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Christophe Lattaignant (* 18. September 1971 in Boulogne-sur-Mer) ist ein ehemaliger französischer Steuermann im Rudern. Er war 1997 und 2001 Weltmeister im Vierer mit Steuermann sowie 2001 im Leichtgewichts-Achter.

Sportliche Karriere
Der etwa 1,50 m große Christophe Lattaignant steuerte bei den Junioren-Weltmeisterschaften 1987 den französischen Achter zur Silbermedaille, 1988 gewann er sowohl mit dem Vierer als auch mit dem Achter Silber, 1989 folgte noch einmal Silber mit dem Achter. 1990 war er in Tasmanien erstmals bei Weltmeisterschaften in der Erwachsenenklasse dabei, er belegte den achten Platz mit dem Zweier und den zehnten Platz mit dem Vierer. 1992 erreichte er den zweiten Platz im Achter beim Nations Cup, einem Vorläuferwettbewerb der U23-Weltmeisterschaften, 1993 und 1994 gewann der Achter jeweils die Bronzemedaille.

Bei den Weltmeisterschaften 1994 belegte Lattaignant den vierten Platz mit dem Vierer, im Jahr darauf gewann der französische Zweier mit Antoine Béghin, Laurent Béghin und Lattaignant die Silbermedaille bei den Weltmeisterschaften 1995 in Tampere. 1996 belegte Lattaignant mit dem Vierer den fünften Platz bei den Weltmeisterschaften in Glasgow. 1997 bei den Weltmeisterschaften auf dem Lac d'Aiguebelette gewann der französische Vierer mit Antoine Béghin, Vincent Maliszewski, Bernard Roche, Laurent Béghin und Christophe Lattaignant den Titel vor den Italienern. 1998 steuerte Lattaignant den französischen Achter, der den neunten Platz bei den Weltmeisterschaften in Köln belegte. 1999 in St. Catharines kam der französische Achter mit auf den elften Platz. 2000 belegte Lattaignant mit dem Vierer den vierten Platz bei den Weltmeisterschaften. Bei den Weltmeisterschaften 2001 in Luzern siegte der Vierer in der Besetzung Gilles Bosquet, Vincent Gazan, Vincent Millot, Sidney Chouraqui und Christophe Lattaignant vor den Italienern. Zusätzlich steuerte er auch den Leichtgewichts-Achter zum Sieg vor den Dänen und gewann damit 2001 zwei Weltmeistertitel.

Nach einem Jahr Pause erreichte Lattaignant 2003 mit dem französischen Achter den vierten Platz bei den Weltmeisterschaften in Mailand. Damit hatte sich der Achter für die Olympischen Spiele 2004 qualifiziert. Bastien Ripoll, Bastien Gallet, Jean-Baptiste Macquet, Julien Peudecoeur, Donatien Mortelette, Anthony Perrot, Jean-David Bernard, Laurent Cadot und Christophe Lattaignant erreichten in Athen das A-Finale und belegten den sechsten Platz. 2005 kam der Achter auf den neunten Platz bei den Weltmeisterschaften in Gifu, 2006 in Eton wurde es der zehnte Platz. 2007 in München verpasste der französische Achter als Elfter deutlich die Olympiaqualifikation.

Weblinks

Ruderer (Frankreich)
Weltmeister (Rudern)
Olympiateilnehmer (Frankreich)
Teilnehmer der Olympischen Sommerspiele 2004
Franzose
Geboren 1971
Mann

redpajama_set_name: RedPajamaWikipedia


Does branding even matter at B2B companies? Or is branding a waste of time and budget compared to "hard ROI" activities that can be proven to drive revenue?
My belief is that branding does matter to B2B marketers, and for one main reason: B2B buyers are still people, and people are emotional. And, as research increasingly indicates, emotions impact economic decision making. Now, B2C marketers can capitalize on the anticipation of positive emotion by appealing to aspirational feelings such as desire. But in B2B, there is an asymmetry between the upside and downside of B2B purchases: the buyer does not experience the full benefit of the solution directly and may or not be rewarded for making a good purchase, but a bad purchase can destroy the buyer's reputation and damage job security. So, in B2B brands capitalize on the avoidance of negative emotions.
B2B brands can tap into this by building trust in the buyer's mind. The classic example is "nobody ever got fired for buying IBM". Since being IBM is not an option for most companies (yet), the best way to build a brand of trust is to become a trusted advisor via thought leadership early in the buying cycle.
Read more of my thoughts on B2B branding on my Marketo post, B2B Branding – Why Branding Matters in B2B Marketing.


The WTF Oscillator uses a window transformation concept to generate lively and rough sounds. This very special oscillator brings a new and unique option to Eurorack, for morphing between waveforms. As you slide open the window in the front wave the rear wave can be seen in that window. You can open and close this window with CV control. 32 waveforms and noise are available. You can select the front and rear waveforms with independent control voltages enabling you to create incredibly rich sonic textures. Great for generating drum sounds, basses and atmospheric drones.
The Dove Audio WTF Oscillator brings a new and innovative way of creating waveforms.
WTF stands for Window Transform Function. The concept is that you have two waveforms, one in front of the other, and then it is possible to open a window in the wave at the front to show a portion of the wave behind. Thanks to this system, totally unique waveforms can be created.
Furthermore, there is a dual window mode, as well as an invert option for the rear waveform. Both options can be activated using the switches next to the display.
The width of the window is controlled manually using the Width potentiometer or via CV at the according input.
The front and rear waveforms are set by the two knobs Front and Rear, and thanks to the CV inputs with attenuators these can be voltage controlled.
Paula Maddox, the founder of Dove Audio, is no stranger in the synthesizer world. A few years ago, she established a company called Modal Electronics and created great hybrid and analog instruments. Monowave, Monowave II and Phoenix are also creations of hers. The same goes for several compact synthesizers and sequencers such as the Zira or Tron.


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Posts Tagged 'Tim Hecker'
Tim Hecker – Anoyo
Posted: 12 April 2019 in Albums
Tags: Album Review, Ambient, Anoyo, Kranky, Mellow, Tim Hecker, Traditional Japanese MUsic
Kranky – 10th May 2019
Cristopher Nosnibor
As with its predecessor, Konoyo, Anoyo draws its inspiration from traditional Japanese music, but very much reconfigures it not only through an ambient lens, but through Hecker's own unique musicality.
Anoyo is very much a sequential, linear work, to the extent that the song titles create poem, and also a form of micronarrative:
That world / is but a simulated blur
Step away from Konoyo / into the void
Not alone / you never were
This sense of narrative also extends to the overall listening experience. 'That World' begins tentatively, tightly-wound strings picked, twanging. Washes of sound, reversed, flit like will-o-the-wisps as the tapers run the wrong way and slow, warm pulses flesh out the immense spaces between the notes. It's ambient, and it's (superficially) background, and quite hypnotic, but not without points of interest: in fact, while it's easy to simply allow it to drift past, turning up the volume a way and concentrating reveals almost infinite details and ever-shifting forms. This is where Tim Hecker stands out in his field.
'Is but a simulated blur' presents a very different dynamic, dominated by irregular percussion. The arrythmia contrasts with the soft wave forms which drape, mist-like around the beats, which evaporate into the air, and the tracks bleed into one another. Things become fuzzier, less distinct, less clearly focused on 'Into the void', as piano notes stutter and glitch, warp and bend in the most disorientating ways.
'Not alone' brings bold, thunderous drums, but again the beats are erratic and ever-changing in pattern, before melting into the static-rumbling 'You never were,' which fractures and stammers like something's damaged in the playback mechanism, like something in the process is broken, and the effect is disconcerting, discomfiting.
And so it is that Anoyo subtly transitions from delicate and mellow to something altogether more fragmented and more difficult. The subtlety is the key here: it creeps up on you, barely noticeable… and then, by the end, you find yourself wondering how you got here from there.
Chlorine – Loser Herds
Posted: 9 November 2018 in Albums
Tags: Album Review, Ambient, Chlorine, Fuzz, Graeme Hopper, Loser Herds, Panurus Productions, Susumu Yokota, Tim Hecker
Panurus Productions – 19th November 2018
The title connotes very little that's immediately apparent. A mass of zombies in The Walking Dead? The blank faces milling around in Asda on a Saturday afternoon? More than anything, I'm inclined towards abstraction, which is precisely what dominates this unusual assemblage. It's pithed as 'an 8 track dreamlike journey through electronics, looped field recordings and sampled textures'. It's a fair summary, although it fails to convey the subtlety and nuance that define Loser Herds, which explores some highly detailed sonic canvases and probes the corners of those spaces.
"This is a test. 1, 2, 3, 4, Error." It's a striking start. The voice is close to the mic, and it's a dry sound, somehow amateur-sounding… It's at odds with the soft interweaving chimes that slowly rise up in the mix and gradually form supple rhythms that ebb and flow organically. The tracks segue together, shimmering with delicate, subtle ripples cascading multifaceted sonic tapestries. The higher frequencies shine opalescent refractions of light, spinning radiant atmospheres. Welcome to the world of Chlorine, the musical vehicle of northeastern visual artist and musician, Graeme Hopper. Citing Susumu Yokota or Tim Hecker as reference points, Loser Herds is an immersive, layered collection of compositions – although it's perhaps more accurate to describe it as a single piece in eight parts.
The album takes a strange and ugly turn halfway through, when following the soft glissandos of 'A Westerly Wind' and 'Buskers Night', a screed of gnarly electronic grinding more reminiscent of Merzbow or Whitehouse clanks in under the guide of 'Spotify Are Bunch Of Fucking Criminals Who Need To Be Crushed'. It might not be speaker-shredding torture, but it's likely to be pretty unpalatable to most, especially those seeking the comfort of semi-ambient sonic drifts, the likes of which occupy the rest of the album's space.
In combining samples with electronics, acoustic instruments feature quite prominently at times, although not always in the most conventional ways. Bewildering and intersecting time signatures paired with warping notes abound on 'The Distant Breach', before the epic finale, 'Forever is Not Long Enough' draws together all of the aspects of the album to create an immense sound collage that begins gently, but builds incrementally with burrs of distortion and increasing density. Cracking, fizzing overload, woozy cyclical grooves and grating, churning extraneous noise congeal behind an obfuscating gauze of soft-focus fuzziness. It concludes an immersive experience with greater immersion, rounding of a wonderfully wide-ranging work.
Tim Hecker – Konoyo
Posted: 26 September 2018 in Albums
Tags: Abstract, Album Review, Ambient, Konoyo, Kranky, Space, Tim Hecker
Kranky – 28th September 2018
Total immersion. This is what I get from Tim Hecker, both recorded and live. Responding critically to such a sensation is a major challenge.
My first attempt to review Konoyo redefined 'failure', as I sat, vacant and staring for the duration without typing a word. Yes, other things happened around me: emails continued to ping into my inbox, text messages, Facebook notifications, and so on. So much peripheral shit. But while pushing all of this noise to the peripheries, I struggled – nay, found it impossible – to get a firm grasp on the drifting soundscapes of Hecker's latest album. My second stab proved no different. I can no longer blame the distractions: I'm reminded of 'seeing' Hecker's performance at the Belgrave Music Hall in Leeds a few years ag. Purple smoke filled the room. It was so dense I couldn't see my friend standing next to me: I felt as if I was in an isolation tank or a sleeping bag. With my surroundings completely removed, I found myself alone with the music, and in an almost trance-like state, swaying on my feet, in my own world. When things like this happen, I immediately assume I must have drunk more than I should or that I'm tired or something. But music at its most potent is like a drug, and Hecker has the capacity to transform the mental state and one's relationship with one's surroundings. And this is certainly true of Konoyo.
Inspired by conversations with a recently-deceased friend about 'negative space' and the banal density of contemporary music, Konoyo was largely recorded in a temple on the outskirts of Tokyo with a view to creating something that has room to breathe, rather more cerebral than physical, drawing back from sonic force to invite a different kind of engagement.
The first composition, 'This Life' wails eerily, resonant low notes hanging ponderously beneath escalating layers of discord that bow and shriek, before oriental motifs chime a certain note of freshness and innocence… but the notes are bent, the underlying washes of sound begin to twist, scrapes of extraneous noise swell to shrieks of metallic feedback.
As is Hecker's signature, Konoyo, is very much about shifting textures and juxtaposed tonalities, but more than anything, the incidentals, the way layers fade in and out, and extraneous knocks and clatters suddenly appear from nowhere, and then disappear just as quickly. There are murky pulsations and hazy echoes that resonate through spatial densities that range from the subaquatic to the zero-gravity. Hecker conjures space outside of space, spaces which transcend both time and space to exist in another realm entirely, suspending time in the process. It's ambience with edge.
An abrupt halt in the soothe drones just 20 seconds into 'Keyed Out' provides the album's first real indication of just how difficult Hecker can – and will – make this. Jolting discord and jarring dissonance rupture the smooth, vaporous backdrop as thigs become overtly challenging around three minutes into this ten-minute journey through dissonance and sonic difficulty, across which a lacey cloak of accessibility slowly settles. The fifteen-minute finale, 'Across to Anoyo' is a slow-evolving epic which mutates from quiet mellowness into a warped, woozy discord, which twists Japanese motifs into funnelling electronic abstractions.
Piano tones which should offer tranquillity and comfort are rendered with an edge of attack and amidst a metallic edge of reverb, and nothing is quite as it seems or should be on Konoyo. It bends the brain and pushes the listener to explore unexpected spatial experiences, challenging connections to concrete orientation. The physical world disappears, and time evaporates. Konoyo delivers a path to transcendence.
Listen: 'Keyed Out' by Tim Hecker– live dates also announced
Posted: 12 September 2018 in Recommended Streams and Videos
Tags: Keyed Out, Konoy, Kranky, Live Dates, New Album, Tim Hecker, track stream
Tim Hecker shares the haunting new song 'Keyed Out' from his incoming, ninth full-length Konoyo, which is incoming via kranky on 28th September. Listen to it here:
Regarding 'Keyed Out', Hecker says: "The track "Keyed out" was written over several sessions and finished in a small temple on the outskirts of Tokyo, during one of our initial trips to record with Motonori. I wanted to resist the temptation to overload the music with layers and layers of hyper-edited texture, as if that would help the piece become more whole. The song is a lonely deteriorating synth line, refracted and isolated, played alongside a small court music ensemble on what was a crisp birdsong-filled November morning."
Tim Hecker announces more live dates including rare ensemble appearances in the US. Forthcoming performances for Konoyo will feature traditional Japanese Gagaku musicians on the shō, ryuteki and hichiriki in synergy with his own explorations of noise, dissonance, and melody, creating a hybrid of electronic abstraction and otherworldly minimalism, alternately heavy and gentle. Full dates below.
Tim Hecker + The Konoyo Ensemble
October 2 – Tokyo, WWWX (Japan)
October 6 – London, Barbican Centre (UK)
October 4 – Lisbon, Culturgest (Portugal)
October 7 – Krakow, Unsound Festival (Poland)
October 9 – Berlin, Funkhaus (Germany)
JUST ANNOUNCED FOR 2019
February 18 – New York, National Sawdust
February 22 – Los Angeles, Masonic Lodge at Hollywood Forever Cemetery
February 23 – Los Angeles, Masonic Lodge at Hollywood Forever Cemetery [http://tinyurl.com/ycas9n4l]
Konoyo ("the world over here") was largely recorded during several trips to Japan where he collaborated with members of the gagaku ensemble Tokyo Gakuso, in a temple on the outskirts of Tokyo. Inspired by conversations with a recently deceased friend about negative space and a sense of music's increasingly banal density, Hecker found himself drawn towards restraint and elegance, while making music both collectively and alone.
As with the Icelandic choir he arranged on 2016's Love Streams, the heights of Hecker's talent emerge in his manipulation of source material, bending and burnishing it into fantastical new forms. Keening strings are stretched into surreal, pixelated mirages; woodwinds warble and dissipate as fractal whispers of spatial haze; sparse gestures of percussion are chopped, isolated, and eroded, like disembodied signals from the afterlife. Both in texture and intent, Konoyo conjures a somber, ceremonial mood, suffused with ritual and regret. Visions flutter and fade; dreams gleam and decay.
Cut Worms – Lumbar Fist
Posted: 11 October 2016 in Albums
Tags: Album Review, Ambient, Cut Worms, Drone, Glenn Branca, Lumbar Fist, Opa Loka Records, Oren Ambarchi, Richard Van Kruysdijk, Tim Hecker
Opa Loka Records – OL160096
It begins with a long, low, ominous hum. The movement is so gradual as to be barely perceptible. Slowly, so slowly, it grows, swells, and turns, its density, depth and texture shifting, microtonal layers emerge and fade. Dolorous chimes ring and resonate in the sonic mist. The individual tracks are segued together to form an extended, evolutionary work. Brooding strings strike and organs waver on 'Stone Ether', and over the course of the album, Cut Worms stalls time to create space and distance, ethereal soundscapes drift, soft, sculpted, immersive.
The forms and structures are as subtle, fleeting and inscrutable as the infiniteness of space and the existence of dark matter. Equally, the origins of the sounds which fill the album seem wholly removed from one another: Lumbar Fist is an electroacoustic work, created with live generated and processed sounds, without any prefabricated beats or loops, and as such, the process entails considerably more than the all-too-common mechanical laptop machinations of ambient works.
Richard Van Kruysdijk – the man who alone is Cut Worms (and what an evocative moniker that is… not that the album title's far behind) has spent a long time honing his craft, and Lumbar Fist stands alongside artists like Tim Hecker, Oren Ambarchi, Glenn Branca, Stephan Mathieu, Will Guthrie and Jim O'Rourke not just as an exemplar, but an outstanding example of atmospheric, drone-orientated ambience.
Casey Deming interviewed by John Wisniewski
Posted: 10 March 2016 in Interviews
Tags: Casey Deming, Interview, John Wisniewski, multimedia, Music, Polyartist, Squid Fist, Tim Hecker
Polyartists have always had a hard time: we exist in a culture obsessed with pigeonholing, of ascribing a single genre or a medium. Brion Gysin's ultimate failing could be aligned to his unwillingness to commit to any one mode of creative output, and over 50 years on, creatives exploring multiple outlets seem to sink beneath the radar simply by virtue of their evasions of prescriptive categorisations like 'musician', 'painter', 'writer' or 'sculptor'.
Casey Deming – born in Owatonna, MN, USA, and resident of the Twin Cities (that's also in Minnesota, and unrelated to any kind of Lord of the Rings-type fantasy world) – has spent a career straddling multiple outlets, ranging from collage to experimental music.
John Wisniewski recently pitched some questions to him about his work for Aural Aggravation.
JW: When did your career in music begin? Were you trained as a musician?
CD: I started making music about 10 years ago. I've never had any formal training. It started when I connected with the improv / experimental music scene in the Twin Cities after completing my undergrad degree at the University of MN. I began to collaborate with people involved with the Tuesday Series which was holding weekly concerts at cafe in my neighborhood. Primarily I was just doing small percussion stuff with whatever objects I had at hand. Later I bridged into bending circuits on tape players which was kind of hip at the time. Now I almost exclusively work with tape loops.
What inspires you to create new sounds?
Listening to everyday sounds. Sometimes simply taking a walk is enough to inspire me: church bells in the park, wind chimes on front porches, traffic. My baseboard heaters are making this great clicking sound as I write this. Both my visual and sound work are collage-based, there is so much content out there that I'd rather focus on selecting and organizing material as opposed to composing it.
Who are some composers who are influential to you?
Arvo Pärt, Henryk Górecki, Tim Hecker, Ben Frost (especially his album with Daníel Bjarnason), John Cage, John & Alice Coltrane, Miles Davis, Laurie Spiegel, Ekkehard Ehlers, C S Yeh, John Wiese, Ernst Reijseger, Harold Budd, Krzysztof Penderecki, Mica Levi, Angelo Badalamenti, Wendy Carlos, Giacinto Scelsi, Johnny Greenwood, Fennesz, La Monte Young, Fe-mail …
What is the response from the audience to your compositions?
Often curiosity. What am I hearing and why? It's nice to elicit such responses, I find it kind of boring when musicians focus too much on portraying a certain aesthetic or identity. I try not to create work that's veiled too much in my own ego. I think it's important to challenge your audience, make them ask "is this music?".
Have you composed any film soundtracks?
Unfortunately no but it has often been alluded to in my work. The improv noise band I play in Squid Fist (with Bryce Beverlin II & Tim Glenn) has performed along with experimental 8mm & 16mm films but we have never purposely composed something for film. The tape collage project Visions of Christ (with John Jerry) lends itself more to scores because it's not very interesting to watch us play. John and I have performed along with a light organ setup in the past and hope to employ more visual elements in the future like projecting found slides or pantone colors. Someone remarked that my CS release with Justin Meyers could stand in as an alternate soundtrack to Tarkovsky's Stalker.
https://player.vimeo.com/video/5404328
Squid Fist Live at Organ Haus from brycebeverlinII on Vimeo.
Do you listen to alternative music or rock music all?
My tastes are pretty eclectic although not that obscure. I listened to a lot of classic rock growing up but have mostly left that behind, besides an occasional nostalgic trip with the Stones. Bob Dylan is maybe the most important musician in my life, rarely a day goes by without me spinning something of his. Most "rock" music that I prefer skews weird, however I hold a lot of old americana and soul in high regards. Early Staple Singes records are in heavy rotation. I'm currently obsessed with Gene Clark's No Other and also love his records with Doug Dillard. A lot of Townes Van Zandt these days too. Besides Dylan there are some great Minnesota artists like Michael Yonkers and Spider John Koerner. In many ways I'm indebted to my good friends Clint Simonson (De Stijl Recs) and Chris Berry (Soft Abuse) for exposing me to so much gold over the years. Without them I would have not discovered Peter Jefferies, Ed Askew, Mad Nana, Michael Chapman, Bobby Charles, Charlie Tweddle, Black to Comm, King Darves, Mayo Thompson, Neil Michael Hagerty, and Steve Gunn. I was lucky enough to see Wolf Eyes play last night; they've always been inspirational to me. I dig their respective side projects as well: Henry Hazel Slaughter, Regression and Stare Case. They're so wonderfully evocative of such greats like Throbbing Gristle, The Velvet Underground, and Suicide.
Which of the arts is most important in your creations?
They all play their key roles. I'm reading Leonard Shlain's book Art & Physics: Parallel Visions in Space, Time & Light and it keeps giving me ideas for sound and visual projects. I probably expose myself the least to theatre and dance though they have both affected me profoundly in the past. Perhaps it's a lack of exposure. I have definitely engaged with literature the most in my life and am forever blown away by people like John Berger, César Aira, Joan Didion, Susan Sontag, Denis Johnson, and Cormac McCarthy. I'm currently tackling Ta-Nehisi Coates's memoirs and am loving them.
Will you be playing any live dates?
I recently completed a commission at the Cedar Cultural Center that was funded by the Jerome Foundation. It was a collaboration with John Jerry, Davu Seru, and Jonathan Kaiser for tape loops, percussion, and cello. Justin Meyers and I played a couple weeks ago and hope to make another recording together in the near future. I have another tape and synth project with John Marks and we self-released a CS a few months ago. I am trying to refocus my energies on visual work, getting ready to be part of a collage show at Chicago's Lula Cafe in May and apply to grants in hopes of funding the purchase of a risograph printer. Jugging all these things has become an art form in itself.
Casey Deming Online
Æmaeth – The Roman
Posted: 6 February 2016 in Albums
Tags: Dark-Ambient, David Wino, Doom, Drone, Experimental, Kreng, RIYL: Thomas Köner, Tim Hecker, Wolf Eyes
Gizeh Records – 12th February 2016
Æmaeth is the project of Owen Pegg (A-Sun Amissa / Hundred Year Old Man), and he's already scored a number of films. Independent flick The Roman is a silent work which to which ten segments of improvisational drone-based passages played on guitar and piano were composed by way of an accompaniment.
Since the film premiered in May 2014, its soundtrack has been evolving, developing, accruing layers and details, until finally, the ten pieces came together to form a fluid, brooding sequence that stands as a whole, and as a powerful sonic journey. It's fitting for a film which is no gung-ho Hollywood take on history based on a succession of cast off-thousand battle scenes. Simon Rawson's movie, shot in Yorkshire, is outlined as a story of two men, lost, who are 'challenged and tested by nature, each other and the inner most conflicting primordial affiliations with man's body and mind'.
Pegg's soundtrack conveys so much, its dark, tense tones resonate as they connote psychological drama. The battles fought within the mind, the conflict and the uncertainty. The barren, unforgiving landscapes, shadowy woodlands and bleak moors. These are the scenes portrayed within the compositions, which are spacious, often sparse. Delicate piano notes drift airily but ponderously, gradually eclipsed by deep, dark, thunderous rolling drones, stormy and threatening. At times, the sheer weight and density of the ominous tones are oppressive, the sounds so large as to create a sensation of a pressure being applied to the skull.
That isn't to say the soundtrack lacks subtlety: far from it. There are passages of quiet, so hushed as to compel the listener to strain their ears listening for some faint sound – and invariably, there is something, something small, soft, indistinct. Or there are layers of sound, often in the upper frequencies, needling the senses, tugging at the peripheries of the psyche, somewhere in the background or half-hidden, off to one side. These, like the brief moments of light which occasionally present themselves, are integral to the soundtrack's dynamics, and the power of its effect.
There is torment, there is discomfort. There is also an ever-present sense of danger, sometimes distant, sometimes heart-stoppingly close.
The final passage, the nine-minute 'Neptune' is vast, built on a slowly turning vortex of sound. A rumbling rhythm lingers as it pulses just beneath the surface of its soft tonality and offers a hint of redemptive relief at the conclusion of a journey which is most worthy of the term 'epic'.
Æmaeth – The Roman at Gizeh

redpajama_set_name: RedPajamaCommonCrawl


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Automating what gets done by who and when, across all departments is not an easy task, but an essential one non the less for optimizing efficiencies. DECK DecisionWare facilitates the workflow between department and any department specific applications. Receive alerts and notifications when certain actions are required regardless of what department they belong to. DECK Workflow is compliant with BPMn 2.0, and provides a blank page that adheres to your entire business process.
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Did You Know Gov. John Bel Edwards And The Louisiana Dept. Of Health Issued New Statewide Mask Guidelines?
Gina Cook
Gina Cook Published: July 28, 2021
Okay so, just in case y'all didn't know July 23, Gov. John Bel Edwards and the Louisiana Department of Health (LDH) issued updated mask guidance. COVID-19 cases and hospitalizations are on the rise statewide. So much so, Louisiana has been labeled as a "state of concern." The state is seeing rapid growth in COVID cases and not enough in vaccinations and it's because of this that Gov. Edwards and LDH had issued updated mask guidance for the fourth time since the pandemic.
Dr. Joseph Kanter, State Health Officer warned that "We are in a very dangerous surge right now," the doctor added "To ensure their own safety people in Louisiana should take precautions immediately. Masking and testing will limit death and suffering until we make it through this." For everyone's safety, both vaccinated and unvaccinated, people are to wear masks when indoors and six feet of distancing is not physically possible. Gov. Edwards issued the following statement:
"The White House has notified Louisiana that we are a State of Concern because we are the leading edge of the COVID-19 surge, due to the rapid spread of the Delta variant among the unvaccinated in our state. Indeed, Louisiana leads the nation in case growth, with 47 cases per capita. This should come as no surprise to anyone who has watched our case counts and hospitalizations continue to climb, and it necessitates additional guidance for how all people should stay safe in Louisiana right now, including wearing masks indoors, when unable to maintain social distancing, testing after suspected exposure even if they are vaccinated and, if possible, working remotely from home to limit exposure to groups."
Gov. Edwards continued. "Right now, Louisiana has the best tool it has ever had to fight this surge: the COVID-19 vaccines. Encouragingly, our weekly vaccination rate has bumped up which I believe means everyone knows how urgent the situation is. We need even more people in our state to go sleeves up and take the COVID-19 vaccine. Increased vaccinations, when coupled with more masking, testing and distance, can get us out of the fourth surge, but only if people take action quickly."
Find the COVID vaccine near you and get vaccinated now. The COVID vaccine is FREE for everyone. There is no out-of-pocket expense for any people living in the United States, regardless of their immigration or health insurance status. If you are disabled or homebound you may be able to get the vaccine at home. For more details call your doctor, the Medicare hotline at 1-800-633-4227 (TTY 1-877-486-2048,) 211, the Access Line (DIAL) 1-888-677-1199 or Eldercare Locator or 1-800-677-1116
Filed Under: Facemask, John Bel Edwards, LA Dept. of Health
Categories: Include In Newsletter, Kids/Family/Schools, Medical & Health, News
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An intimate selection of pictures from members of Urban Collective.
Coming from various 'other' careers yet having the same love of Street Photography we are blooming into a fun and collaborative community of photographers who want to share their work.
We've lost a few legends in the last 12 months Bowie, Prince, Cohen. Does it make you think deeper about life and the connections we have with the people around us and even with ourselves?
What lyrics, haiku, prose, quote resonates with you and can you visualise this in picture? Urban Collective returns to exhibit for it's 3rd year and strives to do just that.
In this series I have explored the feeling, common to many visitors and foreign residents in Japan, of not quite understanding the Japanese people.
This is the story of a young man in Bhutan who is fascinated by Hip-hop and dreams of a better future.
Hands always tell emotions that go beyond words.


Joan LaMarra, resident of Highland, Michigan, had her wish for hearing aids granted on June 19th, 2017 thanks to our Michigan chapter and Huron Valley Hearing of Highland. Joan, 78, developed tinnitus after a fall in 1996 that has worsened over the years. As a result, she struggles to hear others, especially in crowded areas and can no longer volunteer as she cannot hear what others are saying. She desperately needed hearing aids, but couldn't afford them on her own. As a former beauty parlor owner, she volunteered at the Detroit Receiving Hospital in the burn unit, working with patients with scarring and hair loss. In the past, LaMarra has donated her services to "Look Good, Feel Better", an organization dedicated to improving the quality of life and self-esteem of cancer treatment patients. Her role was to measure women for wigs and teach patients how to care for them. In addition to this service, LaMarra volunteered for the VFW 1518 Ladies Auxiliary of Gaylord for six years. Thanks to the generosity of Huron Valley Hearing of Highland, MI her wish will come true. Huron Valley Hearing donated refurbished, top-end hearing aids, cleaning tools, batteries, a fitting and three post visit services as well as a TV streaming device and a Bluetooth phone device. In addition; ReSound, the manufacturer of the hearing aids and devices donated an extra year of warranty for each device so they can be serviced by the manufacturer if needed.


Michael Bay's five chapter contribution to the brand is known for its "Bayhem" action, escalating from film to film in countless pyrotechnic effects and ever-expanding setpieces, which seemed to receive much more attention than its characters and conflicts. Travis Knight's Bumblebee took the focus from the action to the characters, developing a bond between its lead characters and the viewer.
Di Bonaventura describes this simply as "[t]wo different films, two different attempts," each meeting a different goal. For Bumblebee's sequel, he aims to strike a balance, which means including "a little more Bayhem" this time around.
There's no indication what this might mean regarding di Bonaventura's apparent plans for another potential Transformers sequel project he's at work on, a film following the Bay film series from where it left off in The Last Knight. While it seems likely that this sequel might attempt a similar balance, bringing some of Bumblebee's heart into Bay's series in turn, the film isn't discussed at all in the Collider interview.
Check out more details from di Bonaventura in the full article at Collider. Then let us know: Are you excited to see more action return to the film franchise? Worried? Share your thoughts in our Bumblebee film discussion thread on the Allspark Forums or in our Discord server.


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Home MMA News Exclusive Interviews Megan Anderson and the featherweight torch
Megan Anderson and the featherweight torch
Drake Riggs
PhotoCred: Getty Images
Fighters are responsible for a lot more things than perhaps meets the eye. On the surface level, they're responsible for providing for themselves as anyone is in their profession. Others may argue that they're also responsible for the entertainment of their audiences as performers and public figures. But it can go much deeper than that whether it be from representing one's family, country, or gym.
When you're fighting, you're fighting for a purpose. A select few may have spotlights magnified upon them from the starts of their careers whereas others really have to grind and work their ways into it. Everything is situational and for Gold Coast, Queensland, Australia's finest in Megan Anderson, it's almost like a never-ending battle in and outside of the cage.
Having begun her career somewhat later than most in the modern era of MMA in November 2013 at age 23, she did so instantly in a unique position as a 145-pound featherweight competitor.
Since August 15, 2009, the weight class has been essentially viewed as 'Cris Cyborg and everybody else' due to the Brazilian's incredible dominance throughout her career. Only recently has she fallen from her perch thus giving the division a new chance to breathe and develop as it's slowly been doing over her reign.
As Anderson was coming up, she had all the makings to be the next, or perhaps the first, big threat to Cyborg.
With that ever magnetic spotlight firmly fixated on the big fish in a small pond, Anderson was able to find herself noticed quickly and has really risen to fame over her still young and expanding six-year career. She's become as versatile outside of the Octagon as she is inside of it, growing up as a person and a martial artist.
"I guess," Anderson told BJPenn.com in regards to it being not surprising how fast she's grown as a figure in the sport. "But a lot of people don't do that, so I can see kind of like the 'why' it could be surprising with me cause a lot of fighters don't really do a lot of extra stuff outside of fighting.
"A lot of people watch my life. That's that. A lot of people are critical of what I do. So there is that too. But, for the most part, I try not to notice it."
PhotoCred: MMA Junkie / YouTube
Putting yourself out there is a tough thing to do and everyone handles it differently when the camera is in their face as we've seen time and time again in any publicly accessible formats.
The now 29-year old has embraced it to the best of her abilities by taking on a weekly analyst role that sees her break down fights with her good friend, UFC and Invicta FC correspondent, Laura Sanko on their web series, Aussie and Fancy Breakdown. On top of that, Anderson occasionally appears on the ESPN network for 'Megan's Corner,' has been on a reality competition show, has done correspondent work for Invicta as well, and just recently announced she'll be doing a variety of broadcast roles for Warfare Sports.
However, as the old adage goes… everybody's a critic. And with expanding your brand as far and wide as possible comes the exposure to more and more people thus providing additional responsibilities to be great.
"I'm honestly at a point where whatever I say, someone is going to take offense to it and someone is going to twist it into some way or another, so like I'm just to a point where I don't give a sh*t anymore," she explained. "If you have never stepped foot in a cage, like shut the f*ck up. You have no idea what you're talking about.
"To put it bluntly, every time I say something or do something, everything is so critiqued about my life and about what I'm doing or about what I'm saying. Sometimes I just post sh*t just to post sh*t cause I'm building my brand. People take things to seriously and so literally these days. I'm like, 'just relax bro.' *laughs* It's just social media. I'm just kind of over it all, I guess."
Unfortunately, dealing with rather absurd levels of unnecessary flack will end up being a part of Anderson's story as it has been so far and surely will continue to be in the future. Which is what made what was supposed to be the biggest win of her career the most bittersweet instead.
In June 2018, the 6-foot-tall former Invicta champion would make her highly anticipated UFC debut when she took on former UFC bantamweight champion and boxing legend, Holly Holm. Things wouldn't end up going according to plan for Anderson as she suffered defeat only to rebound on arguably the biggest card of the year.
At UFC 232 six months later, she went on to make her sophomore Octagon appearance against yet another bantamweight staple in Cat Zingano. It would be here that the Glory MMA product made her mark and got her first win on the grandest stage… but not without an unconventional ending.
"It was good to get that first win but like a lot of the media and fans and stuff like that kind of took it away from me so that has been pretty hard because there is… because of the weird circumstances surrounding it, there wasn't really like a clear cut win," Anderson said. "Just because a lot of people consider it very controversial. So I never really got to celebrate essentially. It doesn't feel like I've won even though I did.
"I just think people just want to hate on me for whatever reason. I get an unnecessarily large amount of hate from a lot of people and you know, that's fine, but these are coming from people who will never and have never stepped foot in a cage before. This is from people who aren't educated and who have no idea what they're talking about.
"And this sport, it is very cliquey," she continued. "Like obviously Cat's going to get a lot of support because people know who Cat is. A lot of, 'Oh there should be an immediate rematch. Oh, shouldn't have done this, shouldn't have done that.' Okay, well we asked. We asked for months for a rematch and every time I kept asking, every time [UFC Matchmaker] Mick [Maynard] would come back to us he was saying, 'Look, she's not ready. She says she will let us know when she wants to come back.' And I'm not gonna sit around forever if she's not ready. So it's not on me, it's on her."
Anderson would pick up the win over Zingano just 61 seconds into the opening round via TKO. Utilizing a common combination of her's, an overhand followed by a kick, Anderson would go high with the kick and this time it would make contact directly with her opponent's eye as Zingano was on the backfoot. In turn, rendering her unable to continue.
Despite Zingano's appealing of the loss to the California State Athletic Commission, Anderson's strike was completely legal as only eye pokes from fingers count as fouls due to the extremities being controllable in striking exchanges.
To get to this point hasn't been an easy road for the Aussie who now lives on the opposite side of the world from her home. And with everything that has transpired, she still has plenty to prove.
If the end result of her first UFC win wasn't enough, the preceding events directly to it were completely out of the ordinary too as the entire UFC 232 card was relocated on just a one week notice. That, of course, thanks to the headling Jon Jones and his inability to obtain a license in Nevada on time.
Effecting more than just Jones, all fighters fighting at the event had to adjust appropriately and the top featherweight did so relatively easy for the most part. But it could have been better.
"It was fine. The location change in preparation for the fight, it wasn't a big deal," Anderson shared. "Weight cut wise it was. Having that extra flight, getting up super early on the Thursday morning, having the extra flight did make my weight cut a lot more difficult. If most people have seen me… I'm not a small girl so my body was holding the water from the plane and it didn't wanna go but we made it safely. That was the only thing that it affected. But everything else, it wasn't really a big deal. We were fine with the location changed. We were ready regardless.
"And the baths in the hotel in Las Vegas were amazing. So it would have been nice to not feel like I'm a pretzel [in the California hotel baths]," she said with a laugh.
PhotoCred: Bleacher Report
For Megan Anderson, the featherweight division is her fighting home and there's no debate about it.
Upon arriving in Invicta in 2015 and then working her way to the UFC, it was clear that Anderson would be a bright spot for the division that was in need of stars and talent in general. Both qualities of which she has been able to provide.
The problem is… no one else has really been able to replicate her noticeability the way that she and the aforementioned Cyborg have along the way. So when the UFC finally looked to be getting serious with building the division by doing a featherweight season of The Ultimate Fighter… and then all the fighters, including the winner, either dropped down in divisions or didn't get signed, it created a deep feeling of desperation and added pressure to the fighters with no other options but 145-pounds.
"Oh, 100 percent. Not only was I fighting for myself [against Zingano], I felt like I needed to win for my division," Anderson said. "So that definitely crossed my mind, even though it wasn't under the circumstances that I wanted, we did get the win so I feel like that was a good step forward for the division. Hopefully, it starts building now that they're starting to sign more women.
"People just don't understand. Me making 145 pounds, it's the same thing as Cris making 140 pounds. Cris knows, she understands and we've spoken about it. But people don't understand. Like you've seen that video of Cris making 140 pounds; that's me trying to make 145. There are not a lot of options for me, so there's not a lot of options in a weight division, so I have no choice but to make it, but it is not easy, I'm lucky that I have a good team around me that makes it extremely healthy and as easy as possible."
With Cyborg's reign coming to an end that very same night that Anderson picked up her most recent win, all eyes were now on featherweight and the UFC has since begun to actually make those long-awaited efforts and additions that have been stalled on for the past 26 months. One of those newcomers happening to be the next opponent of the Aussie's opposed to another bantamweight.
One way or another, it felt inevitable that we would get to see a clash between Anderson and her fellow now former Invicta titleholder, the undefeated 6-0 newcomer, Felicia Spencer… And it will be done as the encounter goes down this Saturday night at UFC Rochester.
PhotoCred: Cageside Press
When Anderson and Spencer meet inside the cage, it will be the 10th UFC bout contested at 145-pounds and the first between two natural featherweights that have never fought below their division's limit.
The weight class will be on full display in this match-up as both fighters are two of its best and it will be all on them to put on a great show and represent what they themselves, as well as the fighters that they know are out there, are made of. But as you'd imagine, they're fully aware of that and have been for quite some time now.
"She's got some good skills that she brings to the table," Anderson said of her next opponent. "She's got a really good skill set that she brings and I've been in her position before, debuting in the UFC, wanting to show everyone what she's capable of. I've been in her position. I know she's going to come hard. She's going to come with pressure and I'm glad because she's not going to be hard to find.
"It doesn't really bother me about familiarity or anything like that. We just wanted a fight and this is a great fight for us.
"It's been nice," she said of the quietness surrounding this fight compared to the last. "It's been good to be able to just focus on training and focusing on the game plan and that kind of stuff. I listen and I watch a lot of what people say and interviews and stuff like that. Like I listen to interviews that she's done with people, I look at all that kind of stuff and like I watch and now I'm just biding my time. I'm biding my time for May 18 and a lot of people are going to see."
Fighting in what will be a showcase for a division, Anderson also fights on a card that will be a showcase for her perpetually underrated gym in Lee's Summit, Missouri's Glory MMA & Fitness. Lead by UFC welterweight veteran, James Krause, along with Anderson will be three other teammates making the walk to compete.
There are many different ways to find motivation in this world. But more often than not, driving factors could be boiled down to what you're responsible for. When feeling like something has to be done at all costs and any means necessary, then the only option is to achieve and succeed.
On May 18, Megan Anderson looks to continue fueling the flame of the featherweight torch that she carries en route to supremacy.
This article first appeared on BJPenn.com on 5/13/2019


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Real Estate|Lending Outside the Guidelines
https://nyti.ms/12Cxv1j
Lending Outside the Guidelines
Credit...The New York Times
By Lisa Prevost
A growing number of lenders are courting borrowers who have been shut out of the mortgage market despite their sound financial circumstances. In particular, these companies see a burgeoning market in the self-employed as well as in households with a single negative credit incident, both populations that often struggle to obtain credit.
A recent analysis by the real estate website Zillow found that self-employed borrowers receive 40 percent fewer purchase loan quotes than other borrowers, mainly because of their typically lower credit scores. And many major banks remain reluctant to lend outside the guidelines for what are called qualified mortgages, or QM loans, which are salable to government-controlled agencies like Fannie Mae and Freddie Mac.
But investors are getting behind smaller lenders who are going beyond the qualified mortgage restrictions to analyze individual borrowers' situations. To hedge the slightly higher risk, the lenders usually charge higher interest rates and require a down payment of at least 20 percent.
"If QM was a black-and-white view of credit, non-QM is more of the color version," said Robert Hirt, the founder and chief executive of RPM Mortgage, a private lender based in Alamo, Calif.
RPM recently began offering a new loan program for borrowers who have substantial assets but are unable to obtain a mortgage because of an irregular income stream, a short or slightly scarred credit history, or a debt-to-income ratio above the 43 percent cutoff for qualified mortgages. The program is available in 12 states, Mr. Hirt said, and RPM is pursuing licensing in many more. The loans are available as 5/1 or 7/1 adjustable rate mortgages (with fixed interest rates for five or seven years) up to a maximum of $4 million. RPM sells the loans to a large asset manager.
As an example of its target borrower, Mr. Hirt described a recent client who, despite having "millions" in the bank and an 800 FICO score, could not obtain a qualified loan because of a short sale on a home in Florida three years ago. RPM approved a $1 million mortgage for a home on which the borrower made a 60 percent down payment.
"This isn't about your subprime borrower — we are focused on extremely solid bets," Mr. Hirt said.
Privlo, a self-described "alternative" mortgage startup in Pasadena, Calif., backed by venture capital, is leveraging technology to quickly ascertain the creditworthiness of borrowers based on a wider range of data than is typical, said Michael Slavin, the company founder. The company's goal is to offer a pure online experience.
Economic changes since the recent recession have widened the pool of self-employed people who are not adequately served by the current lending market, Mr. Slavin said. "Corporations that went through vast layoffs are still outsourcing a lot of their talent," he said.
He distinguished Privlo from subprime lenders, noting that "we take our underwriting very seriously and we retain ownership of at least a portion of every loan."
Angel Oak Home Loans, a retail lender in Atlanta, is offering loans of up to $1 million under a program geared toward borrowers who have had an isolated negative credit event like a short sale or foreclosure.
The company will approve a fixed-rate loan less than a year after the event, if the borrower is able to make a substantial down payment, often around 25 percent, and has good residual income, said Steven Schwalb, the managing partner. "We want the responsible user who just got caught in a very tight, tight spot," he said.


Event Next | What time can you collect A-level results in Aug 2018?
What time can you collect A-level results in Aug 2018?
Thousands will be wondering what time they can collect their A-level results and the special day is Thursday 16 August 2018 this year. Before you head to your 6th form, you might want to consider looking at official social accounts for your school and also Twitter for further insight.
The exact A-level results collection time changes each year and by area. In 2018, we know many areas of Kent and locations like Broadstairs could collect from 8AM in the morning.
We also see UCAS Online stopping updates each year the day before A-level results day, which is due to processing the results until 8AM UK time. Students are already hitting social accounts with plans for after parties, which involve booze in many cases no matter if the results will be good or bad.
You can share your concerns, questions, and news about A-level results day below. Also, join in the social discussion and tweet by seeing the news to the right on desktop displays.
I heard they have marked all the results wrong or something, it's been in mainstream media news. Is this just rubbish, or for real?
Remember there's different times for AS Level and A Level, in my area it's 11am for AS and that's Billericay Sixth Form results collection.
I'm really happy I'm not an A level student, thinking about waiting all this time for results.


The fox is a native relative of the dog, common throughout Britain in Manchester Stockport and Cheshire areas they are Extremely adaptable, it is an established resident of our urban environment.
There has been a rapid spread of foxes into urban areas during the 20th century, particularly in the south of England. This has mirrored the growth in urban sprawl. Like people, foxes prefer suburban housing with large gardens where they can find shelter under shrubbery, sheds, and in secluded corners Foxes shelter in burrows known as earths or dens. An active den can easily be identified as it is likely to be surrounded by an untidy array of food remnants, faeces and miscellaneous items. Well worn paths to the entrance, which is about 25 cm wide, and decidedly unpleasant musty smell, will betray the recent presence of foxes.
Foxes breed once a year. The mating season begins in January when the eerie mating cries can be heard during the night. A litter of 4-5 cubs is born about late March, and the cubs remain exclusively in the den until about May By June or July the den will be abandoned, the cubs will be learning to forage for food and their playful activities will be evident. By early autumn, the cubs will be almost fully grown, and by late autumn the family begins to disperse, although in urban areas many remain in or around their original home territory. Some people believe the fox population is increasing but this is not the case. Fox populations are relatively stable and self regulating according to the availability of habitat and food.
The fox is an omnivore, eating birds, rabbits, small mammals, insects, worms, fruit, grassland a wide variety of scavenged food. In urban areas, scavenged food can constitute up to 50% of their diet as foxes eat what we discard.
Many people derive great pleasure from urban wildlife and actively encourage them. Studies by the RSPCA have found that most people either like or are indifferent to the fox, and that regardless of attitude, few people suffer actual problems from foxes, and many ofthe problems are minor and easily rectified. However, for those who have concerns or are having problems with foxes, the following information may be of assistance.
Is the fox a health risk?
Despite fears, the fox does not pose a danger to people. Foxes are not naturally aggressive to humans, but like all wild animals, they may defend themselves if they feel threatened. Always treat wild animals with respect.
Foxes also pose no real danger to cats. Although foxes will scavenge the remains of dead cats, the actual evidence of them killing cats is extremely rare. Cats greatly outnumber foxes and coexist without serious conflict. In most cat/fox encounters, it is the fox who comes off worse, and many fox cubs are killed each year by pet cats and dogs.
However, pets like rabbits and guinea pigs are a natural part of the fox diet so need to be securely housed to ensure the fox does not get the opportunity of an easy meal. A chicken wire enclosure is not strong enough to deter a determined fox. Foxes also eat rats and other rodents and can thus help to keep pest populations in check.
The most common disease of the fox is canine mange. It is caused by a mite and leads to intense irritation, fur loss, and skin infection. Left untreated it can lead to death in a few months. However, it cannot easily transfer to humans or cats, and it is unlikely to transfer to pet dogs unless they come into close contact. It is easily cured, and any fox with mange should be treated to avoid suffering.
The moult, or shedding of the winter coat, can be mistaken for mange. It can make foxes look diseased, starved or mangy, but it is natural and harmless.
Most of the problems people report involve damage to gardens, raiding of rubbish and the unpleasant smell and fouling associated with foxes. These can be a significant irritant to many people.
The area around dens is likely to be untidy and smelly and damage to gardens is almost inevitable, either from digging to construct the den or for food, or from incidental damage when cubs are playing. Foxes scent mark their territories and deposit their faeces in prominent locations. While this form of communication is important for foxes, it is also unpleasant.
Foxes are often blamed for scavenging and scattering rubbish, although this is also true of other urban animals including our pets. This problem is easily avoided by proper storage and disposal of waste. Rubbish, particularly food waste, should be securely stored, preferably in a bin with a lid, and placed out not earlier than the night before collection.
Some people are also disturbed by the loud cries of foxes, heard mainly during winter nights or in late summer. These are either mating calls, territorial disputes or cubs battling to establish top dog status. There is little that can be done, and the nocturnal disturbances don't last long.
Manchester Pest control can offer trapping programs to remove foxes that may be causing problems such as damage within the garden and noise. Traps are set in areas of activity and can be checked by yourselves or an Manchester Pest control technician. ( Traps must be inspected twice a day) All carcasses will be remove and disposed of in the correct fashion in accordance to local authority. In some cases proofing can be carried out. The fabrication of one way doors to allow the fox to exit an area but not be able to return can some times be enough to move the fox on.
People and companies think they can treat the pest problem themselves, only to find that they make the infestation worse by purchasing products from DIY outlets with a poor percentage of insecticide. This may prove to be an expensive waste of time and money. Blackley Foxes & Pest Control provides an effective solution to your pest control problem with advice to prevent any infestation recurring.


Home / Domotica blog - alle tips & info over domotica! / MERGER OF ONE SMART CONTROL AND DIGITALSTROM TO BECOME A FORMIDABLE PLAYER IN THE RAPIDLY GROWING HOME AUTOMATION MARKET.
MERGER OF ONE SMART CONTROL AND DIGITALSTROM TO BECOME A FORMIDABLE PLAYER IN THE RAPIDLY GROWING HOME AUTOMATION MARKET.
Mechelen and Zurich, 27 September '18 – The merger of the Belgian firm ONE Smart Control with the Swiss-German form digitalSTROM will strengthen the position of powerline technology in home automation on the European market. Not only are the 2 companies geographically complementary with the markets in which they operate, they also complement each other seamlessly in terms of their market approach and product range.
Since being founded in 2013, ONE Smart Control has already worked with various hardware components containing digitalSTROM technology. Their unique feature is that home automation is made possible without the need for additional wiring in the house. ONE Smart Control developed a full-service smart home package that is not only simple to install, but also easy to use. With this merger, the cooperation between the two companies has now entered a new phase.
"This merger brings together 2 innovative companies in the home automation market. They each offer users unique benefits and tremendous potential for the future. Together, we are stronger, and can achieve this growth capacity as an important player in the world of home automation".
The existing services of digitalSTROM and ONE Smart Control complement each other perfectly. As such, the merger is the perfect starting point for the further development of a complete, innovative, reliable and cost-effective product range. An attractive added value for the customers of both companies.
"Our solutions have significant advantages for both project developers and homeowners. This aspect is unique in our industry. We take full responsibility, from the concept phase up to the service contract. In the near future, we will continue to focus on making it even easier to install, commission and keep the installation up-to-date. This is all extremely important in project development on a large scale. We are very ambitious and the market is ready for it. We will therefore continue optimising our market approach, our product range and our organisation".
The new company will be headed by Adrian Obrist and Bert De Haes, and will further strengthen its market position in Switzerland, Belgium, Germany, Denmark, Finland, the Netherlands, Poland, Turkey and the MEA region.


The Sustainable Development Goals (SDGs) were adopted by the United Nations General Assembly in New York in September 2015. The SDGs outline a new and ambitious global agenda to reduce poverty and hunger, improve health, enable equality, protect the planet and much more.
Real progress will be difficult to achieve if not all children and young people worldwide receive high-quality education.
Digitalization is changing education and careers.
The purpose of my work on the topic Digital Transformation is to support people of all ages with proven and agile new methods in change processes and thereby make their lives easier.


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Q: Exponentiation of Center of Lie Algebra Let $G$ be a Lie Group, and $g$ its Lie Algebra. Show that the subgroup generated by exponentiating the center of $g$ generates the connected component of $Z(G)$, the center of $G$.
Source: Fulton-Harris, Exercise 9.1
The difficulty lies in showing that exponentiating the center of $g$ lands in the center of $G$. Since the image of $exp(Z(g))$ is the union of one parameter subgroups that are disjoint, we know it connected. Also I can show this for the case when $G = Aut(V) $ and $g = End(V)$ since we have $G \subset g $.
EDIT: G not connected

A: $G$ is connected and so is generated by elements of the form $\exp Y$ for $Y \in g$.  Therefore it is sufficient to show that for $X \in Z(g)$ $\exp X$ and $\exp Y$ commute.  Now define $\gamma: \mathbb R \to G$ by $\gamma(t) = \exp(X)\exp(tY)\exp(-X)$.  Then
$$
\gamma'(0) = Ad_{\exp(X)} Y = e^{ad_X} Y = (1 + ad_X + \frac{1}{2}ad_X \circ ad_X + \cdots)(Y) = Y.
$$
But it is also easily seen that $\gamma$ is a homomorphism, i.e. $\gamma(t+s) = \gamma(t)\gamma(s)$.  This characterizes the exponential map so that $\gamma(t) = \exp(tY)$.  Taking $t=1$ shows that $\exp X$ and $\exp Y$ commute.

redpajama_set_name: RedPajamaStackExchange


description: Dust sources detected from MODIS (Aqua) Deep Blue Level 2 aerosol products are attributed natural (yellow shading), anthropogenic (magenta shading) or hydrologic (blue shading) origin if at least 30% land use (anthropogenic) or 10% ephemeral water bodies (hydrologic) are present.
Text files containing observed surface ozone-temperature statistics (Pearson correlation; slope of the best fit line between ozone and temperature) for each month at EPA CASTNet site locations over the entire United States as calculated with the methodology described in Rasmussen et al. (submitted; Atmos. Environ.) for before (1988-2002) and after (2002-2009) the eastern U.S. NOx SIP Call that reduced power plant NOx emissions roughly 50% between the two time periods.
Columns in the text files read from left to right are: latitude (degrees North), longitude (degrees East), site elevation (meters), Pearson correlation coefficient, slope of the ozone-temperature relationship (ppb ozone per degree Kelvin/ Celsius), standard error of the slope of the ozone-temperature relationship (ppb ozone per degree Kelvin/Celsius), and the final column contains the number of months used in the calculation of the correlation coefficient and the slope of the ozone-temperature relationship.


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IStyleGallery Provides access to members modify the Style Gallery.
IStyleGalleryStorage Provides access to members that manage the files used in the Style Gallery.
ServerStyleGallery is the one and only instance of its class.


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