Practical information on wrongful death lawsuit claims

A wrongful death claim is different from a normal neglect lawsuit due to the fact that it is not applied for injuries by the individual who is injured. A wrongful death lawsuit claims that a victim was killed by the carelessness or carelessness of another individual or entity, and is filed by the target’s survivors. It is interesting to note that a kind of case did not exist under the typical law principles that were passed from England to the united states hundreds of years ago because people believed that the case to compensation died with the sufferer. Throughout the years, an increasing number of states have passed wrongful death legislations to supply compensation for individuals who could have been harmed from the death of the sufferer. All states presently have a form of a wrongful death claim that usually follows the exact same principles.

wrongful death cases

Nonetheless, due to the fact that each state prepared their statutes separately of each various other, a wrongful death insurance claim will certainly have distinctions from one state to another. There are some principles that make an application for all wrongful death cases as well as play a role in determining the amount of compensation provided. The majority of states provide an enduring partner, next of kin or children to declare recovery with this kind of insurance claim. Sometimes an enduring spouse could even have the ability to bring a claim even after a separation. The surviving beneficiaries could sue anybody who triggered the injuries that sped up the death as long as there is no legal exception. Among the most common legal exemptions is family resistance, which implies that a person is protected by Tim Ryan and Associates law versus a suit brought by any participant of their household.

This regulation has actually just recently been disregarded by a variety of states, and also a personal injury lawyer could assist you figure out if your instance applies for an insurance claim. It is important to note that a wrongful death case is separate and eliminated from criminal charges, as well as neither proceeding influences the other. Wrongful death statuses likewise do not apply to a coming fetus, and the law mentions that an individual does not have a distinctive legal condition up until they are birthed active. If you have lost a loved one in an unnecessary death, you may be considering if you ought to file a claim. Despite whether the action that triggered the death was on purpose done or otherwise, the objective of a wrongful death lawsuit is in order to help the survivors relieve the economic problem produced by the death. In order to achieve success in your wrongful death claim, you should prove the actual root cause of the death.


Let everything happen

7 08 2017

What the horse knows: Life Lesson: No 10

How to worry

19 06 2017

What the horse knows: Life Lesson No: 9

What the horse knows No. 3

12 03 2017

File 12-03-2017 17 09 15

Life lesson No. 3: Truth

dsc_0318Sheranni and Dragonfly on the move.

What the horse knows No: 2

5 03 2017

Friendship between species is special. Sheranni with Rebecca.

Life Lesson No 2: Friendship

Body Talk

25 10 2016

Goats know about presence. An irritated goat lifts her chest, arches her neck, stiffens her gaze and may tip her horns toward the source of irritation. An irate goat tucks her chin to her chest and charges with her forehead, horns angled to wound. She might also stomp with both front feet and grunt. Get on the wrong side of a goat and she will use persuasively powerful body language to insist that you change your mind.

When she is not sleeping in the sun, staring at the feed shed or snatching blackberries from the brambles, the life of a goat is pretty much taken up with power, influence and control. Observing Betty, as I do most days, and her companion Bill, I’m often amused by the sheer physical energy they will display when riled. ‘Back off’ in goat language means feet planted and head held high. What’s interesting is that ‘back off’ in human language also amounts to pretty much the same thing. We talk of ‘standing our ground’ when we want to get our point across and it turns out that a simple occupation of space can be far more effective than a strongly worded argument.

Presence is now a subject for serious academic study. Harvard Professor Amy Cuddy’s TED talk

 how our body language shapes behaviour has been viewed by millions and her ideas have been shared by individuals and in colleges, schools, sports teams and businesses. Amy Cuddy showed how adopting power poses including the dynamic Wonder Woman hands on hips pose alters our thinking and improves performance. Her research shows that just a couple of minutes adopting this expansive pose especially before a stressful situation such as an audition or job interview is enough to prime the body to feel strong, grounded and present. On the other hand, collapsing the body by hunching over a device (labelled the ihunch or text neck) has the opposite effect. Constricting body language, it appears, limits our ability to think clearly, act decisively and even has an impact on working memory.

According to Cuddy: ‘The Body shapes the mind, and the mind shapes behaviour. But the body also directs itself.’ In her book Presence, Cuddy tells the story of how she nearly missed out on an academic career after a car accident left her with a devastating brain injury. After months of physical and cognitive therapy, she was told that she shouldn’t expect to finish college. She ‘never in a million years’ expected to become a Harvard professor. ‘I just wanted to make it through each week without losing hope. To make it through a class without thinking about dropping out…I had no concrete goal in mind. I just wanted to feel a bit more like myself, a bit sharper, a bit less like I was watching from inside a glass bubble and a bit more like a participant in what was happening.’

As children, we participate in the world naturally, partly because we don’t find it nearly as difficult to fully inhabit our bodies as we do when we eventually become adults. Children walk, run, climb, swim, dig around and throw things with much less effort and deliberation than their more self-aware adult selves. As adults, we are generally more careful and less spontaneous with our physical movements. For example, it is rare for a grown man to throw himself on the floor of a supermarket and demand a chocolate bar, even when he is desperately hungry, or lift his legs and swing between the arms of two indulgent friends just for the fun of it.

The French philosopher Maurice Merleau-Ponty observed that the world is more problematic for adults because grown-ups mostly have to take into consideration other people’s perceptions. The child has ‘no knowledge of points of view. For him men are empty heads turned towards one single, self-evident world where everything takes place, even dreams, which are, he thinks, in his room, and even thinking, since it is not distinct from words.’

At some point children learn that they are separate from the world, and this separation creates distance and a point of view, coloured and shaped by many different experiences and influences. Instead of living within the world, fully enfolded in being in the world, adults become more detached from the world. Perhaps one of the many reasons why we enjoy watching children and animals at play is that this reminds us of what we have lost. Often as adults we must relearn how to fully experience the world and we often choose to do this through ‘play,’ physical and creative means such as sport, dance or music.

Merleau-Ponty reminds us that we experience the world primarily through our bodies. Indeed there would be no perceived world without our bodies to experience it. All our thoughts, perceptions and experiences are filtered through our senses, which are embodied. We don’t have to live in our heads all the time; we can recognise that the body gives us direct access to the world. Merleau-Ponty’s arguments are revitalising because philosophy and much of psychology have long been viewed as disciplines of the mind alone with the question of the body being side-lined. Philosophy in particular has found it hard to escape the straitjacket of thinking that regards minds as pure and bodies as messy.

Plato’s solution to the problem of the body was to claim that it corrupted the mind and needed to be controlled like an unruly horse needing the guiding hand of the charioteer of reason. The body was inferior because it couldn’t think in the abstract; the body couldn’t understand the nature of goodness. The body was simply the vehicle for the highest part of us: the indestructible soul, which would eventually be reborn with another body. In other words, we didn’t need to bother with the body because we could always get another one.

As he sat in his dressing gown in his Bavarian cabin one cold winter, French philosopher Descartes infamously separated mind and body through a process of elimination that reduced the fundamental part of all that makes us human to thinking itself. The body was cast off like a snakeskin, an inconvenient truth that Descartes chose to ignore, stepping over it on the way to the more scintillating ideas of the mind.

Merleau-Ponty returns the body to the human condition by reminding us that the body takes us through the world. We cannot navigate without it. We experience life through our bodies and what we come to know and understand is lived experience instead of reflections or abstractions of the intellect. If I understand him correctly, and his work is not easy to read: there is no little us inside our heads doing all the mental processing of our daily experience like a superfast computer delivering data. There is only us in the sitting room or the car or the bath. ‘Truth does not inhabit the inner man, or more accurately, there is no inner man, man is in the world, and only in the world does he know himself.’

This means – I think – that the world is not a blank slate upon which we project our carefully-constructed human dreams, dramas and demands, but rather a living field of existence of which the body is an expression. Perhaps given these ideas, we could adjust our mind-set to allow more priority to our bodies as a way to make sense of the world. Maybe we could even use this strange way of thinking to build a stronger, more resilient, less anxious and self-doubting way of life. I’m hoping that the goats will be my daily reminder not to forget my own body and to power pose when necessary. Thank you Bill and Betty

But Hitler was a vegetarian

3 11 2015

Wonder work

19 10 2015

Belinda with Sheranni

When I tell people I teach philosophy and I also work with horses, they often ask whether there’s a connection. How do you get from philosophy to horses? I understand the link is not that obvious. Philosophy is an abstract indoor sport practised mostly by men in book-lined rooms. Horses, on the other hand, are physical creatures of the outdoors that require a lot of looking after mostly by women in muddy wellingtons. Indeed, it has taken me many years of practising philosophy and horsemanship side by side to properly see how the two connect. Once I made the connection, though, I began to see links everywhere, and that’s when life started to get really interesting.

Plato says that philosophy begins in wonder, and that was my starting point with horses. Early in my life I was drawn to horses because they were something to wonder about, to think about and dream about. The quality of my wondering about horses was very different to the quality of my wondering about dogs and other domestic animals, including the cats and rabbits and guinea pigs I grew up with. Horses enabled me to think and feel more deeply. Horses opened my mind to imaginative possibility, which changed as I developed and matured from someone who just wanted to ride horses to someone who considers horses as valuable teachers for humans. I recognise this opening as the beginning of an intense philosophical journey.

It’s tricky to talk about animals meaningfully. For some reason people get prickly about it. The usual defence mechanism is the charge of anthropomorphism. It is considered wrong to talk of animals as if they have human characteristics and human emotions, but as the philosopher Mary Midgley points out every new thing we meet has to be understood in human terms. We can’t invent a special language to discuss animals any more than we can invent a special language to discuss God. She notes that the concept of anthropomorphism is very old, and applied to early Christians who believed that God morphed into a human shape. The understanding of animals was added on to the end of the early definitions of the concept and is not really central, more of an afterthought.

As Midgley says ‘Anthropomorphism is a remarkable concept. It may be the only example of a notion invented solely for God, and then transferred unchanged to refer to animals.’ Nowadays the term is used quite forcefully against those who would like to open up the debate about our relationship with animals. It makes me think of how we humans like to have everything so neatly categorised: us in one box, animals in another.

Perhaps the reason is to maintain our superiority. We humans think we’re so special. We invented language and art and comedy. We invented science, sport and religion, but not necessarily in that order. We can climb mountains, visit the moon and design buildings that stagger the imagination. Let’s not forget the internet, the new wonder of the modern world. Our achievements are living proof of the genius that calls itself humanity.

Except that only a tiny bit of us is actually human. A little over one per cent of a human being is human. Think about it one point three per cent of you is responsible for your human achievements and for your human mistakes. One point three per cent got you to where you are today. The rest of you belongs to the chimpanzee.

We share an immune system with our closest relatives chimpanzees, gorillas and orang utans, the structure of our blood proteins is the same and the circuits of our brains. We are much more similar to animals than we think.

Which brings me to horses. The limbic system in the mid-brain of a horse, (that’s the mammal bit) is nearly identical to the limbic system of the human brain. The Limbic system is responsible for social and emotional responses, as well as blood flow and heart rate. What is remarkable about horses is that they can mirror our emotions and ways of thinking back to us very accurately indeed. Horses are very good at showing us what we don’t want to know! Which is why they are such valuable teachers in the field of human development.

Animals are part of our continuing human story. Understanding animals can take us beyond anthropomorphism and into new arenas of thought and, yes, wonder. Over the past year of developing a social enterprise which connects socially isolated people to horses, I’ve been exploring this story and getting people to think of themselves more as social animals in order to develop wisdom, wonder and well-being in their lives. The stories they have shared with me have inspired and challenged me to think differently. New thinking always feels like a gift and this is one that I hope to share with you over the coming weeks and months.

Elen with Dragonfly

Imagine being seven again and finding wonder in every encounter.


My Journey with Anathema

Anathema band photo

“An answer won’t come from me
Confront your own worst enemy
What does your mirror see
Is it time to face up to me?”

“Cos no matter what I say
No matter what I do
I cant change what happened
No matter what I say
No matter what I do
I cant change what happened
No no I can’t change”

It makes me wanna cry, just another distant satellite…”

Official Page:

A Review of Mathias Grassow & John Haughm’s Album “Aurae”

When one first hears the word “drone” the first images that come to mind are soundscapes that meander and lead the listener to a lull of catharsis and introspection. The tones and sound effects put the listener into a waking sleep, and helps the listener expand their imagination to even greater depths. One thing you will notice about drone music is the fact that you cannot “rock out” or dance to it. All you can do is listen and let your mind wander to the outer reaches of the universe.

Photo By: Veleda Thorsson

Mathias Grassow & John Haughm’s latest collaborative effort “Aurae” deliberately gives this effect when you hear it closely. I have been super interested in their project for years now because I have an appreciation for the work Haughm has done through Agalloch and Pillorian, and after multiple listens loved the work of Grassow. There are moments in life when you just need to relax and forget about the chaotic world around you. The music found in “Aurae” is a perfect soundtrack to calm these moments in life. I have never heard an album that has immediately relaxed me and intrigued me in balanced doses. There is an unwavering sense of expanse and infinite when hearing “Aurae”. I see images of empty, rolling landscapes of green and wind-touched stalks of wheat blowing in the breeze that parallels with my own heartbeats. There is sense of wistfulness while being lost in the fog of shadows and light in the music. And the bleak, barren landscapes the music invokes gives glimpses of doorways that lead somewhere else to a place beyond the body and even soul.

The brilliance of this album is that it gives listeners different experiences, one person could feel an emotion different to another person when listening to “Aurae”. When one could feel peace and serenity the other could feel suffocating anxiety. Drone music has this kind of effect which makes it such a fascinating sub-genre of music. There have been some drone albums that made me feel uncomfortable or even disturbed while others made me feel pensive and relaxed. This dichotomy is one of the key components to a successful drone album, and “Aurae” effectively does this seamlessly. The calm, tranquil art of Grassow melded with the oppressive darkness of Haughm’s music delivers an album that puts your mind through millions of emotions/feelings and somehow puts you into a better state of mind after multiple listens. If you are looking for something unique and different to listen to I would give “Aurae” a chance, if you want to journey into the astral plane “Aurae” will guide you there.

Rating: 8/10

John Haughm Bandcamp:

Mathias Grassow Bandcamp:

Imperium Dekadenz Interview

Imperium Dekadenz have been around for 10+ years writing some incredible black metal that is both unique and very introspective in nature. When I found out about them I noticed their albums were highly reviewed and to no surprise when I heard their album “Dis Manibvs” my mind was blown about how good, powerful and emotional it sounded. So many images came to my mind when hearing the album. I really wanted to know more about how Imperium Dekadenz came up with their concept as well as inspirations for songwriting. Horaz (vocals, guitars and keyboards) one half of the band took time out of his busy day to answer my questions. He has some great answers and really sheds light into the whole process of what makes Imperium Dekadenz write stellar albums consistently.

Firstly, since releasing “Dis Manibvs” the reaction so far has been positive, what do you think of the recognition you are receiving as of late?

Horaz: That album ended up being an immense amount of work (next to our daily jobs and businesses). Besides the time and money we invested in it there were also many emotions that took over in the recording process.. Of course it feels good to get that recognition from all these people around the world. We feel our message was understood and if we read reviews like your’s we are happy that we are able to create such intense emotions and mind-images.

Can you describe to the readers what made you conceptualize the ideas of “Dis Manibvs’? Is there any specific or interesting moments that happened when you recorded the album?

Horaz: The title is Latin and means “To the Gods of Death”. I had that idea when I went to the Emperor Nero exhibition in Trier (Germany) and found all these Roman tombstones signed with “D.M.” or “Dis Manibus” (also used with Dis Manibus Sacra). It came to my thought that our whole life is geared on death (hopefully the correct expression, hehe) and somehow it could be understood as the meaning of life, as our hope is to have a good death. The concept of the album has different scenarios handling that topic with different experiences, views and stories.

What is the creative process like for Imperium Dekadenz? And what made you come up with the name “Imperium Dekadenz”?

Horaz: Vespasian and myself start with a new song separately and if the main structure is done the other one is adding his ideas on to it. The good thing here is that it gives us various options we can run with, because if for example Vespasian does not like a new idea of mine the song will be discarded or completely revised. I think it is important that you only start the songwriting if your heart has really something to say. Meaning, you cannot force the creation of a good song, there must be a kind of salvation to put your emotions and thoughts into it. The name is inspired by the 70s movie “Caligula”. It’s about the Roman Emperor Caligula and his cruelties in ancient Rome. We love history and especially ancient history including the Romans, Greeks, Celts, Egyptians, Germans and other tribes, but it is not any main concept of the band.

When I listen to your albums I get a huge sense of triumph and even closure in the albums I have heard. Did you intentionally write your music this way? What made you want give the music such a powerful and emotional resonance?

Horaz: To answer that question is similar to answer on the question “how magic happens?”, hehehe. Certainly it is the mixture of the different characteristics of Vespasian and me and also our different tastes and inspirations. As I already said, the most important point is to create emotional art if your heart has really something to say. The foundation of each song has to be an emotional expression of a moment in your life, the hard work comes later for the details. Maybe it is also an advantage that we start the songwriting separated. I do not know if it would be the same to create a song together with 5 band members in a rehearsal room.

When listening to “Dis Manibvs” it immediately reminded me of the many various styles of black metal from Depressive, Cascadian (Wolves in the Throne Room/Agalloch) to classic Scandinavian 90s black metal, in your opinion what black metal category would you place Imperium Dekadenz?

Horaz: It is dark, rough, atmospheric and emotional art, based on 90s Norwegian Black Metal and Doom Metal. We listen to Metal for over 20 years now, starting with demos and Cannibal Corpse cassettes on the playground to the point of obsession. Also many YouTube sessions thru all the genres and other music influences on Vespasian’s couch. I think it is correct, you can hear many influences, but on the other hand there is absolutely no band that sounds like Imperium Dekadenz.

The United States black metal scene is always growing and changing as the years go by, in your opinion what do you think of the state of black metal and even metal today, specifically in the United States?

Horaz: To be honest I have no overview of the US scene. I am not a typical scene character. I am more interested in the art itself instead of the bands and the guys behind it. My experience is that you are often disappointed if you meet any band members or to give more attention to a band’s background. I think that is safe bet, because how could someone present himself in a normal situation (for example somewhere backstage)  if you only know him as metal star. That can only fail. Well the BM scene today… or be more exactly the Post Black Metal scene, is not my personal taste. Somehow the whole appearance of these bands is too flat… I don’t know…. Basically I think it is a good thing that after all these years “Black Metal” (if you can call it still Back Metal) is one of the genres that still changes regularly.

When listening to “Dis Manibvs” there is a seemingly spiritual connection in the music that is almost cosmic in nature, how important is Imperium Dekadenz’s metaphysical thoughts to the creative process?

Horaz: It’s hard to describe the connection between “metaphysical thoughts” and the creative process. But to describe our way until the goal is reached is simple… you have to put all your passion, emotions, time, money, sweat, blood, knowledge and skills into it… from the first tone you play on your guitar until the last adaption on the mastering. We do not spend time finding out why we sound how we sound, we spend it to create art.

There is undeniable imagery of Nature within your albums artwork and lyrics, what is it about the natural landscapes of Germany that makes you write this way?

Horaz: We grew up in one of Germany’s most remarkable landscape, the Black Forest. It is similar to a Scandinavian landscape with high mountains and dark forests. I always loved to be outside in these woods until the night falls. I think that forest is one of the reasons why I fell into love with Black Metal. It is still a very important source of energy for me and I still try to be there as much as possible. And yes… I also think that you always hear the forest in these songs.

Currently what are you both listening to as of late? Do you recommend any particular albums for our readers to check out?

Horaz: I am currently listening to Murg (Sweden), Vemod (Norway), Glerakur (Iceland), Abyssion (Finland) and Skepticism (Finland).

Digital StillCamera

Are there plans in the works for Imperium Dekadenz to tour the United States? Have either of you spent much time in the U.S.?

Horaz: We have never visited the US yet, but it is one of our big goals! We had no luck so far, but we have high ambitions and we really hope to start a US Tour one day.

Imperium Dekadenz has been around for over 10 years now, in this time span do you think your ideas and concepts have evolved? What direction do you hope to take the band in the future?

Horaz: I think it is natural thing for an artist to evolve the whole band thing. I think we did a good progression during all these years with finding new elements and improving the old strengths. It was always our main goal to intensify the emotions on each upcoming album and we will still follow that path in the future.

If you could describe your music to someone who may not be into metal but is interested in branching out how would you describe it?

Horaz: Be ready to make a journey towards your within.

And finally do you have any parting thoughts/words for our readers?

Horaz: Stay active, stay awake, fathom the darkest parts of your soul and keep the flame burning. Thank you for your support!

Four Female-Fronted Bands You Need to Hear

The Gathering

Most Accessible Album: “How to Measure a Planet?”

Emma Ruth Rundle

Captured by: Adam Gasson

Most Accessible Album: “Some Heavy Ocean”

Worm Ouroboros

Most Accessible Album: “What Graceless Dawn”

Most Accessible Album: “More Constant than the Gods”

Imperium Dekadenz “Dis Manibvs”

I have spent a ton of time trying to find new things to listen to. I love all of the albums I have in some way or another but I just needed to hear something new and unique. I heard about the band Imperium Dekadenz from one of my friend’s and started listening to some songs by them. After hearing their music with much greater attention to detail I was immediately staggered by how good these guys are. Hailing from Germany Imperium Dekadenz arrived through the fogs and mists of the black woods and have created an epic album called “Dis Manibvs” that came out in August of 2016.

The best way I can describe the overall vibe of the album is sorrowful, ancient and triumphant. The songs seemingly blend into one another like a tapestry of stars and planets. The vocals remind me of yearnings for times of old and final breaths of stars dying into the black of space. There is a cosmic, polytheistic and natural energy when every note is played. There is strong feeling of melancholy in the way the instruments harmonize and crescendo. There are multiple things that standout in “Dis Manibvs” one of them standing out above all others is the drumming of Vespasian. They are powerful, emotional and thunderous like the heavens, blast beats sound like oaks growing and expanding in the rain, and the cymbal crashes remind me of bolts of lightning turning the night sky white. There is a real feeling of the gods speaking when you hear some tracks of “Dis Manibvs” and whatever they are saying is being conjured through Imperium Dekadenz.

I can say when I hear this album my mind goes into a different place entirely, all the negativity and pain of life disappears and I feel like I am lost on a battlefield after Ragnarok. I see corpses around me, blood in the grass, mud and destruction everywhere. But I am not looking at the ground but the sky above. I can see stars clear and bright, clouds passing through the moon and treetops. I can see the dull light of dawn on the horizon and the ghosts of the dead wandering aimless among the piles of the dead. I know even after the brutality and violence of the battle that I lived and the gods had plans for me hidden from my view. I could only find the answers by moving forward and leaving the death behind me. My eyes scan to the east as I see the sun rise and notice glimmers of light as the sun shines over the vast raging river cutting through hills and valleys, a place to be cleansed of the blood and filth of the night before. These are the images and feelings “Dis Manibvs” evokes when listened to and it stays with you long after.

The songs that stand out most on this album are “Still I Rise” a triumphant, hopeful song about letting the past rot and being only aware of the present and seeing the future in a gauze of ether. The guitars are incredibly bombastic and immediately invoke these feelings and it just stays with you as a fond memory of the past you do not want to lose. The next song that is incredible is “Dis Manibvs” a slow, doomy black metal track which cascades like waterfalls and a steady warm rain. There is a sense of longing in this song, it is almost depressive in nature but it nonetheless is a song that can help with feelings of guilt and grief. The final song that stands out is “Volcano” it reminds me thoroughly of an old Emperor song it sounds like chaos melded with calm and develops images of a civilization on the brink of collapse through utter natural destruction. There is a sense of closure in this song, after the eruption and screams of thousands there is silence and it permeates through everything and leaves you utterly speechless in where the album will go next.

Imperium Dekadenz - Ragnarök 2014

Captured by Dvergir Photography

When the album ends the feelings, senses and thoughts stay with you like a vivid dream. You see yourself floating aimlessly in the infinite sky and see the god’s beckoning you to paradise. You find yourself at peace after the destructively beautiful sounds and images of “Dis Manibvs” and just want to play it again and again. The story Vespasian and Horaz crafted with such care, diligence and passion is something that will remain in your memory long after listening. An album that allows you to always hear new things and experience new visions is an album worth listening to. Be blown away by the utter perfection of this album and let it stick with you for the rest of your days.

Rating 9/10

A Conversation with Jason W. Walton

Bassist Jason W. Walton of Khorada, ex-Agalloch, Snares of Sixes, Self Spiller, Nothing, Dolven, Especially Likely Sloth and many other musical acts has been a pillar in the Pacific Northwest metal community. He was one of the original members of Agalloch and then went on to do a new and highly-anticipated project Khorada with fellow ex-Agalloch band members Don Anderson, Aesop Dekker and Aaron John Gregory of Giant Squid. I wanted to learn more about his music projects, vision and hope for the future in regards to being a musician. Me like many others are waiting with bated breath to see what Khorada will sound like in the meantime we can look forward to hearing his new project Snares of Sixes which he talks about at length in the interview below.

You have been working on multiple projects for many years now, out of all the works you have done what do you think stood out the most to you as an artist?

JWW:  Albums I’ve been a part of stand out to me for different reasons. Agalloch’s “The Mantle” jumps to mind immediately because of the critical acclaim it received and how that afforded us to tour and bring Agalloch to places we never imagined going.  On the other hand, the debut Snares of Sixes ep that I just finished stands out as well, because that was a beast of a record and is easily my most ambitious recording to date.  Every recording I’ve been a part of has been important or noteworthy to me, because each acts as a stepping stone and a learning experience for the next one.

A lot of your works are tied to electronic, ambient and drone scapes what made you want to go this direction? What about this style do you like most?

JWW:  I first started working in these styles because I loved the freedom it afforded me.  I loved being able to work alone.  I could compose, record and perform entirely by myself if I wanted, and didn’t have to rely on others to get work done.  The nature of the music itself is basically limitless as well and I feel very free to do whatever I can possibly imagine.

Is there any new or interesting things you can update our readers with about Khorada?

JWW:  As of right now, there is not much to report.  We have news coming soon, but as of right now I can tell you that we are deep within writing our debut album.  I feel like we are at the point where we have found our voice as a band, and are refining our sound.

What direction do you hope to accomplish with Khorada?

JWW:  I don’t really want to use too many descriptors or make too many comparisons just yet, as the music can still change quite a bit at this point.  We all came into this being very aware of our previous bands, and not wanting to repeat those themes, or ideas. Obviously, when you have ¾ of Agalloch in a new band, there are going to be some undeniable elements of Agalloch in Khorada, and of course, there will be things reminiscent of Giant Squid as well, due to AJ’s large role in Khorada.

In regards to your influences and points of inspiration what are some triggers that allow you to create and conceive new ideas?

JWW:  It really depends on the band. Khorada is lyrically and thematically controlled by AJ.  Of course we all have ideas thrown in here and there, but that is largely AJ’s department.  For a band like Snares of Sixes or Self Spiller, I typically focus on a single idea, or a feeling, and work around that. Self Spiller’s “Worms in the Keys” album was written around themes of travel, homesickness, allergies and being caught in an unfamiliar space. The Snares record I just finished is literally about Kombucha, yeast and bacteria.  Many of these ideas have come from books I’ve read, or experiences I’ve had.

You have done many tours over the years, in your eyes what do you think was the most memorable?

JWW:  I think the most memorable tour for me was the first time we went to Europe. Most of us had never been to Europe before, so playing to audiences all over Europe was unreal.  Also we had a month long tour with Fen in Europe, and that tour was highly enjoyable.  Usually for me, I remember stand out shows, or places, not necessarily tours. London, Copenhagen, Lithuania, Tel Aviv, Bucharest. These are the places and shows that are the most memorable for me.

You have been working with Don Anderson, and Aesop Dekker for many years now, what about them do you admire most and with this new chapter in your life has your creation process changed at all with them?

JWW:  Don and Aesop are amazing musicians, and my closest friends. They always push me and challenge me as a musician. Aesop rarely plays the same way twice. He is always trying new things and is not afraid to experiment. This pushes me to be quick on my feet and forces us to lock in together and feed off of each other. Don’s command of the guitar is inspiring. He knows enough theory to be dangerous, but loves punk enough to not be a snob. Within an hour of Agalloch breaking up, the three of us had a group text going about what we were going to do next. There was absolutely no reason for us to stop playing together.

Have you taken on even more songwriting duties with Khorada, and if so what are some ideas you decided to run with?

JWW:  Writing as a bassist is a very odd thing. Of course writing basslines to existing guitar parts is one thing, but writing the foundation is tricky. It’s very hard to listen to a line of singular notes and imagine what can come out of that. We did that with Agalloch once. I wrote the foundation to “Birth and Death of the Pillars of Creation” this way and it was very rewarding.  We are trying a similar approach with Khorada but AJ and Don are writing the lion’s share of the music.

If you could think of three words to describe Khorada’s sound what would they be?

JWW:  Hungry, heavy and beautiful.

Do any of your outside interests help you conceive new ideas at all?

JWW:  Most definitely. My love of cooking heavily informed the Self Spiller debut, and a couple years ago I became quite passionate about brewing Kombucha which was the inspiration for Snares of Sixes “Yeast Mother” EP.

And finally where do you hope to see yourself as a musician in 2017?

JWW:  In 2017 I plan to record with Khorada, and hopefully start booking some shows with them as well. I also plan on releasing the Snares EP, and recording more Snares. I’ve also assembled a live band for Snares and we hope to start performing this Winter or Spring.

The Dreaming Metal Muse Returns

A Review of Twilight Force’s “Heroes of Mighty Magic”

Salutations Warriors, Mages and Unsavory Sorts,

I the scribe of dreams has received a wonderful album tied to the realms of fantasy and legend. The fantastical music was created and then sent to the masses to bring hope and life back to the damned and forsaken. I have had the pleasure to review the wonderful album “Heroes of Mighty Magic” by the warrior bards Twilight Force. This album is not only a new road for power metal to venture on but a road that is encompassed by the magical roots of power metal in every conceivable fashion. Images of elves, dwarves, wizards and rogues ooze in every word, riff, flourish and tone. “Heroes of Mighty Magic” is an album needed in this time of utter despair and cynicism.

The vibrant and warm colors of the album art introduces you to a world devoid of darkness and hate. The image of a dragon breathing life back to the world is eerily metaphorical and gives a sense that there is still hope left in a world filled with negativity and disillusionment.Once you hear the first calls and choirs of battle in “Battle of Arcane Might” you can tell that Twilight Force is here to stamp out the vile evils of the world with machine gun riffs, soaring solos and emotionally positive vocals.

There is an inherent sense of vast landscapes dotted with castles, magical towers and forests as far as  the eye can see. The beautifully invigorating sounds of the keyboards is what really makes “Heroes of Mighty Magic” work on multiple levels. There is a sense of wonderment, magic and dreams with each note being pressed. I sometimes feel lost in a magical wood filled with sprites, dryads, and sylvan folk of note when the keyboards are being played. There is an epic sense of adventure and when guitars, bass and drums are infused with the keyboards then it makes the moment all the more memorable and uplifting.

The songs are consistent and have varying degrees of speed and aggression incorporated into the music. There are moments of pure calm and then moments of golden horns blazing and warriors charging into battle. “Heroes of Mighty Magic” is an album that needs to be listened to when you are feeling sad and despondent. After multiple listens it will put you into a state of mind filled with memories, nostalgia, and long hours into the night playing Dungeons and Dragons where your imagination can run free. There is a sense of confidence in the music of Twilight Force, when there are moments of cheese and eye-rolling you know that they make this music purely out of the joy of it and could care less about the opinions of others. This alone makes “Heroes of Mighty Magic” just an enjoyable listen.

The ability to get lost in a mesmerizing world of colors, magic and fantasy worlds is what this album offers. When you are feeling utterly depressed and hopeless spending an hour listening to this album in its entirety will put you into a better state of mind. When you thought your imagination was decimated because of the harshness of reality, Twilight Force delivers an album that brings back not only the magic of being a child again, but the ability to bring back your imagination from the realm of shadow. I can guarantee if you spent a long time not being able to feel those moments in life that this album brings that feeling back like a tidal wave. Let your mind wander free and immerse yourself in the godlike might and glory of the sapphire dragon as it flies back into your dreams.

Humble Regards,

The Dreaming Metal Muse

Rating 8/10

Why I Love Power Metal…And you Should Too

“On wings and winds we ride
Towards a land so green
Take me across the horizons
To the forest of destiny
When we reach that place
So far beyond the sun
Where hopes and dreams come true
In the forest of destiny”

~Twilight Force~


Kikyz1313 . The Infinite Artist

User Rating: 5 / 5

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She received a BFA from Autonomous University of Queretaro and had her first solo exhibition at the Museum of the City (Queretaro City, Mexico). She has completed an artist residency at the Nordic Watercolor Museum in Skärhamn, Sweden.

Showed in several art fairs and group exhibitions in the USA, Berlin, and London as recently presented her second solo show entitled 'The Progeny of Chaos' in Los Angeles, California.

‘Through my work, I am trying to build an emotional momentum, one that rouses the intellectual exercise of questioning one's vision of reality. While looking at my artwork, the viewer will begin to experience a series of diametrically opposed thoughts and emotions. Initially, they may feel overwhelmed by the obsessively intricate and highly detailed forms, the composition, the technical skill and the pleasant color vibrations but as an analytical shift in perception slowly overtakes them, the viewer unwittingly grasps the artwork’s inescapably wretched and subversive subject matter. This new clarity forces the observer to re-engage with the work and rethink their initial opinions until, in some way or another, the shift takes place and the observer's perception of natural things expands to include elements such as disease and death itself. While these types of human experiences are often veiled, the artwork truly embraces them and functions as a reminder of our ephemeral existence and places in doubt our vain and materialistic way of understanding life.This intellectual exercise will continue to expand until the conceptual structures of the artwork, particularly it’s elemental lack of apparent reciprocity, unwaveringly pushes the viewer to put them together into the same aesthetic context. In turn, a new meaning evolves and gives birth to a poetic paradox, a concept that I have been developing for 6 years and include in each piece that I produce.I also want to share my own vision of life and what I think matters the most. Maybe the viewer will engage with my work in such a way that it encourages introspection or solves an issue, or possibly they may become morally disturbed and confused; but whatever the outcome, the ultimate intention of my work is to open a dialog and incite thought and reflection, which I think must be the primordial pursuit of contemporary art.

The Artist & Gumiño

What's your name? Why kikyz1313?

My name is Laura Ferrer, but I have rarely used that name in life.

Since a child, I’ve always been called Kiki causing through the years to be a nickname with I identified myself better, and even introduced myself as Kiki instead of Laura.

So in my teenage years, at the time when I started to consider an artistic life, It felt natural to keep using Kikyz as an artistic name.

The full kikyz1313, on the other hand, is a silly story that goes back to my asthma haunted years, when I was a very delicate 4-year-old child that spent the whole days inside the house playing and drawing.

I was always advised by my father to sign every single dumb drawing I made with my name, so I then figured ‘kikyz1313’ would make it.

I kept using that signature because it felt right, it had a warm familiar feeling to it.

 ‘Sorrow´s piercing dart’ 2016 . Graphite, watercolor and white acrylic on paper

Describe your path to becoming an artist.

I guess it started like most of the artists; with the luck of never stopped drawing.

Since a child, I used to attend to summer art classes with other kids, just for the fun and because I had no use in other disciplines like dancing, martial art, swimming courses, (I tried them all) and was terrible at camping experiences.

So drawing was always the little shelter where I was better at it, I guess I just got stuck with it and kept doing it until I realized that an artistic journey would be the only life fitting for me. And as everyone else who think that for making a life you need a school degree; I, at the age of 18 went for it and graduated from the local University of Visual Arts, which said I was an artist.

I’m still not comfortable enough with my work to call myself an artist, not even the beginning of my career, but I did realize that in order to be recognized and noticed I needed to give impeccable and unique artworks to the world, and that’s something I’m still driven to do.

Where is your studio and where are you from?

My studio is inside our home in the province of Mexico, in a small Catholic district called ‘El Pueblito’ (Spanish for ‘Little Town’) and I am from a small growing city called Querétaro, which is a 10-minute ride from my studio and a very conservative place as well.

‘The tender for another´s pain’, th’ unfeeling for his own . 2016 . Graphite, watercolor and white pastel on paper

Tell me about where you grew up and how your childhood influenced your ideas about creativity

I never moved from the same place, and the same city, so I’ve witness the transition from small town to growing city, and everything that involves that; the huge contrasts of thinking in where fervent Catholicism clashes with social hypocrisy and cultural shame and contradictions where prehispanic ingrained feeling of ‘pride’ opposes to the high desire to flee the country and be from somewhere else.

Mexico is a land full of contrasts and contraries, and I believe that growing up with such an ambivalent way of thinking and the narrow social circle I was since little, made me wonder and question this very same train of though, influencing in a big way what I am and what I do.

How would you describe your work?

I would describe them, as small-enclosed scenarios of poeticized human tragedy.

 ‘Ghosts from a griesly sweet scent’ 2016 . Graphite, watercolor and white pastel on paper

What motivates you as an artist?

I think that the first thing that always comes to my mind is the motivation to reach the imaginary ‘self’ that’s living in my head.

I always picture the look of an artwork or I picture an image of myself of ‘How I would like to be’ (emotionally, intellectually and even physically) and day-by-day, drawing-by-drawing I try to get closer to the idealized image of things, in hopes I can achieve it.

So far I’m maybe far from reaching it, but this one of the thing that drives me to continuingly improve myself in every aspect of my life.

On the other hand, there is always the motivation of staggering others with what you do. To bleed yourself in that piece of paper so you can thrill an audience with something they have never seen. To achieve that something that pierces the gut and lives in the consciousness: one that can change perceptions and one that allows you to be remembered.

Tell us a little about these portraits that live in your paintings’ worlds. Who are they and what are they up to?

They portray my personal understanding of human condition: the contradictions, the senseless behaviors, the gained knowledge, my obsessions, the blindfoldedness and fears I perceive in myself thus others, all jumbled in, floating or resting over and under different symbols. Decorated with intrinsically beautiful things with the sole purpose to fool us in that personal world.

‘A soulfully denature’ 2013 . Ink and watercolor on paper

You do have a very distinct, recognizable style.

Thank you, but I honestly find myself wondering if nowadays that is a compliment or a weak spot.

It’s a very nice feeling to know that all the imagery you’ve been working on for 6 years is solid enough to let the artwork speak for it own, but I must say that this is also a dangerous place that at long term may cause us to fall in the common place and in repetition, instead of moving forward to improvement.

This easy way may be very appealing when most of the times there’s a fright to feel rejected by our peers, institutions, or our audience.

But, does anyone would really like to be held in a place of pleasing others even when a satisfied mind is at risk?

This is something I’m constantly scared of, and I try my best to never see myself in such situation, even when there is always a big load of insecurities and economic uncertainty. I think I rather resist this dreadful possibility with the opposite: and do a lot more confronting and obscure artworks, a lot more obsessive and critical, to find different mediums and techniques so maybe I can achieve that unexpected and higher perception of reality that I’m looking for.

Tell me about the first time you considered art as an actual career.

It surely was in my teenage years, just before the last year of high school.

I was advised by my family to think about what would I do for the rest of my life even when I wouldn’t be paid for it… The answer was easy, as at the time I enjoyed to draw a lot and an artistic life was never a such a crazy idea since my mother paints a lot.

Since then, I considered art not only as a career but also as a way of life in which I promised to commit myself entirely.

‘Devouring smile’ 2017 . Graphite, watercolor and pastel on paper

Did you have any mentors along the way?

I sadly never had mentors, not even in college, but in my first years in the artistic trade did have a couple of artists near me that inspired me a lot to be better.

I think the one that really pushed me into the world of drawing would be Román Miranda, who was the first artist I knew who lived from art and who worked on graphite and paper with some very intricate and fantastic compositions.

At that time I didn’t even know that one could live solely from drawing!

His work opened my eyes, and even when I saw his work in persona after 3 years, I kept some postcards of his work and only by looking at them was a reminder of where I wanted to be in the future.

Today he is still a huge inspiration, and I’m happy to call him a close friend.

Are your family and friends supportive of what you do?

Absolutely, my family has been a huge beacon of support and encouragement since always, and there is no possible way I could ever repay or thank them enough.

‘A slumber embrace’ 2014 . Graphite, watercolor and white pastel on paper

What advice would you give to a person starting out?

I would say that: forget about success, forget about fame, and forget about money.

Do an introspective search for as long as you need and search for that significant thing in yourself that turn your soul on fire, that keeps you awake at night thinking and that it’s relevant enough to share with the world.

Then, build yourself artwork that speaks for that and most important:  don’t ever try to please anyone, but you.

How does where you live to impact your creativity?

Well… the way Mexico is have really shaped entirely my whole being. The way I think, the way I over saturate my compositions, the obscure imagery, the symbols I choose, the muted smog-like colors, the subject matters I describe in my work, etc.

They are all projections of what I’ve seen and lived in this place.

‘Laughing while crying’ 2016 . Graphite, watercolor and white pastel on paper

Do you have a favorite book?

The favorite(s) are changing constantly but I find myself always coming back to the 1900’s horror fictions authors, these past days with Arthur Machen and more of his fantastic short stories.

I also have a very special place in my head for ‘Fahrenheit 451’ by Ray Bradbury and ‘The Gods Themselves’ from Isaac Asimov.

What is your current album on repeat?

Right now I don’t have and specific album, though I do insanely obsess over an album in time to time. But right now I’m constantly repeating on my headphones a lot of dark ambient, drone, doom and black metal music.

‘The child inside’ 2017 . Graphite, watercolor and pastels on paper

Who is your role model?

It’s curious but that’s a question I’ve never asked myself, so this is the first time I’m actually putting thought on it, and I’m not completely sure If I’ve had a role model in the past or today. But I’m certain there have been a handful of artists that have marked significantly my career and deeply influenced my artwork.

Of course, there’s been always the aspiring feeling to be like Dürer or as strikingly raw as Goya, but mostly in the past year, I’ve been highly influenced by the chaotic compositions, staggering bright colors opposing to the muted grayish tones in the paintings of Justin Mortimer.

I knew his work a couple of years ago and since then I noticed my works started to become a lot more chaotic, random and less narrative. In fewer words: driven only by gut. And it’s something I’ve been admiring a lot in Justin Mortimer’s work, that impromptu selection of the characters, figures, and backgrounds always transporting us to a not so distant parallel universe of blurred memories and reveries.

I hope to achieve that feeling through my works some day, even though my technique and intentions are completely different.

What was the best advice given to you as an artist?

You could say I live a sort of a secluded life, in a tiny social circle; therefore it’s very uncommon to find myself chatting in person with someone else and even less about my work. So the only strong advice or critics I’ve ever had are coming from my husband (painter/draftsman as well) who, after a week of being sick, found me half of the day crying of stress, advised me that we have to choose wisely our battles, never take more compromises that we can get. We have to know our limits and work based on them. And in worst case scenario, when it’s too late to refuse, then THE HELL WITH IT, that my health and mental stability were first and it’s better to ‘fail’ the commitment than seriously harming myself in order to fulfill other’s expectations.

Those days I think I was very close to a metal breakdown, and after his advice I’ve learned to work wisely, resulting to enjoying a lot more what I do.

‘Silencio’ 2016 . Graphite, pastels and watercolor on paper

What is your dream project?

I’ve had a strange idea of making paper artworks that change with the intervention of the audience resulting in different narratives.

Something like the pop-up and interactive paper books we find for kinds, but with very obscure and realistic imagery.

It’s not so dreamy but a little far from doing them right now.

Is there anything you want to do in the next 2 years?

An oil painting series. I’m currently teaching myself oil painting and about to end a workshop I’m attending. I’m very excited to keep practicing and maybe in the near future make very intricate compositions with very vibrant colors. I wish to make a series of medium formats and if they end up decent, to present them in a public o private space.

Read more in the Issue 4

The largest online Artists Gallery and Community


Friday, October 05, 2007

Topos and Topos2

Andre Willers
7 Sept 2007

For Ermeine on request .

“Physics from Fisher information” by B.R.Frieden ISBN 052163167X : see in general , or search for “mining the Oort” ,

Topos is simply a new name for non-Aristotelian logical systems .
Gauss saw it , but did not publish , deeming it too controversial . (He hated controversy.)
Russell and Whitehead proved that A and not-A is less than the Universum .
Godel’s work was a consequence of this .

What does it mean?
If you say that something exists (say A) , it means it must be defineable in some way , separate . In other words , the person talking about A plays a role , he defines it . Even using a symbol like A makes it separate .

But there is then always something left over . The indefinables . In other words , A and not-A is not the Universum .

This has been rigorously proved . It is obvious from the above .

True is defined as existing . Existence is defined as defineable . Something that is not defineable then is true and not-true . The essence of quantum systems .

If you have read and understood what I wrote before , you know more about these systems than the Topos authors .

Unless a Wright-proof (ie an undeniable physical gadget ) results , these theories become froth on the gales of history .

Topos is a typical publish or perish phenomenon . Dress up old , known things in a new guise . Some quotes from the Topos paper :
“Intuistionic logic” : what does not fit , gets swept under the carpet . They should get a fuzzy logic Roomba .
“Heyting algebra” : fuzzy logic , as used by your fridge or microwave , but a neat term .
“Sets” is used in the argument : sets? Sets are a number of similar identifiable items , these being identified and counted by the hypothetical observer . This directly contradicts the basic assumption of Topos .
Notice how classical set theory warps if you add the hidden assumption of somebody doing the defining and counting .

Topos is not a very good attempt . Frieden did better .

Topos 2
Andre Willers
10 Sept 2007

For Ermeine on request .

Sources: The topos articles.

“Physics from Fisher information” by B.R.Frieden ISBN 052163167X
Alternative Topos-type derivation of physical laws . : see in general , or search for “mining the Oort” , “Topos ” , Transcendent numbers ,etc.

Topos (plural topoi) is simply a new name for non-Aristotelian logical systems .

Perhaps I should clarify a bit , as my previous post could do with some expansion .

The Aristotelian system . Binary logic .
Definition : Something is true or not-true . The middle (ie something that is both true and untrue) is excluded .

Our purest expression of this is in computers : binary language (1 or 0) .
Now translate this into reality .
Current flow is equivalent to 1
Non-Current flow is equivalent to 0 .
But how are we to distinguish between a string of 0’s and somebody cutting the wire ?

We cannot , except by way of a third signal . In computers , timing is used (pulses of current at varying times .)

Can you see the uncertainty inherent in this worldview ?
Using two variables to describe a 3-variable environment . There is always uncertainty . Hence quantum systems .

Try to construct different ways . It is not possible . There is always a different third state , denoting no-signal .

For example , (+1) + (-1) = (0) … three states .

The reason is in (A) U (~A) < n="1" yn="0" yn="1" yn="any">1
Y+N+YN=any . Strong godlike . YN>1

For example , to describe a real thing we have to say:
Reality(Class =1, Y=1) for our traditional Aristotelian reality.
Reality(Class =2, Y=0.9 , N=0.02 , YN= 0.08) for our Quantum reality.
Reality(Class =3, Y=0.7 , N= 0.1 , YN=0.3) for our creative , bootstrap,weak godlike reality.
Reality(Class =4, Y=0.7 , N= 0.1 , YN=5) for strong godlike intervention reality.

Why the Classes of Reality ? Because of the phenomenon known as “wave-function collapse” . This is a Procrustean human system whereby the Y,N,YN of Class 2 realities are summated and then selected : the lowest summation of YN value is selected as the “wave-function collapse” . High N values are ignored . This is called quantum physics –Copenhagen interpretation . (This is already breaking down from experimental evidence. )

The “reality” is that there is no wave-function collapse . The thingies happily keep on being what they are . Humans pick the creamy , chocolate ones and ignore the rest . Typical .

Topoi as formulated do not take the observer into account . This limits them to distributive-logic systems . The Mathematician plays the role of the observer .

Unfortunately , science requires replication of experiments by different observers (ie distributive-logic . )
Yet we routinely use quantum devices with a high degree of certainty . The trick is in two parts :
Expand the quantum bubble (ie , move closer to macro-state)
Quantum-tunneling is a transfinite process found everywhere , on macroscopic scale as well .
See : : photon tunneling of up to 1 meter was experimentally verified , using very simple apparatus . See also New Scientist 18 Aug 2007 p10 “ Light seems to defy its own speed limit.”
Tunneling seems to play a role in fusion and fission processes . Indeed , if tunneling over macroscopic distances is routine , why does cold-fusion not occur regularly ? Maybe it does/did . Ref natural Okra fission reactor in North Africa .

Jupiter’s energy budget seems to indicate that some low-temperature fusion reactions are occurring because of meson-tunneling between large crystals formed in the atmosphere and sheared in two by violent storms .

The Sun’s energy output is too high for its temperature . This crack is papered over by postulating additional energy formation in the corona . But this is exactly where heightened fusion because of tunneling would be expected . This layer is also very susceptible to magnetic effects from the planets . Thus , Earth’s weather, via the Earth’s magnetosphere can have an effect on the sun’s surface fusion energy production . The effect is non-linear , so even small changes in earth’s magnetosphere can have large effects on the surface fusion on the sun .

Consciousness : quantum effects have long been postulated . The general prevalence of macro-tunneling makes this 0.99 likely .

See “Non-locality” , , etc

Error-correction (Pinch)
Set “Usable=True” .

Then pinch your apparatus from a higher uncertainty to a lower uncertainty . This is a system like a transistor , or in general most non-linear amplifying devices .

Note that the entropy inside the device decreases , a general prerequisite for life .

Trial-and-error in a system designed to pinch Class2->Class1 Realities will give a fairly reliable quantum based system . (Like your computer , hifi,etc)

Ditto for Pinches of Class3->Class2->Class1 Realities , but the viability decreases drastically as YN increases . This is the definition of lifeforms like humans , advanced computers , etc .

Class4 pinches : highly dangerous . Not recommended unless you are a god .

See Prediction below .

Prediction and Postdiction .

Let YN>0 , like in the observable Universe .
This means that there are finite (0Define the paths as AB(1) , AB(2) , …,AB(n)
If any particular path AB(i) lies within the lightspeed cone from B , then any point on it can be accessed from A without violating relativistic (and thus causal) constraints . Note that the mechanism is probably tunneling .

There is some good news and some bad news .
The good news is that prediction is possible .
The bad news is that only a future AB(i) , not the future can be predicted .
The future is at B , where all the possibilities AB(i) are summed .

A further limitation is that only the futures entangled with A can be predicted . Influences outside AB path or outside the light cone cannot be predicted .

Algorithms for sampling AB(i) pathways can easily be constructed for Reality Class2 , and indeed are (quantum devices).

A corollary is that prophecies and mind-constructed scenarios are the same .
Seeing some futures are equated with intelligence and creativity . There is no functional way of differentiating them . Some think that the ability of the brain to pick up these small lengths on alternate futures is the human ability to foresee and create .

The problem here is that humans think that what they foresee is THE truth . Hence prophets like Cayce , hypnotic progression , etc do not realize that what they see are but one pathway , one possible future .

Creating algorithms for Reality class 3 systems is thus indistinguishable from intelligence and creativity enhancement .
This will involve powerful forces in the human sphere .

Just collating all the prophecies won’t hack it either . The prophet has to be entangled and free of Aristotelian prejudices . Nobody qualifies .

The past is even more unknowable than the future . Literally .

Since for paths AB(i) , we can also have DB(j) , postdiction from B has to involve both pathways . Even if there is a wave-function collapse , the AB and DB paths cannot be distinguished .

For Class 3 and better realities:
Ford was right . History is bunk .At best , it is an intellectual exercise .

Oh well .

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دانلود مقاله ISI انگلیسی شماره 13169
عنوان فارسی مقاله

سرمایه گذاری مستقیم خارجی و بیکاری جستجوگر : نظریه و شواهد

کد مقاله سال انتشار مقاله انگلیسی ترجمه فارسی تعداد کلمات
13169 2014 16 صفحه PDF سفارش دهید 11110 کلمه
خرید مقاله
پس از پرداخت، فوراً می توانید مقاله را دانلود فرمایید.
عنوان انگلیسی
Foreign direct investment and search unemployment: Theory and evidence

Publisher : Elsevier - Science Direct (الزویر - ساینس دایرکت)

Journal : International Review of Economics & Finance, , Volume 30, March 2014, Pages 41-56

کلمات کلیدی
تجارت -      سرمایه گذاری مستقیم خارجی -      جستجوی بیکاری -      اصطکاک های بازار کار -
پیش نمایش مقاله
پیش نمایش مقاله سرمایه گذاری مستقیم خارجی و بیکاری جستجوگر : نظریه و شواهد

چکیده انگلیسی

This paper proposes a simple multi-industry trade model with search frictions in the labor market. Unimpeded access to global financial markets enables capital owners to invest abroad, thereby fostering unemployment at the extensive industry margin. Whether a country benefits from foreign direct investments (FDI) in terms of unemployment depends on the respective country's net-FDI, measured as the difference between in- and outward FDI. The link between FDI and unemployment derived in the model is tested using macroeconomic data for 19 OECD countries on unemployment, FDI, and labor market institutions. Results support the model in that net-FDI is robustly associated with lower rates of aggregate unemployment.

مقدمه انگلیسی

The ongoing integration of product and labor markets has stimulated a lively debate about the pros and cons of globalization. Supporters often stress the beneficial effects that arise due to increased export opportunities, whereas globalization's detractors are usually more concerned about job losses due to heightened competition from so-called low-income countries. Economics can contribute to this debate in that it can rationalize the fear that more intensive global economic-interdependency generates by identifying the merits and downsides of this process and by quantifying the labor market outcomes of the potentially opposing effects. The public debate that surrounds these issues has frequently been characterized by a lack of clarity regarding the definition of globalization and a failure to account for different elements of this process which may have contrasting implications for domestic and international labor markets. This paper focuses on the implications of capital mobility for domestic and international labor markets by proposing an empirical test on the link between FDI and unemployment. The test is based on a simple multi-industry model with unemployment due to search frictions. Closely related to Dutt, Mitra, and Ranjan (2009), I incorporate Mortensen and Pissarides (1994) search frictions into a trade model. However, capital markets are integrated, which facilitate the study of foreign direct investment and its effects on equilibrium unemployment. Moreover, the trade model employed features a continuum of industries. Thus, the outcome of the model is different from previous studies in that the effect is ex-ante ambiguous and highly depends on whether a country is the FDI receiving or sending country.1 The intuition behind that result is that FDI directly affects intermediates (labor) demand at the extensive margin through endogenous adjustments of capital costs. The adjustments in production costs trigger an expansion of the FDI receiving country's range of active industries through higher competitiveness in industries located close to the former cutoff. This boosts demand for intermediates and thus reduces equilibrium unemployment. To the best of my knowledge, this paper is the first focusing on the unemployment effects of global sourcing in a model with a continuum of industries from both an empirical and a theoretical perspective. Lin and Wang (2008) present empirical evidence on the effects of capital-outflows on equilibrium unemployment, but their analysis does not feature the distinction between inward and outward FDI. This distinction is crucial at least in the model presented in the theory section of this paper where the sign of the effect is different depending on whether a country is the receiving or the sending country. The empirical strategy is borrowed from Dutt et al. (2009), or Felbermayr, Prat, and Schmerer (2011b). Also closely related to this paper are two contributions by Mitra and Ranjan (2010) and Davidson, Matusz, and Shevchenko (2008) both focusing on the employment effects of outsourcing in trade models with search frictions. Mitra and Ranjan (2010)propose a two sector model with one input factor labor. In their model outsourcing decreases equilibrium unemployment. Outsourcing in Davidson et al. (2008) forces some of the high skill workers to search for jobs in the low skill sector. This stirs up job competition in the low skill sector and thus triggers a rise in unemployment. Bakhtiari (2012) focuses on the effects of offshoring on low-skilled wages. The model predicts that offshoring 0.5% of unskilled jobs is associated with a 0.3% rise in unskilled real wage. Kohler and Wrona (2010) highlight the existence of a non-monotonicity between offshoring and unemployment. They identify channels through which offshoring can affect demand for intermediates at the intensive and extensive margin. The two opposing effects lead to an outcome where the sign of the effect hinges on the level of offshoring. Also closely related is an emerging literature on the labor market effects of globalization. Brecher's (1974) seminal paper about the labor market effects of a minimum wage in the Heckscher Ohlin model can be seen as a foundation for a large and emerging literature about the employment effects of globalization. Davidson et al., 1988 and Davidson et al., 1999 incorporated the Pissarides search and matching framework into a Heckscher Ohlin type of trade model. Moore and Ranjan (2005) investigate the link between trade liberalization and skill-specific unemployment in such an extended Heckscher Ohlin framework. More recently the spotlight has been directed towards the popular Melitz (2003) international trade model. Egger and Kreickemeier (2009) show how rent-sharing with heterogeneous firms that pay fair wages helps to explain the residual wage inequality and the so-called exporter wage premium. Trade liberalization in their approach increases wage inequality. Helpman and Itskhoki (2010) and Felbermayr, Prat, and Schmerer (2011a) analyze potential employment effects in a heterogeneous firms model with search frictions. Based on their earlier study, Helpman et al., 2010a and Helpman et al., 2010b investigate the effects of globalization on wage inequality and unemployment when workers and firms are heterogeneous.

نتیجه گیری انگلیسی

This paper advances a simple multi-industry trade model a là Dornbusch et al. (1977) or Feenstra and Hanson, 1996 and Feenstra and Hanson, 1997 with imperfect labor markets due to Mortensen and Pissarides (1994) type of search frictions. Wages in this setup are jointly determined by labor market institutions and international trade, thereby affecting the equilibrium rate of unemployment at the intensive and extensive margin of labor demand. This two-dimensional causality between foreign direct investments and wages (unemployment) also permits the study of changes in the exogenously given labor market institutional environment. Institutions itself remain unaffected by firm behavior or trade so that wages are set according to the conditions in the labor market. Conversely, policy makers may influence labor market outcomes by readjusting labor market institutions. The model proposed above suggests that such a reform would necessarily affect trade, wages and unemployment in all countries integrated through trade in goods and capital. The paper's major contribution is to test and to quantify the opposing effects at the intensive and extensive margin of labor demand by confronting the model with data taken from the OECD. The main hypothesis derived in the theory chapter is that FDI-receiving countries tend to have lower rates of unemployment, whereas an increase in FDI-outflows increases equilibrium unemployment. The model can be used to address many questions related to trade, labor market institutions, foreign direct investment and unemployment. Relaxing the strict assumption of homogeneous labor for instance would give rise to inequality. Thus, trade and foreign direct investment would shape the observable income distribution that arises due to different skills of workers employed by different types of intermediate good producers. Schmerer (2012) discusses skill-biased institutional changes in such a framework. Introducing worker heterogeneity would also enable us to study the effects of FDI and outsourcing on the sorting of heterogeneous firms into the continuum of industries that differ with respect to labor requirement.7 The newly introduced Mortensen and Pissarides (1994) search and matching mechanism within the Feenstra and Hanson model also opens a novel channel through which changes in the workers' wage rate initiated by changes in labor market reforms induce capital flows between the integrated countries.8 For exogenous interest rates, a loss in competitiveness due to the labor market reform would lead to excess capital supply in the contracting and excess-demand in the expanding country. A more involved model extension that features imbalanced trade in a setup with at least two periods may be used to study the role of labor market institutions on imbalanced trade through shifts in competitiveness between different countries. Most interesting may be an extension of the empirical analysis. The model already features some interaction between foreign direct investment, outsourcing, and unemployment. Trade in intermediates is one crucial assumption in the model, which could be discussed in more details. Especially, interesting would be an extension where trade in intermediates incurs transportation costs. One may study the interaction between transportation costs of trade in intermediates, labor market institutions, and FDI. Moreover, the channel could be tested using the same data as employed in this paper.

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Tips On How To Get Great Muscles

What is something that you do not like about yourself? Are there things about your body that you wish you could change and dwell on? If so, then now is the time to change the way you think and start changing your body. This article is a great place to learn how to do this. Read on for great information to build up your muscle mass fast.

If you are searching to build up muscles, visit aumento massa muscolare

A common mistake people make when working out is focusing on speed rather than technique. Performing your workouts slower takes more control and sheer strength, and will increase aumento massa muscolare the effectiveness of your workout. Do not rush, and be sure to properly do these exercises.

Change your routine around. Like any workout, things can become boring, which can keep you from doing them. Switch up your workout to include different exercises, and work different muscle groups every time you go to the gym. By keeping your workouts new and different, you will stay interested in and committed to your muscle-building routine.

Don't try to build muscle while doing intensive cardio workouts. Cardio is helpful to keep in shape, but a lot of it can slow down your efforts to improve muscle mass. Focus on a healthy balance between cardio exercise and weight training.

It may be possible to make yourself appear larger than you do already. The way to do this is to specifically train your shoulders, upper back and torso. This creates the illusion of a smaller waist and a larger frame overall.


MCZR: Haftar’s vision is different from 17th February’s

MCZR: Haftar’s vision is different from 17th February’s

The Military Council for Al-Zintan Revolutionaries (MCZR) said, on Wednesday in a statement, that it is now sure that the general leadership of the army that led by General Khalifa Haftar had appointed personalities from the military figures of the Muammar Gaddafi’s regime in high military and security positions.

Al-Zintan Military Council stated that these newly appointed army figures are pursuing strategies to form armed forces with a radically different vision of the vision and goals of the revolution of 17th February.

The Military Council added that the attempts to seduce the tribes for the sake of forming army alliances would further divide and fragment the country.

The statement stressed that the armed change that happened in the revolution of 17th February was against the regime that spoiled all aspects of the life in Libya. It added that that change wasn’t against a particular city of a tribe in the country.

The statement called all political and military leaderships to revise their decisions and consider the high interests of the homeland.

It is worth mentioning that Haftar issued, days ago, few decisions to appoint four military commanders who were working in Gaddafi’s regime, including the former commander of one of the battalions of Gaddafi, Al-Mabrouk Sahban


Oct 152014

“According to our analysis, repeatedly stated in these columns and in many radio and television stations in Latin America, Russia and the Muslim world, the Islamic Emirate is a creation of the United States tasked with ethnically cleansing the region in order to remodel it. Everyone can see that the soothing declarations of US leaders are belied by their military action on the ground, not against, but in favor of the Islamic Emirate.

The Coalition has conducted six waves of bombings in Kobané. It never targeted positions of the Islamic Emirate and has caused it no loss. However, it holds at a distance further south and west, the Syrian Arab Army which fails to open a breach to save the people.”

And just in case we don’t get it, the NATO/USAMO ‘partners’ in Ukraine are ‘remembered’ by those last facing them in WAR:

 Posted by at 10:58 pm


Tennis Elbow

Tennis elbow is the common name given to pain that radiates from the outside part of the elbow joint.  While it can occasionally be seen in tennis players with faulty technique, most often it occurs in office workers and manual laborers who tend to hold their wrists in an upward position for long periods of time.

The correct name for this condition is extensor ‘tendinopathy’.  The cause is frequently due to overuse of the wrist extensor muscle group, which causes collagen disarray in the tendon where it inserts onto the outside bone of the elbow.   Tendons do not have a good blood supply and therefore it is common for the condition to become very painful and chronic.

Physiotherapy can help the tendon heal by using a number of modalities and techniques including deep tissue massage/frictions, acupuncture, mobilisation, ultrasound, taping and eccentric exercises.  Specific braces can also be fitted to alleviate the pain while the tendon heals.


Summon Cluster (サモンクラスタ)

Summon Cluster

Created by
Notable Users
Eucross agents

The Summon Cluster (サモンクラスタ, samon kurasuta) or Friend Summon (召喚盟友, shoukan meiyu) is a technique existing in the Astreiz Era of the Summon Night universe.

– Disclaimer –

This article content is done through a deep analysis of events and elements in the game. However, none of the following information are directly confirmed as true by the creators and are subject to changes given any official material that contradicts it.

According to the information given by the Manager, The Summon Cluster is a ability to call those who wish to help a summoner. When someone give a type of "ID code" to the Eucross Bureau, the summoner is becomes able to summoning this someone at any given time, only needing a centain amount of Mana for activation. However, many are the complications existing to do this process, as a result, the one summoned has a very short amount of time to help, normaly the enough to execute one single attack, but since they tend to be very powerful allies, those single attacks peer summoning can be very helpful during though situations for a summoner.

The true nature of this technique is still unknown. It seems that it could be something executed through Loreilal's technology, since a ID code is necessary for it to be possible, and only registered creatures can be summoned. This could mean that the Summoning process is actually a Teleportation done my machines in the Eucros HQ. In past entries in the series, it was seeing that Loreilal already has this technology for a long time, so this is very possible. However, seeing how even low-class criminals can also use this technique, this possibility seems a bit unlikely (Unless this was merely something that the creators add to make the game more difficult and fun, even if it doesn't make sense with the setting).

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Procedure for conducting election of Officers of the Board

The ISOC By-Laws discusses Officers, their terms and, in general terms, the election process for Officers in Article VI.
This procedure provides additional rules and guidelines for the Board of Trustees regarding the election of Officers of the Society when elections are required by the By-Laws.
The Board elects from its membership a Chair, and also elects the other Officer positions of President, Secretary and Treasurer, positions that are not limited to being filled by a Trustee.
1. Term of Officers
The terms of officers is defined in the By-Laws.
Election of officers shall be conducted as the first order of business of the Annual General Meeting, in accordance with this procedure.
2. Protocol of the Meeting to Conduct Election of Officers
The President shall preside over the initial part of the meeting to elect Officers of the Board. Immediately following the election of Chair of the Board, the elected Chair of the Board shall assume office and preside over the remainder of the meeting. The remaining statutory officer positions are then elected.
All voting Trustees in office who are present at the meeting may vote in officer elections. Trustees who participate remotely via electronic means such that they can contemporaneously hear all other Trustees at the meeting, and be heard by all other Trustees at the meeting, shall be deemed to be present at the meeting. Pre-voting and voting by proxy are not permitted for election of officers.
3. Statutory Officers to be Elected
The following statutory positions shall be elected, in the following order:
  • Chair
  • President
  • Secretary
  • Treasurer
4. Nominations
Nominations, including self-nominations, must be submitted to the Board by a Trustee in office or who will take office at the start of the meeting of the board in which this election process is to be used, in writing or by electronic mail, or orally at the meeting.
Nominations for a position are accepted until the start of voting for that position. A nomination will only be valid if the candidate declares orally at the meeting, or in writing or by electronic mail prior to the meeting, that the candidate is willing to take office if elected.
A candidate who fails to be elected for a position may be nominated for a subsequent position.
5. Voting
Any candidate may make a statement to the Board regarding their candidature. The presentation of such a statement shall take no longer than five minutes. The order of candidates' statements shall be determined by the Officer presiding over the election using a random selection process.
To be elected, a candidate must receive votes marked with his or her name from a majority of the trustees then in office.".  Ballots should be cast marked with the name of an announced candidate or with the word “abstain.”  A candidate can withdraw at any time from subsequent votes.
In the case there are more than two candidates running and none receive a majority of affirmative votes in a vote, the vote is rerun with only the candidates receiving the two highest vote counts eligible. (This may result in more than two candidates being eligible.)  The vote is retaken in the case of a tie for first place. The presiding officer uses a coin toss to choose which candidate is to remain eligible if the tie persists after the fifth vote or upon the request of the majority of the trustees voting.  A new call for candidates is made and the voting process restarts in the case where there is a single candidate but that candidate does not receive enough affirmative votes.
Voting will be by secret ballot. Two people, who must not be Trustees, selected by the Officer presiding over a vote will act as tellers.
Trustees who participate remotely in a manner such that they can hear the proceedings of the meeting and be clearly heard by all other attendees, shall vote by privately conveying their vote to an election teller.
6. Record of the Meeting
The minutes shall record the candidates nominated for each position and the elected candidate.
A candidate may request that the statement made to the Board in respect of their candidature be recorded in the minutes of the meeting.
7. Removal from Office
The process for the removal of Officers is defined in the By-Laws.
8. Casual Vacancies
If an office is vacated, the position may be filled during a regular meeting of the Board of Trustees, using these election procedures.


Indi's story with Biliary Atresia is similar to many of our children. However, Indi's father Mat used his photographic talent to look at her journey in a different and creative way.

This portrait is of my daughter, Indi, aged 4 years. Indi was born with Biliary Atresia and had a Liver Transplant at 7 months old.
I am constantly inspired by Indi's strength and really wanted to show her fighting spirit and the scar she wears courtesy of her battle.

This image is a portrait of my daughter Indi who has survived a liver transplant.
With this image I wanted to pay homage to all the anonymous organ donors and their families. Because of them, my daughter has been given a second chance at life.
Indi is now moving out of a dark period of her life and stepping into the light of living!


Define and Describe on Cyclotron - QS Study
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Cyclotron works on the principle that a charged particle moving normal to a magnetic field experiences magnetic lorentz force due to which the particle moves in a circular path.

(i) Maintaining a uniform magnetic field over a large area of the Dees is difficult.

(ii) At high velocities, relativistic variation of mass of the particle upsets the resonance condition.

(iii) At high frequencies, relativistic variation of mass of the electron is appreciable and hence electrons cannot be accelerated by cyclotron.


Sunday, May 22, 2011

Ghost points is the term used in WFTDA StatsBook used to track points earned for skaters the Jammer didn't actually pass.

Today's rule is not an actual rule from the WFTDA rule book. Instead it deals with multiple scoring rules, all which fall under the term "ghost points." Ghost points is a designation for points tracked on the WFTDA StatsBook scoring sheet. The StatsBook is the official WFTDA stats tracking package used for WFTDA sanctioned bouts and tournaments, and has also become the standard for most non-WFTDA leagues. The scoring sheet included in the StatsBook has several boxes in which the scorekeeper may track what are called ghost points. As such, the term has become mainstream and is used commonly in rules discussions, including many on this page. To help clear up many questions that have been posted regarding ghost points, I felt it a good idea to explain the mystery behind ghost points. There are several ways to earn these points.

The most common are Not On The Track points, which are section 8.5 of the rules. These were covered about a couple weeks ago on this page. You can find the archived Rules of the Day at:

There are most subrules of 8.5 that haven't been covered so it is a good idea to read the whole section.

The next common type of ghost point is the Jammer Lap Point, has not been covered here yet. The rule for that is:

8.6.6 Jammer Lap Point: If one Jammer completely laps the opposing Jammer, she will score one (1) point each time she fully laps her.

A Jammer Lap Point is earned anytime a Jammer completely laps (skates an extra lap past) the opposing Jammer, even if she has not scored any other points.

Another type of ghost point is points awarded for out of play skater ahead of the engagement zone when the jam ends. The archive link for that is:

The same rule is also covered in 8.6.7.

The last type of ghost point, and one often missed, doesn't even exist Scoring section 8, but rather is included under Penalty Enforcement section 7. It is: A skater may re-enter the track in front of opposing skaters who are out of play. If a Jammer is eligible to score (having completed her initial pass prior to being sent to the penalty box), she will immediately earn points for passing out-of-play Blockers that are behind her upon re-entry.

These are all the types of ghost points in the rules. However, while these rules exist, the term "ghost points" does not exist at all in the rules, and is not an Official term.


San Francisco and East Bay water managers are warning that a plan to overhaul the state's water system could result in draconian restrictions and rationing in the Bay Area and possibly undermine water rights that are more than 100 years old.

The San Francisco Public Utilities Commission and the East Bay Municipal Utility District, which combined serve approximately 3.7 million people in the Bay Area, fear that in dry years they could be forced to give up water to protect the Sacramento-San Joaquin River Delta.

They also believe the plan could jeopardize their legal rights to water that could instead be sent to parched regions of the Central Valley and Southern California.

The comprehensive package of water bills intended to improve the way water is distributed in much of California failed to get enough support to win legislative approval as it was rushed through Sacramento earlier this month. But Gov. Arnold Schwarzenegger met with legislative leaders this week and is pushing lawmakers to reach a compromise on the plan, and he may call a special session if lawmakers are close to an agreement, a spokesman said.

But unresolved questions about the plan could zap the votes of Bay Area Democrats, some of whom see the proposal as a water grab by Southern California.

"I'm not saying 'absolutely no,' but I'm not willing to turn over the keys to the store," said Sen. Leland Yee, D-San Francisco. "With swimming pools in the desert and lawns in the desert, how do you justify (diverting water) and say you need more water for people to live?"

Part of the plan could lead to the creation of a canal that would divert as much as 6 million acre-feet of water a year around the delta and into pumps that flow to Southern California and other parts of the Central Valley. That water - roughly enough to serve 24 million people - now flows through the delta, helping to dilute salty water, and into the pumps.

Drought worry

In dry years - such as the current three-year drought - Bay Area water agencies fear they would be forced to give up substantial amounts of water from their systems to keep the delta from turning into a giant mud pit.

If that were to happen, "in future dry years our ability to serve our customers becomes more difficult and the prospect of rationing becomes more real," said Randele Kanouse, lobbyist and special assistant to EBMUD's general manager.

That utility district, which serves parts of Alameda and Contra Costa counties, imposed 15 percent mandatory rationing in spring 2008 that was rolled back earlier this summer. Kanouse said residents could be forced to ration even more if the agency must send water to the delta in dry years rather than piping it from Pardee and Camanche reservoirs to the East Bay.

Bay Area water districts are also concerned about another and perhaps more far-reaching issue: that the plan will create an avenue to undo water rights that guarantee cities, irrigation districts and other municipalities the ability to take a certain amount of water from the state's rivers.

San Francisco has rights dating to the 19th century that allow for taking about 400 million gallons per day from the Tuolumne River. The water is stored at the Hetch Hetchy Reservoir in Yosemite National Park.

Assemblyman Jared Huffman, D-San Rafael, who sits on the committee that crafted the legislation, insisted the water bill does not contain any language that would jeopardize water rights. The bill states that water rights would not be affected, but the city of San Francisco wanted to go further and asked lawmakers to explicitly protect its existing water rights.

Huffman said trying to insert language that protects San Francisco would be impractical because that would mean the bill would have to do the same for all other cities, counties or agencies that have water rights.

"I get that they guard their water rights quite jealously, ... but at some point it becomes silly," he said, adding that he thinks San Francisco should do more to help repair the delta and solve the state's water crisis.

Wording details

San Francisco officials, and even as disparate an interest as the California Farm Bureau Federation, disagree with Huffman's assessment of the bill. They said the bill contradicts itself in some places and is so far-reaching that they see an avenue for changes in rights.

"We want to have the conversation with the Legislature so we can tell them why we think that's true," said Laura Spanjian, an assistant general manager with the San Francisco PUC. That desire is common among many agencies' officials who believe they were not consulted on a number of issues as the package was rushed through Sacramento.

The water managers worry that state leaders will jam the legislation through the Legislature over the next few weeks. Schwarzenegger does not want to see any water rights changed, said spokesman Jeff Macedo.

Even still, one official with the state Department of Water Resources said he understood the confusion.

"There's just so much unknown that there's enough space for everyone to have concerns," said Kasey Schimke, assistant director of legislative affairs for the department. "I think those concerns should be addressed or at least vetted."


The Travel Directory brings together the best travel sites from around the world to form a comprehensive, user-friendly online information resource for all travellers. Whether you want to go scuba diving in Thailand, or simply be inspired by other people's travel writings, the Travel Directory is here to point you in the right direction.

Established in 2006, offers latest information about travel services, tours, agent, business travel, shopping, adventure travel, lodging, travel accessories, transportation, and other travel related. With, you will prepare easily your holiday or business trip, customize it according to your own preferences and budget, and book it online worldwide.

Facts about Travel

- Mexico City is sinking at an average rate of 10cm a year, 10 times faster than Venice.

- The Trans Canada highway begins in Vancouver (B.C) and ends in St John's (Newfoundland). It's 7,821km.

- The Vatican City is the world's smallest independent state and has a population of just 800 it's own anthem and coins!

- The shortest scheduled airline flight is from the Scottish island of Westray to its neighbor island, Papa Westray. The flight is 2 minutes!

Great Resource: - Find a travel information around the world
A Comprehensive worldwide travel directory, Find a travel service, hotel booking directly with a hotel owner web site, The best site for the visitors who want to gain travel information around the world. - Travel Directory
Travel Directory includes travel preparation, destination guide, specialty travel, transportation, lodging, travel image galleries, travel tips, travel pulications, travel insurance, travelougues, and more.

Travel Directory & Guide - Travel Axis


  • Define and evaluate the advantage of utilizing magnetic resonance as a diagnostic tool in body imaging.
  • Identify the various artifacts encountered in body MR imaging and how to suppress or minimize the artifact for optimal imaging.
  • Review the MR pulse sequences that adequately enhance image quality in body imaging.
  • Discuss the advantages and disadvantages of utilizing contrast enhancement in body MR imaging.
  • Recognize the importance of proper patient set up for MR body imaging to enhance image quality.
  • Discuss the future advances that will greatly improve image quality of body imaging

There are no prerequisites for this course.

Target Audience