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Why should archaeologists need to consider statistical methods and models? The answer is relatively simple, in that whenever features or attributes of an artefact are measured, or one is interested in creating a chronology, then numerical information is created and if the discipline is in the fortunate position of having a number of such artefacts (e.g. pots from a single site or several sites) or a series of dates, then the right tools are needed to summarise the information which has been collected and to capture and quantify any uncertainty. This short section will focus on how to 'build a model and complete an analysis', in the chronological context, before briefly reflecting on some of the classical statistical methods used in, for instance, seriation.
First, what is a statistical model? It is a conceptual description of the processes that generate the data we observe. The mathematical formulation of this conceptual description implies setting the corresponding equations, and defining the parameters (unknown quantities) that appear in these equations. Computationally, the model (estimate parameters) needs to be populated using data that has been observed or measured.
Calibration and chronology construction
The first and simplest example of a statistical model comes in 14C calibration where the process starts with calibrating a single measurement. The process of calibration converts a 14C age (in year BP) and its associated uncertainty to a calendar age with a derived uncertainty. The 14C age is derived from a measure of the 14C activity in the sample, assumed for most materials (the exception being aquatic or marine samples) to have been in equilibrium with the atmosphere at time of 'life'.
Calibration of radiocarbon measurements requires knowledge of the levels of atmospheric radiocarbon in the past, captured in the internationally agreed calibration curves (Reimer et al. 2004, 2009, Bronk Ramsay et al. 2006). These curves are constructed from 14C measurements made on long series of known-age material including tree rings, corals and varved sediments of marine origin, etc. The IntCal Working Group continues to work on the development of a ratified update – and the next update is expected in 2012. Based, in the early years, on dendro-dated tree-rings and being limited to approximately 12,000 years, with the addition of other archives, the calibration curve is being extended and now is available to 50,000 years or more (with, however, some caveats).
As the available data for calibration increased in volume and improved in quality, there have been significant changes to the actual calibration method being used, moving from the very simple curve intersection approach to the much more complex probabilistic approach (often Bayesian) that takes account of uncertainties in both the dates and the actual curve.
Downloaded from c14.arch.ox.ac.uk/embed.php ORAU May 2011
The statistical model begins here by describing a probability distribution for the 14C date and its uncertainty conditioned on its unknown 'true' calendar age (the model parameter). This distribution is most commonly the Normal or Gaussian distribution. The 14C distribution is then 'compared' to the calibration curve to identify the calendar time window most compatible with the observed 14C activity. The result is a range of possible (or plausible) calendar ages for the sample identified by the distribution curve on the calibrated date axis (see below for a graph downloaded from the OxCal web site).
The sophistication of calibration modelling has been aided by major developments in the calibration software. Nowadays, there are a number of calibration programs available for terrestrial samples and for marine samples, the most widely used being Calib, BCal and OxCal and which are easily downloadable from the web or run on-line. In addition there are a number of special purpose programmes such as as BPeat, BChron, and CaliBomb.
a) simple questions concerning population parameters
Hypothesis testing and confidence intervals
Hypothesis or significance testing is a formal method of statistical inference. The hypotheses are framed in terms of population parameters (such as the population mean or average). On the basis of a set of archaeological samples drawn from the population of interest, a statistic is calculated (such as the sample average), the statistic is to the sample as the parameter is to the population. Knowledge of how the sample was drawn from the population and the value for the statistic allows one to generalise or infer the value of the parameter. In the hypothesis testing framework, it could, for example, be tested whether the population mean age (or Si concentration) is the same or different (summarized by the p-value) between two populations or confidence intervals (or plausible ranges) can be produced for the value of a population parameter or the difference in parameters.
b) questions concerning relationships
Correlation and regression
When there are several variables (measured on the same artifact), then a common investigation concerns the relationships between the two. Such a question of interest would be answered using a) correlation coefficients (Spearman or Pearson depending on distributional assumptions ) and b) if it is considered that the value of one variable (response) is in fact determined by the other (explanatory), then one might consider building a regression model. This latter type of modeling structure can also be extended to the situation where there are potentially many explanatory variables.
Multivariate data
There are a variety of techniques including clustering, principal components analysis and discriminant analysis, commonly described as multivariate techniques, since they are applied to data sets where there are many artefacts, and on each artefact, there are a number of variables measured. Each specimen whether it be a pottery shard, glass fragment, or coin will have a number of measurements made on it (eg metallurgical analysis, or shape (length, breadth etc) or decoration). Since the measurements are made on a single specimen, they are likely to be related, so in this sense, we have an extension from the bivariate (two variable- correlation) case to the multivariate (many variable case).
There are many questions which could have been asked and which will have influenced how the data were collected. Consider some of the most commonly asked questions:
c) Question: are there any groups and if so how many, and which objects belong to which groups?
Cluster analysis is used where the objects do not belong to known groups. Rather the purpose is to examine whether the objects tend to cluster into a small number of groups.
One objective of a study might be to identify groups of objects which are similar in terms of their characteristics (e.g. use or age). This requires the ability to detect patterns, and a scale on which to measure similarity in terms of the characteristics.
In clustering, the aim is to produce a picture of the grouping of the objects based on the dissimilarity matrix. The picture is known as the dendrogram, and like objects appear close together. There are many methods of producing a dendrogram, one of the methods begins by each individual object forming a cluster, then the two objects which are most alike are joined together and all the dissimilarities re-calculated, the smallest dissimilarity is then identified and these two objects (one of which may be the original two object group) joined together and so on until all the objects have ultimately been joined.
How is it decided how many groups or clusters exist?
Cluster analysis is an exploratory tool, so that there is no formal means of answering the question, how many clusters, and indeed the validity of any groupings so identified must be considered. There is no simple answer to these questions.
d) Question: what features identify known groups?
In discrimination, there is a set of objects that fall into known groups, and there are data from each of the objects. The aim of discrimination is to build a classification rule that may be applied to new objects in order to allocate them to the most appropriate group.
Suppose that study of 4 distinct contexts on a site, revealed from each a large hoard of pottery. Each pottery piece was analysed and measured for a number of attributes and the archaeologist was interested in finding out whether it was possible on the basis of the attributes to separate the pottery. This is a problem of discrimination, in that it is known that there are 4 groups and it is desired to find out what determines this classification.
One further point is that a number of misclassifications will be made. Obviously this number should be kept as small as possible. In linear discriminant analysis, linear functions of the variables are used to determine the classification, but there are also more general forms of discriminant analysis. There is a note of caution however, since there is a need to use a training set to identify the classification rule, but the same data should not then be used to assess the performance, unless the approach taken is modified by using cross-validation.
e) Question: can the problem be simplified (reduce the number of dimensions)?
Principal component analysis (PCA) is used where there are a number of different variables which are measured on each specimen and the aim is to reduce dimensionality and thus to find a smaller number of new variables that are uncorrelated and explain almost all of the variation of the original data. It is sometimes called an ordination technique. Thus PCA provides a transformation of the data in which a large percentage of the variation in a large number of variables is compressed into a smaller number of variables. It does not assume an underlying model, and is again used as a data descriptive or exploratory tool.
The new variables are combinations (linear) of the original variables which retain a large percentage of the original information contained in the full data set, and they are constructed to be uncorrelated. The key input to the analysis is either the correlation or covariance matrix. The underlying rationale is that if two variables possess some underlying common factor, then they should be highly correlated. Thus from studying the correlation matrix, the aim is to produce a new set of common variables which are themselves unrelated. One of the key pieces of output from a PCA is the cumulative proportion of variation explained, obviously high values for this based on small numbers of new variables, means that the reduction in dimensionality will be successful.
Compositional data
In some multivariate situations (eg such as major element composition), it is possible that the row sums are fixed (in this case say equal to 100%) and in this case, it is not possible to proceed as though the variables were independent, since to do so could result in incorrect inferences being made. One result of ignoring such constraints is that spurious correlations are found, which obviously interfere in the principal components or discrimination analysis. There has been some considerable debate concerning the most appropriate means to deal with such data, ranging from ignoring the problem, to creating a transformation of the data such that the variables are independent. This latter approach is often dealt with through using a log ratio transformation (Aitchison 1990).
Final comments
Especially in the context of chronology construction, statistical models are becoming increasingly complex, however one should always be mindful that statistical models make assumptions, which should be verified; that they should be fit for purpose, and that within the Bayesian context, extreme care should be taken in the specification of the prior. However that all said, statistical modelling has revolutionised much archaeological research and is an immensely valuable tool.
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youtube.com - "Nuthin' but The Truth"
Featuring the Truth Poetry of Guest Artist "Judge D."
Native American Performance by Robert "Pyute" Hessen.
Music Produced by Dann Rogers and Craig T. Fall.
Video Produced By Opus Noz Entertainment Inc.
Director of Cinematography Bryant Jansen.
Executive Producers: Chris Ferrin Lydon, Eulalio "Lalo" Benitez, and Clinton Huff.


Class TreeKeyIdx The TreeKey implementation used for all tree-based modules in Sword, such as GenBooks.
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To make the dressing: Put mayonnaise, sour cream, ginger, garlic, sesame oil and rice vinegar in a blender or food processor mix until combined. Scrape down the sides of the blender or work bowl with a rubber spatula, mix for another 15 seconds. Transfer to a bowl, add the cilantro and mix well with whisk. Set aside.
Make the spice rub: Toast peppercorns and anise seeds in a dry large heavy skillet over moderate heat, stirring until fragrant, about 1 minute. Finely grind toasted mixture in an electric coffee/spice grinder or with a mortar and pestle. Sift mixture through a coarse sieve into a bowl and stir in salt, five-spice powder, and ginger.
Halve beef crosswise and sprinkle rub all over both pieces, pressing to adhere.
Heat 2 tablespoons oil in a large skillet with a metal handle over moderately high heat until just smoking, then brown 1 piece of beef on all sides, about 1 minute. Transfer to a large plate. Wipe skillet the clean with paper towels and brown remaining beef in same manner. Arrange beef pieces, 2 inches apart, in the skillet.
Roast in middle of oven 25 to 35 minutes, or until a thermometer inserted diagonally 2-inches into centers of each piece registers 120 degrees F. Let beef stand in pan on a rack for 25 minutes. Beef will continue to cook as it stands, reaching 130 degrees F (medium-rare). Discard string and slice beef.
Serve with dressing at room temperature.


Voice recognition is really about data and algorithms. It is about connecting with the market in a way few grocers or restaurants have done. After all, we're still receiving grocery flyers every week to sell us food in our mailboxes or newspapers – that is if you still subscribe to one.


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Alchemy Pics
G. Massey
St. Thomas Shield
Pictorial allegories
Cheops, My Understanding
Pg. 125 "It is certain that the Tomb and the Womb are identical under various names". - This needs be understood as to why the burial and preservation of the body. It was believed as I said before, the process could be applied to the man. That means when your buried, eventually you will be resurrected by a process similar to the making of the stone by God! There is other information from Massey that will firm this up.
Pg.125 "The Osirian, speaking as a reborn spirit says, "The Gods rejoice when they see him coming forth from the WOMB," born of his mother." -note reborn, and this only can be understood by knowing the process.
Pg. 125 "The Egyptian formula for the living and the dead is literally those on earth and on the mountain." 'The mountain being a celestial dome and breathing place above." In the creation, the upper part of the egg shell was believed turned into the dome or arch of the sky, but to the ancients this dome was pyramid shaped!
Pg. 127 " The beads were entombed with Egyptian mummies, the beads of Isis, a sign of gestation and reproduction." - Beads of different numbers also, nine being one, they are tied to the Nine Months of work to get to Septembers Child in the process.
Pg. 128 'The beetle known as Khepr the transformer were buried with the dead in Britain as it was in Egypt.
Pg. 129 The beads that were worn by Isis during gestation, in the collar were nine in number."
Pg. 131 "Bes is a form of the God Shu, also the God in green, the color of reproduction." This is tied to the "Green Lion" of alchemy.! " The Green Stone was not only the God of divinity but of breath, soul and reproduction." Most of this alchemically is tied to the moon (female Isis).
Pg. 133. "Many of them are egg shaped. The egg was a most primitive type of birth and rebirth. "Oh sun in his egg." 'The sun or dead returned to the egg stage in the underworld for the re-hatching." "Now the egg is an ideograph of enveloping and embalming the dead." -Osiris was said in places to be "in his envelope."
Pg. 133 The year was re-born from the eye, "at the summer solstice." As I said, to the Egyptians, the new year started in our summer, June.
Pg. 135. "The meaning of words or symbols must be lost for them to become mythical."
Pg. 136 "A Sayer or Logos was personified as the utterer in the Mythology before the Theology."
Pg. 137 "Mata is in Sanskrit is the mother, also the moon as the measure of time." Important to alchemy and to understanding that a Day in the Creation is based on one cycle of the moon!
Pg 137 "Mati may denote water and Breath, Decay and Renewal, a pair of feet, the Two Waters, the Two Solstices, the double Lunation, the Two Lion Gods, Light and Shade, Menstruation, and Gestation, Wet and Heat, the Circle and Heat, the Two truths or any other type of Twinship.
Pg 139 ' This is the Secret of the Sphinx, masculine in front, female behind. - This ties to the understanding of all Creation being Androgynous. Also, the ancients believed that when you came back, you could come as male, or female, man or beast. This all stems from the understanding of being created by sun and moon, male and female. I think also in their study of nature, they found all created things when rotted could come back as anything else planted in, say a garden. Or, compost can reproduce anything.
Pg. 139 "It was a common tradition of the Jews and other races that man, Homo was first created or formed of both sexes." Again from the early understanding of how matter and the world was created from this process.
Pg. 145 "The name of the Goddess is Aahti is the name of the womb, the moon, Aah denotes the house, moon or thing which is duplicated by the Ti. The Lunar Aahti is the manifestor of the Two Truths in the waxing and waning of the moon. The Ibis was black and white thus representative of the lunar orb."
Pg. 147 'The moon once sent an insect to men with this message, "As I die and dying live, so ye shall also die and dying live." "Shu, the Feather of light and Shade also reads Ma; and Shu Ma or Shu and his sister Tefnut represent the Two Truths of breath and moisture. These in one form may be the Breath of Heaven and its Dew as Tef is to "Drip and Drop." 'They likewise denote the breath of soul and the blood of source, the mystical water of life.' - Soul is tied to moisture and moon, blood to moisture and sun. In both instances Air (breath) is necessary to collect.
Pg. 149 water is the First Form of matter in all the oldest Mythologies or Cosmologies. Consider Genesis, and consider the First Day when all was waters and how it coincides with June in ancient Egypt, when the Nile flooded and all was waters!
Pg. 149 Water was the First Cause in Egypt.
Pg. 149 Water is called by Plato, "The Liquid of the whole Vivification." and again he alludes to it mystically and to a "Certain Fountain." The vivification is the essence gathered from the sun within the fountain, The Fountain is the Never Failing fountain of the Alchemists, the pyramid oven.
Pg. 149 "The confusion of vapor that raises from the lakes as Spirits ascending from the lakes is common in Africa." as in the oven, the Spirit is in the vapor. This shows an ancient forgotten belief system.
Pg. 151 " In the Beginning all came out of the "Nu" the waters of the Firmament." Consider again ancient Egypt and the Nile flooding.
Pg. 157 " Vapor produced from water by heat was a primitive illustration of the Breath of Life The vapor or sweating bath is a inexplicable feature in the mysteries of the American Indian.". More from a forgotten past.
Pg. 159 The two symbols held in the hands of the Egyptian Gods are the Hek or the Aut Crook, and the Khi. The hook which denotes laying hold is the determinative of Matter, as Aut, the Khi is a fan, the sign of breath or Spirit. Again about matter and breath, surprised there is not something about Vapor with this.
Pg. 160 The Two Truths are linked to Baptism. John said "I Baptize with Water but Jesus is he who Baptizes with the Holy Ghost." I think I have shown this was a very old belief, and was just carried on from the ancient belief system. That is the important thing, to show all of this is from the Ancient Belief System, which is organized by man from the natural Process of perfecting matter.
Pg. 162 'The two waters are divided and one of them is underlined in Red by John, as the Water and the Blood." The two waters are from the two lights, the sun is blood and red as in all of alchemy. The moon is connected more with cool moisture and is Blue.
Pg. 162 "It was the red and blue lotus in Egypt where red signifies flesh and blood, blue signified the soul." Soul is from Moon!
Pg. 163 " John identifies the Later three as The Water, Blood and Spirit." "The Christ came, by Water and Blood." The Alexandrian Version distinctly says he "came by Water and Spirit." another version gives the Water, blood and Spirit." When you understand, blood and Spirit are the same so it doesn't matter. This is just different groups expressing the same thing differently! To say though, the Christ came from water and blood is to say that Christ is from the Good in the Light! Water and Spirit means the same thing. What does this mean? Are they saying the Christ is the Perfected Matter?
Pg 163 "The negroes of St Croix on becoming Christianized insisted on being Baptized by Rainwater that comes down from heaven." ancient Lost Belief System
Pg. 163 "When the two waters are distinguished as male and female, existence, healing and purity are dependent on their not being Mixed. Various legends inculcate the never mixing of the red source and the white." Remember my explanation of Like in alchemy? There are two stones, they are never mixed in any way, and both are made differently with the two lights.
Pg. 164 "The water that divides in space is a type of bifurcation in the beginning." What this means in the process is we collect the vapor, "Day and Night." This is necessary to collect from both lights.
Pg. 168 'Thus the miracle of healing belongs of necessity to the Astrological Allegory."
Pg. 168 The Twin Pool was located in Ann, the white water being southward and the red northward." -Consider the Two Earths again.
Pg. 169 "The Opg 171 "Osiris is pure by that well of the South and the North." This would indicate at least one year of the 16 month process.
Pg. 171 The Mount or Rock and the Tree are co-types with the water at the point of all commencement and this can be traced in many localities." Mountain and Tree, always connected and is the pyramid oven!!
Pg. 172 'The Tree the Water and the Serpent , which are clustered together in various myths can be identified at last as Inner African, for these are the three supreme types of divinities of several races." Again a common origin or religion in our past.
Pg 174 The Two Truths were also assigned to the "Two Sisters." "Isis and Neft" In our process the Two Sisters are Virgo the Virgin, bringing forth the matter as Mercury, and the Moon. This is the "Original two Sisters." The rest are all copies of this fact!
Pg. 176. But the sun is the later deity that in the Mythos sheds one water that turns to blood and a liquid source of Life. The Hebrew deity is also represented as shedding two creative tears.
Pg. 178 The twilight of the two Truths was perpetuated; the past forever reproduced, as the most hallowed thing that could be reproduced by Art. I would like to know how they did this! Massey believed the Two Truths had to do with the female and giving life tied to water and breath. It was, but the female actually was the Moon, and the water and breath is how the matter is brought forth, not a child!
Pg. 179 One frequently meets with proofs that the symbolism of the ancients survives in the Secret Societies. For example, Jacob Bohme, who was one of the illuminati, observes, We must be silent concerning the Times of the ancients, who's number shall stand open in the Rose of the Lily, And he further remarks, those who are ours will know what I mean. What he means is this, the times are the times of the stone as you change steps during the year. The Lily is tied to the moon. The Rose is design, as in Rose window or Gemstone. What he is alluding to is the Day Based on the cycle of the moon. The times are always based on so many days of the moon in the process.
Pg. 180. The Mysteries of the Masons is founded on the goddess Ma, who survives in them by her name. "Ma" and "Ma" sons!
Pg. 180 The Masons work under the Master builder as the Seven Khnemmu work under the direction of Ptah. - The Seven khnemmu are tied to the seven months of finish work for the stone, they said four of them were special, and those four are about the last four months of the seven when the process is tied directly to the moon.
Pg. 181. One sign worn by Ma is an ostrich feather that denotes black and white. The Masons wear a black suit and a white apron. The Masons walk together, Two and Two, Ma is duel! Sen "son" of Mason means "Two."
Pg, 181 The two Lion gods who kept the Two solstices, north and south. Important as this again shows the two earths, and that the sun is represented by the Lion. Also in alchemy, many places the stone is represented by the Lion. I will show this in pictorial allegory.
Pg. 182. Petru is to show, explain, interpret. Hence Peter of the Mysteries or who became the Peter of the Christian Church. Hmm, does this mean that perhaps Peter was not a real person?
Pg. 182. The Two Truths are illustrated by the number 9 and 10. The number 10 is Luner. -I have explained number 9 as when Osiris is reborn as a baby. 10 just means how or from what he was born! Also, "it is menat, meaning "The Wet Nurse." You should understand this as being tied to the moon in alchemy! Now, important and proof, " The number nine of Ptah and Ma is that of drfy measure and the reckoning by nine solar months.
Pg. 182 Important, "The Great Pyramid was built by these numbers, reckonings, its slope being called nine by ten.!
Pg. 183, The one Truth out of all beginnings is probably extant under the name of Nuter. In India this is the ancient name for blood, and this source was typified by Neith (Isis) who was designated Nuter the feminine "Nature" out of whom all issued in the beginning, the one blood of the motherhood, which became duel through the typical "Two Sisters" when the fountian head was divided into the first two Totemic lines of descent." Important, this is where the 'Original Virgin Birth' came from when noted as being tied to the Two Sisters. The Two are the moon and the constellation Virgo.
Pg 183, The Two Lives correspond to the Two Truths as matter and Spirit, or body and soul. -Important, this is where originally we received Spirit, from the sun on the Creation process, as the ancients believed.
Pg. 183. This is Extremly important, about Good and Evil!! This ties to many things in the Gnostic Gospels as it is where and why evil, an Evil creation of man, being created by a lesser God, etc. " " The origin of Good and Evil in the Nature of man considered as a being of flesh and Spirit, and as the embodiment of two opposite principles, with a spontaneous tendency toward Good, supposed to originate in the Spirit, and an antagonistic impulse toward evil assumed to be engendered by the blood (or flesh) which this is tied to "Like." we make the below "Like" the above.. Part of a parable by Jesus, "When you make the one Two, and the inside like the outside and outside like the inside." This is the alchemists making "androgynous material (The one two) and then making by process, like, the inside, like the outside.! This is Osiris (the matter) uniting with Horus!
Pg. 467 The author of the Book of God speaks of a picture of Paradise described in Brahminic theology. At the top of the seven-stepped mount there is a plain and in the midst a square table surrounded by nine precious stones, and a silver bell. On the table there is a silver rose called Tamara Pua, which is the shrine of two women, who are only one in reality, but two in appearance according as they are seen from below or above; the celestial or terrestrial one. In the first aspect the twin woman is Briga Sri, the 'lady of the mouth;' in the second she is Tara Sri, the 'lady of the tongue.'[25] This dual being was depicted in Egypt as Pekht, the lioness. Pekh means division, and the genetrix divided into the double-mouth. One pekh (or peh) is the sign of the hinder-part (the back) the north, the mouth of birth the fore part (pekh-pekh or pekhti) is the mouth in front and therefore the mouth of the tongue. The double mouth typified the two horizons and the divided lioness was equivalent to the two sisters who represented earth and heaven.
- "Brahaminic Theology"? is this not the same as from ancient Egypt?
Pg. 468 The Hindu Aditi is the Great Mother of the gods who becomes twain. As the mother who yielded milk for them, she is identical with the cow of heaven in Egypt. Aditi was the primeval form of Dyaus, the sky divinity, who appears as such in the Rig-Veda, however rarely. She alternates with Diti as mother of the embryo that was divided into seven parts, the seven who were also called the seven Adityas[27].
-The 'Hindu"? Sounds like Ancient Egypt to me!
Pg. 469 Our British Druids must have possessed the myths and symbols of Egypt right to the inmost core of the matter. The Great Mother who bifurcates in the two heavens, or the two divine sisters, is represented by Kêd in two persons as Keridwen and Ogyrwen. Also her daughter repeats the dual phase. She has two names. As Kreirwy her name denotes the token of the egg (i.e., virginalis) as Llywy she is the emaner of the egg; i.e., Matrona. The double daughter represents the two phases of the female nature.
-British! Sounds like Ancient Egypt to me.!
Pg. 469 'Of the vivific Goddesses,' says Proclus, 'they call the one older but the other younger.'[32] These two forms of the mother appear in the Mapgaian mythology as Vari and Papa. Vari is the very beginning in the Abyss, the Polynesian Sige who dwells in the mute land at the bottom of Avaiki, where she is the originator of all things, from the water or mud of source. She is the blood-mother who creates her children from pieces of her own flesh, these therefore are equivalent to the embryos of A-diti. Vari is the first form of the Great Mother and Papa, answering to Diti, is the second. It is Papa who produces the first human being in a perfect human shape, as the mother of breath or soul called Foundation[33]. In a dramatic song of creation Vari, the first of the two is celebrated as the source of all, and the singers claim descent from her, the mother, alone, 'We have no Father whatever; Vari alone made us,' and 'Vari the originator of all things, sheltered Papa under her wing.'
-"She is the blood-mother who creates her children from pieces of her own flesh," This is the same understanding in Alchemy where the young are fed by the blood of the Mother, usually a Goose is used, connection to the moon!
Pg. 472 The fish denoted the element of water; the dove signified the soul of breath that was derived from the mother. The breath or spirit of life was first perceived in the motherhood, and the Two Truths of the water and breath were assigned to the mother. This accounts for the feminine form of the creative spirit in Hebrew. Julius Firmicus observes, 'the Assyrians and part of the Africans wish the air to have the supremacy of the elements, for they have consecrated it under the name of Juno.'And according to Proclus, 'Juno imports the generation of the soul.' Dido, who at Carthage was portrayed with a beard like the standing image of Aphrodite at Paphos, had a second character in Anna. These two divine sisters, the bonia coelestis and inferna coelestis were worshipped, the one, Dido, with dark bloody rites; the other, Anna, the charming one, with cheerful ceremonies. They divided into the good goddess of the upper heaven and the evil one of the lower.
-Again from many places. The Dove mentioned above became the Goose in alchemy! Soul is always from the moon 'Isis."
Pg. 473 It was argued in the earlier volumes of this work that the legend of Sut-Horus was pre-monumental, and belonged to the time of the Shus-en-Har, to whom an historical period of 13,420 years is assigned. This view has since been corroborated by the inscriptions discovered at Saqqara. In the later phase the twin-brothers are called the 'Sons of Osiris,' as was the way after the fatherhood had been established. They are described as having quarrelled and fought for the succession, whereupon Taht intervened, and assigned to each his domain, one having the north, the other the south. Hence, the first division of the heaven, or the land of Egypt, by north and south was the result of the quarrel and division of the twinborn brothers. These are the two brothers of universal mythology, and the myth is now proved to be incalculably ancient in Egypt; not a later importation from Asia as some had previously thought.
- See how old! This is why it is all around the world. In our past there evidently was a one world religion. One of the cities in South america is said to be 17,000 years old!
Pg.493 Egypt will tell us who were the two gold children. They were the twins in a dual stellar phase of the mythos. Sut-Nubti (or Sothis-Canopus) was the golden Sut of a dual nature, represented double-headed, or as the golden twin; and the type would be the same if called the double Anubis (the goldendog, canis aureus), or if it were taken for the sun and Sirius, or the sun and Saturn in a later phase. The reader may see the golden Sut (jackal or dog) in the tree which is planted in the decans of the grand or great mother, Isis, who personates the sign of Virgo - Showing how these different star groups are tied together.
Pg.496-Important- .These two heavenly beings came together in the beginning to that which was the first creation. Whatsoever is living is through the purpose of Ahura-Mazda, who is the life, and whatsoever is lifeless or of death is through the purpose of Anra-Mainyus the destroyer. They are designated the Two Creators, the Two Masters, who are sometimes spoken of as the Two Spirits of Ahura Mazda. And Haug argues that 'in consequence of an entire separation of the two parts of Ahura-Mazda, and the substitution of two independent rulers governing the universe, the unity of the Supreme Being was lost, and monotheism was superseded by dualism.' He attributes the Persian dualism to a personal Zoroaster, and observes that 'this great thinker of antiquity having arrived at the grand idea of the unity and indivisibility of the Supreme Being, undertook to solve the great problem, how are the various kinds of evil in the world compatible with the goodness, holiness, and justice of God? He solved this difficult question philosophically by the supposition of two primeval causes, which, though different, were united. The one who produced the reality is called the Good Mind; the other, in whom originated non-reality, bears the name of the Evil Mind. All good, true, and perfect things, which fall under the category of reality are produced by the Good Mind; whilst all that is delusive and belongs to the domain of non-reality, is traceable to the Evil Mind. These are the two moving causes of the universe, united from the beginning, and therefore called the twins (Yema; Sanskrit, Yamau).' In Manichaeism the development of doctrine culminated, and the eternal antagonists were separately enthroned in ceaseless conflict in the domain of what are termed spirit and matter; the original division of day and night was deepened and darkened into a great gulf riven right through the constitution of all things and the moral nature of man. But the myths do not disclose any deeper meaning by our reading into them the ideas of later times; we are only imposing on them a sense quite foreign to them in order that they may impose upon us and others in return. Each phase of the mythos out of Egypt can be identified and interpreted by the Kamite typology from the beginning to the end; and to the beginnings we must go back to learn
-This really gets back to the fact that man was created as earth and not perfected. Man was created or brought forth by the moon, not the sun. everything gets back to Genesis and how it was believed the All below was created and by which divinity. It is tied to much of the myth in different aspects and that is what must be known to understand. Consider again the serpent and Eve. Consider the above, see, all has to be considered to understand. Massey did not know anything of the process. I am not sure who it was that felot man was created by evil? Man created from earth not perfect must have been discussed by many a Philosopher in the past, those that knew this mythology (I call it, it wasn't to them) who can say how they all understood it?
Pg. 497 Many examples are given by Bosio and others of the twin Jesus; Christ the younger and Christ the elder. The American writer Lundy is pitiably perplexed at what he comes across in the Christology of the Roman tombs. The only possible explanation, he says, of the double Jesus, the young-elder, and the juxtaposition of the youthful Christ and the old one is that this contradiction is intended to depict the two natures in Christ, the divine and the human; the little, old, ugly, hairy man being the human likeness, and the youthful, majestic beardless figure the type of the divine[122]. The treatment is simply that of the Sut-Horus, and of Horus the elder and Horus the younger. The elder Horus, Har-Ur, was the old first one, the mortal, the one who wears the human image, he who was born to descend and suffer and die because he represented the declining sun in the lower signs. Horus the younger was the perennial youth, called the Lord, the Majesty, the God of the Beautiful Face. He was the sun-god, as the young immortal, the type of the eternal sonship. It is the same dual type that is traceable all mythology through. So Prajapati was one-half mortal, one-half immortal, and with his mortal half he feared death.
-Can you see what I was trying to explain. Here the one is of the earth, the other is of the sun. One dies, one is perfect.
Pg 499 The 'Two Women' who brought forth the twin brothers were placed in the zodiac six signs apart. The one, Virgo, was the Virgin Mother of the child-Horus, the negative one of the twins who is born first, but who, in the solar mythos, has to be reborn, and this time begotten by the father, Osiris, or Atum, in the menti or 're-foundry' of the male generator. This second Horus, the 'only-begotten of the father (or from a father), full of grace and truth'—each phrase may be found applied to Horus, the redeemer—was reborn of the gestator in the sign of Pisces; and the dual imagery of the zodiac, the two women and the two children who were first born as Sut and Horus, and lastly as Horus the elder and Horus the younger, is perfectly paralleled or preserved in the gospel according to St. Luke. Elizabeth the barren, who is described as the barren when she was six months gone with the child John, brings forth six months earlier than Mary. The barren breeder can only be understood according to the typology of the mythos. One horizon was the lower, considered to be that of earth, the other that of heaven. The imagery is reproduced by John, who says of himself and Jesus, 'He must increase, but I must decrease.' 'He that cometh from above is above all; he that is of the earth is of the earth, and of the earth he speaketh.' The precise characters and relationship of the mythical twins is preserved. John represents the element of water; Jesus the fire or spirit. John precedes the light, as does the dark one in all the true legends, and says, 'He that cometh after me is preferred before me; for he was before me,' as was Jacob, Ormizt, or Tangaroa, who was first by right of birth, although the latest born.
-Note six signs apart, Today in the northern hemisphere we use seven! Everything I have said is here. This is the two stones, the division, the two brothers, John and Jesus and where they are from.
Pg. 505 So, according to Plutarch, Anra-Mainyus, the Dark Mind, broke open the eggshell to be born first—the eggshell which images the heaven. -Showing heaven and egg shell are considered the same, consider Genesis.
I am going to end with this book at this point. Please believe I have only copied a small part of what I could have, trying to show just easily seen and understood information. If you want to know all and how in-depth it is Learn the process, learn the Constellations tied to the steps, learn Genesis and how to use it, lastly learn alchemy. Between my book, what is on my web page and from my forum that is not as hard an undertaking as it was for me! Believe that.
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redpajama_set_name: RedPajamaCommonCrawl


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Parafia Opieki Matki Bożej w Kamieniu – rzymskokatolicka parafia należąca do dekanatu Czernichów archidiecezji krakowskiej.

Parafia została powołana w 1909. Jest prowadzona przez Zakon Kanoników Regularnych św. Augustyna Kongregacji Laterańskiej.

Przypisy

Bibliografia
 Informacje o parafii na stronie archidiecezji krakowskiej

Religia w gminie Czernichów (województwo małopolskie)
Parafie archidiecezji krakowskiej
Parafie pod wezwaniem Opieki Matki Bożej
Parafie kanoników laterańskich
Kamień (województwo małopolskie)

redpajama_set_name: RedPajamaWikipedia


text:
1221 Amor  is an asteroid and near-Earth object on an eccentric orbit, approximately  in diameter. It is the namesake of the Amor asteroids, the second-largest subgroup of near-Earth objects. It was discovered by Eugène Delporte at the Uccle Observatory in 1932, the first time that an asteroid was seen to approach Earth so closely. The assumed S-type asteroid is one of few low-numbered asteroids for which no rotation period has been determined. It was assigned the provisional designation  and named for Cupid, also known as "Amor" in Latin, the Roman equivalent of the Greek god Eros.

Discovery

On 12 March 1932, Belgian astronomer Eugène Delporte photographed Amor at the Royal Observatory of Belgium in Uccle, as it approached Earth to within 16 million kilometers (about 40 times the distance from Earth to the Moon). This was the first time that an asteroid was seen to approach Earth so closely. The body's observation arc begins with its official discovery observation on 12 March 1932, when it was observed at the Uccle and Heidelberg observatories simultaneously.

Orbit and classification

Amor is the namesake of the Amor asteroid, a subgroup of near-Earth asteroids that approach the orbit of Earth from beyond, but do not cross it. Next to the Apollo group, the Amors are the second largest group of near-Earth objects with more than 7,000 known members. As with many members of this group, Amor is also a Mars-crosser, crossing the orbit of the Red Planet at 1.66 AU.

It orbits the Sun at a distance of 1.08–2.76 AU once every 2 years and 8 months (971 days; semi-major axis of 1.92 AU). Its orbit has a high eccentricity of 0.44 and an inclination of 12° with respect to the ecliptic.

Close encounters

Amor has an Earth minimum orbital intersection distance of  which corresponds to 41.6 lunar distances. In March 1940, it approached Earth to , its closest approach of all close encounters since 1900. Only in March 2129, it will approach Earth at a similar distance of .

Naming

This minor planet was named after the Roman god of love, Cupid, also known as Amor in Latin, and the Roman equivalent of the Greek god Eros. The near-Earth asteroids 433 Eros and 763 Cupido are also named after the god of love. The official naming citation was mentioned in The Names of the Minor Planets by Paul Herget in 1955 ().

Physical characteristics

Amor is an assumed, stony S-type asteroid.

Rotation period

As of 2018, no rotational lightcurve of Amor has been obtained from photometric observations. The body's rotation period, pole and shape remain unknown.

Diameter and albedo

According to Tom Gehrels publication Hazards due to Comets and Asteroids from 1994 (pp. 540–543), Amor measures 1.0 kilometer in diameter and its surface has an albedo of 0.15. The Collaborative Asteroid Lightcurve Link assumes a standard albedo for stony asteroids of 0.20 and calculates a diameter of 0.857 kilometers based on an absolute magnitude of 17.7.

References

External links
 Asteroid Lightcurve Database (LCDB), query form (info )
 Dictionary of Minor Planet Names, Google books

001221
Discoveries by Eugène Joseph Delporte
Named minor planets
19320312


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The Empire State Building is a famous skyscraper in Midtown passiivi.info was built in and was the tallest building in the World until the construction of the original World Trade Center in in the Empire State Building got it's lights switched out and put on it's first LED light show to Alicia Keys' Songs Girl on Fire and Empire State of Mind. in the Empire State Building. Lyrics to 'Empire State Of Mind' by Alicia Keys: Even if it ain't all it seems, I got a pocketful of dreams / Ooooh, New York! Ooooh, New York! Jan 23, · Alicia Keys - New York "Empire State of Mind" | OFFICIAL VIDEO Thanks for views. Alicia Keys & Jay Z - Empire State of Mind LIVE (HERE in Times Square) - .
Empire state building alicia keys s
Jan 23, · Alicia Keys - New York "Empire State of Mind" | OFFICIAL VIDEO Thanks for views. Alicia Keys & Jay Z - Empire State of Mind LIVE (HERE in Times Square) - . Nov 29, · Empire state of mind! Dazzling new LED lights with MILLION color possibilities sparkle and strobe on Empire State Building (with Alicia Keys singing inaugural song) By . Alicia Keys - Empire State of Mind (Part II) (Letra e música para ouvir) - New york / Concrete jungle where dreams are made of / There\'s nothing you can\'t do / Now you\'re in new york. The Empire State Building stood as the world's tallest building for nearly 40 years until the completion of the World Trade Center's North Tower in Lower Manhattan in late Following the September 11 attacks in , it was again the tallest building in New York until the new One World Trade Center was completed in April Preceded by: Chrysler Building. The Empire State Building is a famous skyscraper in Midtown passiivi.info was built in and was the tallest building in the World until the construction of the original World Trade Center in in the Empire State Building got it's lights switched out and put on it's first LED light show to Alicia Keys' Songs Girl on Fire and Empire State of Mind. in the Empire State Building. Lyrics to "Empire State Of Mind (Part II) Broken Down" song by Alicia Keys: Oooh oooh, New York Oooh oooh, New York Grew up in a town That is famous as a place of movie scenes. In "Empire State of Mind" (Part I) appearing on the album The Blueprint 3, the mysteriously infamous hip-hop artist Jay-Z refers to himself as "the new Sinatra." Although Jay-Z is about as "Frank Sinatra" as Alicia Keys is "Doris Day," there is something bizarrely apt in his analogy, at least from the music industry's perspective. Lyrics to 'Empire State Of Mind' by Alicia Keys: Even if it ain't all it seems, I got a pocketful of dreams / Ooooh, New York! Ooooh, New York!"Empire State of Mind" is a song performed by American rapper Jay-Z featuring vocals by American singer Alicia Keys, from Jay-Z's 11th studio album, The Blueprint 3 (). . Keys also wrote "Empire State of Mind"'s new bridge. Jay-Z stated. Lyrics to 'Empire State Of Mind' by Alicia Keys: Even if it ain't all it seems, I got a pocketful of dreams / Ooooh, New York! Ooooh, New York!. Empire State of Mind (part II) Songtext von Alicia Keys mit Lyrics, deutscher Übersetzung, Musik-Videos und Liedtexten kostenlos auf passiivi.info Empire State of Mind Lyrics: Yeah / Yeah, I'm out that Brooklyn, now I'm down The Blueprint 3's third single is a love song to Jay-Z and Alicia Keys' home city. Able bake sale flyers, the heirs episode 15 subtitle indonesia killer, beauty from pain pdf 2shared bandicam, cs 1.6 zombie plague 5.0, tony robbins rpm planner
watch the video Empire state building alicia keys s
Jay feat Alicia Keys Empre State Of Mind Official Video Lyrics, time: 4:41
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text:
Cette liste recense tous les insectes répertoriés dans le Nord-Pas-de-Calais à partir des données de l'Inventaire national du patrimoine naturel (INPN).

A

B

C

D

E

F

G

H

I

J

K

L

M

N

O

P

Q

R

S

T

U

V

W

X

Y

Z

Notes et références

Annexes

Articles connexes
 Liste rouge régionale des odonates du Nord-Pas-de-Calais
 Inventaire national du patrimoine naturel
 Insecte

Liens externes
  Étude des peuplements de coléoptères terricoles de quatre formations naturelles du Nord de la France

Bibliographie

insectes du Nord-Pas-de-Calais
Liste en rapport avec la faune de France
Liste en rapport avec les Hauts-de-France


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LU Arts
Reclaiming The Narrative - The Chronicles of Black Joy podcast
Creative writing and spoken word
Employability and enterprise
Arts collection
Launched in late October 2021, The Chronicles of Black Joy was a Spotify podcast series developed by recent Loughborough graudate Rennae Walker.
As Producer, Rennae developed the concept and gathered work from students who wanted to create new audio and written work for the platform. The audio releases on 'Reclaiming the Narrative: Chronicles of Black Joy', offered a different narrative to the black British experience that is often perpetuated in the media, popular culture and even institutions. The platform was celebratory, presented work rooted in blackness, identity and, most importantly, joy. Rennae presented work by a collective of dynamic artists who have been using their art to inspire and provoke conversation on how multi-dimensional Black British identities are, and also partnered with an array of emerging black writers/students from Loughborough University, each sharing their creative stories on identity beyond struggle.
"Too often the narratives of the Black British experience perpetuated is one tainted with trauma and struggle. This is true for our experience as a people and should not be negated. And though we're still on a journey of healing from and combating racial trauma this does not make up our whole identity; leaving little room for black stories of joy. And there is so much joy in being black that is seldom expressed."
Below you can listen to the full podcast series and read about each artist and their respective work, speaking on black joy and its meaning to them.
Episode 1 'Ayomide' by Lanaire Aderemi
Ayomide, is a sonic collage that explores the joyous moments and memories of three generations of Black women.
The short story was written and performed by poet and playwright Lanaire Aderemi, featuring two important women in her life, her mother Adebimpe Aderemi and her grandma, Adenike Sangosanya.
About Lanaire
Lanaire Aderemi is a poet and playwright committed to amplifying and archiving untold stories. She graduated with a First Class in Sociology and an MA in Creative Writing from the University of Warwick. She is the recipient of the 2019 Shoot Festival Artist Development Award and the 2020 Peter Gutkind Prize. In 2017, she self-published her poetry anthology 'of ivory and ink' which was later adapted into a play called 'an evening with verse writer' (Tristan Bates, 2018). Her award-winning play 'an evening with verse writer' (Warwick Arts Centre, 2019) was adapted into a film and screened at 'story story festival'. Alongside writing, she has written and directed films which have been screened at 'change your style' and 'story story' festival. Her work has appeared in The Republic, BBC, Tate Modern, Birmingham Rep Theatre, Theatre Absolute, 20.35 Africa anthology and Africa Writes. She is currently a PhD candidate in Literary Practice at the University of Warwick.
Episode 2 'Litmus' by: N/A Oparah
This piece is a consideration of black joy through the lens of what remains, what survives and what doesn't—and the small, important signs that resilience and beauty are still happening.
The piece is recorded in situ. It is meant to sound layered—a part of something else. The song is looped, on repeat, with the static of life underneath to remind listeners that when stolen and stripped from its world, some presences, once free and joyous, can become robotic, corrupted, artificial, and thinned.
About Ngozi
Ngozi "N/A" Oparah is a queer, first-generation Nigerian-American writer, artist, and researcher. Her debut novella, Thick Skin, was published by KERNPUNKT Press in April 2021. Her other work has appeared in Fictional International, Madwomen in the Attic, Five:2:One, ANMLY, A Velvet Giant (Best of the Net Nomination), Foglifter (where she is currently a prose editor), and other journals. N/A has received residencies in writing, art, and narrative media from Can Serrat in El Bruc, Spain and Proyecto Lingüistico Quetzalteco in Xela, Guatemala.
N/A is currently on tour as a performing artist in Satelliser: A dance for the gallery. She holds an MFA in Creative Writing from California College of the Arts and a B.S. in Neuroscience & Philosophy from Duke University and is represented by PJ Mark and Hafizah Geter of Janklow & Nesbit. She is the Director of Community Programs at StoryCenter, a digital storytelling non-profit in Berkeley, CA where she teaches short form memoir and visual storytelling. She is currently studying towards a PhD in Creative Arts and Design (R2) and investigating the role(s) of experimental and multimedia storytelling on mental health literacy.
Episode 3 'Furaha Ya Watoto' by Magero
Furaha Ya Watoto (The Joy of Children) is a nostalgic musical journey into black joy through the lens of Magero's childhood.
Written and performed by poet Magero, the short story portrays elements of Black British culture as well as his Kenyan roots and upbringing. It is a comical fusion of storytelling and poetry accompanied by afro sounds and melodies created by music producer FazeOne.
In this episode, creative producer Rennae Walker and guest artist Magero reflect on the profound innocence of childhood, the beauty of family and preserving imagination, all through the lens of black joy.
About Magero
Magero is an Award nominated poet/spoken word artist, workshop facilitator and co-founder of 'The Brotherhood Creative Collective'.
Magero is a vivid storyteller who incorporates a fusion of poetry, music and acting within his artistry. Known for his intricate writing style and ability to misdirect audiences through manipulating their perception within his narrative, his work often includes unexpected plot twists.
Much of Magero's work is based on his lived experiences and faith. He is featured in the therapeutic theatre play 'So U Think Im Crazy?' and has performed at events such as BBC Children's Global Media Summit, Breakin' Convention Festival and The BBC Music Radio Awards. His debut release 'Climate Change Need Not Become The Legacy We Leave' is available to watch on BBC Ideas and He was most recently nominated for The Best Poet 2021 at the UK Entertainment Awards.
Episode 4 'Come As You Are' by Yasmin Nwofor
Come As You Are speaks to each of us who have only ever been taught to conform. Learning to express ourselves freely can be a life-long lesson but there is great joy to be found on the way!
The short story was written and performed by twiced-published poet and current Loughborough student, Yasmin Nwofor who challenges the idea of seeking the "big" joys, the landmark events, often forgetting the casual magic and understated joy in our every day. Come As You Are is a reminder of this
As part of our bitesize episode segment we invite students of Loughborough University to share a short story.
About Yasmin
Yasmin is a third year Natural Sciences student studying at Loughborough University. A twice-published poet, she enjoys expressing the day-to-day as art in written form. Yasmin draws inspiration from casual conversation and journal entries, musing on all that makes us human!
Episode 5 'Tulia' by Musumba
Tulia translates to "Be still" in Swahili; exploring the shifts in how we have been structured to view ourselves.
The short story was written, produced and performed by an exciting and much acclaimed voice in the underground music scene, Musumba, who presents a simply beautiful story piece that shadows the theme of being "still" throughout the chaos and celebrating our joys within and around us as black people.
Tulia features two very important figures in Musumba's life, her mother and dear friend Ethan Asante.
In this episode, creative producer Rennae Walker and featured artist, Musumba, explore the concept of black joy through a more spiritual and introspective lens. They explore the importance of looking back as a gateway to move forward and reap the fruits of healing and joy in Jesu.
About Musumba
Musumba is the new name weaving itself through the music scene, both locally and internationally. Her poetic stories of life, faith and purpose, intertwined with soulful runs and punchy rap styles, effortlessly immerse her listeners in a kaleidoscope of her own ambient production.
At just 18 years of age, the Bradford raised, Congolese songwriter has proven her place as a true artist; having been playlisted on BBC Radio 1 and Radio 6, appearing at London's BBC introducing live and opening Manchester's 'See My World' Festival, showcased alongside the likes of WSTRN, Misha B, Juls and Dreya Mac.
As well as exhibiting her talents on multiple stages through a number of exceptional live performances in 2021, Musumba also released her debut EP '2:40' at the start of the year.
She later followed it up in October with her captivating 'Distant Demos' project, boasting three unfinished yet powerful songs, collating over 20,000 streams across a variety of digital streaming platforms.
After stirring up the game a little, Musumba is just getting started. With her debut headline show rounding off an eventful year, she set the bar with an intimate, memorable performance, ready to take on new heights in 2022.
Episode 6 'Royal Radiance' by George Taylor
Royal Radiance is a narrative of four individuals who have not been blessed with the greatest of circumstances with each verse covering a glimpse of their journey. Despite their battles, their joy is their weapon as they represent just a few examples of changing the narrative of black culture.
The short story was written and performed by producer/rapper George Taylor aka meka who sought to reveal society may view these people in a certain way but their royal radiance has the power to shine through any stereotype they get labeled with.
Royal Radiance presents some of the battles we as a community may face with the system but inspires community and unification as a people.
George Taylor aka meka. A producer/rapper with a love for creating compelling stories through conscious lyrics and captivating musicality. Influenced from J. Cole and Lecrae, spreading a message of motivation and inspiration is at the core of his musical mantra.
Episode 7 'Bittersweet' by AKS
Bittersweet explores joy explored through the lens of an elder statesman talking to the youth encouragingly and exploring the disparity between their generations and the life moments navigated with the gift of experience.
The spoken word piece highlights that a major part of black joy is another's joy that we adopt as our own. And that there's something special in that. But it also distinctly captures the neighboring and opposing feelings that also co-opt many of our moments of joy and the duality that it presents.
In this episode, creative producer Rennae Walker and featured artist, AKS, explore the concept of black joy, dissecting its nuance and complexities other than favorable feelings of elation. They explore the role and sometimes necessity of pain in birthing experiences of joy in its truest and purest form.
About AKS
With a new project, "As Plane as Day: Departures & Arrivals", in the proverbial wings and the promise of further singles spilling out over 2022; it's clear that this is one journey that isn't set to end any time soon for the rap prodigy and the world is definitely within reach for this undeniable talent.
Esther-Rennae Walker (Creative Producer)
Esther Rennae Walker is a storyteller and emerging creative producer from London, committed to exposing the unheard stories that sweep the streets of London and beyond.
Reece Ferreira (Technical Producer)
Reece has always had a love for music, and began creating music from the age of 12, developing his skills in the art of writing, production, sound engineering.
Vuyo Ngwenya (Graphic Designer)
Vuyo is a photographer and graphic designer who, during his time at Loughborough University, became the media rep for the ACS.
Loughborough University Arts
Martin Hall Building
Loughborough LE11 3TU, UK
luarts@lboro.ac.uk
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Awesome Blogs
Tour & Giveaway: Miss Whitaker Opens Her Heart by Jennifer Moore
Miss Whitaker Opens Her Heart by Jennifer Moore.
Audience/Genre: Historical Fiction, Regency Romance.
Publication: April 2017.
Australia, 1814
As a young child bound for a strange country, Sarah Whitaker dreamed of life with her father on his sprawling Australian ranch. But her hopes were shattered when she learned of his death and of her new role as heiress of the largest sheep farm in New Wales. Orphaned in a land greatly populated by petty criminals exiled from England, the future seemed grim. But now, ten years later, Sarah has defied the odds and become a successful businesswoman much to the chagrin of her male counterparts. Hardened by the dishonesty of both her fellow ranchers and the felons in her employ, Sarah has learned one important truth: no one is to be trusted.
Daniel Burton is a lucky man. Sentenced to death for his role in a horse-race scandal, Daniel was granted reprieve thanks to the influence of his wealthy relatives. Now, rather than death, Daniel faces exile in Australia an opportunity to put past mistakes behind him. But when he purchases land with the intention of farming it, he unwittingly arouses the wrath of his new neighbor, Sarah. What begins as a battle of wits, however, soon becomes a warm friendship and perhaps something more. But when Daniel's secret past is revealed, will Sarah be able forgive yet another deception?
Reviewed by Kelly.
I have to admit this was a slow start for me. I wasn't interested in the way Sarah was in the beginning. I almost stopped reading. But, I am very glad I finished it! I found myself sobbing through much of the last half of the book. Sarah and Daniel both grew and changed and I now see why the beginning was the way it was.
I enjoyed reading how people learn to forgive and change and grow and love others and serve others and help others and the diversity in this book. Some people are snobby and don't forgive though! And many people are hypocrites!
I don't really want to go into the book on the characters. As all the characters have meaning in the book and it is the change in them that makes this book incredibly good!
If you like watching people grow and forgive and love and change and see others in a different light, if you like reading about forgiveness, if you like the sea, horses, land, sheep, working hard then this might be for you. I will be reading this book again and again!
Jennifer Moore is a passionate reader and writer of all things romance due to the need to balance the rest of her world, which includes a perpetually traveling husband and four active sons, who create heaps of laundry that are anything but romantic. Jennifer has a BA in linguistics from the University of Utah and is a Guitar Hero champion. She lives in northern Utah with her family.
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Posted by Kelly at 8:23 AM
Labels: giveaway, historical fiction, Jennifer Moore, Miss Whitaker Opens Her Heart, regency romance
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When $1.5 Trillion Could Be Too Low, the Price Tag Is Too High
It's not too late for Congress to curb the Pentagon's plans for the absurdly expensive F-35 combat jet.
By Ryan Alexander	| October 1, 2014
It's not yet clear exactly how much the Pentagon's fancy new F-35 combat jet will cost or when any of these stealth fighters will become operational. But the F-35 already shows great promise in the tough competition to become the most expensive weapons program ever undertaken.
Because of the jet's projected eye-popping price tag of up to $344.8 million each, we at Taxpayers for Common Sense have always kept an eye on the F-35. And we were appalled by a request from the Pentagon in early September to shift funds from the so-called Overseas Contingency Operations fund to accelerate the purchase of eight of these planes.
The contingency fund supplements the official military budget to cover direct warfighting costs. But since the F-35s aren't operational yet, there's no way for them to do any warfighting. Fortunately, the House Appropriations Committee nixed that particular budgetary sleight of hand.
Days later, the Government Accountability Office (GAO) weighed in on the F-35, casting yet more doubt on its affordability. Following years of developing this fighter jet, the Pentagon "has not fully addressed several key risks to long-term affordability and operational readiness," the GAO observed.
In other words, between the considerable resources of the Pentagon and GAO, the U.S. government still can't definitively say what the plane will cost or when it will fly in combat.
The GAO last estimated the entire F-35 program's cost in March 2012. At that time, the estimate for the cost of developing and buying the plane and for improving military airfields where they will be based was $395.7 billion.
And it's probably safe to bet that number has gone up in the last two and a half years. It's not like Pentagon cost estimates ever go down. Besides, this estimate doesn't include the cost of maintaining F-35s, and therefore leaves out a lot of what the government deems to be "sustainment " or "life cycle" costs.
The new GAO report points to two current estimates of these long-term expenditures. One comes from the F-35 Joint Program Office. It's — get ready — a mere $916 billion. The other estimate hails from the Pentagon's office of Cost Assessment and Program Evaluation (CAPE) and clocks in on the other side of the trillion-dollar mark at $1.02 trillion.
Here's the bottom line: Developing, buying, basing, and maintaining the F-35 is currently estimated to cost close to one and a half trillion dollars.
That does sound like a lot of money, right? But the GAO says both estimates could actually be too low and that it could cost more than a trillion dollars just to keep this airplane in the air.
I'd like to put that number in perspective: Spending $1.5 trillion to purchase the jets and keep them combat-ready for many years is several hundred billion dollars more than the entire federal discretionary budget for one year. It's also triple the Pentagon's entire annual budget.
Congress was a little late in asking the GAO to assess the real costs of keeping the F-35 Joint Strike Fighter flying. But it's still not too late to curtail this massive program.
The Pentagon has other options, as my organization explains in our own report. I hope Congress keeps a microscope on this massive weapon system. A trillion and a half dollars is too much to squander like this.
Mortgaging the Pentagon
A Smarter Pentagon Budget
Libya War Is No Pentagon Lifeline
Too High a Price for Courage
By Ryan Alexander
Ryan Alexander is president of Taxpayers for Common Sense.Taxpayer.net
Distributed via OtherWords (OtherWords.org)


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identity construction (yes it sounds cliche but...)
Posted by Logan Sparks on March 12, 2012 at 11:30am
As I begin this week, I remember a conversation I had with a doctoral student friend last night who is struggling to finish his PhD. While I managed to meet my deadlines fairly well during my PhD, that was defiinitely an exception. In general, I have also struggled with procrastination, as I believe we all do at some point and I gave some thought to whether there is a vlaue to taking a psychological approach to research. In other words, its helpful to look at what in your life is taking your focus off of the precious mental power you need to invest in research. A great deal of that focus is needed and resolving personal dilemmas as best we can should be an integral part of an academic career since we are less able to go on auto-pilot in our work and the static of distraction is particularly unhelpful.
We also talked a bit about identity among different demographics of modern Turks, a subject I have taken up a bit in my PhD but which needs further work. The crux of the issue is this: I have repeated heard from Turkish interviewees or in informal talks with friends that Turkish culture is constructed. There is no 'real urkish culture' but rather that Turkishness is made of a great mix of identities, cultures and languages (although not religions, interestingly...although that statement could also be refined at a later point).
What fascinates me about this very prevalent discourse in Turkey is, of course, that it suggests that somewhere out there are 'pure cultures' that have retained there ancient lineages largely 'unmixed', which we know is not the case and I think many of the people who describe Turkish culture in this was are also aware of that fact. It seems to me constructions that are older have more of a veneer of 'authenticity' while more recently developed bircolage somehow seems 'mixed' or 'inauthentic'. If newer constructions can be tightly linked to older ones they also seem to have more authenticity. Take for example the city of Athens that was largely unpopulated for centuries until Greek Independence when its connections with Ancient philosophical schools (key to a *new* Greek identity built on past narratives) were seen as ideal for the carving out of a seeminly eternal space, a capital for a newly independent people. A recent and, effectively, mixed space but with a feeling of 'authenticity'. Accoding to BIrtek (see his article 'From Affiliation to Affinity in BenHabib, Shapiro, Petranovic: Identities Afiliations and Allegiances' 2007) something similar took place in Turkey during the late Ottoman Tanzimat period (so, not so terribly long after Greek independence) in which an 'authentic' lifestyle not based strictly on Islamic religious law needed to be established in a way that good include large numbers of people in an Ottoman identity. What emerged was an emphasis on the notion of 'adab' ('edip', turkish) an Islamic concept of right behaviour and way of being that fit well with notions of high culture and etiquette, drawing on an Islamicate foundation/background. So, therefore, not created ex nihilo (i.e. 'inauthenic' by popular perception) but also not seen to be rigidly religious in a style that was at that time out of favour.
So, these tendencies to construct authenticity are everywhere but I am increasingly questioning why so many Turks seem so much more aware of this bricolage than others...
Comment by Logan Sparks on March 27, 2012 at 9:56am
thank you, john overlapping social circles and segmentary oppositions are both very helpful conceptual tools ofr this subject. regards.
Comment by John McCreery on March 14, 2012 at 2:03pm
Could it be time to resurrect one of the classic anthropological ideas — segmentary opposition? Evans-Pritchard wrote about it among the Nuer. Geertz elaborates on it in his descriptions of Morocco. The basic idea is simple. Who I am depends on who we are fighting. Nothing mysterious here. Sports fans do it all the time, shifting allegiance from team to league depending on the contest in question. In a more anthropological setting, I fight with my neighbor. We are allies in battles with the next neighborhood. Those bloody bastards? They're on our side in a battle with the next town.
Things do get complicated, of course, when a simple tree structure gives way to, borrowing Simmel's notion,I overlapping social circles, which may leave me stuck in the middle.
The critical point about romantic nationalism is that it tries to override all these complications and assert a single, ideally pure national identity. The problem for those asserting such visions is that the local and overlapping loyalties don't automatically disappear. Ask The ghosts of Bismarck, the Meiji Oligarchs, ... And, yes, of course, Attaturk.
Comment by Logan Sparks on March 14, 2012 at 10:37am
Hi John - yes definitely relevant. What occurs to me is that we, of course, see our history through the lense of what we are now, to put an insight of mine in simple terms. So, when Kemalism and 29th century nationalism arrive, they do so in a moment that is perhaps more impactful for Turkey than other societites because rather than just being a project of identity-making and state-building, they also came in the wake of WWI and are seen to have saved Turkey from a very practical sitaution of ruin in which the TUrks would ahve become the last majority Muslim society to finally fall to the western powers and be chopped up between them. When that vast national rescue operation took place and then the new system was a very recently constructed secular-nationalist one, perhaps it created a sense of supericial change and slightly 'inauthentic' identity. So, for example, when I dialogue with people about the origin of 'Turkish' words and they insist that such words are really Arabic or Persian or French (despite being highly turkified grammatically and perhaps in use for many many centuries by Turks) and that 'real' Turkish words are a more turkic sounding synonym, I know this comes through a certain recent disorientation that is a product of the period you mention.
I cant help but feel that an Ottoman saw his or her langauge as Ottoman withouth too many qualms about the fact that some vocab was, in a sense, 'foreign' because the way of perceiving identity and community was previous to the nationalist movements of the 2th centure. I can't prove that, but I can assume there was some difference. Whether that difference made for a more secure or less complex identity, I don't know.
Comment by John McCreery on March 13, 2012 at 2:57am
When I hear people talking about national identities, I find myself thinking not only of Benedict Anderson's imagined communities but also and more directly Michael Kammen's Mystic Chords of Memory. One author's work is rooted in the study of ethnically mixed populations in Southeast Asia, the other on the creation of tradition in the ethnically mixed United States of America....I find myself recalling the notion that the ethnically homogeneous nation state is an ideal constructed by 19th century European Romantics, who, returning to Turkey, influenced Attaturk. The Romantic influence has also had an immense impact on both right wing nativist movements and multiculturalism—both of which share the constructed veneration of one language, one blood, one soil that was responsible for the great bloodbaths of the twentieth century and have virtually obliterated from common knowledge the fact that the great empires, from Persia to Rome to the Ottoman and Austro-Hungarian empires were cosmopolitan polities in which ethnic difference was commonplace and no particular barrier to political cooperation or conflict. Does any of this seem relevant?


Are you stressed about going to the dentist? You're not alone. Many people are afraid to go to the dentist, for a variety of different reasons. Some people may have had negative experiences with dentists in the past. Others may fear the lack of control they have while in a dental chair.
If you've had a bad experience with a dentist in the past, you may think that all dentists are bad, uncaring people. However, not all dentists are the same. Remember that dentistry is a service that you are paying for, so you can interview dentists before enlisting their services.
A good dentist is one that doesn't assume that each patient has the same pain threshold and one who will handle dental procedures differently for different people. The dentist you want will make sure that you are comfortable before proceeding. Know that many dentists have practices specially targeted towards fearful patients and can offer things like sedation.
Agreeing on a stop signal with your dentist so he or she knows when you need a break or are in distress.
Predetermining with your dentist how often breaks will be taken during a procedure.
Choosing to have only one procedure done per appointment. Know that dentists must have your consent before performing a procedure.
Asking the dentist to explain everything to you before a procedure takes place.
Telling your dentist your fears and determining how the procedure will be handled are great ways to be more in control.
Bring music to drown the sound of the drill out. There are even some music tracks out there specifically created to blend out the sounds of the drill.
Get familiar with the drill. Ask your dentist if you can touch and hear the drill before the procedure so you can get a realistic idea of what the drill is really like.
Breathe deeply through your nose. This suppresses your urge to gag.
Use a throat spray with numbing action or a snore relief spray.
Desensitize your gag reflex at home by gently putting a toothbrush or even borrowed tools from your dentist onto your palate and controlling your reflex by breathing through your nose.
For a more extensive list of dental fears and ways to cope with them, click here.


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Marketing in New Hampshire
Marketing Schools in New Hampshire
479 students earned Marketing degrees in New Hampshire in the 2018-2019 year.
As a degree choice, Marketing is the 4th most popular major in the state.
Education Levels of Marketing Majors in New Hampshire
Master's Degree 115
Post-Master's Certificate 15
Postbaccalaureate Certificate 15
Award Taking Less Than 1 Year 3
View the 2021 Best Marketing Schools in New Hampshire
In New Hampshire, a marketing major is more popular with women than with men.
The racial distribution of marketing majors in New Hampshire is as follows:
Jobs for Marketing Grads in New Hampshire
5,480 people in the state and 1,378,870 in the nation are employed in jobs related to marketing.
Wages for Marketing Jobs in New Hampshire
Marketing grads earn an average of $122,020 in the state and $103,330 nationwide.
Most Popular Marketing Programs in NH
There are 10 colleges in New Hampshire that offer marketing degrees. Learn about the most popular 10 below:
104,068 Total Students
Roughly six years after entering college, graduates of this school earn $38,900 a year. Of all the students who attend this school, 75% get financial aid. 100% of the teachers are full time.
17 to 1 is the student to faculty ratio. Most students complete their degree in 4.25 years. The student loan default rate of 4.90% is a good sign that graduates can afford their loan payments.
In their early career, Franklin Pierce College grads earn an average salary of $34,100. This private school has an average net price of $30,134. The student loan default rate of 4.90% is a good sign that graduates can afford their loan payments.
Manchester Community College
70% of students are awarded financial aid at this school. The full-time teacher rate is 13%. A typical student attending New Hampshire State Trade School will pay a net price of $14,562.
Saint Anselm College
69% of the teachers are full time. The average student takes 4.04 years to complete their degree at St. Anselm College. In their early career, St. Anselm College grads earn an average salary of $49,000.
It takes the average student 4.21 years to graduate. Graduates earn an average $28,500 after graduation. The student to faculty ratio is 18 to 1.
Nashua Community College
6 Degrees in Major Awarded
Students enjoy a student to faculty ratio of 10 to 1. Of all the students who attend this school, 62% get financial aid. Of all the teachers who work at the school, 10% are considered full time.
Seeking financial aid? At this school, 100% of students receive it. Of all the teachers who work at the school, 27% are considered full time. Graduates earn an average $39,800 after graduation.
This public college charges it's students an average net price of $13,604. The student loan default rate is 9.70% which is lower than average. 9% of the teachers are full time.
Great Bay Community College
Of all the teachers who work at the school, 14% are considered full time. A typical student attending Great Bay Community College will pay a net price of $16,392. Seeking financial aid? At this school, 69% of students receive it.
Marketing Careers in NH
NH Job Growth
NH Median Salary
Advertising and Promotions Managers 12% $82,330
Sales Managers 9% $142,020
Related Majors in New Hampshire
Annual Graduates in NH
Hospitality Management 85
Specialized Sales 69