text:
Mazda RX-9 features Mighty Morphin' tire technology and energy absorbent skin
Apr 26th 2006 at 3:24PM
The Mazda RX-9 is an advanced concept that came out on top in this year's Michelin Design Challenge. It's a hybrid featuring a 2.5L V6 and wafer-thin electric motor, but features a couple of technologies not seen before in the race for higher fuel mileage.
James Owen Design is the one-man firm responsible for penning the vehicle's shape. The slick skin features electrostatic collectors that can collect electrical charges that build up on the exterior panels while driving through dry air. The electricity is store in capacitors that can then feed the hybrid drivetrain along with the onboard regenerative braking.
What's more trick are the vehicle's tires, which feature Electroactive Polymers (E.A.P.) that with varying levels of voltage from the vehicle's electrical system can actually change the shape and depth of their tread pattern. The rubber donuts can go from flat and smooth to knobby and grippy, or even ride high on their centers for ultra-low rolling resistance.
Follow the jump for further exposition provided by James Owen himself and for additional images. High res images can be found at the above links.
[Source: James Owen Design]
James Owen Design has recently completed the Mazda RX-9 / Michelin
E.A.P. transportation concept which was a Winner of the Michelin Challenge
Design at the 2006 North American International Auto Show.
Michelin E.A.P. is a tire system designed to take advantage of current
and forthcoming advances in hybrid drive train technology. E.A.P.
stands for Electroactive Polymer, which are also known as artificial muscles
for their functional similarity to natural muscles. E.A.P.s are plastic
materials that change shape and size when a given voltage or current is
applied. These new and advanced polymers have been crossbred with
hybrid engine technology and vehicle mounted, electrostatic collectors to
create a new kind of adaptive tire concept.
Michelin E.A.P.s work in conjunction with the proposed Mazda RX-9's
hybrid drive train, electrostatic collectors, and onboard capacitor. The
E.A.P. wheel and tire assembly draws voltage from the hybrid engines'
batteries and capacitor. This voltage activates the articulated treading
that responds to changing road conditions. The batteries build up a
charge through regenerative braking and engine charging while the
capacitor gathers electrical energy through electrostatic nodes located at
strategic points on the vehicles skin. As the vehicle travels through the
dry California air, an electrical charge is built-up on the exposed
metal areas of the RX9. This continual build up is channeled to the
batteries and on-board capacitor for distribution to the tires and other
Michelin E.A.P.s are designed to "morph" from one mode to another when
voltage is applied to the electroactive polymer that each tire is made
up of. This allows the tires' tread pattern to change shape and depth.
In this way, the tire can be optimized for various road conditions. The
tread can change from a smooth, even shape to take advantage of the dry
road conditions of L.A. County to fully protruded tread sections that
are optimized to bite through the snow and slush of Mt. Shasta. "Low
Rolling Resistance" is one of the most useful and relevant modes for the
California market. This mode allows the RX-9 to cruise on it's narrow
center section of tread. Since commuting is a major part of Californians
lifestyle it is absolutely critical that a vehicle and it's tires are
optimized to return the highest gas mileage and lowest emissions
The Mazda RX-9 puts its power to the ground via Michelin E.A.P. tire
technology. Combined with a four-wheel drive system, regenerative
braking, cylinder deactivation at cruising speeds, and lightweight bodywork
the RX-9 can feasibly deliver 30 to 40 m.p.g., achieve low six second 0 -
60 M.P.H. times, and attain a top speed north of 150 m.p.h. The front,
transversely mounted hybrid drive train consists of a multi-valve 2.5
liter V6 coupled to a wafer-thin electric motor/generator sandwiched
between the engine and six-speed transmission. The RX-9 is configured to
seat four passengers comfortably. It incorporates two smaller rear doors
(that deploy in a clamshell fashion) easing ingress and egress for rear
passengers. The doors and inner doorframe are part of a larger
internal structure that combines an aluminum space frame with composite
exterior surfaces and electrostatic collection nodes. These nodes transfer
electrical energy to an on-board capacitor. This energy is gathere
d as the vehicle travels through the dry California atmosphere and is
utilized to power the Michelin E.A.P. tire system.
regenerative braking
Amazon is letting carmakers customize its Alexa voice recognition tech
Drone company DJI reportedly working on self-driving technology


text:
by brightgirl | May 1, 2016 | Articles, By JC
Maud Powell's Violin
Joseph Curtin, The Strad, May 2016
Maud Powell (1867–1920) and George Gemünder (1816–99) were trailblazing figures – she the first American-born violinist to be recognised internationally as an artist of the first rank, he a German-born immigrant who brought top-level European violin making to the United States. They lived in an era when both women and new violins were considered ill suited to the upper reaches of the music world, and yet by a strange twist of fate, Powell became the first major violinist ever to use a new violin as her primary concert instrument. How this came to pass is both a cautionary tale and a study in ironies. By all appearances it was a swindle whose victim ended up with the violin she loved most. It was also an inadvertent blind test of the sort no ethical researcher could ever mount.
I first heard about Maud Powell through the writings of her biographer Karen Shaffer. In 1986 Shaffer founded the Maud Powell Society for Music and Education. In 2014 Powell received a lifetime achievement award at the Grammys. Among her many accomplishments were U.S premiers of the Tchaikovsky, Sibelius, and Dvořák violin concertos. Powell was born in Peru, Illinois, and began playing violin and piano when she was seven. Her family took her to hear the celebrated French-born violinist Camilla Urso, and as Powell later remembered, "She showed me what all my crude scrapings might become." Powell was soon recognised as a prodigy. At 13 she went to Europe and studied with Schradieck, Dancla and Joachim, who conducted the Berlin Philharmonic for her debut.
There is a George Gemünder violin with a typewritten label added above Gemünder's. It reads: 'Property of Miss Maud Powell.' According to Shaffer, this is most likely the instrument Powell took with her to Europe. She returned with a Pietro Guarneri of Venice, which Joachim had chosen for her. Though she would keep it for two decades, the violin was evidently not a fit, because she soon began shopping for another. Perhaps because she was no longer under Joachim's wing, perhaps because New York was well behind Paris, London and even Chicago in terms of violin expertise, Powell was besieged by fakery.
Powell with the Peter Guarneri violin chosen for her by Joachim
A New York dealer called Victor S. Flechter sold her an instrument supposedly built by Gaspard Duiffopruggar in 1515. After Powell had struggled with it for two years, the violin was identified by maker Henry R. Knopf as a cheap French copy. Powell sued Flechter. George Gemünder was among the expert witnesses. The press had a field day, but in the end Powell prevailed. (Flechter would later be convicted and briefly imprisoned on charges of stealing the 1725 'Bott' Stradivari. George's brother August Gemünder reportedly testified against Flechter, having mistaken a Strad copy Flechter was selling for the original 'Bott'. When the original was recovered eight years later, Flechter was exonerated. Such was life in New York.)
Powell's next instrument came to her on loan as a Nicolò Amati. According to an unpublished memoir by her husband and manager, Godfrey Turner, it produced "what we all knew as the 'Powell tone' [though at a] sacrifice of energy too sad to contemplate." Her next acquisition was more fortuitous. Now in her mid-thirties, in full flight as a soloist, and flush with money after an international tour with John Philip Sousa's band, she purchased the 1731 'Mayseder' Guarneri 'del Gesù'. Two years later, she bought a Giuseppe Rocca to go with it. Thus equipped with two Italians – one about 180 years old, the other scarcely 50, Powell may well have felt her search was over. Then one day in 1907 she and Turner visited a New York dealer called Oswald Schilbach, who said, "I have the violin for you."
Maud Powell with "Mayseder" Guarneri del Gesu
He told them it was a Guadagnini, made in 1775. The pristine condition and brightly coloured varnish came as "rather a shock to her," Turner later wrote. Powell had understandable concerns about authenticity, but according to Schilbach the violin had lain in a trunk "somewhere in the West" for 75 years, and he had recently replaced its original Baroque neck with a longer one. An article from Musician News (August 1908) provides the backstory: Schilbach was approached by a 'German pedlar' named Simsen, who showed him a dirt-encrusted violin, which Schilbach recognised as a J.B. Guadagnini. Instead of simply buying it, he found a third party to pay Simsen $300. Schilbach then bought it from the third party for $270. The paper notes this was 'rather a complicated method of carrying out a simple transaction'. At any rate, Schilbach offered Powell the violin for $4,000. He agreed that she could take it on tour with her, and that if she decided to purchase it, could pay on her return. Powell's enthusiasm for the violin grew as the tour progressed, but in the end she had to settle a lawsuit in order to finish the transaction. In her absence, Schilbach had sold it to a higher bidder.
Maud Powell with her "Guadagnini"
"You simply can't appreciate how beautiful it is," Powell wrote of her new violin. "Look at its big broad chest under the bridge. No hollow, caved-in consumptive lines there that tell of the 'one-lunger'." Her Guarneri was a "deeper-toned" violin with a sound that came "more from within the instrument." She compared it to "a capricious woman who had to be cajoled." Of the Guadagnini she said, "He is a strong lusty youth, and I can thrash him." With its "glassy clearness, its brilliant and limpid tone quality, [it was] better adapted to American concert halls." She played the Guadagnini for the rest of her career.
Powell died from a heart attack while she was preparing for a concert in 1920. She was just 52. Her husband later loaned the violin to the young French violinist Renée Chemet, who was then finishing her first American tour. Chemet seemed elated; in a pamphlet called The Truth about Maud Powell's Violin Turner reported her sentiments: "For the first time in my life I will be really happy in my work! To play with my other violin, it was like a singer who must make a career with a bad throat. Now – now I have the throat of a Caruso!"
The violin was later purchased from Powell's estate by one Nathan E. Posner. When he decided to sell it, he engaged Ernest Doring of John Friedrich & Brother in New York. In 1826 the violin was sold to Henry Ford – an amateur fiddle player, collector of all things American, and at the time the wealthiest man on earth. Doring signed a certificate describing the violin as "a genuine example in all essentials." Some two decades later it was included in his now-classic book, The Guadagnini Family of Violin Makers.
Ford had a small fleet of violins. These included the 1744 'Doyen' Guarneri 'del Gesù', two Strads and a Bergonzi. According to Ford executive Bruce Simpson, who as a boy had had the chance to play the violins, Ford "liked the sound of [Powell' s] violin very much and it was used regularly by his fiddler to play for the Early American Dances which were a favourite pastime for Mr and Mrs Ford." After Ford's death in 1947 the violins were transferred into the collection of the Henry Ford museum, but it was not until the 1970s that expert appraisals of the instruments were commissioned. Kenneth Warren examined Powell's violin and in a letter to the curator wrote, "[It] bears no actual relation to a genuine G.B. Guadagnini." It was, he believed, made by George Gemünder between about 1860 and 1870. If so, Powell had come full circle, for the Gemünder she played as a student was made in 1869.
Sharon Que in her Ann Arbor workshop with Maud Powell's violin
I first saw Powell's violin on a sunny afternoon in September, 2015. The Henry Ford had engaged Ann Arbor restorer Sharon Que to bring its violin collection into playing condition. Knowing of my interest in Powell's instrument, Que called to say it was in her shop. My first impression: no way was this a Guadagnini. It was not even an especially sophisticated copy, compared with some of the work being done today. But I suppose each generation's copies leave the next generation smiling at the gullibility of its forebears. By chance, Que had in her shop violins by George Gemünder, his son Herman, and his brother August. She felt strongly that Powell's violin was part of the family. Holding Powell's violin in one hand and a George Gemünder in the other, I thought the two might have been varnished one after the other from the same pot. Kenneth Warren cites the "yellow–pink varnish characteristic of Gemünder." I like Powell's description: "Gold dipped in blood."
I spoke to James Warren, the current proprietor of Kenneth Warren & Son, who said his grandfather was quite sure of the attribution – and had said so many times. Kenneth Warren began working at Wurlitzer's in New York in 1925, and so had ample chance to see Gemünder's work. I also spoke with the violin expert Philip Kass, who has written articles on Gemünder and is planning a full biography of the maker. Kass is hesitant to credit Gemünder, given that no other Guadagnini models by him are known. Moreover, Gemünder documented the models he worked with, and Guadagnini is not among them. Kass does not rule out Gemünder, but wants to re-examine the instrument before drawing any conclusions. Neither Kass nor Warren – nor, I suspect, any experienced violin maker – would now attribute Powell's violin to Guadagnini.
"George Gemünder has not only gained the same results as those achieved by Stradivarius and others, but he has sketched a better acoustic principle for producing tone. It is for this reason that August Wilhelmj, the great violinist, calls George Gemünder the greatest violin maker of all times, for Wilhelmj had learned by ample trial of the instruments made by George Gemünder that they were incontestably all that the latter claimed for them." Or so wrote George Gemünder in his self-published memoir, George Gemünder's Progress in Violin Making. It makes a peculiar and depressing read. Blatant self-aggrandisement is interspersed with stories of violinists, including some the greatest of his day, who mistook his copies for originals, and then lost interest when they learned who had made them. Camilla Urso's father together with her teacher once visited Gemünder in search of a Guarneri for Camilla. Gemünder showed them a violin. "Both were very much surprised at it," he wrote, "not only on account of its undoubted genuineness, but also that it was kept so well." When he told them he had "perpetrated a joke," and that he himself had made the instrument, they continued their search elsewhere.
Gemünder was born and raised in southern Germany. He moved to the US in 1847 after four years working for Vuillaume in Paris. According to James Warren, 'The fact that Vuillaume hired him says a lot about Gemünder's talent, because Vuillaume had the pick of Europe's craftsmen.' Vuillaume had apparently warned Gemünder of the risks of moving to a continent where the art of violin making was not fully understood and appreciated. Gemünder went anyway. After struggling to establish himself in Boston, he moved to New York City in 1850. There his career blossomed. Two decades later, no doubt feeling secure in his success, he relocated to Astoria, New York (now part of Queens). Kass credits this move away from the city for the subsequent downward drift in Gemünder's fortunes. He suffered a disabling stroke in 1889, and his death a decade later left his family bankrupt.
According to Turner, Powell's "encounters with domestic and newly made violins had left her with an unfavourable impression of their merits. One bow stroke on a shiny new violin once provoked her to exclaim, 'It' s a beast!'" She was no doubt influenced by prevailing beliefs, though to be fair, she could be equally hard on old violins. "Do you know," she wrote, "the fine 'Strads' and 'Amatis" of the world have almost reached tone bottom, and that the Guadagninis and Bergonzis are about the only instruments of today that have good, solid bodies?" She describes playing "one of the most famous of all Strads." As she started to bow gently, "its tones startled me with their strange, weird beauty." But when she began to "draw heavily across the low strings […] tone power and beauty suddenly vanished."
Who made Maud Powell's violin? With further research violin experts will no doubt reach a consensus. The question of whether she was deliberately swindled is harder to answer. It is tempting to imagine Gemünder yielding to frustration and passing off one of his copies as an original, but there is absolutely no evidence for this. Though his memoir shows an unappealing side to his personality, he was a highly respected member of the international violin community. Besides, he died eight years before Powell's crucial meeting with Schilbach. To my mind, Schilbach was at least partly guilty. It's easy to believe he was taken in by a Guadagnini copy that fooled Ernest Doring. It's impossible to believe that he purchased the copy with a Baroque neck.
The most interesting question remains unanswerable. What if Powell had discovered her beloved Guadagnini was, well, 'a beast'? When the legal battles were over, would she have continued to play it? Would she have gone a step further and championed Gemünder's work? By all accounts she had the courage of her convictions, so I like to think the answer is yes. Schilbach did get one thing right: it was the violin for Powell. It was, she said, "the one perfect thing."

redpajama_set_name: RedPajamaCommonCrawl


As much as crypto stakeholders bash Tron (TRX) for its questionable practices, marketing-centric policies, and its propensity to spark communal discourse, there is no doubt the blockchain project has done its utmost to stay afloat in this Bitcoin bear market.
Whether it be releasing a Tron-based version of Tether's USDT, running a controversial yet lavish $20 million and Tesla giveaway, buying out BitTorrent to implement blockchain, or an act of a similar sort and caliber, the project has kept its nose to the proverbial grindstone. And this perpetual grind might not be stopping anytime soon.
Related Reading: Exclusive: Why The Hell Is Tron CEO Sun Giving Away $20 Million?
Tron's Justin Sun is looking to continue this thread of wins with a technological advancement called the Sun Network, named after, well, the cryptocurrency entrepreneur himself.
Justin Sun recently took to Twitter to cheerily announce the establishment of the Sun Network venture, a second layer solution for the smart contract-centric Tron blockchain. According to the Ripple alumnus, who attended Jack Ma's Hupan University, the Sun Network solution could allow Tron's transactional throughput to increase by 100 times.
This ambition may seem rather quixotic, especially considering Tron's purportedly already sufficient processing capabilities, but Sun seems entirely serious. In fact, the San Francisco-based Tron Foundation, which Sun heads, just released a one-pager briefly outlining the logistics and technicals of this layer two innovation.
The cumulative effect of these innovations will, as per the Tron Foundation, increase the "overall TPS and smart contract efficiency of Tron." The DApp sidechains themselves will purportedly allow Tron to run smart contracts with "extremely low energy consumption, high security, and efficiency." Funnily enough, the potential improvements weren't explicitly quantified, leaving it anyone's guess as to how the Sun Network will benefit Tron over the long haul.
But, we will soon see how the Sun Network plays out, as Tron intends to launch a test-stage DAppchain by May 30th, a fully-fledged DAppchain by August 10th, and an upgraded version just 40 days later.
As explained earlier, it is currently anyone's guess as to how Sun's latest passion project will aid Tron. Sun himself, though, is absolutely convinced that the Sun Network will have a decidedly positive effect on his brainchild.
In a recent interview with NewsBTC at Hong Kong's Token2049, Sun remarked that he expects for the Sun Network, the launch of a Tron-based USDT, the growth of DApp use on the platform (Sun predicts 2,000 active application by year's end), the launch of ZK-snarks, among other advancements to propel TRX to new heights. In fact, Sun overtly claimed that if all pans out, TRX could easily be the fourth most valuable cryptocurrency by the end of 2019, placing it below Bitcoin, Ethereum, and XRP.
For some perspective, the market capitalization of Tron would need to rally by 170% at current levels, barring that its competitors remain flat, to reach that fourth seat.
A Shameless Copy Of Ethereum 2.0?
Considering the timing and speed of this move, some are wondering about Sun's true intentions. Is Tron trying to get a leg up over Ethereum? Is the Sun Network a ploy to steal attention from the similar Ethereum Serenity or the speed-centric Lightning Network? you may be asking.
If you look at Sun's recent Twitter quips at Ethereum creator Vitalik Buterin, especially about avocados and Twitter followers, you might think this is the case. But, considering a number of the Tron chief executive's recent interviews, he may be looking to help join hands with the competing project.
As reported by NewsBTC previously, during a recent episode of TheCryptoChick's podcast, Sun remarked that he expects for this year to see Tron "officially collaborate" with Ethereum. This, interestingly, enough comes after Sun claimed that he would "immortalize" Buterin and Ethereum's crowd after Tron succeeds, and after Buterin joked that he would lose faith in humanity if Tron wins the blockchain game.
Regardless, the Sun Network likely isn't a copy of Ethereum's Serenity roadmap or the Bitcoin Lightning Network for that matter. However, with this move, the minds behind Tron are likely trying to take some thunder away from the crypto market's biggest names, as the project looks to usurp cryptocurrencies like EOS, Stellar Lumens, Cardano, and even Binance Coin, from where they sit now.
But will Justin Sun & Co. succeed? That's the question that will have to be answered with real products, not just marketing and hype.
The post What Justin Sun Thinks Will Boost Tron (TRX) Near The Top Of Crypto appeared first on NewsBTC.


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Q: Docusign Custom tags - formula tags We are using Conga Composer to generate and send docs to customer (background mode) by adding DocuSign custom tags as integration parameters in the API call. we would want to add 3 days to the date signed value dynamically but formula tag is not supported in custom tags Documentation. Any thoughts how this can be achieved?

A: You will need a formula tag with the formula AddDays([DateSigned],3)
Here is a sample createEnvelope request.
POST /v2/accounts/{accountId}/envelopes

 {
     "emailSubject": "Please sign the agreement with two Date Tabs",
     "status": "sent",
     "recipients": {
         "signers": [
             {
                 "name": "Jane Doe",
                 "email": "JaneDoe@acme.com",
                 "recipientId": "1",
                 "tabs": {
                     "dateSignedTabs": [
                         {
                             "tabLabel": "ImportantDate",
                             "documentId": "1",
                             "pageNumber": "1",
                             "xPosition": "100",
                             "yPosition": "150"
                         }
                     ],
                     "formulaTabs": [
                         {
                             "formula": "AddDays( [ImportantDate],3)",
                             "width": "100",
                             "documentId": "1",
                             "pageNumber": "1",
                             "xPosition": "300",
                             "yPosition": "150"
                         }
                     ]
                 }
             }
         ]
     },
     "documents": [
         {
             "documentId": "1",
             "name": "Contract",
             "fileExtension": "txt",
             "documentBase64": "VGVzdCBEb2N1bWVudA=="
         }
     ]
 }

A: Docusign confirmed that this is not possible via anchor tags (custom tags).

redpajama_set_name: RedPajamaStackExchange


text:
Biography – GRAY, BENJAMIN GERRISH – Volume VIII (1851-1860) – Dictionary of Canadian Biography
GRAY, BENJAMIN GERRISH, Church of England clergyman; b. 22 Nov. 1768 in Boston, eighth child of Joseph Gray and Mary Gerrish, daughter of Joseph Gerrish*; m. Mary Thomas, and they had one son; d. 18 Feb. 1854 in Saint John, N.B.
Benjamin Gerrish Gray inherited considerable property in Nova Scotia upon the death in 1772 of his great-uncle Benjamin Gerrish*. When Gray was eight, his family moved to Halifax where it had close ties to the inner circle of pre-revolutionary families. After being educated in England and in Nova Scotia at King's College, Windsor, he returned to Halifax and eventually married. At his ordination as deacon in the Church of England on 25 Sept. 1796, Lieutenant Governor Sir John Wentworth*, one of his wife's connections, acted as his sponsor. Wentworth subsequently appointed him king's chaplain to the 400–500 Jamaican maroons, descendants of escaped slaves who had been deported to Nova Scotia and settled near Preston. He had also to supervise their schoolmaster. Gray had some success among the maroons, many of whom were not Christians, but at least one observer was critical of his preaching and asserted that he was unable to communicate effectively. In 1797 he had been admitted to priest's orders and inducted as a missionary of the Society for the Propagation of the Gospel, remaining at Preston. From 1799 to 1800 he was also grand chaplain of the provincial grand lodge of the masonic order in nearby Halifax.
Following the departure of the maroons in 1801, Gray was employed as English master in the academy of King's College, where he was also a fellow of the college and its librarian. Five years later he became the SPG missionary at Sackville, near Halifax, and from there moved into Halifax itself. This move does not seem to have had official sanction and for a time Gray's status with the society was somewhat in question. It appears that in 1817, when the authorized missionary was unable to carry out his duties, Gray began to preach regularly in St George's Church. Founded by German-speaking Lutherans, the church had been served since the 1750s by Anglican clergymen, although the congregation had not yet entered into full conformity. Under Gray's ministry the distrust between the Church of England authorities and the congregation subsided, and in 1827, two years after his departure, St George's became a separate parish fully integrated into the church establishment.
On 16 Dec. 1824, by order of Michael Wallace*, the administrator of the province, Gray inducted Robert Willis* to succeed John Inglis* as rector of St Paul's Church, Halifax. The ceremony took place outside the locked doors of the church, because the churchwardens, on behalf of the parishioners, were challenging the right of the government to nominate their minister. Patronage in the church went to persons who stood in good stead with the authorities and Gray thus came down on the side of the bishop, Inglis, and the government in a quarrel that deeply divided the Anglican community. He was named rector of Trinity Church in Saint John, N.B., in June 1825. There, as at St Paul's, the parishioners had a claim to the right of nomination, but since their favoured candidate was Gray's son, John William Dering*, they did not object, especially when the younger Gray was brought to Saint John to be his father's assistant the following year. Both enthusiastic evangelical Christians, they appear to have worked well together, enjoying the support of the lieutenant governor, Sir Howard Douglas*, and the archdeacon of the province, George Best*.
Gray, a man of action, was, in his own words, "very inattentive" in his communications with the SPG. There are, however, a few breathless, vigorous letters covering his early years in Saint John. These indicate that he cultivated good relations with the congregation of a Methodist chapel and employed its minister in an Anglican school. He also told of building new churches at Portland (Saint John) and at the neighbouring communities of Loch Lomond and Musquash and described how he had taken over a large vacant building for services on Sunday evenings in order that "the poor, the poorer sort of the middling classes who cannot afford to pay Church rates, Servants, and many others who from various causes cannot avail themselves of the day services, may benefit from the ordinances of religion. As all the seats are free, the plan succeeds, even beyond our expectations." He continued as well to carry on full morning and evening services in both Trinity Church and St John's Church (commonly referred to as the Stone Church). The Grays were successful in keeping within the Church of England in Saint John sections of the community that in other parts of eastern North America tended to become Baptist or Methodist.
Within a decade of moving to Saint John, Gray Sr suffered two severe blows. The first was to his pride: in 1829 he was passed over for the office of archdeacon, which went to George Coster. The second, and more serious blow, came in November 1833, when his wife and a female servant died in a fire which destroyed the rectory. Gray's long-felt wish to retire in favour of his son was granted in 1840, the regulation against a son succeeding in his father's parish being set aside. Gray continued as chaplain to the forces, a position he had held since his arrival in Saint John.
It is impossible to delineate the separate roles of the two Grays in their shared ministry. The younger Gray appears to have been in the forefront in the interdenominational Saint John Religious Tract Society. Father and son worked together in founding the Temperance Society in 1831, with the elder Gray taking the chair at its early meetings. Gray Sr was also involved in the organization of the volunteer health association formed to combat cholera in 1832, and his name appears in connection with both the Portland Merciful Society and the Female House of Industry. He is known to have supported the establishment of a penitentiary and to have signed a petition against the prohibition of secret societies or Protestant associations, a move which suggests that he was in favour of the formation of Orange lodges. He also strongly attacked theatrical performances.
In order to make it possible for Gray's son to be brought to Saint John, Inglis had dismissed Frederick Coster, younger brother of George, from his position as assistant missionary. Coster moved across the harbour to Carleton, the newest, smallest, and poorest parish in the province. Over time he built up a strong Anglican church there. Inglis described him as "a very acute person, perhaps the most gifted in the Maritimes"; he, like Gray, showed great concern for the poor, but to Gray's theology of personal salvation and zeal for vital religion Coster opposed his own rigorous high church principles, with emphasis on Anglican exclusiveness in politics and education. Until 1829 evangelical piety was in the ascendant in the province, and on the death of Best that year Lieutenant Governor Douglas, almost certainly encouraged by Charles Simonds, took steps to ensure its continuance by having Gray made archdeacon. The bishop, however, was determined to keep the appointment out of the hands of the governor, and he arranged for the transfer to New Brunswick of George Coster, who had been archdeacon of Newfoundland since 1825. In the conflict between the Grays and the Costers there was personal animosity and some pettiness on both sides, but the basic cause of the dispute was their differing views of the nature and purposes of the church. At times there was great bitterness. It was made clear to George Coster that he was not welcome in Saint John, and on one occasion, in 1831, Gray publicly opposed the archdeacon in a sermon. Writing privately to the SPG, Coster expressed doubts about Gray's sanity and also about his orthodoxy; according to reports reaching him, Gray had developed scruples about baptism by sprinkling and was contending from the pulpit for immersion. In an unusual outburst of pique Coster referred to him as "this ordained Baptist." In 1837 a quarrel broke out between high and low churchmen over the newly organized Church Society of the Archdeaconry of New-Brunswick. Gray's parish refused to participate in it, and one of his opponents accused him of having a "vindictive unchristianlike and low persecuting spirit."
As a young man Gray had shown considerable talent in drawing and sketching. In 1803 he prepared an illustrated catalogue of the King's College library for Sir John Wentworth. According to Dr Fenwick William Vroom, a leading historian of the college, "this Catalogue, containing 840 entries, is itself a work of art, not only because it is a model of graceful penmanship, but because it is illustrated with heraldic designs in India-ink, and several water-colour sketches which show the College as it appeared at that date." In 1805 Wentworth sent one of Gray's sketches to Thomas Moore, the Irish poet. Another picture commissioned by Wentworth, a drawing of Fort Cumberland (near Sackville, N.B.), hangs in the library of King's College (now located in Halifax). King's College, Fredericton, awarded Gray a dd in 1830, the first advanced degree granted by that institution. In 1846 he attended the meeting at which the alumni association of King's College, Windsor, was founded.
A portrait of Gray reproduced in the History of Trinity Church shows him, in middle age, with a strong handsome face, but there is a restlessness about him which is quite at variance with the character depicted in a portrait of his son in the same volume. In his old age, when anti-Catholicism was rife, he was remembered as the "beloved parson Gray, founder of the Protestant faith in Saint John." His memorial tablet in Trinity Church reads, "Sound in Doctrine / In Labours abundant / a Father to the Poor."
D. Murray Young
PAC, MG 23, D8; MG 24, A3, 3–4. PANB, MC 58; RG 4, RS24, S43-P24, -P36; S45-P149; S53-P132; S57-P258; RG 7, RS71A, 1854, B. G. Gray. PRO, CO 188 (mfm. at PANB). Trinity Anglican Church (Saint John, N.B.), Minutes of the wardens and vestry (mfm. at PANB). USPG, C/CAN/NB, 4, nos.492, 496–97, 501; C/CAN/NS, 3, nos.284–87 (mfm. at PAC). Church of England, Diocesan Church Soc. of N.B., Report (Saint John), 1837–59. R. C. Dallas, History of the maroons, from their origin to the establishment of their chief tribe at Sierra Leone . . . (2v., London, 1803; repr. 1968), 2: 223–24. Ernest Hawkins, Annals of the diocese of Fredericton (London, 1847). Church Times (Halifax), 4 March 1854. City Gazette (Saint John), 22 April, 10 June 1829; 29 Jan. 1831. Loyalist and Protestant Vindicator (Fredericton; Saint John), 1845–50. Morning Chronicle (Halifax), 7 March 1854. New-Brunswick Courier, 17 March, 10 May, 14, 28 July, 11, 18 Aug. 1832; 11 Sept., 5 Oct. 1833; 26 July, 2, 9 Aug. 1834; 11 March 1837; 17 March 1838. Art Gallery of N.S., [Robert Field, 1769–1819]; an exhibition organized by the Art Gallery of Nova Scotia, Halifax, October 5 to November 27, 1978 (Halifax, 1978). A. W. H. Eaton, The Gerrish family (family of Capt. John Gerrish) ([Boston], 1913), 9. E. A. Jones, The loyalists of Massachusetts: their memorials, petitions and claims (London, 1930; repr. Baltimore, Md., 1969), 274–75. [T. B. Akins], History of Halifax City (Halifax, 1895; repr. Belleville, Ont., 1973), 234. Judith Fingard, The Anglican design in loyalist Nova Scotia, 1783–1816 (London, 1972). R. V. Harris, The Church of Saint Paul in Halifax, Nova Scotia: 1749–1949 (Toronto, 1949). H. Y. Hind, The University of King's College, Windsor, Nova Scotia, 1790–1890 (New York, 1890). History of Trinity Church, Saint John, New Brunswick, 1791–1891, comp. [F. H. J.] Brigstocke (Saint John, 1892). M. J. [Lawson] Katzmann, History of the townships of Dartmouth, Preston and Lawrencetown, Halifax County, N.S., ed. Harry Piers (Halifax, 1893; repr. Belleville, 1972), 165. G. H. Lee, An historical sketch of the first fifty years of the Church of England in the province of New Brunswick (1783–1833) (Saint John, 1880). MacNutt, New Brunswick. C. F. Pascoe, Two hundred years of the S.P.G. . . . (2v., London, 1901). J. E. Pinnington, "Anglican reactions to the challenge of a multiconfessional society, with special reference to British North America, 1760–1850" (2v., phd thesis, Univ. of Oxford, 1971). J. D. Purdy, "The Church of England in New Brunswick during the colonial era, 1783–1860" (ma thesis, Univ. of N.B., Fredericton, 1954). J. H. Stark, The loyalists of Massachusetts and the other side of the American revolution (Boston, 1910), 334–37. C. W. Vernon, Bicentenary sketches and early days of the church in Nova Scotia . . . (Halifax, 1910), 226–28. F. W. Vroom, King's College: a chronicle, 1789–1939; collections and recollections (Halifax, 1941). R. W. Winks, The blacks in Canada: a history (Montreal, 1971). [Francis] Partridge, "The early history of the parish of St. George, Halifax," N.S. Hist. Soc., Coll., 7 (1891): 73–87. H. G. Ryder, "Stone church," Canadian Antiques Collector (Toronto), 10 (1975), no.3: 63–65.
Religion – Church of England
North America – Canada – Nova Scotia – Cape Breton Island
BEST, GEORGE (d. 1829) (Vol. 6)GERRISH, BENJAMIN (Vol. 4)GRAY, JOHN WILLIAM DERING (Vol. 9)DOUGLAS, Sir HOWARD (Vol. 9)GERRISH, JOSEPH (Vol. 4)INGLIS, JOHN (Vol. 7)SIMONDS, CHARLES (Vol. 8)WALLACE, MICHAEL (Vol. 6)More
WENTWORTH, Sir JOHN (Vol. 5)WILLIS, ROBERT (Vol. 9)COSTER, GEORGE (Vol. 8)
WENTWORTH, Sir JOHN
INGLIS, JOHN
DOUGLAS, Sir HOWARD
D. Murray Young, "GRAY, BENJAMIN GERRISH," in Dictionary of Canadian Biography, vol. 8, University of Toronto/Université Laval, 2003–, accessed July 16, 2019, http://www.biographi.ca/en/bio/gray_benjamin_gerrish_8E.html.
Permalink: http://www.biographi.ca/en/bio/gray_benjamin_gerrish_8E.html
Author of Article: D. Murray Young
Title of Article: GRAY, BENJAMIN GERRISH


text:
National Guard asks people to please stop trying to give it donations, after photos of National Guardsmen sleeping on the floor of the Capitol spread on social media
UNITED STATES – JANUARY 13: A member of the National Guard reads Atlas Shrugged in the Capitol Visitor Center as the House debates an article of impeachment against President Donald Trump on Wednesday, January 13, 2021. Tom Williams/CQ-Roll Call, Inc via Getty Images
The National Guard said Wednesday that it is not capable of accepting donations.
The statement came after some were moved to donate after seeing photos of National Guard members sleeping on the floor of the US Capitol.
The National Guard assured the public that its members have proper sleeping quarters.
Members of the US National Guard were seen Wednesday sleeping on the floors of the US Capitol, but that does not mean they lack proper sleeping quarters or otherwise help from members of the public.
"While we appreciate the many offers and people who care about our soldiers and airmen, we are not logistically able to accept donations of any kind," the National Guard said in a statement.
Thousands of National Guard members are currently in Washington, DC, to prevent a repeat of the January 6 insurrection and any outbreaks of violence during President-elect Joe Biden's inauguration.
In response to news stories about soldiers laying on the floor of the Capitol, some were moved to act, thinking a cold, hard floor was to be their only respite.
Brian Bartlett, a Republican communications strategist, raised more than $3,000 on GoFundMe to buy sleeping pads "so they can get a decent rest as they protect our democracy!"
But the National Guard soon clarified: "please know our National Guardsmen have appropriate lodging for when they are off-duty; the photos circulating are of them on-duty, in a designated rest area between shifts."
In an update, Bartlett told supporters he would be returning the sleeping pads he purchased "and asking GoFundMe to refund all donations."
Have a news tip? Email this reporter: [email protected]
Expanded Coverage Module: capitol-siege-module
Read the original article on Business Insider
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This SynthEdit module was developed to be a live audio grabber / looper.
L Input (mono) - Left audio in for stereo recording. Use this pin for mono recording.
R Input - Right audio in for stereo recording. If this pin is not connected, module operates in mono mode.
Pitch/Speed - Playback pitch & speed: -10 to 10 volts, 1 volt/octave; 5 volts = as recorded. Negative Pitch/Speed plays in reverse.
Gate - Triggers playback on change from negative or 0 to positive, unless recording.
Record - Activates recording when positive.
Start Point - Controls the playback starting point. Range: 0 (beginning) to 10 (end).
Loop Point - Controls the loop starting point. Range: 0 (Start Point) to 10 (End Point).
End Point - Controls the playback end point. Range: 0 (beginning) to 10 (end).
Read Pos - Directly manipulates the current read position. Range: 0 (Start Point) to 10 (End Point).
Absolute Mode: 0 to actual number of samples in recording.
AutoRec - Turns automatic recording on and off. When on, recording will not begin until an input that exceeds the sensitivity threshold is detected, and recording stops automatically when the input stays below the threshold for a specified period of time. Any resulting silence at the end of a recording is trimmed off.
AutoRec Sensitivity - Raises or lowers the threshold used to detect "silence". Similar in principle to the threshold of a noise gate. A higher number requires a higher input level to trigger recording, and will cause AutoRec to respond more quickly to stop recording.
AutoRec Delay (beats) - Sets AutoRec to wait a specified number of beats (at host tempo) after the input falls below the threshold before it automatically stops recording. Use a higher value to record material containing long pauses or rests.
Find Zero X - Turns the find nearest zero crossings feature on and off. When on, any changes to the start, loop or end point positions are automatically adjusted so that both are at positive zero crossings of the waveform, minimizing clicks.
L Output (mono) - Left audio out for stereo playback. Use this pin for mono playback output.
R Output - Right audio out for stereo playback.
Sync - Pulse at start of play and end of each loop.
Read Pos - The current position in the sample buffer.
# Samples - The number of samples in the buffer.
Max Sample ms - Sets the maximum length for recording, up to 3 minutes ( 180000 ms).
Release ms - Sets the length of time that looped playback will continue after the gate signal has fallen to 0. Use this to enable use of the Release segment of an ADSR or other EG.
In Relative mode, the Crossfade pin expects a range of 0 - 10, interpreted as 0 - 100% of the maximum possible crossfade. The maximum possible crossfade depends on the relative positions of the start, loop, and end points.
In Absolute mode, the Crossfade pin expects a positive number or 0, which is interpreted as the number of samples to be used in the crossfade. If the value on the pin exceeds the maximum possible crossfade, the maximum will be used. Otherwise, the specified number of samples will be used, independent of the current start, loop and end point positions.


text:
Musicians in our midst
Photo courtesy of Envato Elements
Shubha Gautam and Brandt Stewart
Aidan Ryan, senior pianist/tenor singer
In the early life of senior Aidan Ryan, the piano was the spark that ignited his zeal for music, also then guiding him to address a newfound intrigue in singing; ever since, he has been taking steps throughout his time at RBHS to enrich his passion for such.
He is involved in Chamber Choir, Modern Music Masters (Tri-M) and show choir, and he has played many roles in RBHS musicals such as "Anything Goes," "The Drowsy Chaperone," "Lucky Stiff," and, most recently, "Bye Bye Birdie." He also continues to play the piano, it being the beginning of his journey.
"My interest in music came from piano lessons. When I was five, my parents wanted me to have an activity," Ryan said. "At first, I hated the piano lessons, but over time I developed a deep love for music."
Though Ryan said he has focused most of his time more on his voice performance, the piano is still prominent in his music career.
"I never stopped playing the piano," Ryan said. "It's still a very important part of my life. I stopped taking lessons so that I could focus more on my voice."
Ryan said his inspiration for music stems from a variety of sources, all of which help him understand his passion and embody his future hopes in being a singer and actor.
"I am always inspired by John Williams. His music makes me happy," Ryan said. "I am also inspired by Patti Lapone. Her voice is powerful, and she's a great actress."
Ryan said he has posed many roles to reach his current standing as a senior musical performer, playing in every fall musical per year since he was a freshman at RBHS.
"I started auditioning my freshman year for the musical, show choir, choir, etc.," Ryan said. "From there, I continually invested a lot of my time into the performing arts."
After graduating from RBHS, Ryan plans to continue to pursue music. The piano jump started his aspirations, but he ultimately decided his voice and performing skills as the focal point of his musical career, carrying most crucially into his future.
"I plan on getting a musical theater or acting Bachelor of Fine Arts," he said. "I also might get a degree in voice."
Anthony Wu, senior pianist/trumpeter
The piano has always been a pursuit of senior Anthony Wu, becoming an early, avid piano player, among other musical undertakings. This love for music has carried him through his years at RBHS, becoming involved in various musical endeavors and gaining perspective about his future.
Wu is involved in marching band, wind symphony and jazz ensemble. He plays the trumpet for band-related activities, but he said he loves the piano much more, using it in his college auditions. It may seem so, but Wu did not gain an immediate love for the piano.
"At first I really hated it, so I quit when I was in fifth grade. In seventh grade, I started back up, and this time, I had a new piano teacher. In this time of my life […] this is actually kind of embarrassing, but what really got me to love music again was this one anime called 'You're A Lie in April'," Wu said. "Something about the story and how the story combined with music to really show off how powerful piano playing can be, that's what really got me inspired. I started trumpet, however, in sixth grade, and that's just been crankin' ever since."
Wu said at this point in his career, his inspiration to play piano also comes from the very essence of music itself, having played it for long enough to gain the mutuality of an experienced pianist.
"I really think that there's something to music that truly touches us. It's not something that can be explained away with anything scientific," Wu said. "I mean, why does a major chord sound happy […] a minor chord sounds sad? Why do all these melodies bring out such great emotions in us? Anytime I listen to a piece of music and I am moved by it, it never fails to inspire me, even when I am absolutely in my dumps and feel like I want to quit, whenever I hear some music that's good and music that really shakes my soul."
Wu said he does not plan to stop music after high school and wants to nurture his talents with his career, whether that be simple, such as a music teacher or shop owner, or an acknowledgment of his dearest dream.
"It is my dream, my dream, my dream, my dream, to become a concert pianist. The feeling that I get when I am on stage, and it's just me and the keys in front of me, it's the most powerful feeling," Wu said. "The piano has the ability to paint something very personal […] it is a desperation to squeeze the world into every note."
Kendall Flaherty, senior pianist/saxophonist
As a practitioner of the piano, alto saxophone, soprano saxophone, clarinet and ukulele, senior Kendall Flaherty said her passion for music started long before coming to RBHS. Her fascination with music began when she was just nine years-old. She said she pestered her mom to allow her to learn an instrument and, once her mom gave in, signed up for piano lessons. Flaherty now plays the piano, along with other instruments she's picked up along the way in various musical extracurriculars.
"Growing up, I always saw the [RBHS] band in the [University of Missouri—Columbia (MU)] homecoming parade, and that's what I wanted to do […]—marching band." Flaherty said. "So, in sixth grade, I went to the instrument try-out night, and I ended up with [the] clarinet, and that's kind of what started my love for music and band."
Since then, Flaherty achieved her dream of joining the marching band, participating in the RBHS concert band as the first alto saxophone, orchestra pit as an alto and soprano saxophone, woodwind choir and jazz band competitions. She also takes the music theory class at RBHS and takes part in the Missouri State High School Activities Association choir camp. On top of this, Flaherty takes saxophone lessons, teaches piano lessons and plays piano for the RBHS show choir.
Flaherty said music accompanies her growing interest in teaching. Her biggest inspirations are her piano teacher, Kristi Larson, and Leo Saguiguit, a saxophone professor at MU. His incredible playing and teaching abilities, she said, along with his confidence and love for what he does, motivates her to pursue music as a career. She said she hopes to go to college for music and become a similarly inspiring professor one day.
In order to reach that point, Flaherty said she practices for hours at home by herself, running basic and, according to her, notoriously "boring" things like scales repeatedly to constantly progress in her musical expression.
"I want to go to MU and major in music, and teach music to other people and share my love for my art with other students," Flaherty said. "And then, hopefully I'll get my [Master's Degree] and be able to teach at a college."
Brandon Kim, senior pianist/violinist
RBHS senior Brandon Kim said he has always been interested in music. Whether it was seeing his brother playing a myriad of instruments, or taking piano lessons at a young age, Kim said his love for music stuck with him, leading him to his current status as a skilled musician.
Kim said he began with piano lessons when he was around five, adding the violin to his list of instruments shortly after and the saxophone in middle school. Today, he participates in various musical activities within and outside RBHS; he is the president of Biolympiad Club, co-concertmaster of the chamber orchestra and founder and violinist of a musical group called the "BNB Piano Trio." His musical group rehearses together every Sunday, performing frequently at the Odyssey Chamber Music Series. Even with all of these activities, he makes time for non-musical extracurriculars, including being the core leader of the Rock Bridge Reaches Out Southampton division and vice president of Mu Alpha Theta.
Kim said he believes his dedication and genuine interest in music has helped him reach the level he is at today.
"I just kind of had this drive to share my music with other people that kept me motivated," Kim said. "That's why I formed the trios, to play with some of my friends."
Kim said one inspiration for his creative pursuits is Itzhak Perlman, an Israeli-American violinist, conductor and music teacher. Kim said he aspires to be like Perlman, who has had a long and successful career as a musician, including playing at a State Dinner at the White House honoring Queen Elizabeth II and conducting the Westchester Philharmonic. Though Kim said he is not planning to take up music as a full-time profession after high school like Perlman, he still wants to play in orchestras in college and continue his passion for composing.
Along with practicing music, Kim said composing is a significant part of his life. He began composing in fifth grade, propelling him to his current position as the holder of multiple national titles related to composition, most recently winning $1,0000 in the High School Division (9-12): Fine Art Music title of the Creating Original Music Project hosted by the University of Missouri—Columbia College of Arts and Science last year with a saxophone piece called "The Sands of Time." He said playing that piece was the most impactful moment in his life, reaffirming his unwavering appreciation for music once again.
"I [have] played for many years, and I just kind of had this drive to share my music with other people," Kim said. "That kept me motivated."
Do you know any other talented senior musicians? Let us know in the comments below.
Shubha Gautam, News Editor
Junior Shubha Gautam is the news editor for Southpaw and Bearing News. She is also part of Mu Alpha Theta and the Conservation Club. In her free time,...
Brandt Stewart, Sports Editor
Sophomore Brandt Stewart is the sports editor for Southpaw and Bearing News. In his spare time, he enjoys writing and reading and likes to play board games...
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Vintage 40's japanese boro distressed indigo sashiko repaired reversible noragi kimono field jacket. As you can see from the photos, it shows definite signs of age and wear.
It has a lot of color variation and much fading and spots that add to its unique character. I repaired the jacket, using 20's-40's japanese boro fabric with traditional sashiko stitching.
Please feel free to ask any questions you may have. Chest (pit to pit): 22" (56.5cm)shoulder (seam to seam): 24" (61.5cm)sleeve (shoulder seam to cuff): 8" (20.5cm)length (collar seam to hem): 33.5" (85.5cm)material: 100% cottonmannequin size men's medium: shoulder 18"(46cm) chest 40 (102.5cm) waist 33 (58.5cm) hips 36 (93cm) 22"h (56.5cm)all measurements taken with garment laid flat.


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22 a long time' prison, 24 shots associated with cane for 20-year-old sexual intercourse offender who preyed on 19 victims
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Home > Catalog > |Greek Coins| > |Geographic - All Periods| > |Anatolia| > |Cappadocia| > GB67798
Eusebeia (Caesarea), Cappadocia, Time of Archelaus, King of Cappadocia, c. 36 B.C. - 17 A.D.
Kayseri, Turkey was originally named Mazaca. It was renamed Eusebia by Ariarathes V Eusebes, King of Cappadocia, 163 - 130 B.C. The last king of Cappadocia, King Archelaus, renamed it "Caesarea in Cappadocia" to honor Caesar Augustus upon his death in 14 A.D. Muslim Arabs slightly modified the name into Kaisariyah, which became Kayseri when the Seljuk Turks took control, c. 1080 A.D.
GB67798. Bronze AE 20, SNGvA 6334, SGCV II 5703, SNG Cop 166 corr. (laureate head/fillets vice lion skin on club), BMC Galatia -, SNG Fitzwilliam -, F, Cappadocia, Eusebeia-Caesarea (Kayseri, Turkey) mint, weight 6.498g, maximum diameter 20.0mm, die axis 0o, c. 36 B.C. - 17 A.D.; obverse bare-headed bust of Herakles right, lion skin draped over shoulders; reverse EVΣE BEIAΣ, lion skin draped on club, monogram below; rare; $36.00
REFERENCES|
Bland, R. The Bronze Coinage of Gordian III from Caesarea in Cappadocia in Ashton, RNS Special Publication No. 29. (London, 1996).
Bland, R. "The last Coinage of Caesarea in Cappadocia" in Studia Arslan.
Burnett, A., M. Amandry, et al. Roman Provincial Coinage. (London, 1992 - ).
Cohen, E. Dated Coins of Antiquity: A comprehensive catalogue of the coins and how their numbers came about. (Lancaster, PA, 2011).
Forrer, L. Descriptive Catalogue of the Collection of Greek Coins formed by Sir Hermann Weber, Vol III, Part 2. (London, 1926).
Hoover, O. Handbook of Coins of Northern and Central Anatolia, Pontos...Kappadokia...Fifth to First Centuries BC. HGC 7. (Lancaster, PA, 2012).
Houghton, A., C. Lorber & O. Hoover. Seleucid Coins: A Comprehensive Catalog. (Lancaster, 2002 - 2008).
Lindgren, H. & F. Kovacs. Ancient Bronze Coins of Asia Minor and the Levant. (San Mateo, 1985).
Lindgren, H. Lindgren III: Ancient Greek Bronze Coins. (Quarryville, 1993).
Metcalf, W. The Silver Coinage of Cappadocia, Vespasian - Commodus. ANSNNM 166. (New York, 1996).
Mørkholm, O. "A Further Comment on the Coinages of Ariarathes VIII and Ariarathes IX" in Quaderni Ticinesi 4 (1975), pp. 109 - 138.
Mørkholm, O. "The Coinages of Ariarathes VI and Arirathes VII of Cappadocia" in SNR 57 (1978).
Mørkholm, O. "The Coinages of Ariarathes VIII and Arirathes IX of Cappadocia" in Essays Robinson (1968), pp. 241- 258, pl. 30 - 33.
RPC Online - http://rpc.ashmus.ox.ac.uk/coins/
Sear, D. Greek Coins and Their Values, Vol. 2: Asia and Africa. (London, 1979).
Sear, D. Greek Imperial Coins and Their Values. (London, 1982).
Simonetta, A. The coinage of the Cappadocian kings: a revision and a catalogue of the Simonetta Collection. Parthica 9. (Pisa-Rome, 2007).
Simonetta, B. The Coins of the Cappadocian Kings. Typos II. (Fribourg, 1977).
Sydenham, E. The Coinage of Caesarea in Cappadocia, with supplement by A. Malloy. (New York, 1978).
Sylloge Nummorum Graecorum, Denmark, The Royal Collection of Coins and Medals, Danish National Museum, Vol. 7: Cyprus to India. (West Milford, NJ, 1982).
Sylloge Nummorum Graecorum, Deutschland, Münzsammlung Universität Tübingen, Part 6: Phrygien - Kappadokien; Römische Provinzprägungen in Kleinasien. (Berlin, 1998).
Sylloge Nummorum Graecorum, Deutschland, Sammlung Hans Von Aulock, Vol. 3: Pisidia, Lycaonia, Cilicia, Galatia, Cappadocia, Cyprus, [etc.]. (Berlin, 1964).
Sylloge Nummorum Graecorum, Great Britain IV, Fitzwilliam Museum, Leake and General Collections, Part 7: Asia Minor: Lycia - Cappadocia. (London, 1967).
Sylloge Nummorum Graecorum, Great Britain XII, The Hunterian Museum, Univ. of Glasgow, Part 1: Roman Provincial Coins: Spain-Kingdoms of Asia Minor. (Oxford, 2004).
Sylloge Nummorum Graecorum, Schweiz II. Münzen der Antike. Katalog der Sammlung Jean-Pierre Righetti im Bernischen Historischen Museum. (Bern, 1993).
Wroth, W. A Catalog of the Greek Coins in the British Museum, Galatia, Cappadocia, and Syria. (London, 1899).
Ancient Coins of Cappadocia


Mine is a most peaceable disposition. My wishes are: a humble cottage with a thatched roof, but a good bed, good food, the freshest milk and butter, flowers before my window, and a few fine trees before my door; and if God wants to make my happiness complete, he will grant me the joy of seeing some six or seven of my enemies hanging from those trees. Before death I shall, moved in my heart, forgive them all the wrong they did me in their lifetime. One must, it is true, forgive one's enemies– but not before they have been hanged.


text:
Q: How to limit the choices of ManyToManyFields to a particular Foreign key only, in Django Model class Bank(models.Model):
    id = models.UUIDField(
        primary_key=True, default=uuid.uuid4, editable=False)

class Branch(models.Model):
    bank = models.ForeignKey(Bank, on_delete=models.CASCADE)

class ATM(models.Model):
    bank = models.ForeignKey(Bank, on_delete=models.CASCADE)
    branch = models.ManyToManyField(
        Branch)

How can I select the multiple branches while adding atm for the particular Bank only? (I know one ATM can't have two branches but I would like to know how can we select the branches for particular bank only?)


text:
Another Naughty Dog dev opens up about crunch
By PCInvasion Staff June 18, 2014
Following the heels of Corinne Yu, Naughty Dog dev Bothari has spoken out openly about crunch.
Much like Corinne, Bothari emphasizes that he engages in crunch, not because of workplace pressures, but because he genuinely loves his job and wants to do the best on it that he can. Bothari also argues that with the custody arrangement he has set with his daughter, he actually has figured out the best way to get work-life balance for himself. He basically does shorter work days when he is with his daughter, and longer work days when she's not with him.
Here's how he describes the experience after some time:
The crazy thing is, after something like nine months of doing this I didn't feel the need to stop. After each previous crunch period that I've experienced, four in total, I've been dead to the world for a week or two. Exhausted, unhealthy, mentally weary, and in great need of a holiday. At the end of development for The Last of Us I felt great. I had been spending quality time with my daughter, I'd been cooking home cooked meals two or three days a week, I had been having playdates with her friends and even getting a babysitter once a month or so to hang out with friends or go to a movie. It was almost as if I was a productive and healthy member of society.
Crunch remains an issue in the industry, as developers are often compelled to render this extra work at the expense of their health and time with their families. Unlike Corinne Yu and Bothari, many of these devs may do smaller jobs, and often do not have a say in the conditions surrounding crunch. This extra work can even be rendered unpaid or below minimum wage. In fact, there's been a concern regarding QOL of game developers and attrition that can be traced as far back as a decade ago.
It should be interesting to see if all this talk about crunch shifts the conversation around Naughty Dog from Uncharted 4, the subject of their extra work, to the industry's own labor practices.
Rockstar confirms and explains delay for GTA Online Heists
Playstation Vita getting less 1st-party games
By Kevin Foley 1 hour ago
By A.K Rahming 6 hours ago
Naughty Dog could be looking into bring its games to PC
The Last of Us: Remastered "looks like it was originally created for PS4"
Corinne Yu working weekends for TLOU 60FPS initiates industry debate
Uncharted 4 will be the last in the series, says Nolan North
What should 'Next-Gen' games strive for?
Uncharted 4: A Thief's End Details Released
Uncharted 4 will be "darker" says industry insider
The Last of Us PS4 character models are equal to the PS3 versions cutscenes.
The Last of Us concept artist trolls fans
Art Director Nate Wells Leaves Naughty Dog
Sony is considering a price discount on The Last of Us PS4 for those who own it on the PS3
4 ways Uncharted 4 can be awesome
The Last of Us: Remastered coming to the PS4
Amy Henning joins EA Visceral Games
Uncharted 4 Game Director Justin Richmond Leaves Naughty Dog
The Last of Us Coming To PS4
Naughty Dog explains the combat systems that did and didn't make it into The Last of Us
The Last of Us to be turned into a film
Amy Hennig leaves Naughty Dog
Naughty Dog Releases More Brutal Concept Art From The Last of Us
The Last Of Us Developers Are Working On More MP DLC...And Something Else...


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Noah Axler
Mr. Axler co-manages the firm's practice with a focus on class action, consumer protection, products liability, qui tam/whistleblower and mass tort litigation. Mr. Axler's practice is largely focused on representing consumers in class action cases against corporate defendants such as pharmaceutical manufacturers, financial institutions, and national and international corporations in a variety of industries. During his career, he has served as counsel in cases which have recovered hundreds of millions of dollars for consumers and businesses. Read More »Less «
Prior to founding Axler Goldich, Mr. Axler was a partner at Donovan Axler LLC, a nationally recognized plaintiffs' class action litigation firm, where he litigated numerous class action cases, including consumer, antitrust, employment and environmental actions, and was appointed lead counsel or co-lead counsel to represent plaintiff classes in numerous class actions.
Some of Mr. Axler's representative class and collective action settlements include Sonoda v. Amerisave Mortgage Corp., No. 11-1803 (N.D. Cal); Smith v. Levine Leichtman Capital Partners, Inc., et al., No. 10-10 (N.D. Cal.); Ryals v. Hireright Solutions, Inc., No. 09-625 (E.D. Va.); and Murray, et al. v. Accor North America, Inc., et al., 2:15-cv-04907 (E.D. Pa.).
A sample of Mr. Axler's reported decisions include: Brown v. Access Midstream Partners, L.P., No. 3:14-591, 2015 WL 5829755 (M.D. Pa. Sept. 30, 2015); Haber v. Bank of America, N.A., No. 14–0169, 2014 WL 2921659 (E.D. Pa. June 27, 2014); Little v. Louisville Gas and Electric Co., 33 F. Supp. 3d 791 (W.D. Ky. 2014); Little v. Louisville Gas and Electric Co., --F.3d--, 2015 WL 6646984 (6th Cir. 2015); Newton v. Savit Collection Agency, No. 09-4911, 2011 WL 6724034 (D.N.J. Dec. 21, 2011); and Sonoda v. Amerisave Mortgage Corp., No. 11-1803, 2011 WL 2653565 (N.D. Cal. Jul. 6, 2011).
University of Pennsylvania Law School, J.D.
University of Pittsburgh, B.A. in English
Survey of State Class Action Law (ABA 2012-2015) (co-author of Pennsylvania chapter);
Pennsylvania Consumer Law (Bisel 2012-2014) (author of usury chapter);
The Explosion & Evolution of Class Action Law (PBI 2004) (co-author).
Ohio (Inactive)
U.S. District Court for the Eastern District of Pennsylvania
U.S. District Court for the District of New Jersey
U.S. Court of Appeals for the Third Circuit
U.S. Court of Appeals for the Sixth Circuit
Marc A. Goldich
Mr. Goldich is a seasoned litigator and a co-managing partner of the firm's practice. Prior to founding Axler Goldich LLC, Mr. Goldich spent over a decade at a large international law firm representing the world's leading corporations and companies in high-stakes disputes, crucial regulatory matters, and complex commercial litigation. While there, Mr. Goldich built and maintained a complex commercial practice encompassing class action defense, securities litigation, mass tort, product liability, business torts, fraud and asset recovery, regulatory, qui tam, health care, trade secret, employment, and financial services litigation. Read More »Less «
After spending that considerable time representing large corporations, Mr. Goldich switched sides to represent consumer plaintiffs in class action and mass tort litigation and subsequently founded Axler Goldich LLC, a class action and personal injury firm devoted to helping consumers, employees, and investors from all across the nation who have been harmed by corporate negligence or wrongdoing.
At Axler Goldich, Mr. Goldich maintains a robust practice focusing on class action, consumer protection, products liability, qui tam/whistleblower and mass tort litigation. He routinely represents consumers and families in class-action cases against corporate defendants such as pharmaceutical manufacturers, financial institutions, and national and international corporations in a variety of industries. A small sample of some of Mr. Goldich's representative matters include, but are not limited to, co-lead or other leadership roles in In re Pacquiao-Mayweather Boxing Match Pay-Per-View MDL litigation (MDL No. 2639, 2:15-ml-02639-RGK), In re Seagate Technologies Litigation, No. 5:16-cv-00523-RMW (N.D. Cal.), Livi, et al. v. Hyatt Hotels Corp., et al., No. 2:15-cv-05371-CDJ (E.D. Pa.), and Q+Food, LLC et al v. Mitsubishi Fuso Truck of America, Inc., No. 14-cv-060460MAS-DEA (D. N.J.).
Mr. Goldich has received numerous peer based awards and industry recognition. He was named a Pennsylvania Super Lawyer Rising Star from 2013 through 2019 and a Pennsylvania Super Lawyer in 2020. Mr. Goldich was also selected for membership in The National Trial Lawyers – Top 100 Civil Plaintiff Trial Lawyers of Pennsylvania for the year 2017. In 2013, Mr. Goldich was selected by The Legal Intelligencer as one of Pennsylvania's top 38 lawyers under the age of 40. Mr. Goldich's commitment to pro bono work was acknowledged in 2008 and 2010, as he was listed in the annual "Pro Bono Honor Roll" and named an "Unsung Hero" by The Legal Intelligencer for his work on behalf of indigent clients.
In accordance with his philanthropic interests, Mr. Goldich is a member of the Board of Directors in several organizations including his service as Secretary of the Board of the Welcoming Center for New Pennsylvanians and on the Board of Directors of the Elmwood Park Zoo. Furthermore, he has an extensive history of volunteer work with organizations such as Children's Crisis Treatment Center, where he has served in numerous leadership capacities.
Mr. Goldich is also active in numerous bar associations and was appointed to the Federal Practice and Court Committees of both the Philadelphia and Pennsylvania Bar Associations, is an active member of the American Bar Association, and the Montgomery Bar Association. He is also a member of the World Affairs Council of Philadelphia and the Historical Society of the U.S.D.C., Eastern District of Pennsylvania.
Temple University Beasley School of Law, J.D.
University of Arizona, B.A.
PRESENTATIONS AND/OR PUBLICATIONS
To Bundle or Not to Bundle: Public Company Strategies in Packaging Corrective Disclosures in Press Releases, ADLAW By Request, 18 July 2008
Charter Service: How The New Rule Impacts You, Mass Transit, 9 May 2008
The Federal Transit Administration Releases Its Final Rule on Charter Service, Reed Smith Client Alerts, 17 March 2008
Mortgage Lenders And Servicers Should Evaluate And Streamline Their Pre-Foreclosure Notice Procedures to Avoid Pitfalls, 67 Consumer Fin. L. Q. Rep. 178 (2013).
FRCP Amendments Could Change Discovery As We know It, Law360 Expert Analysis Section, 4 June 2013
Differing Opinions From PA On FRCP Amendments, Law360 Expert Analysis Section, 19 Feb 2014
BOARD MEMBERSHIPS & COMMUNITY INVOLVEMENT
Member of the Board of Directors at Elmwood Park Zoo, October 2013 - Present
Secretary, Board of Directors at Welcoming Center for New Pennsylvanians, September 2013 - October 2017
Co-Chair, 2015 Solas Awards Host Committee, Welcoming Center for New Pennsylvanians
Roundup Host Committee, Children's Crisis Treatment Center
United States District Court for the Eastern District of Pennsylvania
United States Court of Appeals for the Third Circuit
United States Court of Appeals for the Ninth Circuit
United States District Court for the Northern District of Illinois
Pennsylvania Bar Association, Federal Practice Committee, Rules Sub-Committee
Philadelphia Bar Association, Business Litigation, Securities Regulation, and Federal Courts Committees, Rules Sub-Committee
Montgomery Bar Association, Trial Lawyers
Conference on Consumer Finance Law
World Affairs Council of Philadelphia
Historical Society of the U.S.D.C., Eastern District of Pennsylvania
Named a "Lawyer on the Fast Track" by The Legal Intelligencer, 2013
Selected as a Super Lawyers Pennsylvania Rising Star by Super Lawyers Magazine, 2013-2019 and a Pennsylvania Super Lawyer in 2020.
Selected for inclusion in The National Trial Lawyers: Top 100 Civil Plaintiff Trial Lawyers of Pennsylvania, 2017
Awarded title of "Unsung Hero" for Pro Bono work, The Legal Intelligencer, 2010
Recognized by the Eastern District of Pennsylvania for contributions to the Prisoner Civil Rights Panel, 2007
Selected by Suburban Life Magazine and Philadelphia Life Magazine as a 2015 Top Lawyer, December 2015


text:
This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please help to improve this article by introducing more precise citations. (May 2019) (Learn how and when to remove this template message)
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Theoretical linguistics, or general linguistics, is the branch of linguistics which inquires into the nature of language itself and seeks to answer fundamental questions as to what language is; how it works; how universal grammar (UG) as a domain-specific mental organ operates, if it exists at all; what are its unique properties; how does language relate to other cognitive processes, etc. Theoretical linguists are most concerned with constructing models of linguistic knowledge, and ultimately developing a linguistic theory.
Since the 1960s, the term "theoretical linguistics" has typically been used in more or less the same sense as "general linguistics", even though it also contrasts with applied linguistics, and even though it is often said that language description is inherently theoretical[citation needed]. The usual terminology is thus not entirely clear and consistent.
In the first half of the 20th century, the term "general linguistics" was more common (cf. Ferdinand de Saussure's famous Course in General Linguistics), which could be contrasted with "language-particular linguistics" (which is more often called descriptive linguistics)[citation needed].
The fields that are generally considered the core of theoretical linguistics are phonology, morphology, syntax, and semantics. Although phonetics often guides phonology, it is often excluded from the purview of theoretical linguistics, along with semantics[citation needed]. Theoretical linguistics also involves the search for an explanation of linguistic universals, that is, properties that all, or many languages have in common.
1 Major fields
1.1 Morphology
1.2 Phonetics
1.2.1 Articulatory phonetics
1.2.2 Auditory phonetics
1.2.3 Acoustic phonetics
1.3 Phonology
1.4 Semantics
1.5 Syntax
Major fields[edit]
Further information: grammar, formal grammar, and grammar framework
Morphology[edit]
Morphology is the study of the internal structure of words. For example, in the sentences The dog runs and The dogs run, the word forms runs and dogs have an affix -s added, distinguishing them from the base forms dog and run. Adding this suffix to a nominal stem gives plural forms, adding it to verbal stems restricts the subject to third person singular. Some morphological theories operate with two distinct suffixes -s, called allomorphs of the morphemes Plural and Third person singular, respectively. Languages differ with respect to their morphological structure. Along one axis, we may distinguish analytic languages, with few or no affixes or other morphological processes from synthetic languages with many affixes. Along another axis, we may distinguish agglutinative languages, where affixes express one grammatical property each, and are added neatly one after another, from fusional languages, with non-concatenative morphological processes (infixation, umlaut, ablaut, etc.) and/or with less clear-cut affix boundaries.
Phonetics[edit]
Phonetics is the study of speech sounds with concentration on three main points :
Manner of articulation|Articulation: the production of speech sounds in human speech organs.
Perception : the way human ears respond to speech signals, how the human brain analyses them.
Acoustic features : physical characteristics of speech sounds such as, loudness, amplitude, frequency etc.
According to this definition, phonetics can also be called linguistic analysis of human speech at the surface level. That is one obvious difference from phonology, which concerns the structure and organisation of speech sounds in natural languages, and furthermore has a theoretical and abstract nature. One example can be made to illustrate this distinction: In English, the suffix -s can represent either /s/, /z/, or can be silent (written Ø) depending on context.
Articulatory phonetics[edit]
The field of articulatory phonetics is a subfield of phonetics. In studying articulation, phoneticians attempt to document how humans produce speech sounds (vowels and consonants). That is, articulatory phoneticians are interested in how the different structures of the vocal tract, called the articulators (tongue, lips, jaw, palate, teeth etc.), interact to create the specific sounds.
Auditory phonetics[edit]
Auditory phonetics is a branch of phonetics concerned with the hearing, acquisition and comprehension of phonetic sounds of words of a language. As articulatory phonetics explores the methods of sound production, auditory phonetics explores the methods of reception—the ear to the brain, and those processes.
Acoustic phonetics[edit]
Acoustic phonetics is a subfield of phonetics which deals with acoustic aspects of speech sounds. Acoustic phonetics investigates properties like the mean squared amplitude of a waveform, its duration, its fundamental frequency, or other properties of its frequency spectrum, and the relationship of these properties to other branches of phonetics (e.g. articulatory or auditory phonetics), and to abstract linguistic concepts like phones, phrases, or utterances.
Further information: Phonology
Phonology (sometimes called phonemics or phonematics) is the study of how sounds are used in languages to convey meaning. Phonology includes topics such as stress and intonation.
The basic unit of analysis for phonology is called phoneme. A phoneme is a group of sounds which are not distinguished by the language rules in determining the meaning. In English, for example, [t] and [tʰ] are different allophones that represent a single phoneme /t/.
Semantics[edit]
Semantics is the study of intension, that is, the intrinsic meanings of words and phrases. Much of the work in the field of philosophy of language is concerned with the relation between meanings and the word, and this concern cross-cuts formal semantics in several ways. For example, both philosophers of language and semanticists make use of propositional, predicate and modal logics to express their ideas about word meaning.
Syntax[edit]
Syntax is the study of language structure and phrasal hierarchies, depicted in parse tree format. It is concerned with the relationship between units at the level of words or morphology. Syntax seeks to exactly delineate all and only those sentences which make up a given language, using native speaker intuition. Syntax seeks to formally describe exactly how structural relations between elements (lexical items/words and operators) in a sentence contribute to its interpretation. Syntax uses principles of formal logic and Set Theory to formalize and accurately represent the hierarchical relationship between elements in a sentence. Abstract syntax trees are often used to illustrate the hierarchical structures that are posited. Thus, in active declarative sentences in English the subject is followed by the main verb which in turn is followed by the object (SVO). This order of elements is crucial to its correct interpretation and it is exactly this which syntacticians try to capture. They argue that there must be a formal computational component contained within the language faculty of normal speakers of a language and seek to describe it.
Biolinguistics
Critical discourse analysis
Digital infinity
Formal language
Generative grammar
Linguistic relativity
Minimalist program
Universal grammar
Ottenheimer, H.J. (2006). The Anthropology of Language: An Introduction to Linguistic Anthropology. Canada: Thomas Wadsworth.
Language portal
Linguistics portal
AION Linguistica
American Speech
English Language and Linguistics
English Text Construction
English Today
European Journal of English Studies
Foreign Language Annals
Functions of Language
Glossa (journal)
Indogermanische Forschungen
Journal of Linguistics
Language and Linguistics Compass
Language Documentation & Conservation
Lingua nostra
Linguistic Inquiry
Linguistics and Philosophy
Linguistic Typology
The Linguist
The Linguistic Review
Lingvisticae Investigationes
Modern Language Review
Natural Language and Linguistic Theory
Studies in Language
First and Second language acquisition
Annual Review of Applied Linguistics
Assessing Writing
First Language (journal)
ITL – International Journal of Applied Linguistics
Journal of Child Language
Language Teaching Research
Language Testing
Journal of Second Language Writing
Second Language Research
Studies in Second Language Acquisition
TESOL Journal
TESOL Quarterly
The Language Learning Journal
The Modern Language Journal
Writing Systems Research
Archiv für das Studium der neueren Sprachen und Literaturen
Journal of the International Phonetic Association
Journal of Phonetics
Phonetica
Area-specific
Acta Linguistica Hungarica
Africa & Asia
Amerindia
Australian Journal of Linguistics
Bulletin de la Société de Linguistique de Paris
Cahiers de l'Institut de Linguistique de Louvain
Cahiers de Linguistique Asie Orientale
Canadian Journal of Linguistics
Dilbilim Araştırmaları
Éigse
Ériu
Germanistik in Ireland
Gjuha Jonë
Gjurmime albanologjike
L'Information Grammaticale
International Journal of American Linguistics
Jahrbuch für Romanische und Englische Literatur
Journal of Celtic Linguistics
Journal of Chinese Linguistics
The Journal of Comparative Germanic Linguistics
Journal de la société des américanistes
Journal of French Language Studies
Journal of Germanic Linguistics
Journal of Indo-European Studies
Journal of West African Languages
Khayaban
Latin American Literary Review Press
Leeds Studies in English
Maal og Minne
Le Muséon
Oceanic Linguistics
Pathological linguistics
Aphasiology
Bilingualism and multilingualism
Bilingual Research Journal
Bilingualism: Language and Cognition
Bilingual Review
International Multilingual Research Journal
Journal of Multilingual and Multicultural Development
Discourse Processes
International Review of Pragmatics
Journal of Pragmatics
Lodz Papers in Pragmatics
Language and gender
Historische Sprachforschung
International Journal of Lexicography
Lexikos
International Journal of the Sociology of Language
Journal of Sociolinguistics
Language in Society
Journal of Language Contact
Journal of Logic, Language and Information
Journal of Memory and Language
Journal of Semantics
Language Problems and Language Planning
Mikroglottika
Contrastive linguistics
Languages in Contrast
Maledictology
Maledicta
Linguistic morphology
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