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CDC Updates and Shortens Recommended Isolation and Quarantine Period for General Population
For Immediate Release: Monday, December 27, 2021
Contact: Media Relations
Given what we currently know about COVID-19 and the Omicron variant, CDC is shortening the recommended time for isolation from 10 days for people with COVID-19 to 5 days, if asymptomatic, followed by 5 days of wearing a mask when around others. The change is motivated by science demonstrating that the majority of SARS-CoV-2 transmission occurs early in the course of illness, generally in the 1-2 days prior to onset of symptoms and the 2-3 days after. Therefore, people who test positive should isolate for 5 days and, if asymptomatic at that time, they may leave isolation if they can continue to mask for 5 days to minimize the risk of infecting others.
Additionally, CDC is updating the recommended quarantine period for those exposed to COVID-19. For people who are unvaccinated or are more than six months out from their second mRNA dose (or more than 2 months after the J&J vaccine) and not yet boosted, CDC now recommends quarantine for 5 days followed by strict mask use for an additional 5 days. Alternatively, if a 5-day quarantine is not feasible, it is imperative that an exposed person wear a well-fitting mask at all times when around others for 10 days after exposure. Individuals who have received their booster shot do not need to quarantine following an exposure, but should wear a mask for 10 days after the exposure. For all those exposed, best practice would also include a test for SARS-CoV-2 at day 5 after exposure. If symptoms occur, individuals should immediately quarantine until a negative test confirms symptoms are not attributable to COVID-19.
Isolation relates to behavior after a confirmed infection. Isolation for 5 days followed by wearing a well-fitting mask will minimize the risk of spreading the virus to others. Quarantine refers to the time following exposure to the virus or close contact with someone known to have COVID-19. Both updates come as the Omicron variant continues to spread throughout the U.S. and reflects the current science on when and for how long a person is maximally infectious.
Data from South Africa and the United Kingdom demonstrate that vaccine effectiveness against infection for two doses of an mRNA vaccine is approximately 35%. A COVID-19 vaccine booster dose restores vaccine effectiveness against infection to 75%. COVID-19 vaccination decreases the risk of severe disease, hospitalization, and death from COVID-19. CDC strongly encourages COVID-19 vaccination for everyone 5 and older and boosters for everyone 16 and older. Vaccination is the best way to protect yourself and reduce the impact of COVID-19 on our communities.
The following is attributable to CDC Director, Dr. Rochelle Walensky:
“The Omicron variant is spreading quickly and has the potential to impact all facets of our society. CDC’s updated recommendations for isolation and quarantine balance what we know about the spread of the virus and the protection provided by vaccination and booster doses. These updates ensure people can safely continue their daily lives. Prevention is our best option: get vaccinated, get boosted, wear a mask in public indoor settings in areas of substantial and high community transmission, and take a test before you gather.”
Full Story: https://www.cdc.gov/media/releases/2021/s1227-isolation-quarantine-guidance.html
Beyond the Pandemic is an eye-opening series designed to break the silence, reveal true stories, and share solutions to help us get beyond the pandemic.
The Mechanics Building, 12 Church Street, Hamilton HM12, Bermuda
info@beyondthepandemic.tv
Copyright © 2023 Beyond the Pandemic
Powered by The Collective Action Solidarity Trust
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Girl in the Spotlight: an Ice Skating Romance with a Giveaway!
On Tour with Prism Book Tours.
Book Tour Grand Finale for
Girl in the Spotlight
By Virginia McCullough
We hope you enjoyed the tour! If you missed any of the stops
you can see snippets, as well as the link to each full post, below...
Launch - Author Interview
If you could sum the book up in one sentence, what would you say?
Lark McGee and Miles Jenkins shared the painful experience of giving up a child, but without fanfare or effort they’re given a path to see their daughter, and if they have the courage, to grab their second chance with each other.
Katie's Clean Book Collection - Who are Lark and Miles?
When Miles and Lark met as college students both confided their big career dreams. It was such a
pleasure to portray a guy who early in life chose to become a professional speaker/consultant. I’m
familiar with that life, so I know how much time speakers spend in airports and hotel rooms, with phones and laptops as their only companions.
Christian Suspense Author Mary Alford - Review
"I so loved this story and I was pulling for Miles and Lark to not only get to meet their daughter, but to realize they were meant to be together. This is a heartwarming tale of love almost lost but found again. I highly recommend Girl In The Spotlight."
Book Lover in Florida - Love Those Second Chances
What would life be without second chances? Pretty bleak, I’d say. I think most of us fall in love with second chance stories. And why not? It’s a universal theme in many ways, because all our lives we identify with the longing for second chances. People joke about Zog and Grog sitting around “the cave” or the campfire telling stories, but for as long as humans have been on the planet, we’ve be inspired by stories. Whether a particular story involves popular culture, folklore, or religion, the “plots” likely offers the characters second chances.
Reading Is My SuperPower - Review
"Girl in the Spotlight by Virginia McCullough puts you right in the audience, sitting high up in the arena seating, experiencing the skating competitions along with the fictional spectators. You’ll hold your breath for every axel and lutz and salchow, and you’ll easily be able to picture the sparkling costumes and the ‘kiss-n-cry’ bench as we all wait for the scores. Though the pace is slow in some places and the story overall is light on romance, you’ll be emotionally invested in this compelling story from the very first chapter!"
Nicole's Book Musings - Excerpt
Perrie Lynn skated to the center of the ice, and after one last quick pivot, she assumed her starting position in the center of the ice and the melody of Moonlight Sonata began.
Lark’s tears flowed freely. Miraculously, though, after the first couple of jumps her tears stopped. Along with all sense of time and any focus on technical elements. She lost herself in Perrie Lynn’s graceful journey across the ice and the triple jumps that brought outbreaks of applause. Maybe it was the lightness of her arm movements that enchanted Lark the most. No, the extension of her dramatic arabesques captured Lark’s attention.
When Perrie Lynn finished her final spin, Lark let her head drop against Miles’ shoulder. “Thank you for this.”
Inside the Mind of an Avid Reader - Review
"Girl in the Spotlight was well written and the words flowed perfectly. I enjoyed getting to know Miles and Lark as well as there children. . . . The book was enjoyable, the characters truly loved the daughter they had been unable to watch grow. "
Becky on Books - Excerpt
Detecting an edge of apprehension in her voice, he said, “Oh, Lark, it’s nothing bad. No need to worry.” He put his hand on his chest, hoping to slow the pounding of his heart. “It’s just that I believe it’s possible, not a certainty, but possible, our—our child, our daughter…is a figure skater. Sort of a rising star.”
A sharp intake of air. Then silence.
Rockin' Book Review - Review
"I really enjoyed reading this book. It has a really sweet story that could very well be a true story. It is very real. . . . I would recommend this book to other readers. It is a clean sweet story. I enjoyed it very much."
Mel's Shelves - Hope and Healing Come First
Whenever I’m asked about the broad themes of my novels, I quickly respond, “Hope, healing, and plenty of second chances.” GIRL IN THE SPOTLIGHT is no different. Lark and Miles earn their second chance in stages starting with hope. Lark never stopped hoping that one day she will learn what happened to the child she gave up, and maybe, just maybe, she’ll be give a chance to meet her. Miles hopes Lark will forgive him for not stepping up when they were young and faced with such a life-changing decision. It’s his biggest regret.
A Baker's Perspective - Review
"I really felt like this was two books in one – love story meets long lost child story. It had the perfect balance of both stories – neither one dominated the other. This is the first time I have read a book by Virginia McCullough, so I wasn’t sure what to expect. I’ve heard from others that I would not be disappointed, and they were right! She has a charming way of telling a story that will tug at your emotions, yet leave you with a smile."
Harlie's Books - Excerpt
Lark could probably calculate the exact number of days and hours that had passed since she’d murmured reassuring words to the tiny bundle in her arms. I’m so sorry, but it’s for the best, little one. She’d stared at the perfect little face one last time and drew her closer to her heart. I promise you’ll have a good life with people who will love you so, so much. They can give you what I could never hope to. A family.
It's All About the Romance - Let’s Go to the Movies! What are Your Favorite Second Chance Movies?
So many all-time favorite movies have a second chance theme. Maybe this is why big fans have watched them multiple times. Here are a few of my favorites.
Hearts & Scribbles - Excerpt
AMUSED BY HOW proud he was that he’d asked Lark out on a real date, Miles’s heart raced. Even his hands were clammy, like a teenager who knew that his date wasn’t just any girl. She was special. At some point, maybe after watching Perrie Lynn skate live for the first time, Miles was hit by how fast the weekend had passed. He’d wished he could have slowed it down, made it last.
The Bookworm Chronicles - Excerpt
“The girl is a beautiful skater,” Andi said. “From the flash I saw, you and Lark seemed like quite a couple, huddled together, all smiles. Is there something you’re not telling me? And what about Perrie Lynn’s mother? I heard she’s sick.”
I Am A Reader - What Do we Know about Perrie Lynn?
A couple of my reader-writer friends have remarked about Perrie Lynn being so vibrant and real, even though she’s not “on stage” in the book. One friend said she found herself tense waiting for Perrie Lynn’s performance scores—just like the minutes of waiting during televised competitions! I like that—as far as I’m concerned, Perrie Lynn is out there living her life. So, even seeing her from afar, what do we know about her?
Valerie J. Clarizio, Romance Author - Excerpt
The kiss. It was all she’d thought about the last two days. She sat on her couch in the TV room with her feet tucked under her, warm in heavy wool socks. Her open tablet sat balanced on her lap. How delicious to be held in his arms. She shook her head—again—to concentrate on the article displayed on the screen. Normally, a piece on rare and virulent viruses captured her attention. Dawn even teased her about her fascination with medical research. But not that evening.
Thoughts of a Blonde - Review
"The meaning of a second chance is personified in Virginia McCullough’s debut Harlequin Heartwarming novel! . . . The characters are well developed, their story is well thought out and leads us into the turmoil they are feeling from the first chapter. Ideally I would have wanted the ending to happen earlier in the book so we could have seen a little more of what happened after such a build-up, but overall, a great read and a satisfying resolution!"
Sylv.net - Excerpt
“You can leave now, Lyle. I think you’ve done enough damage for one night.” She moved alongside Evan in the small space by the front door. Showing her alignment with her son was the only way to contain her rage at her ex-husband.
And don't forget to enter the giveaway below...
Paperback & ebook, 384 pages
June 1st 2017 by Harlequin Heartwarming
The daughter they never knew
When Miles Jenkins sees the graceful young figure skater on TV, he can't believe how much she resembles Lark McGee, the girl he dated briefly in college. Could this aspiring star be the child Lark gave up for adoption eighteen years ago? He has to find out.
Locating Lark ignites conflicting emotions in Miles—including regrets for what might have been and romantic feelings that take the two single parents by surprise. As they prepare to meet their daughter, this deeper connection between the two just might be the chance at love they never got.
Mesmerized by the real world of characters--brought to life beautifully, I found myself entranced by this thoughtful, delightful, sad, and joyous, novel about second chances and all forms of love. The situation, characters, and consequences left me shedding happy tears at the ending. — Casey Clifford, award-winning author
A compelling love story crafted with characters you'll fall in love with. Miles and Lark's journey to be reunited with their child captured my heart, as did their blossoming romance. The best book I have read this year! —Lily Silver, author of Dark Hero
McCullough is always adept at creating suspense on multiple levels. In Girl in the Spotlight, the intrigue builds from page one and doesn’t let up until the end. But she understands that readers need relief from tension, and through her masterful storytelling and perfect pacing, McCullough delivers satisfying outcomes along that way. The relationships she’s developed are complex and realistic, and their evolution is deeply satisfying. — Lynda McDaniel, author of A Life for a Life
Girl in the Spotlight swept me away to Wisconsin's Lake Michigan shore and reminded me of loves left behind. McCullough invokes deep emotions through her writing, which will pull at your heart. More than a romantic love story, it is a love story of parents for their children. A must read." — Anne Parent, author/reviewer
Goodreads│Amazon│Barnes & Noble│Harlequin
A writer all her adult life, Virginia McCullough has had the opportunity to write the stories of her heart in her novels, including Girl in the Spotlight, the first book in her Two Moon Bay series for Harlequin Heartwarming. (Book 2 is scheduled for release in January 2018). Her award-winning romance and women’s fiction titles include The Jacks of Her Heart, Amber Light, Greta’s Grace, The Chapels on the Hill, and Island Healing.
Born and raised in Chicago, Virginia has been lucky enough to develop her writing career in many locations, including the coast of Maine, the mountains of North Carolina, the U.S. Virgin Islands, and currently, Northeast Wisconsin. She started her career in nonfiction, first writing articles and then books as a ghostwriter and coauthor. She’s written more than 100 books for physicians, business owners, professional speakers and many others with information to share or a story to tell.
Virginia’s books feature characters who could be your neighbors and friends. They come in all ages and struggle with everyday life issues in small-town environments that almost always include water—oceans, lakes, or rivers. The mother of two grown children, you’ll find Virginia with her nose a book, walking on trails or her neighborhood street, or she may be packing her bag to take off for her next adventure. And she’s always working on another story about hope, healing, and second chances.
Website│Goodreads│Facebook│Twitter
1st Prize (US only): Tea & Contemplation, a collection of favorite things, starts with an uplifting message from “Seize the Day” Pop Open Cards. Fill a ceramic thermal mug to sip Lavender Chamomile Tea while you contemplate your ideas and dreams. Write your thoughts in a journal, whose guiding words are: When Your Heart Speaks... take good notes! A Wish pen is included. Finally, pick a place to display a large piece of gemmy rose quartz, a stone long linked to matters of the heart. It’s said when rose quartz is nearby, love (of all kinds) comes along to keep it company. These items will be arranged in a “keeper box” and delivered to your door.
2nd Prize (open internationally): You will receive a $35.00 Amazon eGift Card, and a digital copy of GIRL IN THE SPOTLIGHT, plus one digital copy of another of Virginia’s five award-winning novels—it’s your choice.
Ends June 16th
Posted by Annie Douglass Lima at 7:00 AM
Labels: Girl in the Spotlight, romance, Virginia McCullough, win a free book, win an Amazon gift card
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San Anselmo Town Council: Breen, Freeman cruise; Roth edges out Greene
Joe Wolfcale
Peter Breen earned his fourth term on the San Anselmo Town Council yesterday and will be joined by newcomers Ted Freeman and Ian Roth.
Freeman, 70, a retired school-teacher, and Roth, 39, a manager with the county's Community Development Agency, will join vice mayor Barbara Thornton and attorney Wayne Cooper on the council. Longtime council members Paul Chignell and Jeff Kroot decided not to run.
Roth was locked in a closely-contested race with controversial attorney Ford Greene throughout much of the evening.
Breen grabbed 23 percent of the vote and Freeman had 21 percent. Roth edged Greene by about 120 votes.
San Francisco X-ray technician Lujza Mehling, 49, nabbed 8 percent of the vote and 52-year-old Tom Fallon, a former Indy car mechanic, had 11 percent.
Breen said he was excited at his election triumph, but added the the defeat of city tax Measure B cast a cloud over the victory party.
"Measure B failing will make it extremely difficult for us," said Breen, 68. "The people of San Anselmo have clearly spoken. It's an exciting, challenging time for us. I see some good things coming out of the next four years."
The tightest race was for the third spot between Roth and Greene.
"Frankly, I had a little bit of anxiety," Roth said. "I'm surprised at the showing Ford pulled off. I think the next four years will be a great opportunity for me to provide some leadership. I'm looking at a big open door at this point. I'm looking forward to stopping the campaigning and starting the real work."
The biggest obstacle for the Town Council will be how to deal with the financial crisis plaguing the town as Measure B, the proposed special municipal service tax, was soundly defeated.
Proponents said the tax would pull the town out of red ink which prompted officials to curtail city services, freeze eight staff positions and halt or delay projects.
Freeman will have to step down from his role on the town's Planning Commission and library board to serve on the council.
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The West Toronto Railpath is the city's hidden urban trail next to the train tracks
The West Toronto Railpath is a rare corridor that makes traversing Toronto's industrial west end a lot more enjoyable.
Made just for walkers, joggers, and cyclists, this scenic 2.1-kilometre trail cuts through the Junction Triangle.
Both the Dupont and Bloor Street bridges are clearly demarcated as part of the West Toronto Railpath.
It runs Cariboo Avenue, just north of Dupont and heads south along the GO Train rail corridor until Dundas Street and Sterling Road.
You can enter the path through many connectivity points (off Bloor, or the path behind Osler Fish Warehouse, or adjacent to Henderson Brewing, to name a few) to access this special asphalt trail.
There are nine main entrances along the 2.1 kilometre trail.
The Junction Triangle has never felt particularly inviting to pedestrians, in large part due to the fact it's an area shaped by railway tracks, ongoing construction, and the remants of old factories.
This linear asphalt path is a paradise for pedestrians and cyclists.
But here, the urban essentials — railways and bridges — come together against a backdrop of greenery and graffiti that shows Toronto's adaptive ecology at its best.
The WTR runs directly next to the GO train corridor.
The WTR was established in 2009, at a time when the Junction Triangle (or The Wedge, as some thought to call it, before the Fuzzy Boundaries project declared it so) was in its early stages of an identity renaissance.
The occasional sound of trains passing by interrupts the peace and quiet of the trail.
Like the Beltline Trail, another rail-to-trail that uses railroad right-of-ways, the WTR runs on an abandoned line. A mere fence, and at times, graffiti-covered sound barriers, is all that separates commuters from the trains as they whizz by.
The trail was completed in 2009 and runs along an old railroad right-of-way.
Aside from the fact that it gets you efficiently from A to B (it's my favourite detour to all that Sterling Road has to offer), or the direct access to the Bloor GO and UP stations, the trail itself is a sight for sore city eyes.
Graffiti is an essential part of experiencing this urban landscape.
For art in the wild, check for art by DeRAIL, StART, artists like Alexander Bacon and Que Rockford (you can watch a video on the duo's Dupont Street Underpass mural) and Lynnette Postuma (whose 12,000 square-foot Gradation wall pays hommage to the trees of the trail).
Several interdisplenary arts teams are responsible for the murals here.
The volunteer group Friends of the West Toronto Railpath calls it a "living canvas", which is probably the most accurate description of the WTR.
The graffiti here is as as essential a component as the growth of the shrubs and sumach trees and vines of the trail, and you'll find the artwork here shifting to match the zeitgeist.
The Wallace Avenue foot bridge stretches overtop the GO train corridor to Dundas Street West.
Here to stay are four sculptures made from galvanized steel placed along the length of the trail. These pieces by John Dickson range between five and six metres high as part of his project, Frontier.
There is public seating interspersed along the trail, including these Pause Platforms.
Closer to the Dundas exit, there are also three wooden circular seats called Pause Platforms, which sit atop three decomissioned groundwater pumping wells.
Looking north from the heritage Wallace Avenue footbridge.
One pitstop you should definitely not miss out on is the walk across the Wallace Avenue footbridge: the first project by the Ontario Bridge Company.
Built in 1907, it was originally created as a low-cost, temporary crossing, but is now a historical landmark that provides an uninhibited view of the trains as they travel underfoot.
The Wallace Avenue footbridge was built in 1907.
Biking from north to south takes roughly 10 minutes, approximately, which is simply not enough to satiate most cyclists looking for an urban reprieve.
Phase 2 of the WTR has been a prolonged and painful (for eager pedestrians) process, promising an extension down to Abell Street at Sudbury Street.
An extension of the WTR is expected to lengthen the trail south to Abell Street at Sudbury Street.
There was some movement made in February 2020 with the announcement of a $23 million plan that will introduce four new pedestrian-cycle bridges, connections to Dundas Street West, Lansdowne Avenue, Brock Street, and Queeen Street.
The project is slated to begin in 2021, if all goes according to plan. Until then, a little more than 2 kilometres will have to do.
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Faculty History Project
Search Faculty
The Faculty History Project documents faculty members who have been associated with the University of Michigan since 1837. Key in this effort is to celebrate the intellectual life of the University. This Faculty History Website is intended as a component of the effort to document the extraordinary academic achievements of Michigan’s faculty in building and sustaining one of the world’s great universities. It provides access to a comprehensive database of information concerning the thousands of faculty members who have served the University of Michigan.
Literature, Science & the Arts
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SCHOOL OR COLLEGE
Architecture and Urban PlanningArt and DesignBusinessDentistryEducationEngineeringHomeopathic MedicineInformationKinesiologyLawLiterature, Science, and the ArtsMedicineMusicNatural ResourcesNursingPharmacyPublic HealthPublic PolicySocial Work
The Bentley Historical Library serves as the official archives for the University.
L. Rowell Huesmann
Years at Michigan: 1992 - 2020
Literature, Science, and the Arts
| Communications | Psychology |
Professor of Communications Studies & Psychology
Research Professor of Group Dynamics, ISR
Faculty Member Resources
Regents' Proceedings
UM 1817-2017
Faculty Memoir Project
© 2011 Millennium Project, University of Michigan
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Crossovers on Country Roads
by Phillipa Nefri Clark
I’m a country girl at heart. Give me a wild ocean beach or a twisting mountain track and I’m happy. I write mystery romance in those settings, which become as much a character as the humans. River’s End, with its misty cliffs and long summers spawned six stories in a series about lost love.
In one of these books, an unsolicited character forced her way in. Charlotte appeared as a minor player and I had no idea why she was there. I tried to remove her but the local police officer refused to let her go. The next book began and there she was again, this time bringing enough of her past along to drive a sub-plot. This time I found a way for her to leave at the end. I thought it was clever to send her to work for the police officer’s mum in a town far away.
With a full slate of books to write – specifically stand-alone crime suspense – I was pleased to see her go. The police officer from River’s End had something to say about it though in the last in the series and before I knew what was going on, I’d commissioned three covers for Charlotte’s own story in Kingfisher Falls.
We all have characters who demand a bit, or a lot more attention. The comic relief who makes us see things in a different light or best friend with a strong backstory. How do we know when a minor character has what it takes to make them a lead character?
I enjoy writing strong female main characters. They don’t start off with obvious strength but have enough conflict and problems to deal with by the end of the book or series to show who they truly are. Charlotte was already a tough cookie. How to find her heart? Challenge accepted.
If Charlotte was important enough to make me spend money on three covers before writing a word, she had a story to tell. One I’d unknowingly begun in River’s End. I’d thought she was a distraction for Trev, the police officer. Instead, she was running from a difficult past and terrified of her future. There were hints and breadcrumbs already in place. She needed her story told. If I ignored her, the likelihood of writing anything else was small.
How to craft this new series? I began by rereading every scene involving Charlotte in the River’s End series. I studied Trev and his needs. Wrote notes about Charlotte’s background. I sketched Kingfisher Falls township and Charlotte’s home. As a panster, that’s as plotted as it gets for me.
Weaving the elements of both series together came naturally. I included enough of River’s End to make sense of Charlotte and Trev to new readers. The gorgeous valley setting and atmospheric waterfall is its own character. Although these are small town whodunits, they are also slow burn romances with an arc leading to happiness.
Buy link
Deadly Secrets: Book 3 releases 31 May 2020
A trail of purple flowers guides psychiatrist Charlotte to an old shallow grave in bushland behind her home. Her instincts lead her to who she believes is the killer but when a missing person reappears, Charlotte's mistake puts those she loves at deadly risk.
Do you have favourite crossover books?
Love to love following my lifelong dream to write.
Love to laugh with my family as we spend more time together than ever.
Love to learn how other people think and feel.
Bio: Phillipa Nefri Clark lives just outside a beautiful town in country Victoria. She also lives in the many worlds of her imagination and stockpiles stories beside her laptop. She adores mysteries of any kind and always manages to include a puzzle in every book. From the fifty-year-old mystery of lost love in The Stationmaster's Cottage to the puzzling case of The Christmas Tree Thief, Phillipa loves keeping her characters - and her readers - guessing. With a passion for music, the ocean, nature and writing, she is often found in the vegetable garden pondering a new story.
http://www.phillipaclark.com/
Labels: Deadly Secrets, Phillipa Nefri Clark, The Christmas Tree Thief, The Stationmaster's Cottage
Ooh! I'm already intrigued by this latest story, Phillipa. Your small town whodunits are such a treat to read. Hope it goes gangbusters for you.
Phillipa Nefri Clark 27 April 2020 at 14:18
Thank you, Marilyn! I'm loving the genre and appreciate your support so much.
Jayne Kingsley 27 April 2020 at 10:46
It sounds like a wonderful read ☺️ It’s interesting how some characters just take hold and won’t leave you alone!
Thanks, Jayne! And yes, characters have their own agendas at times.
Ooh, Phillipa, I love the way characters take on a life of their own, whether the authors want them there or not! What fun. Half the work done for the next book, but I do know it's not quite that simple! Congratulations on the release of Deadly Secrets! And may there be more characters who stand up and shout, Pick me!
I find myself there to do their bidding sometimes! Many thanks.
Setting as character can be so powerful. So, when you return to it again and again in a series it is like seeing an old friend.
I agree. Revisiting a location is wonderful and there is always something new to learn.
Kristine Charles 27 April 2020 at 20:13
Such a good mix Phillipa - mysterious, but beautiful settings and strong characters who won't go away! Makes for excellent storytelling!
We are so fortunate to have such a variety of settings in Australia. The hardest part is selecting which! Thank you for such a nice comment.
Enisa 28 April 2020 at 07:19
Settings that grab you as strongly as the characters do make for the best stories, don't they, Phillipa? Add mystery and, wow, a fabulous story! I live being intrigued.
I agree! The landscape or seascape is every bit as enthralling as any story. Many thanks.
Alyssa J Montgomery 29 April 2020 at 12:33
This latest book sounds great Phillipa. Congratulations! I know exactly what you mean about characters who won't leave you alone. I planned The Formidable King with one heroine in mind and she didn't even make it into the story as another heroine pushed her way in and refused to get out of my head even when I promised her a story of her own!! Good luck with the new release.
Phillipa Nefri Clark 11 May 2020 at 15:02
I think our characters know exactly what they want!
Sharon Bryant 3 May 2020 at 15:50
Thanks for sharing insights into your writing processes, Phillipa. I look forward to reading your novels.
I so enjoyed writing this piece and would love to know your thoughts when you do read them. Many thanks.
Writing During a Time of Global Crisis
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Benton, AR (72018)
Thunderstorms. High 66F. Winds SW at 10 to 15 mph. Chance of rain 100%..
Mostly clear. Low 42F. Winds SW at 5 to 10 mph.
Insta Graphic Systems Announces Its Insta 780 Heat Press Will Be On Display at the Upcoming 2022 Printing United Expo
By: Press Advantage
September 26, 2022 at 18:00 PM EDT
Cerritos, California -
Insta Graphic Systems (Cerritos, CA) is excited to announce that they will be displaying their award-winning line of heat press machinery and custom heat transfers at the 2022 Printing United Expo. The show takes place in Las Vegas, NV from October 19th – 21st.
Insta will be in booth #C10934 at the Las Vegas Convention Center in the main hall of the complex. The Insta sales team will be featuring their latest innovative heat press, the Insta 780. According to a company representative, "Everyone is thrilled about the prospect of once-again meeting customers and industry partners in person to network, learn, and present new innovations." Printing United has not had an in-person event since before the global COVID-19 pandemic. One corporate attendee expressed excitement for the upcoming show on Printing United’s website, "It has been toooo long since we have been able to attend an industry trade show. The Printing United Expo is a ‘never miss’ event for our team because it’s the best way to keep up with the latest technology and trends in our industry. Something that is paramount for us. These last couple of years without a show has been the longest stretch we have experienced without seeing upgraded hardware, software, or any new printing materials that have become available."
The event is organized by the Printing United Alliance, which proclaims they are, "a mission-driven association created with the combined strength of Printing Industries of America (PIA), Specialty Graphic Imaging Association (SGIA), NAPCO Media, and Idealliance." Major sponsors of the event include some of the biggest names in the printing industry such as Hewlett-Packard, Ricoh, Canon, Kornit Digital, and OmniPrint International.
Insta Graphic Systems will be displaying the new Insta 780 Dual Shuttle, Fully Automatic Heat Press in their booth. According to Insta, "The Insta 780 is an automatic dual-shuttle heat press featuring a digital, touchscreen controller. It can be operated in single-platen, dual-platen semi-automatic, or fully automatic modes. The heavy-duty 780 increases productivity by up to 70%, operates quietly, and features the extremely even heat and pressure distribution the Insta line of heat presses has always been known for."
Other standout features associated with this innovative machine from Insta Graphic Systems include a robust frame, optional foot pedal control, dual quick-change 16" x 20" platens, multiple presets, ETL approval, a one-year parts warranty, a 90-day labor warranty, and a 10-year warranty on the upper heating elements. The Insta 780 is ideal for high-volume transfer application, is extremely user-friendly, and has numerous operating modes.
According to the representative, "Insta Graphic Systems is well-known for phenomenal service and unparalleled quality and durability in its products." For these reasons, numerous customers rate their experience with Insta 5 stars. Heidi C. stated, "Thank you Insta Graphic! Choosing a heat press machine could not have been easier. The staff was knowledgeable, and patient and helped me choose a product that works perfectly for my needs." Greg C. proclaimed, "Great customer service and excellent heat press machines!"
Insta team members who will be working at the expo are excited to meet with event attendees and answer any questions about the company’s products they may have. More information about the upcoming 2022 Printing United Expo can be seen on the organizer’s website and specific product details on the Insta 780 Dual Shuttle Heat Press can be found on the Insta Graphic Systems website.
https://www.youtube.com/watch?v=3TpGHTEhiQ0&t=1s
For more information about Insta Graphic Systems, contact the company here:
Insta Graphic Systems
sales@instagraph.com
https://www.instagraph.com/
13925 E. 166th Street
Cerritos, CA 90703-2431
bentoncourier.com
321 North Market Street
Email: bcadmin@bentoncourier.com
© Copyright 2023 The Saline Courier, 321 North Market Street Benton, AR | Terms of Use | Privacy Policy
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[chirp_users] any DMR radios supported?
Nigel A. Gunn G8IFF/W8IFF nigel at ngunn.net
Fri Feb 18 17:30:07 PST 2022
Previous message: [chirp_users] any DMR radios supported?
Next message: [chirp_users] any DMR radios supported?
Tried the manufacturer's website?
> On 18/02/2022 19:54 White Ranger <cortchubby20007 at gmail.com> wrote:
> does anyone know if CHIRP will support the new baofeng AR-152? or perhaps know where to find software?
> On Fri, Feb 18, 2022 at 1:26 PM Nigel A. Gunn G8IFF/W8IFF <nigel at ngunn.net> wrote:
> > EditCP is as good as it gets if you buy a compatible radio.
> > Chirp will likely never fully support digital voice mode radios.
> > > On 18/02/2022 13:22 Patrick Larkin Jr <plarkinjr at gmail.com> wrote:
> > >
> > > I'm beginning to look into DMR radios, and so far none are listed on the compatible radios list. Is this a generally true statement that CHIRP doesn't support DMR? If not, I guess it's also safe to say it isn't coming soon. What are DMR folks using most of the time to program their radios? The software that comes from the radio vendor?
> > > Thanks!
> > > _______________________________________________ chirp_users mailing list chirp_users at intrepid.danplanet.com http://intrepid.danplanet.com/mailman/listinfo/chirp_users This message was sent to Nigel Gunn, W8IFF at nigel at ngunn.net To unsubscribe, send an email to chirp_users-unsubscribe at intrepid.danplanet.com To report this email as off-topic, please email chirp_users-owner at intrepid.danplanet.com
> > Nigel A. Gunn, ///shoulders.outwards.resolutions tel +1-937-971-0366
> > Amateur Radio G8IFF W8IFF and GMRS WRBV701, e-mail nigel at ngunn.net www http://www.ngunn.net
> > _______________________________________________
> > chirp_users mailing list
> > chirp_users at intrepid.danplanet.com
> > http://intrepid.danplanet.com/mailman/listinfo/chirp_users
> > This message was sent to cortchubby20007 at gmail.com at cortchubby20007 at gmail.com
> > To unsubscribe, send an email to chirp_users-unsubscribe at intrepid.danplanet.com
> > To report this email as off-topic, please email chirp_users-owner at intrepid.danplanet.com
> _______________________________________________ chirp_users mailing list chirp_users at intrepid.danplanet.com http://intrepid.danplanet.com/mailman/listinfo/chirp_users This message was sent to Nigel Gunn, W8IFF at nigel at ngunn.net To unsubscribe, send an email to chirp_users-unsubscribe at intrepid.danplanet.com To report this email as off-topic, please email chirp_users-owner at intrepid.danplanet.com
Nigel A. Gunn, ///shoulders.outwards.resolutions tel +1-937-971-0366
Amateur Radio G8IFF W8IFF and GMRS WRBV701, e-mail nigel at ngunn.net www http://www.ngunn.net
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Jasmijn.
Jasmijn from the Netherlands is a solo artist, but you cannot tell from her wide-ranging live performance. With synthesizers, bass and drums she makes the base for her melodic vocals live on stage. That’s how Jasmijn gives her own twist to Electronic Indie Pop, bringing it to the next level.
Always looking for a fresh approach to modern-day Pop, Jasmijn thinks innovation, originality and the ability to experiment are the most important elements of her music. “My goal is to make my listeners enjoy my newest bleeps and tunes, but also give them the opportunity to dream away in the depth of my music.”
Her self-produced beats go hand-in-hand with her catchy lyrics, in which she mainly describes her own philosophies about happiness. With a dreamy sound full of power, Jasmijn takes you by the hand and draws you into her story.
© 2023 Jasmijn.
Contact me? Info@Jasmijn.online
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What the Node Docs Don't Tell You About Callbacks
What the Node docs don't tell you about callbacks is, of course, a trick question. Because the official documentation says NOTHING about callbacks, and many other introductory Node pages are vague about how callbacks actually work.
Which is strange, given that Node was built, in large part, around callbacks.
All code in Node is executed asynchronously -- meaning as soon as Node executes one call, it will execute the next, even if the first function hasn't returned its results yet. A callback provides a way to ensure that any function depending on the results of another function (say a slow one that reads files from a disk), will not continue to execute until the function that it relies on, designated as a callback function, has been completed.
Hence the name "callback" -- Once the callback function has finished, then, and only then, does it return control to the function that called it.
As central of a role that callbacks play in Node, I was surprised to find very little documentation on them. And the documentation that did cover them offered specific examples but not much in the way of explanation.
The reason callbacks aren't discussed is because they are not so much a Node thing, but a JavaScript thing (Node was built to run JavaScript on the server).
The Node docs assume you know JavaScript, which, if you were taught it formally, you might have spent some time studying this feature, which sets the stage for functional programming in JavaScript. Functional programming is all about using functions as arguments. It typically only gets covered as an "advanced" JavaScript tutorials though.
If you learned JavaScript from a free online tutorial, such as I did through Codecademy, then you're borked when it comes to callbacks.
So! Callbacks are functions. And like all functions in JavaScript, callbacks are objects: you can pass them around like any other objects. You can embed functions directly into another function as an argument. See:
var SmoothieMix = ["Banana",
"Strawberries",
"Milk",
"Ice"];
SmoothieMix.forEach
(function (ingredient, index){
console.log(index + 1 + ". " + ingredient);
A callback is not a keyword. It is a placeholder -- the last parameter in a function can be a callback function. Like any other function, we can pass parameters to a callback -- including any of the containing function’s properties.
Here is a callback in action, taken from the JavaScript.Is(Sexy) site.
First, the callback is added to a standard function call:
getUserInput("Michael", "Fassbender", "Man",
genericPoemMaker);
The name of the function being used as a callback is identified ("genericPoemMaker") as the last value passed to the "getUserInput" function:
function getUserInput(firstName, lastName, gender,
callback)
when needed, the callback function is summoned within getUserInput and supplied with the necessary arguments:
callback(fullName, gender);
And the callback function (genericPoemMaker) completes its task...
function genericPoemMaker(name, gender) {
...snip code...
And when and only when genericPoemMaker is done, it hands control back to getUserInput.
Callback functions can be either anonymous -- simply embedded into the parameter of a function -- or they can be named, such as in the above example.
Boom! That's how callbacks work.
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Robert William Jamison (1985)
JAMISON, HARRELL, SIEL, LEE
Posted By: Pat Hochstetler (email
Date: 4/3/2012 at 09:07:57
Des Moines Register, Des Moines, Iowa
September 15, 1985 Metro pg 7
WINTERSET, IA.—Services for Robert W. Jamison, 29, of rural Winterset, who died of injuries received in a car-school bus accident Thursday 1 ½ miles south of Winterset, will be at 1 p.m. Monday at First Christian Church. Burial will be in Winterset Cemetery.
Mr. Jamison was born in Winterset. He was an electrical construction worker.
Survivors include his wife, Barbara; two sons, Jay Scott and Curtis Wayne, both at home; his parents, Robert and Callie of Winterset; a brother, James of Winterset; a sister, Cynthia Lee of Urbandale; and his grandfather, Paul Jamison of Winterset.
Friends may call from noon to 9 p.m. today at Collins Funeral Home in Winterset.
Winterset Madisonian – September 18, 1985
Rural Winterset Man Dies When Van Hits Rear of School Bus
Robert Jamison Jr., 29, rural Winterset, was injured fatally last Thursday afternoon, Sept. 12, when the van he was driving smashed into the rear of a Winterset school bus which had stopped on old Highway 169 several miles south of Winterset.
Jamison was pronounced dead at a Des Moines hospital after being transported by a Life Flight helicopter.
State Trooper Steve Ponsetto said 27 students were aboard the school bus at the time of the accident but none reported being injured following the collision. However, Ponsetto said he learned some of the students complained of “sore necks” on Friday morning.
Ponsetto said there were no brake marks from the van and that Jamison was apparently going about 55 miles per hour in the southbound van. The trooper said visibility was good at the time of the accident and that there was considerable distance on the highway for Jamison to have seen the school bus ahead.
Services for Mr. Jamison were held Monday afternoon at the First Christian Church in Winterset with John Safford and the Rev. Robert Brite officiating. Burial was at the Winterset Cemetery.
He was born in Winterset Nov. 2, 1955, the son of Robert and Callie Harrell Jamison. He was an electrical construction worker and a member of the Des Moines chapter of the International Brotherhood of Electrical Workers.
He was married to Barbara Siel in Winterset on Aug. 18, 1974.
Survivors include his wife; sons, Jay Scott and Curtis Wayne, both at home; a brother, James of Winterset; a sister, Cynthia Lynne Lee of Urbandale; and a grandfather, Paul Jamison of Urbandale.
Madison Obituaries maintained by Linda Griffith Smith
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Pax Americana, Technological Readiness and broken weapons systems
Thread: Pax Americana, Technological Readiness and broken weapons systems
AdamG
Hiding from the Dreaded Burrito Gang
Or "How we self-sabotage our starting positions for the next conflict, through unacceptable QC and wasteful Defense Spending"
A $2.7 billion attack submarine, the USS Minnesota, has been out of commission for more than a year because of a defective pipe joint near the ship’s nuclear-powered engine.
The defective part, which is worth about $10,000, was installed near the ship’s nuclear power plant. Engineers discovered the poorly welded steam pipe in early 2015, and ongoing repairs have led to the ship being stuck in overhaul ever since, according to Navy Times.
http://www.msn.com/en-us/news/us/how...oNm?li=BBnbfcL
A scrimmage in a Border Station
A canter down some dark defile
Two thousand pounds of education
Drops to a ten-rupee jezail
http://i.imgur.com/IPT1uLH.jpg
On Service and the F-35
by William Herbert
http://smallwarsjournal.com/blog/on-...e-and-the-f-35
A problem we share
AdamG,
The UK has a history of defence projects having issues, both historically and today. Plus a number of reports which have recommended "solutions".
Not to overlook the decisions made by politicians to end, even embark on major projects. The Nimrod maritime aircraft upgrade and the two new aircraft carriers (which will currently have no aircraft).
Granite_State
The Green Mountains
Originally Posted by davidbfpo
CIMSEC did a podcast series on the Falklands War recently, the one with "Sharky" Ward has a good bit near the end with him savaging the UK's new carrier/F-35B foolishness.
Originally Posted by Granite_State
http://cimsec.org/sea-control-97-fal...key-ward/19236
Their whole series on the Falklands is great, worth getting on iTunes.
Good comparison-and-contrast on what sort of value we're getting for our defense dollar.
America's new Zumwalt-class DDG-1000 destroyer is a marvel of engineering.
Sixty percent bigger than the DDG-51 Arleigh Burke-class destroyers it was designed to replace, but just as fast as a DDG-51 and featuring a stealthier design, Zumwalt touts two 155-millimeter guns, can carry a combination of 80 Tomahawk, Sea Sparrow, and ASROC missiles, and is one of the few warships in the U.S. fleet capable of producing enough power to operate the new railgun and laser cannon weaponry just starting to come on line.
But Zumwalt is not cheap.
Although it was initially designed in 1998 with the intention of producing 32 warships for a total cost of $36.9 billion (including R&D costs), a combination of cost overruns and procurement cuts have sent per-ship costs skyrocketing. According to the U.S. Government Accountability Office, each of the Zumwalt-class ships now under construction, expected to cost $1.2 billion to build, will instead cost $7.5 billion.
That's more than half the cost of a Ford-class aircraft carrier, and a big price to swallow and get only a destroyer in return. So it's little wonder that, with costs spiraling out of control, the Pentagon pulled the plug on the Zumwalt program in 2009, ordering a halt to production after just three ships.
But now there's a new threat on the horizon that could convince the Navy it can't afford not to build more Zumwalts.
http://www.fool.com/investing/genera...satellite.aspx
lightweight is fashionable but ...
The term lightweight is a catalyst for all manner of projects intended to benefit military operations, for example the Combat Lightweight Automatic Weapon System (CLAWS) and the Lightweight Dismounted Automatic Machine Gun (LDAM).
http://www.thefirearmblog.com/blog/2...r-machine-gun/
recently highlighted a project – not apparently CLAWS but possibly LDAM - to develop a replacement .50cal MG for the classic .50cal M2 HB and as improved with QCB. Just possibly that project might be intended to also replace the derivative M3 with its higher maximum ROF.
The item’s reporter was unimpressed for several reasons not explained with all details on weights, although he did quote it is hoped to “save 16-pounds off of a 26-pound barrel”. As a summary of some of his concerns, the M2 which covers only part of the overall requirement for support MGs is bulky and with heavyweight tripod weights 128 lb, reducing to 106 lb with lightweight tripod. Keeping the M2 supplied with ammunition is burdensome – at about 28 lb for a 100-round belt without packaging - so it is often employed as a vehicle weapon. And when offloaded or back-packed by infantry it routinely needs logistic support from vehicles.
With the M2 in service as a reliable, well regarded and widely employed MG there is little point in spending development dollars on a new .50cal medium ROF MG or even just a lightweight barrel. A heavier barrel with less need for changing out on vehicles could be better value.
In somewhat the same vein the US Army has an Extended Range Cannon Artillery project to replace 39 calibre barrels by 52 calibre barrels in all its 155mm howitzers.
http://defense-update.com/20160329_m777er.html
That is intended to increase their maximum reach of about 30,000 yd to about 50,000 yd. And it includes a 52 calibre barrel that will increase the 9,300 lb weight of the towed M777 howitzer by some 1,000 lb. The M777 was quite recently developed with a part titanium carriage to obtain lightweight heli-portable support fire. The concepts for deep battle may in addition to rocket and missile artillery and attack helicopters demand long range barrels on self-propelled howitzers. However, heavying up any of the M777s for intermittent and punishing high pressure use seems illogical.
The US Army must already have procedures to ensure redundant and nugatory projects are shut out or down at an early gate. But the gate guardians could be trapped in a procedural bog or have in some other way gone missing. If either of those circumstances apply it could be appropriate to start and promptly implement a higher level weight reduction project.
Last edited by Compost; 05-05-2016 at 11:25 AM. Reason: change phrasing
"I Wore a $400,000 F-35 Helmet and It Blew My Mind"
http://gizmodo.com/i-wore-a-400-000-...ind-1779125567
Damage done by laser weapons is a function of power and time. The longer a laser can stay on a target, like a drone or an incoming missile, the more damage it can do. The more powerful that laser is, the less time it needs to spend burning its target. The U.S. Navy already has a 30-kilowatt laser mounted on a ship. Yesterday, at a summit on directed energy weapons in Washington, D.C., the Navy announced it plans to go bigger: 150 kilowatts.
National Defense Magazine writes:
The Office of Naval Research “will perform a shipboard test of a 150-killowatt laser weapon system in the near future,” said [vice chief of naval operations] Adm. Bill Moran during a speech at Booz Allen Hamilton’s Directed Energy Summit, which was held in Washington, D.C.
http://www.msn.com/en-us/lifestyle/o...oon/ar-AAhAvmZ
Last edited by AdamG; 07-06-2016 at 01:58 PM. Reason: USN needs more sharks
Reading music https://www.youtube.com/watch?v=FAMrFJB1o08
Were it not for efforts by the U.S. military to develop a lightweight, unarmored, all-terrain vehicle for the battlefield there might not be a market for SUVs today. It all began 75 years ago last December when the United States military adopted the 'jeep', and while the iconic military vehicle was phased out and replaced by the Humvee – the High Mobility Multipurpose Wheeled Vehicle (HMMWV) in the early 1980s – the Army could go full circle and bring back the jeep.
Last year the Army began gearing up its Ground Mobility Vehicle Program for fiscal 2017. It was part of the Army's Combat Vehicle Modernization Strategy that sought to procure lightweight combat vehicles for infantry brigade combat teams. The vehicles considered sound very much like what first entered service back in 1940.
http://www.foxnews.com/tech/2016/07/...back-jeep.html
Related trends - http://www.carolinacountry.com/index...bility-stamina
Maeda Toshiie
The back and forth decision over catapults on the Queenie class was hilarious, if it wasn't so sad.
The U.S. Air Force asked industry on Friday for proposals to replace the Minuteman III intercontinental ballistic missile and the nuclear cruise missile as the military moves ahead with a costly modernization of its aging atomic weapons systems.
The Air Force said in a statement it expected to award up to two contracts for a new ICBM weapons system, or ground-based strategic deterrent, sometime next summer or fall. It also expected to award up to two contracts in the same time frame for a new nuclear cruise missile, or long-range standoff weapon.
http://www.reuters.com/article/us-us...-idUSKCN1092MS
Wasn't this in "Hammer's Slammers"?
http://www.nextbigfuture.com/2017/01...-will.html?m=1
Originally Posted by AdamG
These are intended to be cheaper than CHAAMP and more mindful of damaging civilian infrastructure.
AmericanPride
"Turn left at Greenland." - Ringo Starr
This is probably one of the underlying math problems that threatens U.S. military superiority. The rate of increase in cost (resulting in a reduction in the number of available physical assets) exceeds the rate of increase in capabilities. Therefore, even as the U.S. spends more money, it receives a declining amount of combat power per dollar. Related to this problem, the long development & implementation timelines for new generations of aircraft, submarines, etc exceeds the analytical capability to assess their utility by the time they enter service. The average in fighter aircraft development time was about one year in 1945 to over 20 years today. What is the security environment going to be like in 2037? Nobody knows. Ask an analyst in 1913 what the world would be like in 1933. We don't have the institutional flexibility to respond to paradigm shifts in security.
Last edited by AmericanPride; 03-30-2017 at 04:19 PM.
When I am weaker than you, I ask you for freedom because that is according to your principles; when I am stronger than you, I take away your freedom because that is according to my principles. - Louis Veuillot
Not specifically military focused, but related nonetheless:
Originally Posted by How to Maintain America's Edge
Yet despite the remarkable success of the U.S. innovation economy, many players in both government and industry have been pulling back from the types of bold long-term investments in fundamental science that could seed the great companies of the future. The entire innovation ecosystem is becoming more shortsighted and cautious. And by failing to invest sufficiently in basic research today, Washington risks creating an innovation deficit that may hobble the U.S. economy for decades to come. This concern has become acute since the White House released its budget blueprint, which proposes crippling cuts to science funding.
How to Maintain America's Edge
Top generals have been insisting for years that if North Korea launched a missile at the United States, the U.S military would be able to shoot it down.
But that is a highly questionable assertion, according to independent scientists and government investigators.
In making it, the generals fail to acknowledge huge questions about the effectiveness of the $40 billion missile defense system they rely on to stop a potential nuclear-armed ballistic missile fired by North Korean or Iran, according to a series of outside reviews.
http://www.msn.com/en-us/news/us/us-...cid=spartandhp
Fighter jets with laser weapons set to take to the skies in 2021 as Lockheed Martin wins $26 million 'Lance' high-energy laser contract
'LANCE' contract will build on technology from the Athena and Aladin lasers $26.3m contract aims to design, develop, and produce system for fighter jets. An airborne platform is smaller, presenting more of a challenge, experts say
Read more: http://www.dailymail.co.uk/sciencete...aser-jets.html
Anyone remember the last time the USAF traded up for shiny new weapons systems?
“There was this strange idea in the Department of Defense that the gun was passé,” says military aviation historian Richard P. Hallion. “And the gun has never been passé.” Compared to the missiles of today, he says, the air-to-air missiles arming F-4s and F-8s during Vietnam were primitive and unreliable.
AAR for the F-35A - reduced but salvageable
There is potentially yet another problem with the F-35A CTOL variant of the JSF. For Air-Air Refuelling the F-35A has on its fuselage spine a standard US Air Force-style AAR receptacle designed to interface with the heavy flying boom of an aerial tanker. By contrast the maritime F-35B STOVL and F-35C CATOBAR variants for the US Marine Corps and US Navy are equipped with a retractable AAR elbow-probe designed to interface with a less heavy long hose-drogue towed by a tanker, or by a buddy fighter temporarily configured as an expedient tanker.
The refuelling boom carried by specialised tankers is subject to damage and malfunction due to slapping and ramming, and it can also damage the AAR receptacle on a receiving aircraft. However those large tankers typically have a boom and two underwing hose-drogue pods .On that basis and the redundancy factor implicit in twin hoses it is apparent that many receiver aircraft would be better secured and more employable if dual equipped with an AAR receptacle and an AAR probe.
There have been no reports of a version of the F-35A being either dual equipped or singly equipped with just an AAR probe. So those European and other forces which have traditionally employed buddy fighters and specialised hose-drogue - or boom and hose-drogue - tankers may be doing so knowing that acquisition of the F-35A CTOL will leave them with loose ends.
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Posts tagged ‘DA’
A Conservative Discovers Problems With Police Accountability. Sort of.
Scott Johnson of Powerline has been following the trial of a Minneapolis police officer accused to shooting and killing a totally innocent woman (in fact, the woman who called the police) seemingly without the least provocation. Johnson has reported for months on all the frustrating barriers to bringing this police officer to justice -- the refusal to pin the officers to a story immediately before they had time to coordinate a story, the internal affairs investigators who acted more like cover-up artists, the complete unwillingness of the police force to do a quality investigation, and the incredible difficulty the DA had in pursuing this case or getting any cooperation with supposed law enforcement officers. As he writes:
Prosecution of the Noor case by his office has been a tremendous strain on Hennepin County Attorney Mike Freeman. He is in treatment for alcohol abuse. He deserves credit for assigning the case to Assistant County Attorney Amy Sweasy and sticking with it as it roiled relations with Minneapolis police. As it turned out, Sweasy had to convene a grand jury and issue subpoenas to secure the testimony of police officers involved in the case.
These are the kinds of issues I and many others have raised for years about problems with police accountability. I believe bad police officers are a small minority of the force but this lack of accountability has been incredibly obvious for years, and has poisoned the view of police officers in certain communities that interact with them the most. Black Lives Matter started with a police accountability agenda before the movement went off the rails. So I am happy to see a prominent writer give it attention.
Sort of. Because it is not clear to me that Johnson really sees the general police accountability issue. For most of the last 10 years, Powerline bloggers including Johnson have been pretty skeptical of those who have critiqued police shootings. I would describe their default position as "the police are right, their critics all have agendas." I refuse to claim to see into people's hearts, and really am reluctant to get pulled into intersectional finger-pointing, but it is impossible to ignore that the one case that seems to have woken him up is the killing of a pretty blonde white lady by a person of color.
Don't get me wrong, I think the jury was correct in convicting the officer, and respect their bravery as very, very few juries will ever convict police officers. The prosecutor had to have done a heroic job in getting this conviction. But I fear that Johnson and perhaps other Conservatives are reading the wrong causes into the difficult prosecution. He writes that "Something is rotten in the city of Minneapolis," and my interpretation of this (from this series as well as other things he has written) is that he attributes the difficulty in prosecution not to systematic problems in holding police accountable but in the fact that the officer was ethnically Somali and that the city of Minneapolis is somehow reluctant to challenge the Somali community. I guess after horrific stories like the non-prosecution of rapists in Rotherham, one has to consider this possibility -- I know Minneapolis has a large Somali community but know nothing of its dynamics. But frankly after studying 100 candles that are burning through the oxidation of petrochemicals, I am skeptical the 101st will turn out to be phlogiston.
Tags: Black Lives Matter, DA, police
Category: Police and Prosecutorial Abuse | Comments Off on A Conservative Discovers Problems With Police Accountability. Sort of.
Wow, This Element of Law Sure Has Gotten Screwed Up
From the awesome Ken White at Popehat:
NYPD Officer Craig Matthews complained about an illegal quota system for stops and arrests. As anyone familiar with NYPD culture could predict, he experienced retaliation from his superiors for doing so. When he sued, the NYPD hit him with an argument that's outrageous but very likely legally correct: it's your job to report misconduct, so the First Amendment doesn't prohibit us from retaliating against you for doing so.
The Association of Lawless Broomstick-Fetishist Brown-Person-Groping Can't-Shoot-Straight Thugs has a point. Because their employer is the government, public employees have limited First Amendment rights to be free of employer retaliation for their speech. But in in Garcetti v. Ceballos the Supreme Court said that right protects speech on matters of public concern unless the speech is part of a job duty:
We hold that when public employees make statements pursuant to their official duties, the employees are not speaking as citizens for First Amendment purposes, and the Constitution does not insulate their communications from employer discipline.
Thus in Garcetti the Court said a Deputy DA had no right to be free of retaliation for pointing out perjury in an arrest warrant application because doing so was his job. I explained how this doctrine works — and how courts have made an exception for professors at public colleges — in this post.
The result is that an entity like the NYPD can argue that its officers are required by their job to report unlawful activity by their superiors and fellow officers, and that therefore their act of reporting such misconduct enjoys no First Amendment protection.
Tags: DA, first amendment, Ken White, NYPD, Officer Craig Matthews, Shoot Straight Thugs
Category: Individual Rights, Police and Prosecutorial Abuse | 3 Comments
Justice, Rich and Poor
Ken at Popehat has some good thoughts, prompted by the dropping of the rape case against Dominique Strauss-Kahn.
The critical narrative holds that this case shows that the rich and the powerful are above the law. I’m not so sure. I don’t believe the DA took this route because he was afraid to prosecute a rich and powerful man, or as a favor to rich and powerful forces behind the curtain. But there’s no doubt that money and power get you a vastly better chance of this result. They get it because rich and powerful people can field a team of lawyers and investigators to find problems with the case. Those problems are often there — but usually the defendants don’t have the money to hire teams of people to find them. The rich and the powerful draw media attention, which leads to people coming forward with information that might not otherwise come out. Sometimes this hurts the defense, but just as often it yields critical impeachment evidence about prosecution witnesses. Perversely, this case shows how wealth and power and lead prosecutors to discover flaws in their own case. Most rape cases wouldn’t get anywhere near the police and prosecutorial scrutiny that this one did. But the police and the DA knew they were under the spotlight, and knew that Strauss-Kahn could field a serious team, and devoted vast resources to the case — resources that revealed issues that might never have been discovered in a rape case against the poor and the obscure.
Why decry the quality of justice that the rich and powerful get, when we could decry the level of justice that the poor get? The justice that the rich and powerful get illustrates how the system can meticulously test the adequacy of evidence against an accused. Why not try to raise every defendant closer to that level, rather than suggest that we ought to tear down the adequate justice available to the few? Believe me, the government lovesthat narrative — loves it when people view a vigorous and thorough defense as some sort of scam to be scorned. Resentment of the justice that Strauss-Kahn can afford is the government’s weapon, which it wields to get you to accept steadily less and less justice in every other case.
I am sure there are situations where the rich get a special break, but anyone who wants to argue that they systematically get off easier has to explain Martha Stewart, who went to jail not for insider trading by lying to the police, a charge no street hustler would ever be brought to court on. And how about Barry Bonds, on whom the full force of and resources of the US Government is focused for a crime I can find going on in about any Gold's Gym in the country.
The imbalance of wealth and power are on the prosecution side, and politicians trying to get elected propose laws constantly to increase this imbalance. The rich have the resources to stand up to this onslaught, the poor often do not.
Tags: Barry Bonds, DA, Dominique Strauss Kahn, Gold Gym, Martha Stewart, media, police, rich, Strauss Kahn, US
Category: Police and Prosecutorial Abuse | 9 Comments
More Victims of the 80's Child Abuse Panic
Younger readers will be forgiven for not fully understanding just how credulous the American public became during the late 80's and early 90's as the media, prosecutors, and various advocacy groups worked hard to convince us every school was a sort of Road-Warrior-like playground for child predators. Adult after adult were convicted based on bizarre stories about ritual murder, sexually depraved clowns, and all kinds of other dark erotic nightmares. In most cases there was little or no physical evidence -- only stories from children, usually coerced after numerous denials by "specialists." These specialists claimed to be able to bring back repressed memories, but critics soon suspected they were implanting fantasies.
Scores of innocent people went to jail -- many still languish there, including targets of Janet Reno, who rode her fame from these high-profile false prosecutions all the way to the White House, and Martha Coakley, just missed parleying her bizarre prosecutions into a Senate seat (Unbelievably, the Innocence Project, which does so much good work and should be working on some of Reno's victims, actually invited her on to their board).
Radley Balko has yet another example I was not familiar with. The only thing worse than these prosecutions is just how viciously current occupants of the DA office fight to prevent them from being questioned or overturned.
I am particularly sensitive to this subject because I sat on just such a jury in Dallas around 1992. In this case the defendant was the alleged victim's dad. The initial accuser was the baby sitter, and red lights started going off for me when she sat in the witness box saying that she turned the dad into police after seeing another babysitter made a hero on the Oprah show. The babysitter in my case clearly had fantasies of being on Oprah. Fortunately, defense attorneys by 1992 had figured out the prosecution game and presented a lot of evidence against, and had a lot of sharp cross-examination of, the "expert" who had supposedly teased out the alleged victim's suppressed memories.
We voted to acquit in about an hour, and it only took that long because there were two morons who misunderstood pretty much the whole foundation of our criminal justice system -- they kept saying the guy was probably innocent but they just didn't want to take the risk of letting a child molester go. Made me pretty freaking scared to every put my fate in the hands of a jury (ironically the jury in the famous McMartin pre-school case was hung 10-2 in favor of acquittal, with two holdouts).
Anyway, one oddity we did not understand as a jury was that we never heard from the victim. I supposed it was some kind of age thing, that she was too young to testify. As it turns out, we learned afterwards that she did not testify for the prosecution because she spent most of her time telling anyone who would listen that her dad was innocent and the whole thing was made up by the sitter. Obviously the prosecution wasn't going to call her, and her dad would not allow his attorneys to call her as a witness, despite her supportive testimony, because he did not want to subject his daughter to hostile cross-examination. This is the guy the state wanted to prosecute -- he risked jail to spare his daughter stress, when in turn the state was more than happy to put that little girl through whatever it took to grind out a false prosecution.
update: This is a tragic and amazing recantation by a child forced to lie by prosecutors in one of these cases. Very brief excerpt of a long article:
I remember feeling like they didn't pick just anybody--they picked me because I had a good memory of what they wanted, and they could rely on me to do a good job. I don't think they thought I was telling the truth, just that I was telling the same stories consistently, doing what needed to be done to get these teachers judged guilty. I felt special. Important....
I remember going in our van with all my brothers and sisters and driving to airports and houses and being asked if we had been [abused in] these places. I remember telling people [that the McMartin teachers] took us to Harry's Meat Market, and describing what I thought the market was like. I had never been in there before, and I was fairly certain I was going to get in trouble for what I was saying because it probably was not accurate. I imagined someone would say, "They don't have that kind of freezer there." And they did say that. But then someone said, "Well, they could have changed it." It was like anything and everything I said would be believed.
The lawyers had all my stories written down and knew exactly what I had said before. So I knew I would have to say those exact things again and not have anything be different, otherwise they would know I was lying. I put a lot of pressure on myself. At night in bed, I would think hard about things I had said in the past and try to repeat only the things I knew I'd said before.
Tags: DA, Harry Meat Market, innocence project, janet reno, Martha Coakley, media, police, Radley Balko, risk, Road Warrior
Category: Crime, Individual Rights | 12 Comments
Worst. DA. Ever.
Andrew Thomas was very competitive in Radley Balko's Worst Prosecutor of the Year voting. But if he had just waited a few days, this news could have easily put Thomas over the top:
The same people responsible for tens of millions in claims being filed against Maricopa County are now drooling after their own pot of gold.
Former Maricopa County Attorney Andrew Thomas and David Hendershott, Sheriff Joe Arpaio's former right-hand man have filed a notice of claim along with Thomas' former lackey, Lisa Aubuchon, for a combined total of $60 million.
Aubuchon had already filed a $10 million claim; she's revised that to $22.5 million. Andrew Thomas, who quit the job voters gave him and failed in his bid to become state Attorney General, has the gall to seek $23.5 million from taxpayers. And Hendershott, the infamous Chief Deputy now under investigation following a co-worker's allegations of corruption and abuse of power, wants $14 million.
For the first time in my life, I voted in a partisan primary for the Coke/Pepsi parties this year specifically to vote against Thomas. I cannot even imagine why they think they deserve this kind of payoff. If anyone should be suing, it is the citizens of Maricopa County who should be suing these three. Lots of articles about him on my site, but this one in the ABA Journal covers a lot of the ground.
Tags: ABA, Andrew Thomas, Attorney General, Chief Deputy, Coke Pepsi, DA, Lisa Aubuchon, maricopa county, payoff, Radley Balko
Avoid Jericho, Arkansas at All Costs
Not many people have seen it, but one of my favorite movies is Interstate 60. It has a story thread through the movie, but what it really becomes is a series of essays on freedom and slavery. One the best parts is the town where everyone is a lawyer. The only way anyone makes money is when someone breaks the law, so their laws are crafted such that it is impossible not to break the law.
The town of Jericho, Arkansas sounds very similar. It has 174 residents, no businesses, but a police force of 6 that tries to find ways to support itself. Apparently, everyone in town is constantly in court for traffic citations. When one man got fed up, and yelled at the police in court for their stupid speed traps, the police shot him - right in the courtroom. In a scene right out of Interstate 60, the DA, after investigating the shooting, couldn't remember the name of the police officer who did the shooting and said no charges would be filed against the police, but that misdemeanor charges were being considered against the man shot. Probably for littering, due to his bleeding on the floor.
Via Radley Balko (who else?)
Tags: DA, fed, police, Radley Balko, Via Radley Balko
Follow-up on Habeas Corpus and Gitmo
I got a lot of email this weekend telling me why I was short-sighted in supporting the Supreme Court's decision on habeas corpus rights for detainees. First, I will observe that I have great readers, because all of the email was respectful. Second, I will say that I am open to being convinced that I am wrong here, but I have not been so convinced yet.
I got a lot of email about past precedents and settled law on this. What I don't seem to be communicating well is that I understand and agree with past precedent in the context of other conflicts, but that the concept of "combatant" as currently used by the GWB administration is so different than in the past as to defy precedent. The folks sitting in Gitmo are not uniformed Wermacht officers captured in the Falais Gap. They are combatants generally not because they were caught firing on our troops but because the Administration says they are combatants. New situations often require new law, and as I said before, when in doubt, I will always side for protection of individual rights against the government.
I'm not going to get into an anecdotal battle over the nature of individual Gitmo detainees. I can easily start rattling off folks who were detained for extended periods for no good reason, and I am sure one can rattle off names of hard core bad guys who none of us would be happy to have walking the streets. The place where reasonable people disagree is what to do with this mixed bag. Gitmo supporters argue that it is better to lock up a few good guys to make sure the really bad guys are off the street. I would argue in turn that this is exactly NOT how our legal system works. For good reasons, our system has always been tilted such that the greater harm is locking up the innocent rather than releasing the guilty.
It may be a faulty analogy, but I considered the other day what would have happened had the US government taken the same position with active communist part members in the 1950's. Would it really have been that hard to have applied the same logic that has a number of Gitmo detainees locked away for years to "communist sympathizers?"
I think this Administration, time and time again, has exhibited a strong streak of laziness when it comes to following process. It doesn't like bothering to go through channels to get warrants, even when those warrants are usually forthcoming. And it doesn't want to bother facing a judge over why detainees are in captivity, something that every local DA and police officer have to deal with every day.
Update: More, from Cato and George Will, here. There are certain people who I find it to be a sort of intellectual confirmation or confidence builder to find them on the other side of an issue from me. John McCain is quickly falling into to this camp for me, at least vis a vis individual rights questions.
Tags: DA, Falais Gap, GWB, Habeas Corpus, police, supreme court, US
Dynasty, Dallas, and the DA
The media has built an image through shows like Dynasty and Dallas of private companies being battlegrounds for petty feuds and revenge plots, all played out with little concern for the actual performance of the business. While I suppose that such things do happen, I have worked in a lot of large companies and have seen a lot of stupid stuff, but I have never seen the pettiness you will find in the average government office:
In his first day as DA, Nifong had fired a longtime rival, Freda Black.
She quickly made clear her intent to run in 2006. Well-known from her
work in a high-profile murder trial, Black soon became the
front-runner. Nifong knew that Black would fire him, as he had fired
her, the first chance she got. His concern, he told his initial
campaign manager, Jackie Brown, was not that he cared about being DA;
he needed another three years in the Durham DA's office for his pension
to fully vest.
Ooh, I am in charge, now I can seek revenge on all the people I don't like. How petty can you get? Its absolutely assumed here that the first thing a newcomer will do is fire all the people who have rubbed them the wrong way over the years, without regard to performance or capability. And we want to make these folks our masters?
Tags: DA, Freda Black, Jackie Brown, media
Category: Government | 1 Comment
What Ails the Media
Newsweek:
The press needed there to have been a rape to keep the story going. It
was much too dull to consider that the lacrosse players deserved the
presumption of innocence.
Of course, there is nothing new under the sun, as I am sure you could find the same problem 100 years ago. But it does give one perspective when the MSM tries to go all high and mighty on us, particularly the always arrogant NY Times, which cheer-led the virtual lynching and went out of its way to prop up the failing DA's case when nearly everyone else was starting to see the holes in it. The Rutgers basketball team got an apology from the media figure that slighted them. Don't expect the same treatment for the Duke boys.
Tags: DA, media, MSM, NY, NY Times
Category: Uncategorized | 1 Comment
Worse than a Murderer?
Jason McBride was arrested for selling gasoline at too high of a price during the shortages that followed Katrina, under an Alabama anti-price-gouging law. What was the legal price he violated? Well, the law doesn't actually set a price maximum, it just makes you liable to be arrested if a random government bureaucrat feels like your price is too high. Mr. McBride followed up with more information on his original story to Christopher Westley at the Mises Blog:
I recently heard from Jason McBride, who was the subject of my last Mises.org
article, "The Right to Set Your Own
Price". McBride, a gas station owner from Aliceville, Alabama, was arrested
for violating Alabama's "anti-gouging" law on the day that Hurricane Katrina
slammed into the Gulf Coast.
Jason told me that there was more to the story than what had been reported in
the newspapers. He said that the price he charged for a gallon of gas that day
was actually $3.49 (not the $3.69 that was reported) and that he purchased that
gas that very day for $3.29 a gallon. He said that this information was provided
to the district attorney during his investigation.
But there's more. Jason told me that he sold gas for only three hours at the
$3.49 price until he received a call of complaint from the D.A.'s office. His
response was to shut down his pumps until the the State of Alabama contacted him
with a "correct price." His pumps were shut down for 18 hours until the
state told him he could sell gasoline for $3.09 a gallon. This happened in the
midst of a crisis when consumer demand for gasoline increased dramatically.
Despite his bending over backwards to comply with the law, and despite zero
evidence of malicious intent, the district attorney's office still arrested him.
His picture was on the front page of a state newspaper the next day (while, he
pointed out, a report on a murder was relegated to page 6).
During these same hours that Mr. McBride was shut down by the state, my COO was actually in southern Alabama, desperately driving all over creation looking for anyone who had gas, trying to get any supply he could at any price to prevent him from running out of gas entirely in an unfamiliar state.
Mr. McBride went to jail solely to allow some DA or elected official to get 24 hours of populist media coverage to tell the world that they were "doing something" about high gas prices.
Tags: complaint, COO, DA, gas, Gulf Coast, Hurricane Katrina, media, Mises Blog, newspapers, prices
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Check out Reeves
From Reeves on Facebook. Photo by Kan Lailey. A new look for Reeves? :) And another shot on Instagram.
Marco March 22, 2014 at 1:21 PM
A "Wayne Hussey" kind of look !
irishcurefan March 22, 2014 at 2:32 PM
Im scared!!!
Me too !
Crimson Tonight March 22, 2014 at 2:51 PM
A mix of Andrew Eldritch, Carl McCoy and one of the presenters from Channel4's Time Team.
frantik74 March 22, 2014 at 4:00 PM
Is getting ready for the press release of the new cure dark album???
Reminds me of Simon during 1989 when he kept on wearing ridiculous hats for everything. He wore them on stage, he wore them in the music videos for Fascination street and Lovesong and for all the photo shoots and everything. Then he just suddenly stopped wearing them as quickly as he started.
KentButabi March 22, 2014 at 4:36 PM
Love Yesterdays Gone, despite the overdone guitars...
notherbob March 23, 2014 at 1:08 AM
Looks like that villain dude from Raiders of the Lost Ark.. :p
Static Blaq March 23, 2014 at 2:25 AM
Needs Aviator goggles.
Kered Yerf March 23, 2014 at 9:04 AM
very Peter Lorre - Mad Love.
You really don't know why Simon wore
a hat? Read the Prayer tour diaries...
Where can they be read? I would be interested in this in general. Is the hat thing because it was the tour where he'd shaved his hair off? I seem to recall something like this, although he did proudly sport a mohawk briefly in 2004.
I think I got it from Stiff as toys and tall as men years ago but not sure. It says that Robert one fateful winter evening gave him a skinhead cut to match his own, armed with little more than a pair of nail scissors. On tour he tried to make it grow again and even removed his fedora a few times… not on stage though.
thesmudge March 23, 2014 at 1:53 PM
Looking good Reeves! He wore some fine outfits as Bowie's guitarist as well - a kilt and feather boa being one of the best!
DSC March 23, 2014 at 5:37 PM
Who is Darkman?
The one that's not in mortal kombat, but reeves looks like he might be a unlockable
sunny March 24, 2014 at 5:05 AM
it a white will.i.am........scary
It's getting really boring, Eric.
As in, the childish comments!!!
Craig March 24, 2014 at 2:51 PM
Just ignore him. His comments are always deleted. I just missed this one. Gone now.
Sad, isn't it?
Craig March 25, 2014 at 8:45 AM
Yes, he is.
eric March 28, 2014 at 12:00 AM
FUCK YOU LOSER !!!!!
Vote for 'Just Like Heaven'
Win RAH tickets
Record Collector (March 2014)
"I find your lack of 'Faith' disturbing"
XFM giving away RAH tickets and a box
The secret of the blue hat
Saffron picks 'Head on the Door' in her Top 10
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De artista a designer : Alexandre Wollner e o pensamento concreto na construção do design visual no Brasil /
Benatti, Cesar. January 2011 (has links)
Orientador: Dr. Omar Khouri / Banca: Dr. Milton Sogabe / Banca: Dr. Julio Mendonça / Resumo: O propósito desta pesquisa é analisar, focalizando na trajetória do designer e artista concreto Alexandre Wollner, a relação com as cores na formação do design visual, processo que ele define como "metamorfose evolutiva". Da revisão histórica do design, destaca os componentes dessa relação que contribuíram para o desenvolvimento da atividade na Europa nos séculos XIX e XX. Acompanha sua assimilação no Brasil, em meio à revolução cultural na década de 1950, analisando a atuação dos artistas concretos, responsáveis por integrar a arte aos processos industriais e aos meios de comunicação, dando início à nossa cultura do design. Percorre a experiência de Wollner, cuja intensa participação o coloca como principal referência na formulação dessa cultura, e discorre, por meio de seus relatos sobre a contribuição do concretismo paulista para a formação do design visual brasileiro / Abstract: The purpose of this research is to analyse, focusing on the trajectory of the designer and concrete artist Alexandre Wollner, the relationship between the arts and the creation of visual design, process that he defines as "evolutionary metamorphosis". From the historical revision of design, he highlights the components of this relation that contributes for the development of the activity in the Europe in XIX and XX centuries. He follows its assimilation in Brazil, during the cultural revolution in 1950's, analysing the concrete artists performances, responsible for integrating the art to the industrial processes and the medias, creating our own design culture. The research covers the experiences of Wollner, whose intense participation places it as main reference in the training of this culture, and analyses, based on his reports, the contribution of the São Paulo's concrete art moviment for the creation of brazilian's visual design / Mestre
Arte concreta.
Visual design. eng
Abstractocyte: A Visual Tool for Exploring Nanoscale Astroglial Cells
Mohammed, Haneen 12 June 2017 (has links)
This thesis presents the design and implementation of Abstractocyte, a system for the visual analysis of astrocytes, and their relation to neurons, in nanoscale volumes of brain tissue. Astrocytes are glial cells, i.e., non-neuronal cells that support neurons and the nervous system. Even though glial cells make up around 50 percent of all cells in the mammalian brain, so far they have been far less studied than neurons. Nevertheless, the study of astrocytes has immense potential for understanding brain function. However, the complex and widely-branching structure of astrocytes requires high-resolution electron microscopy imaging and makes visualization and analysis challenging. Using Abstractocyte, biologists can explore the morphology of astrocytes at various visual abstraction levels, while simultaneously analyzing neighboring neurons and their connectivity. We define a novel, conceptual 2D abstraction space for jointly visualizing astrocytes and neurons. Neuroscientists can choose a joint visualization as a specific point in that 2D abstraction space. Dragging this point allows them to smoothly transition between different abstraction levels in an intuitive manner. We describe the design of Abstractocyte, and present three case studies in which neuroscientists have successfully used our system to assess astrocytic coverage of synapses, glycogen distribution in relation to synapses, and astrocytic-mitochondria coverage.
abstraction techniques
Display Techniques in Information-Rich Virtual Environments
Polys, Nicholas Fearing 31 July 2006 (has links)
Across domains, researchers, engineers, and designers are faced with large volumes of data that are heterogeneous in nature - including spatial, abstract, and temporal information. There are numerous design and technical challenges when considering the unification, management, and presentation of these information types. Most research and applications have focused on display techniques for each of the information types individually, but much less in known about how to represent the relationships between information types. This research explores the perceptual and usability impacts of data representations and layout algorithms for the next-generation of integrated information spaces. We propose Information-Rich Virtual Environments (IRVEs) as a solution to challenges of integrated information spaces. In this presentation, we will demonstrate the application requirements and foundational technology of IRVEs and articulate crucial tradeoffs in IRVE information design. We will present a design space and evaluation methodology to explore the usability effects of these tradeoffs. Experimental results will be presented for a series of empirical usability evaluations that increase our understanding of how these tradeoffs can be resolved to improve user performance. Finally, we interpret the results though the models of Information Theory and Human Information Processing to derive new conclusions regarding the role of perceptual cues in determining user performance in IRVEs. These lessons are posed as a set of design guidelines to aid developers of new IRVE interfaces and specifications. / Ph. D.
Effective Visual Design for Proposal Writing
Johnston, Allegra Christine 23 April 2003 (has links)
The field of document design has gained considerable attention over the past couple of decades. New technology has drastically increased the design possibilities for writers, and researchers are gaining greater insight into the way that readers interact with the visual elements of their texts. This has led to an explosion in the availability of guidance on document design, but there are still areas where the research is incomplete. One of these areas concerns a common but important type of document: the proposal. There are numerous guides on proposal writing, but most of them are concerned with content and give little attention to document design. Since successful proposals are crucial to both the business and non-profit arenas, it is important that the documents are accessible and make a good impression on reviewers. Good document design can help. In this study I took the existing research on document design and developed a set of questions meant to address the different elements of document design. I tested a sampling of both grant proposals and contract proposals using those questions with a system of scoring based on Likert scaling. I combined the quantitative results with qualitative responses from interviews in order to gain insight regarding the overall effect of visual design elements in proposals. The results of this study showed that there are certain elements of document design (such as layout or contrast) that are important to proposals, but that non-design factors (such as cost or experience) usually outweigh the design for evaluation purpose. / Master of Arts
Map based visual design process for multi-stage gear drives
Bandaru, Nishant 26 July 2012 (has links)
The primary objective of this research is to develop a visual design process for gear trains with multiple stages of reduction and varying configurational architectures. One of the main challenges in the design of such gear trains is in the sizing of the individual gears such that high levels of performance are obtained in spite of constraints due to different gear configurations. Formal design procedures that successfully meet this challenge are developed. A key contribution of this research is the utilization of these design procedures to create sets of three-dimensional design maps. The design procedures help a designer manage more than 20 design parameters in designing for a broad range of gear train requirements (Rated torque capacity, Volume, Weight, Inertia, Responsiveness, Torque Density etc.) while accounting for assembly constraints. Each set of design maps corresponds to a given set of design parameters, some of which are held fixed and some of which are put in the hands of the designer. The latter set of design parameters are termed in this research as design knobs. They can be ‘tuned’ by a designer in order to generate new sets of design maps. The idea is that a designer, using the design information conveyed to him/her graphically through a given set of design maps, is able to then tune the design knobs to generate an updated set of design maps which reflect design solutions that are more desirable in terms of the application requirements. By adjusting the design knobs and looking at updated design maps, a designer is able to quickly assess the effect of his/her design decisions. The end result is that a single designer is empowered with the ability to quickly arrive at a preliminary design of a gear train that satisfies the design requirements. This preliminary design would be a good starting point for more detailed design development. / text
Design maps
Visual design process
Multi-stage gear trains
An investigation of success metrics for the design of e-commerce Web sites.
Cutshall, Robert C. 05 1900 (has links)
The majority of Web site design literature mainly concentrates on the technical and functional aspects of Web site design. There is a definite lack of literature, in the IS field, that concentrates on the visual and aesthetic aspects of Web design. Preliminary research into the relationship between visual design and successful electronic commerce Web sites was conducted. The emphasis of this research was to answer the following three questions. What role do visual design elements play in the success of electronic commerce Web sites? What role do visual design principles play in the success of electronic commerce Web sites? What role do the typographic variables of visual design play in the success of electronic commerce Web sites? Forty-three undergraduate students enrolled in an introductory level MIS course used a Likert-style survey instrument to evaluate aesthetic aspects of 501 electronic commerce Web pages. The instrument employed a taxonomy of visual design that focused on three dimensions: design elements, design principles, and typography. The data collected were correlated against Internet usage success metrics data provided by Nielsen/NetRatings. Results indicate that 22 of the 135 tested relationships were statistically significant. Positive relationships existed between four different aesthetic dimensions and one single success measure. The other 18 significant relationships were negatively correlated. The visual design elements of space, color as hue, and value were negatively correlated with three of the success measures. The visual design principles of contrast, emphasis radiated through contrast, and contrast shape were negatively correlated with three of the success measures. Finally, the typographic variables of placement and type size were both negatively correlated with two of the success measures. This research provides support to the importance of visual design theory in Web site design. This preliminary research should be viewed as a realization of the need for Web sites to be designed with both visual design theory and usability in mind.
Electronic commerce.
Web sites -- Design.
Design de narrativas gráficas : como metodologia projetual visual pode auxiliar a produção de HQ
Pivetta, Luiz Alberto do Canto January 2018 (has links)
As artes sequenciais (AS) ou narrativas gráficas (NG) são uma modalidade de expressão híbrida (multimodal) composta de texto imagem e texto palavra. Ao longo de toda sua história, as NG têm enfrentado diversos desafios na academia e no mercado, e, mesmo sendo um assunto de complexa multidisciplinaridade, é objeto de poucas pesquisas no design visual, que possui amplo conhecimento em metodologias projetuais e características intrinsecamente multidisciplinares, além de expertise técnica em comunicação visual. Esta pesquisa busca analisar os princípios metodológicos de projeto visual e o processo de produção das narrativas gráficas partir de pesquisa bibliográfica, fazendo uma análise etapa a etapa de metodologias selecionadas nas áreas de Design Generalista (MUNARI, 2008; BAXTER, 1995), Design Visual (FUENTES, 2006; DENARDI E GERALDES, 2016; MAYA, FRANCESCHI E NEROSKY, 2016; HALUCH, 2013), Narrativas (BEREITER E SCARDAMALIA, 1987; INGERMAN, 2014) e Narrativas Gráficas (LARSON, 2014; SALERNO, 2011; MOORE, 2003; BYRNE, 1999; MATEU-MESTRE, 2010). Utilizando bibliografia sobre projeto visual, imagem, linguagem visual, narrativas e narrativas gráficas como base para a construção de conhecimento teórico, as etapas são segmentadas em fases, utilizando como base as metodologias projetuais generalistas, mostrando que existem benefícios para os profissionais produtores de NG em utilizar as metodologias projetuais do Design Visual como linha projetual para a produção de HQ. / The sequential arts (AS) or graphic narratives (NG) are a modality of hybrid modality (multimodal) composed of image and word. Throughout its history, NG has faced several challenges in academia and in the market, and although it is a subject of complex multidisciplinarity, it has little research in the visual design field, that has ample knowledge in design methodologies and characteristics intrinsically multidisciplinary, as well as technical expertise in visual communication. This research seeks to analyze the methodological principles of visual design and the process of production of graphic narratives, making a step by step analysis of selected methodologies in the areas of General Design (MUNARI, 2008; BAXTER, 1995), Visual Design (FUENTES, 2006; DENARDI E GERALDES, 2016; MAYA, FRANCESCHI E NEROSKY, 2016; HALUCH, 2013), Narratives (BEREITER E SCARDAMALIA, 1987; INGERMAN, 2014) and Graphic Narratives (LARSON, 2014; SALERNO, 2011; MOORE, 2003; BYRNE, 1999; MATEU-MESTRE, 2010). Using bibliographic research on visual design, image, visual language, narratives and graphic narratives as the basis for the construction of theoretical knowledge, the steps are segmented in phases, using as base the generalist design methodologies, showing that there are benefits for the professional producers of NG to use the Visual Design methodologies as the design backbone for NG production.
História em quadrinhos
Graphic narratives
The language of forms: A discourse analysis of municipal application forms.
Geldenhuys, Natasjia January 2019 (has links)
Magister Artium - MA / This thesis focuses on the genre of municipal documents (application forms) and the variety of written and visual languages that make up their corpus to reveal the various lexical semantics used in the forms as communication tool between individuals and the larger organisations. It was important to review not only how other researchers have dissected such documents, but also what they have used to study their corpus. The thesis also provides a thorough overview of literature pertaining to forms from the municipal and governmental sector as it relates to social semiotics, genre, corporate identity, branding and multimodality. As there was not enough empirical data or research from the African or non-European perspective, a wider literature review was needed to enable me to use a number of complimentary models that could fit the study area. Drawing on a theoretical framework based on the fields of Social Semiotics (Kress 2010; 2014), Applied Linguistics (Brumfit 1996) and Visual Communication (Tam 2008) as well as analytical tools like the genre and multimodality model (GeM), as described in Bateman (2008) and the grammar of visual design (Kress and Van Leeuwen, 2006), branding and language ideology, the study offers an analysis of the language of particular forms used widely by the City of Cape Town (CCT). The language of forms in essence is as unique as a dialogue held between two people to obtain information. Misunderstanding and communication can easily occur if the questions and sections are not formulated correctly. Although both the textual and visual modes were investigated, the aim was to uncover the corpora used on forms with which a basic set of standard words, phrases and sentences could be designed. If the language of forms in a particular organisation like the CCT can be standardised, the amount of effort on the language practitioners will decrease, and the textual components can be made available in all three of the official languages (Afrikaans, isiXhosa and English) in as simple a language structure as possible.
Document/visual design
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Browsing the "Tim Hicks" Tag
Custody Scandal: Couzens, Carrick and NYP by TIM HICKS ~~~~~ Introduction: Couzens and Carrick The entire country was shocked when a serving Police Constable was convicted of using his Warrant Card to kidnap, rape and murder Sarah Everard in March [...]
January 26, 2023 North Yorkshire Police, North Yorkshire Police & Crime Commissioner, Police
Claudia: Time for Scotland Yard
Claudia: Time for Scotland Yard by TIM HICKS ~~~~~ Introduction Currently, the single biggest unsolved crime story in the UK is the disappearance of Claudia Lawrence (pictured above, right) in York in 2009. Claudia was a thirty-five-year-old chef at the [...]
December 30, 2022 North Yorkshire Police
NYP Custody Scandal: ‘Business as Usual’
NYP Custody Scandal: ‘Business as Usual’ by TIM HICKS ~~~~~ Introduction HM Inspectorate of Constabulary and Fire & Rescue Services (HMICFRS) has recently published its report on its joint inspection, with HM Inspectorate of Prisons (HMIP) and the Care Quality [...]
November 23, 2022 North Yorkshire Police, Police
Cllr Norton and Attacks on Journalists
Cllr Norton and Attacks on Journalists A Letter to the Editor from NYE Police & Crime correspondent TIM HICKS, who writes on the associated subjects of irresponsible protesters, the suppression of journalists and the pressing need for Councillor ‘Gluey’ Norton [...]
November 19, 2022 Letters, Police, Scarborough Borough Council
NYPFCP to re-examine NYP Custody facilities
NYPFCP to re-examine NYP Custody facilities by TIM HICKS ~~~~~ Introduction The North Yorkshire Police, Fire & Crime Panel (NYPFCP) is the body charged with holding Police, Fire & Crime Commissioner Zoē Metcalfe (pictured above) to account. The NYPFCP questioned [...]
November 10, 2022 North Yorkshire Police, North Yorkshire Police & Crime Commissioner, Police
NYP Custody Scandal: HMICFRS Inspections Ineffective
NYP Custody Scandal: HMICFRS Inspections Ineffective by TIM HICKS ~~~~~ Introduction HM Inspectorate of Constabulary and Fire & Rescue Services (HMICFRS) has recently published its report on its joint inspection of North Yorkshire Police’s Custody Services with HM Inspectorate of [...]
November 4, 2022 North Yorkshire Police, North Yorkshire Police & Crime Commissioner, Police
NYP Custody Scandal: Complete Failure of Oversight
NYP Custody Scandal: Complete Failure of Oversight by TIM HICKS ~~~~~ HM Inspectorate of Constabulary and Fire & Rescue Services (HMICFRS) have recently published its 2022 report on its inspection of North Yorkshire Police’s (NYP) Custody Services. The inspection was [...]
October 27, 2022 North Yorkshire Police, North Yorkshire Police & Crime Commissioner, Police
HMICFRS Inspection triggers NYP misinformation offensive
HMICFRS Inspection triggers NYP misinformation offensive by TIM HICKS ~~~~~ Introduction The North Yorkshire Police (NYP) website exists for NYP to keep the public fully and openly informed of developments in policing in North Yorkshire. My attention was drawn to [...]
Home Secretary backs NYE
Home Secretary backs NYE by TIM HICKS ~~~~~ Introduction Regular readers will remember that during the height of the Coronavirus pandemic, the NYE tried to support the efforts of the NHS and North Yorkshire Police (NYP) to ensure public safety. [...]
September 25, 2022 North Yorkshire Police, Police
Claudia Lawrence and Halliwell: New Developments
Claudia Lawrence and Halliwell: New Developments by TIM HICKS ~~~~~ Introduction On 2nd September 2022, the Independent Office for Police Conduct (IOPC) published its report into the investigation by Wiltshire Police into the murder of Becky Godden-Edwards by serial killer [...]
September 6, 2022 North Yorkshire Police, Police
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HARDEST JOB TO FILL IN AMERICA
Jun 08, · It might be hard to believe that any employer is struggling to fill positions, since the unemployment rate reached per cent in April, up from 5 per cent a year before. But the Manpower survey found that employers are having a very hard time filling jobs for skilled workers in specific niches. Geography plays a significant role too. Mar 04, · As the labor market continues to tighten, job candidates are gaining more power and choice while industries everywhere are struggling to fill job vacancies. Two industries hit particularly hard in this candidate-driven market are healthcare and tech, particularly in filling registered nurse and software engineer positions. This job generally requires a modicum of higher learning, so it wouldn't take too much time to become knowledgeable enough to apply for these jobs. Average Salary - $35, Search for .
Reince Priebus: Does He Have the Hardest Job in America?
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1 OF THE HARDEST JOBS IN AMERICA
Web“The 10 Hardest Jobs to Fill In America” It might be hard to believe that any employer is struggling to fill positions, since the unemployment rate reached % in April, up from 5% a year before. But the Manpower survey found that employers are having a very hard time filling jobs for “skilled workers” in specific niches. Geography. May 27, - Reality Check: Is Being Poor the Hardest Job in America? It is another day and I am running around doing all of the morning logistics that we. WebJun 06, · Formal training, whether it is through school or on-the-job, is crucial and the reason why these jobs are so hard to fill. Formal training, whether it is through school or on-the-job, is crucial. AdFantastic Opportunities For CDL-A Truck Drivers: Weekly Pay. Quarterly Bonus. Perks & More. Find Trucking Jobs With Extra Miles Incentives, Bonuses, Perks, & More. Hiring ImmediatelyService catalog: Mobile Job Alert, Direct Employer Job Posts, Easily Apply. Dec 09, · Despite a slowing economy, employment is low and many jobs are going unfilled. Manpower Group released its annual survey reporting on a lack of talent among job applicants in certain fields of. WebDec 09, · Despite a slowing economy, employment is low and many jobs are going unfilled. Manpower Group released its annual survey reporting on a lack of talent among job applicants in certain fields of. Dec 09, · KOAM Jobs; Top 10 hardest jobs to fill in America. December 9, AM. Site staff, Posted: December 9, AM. by Site staff. iStock/michaeljung. William . We punch up cars to deliver us to our whims. The largest companies in America, from Amazon to Uber to Facebook, want to fill the air with buzzing drones. The role of an optometrist has proven to be the most difficult to fill, with % of vacancies posted on Indeed over the past year remaining unfilled for June 6, &#; -- For the second year in a row, engineer is the hardest job to fill in America. Why are engineers so hard to find? More than Million Jobs in U.S. Aren't Filled Due to Lack of Qualified The top-ten hardest jobs to fill due to the lack of qualified workers are.
Videoconferencing engineer job description|City of thomasville job openings
AdNow Hiring. Browse s of Full & Part Time Openings in your Area. We're Here to Help. View Full and Part Time Positions. Apply Online Today!Service catalog: Apply For Free, Search 's of Jobs, Fresh Jobs Daily. The presidency is a job of surprises with high stakes, requiring vision, management skill, and an even temperament. Ultimately, in order to evaluate. WebOct 09, · In today's economic climate, it's hard to believe there are jobs that employers are having a hard time filling. But they do exist, according to the staffing firm Manpower's annual talent shortage survey. From the 2, employers who responded to the survey in January, Manpower created this list of the 10 hardest jobs to fill in the U.S. 1. Engineer. Marriage and parenting are the hardest jobs you'll ever have. But as soon as we open the door, there's our spouse, handing us a kid or asking for help. Angela Kinsey, Kel Mitchell, and Tim Chantarangsu, join Tiffani Thiessen to talk about the HARDEST JOB IN AMERICA, to celebrate round. As a RCR Wireless News article reports, tower climbing is the deadliest job in the U.S.. According to the head of Occupational Safety and Health Administration. Dec 16, · Engineer is the hardest job to fill in America. It certainly can't be because of a lack of career interest in engineering. The next profession on the list, nursing, also requires an interest in math and science. But that isn't why there's a shortage of nurses. Thanks , AM. Jun 08, · It might be hard to believe that any employer is struggling to fill positions, since the unemployment rate reached per cent in April, up from 5 per cent a year before. But the Manpower survey found that employers are having a very hard time filling jobs for skilled workers in specific niches. Geography plays a significant role too.
Oct 09, · In today's economic climate, it's hard to believe there are jobs that employers are having a hard time filling. But they do exist, according to the staffing firm Manpower's annual talent shortage survey. From the 2, employers who responded to the survey in January, Manpower created this list of the 10 hardest jobs to fill in the U.S. 1. Engineer. The Hardest Job in the World: The American Presidency ; Language: English ; Item Height: in. ; Author: John Dickerson ; Genre: Biography & Autobiography, History. Feb 27, · The job site's report on the 10 toughest jobs to fill in the U.S. in is based on Bureau of Labor Statistics forecasts, trade and professional association data, graduation . Think of the presidential campaign as a job interview. Are we asking the right questions? Are we looking for good campaigners, or good presidents? What are the top 10 most stressful jobs in America? · Enlisted military personnel: · Firefighter: · Airline pilot: · Police officer: WebJun 05, · The Hardest Jobs to Fill in America. Thursday, June 4, provided by. If you’re looking for work in any of these fields, you’re in luck. For the second year in a row, engineer is the hardest job to fill in America. Why are engineers so hard to find? “We have whole generations of people loving liberal arts, not going into science and. How to purchase John Dickerson's The Hardest Job in the World about the presidency, presidential campaigns, American Democracy. www.12detsad.ru: The Hardest Job in the World: The American Presidency () by Dickerson, John and a great selection New Soft Cover Quantity:
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Posts Tagged ‘SolFocus’
Concentrating photovolatic ready for prime time?
Posted in alternative energy, Amonix, solar energy, solar power plants, tagged Amonix, concentrating photovoltaics, Kleiner Perkins Caufield & Byers, SolFocus on April 22, 2010| Leave a Comment »
Photo: Amonix
In The New York Times on Wednesday, I wrote about Southern California solar company Amonix scoring one of the biggest rounds of green tech funding this year — $129.4 million from investors led by Silicon Valley heavyweight Kleiner Perkins Caufield & Byers:
In one of the biggest green technology deals of the year, a prominent Silicon Valley venture capital firm is leading a $129.4 million investment in a long-promising solar technology that is starting to gain traction in the United States.
The venture firm, Kleiner Perkins Caufield & Byers, and other investors are making a big bet on Amonix, a company in southern California that has spent 20 years developing concentrating photovoltaic power systems that resemble gigantic solar panels.
Plastic lenses focus the sun on tiny but highly efficient solar cells to generate more electricity than conventional photovoltaic panels. The so-called multijunction cells, which were first developed to power satellites, use fewer expensive semiconducting materials like silicon.
“We have reviewed hundreds of solar companies, and Amonix stands out to us as one that has breakout potential,” said Ben Kortlang, a partner at Kleiner Perkins who formerly helped lead the alternative-energy investing unit at Goldman Sachs. “We believe this is the low-cost solar technology for sunny climates.”
U.S. gets its first big concentrating photovoltaic farm
Posted in alternative energy, solar energy, solar power plants, SolFocus, tagged California, concentrating photovoltaics, SolFocus on March 19, 2010| Leave a Comment »
Photo: SolFocus
In The New York Times on Thursday, I wrote that Silicon Valley startup SolFocus is building the first large concentrating photovoltaic power plant in the United States:
The nation’s first big concentrating photovoltaic power plant is under construction in the California desert.
SolFocus, a Silicon Valley startup, is building the one-megawatt solar farm for Victor Valley College in Victorville, a desert community northeast of Los Angeles.
The company builds large solar panels that contain small mirrors that concentrate sunlight onto tiny, high-efficiency solar cells. Though more expensive than conventional solar cells, they use a fraction of the silicon and produce more electricity. That means less land is needed for a SolFocus power plant than one deploying conventional photovoltaic panels.
The SolFocus panels are mounted on trackers that follow the sun throughout the day. While SolFocus has built power plants in Europe, the California project is its first solar farm in the United States. Victor Valley College selected SolFocus after receiving competitive bids from several companies that install conventional photovoltaic panels and thin-film solar systems.
“After reviewing several options for a solar provider, SolFocus demonstrated that it could deliver the best value in solar energy for the college,” Robert Silverman, Victor Valley College’s president, said in a statement. The SolFocus power plant will supply about 30 percent of the college’s overall electricity demand.
SolFocus’ technology needs strong, direct sunlight to maximize electricity production. “If this deployment had been in somewhere in Northern California or Washington or Oregon, we probably wouldn’t have won the battle,” said Nancy Hartsoch, a vice president of marketing at SolFocus. Ms. Hartsoch added that in desert regions, the company’s technology generates electricity at prices competitive with traditional photovoltaic panels.
Stimulus package lures solar startup home
Posted in alternative energy, energy, environment, green startups, PG&E, solar energy, solar power plants, SolFocus, tagged concentrating photovoltaics, PG&E, Samaras Group, SolFocus, stimulus package on March 9, 2009| 4 Comments »
Silicon Valley solar power company SolFocus on Monday said it has signed a deal to install 10 megawatts of concentrating photovoltaic panels in Greece and expects to build its first project in the United States later this year.
SolFocus’ solar panels use small curved mirrors to focus sunlight on a high-efficiency solar cell to maximize production of electricity while reducing the use of expensive silicon. SolFocus claims its panels are up to twice as efficient as conventional photovoltaics. But given the relatively high costs of such systems, the company decamped for Europe where governments in Spain and Greece pay a premium rate for solar energy through “feed-in tariffs.”
But the recently enacted federal economic stimulus package, which includes billions of dollars dedicated to renewable energy projects, is luring SolFocus home.
“Now with the new stimulus package we believe the big year for us in the U.S. will be 2010,” Nancy Hartsoch, SolFocus’ vice president of corporate marketing, told Green Wombat.
Meanwhile, utilities are ramping up installations of photovoltaic solar projects. California utility PG&E (PCG) two weeks ago, for instance, unveiled a program to install 500 megawatts of ground-mounted solar panels over the next five years. The projects would essentially be small-scale solar farms generating between one and 20 megawatts of electricity and built on utility-owned land near substations.
“That‘s the perfect spot for our technology,” says Hartsoch.
Not so perfect is PG&E’s Northern California territory. SolFocus’ power plants need direct sunlight to most efficiently produce electricity. But Hartsoch says the southern reaches of PG&E’s service area offer sufficient sunlight and as production costs fall it’ll become cost effective by 2012 to build concentrating photovoltaic power plants in Silicon Valley and elsewhere in Northern California.
She says SolFocus’ first solar farms will likely be built for municipal-owned utilities and the company currently is in discussions with cities in the Southwest.
The deal announced Monday with Greece’s Samaras Group expands a 1.6 megawatt agreement the companies signed last year.
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Unfortunately, the summer 2021 online issue was the final edition of Flute Talk. With the changes brought by the pandemic we are unable to continue publication. Recent issues are still available online without a password. If you have any questions, please email circulation[email protected]
Articles October 2020
Flute Talk Classic
The Dynamics of Breathing with with Arnold Jacobs and David Cugell, M.D.
By Kevin Kelly
FONT SIZE: + -
“It makes good sense not to concern yourself with breathing so you can concentrate on all the other aspects of your playing.”
A classic article from October 1989 Flute Talk, originally printed in The Instrumentalist, December 1983
Most articles on breathing and air support for wind instrument players contain vague or conflicting explanations of the mechanics involved. Such statements as "push the diaphragm down" and "expand the rib cage" are not uncommon. After searching for nearly five years to find an article that accurately described the processes from a musician's viewpoint, with only enough medical jargon to keep things clear, success came in December 1983 when this article was published in The Instrumentalist. It combined the information from one of the world's premier brass teachers and a physician and clarinetist who specializes in pulmonary function. Since its publication our editorial staff has referred to it as the definitive first word on breathing. Over the years many flutists have come to Jacobs for instruction. Because "the flute takes large quantities of air, similar to the tuba," Jacobs says, "the main problem I find when working with flutists is teaching them how to make efficient use of the air within the musical phrase." Read and enjoy.
At some time every student of a wind instrument is instructed in the "correct" method of breathing. If he studies with two or three different teachers, he probably learns two or three different methods, all presumably correct. I studied with six horn teachers and learned five breathing methods, each slightly different and none especially helpful.
The problem is two-fold. First, few teachers fully understand how the body regulates breathing, let alone how the breath is used in wind instrument playing. Second, those who have at least a partial understanding teach it in the wrong way, through attention to anatomy. The teacher's incomplete understanding is conveyed to the student, who becomes confused, disillusioned, perhaps even immobilized. The standard "art of playing" books for each instrument help little, because few are coherent on the subject and even fewer agree with any other text.
In an attempt to understand this problem, I conferred with two noted authorities on the subject of breathing: Dr. David W. Cugell, Bazley Professor of Pulmonary Diseases at the Northwestern University Medical School in Chicago, who also heads the Pulmonary Function Laboratory at Northwestern Memorial Hospital; and Arnold Jacobs, principal tubist of the Chicago Symphony Orchestra and a world-renowned teacher, who is sought by students and professionals on all wind instruments, primarily for his approach to the psychology of breathing.
Wind instrument players are concerned with the creation and maintenance of a moving column of air, which is the responsibility of the respiratory muscles alone. Many of the muscles of the abdomen and chest, and some in the neck, are involved in moving air in and out of the lungs. The diaphragm is the one most frequently mentioned in connection with wind instrument playing and the one least understood by wind players. It is popularly considered a main element in the concept of breath "support" – we are often told to support the tone from the diaphragm – as if the diaphragm were active in expiration (blowing air out). It is not.
"The diaphragm is a muscle of inspiration (taking air in)," Cugell says. "Located around and above the abdomen (see example 1), it is unique among the muscles of the body in that it contracts not from one end to the other, as the muscles in your arm, leg, or back would, but in a circular fashion, so that a contraction of the diaphragm will reduce its size while flattening it out. The diaphragm is connected to the lower ribs in such a manner that when it contracts it moves downward. It's one muscle, but like all muscles it's made up of multiple fibers that contract synchronously. When it contracts, the effect is to push it downward.
"The active part of breathing is the inspiratory portion. In order to move air into the chest and expand the lungs, an active muscle effort is required, and that means contraction of the diaphragm. Now you can produce a little bit of breathing by contracting other muscles, such as the strap muscles in the neck. You see someone complete a hundred-yard dash, they're gasping and tugging with their neck muscles as well as with their diaphragm, but that's the agonal gasp of the subject who is in extremes of physical activity, which is not the case when you're playing a musical instrument. You may need to breathe in a hurry or you may need a big breath, but coordinated and planned breathing is not assisted by contracting some of these other muscles, which contribute relatively little in comparison with what a healthy diaphragm can do."
Cugell points out that the diaphragm functions only to assist taking the air in. "It's the other muscles, particularly in the chest area and the abdomen, that we use to exhale and that collectively develop the air pressure you need to play.
"A man in England did a nice little study in which he had a number of trained singers stand in front of a fluoroscope (an instrument used to examine the interior of a body) and told them to sustain a note with the breath coming from the diaphragm in whatever manner they were trained. Then he repeated the process and had the singers breathe in a manner which was quite incorrect, without using the diaphragm in the way in which they had been instructed. The fluoroscope showed no difference whatsoever in the activity of the diaphragm under these two circumstances. This is really not surprising, because the diaphragm accounts for 90% of all breathing and you cannot control or change the proportion of your breathing that is contributed by it (or by a few other muscles, whose contribution is relatively small).
"Now what I suspect is happening is that when someone sustains a high C in a proper way 'using the diaphragm' – as opposed to someone who does it improperly – it has not really anything to do with the diaphragm. It has to do with how the person contracts other muscles in the abdomen and chest. This information has been transferred in the lingo of singers and wind instrument players to assume that this exhaling is accomplished with the diaphragm, when in fact it is done by contracting other muscles.
There are two overlapping layers of muscles between the ribs, called the intercostal muscles; some contract during inspiration and some con
tract during expiration. If I inhale in a hurry and I want to stop at a certain point, before I actually stop, the muscles which move the chest in the opposite direction begin to work. It is this interplay of the muscles that move things in opposite directions which provides the fine control."
The late Professor, Arend Bouhuys, of the Yale University School of Medicine to whom Cugell referred to frequently in our discussions, offers a good illustration of how the breathing-in and breathing-out muscles cooperate in wind playing:
The respiratory muscles help to generate most of the energy that goes into playing a horn. They act on the chest, which is for our purposes an elastic bellows. When the chest (that is, the lungs in it) is full of air, the chest tends to collapse as it relaxes. Just try for yourself: inhale as far as you can, relax all muscles, and you exhale with a sigh. Now try the opposite, which is more difficult to do: breathe about as far as you can. Now relax all muscles, and the air flows in. The resting position of the chest bellows is somewhere in between, roughly in the middle of the volume excursion range of the chest. The respiratory muscles have to work with or against these elastic forces, depending on what the chest volume is and what pressure we need to play the horn.
If we first want to breathe out slowly with very little pressure, after breathing in as far as possible we must use considerable inspiratory force to keep the air from going out with a sign. Again, try for yourself. Breathe in deeply, and let go very slowly. You have to 'brake' your exhaling, using inspiratory muscles to hold back. to keep the chest volume from decreasing too rapidly because of its own elasticity. When you continue, you reach a point where you are relaxed. Now continue to breathe out slowly, and you find that you now have to push with expiratory muscles to move the air out at the same slow rate. (Arend Bouhuys, "Physiology and Musical Instruments." Reprinted by permission from Nature, volume 221, number 5187, page 1200. Copyright 1969, Macmillan Journals, Ltd.)
The amount of control the wind instrument player has over this procedure is limited by what is called the pressure-volume diagram of the chest (example 2), which says that greater pressure is required to move air at volumes below the resting lung volume than at volumes above the resting point. As Cugell explained it, "In the lung the pressure-volume relationship is linear over the midrange – that is, I get equal volume increments for equal pressure increments. Once I reach the elastic limit, no matter how much pressure I apply, I don't get any more volume.
"With no conscious effort to facilitate things, the pressure is greatest when the lungs are largest. Similarly, when the lungs are largest, the conscious contraction of the muscles produces the highest pressures. Active expiratory effort is, of course, needed whenever the required mouth pressure for the instrument is higher than the relaxation pressure at the prevailing lung volume. As the lungs get smaller, they are no longer going to contract and generate pressures on their own. You have to do it by squeezing with the muscles.
"For example, if you inflate the lungs to their absolute maximum and then play a high C on the trumpet at maximum volume, you haven't used much air, but the volume of air in the chest is reduced considerably because you've had to squeeze so much. You compress the air in the chest just as much as the air in the mouth. Whether you have an instrument that has a low pressure, for which you're going to need a high air flow to get a large sound volume, or you're playing an instrument that has a low flow at enormous pressure (one that uses a small mouthpiece) the effort required of the player is essentially the same. In other words, you've got to squeeze with the muscles to generate either a high flow or a high pressure.
"The vast difference is that if you don't need much pressure you can play with the entire usable portion of the lung volume. However, if you need a lot of pressure you can only use a small portion of the lung capacity because when the lungs are partially empty it's not possible to generate the pressure, as shown in example 2. You can generate the maximum pressures when the lungs are full, and you want to do that to play a loud, high note; but after you've exhaled some air the lungs are smaller and then it's not possible to sustain as high a pressure. So there is a limited period of time when a player has both the volume and the pressures to produce the sound. On the other hand, the time during which an oboist can sustain a note is not limited so much by the air pressure and air flow requirements of the instrument as by his breath-holding time. If you don't need much pressure and you don't need much flow, then you've got all day; but there's only so long you can hold on before you've got to breathe again."
The point that Cugell insisted upon throughout our discussions is that, given all the facts of breathing anatomy, each player will discover the practical applications for himself: 'I'm a firm believer in the capacity of the organism to minimize the burden of the work it has to achieve. In other words, there are studies that show whatever breathing pattern people assume generally represents the minimum amount of work that is required to produce the necessary amount of breathing.
"For example, people with a certain kind of lung disease breathe with a large breath relatively slowly. When making objective measurements of the work of breathing – and by that I mean the pressure, the volume, the physical parameters of work – you will find that if you change their breathing so that they are breathing with a smaller volume more frequently, which would net out to the same amount of breathing, the work required is larger. A patient who has the kind of lung disease that makes the lung stiff may adopt a breathing pattern of panting. He does that because it takes a lot of work to distend a stiff lung. The patient can breathe the necessary amount if he breathes quickly and at small volumes. If you tell him, 'Gee, you're breathing all wrong. Try taking a big breath and breathe less frequently, you'll get the same amount of breathing for it,' he'll say, 'Well I tried it and I didn't like it,' because he had to work so hard to expand the stiff lung.
"My point is that the compensatory pattern of breathing that people spontaneously adopt will represent the minimum work that is required, and it is probably incorrect to impose a different pattern. I think a person playing a wind instrument fits into the same category. If he's got to grab a breath between two passages, he's going to do it in a way that's best for him; I doubt that there would be any purpose in imposing a different pattern. If the player did it once and ran out of air, the next time he's going to breathe a little more because he knows he has to."
Furthermore, the particular breathing pattern a person adopts is no indication of his quality as a wind instrument player. Cugell says, "If you compare the breathing patterns of you and me or anybody else, they would all be different, but there would be no way to categorize that as saying 'normal' or 'abnormal' or 'this one's old' or 'this one's young.' There's nothing characteristic about breathing that can be defined as representing gradations of normality. That being the case, it's not surprising that if four people play the same music, they're going to breathe a little differently, because they breathe differently when they're not playing music."
He referred to the Nature article, where Bouhuys tested four flutists playing Debussy's Syrinx. One of these men was first chair in the Concertgebouw Orchestra of Amsterdam, one was a good amateur, and two were young professionals. Recordings from a pneumograph (an instrument designed to measure chest movement during respiration) showed four slightly divergent readings within the same general pattern, with slight tempo fluctuations. With the exception of one man, who had a slightly smaller lung capacity and took one extra breath, the performers adhered to the phrase-breath markings in the music. This test showed to what extent the music determines a player's breathing pattern. "So if we subscribe to the concept, with respect to instrument playing, that we will spontaneously assume the most efficient and effective pattern,'' says Cugell, "then it certainly makes good sense not to concern yourself with it so you can concentrate on all the other aspects of your playing."
Anatomy and Psychology
Arnold Jacobs bases his teaching on all these other aspects of sound and phrase – the "products" of music. He makes the distinction between anatomy and function through what he calls the "computer activity of the brain," separate from the "thinking part of the brain."
"When you go to the product of whatever you're trying to accomplish, you'll find the physical action required to do it is based in the computer activity of the brain. In other words the conscious levels of the brain, where volitional thought takes place, handle the product. Another level of the brain, the thinking part, will handle motor impulses carried by nerves throughout the body. The firing up of the systems is handled at subconscious levels, just like the ability to walk or to talk or to run. The muscle activity will result from what you're trying to accomplish. With all machines there is a set' of controls, like an automobile, which has complex machinery under the hood but simple controls in the driver's compartment. There's nothing as complex on this planet as the human being; but man has magnificent controls, and he goes through this control system.
"By this I mean that there are divisions in the brain that are going to control all sorts of physical functions – cutting up food, bringing it to the mouth and chewing it, handling the body for sleep at night, or even going insane. The thinking part of the brain is free to cope with life around us, it does not have to cope with life within us. It's with the thinking part of the brain that we begin to establish what we want in the way of product.
"This, of course, is what players are up against; in music so often a teacher makes the mistake of altering the machine activity rather than altering the product or what he wants accomplished. The instructor is giving machine methods of how to do it, and people can't work that way. None of us can. We have to look for the easy answer all the time. It is so simple. If you want a lot of breath, just take a lot of air. Don't worry about where it goes. If you want to blow, just blow. With students a teacher should always try for the simple answers that bring about proper motor response. That idea belongs not in the realm of anatomy but in psychology."
The answer that Jacobs introduces students to is what he calls the "phenomenon of wind" - the idea of air blowing out through the instrument to prevent pressures from building up inside the lungs. Most students who come to Jacob have acquired the habits of thinking about air pressure instead of air in motion. Because these habits are difficult to break, he uses psychology to create new habits, to get students to use their muscles for the proper function.
The respiratory muscles are involved in three ways. One is respiration, the single complete act of breathing in and out. The second has to do with pelvic pressures when the Upper end of the airway is closed, forcing pressure downward for such events as defecation and childbirth. The third has to do with the isometrics of physical function, the kind of static muscle tightening involved in weightlifting and wrestling.
"A musician has to make sure that he is using the right approach when playing an instrument," Jacobs says. "He doesn't want the one that immobilizes, he doesn't want the one that creates great isometric contractions that have no movement potential. Because a continuous flow of air requires movement, the player should go to respiration.
"The human brain is responsible for conditioned responses to stimuli or reflex responses to stimuli in everybody, musicians or non-musicians. These are non-respiratory functions. In respiration a bellows action occurs in the muscles. We take air in and we blow air out by the phenomena of enlargement and reduction. It becomes simple when you think of movements of air. Whether it's from the diaphragm descending or the rib cage ascending, there has to be enlargement to lower air pressure internally below atmospheric pressure so air will move into the lungs. The same thing happens as you reduce the size – the air pressure increases as you move out. That's how we blow; it's how we breathe.
Move Air As Wind
"The psychology of blowing is always to blow outward, to work with wind rather than air pressure. The psychology of it is important. Take your hand, hold it at a distance and blow onto it. Now where the air lands is the area to concentrate on. Some teachers will have the player blow through the instrument or through the far wall. It doesn't matter what the technique is to motivate a student; the psychology of it is to move air as wind, not air pressure.
"With wind there is always air pressure. With air pressure, there is not always wind. If you just concentrate on the air pressure -which can hap pen in any body cavity – the danger is that you may have stimulated the Valsalva maneuver (in which you try to breathe out with your mouth and nose shut) or the pelvic pressure syndrome, or the isometrics, which do not involve movements of air.
"But an instructor is never going to get this idea across by telling students to push with this muscle or that muscle. I get them to blow. Away from the instrument I let them observe their body. I use special equipment or I may have students blow up balloons or blow out matches, and then show how quantities can be taken from any part of the thorax (the body area between the neck and the abdomen). In other words we go through a certain amount of perspective training away from music to become acquainted with the body, so that the studies of air in life are involved."
The confusion of many teachers about both the role of the diaphragm and the idea of abdominal "support" of air is largely responsible for many students' preoccupation with the kind of pressures resulting from misdirected muscular tensions.
"First of all, the term 'support' raises questions in itself. Many people make the mistake of assuming the muscle contraction is what gives support. The blowing of the breath should be the support, not tension in the muscles of the body, but the movement of air as required by the embouchure or the reed.
"You go into the mechanics of movement and confusion arises; it's a cause and effect relationship. When a player blows, the body undergoes certain changes. There will be increasing palpable tensions that can be felt just by touching a person. Toward the end of a breath, there will be a certain number of fibers that are stimulated. There will be increasing motor activity in order to get the air out, and this varies according to the length of the phrase and the amount of air in the lungs originally; but 'support' is never 'tight muscles,' whether you're silent or blowing, or in a diminuendo or crescendo. In other words it's simply a static, constant, isometric type of contraction that so many people call support. This is not support at all.
"I can explain it from different points of view. Do it this way: your diaphragm is like the floor, a movable partition between the thoracic and the abdominal cavities. Now if you were to build up considerable air pressure with a loose abdomen and a loose diaphragm, the air would simply move the floor downward. Instead of air coming out, as the player builds pressure it would simply lower the floor. So by thinking of support as something that will hold the diaphragm in the upper position, you could conceivably see abdominal tension as building pressure beneath the floor. You keep that in a fixed position while building up high pressure through the rib activity to have expulsion of breath based on this pressure. I can't conceive of it this way, but I know that many teachers think this way. This is not, to me, support.
"Support is always a reduction phenomenon. Wherever the player is going to build pressure, according to Boyle's Law, he is going to have a reduced chamber. Now the chamber can be reduced anywhere it is enlarged. It gets bigger when you take air in, it gets smaller when you move air out. When you blow, the brain will deactivate the diaphragm, normally. Expiratory function will normally deactivate inspiratory function. If you are using air to create pelvic pressures, the diaphragm will not deactivate -it will remain stimulated. Abdominal muscles that would normally be expiratory will start contracting, and there will be a closure at the throat or the tongue or the lips which causes the air pressure to bear down on a downward-contracting diaphragm to increase the pelvic pressure for expulsion of fecal matter. Of course, to bypass this we have to have a blowing phenomenon that is different. You see, you have to form a new habit, and a new habit does not come right away. A new habit takes time to reach the subconscious level."
Jacobs uses a wide variety of non-musical exercises to get players to feel and hear the difference between blowing air out freely and blowing out in a choked manner that results in tight chest and abdominal muscles. For example, blow onto the back of the hand using a tight hissing sound through your teeth, as loud as possible. You will feel very little air. By blowing out freely onto the hand, you feel a considerable amount of air under low pressure. The hiss is under high pressure, but there is little quantity. By closing the lips in the midst of the hiss and then releasing the sound explosively, you will have felt considerable pressure behind the lips and also behind the tongue. As soon as you open the lips, you have an immediate shortage of air.
"We see these closures in students all the time," Jacobs says, "coming from a sibilant 's' (the hissing sound) or at the back of the tongue, and even some where the larynx and epiglottis start to come together. If I have a student whose tongue is blocking the air, allowing very little air movement but at high pressure, I immediately encourage using the open vowel form such as 'oh' or 'ah.' All through life you have language; language involves the tongue. Over the years you have built up reflex response for shape that is very powerful. You hear a trumpet or a bassoon, but it sounds like a singer with a voice like that singing 'oh.' Listen for that sound and the tongue shape is correct. This pertains to any need to open up the airway."
Following one of Jacobs' recent master classes at Northwestern University, a woman asked how to help a bassoon student who lets the air get "like a brick wall" – constricted and tense – which apparently resulted in quite a horrible sound.
"First of all," he said, "get her away from the bassoon. You don't have to use the reed; just put something in her mouth. Have the student start blowing or start blowing against something in order to see that the air will do something where it lands. The importance of this approach is not to correct what's wrong, but to establish what should be right.
"I would give her a couple of straws and have her blow at the pages of a book and watch what happens on the other side. Have her blow at some matches or blow up a weak balloon, but always with the thought of becoming acquainted with air, rather than air pressure. Studying childbirth and coughing gives the picture of what air pressure will do. However, when you study a burn and cool it by blowing on the hand, or when you're doing what I used to do, blow peas at people with a pea shooter, then you get a different picture of what air will do."
The woman pointed out that this particular student was a singer who had played the bassoon for only a year. "Don't singers have to use a lot of air?" she asked.
"No, it's just the opposite," Jacobs said. "Singers use less air than anybody. Their reed is at the throat, and as a result they have to keep a fairly sizable pressure at the laryngeal region. The student is using the technique of singing on the bassoon. Now compared to singing, bassoon playing will seem like a large volume of air is in transit. It's important to recognize that she has habits already formed.
"Start mechanical movements without the instrument so the student experiences change in the abdominal-diaphragmatic relationship. Deliberately have her create massive motions in the abdominal region, sucking the belly in, forcing it out, pushing it up and down -this is the region where she's been stabilized. Now deliberately destabilize it. Start the muscle activity of change in front of a mirror so the senses work together to strengthen each other. Don't tie it into music, though, or else she'll have to fight her own habits.
"Then tie in the movements of air by using motion – every day – blowing out matches, taking in lots of air and enlarging. Allow a few weeks, where she has to be practicing this every day. In the abdominal region where the student was stable, she will begin to establish motility of function. It has to be recognized in this manner before you apply it to the bassoon. Then you do it with just some reed squawks, but with exaggeration.
"Exaggeration is one of the important tools. Doing things just right is not what you want. The recognition is not there. So you overchange. You're not doing it with the music, so there's no damage. Then when you get to the bassoon, you don't worry about the body change, but you go to the study of air.
"It is natural for the lungs to get smaller as you use up air. The bassoon student has made it unnatural. As a teacher, you go through a program to get her back to what is natural. As soon as this process starts, she begins to use air as wind to deactivate the diaphragm. There can be no stiffness in the anterior abdominal wall without the antagonist, which is the diaphragm. The brain will deactivate this action, and as the diaphragm comes up, you'll find the student is able to blow against the reed, where the wind belongs. If you tell her to do these things based on intelligence, she will understand, but she can't communicate it to her body. The wind becomes the body's signal for change.
It's the Tone
"But wind is finally only a minor part. Tone production is the major. You use the wind as fuel. With a wind instrument, the horn resonates sound waves; it's reacting to sound and amplifying it according to acoustical properties. Our air isn't used to fill an instrument. It's used by the embouchure as energy so the lips vibrate.
"So players certainly shouldn't worry about the air, but about the quality of tone. When you get the tone, you will have all the requirements of tone at the subconscious levels. The blowing is an incidental part; the tone doesn't exist without the blowing, but the blowing can exist without the tone. As an artist you go for the product – the product is sound and phrase and all the emotions in music – you use thought processes that stimulate motor function, but you don't worry about the function. You worry about the sound. You will use the breath as needed. You will do it primarily without awareness of air. The air should be used freely – waste it, do anything you want. A player's awareness is of the communication of sound to whoever he is talking to.
"This is true of any wind instrument. You teach expertise in phrase and the study of dynamics. As the sound production becomes more efficient, which it will, you'll find that you use the breath with greater and greater ease. I'm an old man, but I can still function quite well in playing a brass instrument, because my lips respond quite readily to my thoughts. Moving air under pressure is required for my lips to vibrate, but those lips are not trying to resist the air. They're trying to vibrate based on the thoughts coming from my brain in terms of sounds."
There are, of course, many ways students and professionals have of inhibiting their ability to express sound freely. Probably the most common is poor posture. "Posture is very important," Jacobs acknowledges. "We're structured so that the maximal use of air comes in the standing posture, as if you would run or fight for your life. Standing offers the greatest ability to move large volumes of air in and out of the lungs. The closer you get to the supine, the poorer it becomes.
"If you think of the respiratory system, it should be thought of not as one bellows, but as a series of segmented bellows, depending on your posture. When lying on your back on the floor, you'll find there is little ability to use chest breathing. You will have a marvelous use of diaphragmatic breathing, which is more than enough to sustain life; but the diaphragm isolated from the rest of the rib cage provides a rather small breath. There is no such thing as a full breath without the use of the sternum (the compound ventral bone and cartilage that supports the ribs). If I lean back on the chair and reach over my head, the motion pulls the rib cage up, which is already in the expanded position. That means I can't use it for breathing in or out. If I bend forward over my belly, pressure in the abdominal region under the diaphragm is such that I have great difficulty using diaphragmatic function.
"If you need large volumes of air, you will use the entire respiratory system. If you're playing an instrument that doesn't require much air, you're never going to use a full breath; however you should be able to. Performers have to take sufficient air in to be able to complete phrases. This involves taking in quantities of air based on judgments of how much air will be left at the end of a phrase.
"Standing while seated is the best posture because players have the greatest ability to move air in and out of the lungs. However, if you are breathing with comfort, the posture doesn't have to be that way. As long as you are in the upright position, you should have more than enough air. If you're a large person with large lung reserves, posture is not that important; however, people who have small lung volumes must stay upright and make use of whatever nature gave them." (We come back to the point that Cugell made earlier: the body will adopt the most comfortable and effective means of performing whatever task it is given to do.)
"In this art form," Jacobs concludes, "we are dealing in sound. Respiration is made too much of. We need sufficient quantities of fuel that we can use easily – as I say, waste it, it's free – but don't make a big deal out of it. We don't start anything with skill; skill is developed over a period of time in spite of yourself. We have to recognize what we're trying to accomplish; the orders that come from the various parts of the brain must be based on the sound of the instrument. We have to make sure that we don't take the level of the brain at which we have volitional thought and try to take charge of the human machine through its individual components. We can't handle it. You've got to get out of the way and allow your body to function for you. The point is to try to sound great when you play."
Bios are from the original article:
Arnold Jacobs recently retired as principal tubist of the Chicago Symphony Orchestra, where he was a member since 1944. At the age of 15 he became a student at Philadelphia's Curtis Institute of Music and went on to play with the Indianapolis and Pittsburgh Symphonies. He toured with Leopold Stokowski and the All-American Youth Orchestra before joining the Chicago Symphony Orchestra. (Editor's note: Arnold Jacobs died
October 7, 1998.)
David W. Cugell, M.D. is head of the pulmonary function laboratory at Northwestern Memorial hospital in Chicago and has been a member of the faculty at Northwestern University Medical School since 1955. A graduate of Yale University and the State University of New York School of Medicine in Brooklyn, Cugell is president of the Chicago Lung Association. A musician as well as a physician, he played clarinet and saxophone. (Editor's note: Dr. Cugell was the longest-serving faculty member of the Feinberg School of Medicine until his retirement in 2012. He died in 2016 at the age of 93.)
Kevin Kelly holds degrees in music criticism and English writing from Northwestern University, where he played horn in the major wind performance ensembles.
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The Last House on Mulholland (LHOM) competition brief is rewritten for a historic architecture client and a modern day crisis.
Aline Barnsdall was the real mother of modern architecture in California, having hired Frank Lloyd Wright, Rudolph Schindler, and Richard Neutra to work on her avant-garde colony. She was also a water conservation pioneer. Her Hollyhock House incorporated an underground plumbing system which recycled via the central courtyard. Aline’s spirit is reborn in the Last H2O on Mulholland (LH2OM) project. The LH2OM project proposes a residential complex which is a system for dwellings coexisting with water conservation in drought stricken California.
Each dwelling’s height is in flux per the annual seasonal rainfall in the City of Los Angeles as the cistern systems fill and empty.
Location: Los Angeles, CA.
T. Joseph Surjan - design scientist & writer
S. Hjelte Fumanelli - project architect & digital modeling
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Bayanescortgaziantep
No orders at the Red Bull team
Federer star in Australian Open Band Boy
No decision on the future GP England
Beat Fonte Fonte
Mourinho opens for Memphis return
Durant and Westbrook avoid the practice.
CD Shelter than Wolf
Jensen to see the club.
Perez forces India to make big miracles.
Johor Darul Taksim looking for growth in group F
September 19, 2017 by bayanescortgazia·0 Comments
West Ham have confirmed the signing of defender Fontaine from Southampton’s Premier League side, costing 32- year – old Portugal international who helped his country win the European Championship last year. Join in the two and a half year contract.
The central card has been linked to a number of clubs. After he had put in a transfer request at St Mary’s at the start of the transfer window Fonte says the manager of West Ham Wyman is a big influence on his contract with the London club Croix Fonte said on the site. West Ham I signed a contract with West Ham. Because they are a great club and the health is great, they have many fans and I have known each other for many years. How they are passionate Managers also have a very big influence , I think the fact that he wanted me and told me that he had sold the project and the ambitions of the club.
I still have a part of my family in London and they have big West Ham fans , it makes sense for me at this stage to join West Ham. It was a new challenge and a new start and I was looking forward to it.
With how West Ham are going, we can look at the challenge in the top eight. I told the manager in the conversation that we wanted to win and we wanted to win the trophy. The dream is big and we need a high commitment. West Ham are a great club and it is an exciting challenge and it should be for everyone. We all need to get together and start working.
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Reactions As Portable Is Awarded A Gold Medal By The Yoruba Study Group For Leadership Excellence
A few hours earlier, fans and a plethora of social media users were expressing their reactions after a popular Nigerian singer and dancer, identified as Portable (born Habeeb Okikiola), shared footage of the moment he was awarded a gold medal and a certificate of commendation by the Yoruba Study Group for his leadership excellence.
Photo Credit: Instagram Account
This video was made at his studio and was shared via his official Instagram account. In the video, Portable can be seen wearing the gold medal on his neck while being addressed by the delegation of the Yoruba Study Group who were on a courtesy call at his studio. Nevertheless, social media has become a platform where celebrities use to share photos and videos of exciting moments in their lives, especially ones where they get recognition for their achievements.
While releasing the post, he added a caption that reads, "OTUN TI ZEH Akoi AKONI ODUA. Big Thanks to Yoruba Study Group Gold Leadership Excellence."
Check Out The Screenshot Of His Caption Below
As expected, immediately after the post surfaced online, his fans, admirers, and a plethora of social media users who came across the post quickly rushed down to the comment box section to express their reactions from different perspectives.
Check Out The Screenshot Of The Comment Section Below
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Films Wi-Z
Zangiku Monogatari - Film (Movie) Plot and Review
(Story of the Late Chrysanthemums)
Japan, 1939
Director: Kenji Mizoguchi
Production: Shochiku; black and white, 35mm; running time: 143 minutes.
Producer: Nobutaro Shirai; screenplay: Yoshikata Yoda and Matsutaro Kawaguchi, from the original theatrical adaptation by Sanichi Iwaya of an original story by Shofu Muramatsu; photography: Shigeto Miki and Yozo Fuji; editor: Koshi Kawahigashi; art director: Hiroshi Mizutani; music: Senji Ito and Shiro Fukai; choreography: Otowa; costumes: Seizo Yamaguchi and Yoshizaburo Okumura; sound: Ryuichi Shikita and Fumizo Sugimoto.
Cast: Shotaro Hanayagi ( Kikonosuke Onoe ); Kakuko Mori ( Otoku ); Kokichi Takada ( Fukusuke Nakamura ); Gonjuro Kawararaki ( Kikugoro
Zangiku monogatari
Onoe V ); Yoko Umemura ( Osato ); Tokusaburo Arashi ( Shikan Nakamura ); Kinnosuke Takamatsu ( Matsusuke Onoe ); Benkei Shiganoya ( Genshun Motosuke ); Ryotaro Kawanami ( Dayu Eijyu ).
Mesnil, Michel, Mizoguchi Kenji , Paris, 1965.
Serceau, Daniel, Mizoguchi: De la revolte aux songes , Paris, 1983.
McDonald, Keiko, Mizoguchi , Boston, 1984.
Kirihara, Donald, Patterns of Time: Mizoguchi and the 1930s , Madison, Wisconsin, 1992.
O'Grady, Gerald, editor, Mizoguchi the Master , Ontario, 1996.
Tomasi, Dario, Kenji Mizoguchi , Milan, 1998.
Pym, J., Monthly Film Bulletin (London), April 1981.
Mellen, Joan, "Japanese Film's 'Truest Creator,"' in The New York Times , vol. 130, section 2, D23, 17 May 1981.
Tessier, M., "Contes des chrysanthemes," in Image et Son (Paris), June 1981.
Cuel, F., Cinematographe (Paris), July 1981.
Bergala, A., "Japon, tour, decor," in Cahiers du Cinema (Paris), September 1981.
Carbonnier, A., Cinema (Paris), September 1981.
Legrand, G., "Lumiere, rituel, l'amour," in Positif (Paris), February 1982.
Bullot, E., "La gifle et le sanglot," in Vertigo (Paris), no. 14, 1996.
Burdeau, Emmanuel, and others, "Mizoguchi Encore," in Cahiers du Cinéma (Paris), no. 504, July-August 1996.
Lopate, Philip, "A Master Who Could Create Poems for the Eye," in The New York Times , 15 September 1996.
Although Zangiku monogatari is one of the greatest achievements of its director Mizoguchi Kenji (to follow the Japanese custom of placing family name first) non-Japanese audiences, and even many contemporary Japanese, may be puzzled and alienated by its very title, let alone by its theme of the triumph of family duty over personal love and its loving recreations of a vanished period in Japanese history and a decreasingly popular traditional art form. (The film is rendered even less accessible by the fact that many prints of it are defective or incomplete.) Yet making the intellectual and emotional effort to understand and enjoy it is rewarding, for what seems at first to be a stiff and formal drama is really a subtle and unforgettable exercise in subverting traditional values.
Zangiku may be variously translated as "late/last/remaining chrysanthemum(s)"; monogatari means "tale" or "story." Onoe Kikunosuke, whose personal name contains the word for "chrysanthemum" and whose family mon (badge) is that flower, is the adopted son of a Kabuki star. He is first seen on stage—in Tokyo in 1885—giving what aficionados would see was a bad performance; he prefers not to study his parts, until the maid Otoku tells him to. She is fired by his mother, but Kiku announces his wish to marry her and leaves home when his father, who now has a natural son to succeed him anyway, refuses to permit their union. The lovers reunite in Osaka, where Kiku has joined a relative's theatre company. They then travel with yet another group until 1890, when it falls apart and Otoku visits Nagoya to plead with Kiku's father, who is performing there. Kiku is invited back into the family but Otoku agrees to stay away (without his knowledge). Many years later, when the family theatre group is performing in Osaka, Kiku is permitted to visit Otoku there, finding her on her deathbed. The film closes with her death and his appearance in a parade on the Yodo river, scenes which are intercut to maximise the contrast between her failure and isolation and his success and acceptance.
Summarised in this way Zangiku monogatari may seem to be a fairly routine melodrama, in which issues are raised in order to be neatly resolved. Perhaps the stage play from which it was derived fitted such a description. If so, Mizoguchi transforms it, using all the cinematic resources at his disposal in the endeavour to bring the story to life, to make Kiku, Otoku, and the others plausible as human beings rather than symbols or puppets—and to insert his own characteristically understated but powerful sense of the fragility and ambiguity of human feelings into the narrative.
The principal technical means that Mizoguchi uses to intensify the varying moods of the film is to shoot the "real" scenes and the three Kabuki excerpts in contrasting ways. The former are shot in long takes, with speakers' faces often in shadow or turned away while the camera pans and tracks to show different perspectives and the presence of third parties, as when Kiku's father remains in the room (offscreen) as a silent but intimidating witness to a discussion of Otoku between Kiku and his mother. The latter are presented in short takes that concentrate on Kiku to the exclusion of other actors and also disregard the convention of filming stage action as if from a realistic audience perspective. The cumulative effect of this contrast is to emphasise the artificiality of the stage performance, its distance from the confusions and complications of real life, and therefore to heighten the illusion that we are overhearing conversations among real people, about real concerns, in the offstage scenes.
These real concerns, as in several other films directed by Mizoguchi, include the question of the position of women in society. Although Zangiku monogatari is unusual among his films for having a male central character, its dramatic and moral weight is actually placed upon the fate of Otoku. In doing so Mizoguchi indicates a respect for the audience's ability to work things out for themselves, implicit in the distinctive camera technique described above. Unlike conventional melodramas, Zangiku monogatari never forces a single ethical message on its viewers. Because it seemed to endorse the subordination of women proclaimed by the official ideology of the Japanese government of the day, the film received a prize from the Ministry of Education in 1940. Yet the film also contains, in Otoku's character, a portrait of a strong and independent woman making her own choices; in Kiku's, a depiction of good intentions stifled and diverted by family pressure; and, in their respective fates, an implicit protest against the distorting effects of systematic subordination on women and men alike.
Aside from its story, its initially unfamiliar but eventually impressive visual style, and its ambiguous and thought-provoking moral concerns, Zangiku monogatari offers other pleasures, which grow with each year that passes since its initial release, and with Japan's steady development away from the society that it represents and now commemorates. Otoku and Kiku's first long conversation is punctuated by the traditional cries of street vendors, few of whom remain in contemporary Japan; the details of the family home and the attic room in which Otoku dies are as evocative as (say) shots of prewar New York, London or Berlin can be for anyone who knows those cities today; and such scenes as the Kabuki excerpts and the closing procession have become valuable records of a rich cultural tradition. In thus functioning on several levels at once—as an absorbing drama, a classic demonstration of film technique, a provocation to serious thought and complex feeling, and a record of a receding past— Zangiku monogatari transcends its origins as a filmed play, and its status as a specifically Japanese film, to stand as a classic of world cinema.
—Patrick Heenan
Zangiku Monogatari - Film (Movie) Plot and Review forum
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Fashion in the Bag
about luxury handbags, fashion trends, exotic leather and Italian style
Polo Fiorentino: the birth and development of a district, pride of the Made in Italy
July 31, 2012 0 By sonia.massi
We remind you that Gleni’s blog is originally written in English (www.gleni.it/blog/) and that the version you are about to read (if the version you are reading is not english) has been generated by an automatic translator.
In our previous article, we finished analysing in detail what we mean by Polo Fiorentino, why it has become so famous over the years, recognized as the leading district in the production of luxury and high quality leather products, and also clarifying the place where this Polo primarily developed: that is around Florence, in the area stretching from Scandicci and Lastra to Signa and impruneta, extending south to Valle di Sieve.
We then analysed the organizational structure of the Polo, the companies that actively work in this district and all those firms connected to it for the supply of materials, accessories or, simply for logistic reasons.
But how was the Polo Fiorentino born? Who were its main founders? How has this luxury leather district developed over the years? What kind of difficulties has it had to face?
In this article, we’d like to reconstruct the history of the “Polo Fiorentino”, starting from its foundation up to nowadays, in order to better understand which choices and which courses have determined the development and the economic rise of this district of luxury Italian leather, which over time has become the world leader in the sector.
The birth of the first companies in the district dates from the second half of the Nineteenth Century. Pioneer of this process was Mr. Guccio Gucci who in the 1920’s decided to open a workshop specializing in the leather sector and, in particular, in making travel goods and saddlery, in cooperation with a shop in Florence.
In this workshop, all workmanship was handcrafted and every step of the production process (from the cutting to the skiving, from the montage to the sewing, right up to the finishing) was completed on site, in order to create a really high quality and luxury product. Craftsmen worked on demand, designing and creating “made to order” products, personalized according to the requests of each customer. Then, thanks to specialized training, the craftsmen themselves start gaining valuable skills in working with special materials such as crocodile and lizard leathers, to make any item absolutely exclusive.
However, it was in the 50’s and 60’s that a proper leather Polo starts developing in the surrounds of Florence. Starting from the 50’s in fact, many small workshops based on artisan production, changed to a more industrialized working process, no longer targeting the end customer, as in the past, but working for another commissioning company with its own brand, its own distribution chain or its own shop. In this way, these workshops could produce a bigger quantity of goods within a very short time, even though it was no longer personalized, so reducing their management costs.
The biggest expansion in the Florentine leather district happened between the 70’s and the 90’s through a strong growth in the number of firms and employees working in the leather sector. Besides the single companies trading in the finished product, there were many new managerial figures, while many foreign brands became interested in the local system, developing production networks, with positive economic effects for all the territory concerned.
In the early nineties, the Polo Fiorentino went through a major crisis involving some firms in particular. In this period, there was a need to streamline the organizational structures, also because of the growing globalization of markets.
Firms tried to find solutions to combat the recession, focussing on the constant strengthening of the products’ added value.
The luxury leather sector started to feature specific brands among its distinctive elements, as well as continuing with its renowned high quality and exclusivity of design. A particular importance was also given to internal organization and to development of supply, logistics and distribution networks.
The success regained by the Polo Fiorentino worldwide in recent years is certainly due to the quality of the materials used, to the sponsoring processes, the distribution of the finished product on the market and to the perfect functionality of the management networks (we should also consider the presence of some big names of Italian fashion and entrepreneurship in the district which certainly adds even more lustre and visibility to it) but these are not its only winning weapons.
What has really transformed the Polo Fiorentino into the centre of the Italian luxury and high quality leather sector, more than the managerial abilities or the targeted economic policies, has been the choice made by many firms to keep every single step of the production process strictly here in Italy, consigning the making of the product to the experienced hands of skilful Italian craftsmen who have been working as artisans for generations. These artisans can’t help but take the utmost care of every single creation, accompanying it through all steps of its “development” with affectionate attention, from the design on paper right up to the finishing process. And it’s this exact choice, more than any other, taken by the companies in the Polo that has consecrated this Florentine district as the world leader for the production of high quality, luxury leather products and accessories, symbol of genuine craftsmanship and of the real Made in Italy tradition.
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Home > News > < Top Stories | Opinions > > Actor Juhi Chawla Files Case Against 5G Networks In Delhi High Court
Actor Juhi Chawla Files Case Against 5G Networks In Delhi High Court
These 5G plans threaten to provoke serious, irreversible effects on humans and permanent damage to all of the Earth's ecosystems, Juhi Chawla said.
Juhi Chawla approached the Delhi High Court against setting up of 5G wireless networks in the country.
New Delhi (India): Actor-environmentalist Juhi Chawla Monday approached the Delhi High Court against the setting up of 5G wireless networks in the country, raising issues related to the radiation impact on citizens, animals, flora and fauna.
Justice C Hari Shankar, before whom the matter came up for hearing, transferred the suit to another bench for hearing on June 2.
Juhi Chawla said if the telecommunications industry's plans for 5G come to fruition, no person, no animal, no bird, no insect and no plant on Earth will be able to avoid exposure, 24 hours a day, 365 days a year, to levels of RF radiation that are 10x to 100x times greater than what exists today.
These 5G plans threaten to provoke serious, irreversible effects on humans and permanent damage to all of the Earth's ecosystems, she said.
The suit, filed through advocate Deepak Khosla, sought a direction to the authorities to certify to the public at large, that 5G technology is safe to humankind, man, woman, adult, child, infant, animals, and every type of living organism, flora, and fauna.
- PTI, NDTV
5G JuhiChawla
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