body - 07 March 2018
More editors' picks on microbicides >
Sub-Saharan Africa news
Major TB reduction impossible without expansion of ART coverage08 July 2019
Older, out-of-school and anonymous partners pose more HIV infection risk for adolescent girls in South Africa28 June 2019
Antiretrovirals do not cause neurodevelopmental harm to uninfected infants24 June 2019
What challenges must Nigeria overcome to eliminate vertical transmission of HIV?20 June 2019
Open the e-atlas for more news from Sub-Saharan Africa >
Australian gay and bisexual men interested in switching to on-demand PrEP11 July 2019
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redpajama_set_name: RedPajamaCommonCrawl


The Obama Foundation can prove it cares about the South Side through a community benefits agreement.
In four years' time, the Obama Presidential Center will see its grand opening in Jackson Park. Over the next decade, the Presidential Center could generate $2.1 billion in revenue for the area in addition to creating an estimated 1,000 new jobs. The center is intended to rejuvenate the area and provide a community center for residents who have historically been neglected. However, given the city's and the University's own failed attempts at renewing the area in the past, can we really trust this project will not fail in the same way? Residents of Woodlawn and Washington Park should be provided a community benefits agreement (CBA) with the center's developers; such a binding contract would effectively guarantee that these ambitious construction plans would improve residents' well-being.
Barack Obama has a special relationship with the area, working first as a community organizer and then as one of the South Side's representatives in Springfield. The South Side has responded with overwhelming support for their favorite son: he received 95 percent or more of the vote from Woodlawn precincts in the 2008 presidential election. Obama's personal work in the South Side throughout the decades likely means that the center has good intentions and may stand to help address many of the inequalities in schools, housing, and employment. The question, then, is not whether the center should be built, but how.
Although the Obama Foundation says the center will improve the area, these often-toothless refrains about "community engagement" might ring hollow for those residents familiar with the effects of gentrification. A CBA would give the community the leverage they deserve, as they can seek legal recourse if developers fail to hold up their end of the bargain.
Big, ambitious projects on the South Side have failed to deliver for their neighbors before, and could do so again. Signing a CBA, then, would earn the community's trust and further cement Obama's plan to foster civic engagement and community-based action through the center. Instead of allowing the question of the CBA to sit unanswered, the Obama Foundation should seize it as an opportunity to be a model of how powerful institutions can address the concerns of their community.


The aim of this Honours Class is to provide a comprehensive view on how the brain functions. The invited faculty consists of renowned experts in the field of cognitive neurosciences. The topics that will be discussed range from the definition of cognition, through the coming into being of cognition at the beginning and its decline at the end of the life cycle. Aspects of cognition to be discussed comprise language, consciousness, sleep and dreaming, effects of stress, cognitive enhancement, cognition and economics, and brain-computer interfaces. This Honours Class is supported by the Leiden Institute for Brain and Cognition (LIBC) and several leaders of this institute will be involved in its programming.
Upon successful completion of this course, students will: have a comprehensive view on how the brain functions.
Thursdays 19 January, 9 and 23 February, 9, 16 and 23 March, 6 and 20 April, 11 and 18 May; 17:15-21:00hrs.
The reading materials for the individual sessions will be posted on BlackBoard.


Club Card Client Terms & Conditions 1. DEFINITIONS 1.1 CONTRACT: refers to the contract signed by the CLIENT and TOTAL PARCO PAKISTAN LTD for the supply of CARD(S) at special conditions defined on the reverse side. 1.2 CLIENT: means an entity or individual who has signed a contract with TOTAL PARCO PAKISTAN LTD. 1.3 REPRESENTATIVE: means a person to whom the CLIENT has given a TOTAL PARCO PAKISTAN LTD card with full powers to use it. 1.4 CARD: means a TOTAL PARCO PAKISTAN LTD card validated for the CLIENT and authorizing the purchase of the PRODUCTS mentioned on the face of the CARD with the Client's agreement. This CARD may under no circumstances be used for obtaining cash. 1.5 BUSINESS HOURS: Routine business hours i.e. Mon – Thu (08:30 to 17:30) and Fri (08:30 to 17:00). 1.6 PRODUCTS: means the products and/or services distributed at the TOTAL PARCO PAKISTAN LTD stations and whose purchase is possible upon presentation of the CARD, subject to the limited maximum amounts which the CLIENT is authorized to buy. 1.7 POINT OF SALE: station bearing the TOTAL PARCO PAKISTAN LTD logo at which the use of the CARD is authorized. 1.8 EPT (Electronic Payment Terminal): means an electronic device on which the use of CARD is authorised at Station bearing TPPL logo. 1.9 PIN CODE: Four-digit number determined by the client or randomly by TOTAL PARCO PAKISTAN LTD. 1.10 PREPAID CARD: CARD functioning in the prepayment mode. 1.11 POST PAID CARD: CARD functioning in the post paid mode. 1.12 APPLICATION: means a signed request on a prescribed form for the issue of a card. 1.13 ACCOUNT: means a record maintained by the company in relation to transactions. 1.14 CREDIT LIMIT: means the maximum debit balance (on post paid accounts) from time to time permitted on the Card Account as determined by the company in its absolute discretion and notified to the CLIENT. 2. PURPOSE 2.1 TOTAL PARCO PAKISTAN LTD shall make available to the CLIENT a purchase CARD system called CLUB CARD making it possible for him to obtain PRODUCTS without needing to make any immediate payment. 2.2 The client and/or any of his REPRESENTATIVE will be able to get supplies at the POINTS OF SALE approved by TOTAL PARCO PAKISTAN LTD and shown on the list which shall be communicated to the CLIENT at the time of delivery of the CARD (S). 2.3 If necessary, this list shall give rise to an update that shall also be communicated to CLIENT upon request. 3. USE OF THE CARD 3.1 Use of the Club Card shall be limited to the CLIENT and/or REPRESENTATIVE subject to the maximum amounts and PRODUCTS authorized and defined in the agreement with the CLIENT. 3.2 Use of the Club Card may be made at the authorized POINTS OF SALE whose list shall be available upon request. 3.3 Use of the Club Card shall be limited in time as determined by TPPL (cf. validity of the contract mentioned on the welcome letter). 3.4 Use of the Club Card shall be subject to presentation of the CARD to the station's personnel prior to any transaction. 3.5 Any transaction made with the CARD shall give rise to the printing of a receipt by the EPT. 3.6 The PIN CODE entered by the bearer at the time of each transaction shall serve as a signature testifying to the CLIENT'S acceptance of the transaction. 3.7 It is expressly stipulated that the purchase of fuel shall be exclusively limited to the immediate filling of the vehicle's tank; unless otherwise directed by TPPL. 3.8 The records printed on the electronic terminals at the time of each transaction shall constitute irrefutable proof of the amount of the transaction. 3.9 You undertake not to re-sell or obtain cash refund against the products or services punched with the CARD. 4. CHARACTERISTICS OF THE CARD 4.1 Further to the review and acceptance of the CONTRACT, TOTAL PARCO PAKISTAN LTD shall provide the number of CARDS requested by the CLIENT after printing on each CARD the authorised PRODUCTS, and, unless otherwise specified, the license plate number of the vehicle or the name of the bearer. 4.2 A PIN CODE (provided by the CLIENT or randomly generated by computer on request) shall be assigned to each card and permits the use of the CARD exclusively by the bearer of this PIN CODE and shall only be inserted by the user/ bearer of the card.The CLIENT must ensure that the CARDS and their PIN CODE (S) are never stored together and must protect the confidentiality of the PIN CODE(S) assigned. 4.3 PIN CODE will only be shared with the authorized point of contact of the CLIENT. 4.3 An issue price for the cost of the card (if any) shall be billed to the CLIENT according to the official list of prices in effect on the date of application. These prices (if any) may be modified at any time without advance notice (a price schedule is available upon request). 4.4 The CARDS shall be billed to the client at such regular intervals as or as determined by TPPL from time to time. 5. BILLING AND COLLECTION 5.1 Billing a. The supplies of PRODUCTS shall be billed within the first 3-working days of each month on the basis of the prices charged at the POINTS OF SALE on the date of the transaction. b. Any complaint or dispute concerning the amount or the type of transactions summarised on the periodic bills must be expressed in writing within 7-days from the date of issue of the bill and be accompanied by substantiating documents. Past that period, no claim shall be accepted, errors and omissions accepted. 5.2 Payment c. The bills shall be paid according to the terms of payment on 12th of every month. As regards the PREPAID CARD, there shall be two methods of payment: i. Direct loading in Head-office corresponding to immediate payment at the head office in form of PO/DD/ IBFT/ Virtual Account for the amount of loading requested by the CLIENT. The CONFIDENTIAL CODE entered by the bearer at the time of loading shall serve as a signature testifying to the acceptance of the transaction by the client. ii. Direct in-station loading corresponding to immediate payment at the station in form of cash deposit for the amount of loading requested by the CLIENT. The CONFIDENTIAL CODE entered by the bearer at the time of loading shall serve as a signature testifying to the acceptance of the transaction by the client (The facility will be available at selected stations as and when announced). d. Any amount unpaid on the due date mentioned on the bill may automatically result in all cards on stop until the due amount is fully settled with PKR 500 as a penalty for the temporary default. i. A penalty for each day of delay computed on the basis of a monthly rate of 2% of the amount of the unpaid bill or Rs.500 or whichever is greater. e. In case of partial payment or non-payment, TOTAL PARCO PAKISTAN LTD shall have the right, with no need for any prior formal notice, to claim immediate payment of all the amounts, even those not yet due (if any), that may be payable to it and to subject the performance of a new supply to such payment. In case of non-payment or partial payment of one or more bills, this contract shall be automatically terminated, with no advance notice and no judicial formality, further to notification by TOTAL PARCO PAKISTAN LTD. 6. TERMS OF THE CONTRACT 6.1 This agreement contract is entered into for a specific term (cf. the date written on covering letter) and shall be tacitly renewed if neither party cancels it. Each party shall have the right to cancel this contract at any time, subject to informing the other party by written notice at least seven days before the effective date of the cancellation. 6.2 Since the CARDS shall remain the property of TOTAL PARCO PAKISTAN LTD, the termination of this contract for any reason whatsoever shall automatically require that the CLIENT returns all issued cards to TOTAL PARCO PAKISTAN LTD and bar his/her representatives from using them. If, upon expiry of the CONTRACT, the holder continues or tries to make use of the cards, he/she shall be subject to criminal proceedings and to the payment of damages. 7. OBLIGATIONS AND LIABILITY OF THE CLIENT 7.1 All the cards shall be entrusted to the CLIENT personally/by registered mail/courier services. Consequently, his public liability shall be involved even if the cards are used by third parties. 7.2 The CLIENT alone shall be liable for the payment of any transactions made by means of his/her cards. 7.3 The CLIENT shall have the obligation to inform TOTAL PARCO PAKISTAN LTD in writing of any change of particulars (address, telephone numbers, fax, email etc). In such case TPPL will respond within three working days from the day of change request. 7.4 While taking into account the payment deadline, the limits of the number/amount of daily or monthly transactions are solely determined by TOTAL PARCO PAKISTAN LTD. 7.5 In case of bulk procurement at any time CLIENT will inform TOTAL PARCO PAKISTAN LTD in writing regarding the nature of procurement. 8. LOSS OR THEFT OF THE CARD(S) 8.1 In case of loss or theft of one or more CARD(S), the client shall be obligated to immediately notify such fact to TOTAL PARCO PAKISTAN LTD by telephone (during the business hours of TOTAL PARCO PAKISTAN LTD) or by fax/email, subject to written confirmation within the next 24 hours. 8.2 However, the client shall remain liable, during the next 48 hours following the notice, for any transactions made by means of the lost or stolen CARD (S). 8.2 Consequences on card(s) in the custody of CLIENT or after a lost./stolen/theft report will have no liability on TOTAL PARCO PAKISTAN LTD in terms of claims arising by accounts of misuse of card at TOTAL PARCO PAKISTAN LTD retail station. 8.3 If a lost or stolen CARD is found, the CLIENT may not use it without making a request to that effect in writing and securing the approval of TOTAL PARCO PAKISTAN LTD. 8.4 Should the CLIENT fail to inform TOTAL PARCO PAKISTAN LTD or inform it past said 24 hours, the CLIENT shall remain liable, and TOTAL PARCO PAKISTAN LTD shall be released from any liability, whatsoever. 9. CANCELLATION OF THE CARD(S) 9.1 Should the CLIENT breach its contractual obligations, TOTAL PARCO PAKISTAN LTD may put an immediate block on the use of the CARD(S) held by the CLIENT. 9.2 A CLIENT may ask in writing for the cancellation of one or more CARDS, which he/she must then return to TOTAL PARCO PAKISTAN LTD. However, the CLIENT will remain liable to pay the charges for the use of the CARD(S) to TOTAL PARCO PAKISTAN LTD. 9.3 TOTAL PARCO PAKISTAN LTD may cancel and/or refuse to renew one or more CARDS held by the CLIENT. Such a decision, must be notified to the CLIENT and substantiated in writing, shall take into account (without limitation) any significant modification of the CLIENT'S financial position, the absence or inadequacy of the security deposit and/or the bank guarantee, unpaid installments, abnormal removals, supplies in excess of the maximum amounts authorised. 10. SECURITY DEPOSIT 10.1 Security deposited by the client shall remain with Total Parco Pakistan LTD for the due performance of the client of its payment obligations hereunder. The security deposit needs not to be kept segregated by TOTAL PARCO PAKISTAN LTD or held in any separate bank account and may be utilized in such manner as TOTAL PARCO PAKISTAN LTD in its sole discretion deems fit. No mark up or return whatsoever on the security deposit shall be paid by TOTAL PARCO PAKISTAN LTD to the client. TOTAL PARCO PAKISTAN LTD may draw the security deposit at any time during the life of this agreement, and may deduct any amount due from the customer to TOTAL PARCO PAKISTAN LTD from the security deposit. In any even TOTAL PARCO PAKISTAN LTD draws any sum from the security deposit. It shall notify the customer. The customer upon notification thereof by TOTAL PARCO PAKISTAN LIMITED shall immediately pay to TOTAL PARCO PAKISTAN LIMITED such sum which is necessary to bring the amount of the deposit up to the sum identified in the Application Form. 11. REVISION OF THE GENERAL CONDITIONS 11.1 TOTAL PARCO PAKISTAN LTD may modify or supplement the terms of this contract in writing at any time. Any withdrawal of PRODUCTS by the CLIENT after receiving said written document should mean that the CLIENT accepts the new clauses of the contract. 12. FORCE MAJEURE 12.1 There shall be likened to a force majeure exempting TOTAL PARCO PAKISTAN LTD from liability, other than the cases defined by the jurisprudence: wars, riots, events disrupting the supply of the refiners or the conditions of transportation, strikes or lockouts, legislative or regulatory provisions limiting the quantities available on the market or modifying the conditions of delivery or removal. 13. PRIVACY AND APPLICABLE LAW 13.1 The CARD may not be used by the CLIENT and/or REPRESENTATIVE in contravention of any Rule of Law in force, or as aid towards any such contravention. 13.2 The card may only be used within the Islamic Republic of Pakistan. 13.3 This Agreement and all matters arising out of the issue or use of the CARD are subject to the Laws of the Islamic Republic of Pakistan.
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By checking the "Acceptance of Terms" button above I declare that I am legally competent to apply for the Total Club Card and thereby accept all the terms and conditions stipulated above in this form related to submission of my application and provision of Club Card once the application is approved.
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in flotation response. The basis of sample selection include the following: • rock type. • mineralogical characteristics. • ore depth and redox profile (oxide, Separation may be a simple bulk float (i.e. pyritic gold ores, some copper ore with negligible pyrite) or Ore samples that are prone to oxidation (ie massive sulphides.
To improve the recovery of lowgrade refractory gold ores, flotation should be followed by roasting, biological, or pressure oxidation processes so that the gold could be liberated prior to cyanidation processes. It is also . A Denver floatation machine, a 3 L floatation cell and tap water were used for the batch floatation tests.
May 4, 2011 In this thesis, the biooxidation of a refractory gold flotation concentrate 6. Table 3.1. Arsenic deposits and their mineralogy (modified from Mandal & Suzuki 2002). Type of deposit. Arsenic mineral(s). Arsenic content. (%) . source for the biosynthesis of cellular biomass is met by CO2 in the air or from.
majority of minerals, that can be referred to as oxides and silies, have strong flotation properties in the presence of To sum up, the flotation performance of each mineral in an ore depends on the type and quantity of other hand a redistribution of hematite and magnetite content in the iron concentrate (cell product) was.
What are the pros and cons of utilizing standard flotation cells verses flotation columns in the extraction of gold and copper? very low in sulphide (we used no collector) and this was leachable for a satisfactory gold recovery freeing up the rest of the circuit for processing of refractory ore types by flotation followed by BIOX.
30. Design and function of a flotation cell. 31. Column cell flotation. 32. Flowsheet of a simple flotation process. 33. Flowsheet of a selective PbZn flotation. 34 In gold metallurgy flotation is often used as a preenrichment process for refractory ores. Subsequent stages of gold recovery may require oxidation and leaching.
Osikonmäki ore. Key words (GeoRef Thesaurus, AGI): gold ores, ore minerals, beneficiation, flotation, leaching, oxidation, Proterozoic, Paleoproterozoic, .. Flotation of the. The frothflc,tation experiments were carried out at laboratory scale with 1kg samples using a 4litre flotation cell ilnd an Outokumputype flotation.
Someone have information related with problems associated with excessive froth in a Gold sulfides ore in flotation and Alunite Activation? clays), what reagent suite are you using (obviously including frother type and dosage) and where is the problem occurring (pump boxes float cells, product or tailings thickener)?.
Air Flow. Cell Bank Configuration. Cell Bank Control. Operation Components. Feed Rate. Mineralogy. Particle Size. Pulp Density. Temperature. Flotation. System .. A typical anionic collector for oxide mineral flotation is sodium oleate, the sodium salt of oleic . Changes in frother type and dosage simply move the flotation.
Outotec – All rights reserved. Mineralogical considerations for gold ore types. •Rikastustekniikan seminaari 2016. LIBERATED GOLD. COMPOSITE GRAIN. LOCKED Flotation. Preoxidation. Gold. Crushing Grinding. Flotation. Gold. Agitated Cyanide. Leaching. Free. Milling Au. Ore. Refractory. Au Ore. Gravity concentrate.
Ore processing for the Stibnite Gold Project is the separation of gold, silver and antimony from its host rock. Oxide ore will be fed direct to vat leach and bypass flotation (see Figure 101). Employees working in the ore processing facility will operate the following components: . flotation cell and a photo of typical froth.


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I believe that the process of becoming vegan is the process of reclaiming our true compassion and becoming reawakened to it, and I think understanding the journey of going from innately compassionate child to desensitized adult to one whose compassion is re-awakened is key to inspiring it in others and to remaining awake ourselves. Once we become awake, however, another journey begins, and in today's episode, I introduce listeners to the 10 Stages we all go through once we become vegan. I believe that knowing that these stages are very real is crucial to feeling normal, crucial to understanding why people react the way they do when you tell them you're vegan, and crucial to living in this world as a proud, joyful vegan who can effectively advocate for the animals and on behalf of a compassionate ethic.


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Dadila fou un personatge de l'alta noblesa, que vivia al començament segle IX que podria ser comte de Nimes o de Magalona que va testar el 814 a Nimes, fent donacions considerables a les abadies de Psalmodi, Aniana i Conques. Tenia terres a les diòcesis de Nimes, Uzès i Magalona i als comtats de Roergue, de Gavaldà i de Velai (d'aquest darrer país podria ser originari). Hauria rebut valuosos regals de Carlemany del que tenia el favor. Al testament esmenta a Gregori, el seu pare, i de dues filles una de les quals, de nom Dadona, l'havia premort sense descendència i havia heretat els seus béns; l'altra s'anomenava Pauleta i tenia una filla. Com a testimoni de l'acte apareix un bisbe de nom Joan que podria ser Joan I bisbe de Magalona (mort en aquell temps) o l'arquebisbe Joan II d'Arle. La seva vídua Ermengarda va testar dos anys després també en favor principalment de l'abadia de Psalmodi i del seu abat Teodemir.

Referències

Comtes carolingis


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was one such incident. He also hosted the Jason Whitlock's Neighbourhood on Sports Radio 810 WHB.
share of controversies for his comments on Robert Griffin, the third.
Shannon: Undisputed alongside Shannon Sharpe.
sports journalist would definitely be incomplete.
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3:20pm 30.01.2017 Entertainment • Science by Danielle De La Bastide
Wikileaks Just Outed A Former Caribbean Politician As A UFO Hunter
The island of Nutmeg and Aliens?
St. Georges Grenada Alien vacation spot? Image Travelwith2ofus
Wikileaks just released an interesting anecdote from the life of a Caribbean politician.
Sir Eric Matthew Gairy was an odd sort. The first Prime Minister of Grenada had a few strange ideas, some of which got him ousted in a coup by Maurice Bishop (who was eventually killed in 1983) in 1979 after a term of five years.
His downfall was due to a culmination of many variables; he had a history of thuggery and his private police named the "mongoose gang" were a murderous bunch, who frequently performed his bidding, usually against political rivals.
Oh and he also believed in aliens.
He took this position with him to the UN in November 1978 and postulated to the gathering there that the United Nations must form a committee to address the problem of UFO's and the like, according to documents released by Wikileaks recently.
"Experts he brought with him testified that "UFOs are real" as he presented his case to the Special Political Committee at the UN desperately calling for a global commission." reports The Daily Star.
He also spoke openly about his experience with aliens, once telling UFO Digest about his encounter:
"They followed the fisherman north and arrived at the coast just before dawn. There they met with two other fishermen that were standing guard over a tarp-covered object. The tarp was removed to reveal a giant human body that was between 7 1/2 to 8 feet in length. One of the fishermen directed Dr. Gairy to the fact that the body had six fingers on each hand. The body appeared to be a white skinned man that had long white braided hair. Sir Eric said the body appeared to be a young man, who if compared to a man of normal size would have been in his early thirties."
That's pretty vivid to say the least
Sir Eric Gairy Image Spiceislander.com
We're not sure if the UN investigated Gairy's requests further but aside from the former Prime Minster's eccentricities, he was also not the best leader Grenada has ever seen – far from. Perhaps his priorities were slightly misguided?
These Caribbean Folklore Characters Are Not Fans Of Men Who Cheat
Ashley Graham Poses In Sexy White Bikini For Stunning Instagram Shoot
topics Entertainment Science


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There has never been a greater time to be a cinephile. That's certainly my belief in this peculiar era we're living in. When compiling a list for the best films of the 2010s, the titles submitted by my colleagues only served to underscore the prevalence of global cinema within the cultural consciousness. We began this list before Bong Joon-ho made history by sweeping the Oscars, yet the Parasite phenomenon can be seen as a fitting end to a decade which saw a plethora of filmmakers contend with nationalist rhetoric, environmental crises, and a growing disillusionment with capitalism. Many of these films found exposure through unconventional means of distribution, with one particular title controversially upending what can even be properly called a film in the age of binge-watching. Regardless of how these works have been seen, all of them reinforce the vitality of an evolving medium whose malleability is a necessity in an increasingly fractured global society. The theaters may no longer be the dominant institutions they once were, but the cinema can still help us dream, especially now when we need to most.
25. Post Tenebras Lux
Post Tenebras Lux
Post Tenebras Lux is a sort of experimental film that opens mysteriously in a vast meadow at twilight where an excited toddler calls out for the animals. In the frame, shot in a classic academic aspect ratio, we see a reflective doubling aura circling the child, fixating our attention in the center, and experience the world through their eyes. The opening remains one of the most iconic of Carlos Reygadas, orienting the human body beyond mere observation to personal identification. At the heart of the film sits a mountainous mansion, nestled among an impoverished community, occupied by a bourgeois family of a young couple and their two children. The sexual frustrations of the couple speak to the human condition where the boundless potential of our minds and the savage demands of our bodies raise an undeniable conflict for the soul. The film is less about developing characters or dialogue and more about themes. Reygadas jumps between themes somewhat quickly, moving from 'the loss of innocence' to 'the inevitability of life's cruelties', and from 'the arrogance and selfishness of mankind' to 'the beauty, power and helplessness of nature' within a matter of minutes. This technique, coupled with long takes shot by DoP Alexis Zabe, are designed to fuel an internal disposition where everything gains meaning and expression. Perhaps the film is trying to define human desire beyond good and evil in a less rationalized way. The provocative imagery could be overwhelming and intimidating, but it never fails to offer that sensory experience of cinematic realism. The beauty and ugliness of Reygadas' film complement each other, like light and darkness. A fitting comparison considering the Latin phrase from which his film takes its title: 'light after darkness'.
–Octavian Dancila
24. Asako I & II
Widely dismissed upon its Cannes premiere, Ryūsuke Hamaguchi's Asako I & II is one of the most deceptively clever films of the 2010s. One must first accept some of the odd dramatic elements of Hamaguchi's romantic tale of a young woman whose boyfriend, Baku, inexplicably disappears, only for her to meet his exact double, Ryohei, two years later. This psychological romance involving doppelgangers beggars the inevitable comparison to Hitchcock's Vertigo. But Hamaguchi is channeling a number of his influences, from John Cassavetes to his mentor Kiyoshi Kurosawa, to ruminate on questions of personal affirmation. Asako's indecisiveness over choosing either her past love or her current beau conveys the psychic bifurcation from which the film takes its title. Indeed, the English name and the photo gallery exhibition of Shigeo Gocho prominently featured in the film also guides the possibility of the Doppelganger/duality of Asako. If Baku is the 'spirit', and Ryohei the 'body', it can be argued Asako is attracted toward the purity of spirit. This delicate balance is tipped during the film's midway point, a subtle dramatization of the Tōhoku earthquake which leaves Asako bereft of this purity. Above all, Asako I & II conveys the melancholic fracture of idealism, and in effect becomes a moving meditation on the constrictive nature of the 'gaze' and the struggle to regain one's 'sight'.
–Xiao Gu
= Embrace of the Serpent
Embrace of the Serpent
This visually rich black and white tale embodies the Amazonian mythology referring to extraterrestrial beings who descend from the Milky Way galaxy. They came to the Earth on a gigantic anaconda and explained to each indigenous community the rules of how to live, how to harvest, and how to hunt. Often described as a poetic and haunting journey into a lost world, Ciro Guerra's film is devoted toward the exploration of a dream-like sensibility. It observes the folklore of individual tribes and their spiritual ideology which can take you beyond the realm of life, to a place where you can see the world in a different way. This much is raised in the journey undertaken by sick and scraggly Dutch explorer Theodor von Martius (Jan Bijvoet) up the Amazon river in 1909 in search of the rare yakruna leaf that can supposedly cure his illness. Although he is aided by a native companion who paddles him downstream, Von Martius knows that the only man who can help him is Karamakate (Nilbio Torres), a distrusting Cohiuano shaman who's the last of his tribe. Embrace of the Serpent is an elegy inspired by the journals of the first explorers of the Colombian Amazon, Theodor Koch-Grunberg and Richard Evans Schultes, and dedicated to the lost indigenous peoples and cultures of not just the Colombian Amazon, but around the world. The gorgeous visual aesthetic brings us to a world full of mythology and wonder, distant from the world we know today, and yet one which remains paradoxically not altogether unfamiliar.
-OD
= It's Such a Beautiful Day
It's Such a Beautiful Day
Few filmmakers this decade were as brazenly sparse as Don Hertzfeldt, one of the last to emerge from the American Indie scene of the 1990s. Yet his status as a postmodern prankster, established by his iconic short Rejected, gave way to one as a major auteur with the premiere of his first feature-length film, It's Such a Beautiful Day. The film's tale, of a hapless stick figure named Bill whose travails are recounted through affectless narration by Hertzfeldt himself, is downright Kuleshovian in the way it provokes audience identification with the panoply of degenerative crises afflicting the barely expressive protagonist. But the film, comprised of three shorts produced over several years, cannily implements an array of ostentatious aural and photographic effects to ensconce the viewer within the psychic and physical deterioration of its protagonist. Despite barely running over sixty minutes, few films are as unsparing in their exacting depiction of death's inevitability and its gradual reclamation of every human construct. But far from nihilistic, Hertzfeldt's feverish intensity yields a rapturous empathy for both his creation and for all mankind, culminating in perhaps the finest ending of the decade whose transcendent power remains inescapably moving.
-Nicholas Kouhi
= Lady Bird
The trials and tribulations of being an angst-ridden teenage girl are well-trod territory in cinema. However, Lady Bird is unquestionably the cream of the crop of this genre. The script, both funny and moving, is convincingly performed by an excellent cast, especially from the two leading ladies Saoirse Ronan and Laurie Metcalf as daughter and mother, respectively. It's clearly a deeply personal story to writer-director Greta Gerwig, and yet one which perfectly captures the universal experience of being a selfish teenager and the struggle in finding your place within your world, your family, and your life. After her gorgeous adaptation of Little Women last year, Lady Bird now feels like a landmark film of what looks to become a very successful directing career for Gerwig. I was already a huge fan of her acting and writing work – with Frances Ha, Mistress America and 20th Century Women also fighting for a spot on my nominations list. Yet Lady Bird is a great place to start with her work if you haven't already, the crystallization of an already-proven auteur who doubtless has many more gems in store.
–Isobel Harrop
= Meteors
When the Turkish army underwent a massive operation to defeat the Kurdish PKK in 2015, the attack gained almost no coverage. Chaos and destruction thrust upon the lives of so many, the only people to catch evidence of the atrocity were those who it affected. Through the reediting of their live-streams, and insertion of almost mythic scenes, Gürcan Keltek's Meteors provides an outlet for the victims of the attack, giving the Kurdish people representation they so desperately need. The footage ranges from cities transforming into rubble, forests becoming homes, and missiles disguised as meteors. Keltek's philosophical approach to editing the livestreams creates a work that is both urgent and folkloric. The film, though depicting vicious events, has a very calm tempo, detached from the violence of the actions depicted. Uncovering such brutal events and delivering them in such a poetically fabled manner allows the viewer to ponder the longevity of the Kurdish struggle, as well as how many of these attacks happen without such films being made. Meteors was screened at the Locarno Film Festival where it picked up the Swatch Art Peace Hotel Award. With this film, Keltek provided the decade with one of the most important pieces of war journalism whilst boldly removing itself from that very genre.
–Joel Whitaker
= Zama
After almost 10 years of silence, the Argentinian director Lucrecia Martel finally released her long-time passion project Zama, based Antonio Di Benedetto's classic piece of modern Latin American literature. The film follows Don Diego de Zama, an 18th Century corregidor for the Spanish colony in Argentina. Don Diego is waiting for a transfer to Lerma (Martel's hometown and the setting of her past three film), and he dedicates his time toward insignificant tasks while waiting for the transfer. Submerged in a culture of Kafkaesque corruption and boredom, Zama, played by the Mexican actor Daniel Giménez Cacho, is the manifestation of the colonialist mentality. Lucrecia Martel's filmography is well known for the representation of high-class society in modern Argentina and the role of the woman in this kind of society. Zama keeps this tradition, yet Martel's adaptation of Benedetto's book lends a new interpretation of her films. Don Diego de Zama imagines the European life, the white snow, perfumes and fur, all signifiers from Martel's trilogy before this film: La Ciénaga, La Niña Santa, and La Mujer sin Cabeza. I selected Zama as one of my favorite films of the decade because of what it represents for Latin American cinema. It is one of many films which mark the last twenty years of growth for the industry, one which saw revered auteurs like Alfonso Cuarón (Roma) and Lisandro Alonso (Jauja) reinvent themselves through the interrogation of Latin American history. But even on its own terms, Zama stands as a singular achievement.
-Sergio Martinez Esqueda
18. Certified Copy
Certified Copy
We lost one of our greatest filmmakers this decade when Abbas Kiarostami died in 2016. His passing felt like an obscenity, the curtailing of a career whose supply of ruminative metatextuality seemed inexhaustible. But even until the end, Kiarostami continued teasing out the formal limitations of his intellectual inquiries on matters of the heart. With his customary wit, Certified Copy may be the most beguiling entry in Kiarostami's body of generously playful work. What ostensibly begins as a conversation between two strangers imperceptibly shifts into something far stranger and less concrete. Are we witnessing two people in love or are they merely performing the part of a couple with tumultuous baggage? Kiarostami has absolutely no interest in answering that question. He instead traces the odyssey of his protagonists in nearly mythical terms as they interact with strangers who seem to complement their own feelings of resentment and regret. Certified Copy superficially resembles the loquacious nature of Richard Linklater's Before Trilogy as well as the fatalistic enigma of Alain Resnais' Last Year at Marienbad. But Kiarostami's exercise in cinematic bilocation bears his own inimitable signature as he wryly observes, with gentle exactitude, his couple pine for the life they spent together in one timeline or another. Whether a bifurcated dream caught on film or a bizarre act of role-playing, Certified Copy filters the fallibility of memory through the lens of a departed visionary.
-NK
17. Dusty Stacks of Mom: The Poster Project
Dusty Stacks of Mom: The Poster Project
One of the key challenges in creating something artistic is balancing the personal and the political. This is something Jodie Mack absolutely perfects in Dusty Stacks of Mom: The Poster Project. The film, only around an hour long, takes the form of a pop opera – mimicking Pink Floyd's famous Dark Side of the Moon. The film strips the album of its overthought themes and overlong running times to create an incredibly personal portrait of the filmmaker's mother and her poster shop. The shop is just like any other poster shop, left with the detritus of 20th century culture built up over the years as physical media has become less and less relevant. Mack uses these relics of pop culture to create gorgeous stop motion imagery, bringing a fizzing and unique energy to the film, which is filled to the brim with love and admiration, both for her mum, and the small businesses being left behind in the wake of online retail.
-JW
=Faces, Places
In her final film, Varda by Agnès, the late Agnès Varda told us: "Three words are important to me: inspiration, creation, sharing". In her previous film, Faces, Places (Visages, Villages), she showed us what she meant by this. Faces, Places is a film of pure humanity, solidarity and kindness that showcases her principles as a filmmaker. It has many layers of social and political commentary and yet it is joyful, funny, and accessible. It's a road movie about the lives of ordinary people in rural France, and with the help of JR, Varda celebrates these people through art. It's a film about friendship and adventure and life itself. I guarantee watching this film will have you falling in love with Varda, and you will have a great time exploring her wonderful body of work.
-IH
=Jinpa
Jinpa is a film about spiritual awakening, a meditation on metaphysical connections and the karmic cycles of life. On the path of life, we sometimes meet one whose dreams overtake our own to the point that they converge. With a focus on Buddhist culture, the story takes us somewhere we don't often go, both geographically and cinematically. Along the desolate Kekexili plateau on an isolated road a lorry driver, called Jinpa, who has accidentally run over a sheep, chances upon a young man who is hitching a ride and wears a silver dagger. The stranger suddenly reveals he's going to kill the man who murdered his father. When Jinpa comes to realize that their destinies are inexorably intertwined, not least because they share the same name, the plot delves into various flashbacks which make us wonder whether the two persons might be one and the same. With a naturalistic photography and a quiet dreamlike effect, the trip directs the viewer's attention to a poetic road movie which implies revenge, redemption and bad karma. There is also a gorgeous color palette, like the juxtaposition of a more expressionistic red-orange interior and a chilly yellow-green hues for the nocturnal exteriors, which makes the film technically impressive, as would be expected with the production oversight from Wong Kar-wai.
=Toni Erdmann
When it comes to the greatest comedies of the 21st Century, the only one that comes to my mind is Toni Erdmann, the latest work of the German film director, screenwriter and producer Maren Ade. The film follows a story of a relationship between father and daughter. The father, Winfried, is a music teacher in a German town. From the film's opening scene, he's presented as a natural joker whose pranks become progressively greater and stranger. By contrast, his daughter Ines is a successful business woman working in Bucharest, so busy that she's unavailable to find time to spend with his father. She's always cold, tense and unsatisfied with her surroundings. The film starts to gets its unique and memorable comedy moments when Winfried assumes the role of Toni Erdmann, a self-professed life coach who follows Ines to business meetings and parties. When Winfried leaves, Toni appears, often at the worst possible moment. It is well established since the beginning of the film that father and daughter are estranged from one another, both seeking a sense of understanding between and of themselves. But more than a dual character study, the film is a masterclass in comic filmmaking. The background becomes significantly important for the practical jokes that Toni Erdmann plays while Ines is working, giving us two of the greatest comedic moments in recent years: an inopportune performance of Whitney Houston's Greatest Love Of All and a surprise party where everyone is naked. Both uproariously funny and emotionally devastating, Toni Erdmann is a piercing observation of social relationships in a world dictated by capitalism, and for my money the finest film of the decade.
-SME
= Twin Peaks: The Return
Twin Peaks: The Return
Yes, it's happening again; Twin Peaks: The Return is appearing on yet another list of the best films of the decade, despite the ongoing protest that it is, indeed, wholly indigenous to the medium of television. The placement of Mark Frost and David Lynch's opus serves less to dilute the meaning of cinema from the last decade as much as it does to emphasize the strides television has taken to invigorate our collective imagination. But any way you look at it, the highly anticipated follow-up to the groundbreaking series Frost and Lynch launched upon an unsuspecting public in 1990 was one of the major works of autocritical metafiction in a decade brimming with such shows and movies. Fans and newcomers alike quickly came to realize that the titular return was less literal than a subject for personal and societal rumination. In a media landscape littered with reboots of beloved property, Twin Peaks: The Return was a tantalizing refutation of easy nostalgia, often denying its audience instant gratification, though not out of sadistic mockery. On the contrary, Lynch and Frost prompt us to consider the melancholy notion of a world without Special Agent Dale Cooper (Kyle Maclachlan, in a career-best performance as multiple personalities and doppelgangers) in an America whose iconographic ideals seem increasingly kitschy. In place of the cozy retro aesthetic of the original series is the grim reality of socioeconomic disparity in a post-recession, late-capitalist hellscape. Nowhere is this dissonance more poignantly rendered than in the empty suburbs of Las Vegas, whose decaying houses were once erected as testaments to post-war ingenuity. Both a work of swelling compassion and terrifying despair, Twin Peaks: The Return is neither strictly tv nor film. It is an iconoclastic, idiosyncratic dissection of an Americana which has transformed into something unspeakably monstrous.
12. Son of Saul
Jean-Luc Godard once said that the only way to make a film about Auschwitz is to make it from the point of view of a guard. Far better, László Nemes made his directorial debut, Son of Saul, from the point of view of sonderkommando members. They were work units comprised of Jewish prisoners of German Nazi death camps, forced, on threat of death, to supervise the last moments of those about to be gassed, taking out the bodies to be buried afterwards. The only access to the camps here is through Saul's point of view. We are taken to the horror of 1944, Auschwitz-Birkenau, to see him at work, helping the victims out of their clothes and cleaning the gas chambers. Miraculously there is a boy who lives much longer than he should after inhaling the Cyclone B gas, and the doctors decide to perform an autopsy to discover the reason. Saul recognises the boy as his son, and it is here the film becomes the tale of his search for a rabbi so that his child can be properly buried. László Nemes was Béla Tarr's assistant for two years, but displays a clearer interest in a propulsive narrative drive with his directorial debut. Unlike other Holocaust dramas, Son of Saul does not extol catharsis over atrocity. The idea here is to capture the chaos of the camps. With a systematic camerawork operated with abrupt movements by Mátyás Erdély, Nemes recreates a brutally intense claustrophobia to chill the viewer to the bone. Its mechanical structure is merciless. Corpses are being carried off at the edges of the screen and prisoners are passing across the frame out of focus to evoke a haziness built out of inconsistency. Death has already arrived in a delayed state, with our only anchor Géza Röhrig's almost literally magnetic presence.
11. Le Quattro Volte
Le Quattro Volte
In his seminal memoir-cum-manifesto Walden, the American Transcendentalist Henry David Thoreau imparted this advice: "Live in each season as it passes; breathe the air, drink the drink, taste the fruit, and resign yourself to the influence of the earth." Over a century and a half after he wrote those words, Walden's philosophy finds its visual equal in Michelangelo Frammartino's Le Quattro Volte, a film that truly fits the old paroxysm where both nothing and everything happens. The passage of four phases in the quotidian incidents of an old goat-herder may be rooted in Pythagorean thought, yet the vivid evocation of the natural world, in all of its enigmatic indifference toward the machinations of any single entity, is consonant with Romanticism. Much of the film is comprised of languidly paced shots, all the better for the audience to dispel any preconceptions of a traditional narrative. For those willing to embrace the image Frammartino commands us to observe, the rewards are bountiful. Nowhere is this more apparent than in an eight-minute master shot of a parade which dares the restless viewer to leave before culminating in its astonishing raison-d'être. Le Quattro Volte is one of the rare masterworks that truly makes the world, in all of its multitudinous banalities, seem freshly anew.
10. Phantom Thread
Paul Thomas Anderson stands alone among American filmmakers working today for the distinct romanticism he has made his signature. In a career which has charted the gradual transformation of American Capitalism in the twentieth century, Anderson's connective thread through all of his films is the ghostly afterimage of an ideal either lost or unrealized. While he may drift from his familiar geographical and narrative milieux with Phantom Thread, Anderson has not sacrificed this fundamental trait. If anything, his Gothic Romance between a dressmaker (Daniel Day-Lewis) and his muse (a revelatory Vicky Krieps) in post-war Britain can be argued for as a maturation in his engagement with modernist narrative on a deeply personal level. Anderson is no stranger to irony, and there is an abundance of deliciously dark humor coursing through what can be regarded as a companion piece to Punch-Drunk Love. But the breathtaking accomplishment of Phantom Thread is its unwavering identification with its characters, including the often pugnacious Reynolds Woodcock. Curses are stripped bare to reveal the finely curated prison Woodcock crafts for himself, a self-imposed incarceration built upon constrictive routine and calcified fear. Personal and creative stagnation can be conquered through love, though Anderson sees this seemingly innocuous platitude through to his audaciously uncompromising ending, one which reconfigures power dynamics without leaving room for easy judgment from his audience. For a film very much about the creative process, it seems fitting that Phantom Thread finds its thesis in the collaborative union of artists, one which yields a bevy of emotional contradictions that do little to undermine the humanity of its characters. Rather, these paradoxes enrich them, and in the process force us to grapple with the question of personal identification on the auteur's own terms. If that isn't art, I don't know what is.
9. The Great Beauty
It is not a surprise to say that La Dolce Vita is one of the most influential films ever made. There have been many homages since its release, like Antonio Piertangeli's I Knew Her Well and the most recent The Great Beauty by Paolo Sorrentino. In contrast to Fellini's middle-aged journalist, Sorrentino's Jep Gambardella is a writer in his early sixties who only wrote one novel in his youth. At the end of both films, each protagonist is searching for the same thing: meaning. Both Marcello and JEp wander through the late night parties in Rome, meeting mundane friends. The Rome that Sorrentino shows is full of decadence, corruption and meaningless lives. Jep Gambardella is constantly shadowed by his own past as a writer and how everyone, even the Cardinals, are expecting his next novel. But even more personally, Jep is hounded by the memory of his recently deceased lover, a loss which courses in and out of the film with ghostly resonance. Creatively stagnant, Jep is unable to find la grande bellezza, as he calls it, as he journeys through the nocturnal Rome of the new century. The music, the stunning visual style, the high-class, the Mexican mariachis, La Saraghina from 8 ½, the giraffe… Everything is elevated in Sorrentino's world, one of the most fully realized in the last decade of world cinema.
8. Under the Skin
Under the Skin
Few films this decade seemed to spring forth from the depths of a nightmarish subconscious with such aplomb Jonathan Glazer's Under the Skin. Fewer still have burrowed as deeply within the recesses of one's memory, like a half-recalled vision of horrific beauty. Glazer intuitively understands the psychic imprint forged by semiotics as emphasized near the film's opening shots when we cut from a camera lens to a human eye. But the entire film forgoes over-intellectualizing in favor of evoking the sheer sensory phenomenon experienced by the unnamed extra-terrestrial (Scarlett Johannson) who traverses through Scottish byways and towns in search of unsuspecting product for some indescribable cosmic assembly line. The film doesn't spell out what the alien's goal is, nor does it need to. Rather, by having one of the most recognizable movie stars on the planet embody multifaceted elements of destruction, vulnerability, and curiosity, Under the Skin challenges the oft-touted scopophilic pleasures gained from the moving image to ask us how we can define humanity beyond the act of watching. The disquieting query posed by Glazer's masterwork is where we truly forge our sense of empathy, especially in a time when we seem so, if you'll pardon the phrase, alien to one another.
7. Uncle Boonmee Who Can Recall His Past Lives
Uncle Boonmee Who Can Recall His Past Lives
Dense but not forceful, not to mention effortlessly buoyant in its avant-garde flourishes, is how I would describe Uncle Boonmee Can Recall His Past Lives. The film is about the last days in the life of its titular character, an old man gathering with surviving family in his home before he is visited by bygone spirits and mystic visions. Through his exploration of reincarnation, Apichatpong Weerasethakul established himself as a modern master of East Asian Cinema. Through metaphorical forays into folklore and dreamscapes, the film manages to reveal a side of Thailand that is often non-visible to the larger world. Weerasethakul playfully yet poignantly unravels the human condition of existence between death and life while grappling with the oppressive sociopolitical history and geopolitical evolution of his country. This dialectical examination of (his)story makes Uncle Boonmee an enchanting treatise on legacy, both on an individual and national level.
-Monica Gyamlani
6. On Body and Soul
Ildikó Enyedi's ambition in filmmaking is to make the non-material tangible, and to connect the viewer with the metaphysical. She uses playfulness and humor to examine the profound connections discovered in the human spirit. After a hiatus of eighteen years since she made her feature debut in cinema, My 20th Century, Enyedi returned with a serene, sharp dissection of loneliness. On Body and Soul traces the unexpected and unlikely love story of Endre (Géza Morcsányi) and Mária (Alexandra Borbély), co-workers at a slaughterhouse. When a bovine mating powder goes missing, a doctor is brought in to conduct mental evaluations of the workers and discovers Endre and Mária are having the same dream: tender scenes of two deer, nuzzling in the woods, seemingly in love. These nightly reveries become the pair's main source of communication, as Mária is unable to bond with others the way most people can. The idea of shared dreams in this hidden layer of our psyche becomes a central metaphor for the film. "It is the intangible place where the very personal and the universal meet", Enyedi explained. Such metaphorical elements are seen not only in their dreams but externalized in the waking world's set design, most notably Mária's apartment on the top floor of her building, her only companions the wind and sun. With long passages of silence, complemented by Laura Marling's perfect musical score, and a dramatically painful ending, the film is a surreal beauty, one which distills a type of longing that simmers beneath the everyday.
= The Turin Horse
The Turin Horse
In 1899, Fredrich Nietzsche suffered a mental breakdown purportedly instigated after watching a horse be whipped mercilessly while remaining immobile. Nietzsche spoke his final words; "Mother, "I'm stupid," then fell mute and demented, living under the care of his family for the remainder of his life. In his final feature film, Hungarian auteur Béla Tarr takes inspiration from this apocryphal passage to encapsulate all of his previous thematic and stylistic obsessions. Alongside his co-director Ágnes Hranitzky, Tarr creates a philosophical work about the meaninglessness of life. By stripping down the narrative, and its economic use of technique, Tarr is able to create a symbolic world where mundane events become cosmic archetypes. The film presents an austere and indifferent universe whereby life on earth is characterized by limitation and suffering. Set in the countryside, a man lives alone with his daughter, relying on their horse for their livelihood.The wind never ceases, they eat boiling hot potatoes, the daughter goes to the well to fetch water, and the cycle continues, with the wind getting stronger and the horse getting sicker. Featuring searing music by Mihály Víg and beautifully fluid cinematography by Fred Kelemen, The Turin Horse is a unique cinematic experience and a fitting farewell to one of cinema's greatest visionaries.
-Kinyua Kamau
4. The Tree of Life
The apotheosis of both Terrence Malick's filmic output and personal philosophy, The Tree of Life is a staggering achievement by any measure. It assumes the shape of a long-form cinematic meditation in every sense of the word, ruminating upon an individual's place within a cosmic design while taking stock of the inevitable demise of all things. Emmanuel Lubezki's gliding camera captures bursts of memories and dreams which float throughout the life of Jack (Hunter McCrayden as a young boy, Sean Penn as an adult), whose existence barely registers as a blip in the sprawling canvas of history the film lays out in its extraordinary cosmos sequence, one of the greatest in modern cinema. The temporal tissue which connects the film's elliptical vignettes, from bucolic childhood in the 1950s to the end of the universe, are not exercises in the indulgence Malick has often been accused of by his detractors. Rather, they mirror the swiftness of time when filtered through human perspective, hurtling toward our shared destiny. By emblematizing this particular truth in visual terms, Malick has provided the closest any film this century has come toward replicating a symphony, comprised of movements which cascade and ebb, culminating in rapturous ecstasy of all who leave us and all that will remain.
3. Holy Motors
Holy Motors
Number 3 on our list is a film that manages to combine all of the strange and frenetic interests of both its creator, and their muse. Leos Carax and Denis Lavant have been working together since Boy Meets Girl in 1984, and since then have created 4 more films together, the most recent of which being Holy Motors. The film explores Paris through the eyes of Mr. Oscar (Lavant) who is a sometimes driver, sometimes actor, sometimes who-knows-what. Mr. Oscar moves fluidly from place to place, role to role, unrestrained by any sort of motive or logic. The film wholly embodies reinvention, a key aspect of the 2010s, the idea that through different channels both online and personally, one person can in fact inhabit several different roles. Carax's first feature film since 1999 shows no signs of a filmmaker who has become stagnant, or out of touch, but instead creates one of the most modern pieces of cinema of the century. The film consists of seven segments, each varying in terms of theme, tone, and pace, but each anchored by incredible performances from Lavant and the supporting cast (which includes stars such as Eva Mendes and Kylie Minogue!).
2. A Separation
A Separation was the first Iranian film that I was introduced to this decade, and to say it left an impression on me would be something of an understatement. Setting aside the historical precedence it set in becoming the first Iranian film to win both the Golden Bear from Berlin and the Oscar for Best Foreign Language Film, Asghar Farhadi's breakout feature remains a gripping tragedy that seethes with the emotional fallout of compromised morality. Emotionally wrenching in its near docu-fiction aesthetic, the film follows the complications faced by a family undergoing a fractious divorce. As Farhadi's scenario unspools before us, his characters face the ambivalent truth that some situations don't have answers, in either a judicial or ethical context. Farhadi's work this decade, like The Salesman, melds a dramaturgical tradition in the claustrophobic dramas of Ibsen and Miller with a subtly damning gaze on the social systems insufficiently serving his fellow citizens. It's little wonder that he has already left an indelible impact on the next generation coming out of Iranian Cinema in recent years. As a singular achievement, A Separation further solidifies the nation's status as the forerunner in the art of deftly poetic social critique
-MG
1. Burning
Despite a limited output in the past decade (two films since 2010), Lee Chang-dong cemented his place along Bong Joon-ho, Park Chan-wook and Hong Sang-soo as one of the indelible filmmaking forces of modern South Korean Cinema. His work forgoes the barbed humor of Bong and Park, yet sacrifices none of their brutal irony in his unwavering dissection of social ills in a country whose identity is ruptured by globalization and the lingering legacy of the Korean War. Lee engaged in transnational discourse with patiently paced dramas, like Secret Sunshine and Poetry, which deceptively mask the blunt trauma of social and political violence. So it made sense for his first film following the lifting of the government-sanctioned blacklist against him that Lee synthesized all of these elements to crystalline cohesion in Burning, one of the seminal works of the decade to emblematize the toxic (often male) rage coursing through a global social schema dictated by widening socioeconomic disparity and reactionary violence. But the component of Lee's film, a taut portrait of a young man who reconnects with a childhood sweetheart and meets her handsome, rich boyfriend (Steven Yeun in a performance for the ages), which reverberates most with tremulous unease is its fundamental ambiguity. The disappearance of the young woman is never solved, or it is only solved insofar as we, the audience, intuit a possible scenario alluded to by circumstantial happenstance. By charting a literary lineage from the Faulkner story which inspired the Murakami tale the film is taken from, Lee applies the keen precision of a novelist in chronicling the disintegration of "truth" in every respect, right up to the markedly brutal denouement. In a decade where "Alternative Facts" entered the cultural lexicon, Burning reiterates only one incontestable truism that can be read as a dire warning: where there's smoke, there's fire.
For our runner-ups and individual lists, please click here.


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May I elucidate the core reasons that has created the downward spiral this nation is facing. Although there have been numerous social advantages to the Women's Movement, it hasn't come without some core negatives to American Culture, and Society. No one should deny a woman to rise above the economic stagnation that has done our nation a dis-service. But, who are the victims now?
Although I am a staunch supporter of women's individual rights, I am also a supporter of the nuclear family and the positive outcomes of children from two parent households. These are difficult times, we must work together to find a new balance.
One must truly understand the importance of early childhood development in the maturation of a socialized community whose primary function is integration and personal development.
Raising children minus strong maternal influences would akin to fixing your car with a hammer and a screwdriver.
The social tools we are given has been from our mothers. Let's face it, women have always had the most important job on this planet ... child rearing. Outside of genetic anomalies, children generally mimic their parents.
Sounds simple? Not in a world of self centered, individualized thinking.
Women have historically built our communities.
Men have been the engineers of nations, and are problem solvers to a fault. Men see logical solutions by narrowing the playing field of variables and opinions.
potential avenues of disagreement. Some so diverse, the original problem my become indistinguishable.
This is a young nation, what took thousands of years for some nations to address (although slavery still exists) the new political modality to divide and conqueror has created mass disenchantment between racial groups. Political awareness created a atmosphere of unity in the past. Political unity has stratified this nation by identity.
Teachers have always been the stewards we entrusted to educate our children. Urban Culture has turned a proud vocation into a job. The lack of good teachers is the result of the pool of applicants.
Many Urban Educational systems are now run by mediocrity. The same mediocrity that lowered the standards for many of those now teaching our children. It's not the structure of the system that's failing, it's the dumbing down of the population to assist the under-achievers.
The election of Barack Obama has, and will have long standing negative effects to our nation. His purposeful attempt to reseed the population with low education, low skill and low assimilation skills was meant to turn the nation into a humanistic nation that relies more on emotional issues than Law.
These are the same types of populations that we find in Mexico, Central and South America, Africa and other 3rd World, under-developed nations. We have the Federal Government choosing what laws to enforce. We have State and Local Governments that will not cooperate with laws that protect Americans citizens.
immoral. This negative media makes it harder to govern in an orderly and civilized manner. Bad news sells!
The spike in Crime and Corruption is a direct result of the animus the population lives within.
The Lefts mantra isn't, "Let's do it better. It's, if you can get away with it, so can we." Deviant behaviors are seen in the highest offices of our government and culture.
People are committing crimes and getting away without any consequences. The protection from any real judgements for protected communities is fueling crime at every level and weaving discontent.


text:
Q: Inverse Laplace Transform partial fraction $\frac{2}{s(s^2+s)}$ Can anybody help me with the answer of this question?

Find the inverse Laplace transform of:   $$\frac{2}{s(s^2+s)}$$

A: Since $$\frac{2}{s^2(s+1)}=\frac{2}{s}\left(\frac{1}{s}-\frac{1}{s+1}\right)=\frac{2}{s^2}-\frac{2}{s(s+1)}=\frac{2}{s^2}-\frac{2}{s}+\frac{2}{s+1},$$the fact that $e^{ax},\,xe^{ax}$ have respective Laplace transforms $\frac{1}{s-a},\,\frac{1}{(s-a)^2}$ implies the inverse Laplace transform of $\frac{2}{s^2(s+1)}$ is $2x-2+2e^{-x}$.

redpajama_set_name: RedPajamaStackExchange


It's easy to get discouraged when we watch other amazing singers and creative artists do their thing and wish that we were doing what they were doing.
Whether you're dream is to 'make it big' one day by winning X-factor and scoring a record deal that will change your life forever.
Or you simply have a goal of recording your first EP, performing live for the first time or auditioning for a part in a musical.
Or maybe you just want to improve your voice.
Whatever your dream is, sometimes it's hard to enjoy the process of where we are NOW while still pursuing our dreams.
I have 3 simple but life-changing tips to share on this topic. To help you Flourish NOW – while you're still pursuing your creative dream.
So I wrote about it. And the article got published on Lateral Action (one of best and most popular creative blogs online!). I'd love you to go and check it out and leave a comment to tell me what you think!


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text:
Гуденау () — замок на воде возле поселения Филлип в муниципалитете Вахтберг в районе Рейн-Зиг в земле Северный Рейн-Вестфалия, Германия. Комплекс состоит из двух частей.

История

Средние века
Первые укрепления на месте нынешнего замка Гуденау были построены в XIII веке. Они являлись частью оборонительной системы крепости Альтенар, которая в свою очередь принадлежала Кёльнскому курфюршеству.
Первые упоминания о замке относятся к 1246 года. Дворяне проживавшие здесь уже именовали себя фон Гуденау. Они построили резиденцию и обнесли её глубоким оборонительным рвом.

В 1362 году Лиза фон Гуденау вышла замуж за кёльнского дворянина Филиппа Шерффгена, которому в 1372 году и был передан замок в ленное владение. Наследницей собственности оказалась родившаяся в этом браке дочь Элизабет. В 1402 году она продала Гуденау своему тестю бургграфу Готарду цу Драхенфельсу. Его правнук Клас фон Драхенфельс начал тяжбу с кёльнским архиепископом Рупрехтом. Тот захватил Гуденау и не возвращал его семье Драхенфельс до 1469 года. Клас был убит в 1493 году своим двоюродным братом Генрихом фон Драхенфельсом. Их сестра Апполония была замужем за Отто Вальдботтом фон Бассенхаймом. Именно Апполония и унаследовала Гуденау как неотъемлемую часть бургграфства Драхенфельс.

Новое время

Территория, где расположен Гуденау в 1550 году вошла в состав герцогства Юлих-Берг. К этому времени замок Гуденау служил резиденцией боковой ветви рода Вальдботт. За последующие 200 лет представители семьи значительно увеличили площадь своих земельных владений. Около 1560 года главное здания замка с четырьмя пристройками было расширено. Появился готический эркер и фигурные крыши. Позднее одна из четырех круглых угловых башен получила остроконечную крышу. Крыши трёх других угловых башен были перестроены в стиле барокко. Позади замка был разбит большой парк.
В 1634 году, а затем в 1695-м младшая линия фон Вальдботт оспаривала право владения всеми территориями, которые считались входили в состав «Земель Драхенфельс». Споры и тяжбы закончились в 1735 году после вмешательства барона Клеменса Августа. Его сестре принадлежали владения баронов фон дер Форст-Ломбек цу Люфтельберг, которые в 1776 году сумели после серии обменов и уступок взять под контроль собственность линии фон Борнхайм Вальдботт из клана фон Драхенфельсов.

В XVIII веке замок приобрёл свой нынешний вид. Предзамковые укрепления (форбург) были перестроены. Появилась пятиэтажной восьмиугольная башня с шатровой крышей и парадными воротами. На башне разместили часы. Ещё ранее был разбит сад, спроектированный в итальянском стиле и разделённый на три террасы.

XIX век

Прежние владельцы Гуденау в период революционных войн, которые привели к французской оккупации, подверглись гонениям. Максимилиан фон дер Форст-Ломбек продал поместье своей свекрови баронессе Августе фон Мирбах в 1812 году и эмигрировал в Австрию. Её наследник Иоганн Вильгельм фон Мирбах продал в 1834 году резиденцию графам Герману Филиппу фон Хомпеш цу Rurich и Теофилу Антону фон Хомпеш цу Визберг.

В 1836 году замок в очередной раз сменил владельца. Им стал род Фиеве из Кёльна. В 1882 году собственником Гуденау оказался коммерческий советник Франц Карл Гийом из Кёльна.

XX и XXI века
Примерно до середины XX века замок Гуденау принадлежал семье баронов фон Фельтен-Гийом. В настоящее время резиденция принадлежит графине Генриетте Штрасольдо, наследнице владений семьи Гийом.

Во время шторма в начале июня 2016 года, который нанёс значительный ущерб всему муниципалитету Вахтберг, данный замковый комплекс оказался затоплен.

Современное использование
В 2015 году в рамках проекта «Арт Кёльн» (популяризация коллекций произведений искусства) графиня Генриетта Штрасольдо предложила залы своего замка для организации серии выставок. В Гуденау были представлены работы австрийцев Зигфрида Анцингера и Маркус Хоймера, японо-швейцарского художника Лэйко Икэмуры, немцев Вильгельма Мундта, Мирко Райссера, Андреаса Шульце, Райнера Шплитта, Пия Штадтбоймера, Рaйфа Цирфогеля и Питера Циммерманна.

В настоящее время барочный сад при замке — единственное подобное частное владение в Рейнской области. Посещение территории замка возможно в будние дни с марта по декабрь.

Галерея

Примечания

Литература

Ссылки

Замки Северного Рейна-Вестфалии
Замки, построенные в XIII веке
Вахтберг


King Solomon famously declared that the power of life and death is in the tongue. He went on to explain that a fool's words pierce like a sword, but a wise man's words bring healing. This idea that words carry a spirit heavier than their simple auditory symbol of meaning has always interested me. If Solomon's words were true, the meaning that sleeps beneath our words, whether to others or about others, either bring life and healing or a degree of destruction to the world. The implications of such a belief are drastic. The idea that you are just a speck in a universe that doesn't recognize your existence is replaced by a notion of a life with purpose that is capable of helping to build others if you so choose. I know this to be true, because I've experienced it as a writer.
As a natural born introvert and aggressively impractical idealist with no regard for the safety of status quo, relating to others in a world that favoured friendly people with socially acceptable opinions was difficult. Though I considered myself understanding and somewhat agreeable, I'd never been good at hiding my opinions if asked when I felt another's words were not synonymous with truth.
I loved ideas. I loved exploring thoughts and possibilities and worldviews and challenging my own. That was one of the ways I grew. I didn't care about a person's nails or the shoes they bought. I wanted to know who they were and who they loved and what they loved and what they hated and their childhood and their greatest fears. I wanted to know about the things in their life that built them.
I couldn't do small talk. Unfortunately for me, that skill was key in our society.
Something changed when I arrived at Lesley University for my first residency in January of 2010. For the first time in my life, I found a group of people that were just as bad as me at holding a conversation rife with small talk. Most of them were quiet people with big ideas. Like me, writing was their way of expressing their person to the world. I felt like I'd held my breath for years until the day I met my friends at Lesley. Ideas were my oxygen.
I could talk about politics or religion or philosophy or my favourite book and not feel pretentious. Conversely, I could sit at a table amongst my fellow writers and not say a word while they all spoke, and not feel awkward.
However, there was a downside to being around people so similar to myself. Like me, they were deep thinkers. There is no more lonesome a place than inside one's own mind. I'd lived there all my life, and so did many of my colleagues.
My Coptic faith had always been a refuge for me that fought the echoes of doubt and fear in the darkness of my mind. I lived within one of North America's most populous Coptic diasporas which helped me to fortify my trust that good things come from hard times. My faith in an innate greater purpose helped me to fight off my fears, and they were many. I feared that my degree in writing was frivolous. Financially useless. I feared that my belief that I could positively affect lives with my writing would never become reality. I feared the world would never see my words.
I loved my cohort, but the lack of faith in anything bigger then democracy and feminism chipped away at my defenses and I grew anxious.
The desks for our seminars were placed in a circle so that everyone within the class faced each other. Even amongst fellow introverts, I was the quietest student. I barely talked unless called upon and I had a horrible attention deficit that I'd fought off in my courses for so long since I'd discovered writing, but had come back in my residencies at Lesley. The instructor taught and the students discussed and I sat amongst them and slowly receded into the universe. I was confused. I felt as if I'd finally found people that understood me, but I'd lost myself in the process.
I had a friend named Enzo in my cohort. Enzo the poet. He was somewhat different from other writers I had known in that he believed in something bigger than the tangible. We often talked about faith and agreed on most things. Like me, he was a Christian. Finding someone likeminded in faith helped to anchor me to my identity which I sometimes felt fading within me.
My friend Enzo and I sat at a small table outside of Lesley University's cafeteria on one particularly hot summer day at the end of our last residency.
"I've noticed you don't talk much during our seminars," Enzo said.
I didn't want to mention my mounting fear that occupied my mind and stole my words. Verbalizing feelings was not something I did.
"Well, I could try I guess," I said.
Breakfast ended. I picked up my plate and motioned towards the cafeteria.
"Wait I got something for you," Enzo said as I stood.
He reached into his carrying case and pulled out a book. It was a thin blue chapbook called Higher Ground that he wrote and published years prior. I had asked him for a copy earlier that week. I grabbed the book from his hand, smiled and thanked him.
I flipped the cover and spotted black ink on the page before the first poem.
The world awaits your words in print.
The signed copy of Higher Ground Enzo gave me in our final residency at Lesley University.
The words struck me. I was 24, unsure of my future and insecure about my writing. I often wondered why I didn't become a chiropractor like my father insisted and made the money that came with the title. But these words reminded me that I had something to share with the world. Words and ideas I needed to spread, many of them caught in my throat because I couldn't find a platform to speak them.
I took Enzo's book home along with his message. I was encouraged to write because he was right, I had a lot to say. My friend Enzo's words felt like prophecy, which gave me the courage, the audacity to pursue my goals. And it took audacity to wade through the waves of polite rejections from literary journals that I received for years, yet continue to submit my work. That is until I stopped submitting single short stories about small Coptic children to American journals that had no interest in the topic, and took the whole of my collection of these stories to a printing press that had no theme to the work they published. The only criteria Mosaic Press, my publisher, had for a considered work was that it be quality writing penned by a Canadian author. I was not surprised when they accepted my work for publication.
I often wondered how likely I would have been to disregard my many rejections as mere bumps in the road had I not gotten that small note from Enzo. I sometimes believe I would have likely stopped after all the setbacks I experienced when looking to get published. They came for years. I was never in short supply. But I pushed and pushed until I received my prize.
This story is a constant reminder for myself to speak life. Our words to others are not trivial. They build and they destroy. We are architects not only of our own lives, but of the lives of others. Good words spoken with an honest heart encourage character. Character pushes courage and the courage to push yourself and those around you past comfort builds life.