How to Calculate the CFM of a Room

Keeping your home at a comfortable temperature is an extremely important consideration for most homeowners. The term "CFM" is an acronym that stands for "cubic feet per minute," a term used to describe a fan's efficiency in terms of airflow. Determining the CFM of a room is a mathematical process of figuring the room's cubic area as well as the rate at which you desire the air to circulate throughout the room. Calculating the CFM of a room helps when choosing a fan.

Electric fan
credit: Comstock/Comstock/Getty Images
Air movement affects air quality.

Step 1

Measure the room's width and length. Also measure the height of the room from the ceiling to the floor.

Step 2

Multiply the three measurements from step 1 to determine the cubic footage of the room. For instance, if a room is 8 feet wide, 10 feet long and 8 feet high, multiply 8 times 10 times 8 to get 640 cubic feet.

Step 3

Multiply the cubic volume of the room by the number of times you want the air to turn over or exchange in an hour. For example, if you expect the air to be exchanged twice per hour, multiply 2 times 640 to get 1,440.

Step 4

Divide your answer from step 3 by 60 to calculate CFM. In this example, you would divide 1,440 by 60 to get a CFM of 24.


Inbound to USA Cargo Screening for Passenger Aircrafts

As you are aware, the TSA- Transportation Safety Administration has mandated the physical screening of all cargo transported on passenger aircraft departing from the United States. We have provided you with information and details on Kuehne + Nagel's ability to meet these requirements through prior correspondence.

In addition to the requirement for outbound cargo screening, we recently have been advised through our carrier partners of a new requirement for the screening of all cargo inbound to the USA transported on passenger aircraft.

As this program has been exclusively managed between the TSA and Air Carriers to date, Kuehne + Nagel have reached out to our core carrier partners to solicit feedback and to ascertain any impact to inbound US cargo movements. To date, we have only been advised of certain carrier changes in cut-off times for cargo booked on passenger flights. This is obviously subject to change, and as updates are made available to us, we will provide you with a concise and aggregated summary.

Should you have any questions on the above, feel free to contact your respective Kuehne + Nagel Sales executive.


Our Mission.

Our mission at Bay State Gymnastics Academy is to provide a talented trained staff to teach, coach, encourage, and support physical, emotional, and all-around growth for all. At BSGA we strive to provide the highest quality customer care so that each employee who works with our families is prepared to cater to the various needs and demands of our families throughout their time with BSGA. Our expectation is to provide a clean and safe environment… “WHERE LEARNING AND GROWING ARE ALWAYS FUN.”

Martha Lally


A: When using LiveFX inside Serato you can pick to have 16:9 or 4:3 output, all our content is designed to work perfectly for whichever aspect ratio you are working with. If you set the Serato Video settings to centre cut, then it will make sure your output scales correctly.

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Current Projects

START System

The START Natural Language System understands and generates language and answers questions that are posed to it in natural language. As a question-answering system, START parses incoming questions, matches the queries created from the parse trees against its knowledge base and presents the appropriate information segments to the user, providing "just the right information".

Boris Katz, Sue Felshin

Detailed Interpretation of Object Images

The goal of this project is to model the process of ‘full interpretation’ of object images, namely the ability to identify and localize all semantic features and parts that are recognized by human observers. Our approach is based on interpreting multiple reduced but still interpretable local regions that comprise the complete object. In such reduced regions, interpretation is simpler, since the number of semantic components is small and the variability of possible configurations is low. To identify useful components and relations used in the local interpretation process, we consider the interpretation of 'minimal configurations’, which are reduced local regions that are minimal in the sense that further (small) reduction will make them unrecognizable and uninterpretable. We study implications of ‘full interpretation’ for difficult visual tasks, such as recognizing actions and social interactions.

Guy Ben-Yosef

Language Learning from a Computational Perspective

Language learning is a fundamental aspect of human intelligence. Our project takes an interdisciplinary approach to this topic, integrating methodologies and theories from linguistics and psychology with modern computational modelling tools from Natural Language Processing (NLP) and computational linguistics. We conduct empirical studies of language production (writing) as well as language comprehension (reading), with particular focus on the role of a first language in second language acquisition and processing. We harness insights from such studies to develop NLP applications for learner language.

Yevgeni Berzak

Inferring “Theory of Mind” with vision and language

Human agents are known for having "Theory of Mind (ToM)" ability to infer others’ mental states, e.g. intention and belief. Some early studies suggest language development help ToM reasoning.In this project, we aim to build a vision and language system, which learns and understands the world like a child. The way it understands other agents’ intent is from its interpretation of visual perceptions. Here, the interpretation is the other agent’s plan to achieve her goal (i.e. ground perception in planning) and the system can describe and evaluate this interpretation in natural language.We know humans formulate complex goals and we know those goals are influenced by language. So, this project is both an effort to shed light on the fundamentals of human planning and how we conceive about plans and at the same time an effort to understand videos at a higher, more human-like, level.

Yen-Ling Kuo

Generating Plans for Agents using Video and Language

Human cognition is extremely flexible. We can easily adapt to new tasks, generalize about the world around us and use perception to learn from our environment. When we think about models of artificial intelligence, often the opposite is true: the models cannot generalize to novel tasks, they perform in constrained environments, and they are often disconnected from perception. I aim to build models grounded in perception that tackle classical planning problems in AI in a new realm. I use a joint approach that combine techniques in natural language processing and computer vision. Using language and vision, my works aims to observe agents in videos and generate plans for optimal goal accomplishment.

Candace Ross

Semantic Parsing using Vision

Many existing approaches to learning semantic parsers require annotated parse trees or are entirely unsupervised. In contrast, children acquire language through interacting with the world around them. We aim to learn language in a manner more similar to children: by distant supervision through captioned videos. Our model is a joint vision-language system that use learns the meaning of words by observing actions from a sentence depicted in a video. This work means more robust parsing that incorporates perception.

Candace Ross, Battushig Myanganbayar, Andrei Barbu, Yevgeni Berzak


The Darla system was a Delta Quadrant star system.

In 2377, the system was part of the Antarian Trans-stellar Rally's course. In this system, the number eight ship cut off the number three ship. In an effort at making up for lost ground, the number three ship changed course by using the gravity of a gas giant in this system to boost its speed. (VOY: "Drive")

According to the Star Trek: Star Charts (p. 94), the gas giant was the fourth planet in the system.

Ad blocker interference detected!


Dak Prescott explains why he should’ve also played soccer growing up – CBSSports.com

Dak Prescott is the starting quarterback for the Dallas Cowboys. He’s coming off a phenomenally successful season, and if his play in the future bears any resemblance to what he did in 2016, he’ll be in that position for a long, long time.

So, why does Dak wish he played soccer as a kid?

Here’s how he explained it to Pro Football Talk while answering a question about his favorite non-football sporting events to attend (via Joe Machota):

I have a personal favorite, honestly, going to watch FC Dallas soccer games. That’s a sport that I didn’t play growing up and obviously I could not play now. My feet are nowhere well enough to play soccer, so I admire those guys. The way they control the ball, that I’m fortunate to do with my hands, but they control it with their feet. It’s beyond belief to me. …

“I’m not going to say I would’ve [picked soccer over football if I could go back in time] but I definitely would’ve played soccer. One, just to improve my footwork. To get that base and to get that start at a young age, playing soccer and getting my feet quick.”

That actually makes a pretty decent amount of sense.

Plenty of professional athletes talk about the benefits of playing multiple sports growing up, but Prescott has a very specific reason for wanting to have played this specific sport. Footwork is one of the most important elements of a quarterback’s skill set, and being able to maneuver in and out of tight spaces would surely help almost any passer elevate his game.

Things turned out just fine for Prescott. He made his way to the NFL, after all, and won Offensive Rookie of the Year as well. But maybe he could’ve been even better.


Goals are the basis for all speech and language therapy treatment. Without a clear goal or plan, therapy can appear confusing and irrelevant, leading to a lack of motivation and disengagement1. Often however, the process of setting speech therapy goals for aphasia can be much harder than it first appears.

Put simply, a goal is a shared agreement between the client and the therapist about the direction of therapy. Speech therapy goals for aphasia rehabilitation should always be set by the therapist in collaboration with the person with aphasia and the people who are important to them, such as family, caregivers, and close friends.

Setting Speech Therapy Goals for Aphasia

But my patient has aphasia! How do I include them in the goal setting process?

Firstly, you need to describe what a goal is, and explain the goal-setting process to your patient and their family in an accessible way. It’s probably not a concept they are familiar with, so they need to understand what goals are all about before they can take part.

You will have already carried out your assessments and learned a great deal about your patient’s language profile. You should use this information to utilize their communicative strengths to help them take part in the process of setting goals. Make use of communication strategies, including written words, gestures, and visuals.

Talk to their family and friends (with permission), and use questionnaires to gain an idea of what they are interested in, as well as the specific situations in which their aphasia causes them problems. Create an aphasia-friendly questionnaire to give to your patient so they can have their say too! Supported conversation using Talking Mats can work really well here.

The bottom line is, be creative. Use your skills as a SLP to empower your patient and their family to have their say in future treatment. Once you’re all on the same page about the goals of therapy, your job will be much easier.

What speech therapy goals for aphasia rehabilitation do people want to work on?

Unfortunately, there is no simple answer to this question. Aphasia affects everyone in different ways. An important part of the goal-setting process is trying to gain an understanding of the specific impact of aphasia on your patient. When goals are classified according to the World Health Organization’s ICF framework for health and disability, most people with aphasia place the highest value on treatments that increase their participation in daily life2.

In general, the aims of aphasia treatment as described by ASHA include:

  • restoring lost language abilities
  • strengthening intact communication skills
  • compensating for impairments by teaching strategies and using AAC
  • training caregivers to communicate more effectively
  • facilitating generalization of skills to various contexts
  • educating all involved about aphasia and the course of treatment

How these aims are incorporated into intervention, however, will very much depend on the individual needs and wishes of your patient, as well as your skills as a therapist.

So I have an idea of what my patient wants to achieve. How do I write my goal?

Speech therapy goals for aphasia usually have both long- and short-term elements. In a nutshell, the short-term goals are the steps your patient needs to take to reach their long-term goal.

A useful framework to use when writing goals is to make them SMART:

  • Specific
  • Measurable
  • Attainable
  • Relevant
  • Time-Based

Setting SMART Speech Therapy Goals for Aphasia

Be aware that goal setting is a dynamic process – goals will change over time as the skills and needs of your patient change. It is important to review goals regularly and update them when appropriate.

Take a look at this example. Can you identify each element of the SMART framework?

Long-Term Goal

By the end of the 6-week therapy block, Mrs. T will use semantic feature analysis (SFA) to prevent communication breakdowns occurring during conversations with her husband with 90% success.

Short-Term Goals

  • Mrs. T will remove any environmental distractions prior to engaging in therapy tasks (e.g. turn off the radio).
  • Mrs. T will practice the technique of semantic feature analysis with the support of the therapist.
  • Mrs. T will make use of SFA when faced with a word finding difficulty in structured conversation.
  • Mr. T’s confidence and skill in supporting conversation with Mrs. T will increase as measured on a self-rating scale.

Use Naming Therapy to practice semantic feature analysis. Then use Conversation Therapy to practice the technique in structured conversation.

And another one…

Long-Term Goal

At the end of the 8-week block of therapy, when someone telephones, Mr. K will be able to write down key pieces of information and leave a message for his wife with 80% success.

Short-Term Goals

  • Mr. K will be able to write 3-word phrases to dictation.
  • Mr. K will be able to identify the key pieces of information within a spoken message.
  • Mr. K will be able to write down phone numbers accurately.
  • Mr. K’s confidence in this task will have increased from a 2/5 to a 4/5 on a self-rating scale.

Use Number Therapy to practice saying, understanding, and writing phone numbers, dates, and times. Numbers are so important in aphasia therapy!

Get the idea? Some people like to write goals using the first person pronoun (“at the end of the 8-week block of therapy, I will be able to….”) but it doesn’t matter too much unless your patient has a particular preference for one style over the other.

Is there anything else I need to be aware of when setting speech therapy goals for aphasia therapy?

Sometimes, your patient may struggle to think of a goal beyond simply “I want to be able to talk better.” If this is the case, you need to work on the specific and measurable aspects of the SMART framework and support your patient to think of particular situations in which they want to be able to communicate more effectively. You can then tailor therapy tasks around this relevant situation to make your therapy more focused and make measuring success a whole lot easier.

Use the time-based factor within a SMART goal carefully. It’s useful to have points at which you review your goals, but if your patient isn’t on target to reach their goal as quickly as was originally thought, they run the risk of becoming frustrated or unmotivated. If you are concerned your patient may not reach a goal within a given time frame, consider lowering the success rate (e.g. from 80% success to 50% success). If your patient is still motivated to continue to better their performance after the review period, you can always increase the success rate. Consider the attainable aspect of the SMART framework carefully to help you make this decision.

Tactus Therapy apps make it so easy to measure progress with built-in reports and data tracking. And scientific research shows that improvement follows!

Remember, goals are dynamic. They do not have to be fixed and may change with the patient’s needs in response to the environment or improving communication skills. If a goal is met before the review period, fantastic! If your patient decides that the goal is no longer a priority, that’s okay! Work with your patient to develop new goals that fit in with what they need at that time.

Finally, it’s easy to become bogged down in the detail, but try not to overthink goal setting in aphasia rehabilitation. Treat a goal like your therapy map – it will help to guide what you do within your sessions and ultimately help your patient do more of what they want to do in their life. A goal is the first step in the journey to success.

  1. Hersh, D., Sherratt, S., Howe, T., Worrall, L., Davidson, B. and Ferguson, A. (2012). “An analysis of the ‘goals’ in aphasia rehabilitation.” Aphasiology, 26(8), 971-984.
  2. Worrall, L., Sherratt, S., Rogers, P., Howe, T., Hersh, D., Ferguson, A. and Davidson, B. (2011). “What people with aphasia want: their goals according to the ICF.” Aphasiology, 25(3), 309-322.
Helen Fraser, SLT

Blogger Bio

Helen Fraser BSc(Hons), HCPC Reg., MRCSLT is a UK-based speech and language therapist specializing in adults with acquired communication, swallowing, and voice difficulties. She has worked in inpatient, outpatient, and community settings and strives to deliver therapy that will improve well-being and quality of life. Helen is passionate about raising awareness of communication and swallowing issues to help create a more informed and inclusive society. You can contact her at helen.maggie.fraser@gmail.com or via her website yourwaytherapy.com.


The Sport of Kings

One of the world's oldest and most exhilarating of games

Rules of the Game

A player is permitted to ride into another player as to spoil his shot. The angle of collision must be slight, causing no more than a jar. The faster the horse travels, the smaller the angle must be. A good bump can shake your dentures loose.

A player may spoil another’s shot by putting his mallet in the way of the striking player. A cross hook occurs when the player reaches over his opponent’s mount in an attempt to hook. this is considered a foul.

A ball which is under the horse’s neck from either side.

Sudden Death

In the event of a tie score at the end of the final chukker, there will be a five-minute intermission to allow the players to catch their breath and change to a fresh mount before beginning a “sudden death” chukker in which the first team to score wins the match.

A chukker begins and many plays resume with the umpire bowling the ball between the two ready teams.

All registered players are rated on a scale of -1 to 10 (the higher the better). The handicap of the team is the sum total rating of its players and in handicap matches the team with the higher handicap gives the difference in ratings to the other team. For example, a 6-goal team will give two goals to a 4-goal team.

Should a team, in an offensive drive, hit the ball across the opponent’s backline, the defending team resumes the game with a free hit from their backline. No time-out is allowed for knock-ins.

The right-hand side of a horse.

Each of the four team members plays a distinctly different position. Since polo is such a fluid game, the players may momentarily change positions, but will try and return to their initial assignment. No. 1 is the most forward offensive player. No. 2 is just as offensive but plays deeper and works harder. No. 3 is the pivot player between offense and defense and tries to turn all plays to offense. No. 4 or the Back, is the defensive player whose role is principally to protect the goal.

Hitting the ball behind and across the horse’s rump.

Also called a period. There are six chukkers in a polo game (four in arena polo) each lasting 7 minutes plus up to 30 seconds in overtime.

Near Side

The left-hand side of a horse.

Also known as a “stick.” The shaft is made from a bamboo shoot and the head from either the bamboo root or a hard wood such as maple. These vary in length from 48 to 54 inches and are very flexible in comparison to a golf club or hockey stick.

This occurs when two riders make contact and attempt to push each other off the line and the ball so as to prevent the other from striking. The horses are the ones intended to do the pushing, although a player may use his body but not his elbows.

Two mounted umpires (one for each side of the field) consult each other after each infringement and impose a penalty only if they agree. If they do not agree they ride to the sidelines to confer with the third man, known as the referee.

Black may bump white and force him across the line of the ball and then take possession.

Two players riding at a ball in the open must both give way to the left and take the ball on the right side.

Even though the angle is slight, black may not cross the line of the ball if the pace is fast.

In a bump or ride-off black would commit a foul if at the instant of contact, black’s mount’s shoulders were ahead of those of the white man as in diagram.

It is not necessary for black to come parallel with white before bumping. Black may bump white at full gallop as long as the angle is safe.

Bluewater Creek Polo Roster


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Opinion and Insight

How We’re All Having More Millenni-lols IRL, Just Don’t Call Us That...

You might have heard that everyone my age is taking less drugs, having less sex and are less likely to believe in love and get married... but now thank god we’re partying more. Hallelujah

The revelation comes from a study by specialist creative agency ZAK, in their research searching for alternative ways to define under 30’s other than the usual stereotype favoured by the media of ‘millennials.’

ZAK points out the label that first came about in 1991, is used to define anyone born between 1981 - 1996, and it definitely seems simplistic to suggest everyone born during a 15 year period can be defined as the same... Instead, they propose new ways of defining the characteristics of under 30’s by exploring young people’s instinctive and cultural relationships with risk, novelty and - my favourite - belonging.

We were the generation that witnessed the demise of scheduled telly; can’t-miss TV events that we might have invited mates round to watch with us, or at least discussed at uni or work the next day. In the age of on-demand viewing we can watch or catch-up on the big events anytime, anywhere, there is no TV you can’t-miss. And as the guinea pigs of (anti) social media, Katie White MD at i-D magazine explains: “our media consumption is fragmented and abundant and accessible. Things lose value. (As a result) young people are craving shared moments in space and time...”

Nothing, says ZAK, proves our inherent need to hang out with like-minded souls IRL more than the huge rise of ‘live.’ In the UK over the past year, attendance to music concerts and festivals has increased by 3 million. Sure, in part we’re keener than ever to show off our Glastonbury ticket on Instagram. But more than just attendance-based social kudos, festivals (amongst other shared events) create a tangible sense of community. We create and reinforce bonds by sharing the experience, and it’s not (very often!) like you can slip off in an uber to go watch Netflix with just your social anxiety for company the next morning - so you share the good, the bad and the ugly, and the bonds are further enforced.

ZAK reckons our hunger for real life experiences seep into our relationship with novelty too. This is evidenced by a recent surge in vinyl sales- a signal of young people’s’ hunt “for more from entertainment and media choices.” Paul Noble, founder of the Spiritland music shop notes that the emergence of streaming services means “the way that we consume music has become like a utility - just another one of your bills at the end of the month.” He’s basically saying anyone can stream Future’s mixtape the day it’s released, but ‘real’ Future fans might buy one of the 500 limited edition vinyl copies - as the success of Omerta inc, a small British label pressing underground US Hip Hop onto vinyl will testify.

I wonder if the novelty of ‘the chase’ is also enticing to us, in an age when getting all kinds of stuff - from Spotify, Asos, Uber and Deliveroo is almost too easy. “The spike in ‘analogue’ interests represents a way to cultivate a deeper connection to things, for sure” says Emmy Favilla, Buzzfeed’s copy chief.

You only have to note what happens at the latest trainer drop, or when a new Supreme collaboration hits. For many, it’s not enough to just click and wait. Groups gather outside hours prematurely, not only to ensure a place in the queue but to soak up the hype. To share the feeling that other people are into the same thing - the brand that unites them serves as an offline touchpoint with a likeminded human who may look completely different but shares a common point of view. The lines between seeking out the new and finding a sense of shared belonging are blurred. Are the queues a slightly gross ode to capitalism? Definitely. But the novelty of the new shoes isn’t enough, we need the meaning of the people we meet along the way.

Is this why young people are hooking up with each other less, taking fewer drugs and just generally swapping all nighters for a juice bar and a sober day rave? Are we searching for meaning?

Emily Favilla reckons “millennials are perhaps taking risks (both in their careers and in relationships) with less trepidation than previous generations.” Are we making ourselves more meaningful? No longer hiding behind a social profile but proudly displaying who we are, what we want and what we stand for. 20% of Millennials say they are something other than straight (vs 7% of ‘baby boomers’) and 1 in 2 young people say they are not 100% heterosexual.

Ultimately there’s never been a generation so exposed to technology as ours, we’ve definitely developed some first world ailments (short attention spans and phantom phone vibration anyone?!) and still don’t know the long term physiological effects of being glued to social media. Fundamentally though, our relationship with culture and its ever changing state due to technology, means that whatever traits we end up with because of it will exhibit themselves differently. Not only to other generations, but to other individuals and therefore we can’t be defined as one group.

ZAK’s research is an interesting investigation into young people’s characteristics and relationships with the world around them, and a strong case for abolishing lazily branding of all young people as millennials. But what else shall we call them that rolls off the tongue? Answers on a postcard.

This article was written by Google's Youth Advisor, Georgia LA.

Genre: People , Storytelling , Strategy/Insight


A Century of Service. Giving for Good.

Supporting Organizations

Supporting organizations offer the flexibility and convenience of a donor advised fund but provide a more formal giving structure for donors. These independent foundations are legally affiliated with the Community Foundation, but have their own boards, grantmaking programs, and investment structures. While they typically require substantial charitable assets to start, they benefit from our public charity status and avoid much of the regulations, complexity, and cost associated with a private foundation. They also benefit from the Community Foundation’s recordkeeping, accounting, grants management, and consultative services that support all our donors in their commitment to make a significant difference through charitable giving.

St. Louis Community Foundation

#2 Oak Knoll Park, St. Louis, MO 63105


web builder software

Note from MCFC President, Ardi Reyes

"The mission of McPherson City FC is to develop well rounded individuals who exhibit good sportsmanship, ethical and moral behavior, as well as good citizenship. We aim to leverage the challenges and life lessons of striving for excellence in competitive soccer, into molding young boys and girls to understand the value of teamwork, sportsmanship and hard work while fostering an environment that allows players to reach their full potential and love for the game."

McPherson City FC will primarily focus on individual skill development. There is an unhealthy bias towards promoting athleticism rather than taking time to develop players at the younger ages. We believe in age appropriate coaching which ensures that we are teaching not only the right things, but moreover, teaching them the right way with an emphasis on long term development rather than the short term wins.


Recently a couple of guys with metal detectors were doing their thing in Gloucester, England, when they were surprised to come across a cache of broken bronze artifacts. These pieces were from the time when ancient Romans had colonized Britain. Archeologists think that the pieces had most likely been purposely broken down by a metal smith who was planning to melt them down for reuse. There was one unbroken piece in the cache -- that was of a licking dog.

Roman Licking Dog
Roman Licking Dog

The detailed bronze work has the dog on all four paws with its mouth open and its tongue hanging out in a friendly fashion. It is definitely the star of the find since this is the first time that one of these statues has ever been found in Britain. The archaeologists believe that the dog is a healing statue that may have come from a temple that has yet to be discovered. A more likely scenario is that it came from a temple called Nodens that has already been discovered in the small town of Lydney in Gloucestershire. Other dog statues have been found in the Lydney area, but none of the licking variety.

In ancient Rome dogs were considered healing spirits since the licking of their own wounds would aid in healing. Dogs were also believed to be able to see ghosts -- in particular they were able to see the goddess Trivia who was the queen of ghosts. She was said to sneak up on people silently to prey upon them but dogs would be aware of her first and the dogs would bark to scare her away. That was how they explained how dogs often seemed to bark at nothing.

The cache has been dated to around the 4th century A.D. It is being studied by archaeologists and their findings will be displayed at the British Museum later this year. The exact location of the find is being kept secret to avoid a stampede of treasure hunters trampling the countryside.

Sources: Science Alert, Ancient History Encyclopedia, Wikipedia

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03 April 2015

Company union

A company or "yellow" union is a worker organisation which is dominated or influenced by an employer, and is therefore not an independent trade union. Company unions are contrary to international labour law (see ILO Convention 98, article 2). They were outlawed in the United States by the 1935 National Labor Relations Act §8(a)(2), due to their use as agents for interference with independent unions. Company unions persist in many countries, particularly with authoritarian governments.

Some labor organizations are accused by rival unions of behaving like "company unions" if they are seen as having too close and cordial a relationship with the employer, even though they may be recognized in their respective jurisdictions as bona fide trade unions.[1]

International law

A "company union" is generally recognised as being an organisation that is not freely elected by the workforce, and over which an employer exerts some form of control. The International Labor Organization defines a company union as "A union limited to a single company which dominates or strongly influences it, thereby limiting its influence."[2] Under the ILO Right to Organise and Collective Bargaining Convention, 1949 (No. 98) article 2 effectively prohibits any form of company union. It reads as follows.

2. In particular, acts which are designed to promote the establishment of workers' organisations under the domination of employers or employers' organisations, or to support workers' organisations by financial or other means, with the object of placing such organisations under the control of employers or employers' organisations, shall be deemed to constitute acts of interference within the meaning of this Article.


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The Sound and Music of Progressive Rock

Roots of Prog Rock: Avant-garde, Classical, Folk, Jazz, Psychedelic and Rhythm and Blues.

What Prog Rock took from Psychedelic was the way of building up an atmosphere and a mood like lazy, tired and the alienation. And the Prog Rock musicians took the harmonic vocals arrangement from the folk movement. Tape effects, electronic sounds and noise were used, which most of these ideas was taken from avant-garde. Also, the Blues and Jazz were playing an important role in different bands. But the most important element to Prog Rock was the classical music.

King Crimson and Pink Floyd did take the advantages from avant-garde (sound experiments), Jazz, rhythm & blues (the instrumentation and improvisation). As the Prog Rock pieces featured long instruments passage and solo, vocals only took about 40% of a piece. And as a challenge to formal pop music and to express their ideas, plenty of their songs were longer than 20mins, which had dramatic arrangements, layers of texture, and involve key and tempo change.

And in the late 60's and early 70's, number of bands (not only Prog Rock bands) actually started recording with symphony orchestra, like The Moody Blues, and then the Nice, Deep Purple, Pink Floyd, Yes, etc. A trend of rock bands to dig in classical music was formed. Though not all result in successful, the groups drew on electric and electronic keyboards (many of them creations of the 60's) to simulate the classical tone colours that were so important to the genre.1

As keyboard players became concerned in the psychedelic era, this feature also passed to the Prog Rock movement, or simply bands at the time needed a new texture of sound. And most keyboard player in Prog Rock bands (Tony Kaye, Rick Wakeman, Keith Emersion) were classical trained. It's paradoxically to discuss whether the classical trained keyboard players brought classical influenced in rock music, or simply bands at the time needed a new texture of sound so asked keyboard players to join.

During the Prog Rock movement, acoustic instruments like acoustic guitar (Steve Howe) and flute (Ian McDonald, etc), which previously had played no role in rock music were used. Bass player and drummer also took their instrument to a new boundary, they played their instruments as melodic source rather than harmonic and rhythmic accompany:

The bass, is just as much a solo and melodic instrument as the guitar and even organ. - Chris Squire (the bassist of Yes) 3

Prog Rock drummers always had large drum kit on stage, more than any genre of rock. These percussion instruments were used to create an interesting sound rather than to emphasize the beats. And the Prog Rock drummers tended to use the upper part of the drum set (snare, toms, etc) more than kick drum, which could create an intricate set of rhythmic patterns that often contradict the downbeat.

How classical be digested were in few ways: to play classical pieces in rock style (ELP), or to arrange the song/album as a classical piece from instrumentation and multi-movement form (Yes). Furthermore, the Prog Rock bands used the term 'concept album' were in the same sense that 19th century composers used the term 'program'.3 In fact, I find that Prog Rock has some similarities to 19th century Romanticism and a table is drawn below:

For these series of genres, instruments fusion, we can say that Prog Rock was a movement that the musicians were all searching new sounds by different experience.

1 and 3. From Rocking the Classics by Edward Macan.

2. Quoted in Leonard Ferris, 'Yes' Bassist Chris Squire,' Guitar Player 7 (July 1973).

4. From All Music Music Glossary: Styles.

The Lyrics of Progressive Rock

As the table on the former pages, I wrote that the lyrics of Prog Rock were spiritual, philosophical, fanatical and mythical.

Except Pink Floyd who talked about real life problems (Money, Us and Them, etc), other Prog Rock bands took more surrealistic subjects. The ideas may come from Bibles, astrology, literature,1 fairytales and folklore. The lyrics were used to be implicative, which needed a deep reading to get the truth meaning. For this way of implication, I think it's about the middle class background of the musicians.2 And the mythical and spiritual lyrics were emerged from psychedelic movement, which greatly fascinated by the oriental religions.

Some may doubt the Prog Rock lyrics were escapism, but the truth meaning was always about life (Yes). Prog Rock lyrics also involved protest (Pink Floyd, ELP), political (Genesis, Pink Floyd). Most of the time we can see the lyricist strongly related to existentialism,3 which emphasized the loneliness of human nature and the drowning of human soul within a capitalize, materialize world.

1. Gensis' Selling England by the Pound was impressed by T. S. Eliot's The Wasteland; Yes' Close to the Edge was based on Hermann Hesse's Siddhartha and Pink Floyd's Animals was based on George Orwell's Animal Farm.

2. I'm going to discuss about this in the later chapter.

3. Existentialism was first announced in Paris by Jean-Paul Sartre (1905 - 1980) in 1945. Developed from the studies of Nietzsche (1844 - 1900) and Kierkegaard (1813 - 1855). Albert Camus (1913 - 1960), who wrote L'Etranger (1941). was also seen as an existentialist.

The Visual of Progressive Rock

The visual played an important role in Progressive Rock: the album sleeve art and the live stage decoration. They acted as the extension of the sound and lyrics from the album, which also made the album to be a complete art work. And they were the elements to make so called concept album.

Cover Art

Maybe the use of visual art was started from the Beatles' Sgt. Pepper's again; the Beatles acted as a member of the Sgt. Pepper's Lonely Hearts Club Band on the cover and the mysterious cover was open to different interpretations on the songs and lyrics. Also this was the first rock album contained the complete lyrics of all songs.

The cover art usually reflected the album's concept or otherwise the most significant track. The media involved paintings, colleges and photography, or the combination of them. Most of them were in the style of surrealism, fantasy and mythological scenes, which could be found in the lyrics. And the covers themselves could be existed as individual art with their own beauty.

Roger Dean's on Yes

Most of the Prog Rock bands had their exclusive designer, Storm Thorgerson (the founder of Hipgnosis) on Pink Floyd, Paul Whitehead and Betty Swanwick (Selling England by the Pound) on Genesis, William Neal and H.R. Giger (Brain Salad Surgery) on ELP, Roger Dean on Yes.

The paintings Roger Dean did for Yes are another great work, which can even act as a visual symbol for Prog Rock. What he painted were some images of outer space, surreal landscape. They could be read as the places for escapists, or to me, I read them as subconscious, the inner sense of human and the ancient memories. My favourite Roger Dean works on Yes are the Tales from Topographic Oceans and Yessongs.

Roger Dean's on Yes

And sometimes the covers can be read as a series of related story. The spaceship (or the flying object) on Yes was going to land on a star in Fragile (the first cover Roger did for Yes), and the following albums were like what you've seen on the star and the spaceship reappeared again. And the Genesis' Nursery Cryme and Foxtrot by Paul Whitehead. You can see the characters from Nursery Cryme again on the Foxtrot cover.

Pink Floyd's covers design will be discussed in here for more details.

Live Performance

Light effects, make up, installations, dry ice and smoke, etc. were used to decorate the stage as an extension to their concept of music in live. In fact, compare with other genre, Prog Rock musicians were not active on stage, except Keith Emerson and Peter Gabriel. It maybe the reason that multi media were used in live performance.

Peter the flower, Peter the fox!

The performance of Peter Gabriel in Genesis was always theatric and dramatic, as he would wear different handsets (flower, triangle, pair of wings, etc) and make up to act the characters in his music, I think it's an echo that Prog Rock did to the Glam Rock.

The live experienced of ELP seemed much simpler than the rest of other bands, mainly lights show and dry ice, etc. But they were the most powerful and energetic bands between, Keith Emerson played around huge of different synths were always a selling point.

Rick Wakeman surrended by synths _ If Jimi Hendix played Hammond,burning Hammond by Keith Emerson

What Yes was difference from them were the installations Roger Dean and his brother Martyn designed, they showed their fantasy landscape on stage.

Yestage: On & Off

In the early period Pink Floyd did lots of light shows in live concert, and when they got to the stadium, huge installations were used. Their concerts at Earl's Court Exhibition Hall in London on May 18 and 19, 1973 are described as follows:

The concert opened with the familiar 'Set the Controls for the Heart of the Sun and 'Careful with that Axe, Eugene.' Dry ice smoke falling like a waterfall on' Echoes' led to the interval.

Dark Side of the Moon was played in its entirety. The stage was littered with landing beacons and spotlights searched the sky for airplanes. Finally a plane appeared followed by a spot [light] as it slowly flew over the audience and crashed into the stage, exploding in a ball of fire. The audience went wild... - Miles from Pink Floyd.

Floyd's on stage, take care of your eyes!

At the beginning it maybe a point to make the concert special but lately it became more important for playing in front of many audience in stadium, as they could not barely see the performers. Slowly, the gap between the musicians and the audiences grew.


What’s new on Enig’matik Records?

Few months ago, we’ve posted about Painting Pictures On Silence v2, the second compilation of Enig’matik Records. This Australian label had a busy month and few EPs have been released. If you like glitch beatmakers like Mr Bill and Mindbuffer, this EPs gonna blow your minds. Enjoy, you glitch lovers.

More infos on Enig’matik’s bandcamp

« Enig’matik presents the first of the “Singles Series”, which focuses on spotlighting an Artist/Track and coupling it with a remix, both bringing to the table new artists and Enig’matik regulars, exploring a vast array of genres and environments, as usual, presented in a future fuelled world of microscopic life.

Kicking things off with Shwex & Mumukshu two extremely talented up and coming producers from the United States, Elements Of Antiquity is a Sound Design laden piece comprising of a dense wall of granular sculpted effects, laden over lush atmospherics and laid back beats, with ripping formant leads giving a nod to the inspirational dave tipper whilst pushing the wall of sound into slightly more denser territory, drenching listeners with dizzy granular tremolo’s and a daze of dream laced atmospherics taking hold and guiding the listener into a sombre spell of antiquity.

Presented Alongside a highly impressive re-work from Whitebear, bringing a mystifying array of ethnic percussive chops and carefully crafted glitch-work, Elements Of Antiquity showcases some of the youngest artists on the Enig’matik roster but also some of the most promising and imaginative. »

« The Mollusk unveils a deeper side of his production toolkit with his new mini album Dust, a deep and thought provoking journey that gently transports the listener to a sun drenched world, carefully guiding them to a plethora of meticulously crafted environments, presenting the listener with deep vapourous soaked spaces to fill with their own imaginings and roaming thoughts of times that once were.

from the infectious melody driven vibes of oxygen, its sun drenched reverbs glistening and igniting the past to come rushing to your neurons, as if painting your first picture as a child, to the dream fuelled synth work of Sine Wave Love, showcasing a remarkable ear for melodics and captivating talent for creating transformational spaces, The Mollusk provides 6 tracks of the perfect summer soundtrack which will no doubt be stuck on repeat of many sound systems for months to come.

The perfect release for finding a quiet space with a nice view, soaking it up with some innovative downtempo beats, The Mollusk provides a lush array of well crafted melodics with just a splash of glitch to form a cohesive and beautifully crafted journey from start to finish and is a unique and definitive addition to the Enig’matik Catalog. »

« Enig’matik presents the next in its ongoing singles series, showcasing a track from Australian based producer Phsiris. Synth leads swell and sirens fire in a dense apocalyptic lashed environment, slowly lulling listeners into a rich tapestry of thought before unleashing a of barrage of experimental drum and bass vibes, fuelled with digtal laced micro edits, its intricacies and hidden nuances oozing from every crevice of the frequency spectrum inviting the listener to explore.

Itsu brings a solid melodic approach on the remix, exploring extensions of the original and catapulting minds into a feedback driven glitch exploration through some impressive programming and synth work, whilst staying true to the original and staying on track to provide a definitive remix. »

« Enig’matik welcomes another future thinker to the growing collective, this time in the form of Nina Georgieva, a highly talented female producer out of Macedonia, who packs an immense punch with her crunched out snares and haunting atmospherics. Incorporating a barrage of foley sound sources and the use of subtle distortion, Nina transverses through aural worlds, enticing listeners into war torn ethnic expanses, igniting primal energies to the surface where they are met with a delicate array of hyper-edits and noise laden expanses.

From the war torn vibes thrown down in “Homo Necans”, its bone shattering weaponry percussion roaring through the streets where ethnic lashed vocals intertwine with haunting air raid sirens, providing a dense, visual induced journey, To the cheeky swung out beats of “Makes Run” where depth of field and phase are carefully crafted to pull the listener through a series of alternate realities. The release then continues with a take on Mloski’s “An Introduction to a Labyrinth” where Nina laces her trademark distorted bass layers with a deluge of crunchy metallic percussional chops which makes for an inspiring soundscape, meticulously crafted across the stereo field.

The release is coupled with a set of incredible remixes of Homo Necans from some of the globes most inspiring and abstract sound designers, Balkansky heads things up with a rich and dense interpretation, encapsulating an extra dimension of the original with dream laced pads and digital noise manipulations, Woulg never ceases to amaze, with incredible production techniques, he explores abstract swing, seemingly falling in and out of sync, coupled with his inspiring fill work and trademark noise layers, he provides some stand out frequencies here, the release is concluded with a sound design wonderland from Dusty Fungus, a real emphasis placed on the ethnic undertones of the original, Dusty expands on this and provides total immersion through audio, soaking the listeners in an array of carefully crafted frequencies, all having their own precise place in a immense stereo field crafted for the wayfaring journey. »

« Quanta returns with his second EP release on Enig’matik, carrying on from the dubbed out monster vibes from his debut EP “Overflow”, “Vibratory Fields” continues enriching his signature sound with further infusions of ground shaking sub bass and sonic squelches, seemingly slicing the human psyche’ into a scattering of psydub daydreams bound with rich atmospherics and masterful production.

Encapsulating from the start, the title track “Vibratory Fields” shreds the audio spectrum into a unlimited expanse, a rich tapestry of purposeful microscopic detail,hidden with nuances seemingly coaxing the listener to explore the capacity of their imaginations.Travelling wayward into an exploratory expanse, he layers subtle additive synthesis basslines morphing the track into a primal driving apparatus, every small part of machinery coming together to form a dense embodiment of engaging frequencies. Carrying onto “Sensiverse” an ethnic laced dub biosphere of linear dimensions, Quanta shows immense production skill, concreting electronic frequencies to that of its natural neighbour, in brass stabs and natural percussion, the result is an inspiring rolling safari through the depths of ethno-glitch land. “Create Culture” slightly shifts the balance to a more organic pallette of frequencies, coupled with an inexhaustible offering of ground shaking bass drums and sub-nautical frequencies, a light scattering of Terence mckenna suggestively guiding aural cosmonauts to let go of sonic inhibitions and create their own reality.

The release is topped with a truly inspiring remix from the ever evolving sound of Griff, with rubber modulated basslines sinking into a soothing sequence of dub entrenched delays and triplet grooved drum rhythms, ever morphing into his constantly enticing design of catchy melodies and contrasted sombre vibes, providing a thought provoking closing to a captivating release that we hope you enjoy as much as we do.
credits »

« Enig’matik expands on its sound palette by infusing the infectious grooves of Grouch. An artist no stranger to life on the road, Grouch has been constantly touring for the last 24 months all around South and North America, Europe and Australasia, gathering inspiration amongst the new sights and faces to drop into his melting pot of tight rolling percussive grooves and dub drowned synth stabs, igniting dancefloors with an uplifting, focused vibe which is known for its infectiousness all around the globe.

Awakening senses with the immense Rolling bassline of Reverse Entropy, incorporating a shift from common time signatures to form a unique cohesive journey laced with wobbles and squelches, to the dub laced glitch monster that is Perfukt, drenched with a cheeky charismatic vibe that quickly throws the listener back into the depths of inspiring fills and gating work. Organik Mechanic showcases Grouch’s unique eclectic production skills which span across a multitude of genres, solidifying himself as one of the most versatile producers in circulation today.The release is topped of with the debut appearance from Hedflux on Enig’matik Records with a incredible remix showcasing inspiring reverse engineering skills, masterful production traits utilizing the full stereo spectrum and tight knit grooves topping off a rock solid release from start to finish.

Part 1 in a series of EP’s from grouch on Enig’matik, expect to hear this all around the globe on dancefloors in the coming months immersed within a deep, focused, cheekily lashed dancefloor that these audible tales ignite.
credits »

Painting Pictures On Silence v2

Enig’matik is set to catapult listeners into a glitch fuelled daze of aural anti-gravity, with the highly anticipated second volume of their eclectic compilation series « Painting Pictures On Silence ». a 22 track journey encompassing some of the most original and unique producers from vast corners of the globe. From respected pioneers such as Si Begg and Fine Cut Bodies to artists such as Mindtree who represent an exciting new brand of youth wizardry, v2 is a release that will cement Enig’matik at the forefront of intricate and eclectic glitch based productions.

A place to get lost in the details, to imagine a world that doesn’t exist and to catapult your senses and imagination skyward, Enig’matik and its ever growing collective of artists constantly push boundaries with cutting edge digital technology, choosing to jack into a digital world where their fingertips create unfathomable expanses, exploring and ever reaching into a limitless world of sonic creation.

as a collective, Enig’matik is a breed of producers staying true to their own individual journeys into the unknown territories of sound exploration, whilst expressing themselves in a pure form of energy vibration. Intertwining personal experiences and distant memories with experimental lashings of abstract frequencies on their sonic canvas’s, each individual artist has their own unique stories to share, presented alongside likeminded artists in a future fuelled environment of microscopic life.

in a world of aural experimentalia where words can often be superfluous, Enig’matik invites you to strap in and make your reality what you CHOOSE to believe.

Check out for the « painting Pictures on silence V1 »:

More infos: Bandcamp


Youth Forward scholarship 2016 – Defining a Volunteer

Name: Brandt van Soolen
From: Monmouth, Oregon
Grade: College Senior (Bachelor's Level)
School: Western Oregon University
Votes: 19

Defining a Volunteer

What does it mean to volunteer? For some it is a simple commitment
of your time, an agreement to forego some of your weekend, or
personal time, to help the causes that you are most passionate about.
For a veteran it is different. In 1992, I took an oath. In that
oath, I swore to protect my country from all enemies foreign and
domestic. That oath was not forced on me, nor was it a requirement
that I took the oath. It was simply a commitment of my time, an
agreement to forego my personal freedom in the pursuit of a greater
ideal viz., the defense of all freedom enjoyed by the citizens
of the United States.

However, 1992 was not the only time I took that oath. I could easily, and factually,
claim that I took that oath an additional three times over the course
of a twenty year career in the military, but the truth is, I took
that oath every day; 7,437 times in total. This is not me exhibiting
hubris; this is me distinguishing the difference ways that
“volunteer” could be defined. There is, sometimes, a belief that
volunteering is something you do to “get ahead”. Perhaps, many
people have said, “if you want show a potential “insert here
college, employer, etc.,” then volunteer. This seems to cheapen
the intent and the purpose of volunteering. On the other hand, would
should be said is that volunteering is showing you are passionate
about the things you believe in.

Whether it be great ideals, such as, freedom, social justice, and civil liberties, or
simple things, such as, being a big brother, helping those less
fortunate than you, or even donating anonymously to a charity. All
these are definitions of volunteerism, and each one of them is
instantiated through a recognition that we are all compassionate
beings by nature. The only way we can truly be human is to recognize
both the tremendous heights, and the unfathomable lows of the human
spirit. When we help those less fortunate than us, when we agree to
forego our personal liberties and freedoms for the sake of others, we
are making a choice. We are choosing humanity before self-interest.

Why do I enjoy volunteering? I enjoy it because I know that I am radically free to
choose everything I do in life. I know that when I make choices, the
effects of those choices are wide reaching. They do not just affect
me; those who may not have the same natural privileges of health or
birth as me also feel them. I volunteer, because I believe that
people matter. Each person is precious, and each person is entitled
to the same amount of freedom and liberty that I am.

So, what does it mean to volunteer? It means an incredible amount more than just a
commitment of time.

Join our Facebook group "Volunteers for a Better World".


Explore the ways in which pride is used as a theme in Antigone. Consider the dramatic techniques used by Sophocles and show how his choices of language, structure and style shape the meaning.

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Pride is used as a theme in Antigone throughout the play, and in many ways it is the central theme. Despite the fact that the eponymous character Antigone can be viewed as the tragic heroine, it makes far more sense that the tragic hero be Creon, the king, who has a fatal flaw of hubris. Hubris in classical Athenian tragedy often incorporates violent characteristics and the desire to humiliate others to assert authority, and this description is apt for Creon. However, hubris is not the only form of pride that is evident in the play. There are also associations between pride and honour, and its antithesis of shame, as well as folly. Yet pride can also be linked to duty and love, and pride in oneself as opposed to pride in others. Pride is such a strong and deep emotion that it is prevalent in Ancient Greek theatre and tragedy in particular, and Sophocles is able to present a clear socio-political message in his play by using it as a theme, and presenting it in different ways through the characters of Creon, Antigone, Haemon and Ismene, as well as the Chorus who represent the community.

            Pride in one’s own honour is very prominent in the play, in Antigone and Haemon in particular. Antigone shows this early on in the play, where in her pride she refuses to obey the laws of the state, and rails against them to bury her dead brother, Polyneices. She even admits that her actions are perhaps “folly”, but she believes them to be right and that they will “please // The dead”.  The use of the word “folly” is important as it recurs several times in the play. Also, her desire to “please // The dead” emphasises the religious and spiritual aspect of Greek theatre. Just how the Gods will punish Creon for his hubris, they will be pleased by Antigone who respects those who have died. This is where she differs from Creon who does not realise the potentially negative aspects of his actions, and sees himself in such divine right until the end where he admits his “folly”. Antigone also exhibits pride in her honour from her chosen method of death, as she commits suicide which was seen as noble. Not only this, but she robs Creon of the victory over her, as he at first wanted to stone her to death, then wanted her to starve and she took both of these from him by taking her own life. Her death is tragic, but also cathartic for the audience as there is pathos. Similarly this can be seen with Haemon, who “leaned upon the blade” of “his own” sword. This is significant as falling on one’s sword was an extremely noble death, and it was Haemon’s pride in his honour that, like Antigone, he would rather defy his father and live in the underworld with Antigone, which is what the Greeks believed would happen. The similarities between their two deaths unite them, just as they had planned to be united in marriage, so structurally this is Sophocles again generating pathos and a sense of resolution for these two characters. Therefore it can be seen how pride in one’s own honour is presented by Sophocles through language, character and structure.

Pride as hubris is the most prominent aspect of pride in the play, as it is the tragic flaw that encompasses Creon and inevitably leads to his downfall at the end of the play. The structure of the play begins with Creon as king and exerting his authority by decreeing that “none // Shall give [Polyneices] funeral honours or lament him”. This introduces the idea of hubris. He is drunk with the power of his kingship to the extent that he is willing to condemn Polyneices’ soul to wander rather than be buried so that he can go to the Underworld. Creon creates this law because he thinks he has a divine “right” to do so on “the throne” with “royal power”, and this makes him punishable by the Gods as no law created by him can equal divine right. Creon craves power, and ironically states that “love of gain // Has often lured a man to his destruction”, and this foreshadows the end of the play. Seeing Creon abuse his authority this early on in the play makes it all the more cathartic when he loses everything at the end, as he brings about the deaths of Antigone, Haemon and Eurydice, but he also loses his hubris. Also at the beginning the Chorus tell Creon “none are so foolish as to long for death”, and by the end he “prayed for death”. Hence Sophocles’ structure of the play and his use of foreshadowing and irony at the opening to maximise the catharsis at the end shapes the meaning of the play to show how pride can be a fatal flaw and how the Gods can punish you for it. This is especially crucial since the Greeks were highly religious and the role of fate in their lives was important to them.

            There is also evidence of the pride of the people and this is presented through the Chorus in the Strophes and Antistrophes within the play. The people believe that Creon deserves to suffer for his folly to the extent that by the end of the play when he has nothing left and “prayed for death”, they tell him that “Proud words of the arrogant man, in the end // Meet punishment, great as his pride was great”. These are lines from the final speech of the play, and there is repetition in the speech of “wisdom” and “great” as well as references to the Gods and to “pride”. These are clearly the elements of the play that Sophocles wanted the audience to take with them, as they will be most prominent in the minds of the audience as they close the play. They Chorus, before the closing speech, tell classical tales of Danae, Bacchus and Zeus which all point to the conclusion that pride will result in punishment by the Gods. Structurally, Sophocles is foreshadowing the end of the play whilst reinforcing the socio-political message behind it, which is that pride, especially as hubris, is a negative deadly sin and will not go unnoticed by the Gods or by the people, which is the message put forward in the closing speech. The people are so proud in their decree that the Gods will be done, that they deny Creon his one release. He has lost his son, his wife and his people’s respect and admitted his wrongs, and yet they wish to torment him further until he dies after being “schooled in wisdom”. The people are governed by their dedication to the Gods, and they think in turn that this gives them a right over Creon. Saying this, the audience does still experience catharsis with this ending, and are glad that Creon will receive his comeuppance, but they are able now to feel pity for him within the irony that he shall be taught and “schooled” in wisdom now after he has lost everything and not when he could prevent it. Therefore it can be seen how Sophocles uses the pride of the Chorus and hence the pride of the Gods to emphasise the socio-political message of the play within the Strophes, Antistrophes and epilogue to the play.

            In conclusion, pride is used as a theme in many different ways, but the most important are its exposure as hubris, particularly in Creon; as honour and nobility for Antigone and Haemon; and as divine right as in the case of the Gods and the Chorus who represent the community and enact the beliefs of the Gods. Structurally and linguistically, Sophocles uses foreshadowing, irony and repetition in order to present a strong and powerful socio-political message which he aimed to transmit to the audience at a theatre competition. The play centres around the idea of fate and the role of the Gods in our lives, as Antigone’s noble acts were done in the hope of pleasing the dead and hence not violating divine law, and Creon’s ignoble acts were punishable by the dead for violation of divine law, and the people act as the Gods on Earth.

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Stefan Jäger

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Text line segmentation in freestyle handwritten documents remains an open document analysis problem. Curvilinear text lines and small gaps between neighboring text lines present a challenge to algorithms developed for machine printed or hand-printed documents. In this paper, we propose a novel approach based on density estimation and a state-of-the-art(More)
The National Library of Medicine (NLM) is developing a digital chest X-ray (CXR) screening system for deployment in resource constrained communities and developing countries worldwide with a focus on early detection of tuberculosis. A critical component in the computer-aided diagnosis of digital CXRs is the automatic detection of the lung regions. In this(More)
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Curvilinear text line detection and segmentation in handwritten documents is a significant challenge for handwriting recognition. Given no prior knowledge of script, we model text line detection as an image segmentation problem by enhancing text line structure using a Gaussian window, and adopting the level set method to evolve text line boundaries.(More)
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Changing pattern of infectious agents in postneurosurgical meningitis

BACKGROUND The rates of postneurosurgical infections, particularly meningitis and the most common pathogens have been reported variable during the recent years. The aim of this research was to determine the prevalence of postneurosurgical meningitis and its current spectrum of infectious agent. METHODS In a descriptive study, the postneurosurgical patients' cerebrospinal fluid was cultured on blood and MacConkey agar plates and evaluated at Microbiology Laboratory. 55 significant isolates as species level were recognized by bacteriological techniques. RESULTS Acinetobacter baumannii (A. baumannii) was the most common organism [29(52.7%)], followed by Klebsiella pneumoniae [8(14.5%)], Methicillin-resistant Staphylococcus aureus [6(10.9%)], Staphylococcus saprophyticus [5(9.1%)], Pseudomonas aeruginosa [3(5.5%)], Methicillin-sensitive Staphylococcus aureus [3(5.5%)], and Enterococcus faecalis [1(1.8%)]. The majority of A. baumannii isolates were carbapenem-resistant. CONCLUSION Our research revealed that the rate of postneurosurgical meningitis due to carbapenem-resistant A. baumannii has been increased. This finding emphasized the importance of preventive strategies against A. baumannii. The changing pattern of infectious agents in postneurosurgical meningitis over time suggests the necessity of other studies.

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@inproceedings{Yadegarynia2014ChangingPO, title={Changing pattern of infectious agents in postneurosurgical meningitis}, author={Davood Yadegarynia and Latif Gachkar and Alireza Fatemi and Alireza Zali and Niloufar Nobari and Mitra Asoodeh and Zahra Parsaieyan}, booktitle={Caspian journal of internal medicine}, year={2014} }


How to Render a Wall

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In this video you will learn how to render a wall.

The tools that you will need are:

Mortar pan

Spirit level

Plumb bob

Wooden float

and Metal Float

The material that you will need is,

Cement Mortar

Don’t forget to use Personal Protective Equipment, including:

Safety Gloves

Reflective Jacket

Safety Helmet

Safety Shoes

and Dust Mask

Rendering or Surface Finishing refers to the application of a render made of cement mortar or plaster to form a protective layer on masonry structures. The advantages of Rendering includes better waterproofing, improved fire rating as well as a more attractive appearance.

Begin rendering on a clean and soaked surface.

Make a small amount of mortar paste and apply a 10 millimeter patch on each corner of the surface that needs to be rendered. These reference patches will guide you to achieve a uniform thickness.

Ensure that the mortar patches are all equal in thickness using the the Plumb Bob and Straightedge before allowing them to set.

Use a straightedge and mason’s square to ensure that the reference patches on either wall are at 90 degrees to each other. This will ensure that the finished surfaces are at a right angle.

Scoop up mortar from the Mortar Pan using the Trowel and flick it against the surface of the wall with a quick motion of the wrist. Repeat the process till you’ve reached the desired thickness of mortar.

Once the Mortar has been applied on the surface, use a second Straightedge to level the Mortar. Hold the First Straightedge firmly in its position using one hand. With your other hand use the Second Straightedge to plane the surface vertically in line with the position of the First. Check the vertical plane using the Plumb Bob.

Use a horizontal sweeping motion of the Straightedge to spread the level uniformly. Make sure you hold the Straightedge without any tilt such that the plain makes full contact with the surface.

Use a wooden float to apply pressure against the surface in order to compact the layers of mortar and fill any air gaps. Hold the handle of the Wooden Float firmly with one hand and position the plain against the surface without any tilt such that it makes full contact. Create sweeping motions, applying light pressure against the Mortar.

Repeat the whole process on the second wall.

Apply Mortar.

Level the sides with the Straightedge

Check the vertical level.

Flatten the mortar holding the Straightedge horizontally.

Smoothen the surface with the Wooden Float.

Now, use a metal float to create the final smooth finish with sweeping motions, applying little pressure against the Mortar.

Clean up your workspace using a broom.

You have now learned to render a Wall.


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Tuesday, September 17, 2013

The Data Science Mindset

Names like ‘R’, ‘SQL’, and ‘D3’ make data science seem more like alphabet soup than a deliberate practice of working with data. It’s so easy to get lost in the sea of acronyms, packages, and frameworks that we often find our students prematurely optimizing for the right toolset to use, unable to move forward until they have researched every available option. In reality, data science isn’t just about the tools. It’s a mindset: a way of looking at the world. It’s about taking advantage of our modern computers and all of the information that they’re already collecting to study how things work and push the limits of human knowledge just a little bit further. We have a favorite saying around here — data is everything and everything is data. If we begin with this mindset, a lot of data science approaches naturally follow.

Store Everything

Storage is cheap. Collect everything and ask questions later. Store it in the rawest form that is convenient, and don’t worry about how or even when you’re going to analyze it. That part comes later.

Use Existing Data

We’re already storing data — let’s use it. When faced with questions, data scientists regularly adapt the query so that it can be approximately answered with an existing and convenient dataset. The best part of data science is discovering surprising applications of existing stores of data. For example, there is a plethora of satellite imagery of Earth. We can use this data to learn about fertilizer use in Uganda, or use pictures of the Earth at night to estimate rural electrification in developing countries.

Connect Datasets

We’re storing everything, all over the world, inexpensively, for the first time in history. There are many lessons to be learned by utilizing more of this treasure trove. Don’t worry about making the best use out of a single source of data. Focus on connecting disparate datasets rather than tuning your models. Conventional statistics teaches a lot about how to choose analysis methods that are appropriate for your data collection approach and how to tune the models for a specific dataset.
Effective data science is about using a range of datasets, connecting the dots between one set of data and another, such as predicting restaurant health scores based on Yelp reviews. In machine learning speak: it’s often better to collect more features rather than spend days optimizing hyperparameters.

Anything Can Be Quantified

Our culture loves to quantify. If you can turn it into a number, that number can be put into a table. Importantly, that table can now be processed by a computer.
A spreadsheet about sewer overflows is clearly data to most people, but what about a calendar? At first, a calendar might not seem like the sort of data that you analyze with statistics. However, you can also represent a calendar as a spreadsheet and as a graph.

Data science becomes a creative endeavor when peeling away the obvious variables presented to you. Maybe you have a bunch of PDF documents. You could easily extract the text in the PDFs and search through the content. Depending on the problem you are solving, these files hold more interesting information than just the text. You can get the page count, the file size, and the shapes of the pages and the program that created it. There is information hidden in many datasets that goes beyond what’s immediately obvious.
There is a lot of talk about the difference between different kinds of data. There’s “qualitative” vs. “quantitative” and “unstructured” vs. “structured.” To me, there isn’t much difference between “qualitative” and “quantitative” data, nor is there between “unstructured” and “structured” data because I know that I can convert between the different types.
At first, the registration papers of company might not seem like interesting data. They begin as paper, most of the fields are text, and the formats aren’t particularly standardized. But when you put them in a database in a machine-readable format, qualitative data becomes quantitative data that can be used to supplement other data sources.

Send Boring Work to Robots

We no longer live in an era where “computer” refers to someone who carries out calculations. Find yourself doing something over and over? Give it to the bots. As far as data analysis goes, modern computers can be far more effective at rote tasks, such as drawing new graphs with every update of a dataset.
Data collection is a prime example of a task that should be automated. A common scene in university research labs is swaths of grad students handing out paper questionnaires to participants of studies. The data scientist says: collect the data automatically and unobtrusively, using existing systems whenever possible. The supercomputers we carry in our pocket are a great place to start.
This mindset can be applied not only to the data, but also to the process itself. Rather than learning and remembering your entire analysis process, you can write a program that does the whole thing for you, from the original acquisition of the data, to the modeling, to the presentation of results to another person. By making everything a program, you make it easier to find mistakes, to update your analyses, and reproduce your results.

Once inside the data science mindset, solving interesting problems becomes a function of data acquisition and processing. Computers can fit models and make predictions about datasets that are too big to wrap your head around and convert paper documents into electronic tables. They probably know more about you and your habits than you know yourself! Use the tools available to you, but don’t get caught up on the tools themselves.
Properly discussing these relevant tools is another post (maybe a book), but here’s one thought. While it always helps to have more education, you don’t need a PhD in math or computer science in order to create useful things. Loads of wonderful algorithms have already been implemented for you, and simple algorithms often work quite well. If you’re just getting started, focus on the “plumbing” that connects different datasets and systems together.

Data Science Mindset at Zipfian Academy

Our course teaches many data science tools, but we also teach the data science mindset, because you need both to be a great data scientist. To this end, we organize our 12-week course by projects — such as a recommendation engine or spam filter — rather than software packages or algorithms. We teach the various tools in context of applied projects so students learn how to choose the appropriate tool and how to build the plumbing that connects them.
In the end, it’s not about the newest, trendiest framework or fastest data analysis platform. It’s about finding interesting insights from your data and sharing it with the world. Start small, get your hands dirty, and have fun!


[Coral-List] "Coral Reef Biogeochemical Cycles" at 11th ICRS

Greg Jacoski gjacoski at nova.edu
Thu Nov 8 11:04:37 EST 2007

Greetings Coral-Listers:
We would like to invite you to participate the ICRS Mini-Symposium
"Biogeochemical cycles in coral reef environments". The 11th ICRS will be
held in Fort Lauderdale, FL, July 7-11, 2008. The ICRS Science Program will
address scientific questions within the framework of a series of
Mini-Symposia developed to address problems and issues on contemporary coral
reefs that will assist management to sustain future reefs.
The central topics of "Biogeochemical cycles in coral reef environments",
Mini-Symposium 19, are as follows:
1) What are the sources, sinks, regeneration, and stoichiometry of nutrients
in coral reef ecosystems?
2) What is the importance of diazotrophy in coral reef ecosystems? How much
do benthic and planktonic communities contribute to N2 fixation in coral
reef ecosystems?
3) What are the improvements for estimating new and excess production on
coral reef ecosystems?
4) What are the origins, roles, and fluxes (i.e., import / export) of
organic matter, dissolved organic matter, and particulate organic matter in
coral reef environments?
5) How is the stability of coral reefs linked to the biogeochemical cycles?
What processes and mechanisms link biogeochemical cycles to the health of
coral reef ecosystems?
Submissions that address these questions are encouraged but not mandatory.
"Biogeochemical cycles in coral reef environments". When submitting your
abstracts, please use the session code: Mini-Symposium 19.
DECEMBER 15, 2007.
Mini-Symposium 19: Biogeochemical cycles in coral reef environments
Beatriz Casareto
Loic Charpy
Yoshimi Suzuki
Thank you.

Gregory Jacoski

The National Coral Reef Institute

NSU Oceanographic Center

8000 North Ocean Drive

Dania Beach,  Florida 33004

phone: (954) 262-3678

fax: (954) 262-4027

More information about the Coral-List mailing list


Wednesday, April 16, 2014

Bromeliad me!

The brain has  been silent in the past few weeks but this week it was jump started by great sites. important one.  Monday was a very exciting day at work.  My team and I had the opportunity to visit a few green houses in Samoa.  It was a day for shiny eyes, a nice change from the pink eye disease! (I I have been resilient thus far) There were soft pinks, peach, dramatic burnt orange, sweet lavender, gutsy black, earthy browns, royal velvet blue and misty white plants to covet.  You can imagine the 'ooohs' 'ahhhhs' and 'wow wows' from my team when we feasted our eyes on the beautiful plants. Interestingly, there were not many native  plants under the green nets.  Perhaps the native plants can grow easily, requiring less assistance from the growers unlike those that are imported.  Imported plants require more attention and care so they can adapt and grow successfully.

One plant that is new to Samoa, taking up residence in all the green houses is the very flamboyant  Bromeliad.  If it was a person, I'd compare it to an unpredictable designer of futuristic things or creator of  impracticable outfits that can never be worn with a normal face.

The Bromeliaceae (the bromeliads) are a family of monocot flowering plants of around 3,170 species originally from the tropical Americas, with a few species found in the American subtropics and in west Africa.  The most well known bromeliad is the pineapple. The family contains a wide range of plants including some very un-pineapple like members such as Spanish Moss (which is neither Spanish nor a moss). In general they are inexpensive (not in Samoa), easy to grow, require very little care, and reward the grower with brilliant, long lasting blooms and ornamental foliage. They come in a wide range of sizes from tiny miniatures to giants (Bromeliad Society International, 2014).   Like Samoans, Bromeliads have learned the art of adaption which means they can grow in a number of different climates.

 I have a few of these plants in my garden and I have to say both the leaves and flower compete for attention.  A well painted plant that is great for pot plants or shaded gardens around the house.  Similar to my other favourite plant, anthuriums, bromeliads enjoy mild sun shine and a lot of shade, depending on the species.

Some of the common species of bromeliads include Earth Star, Urn Plant, Scarlet Star,Flaming Sword, Blushing Bromeliad, Pink Quill (Booth, 2006)We had a great time visiting the green houses.  The day ended too soon with a brilliant sunburn and we were still discussing the gardens two days after.  Since Easter is upon us, this visit reminded me that the end result is not necessarily the best reward.  Think of the hard work that goes into creating and tending to all these gardens.   Robert Louis Stevenson said  “Don't judge each day by the harvest you reap but by the seeds that you plant.” While so many of us are out smelling the flowers, we do hope more people are planting some.  If we don't plant, we'll have nothing but grass.   As much as we'd like to find out the purpose for most  things, I'd like to think that plants exist for our enjoyment.  Happy Easter everyone.

Ehhh..your grandmother was hot too!


A Fine Point about Fine Print: Dealing with Indemnification Provisions

In my last post, I noted that businesses should pay attention to several contract drafting and negotiation practices that can protect them from significant, or even catastrophic, liability. Now, I want to focus in on a potentially important aspect of these issues: the relationship of indemnification and liability limitation provisions.

First, it is common to seek to prevent liability for certain types of indirect or remote types of damages, such as from business interruption, lost profits and government sanctions. Second, companies frequently try to cap their liability related to a contract either to the amount of their revenues or some other reasonable sounding level, such as $100,000 or $1 million. Third, there are many instances where businesses agree to indemnify and "hold harmless" the other party from all damages (including the incurrence of attorneys fees) arising from, on the broad side, their breach of the agreement or law, or, on the narrow side, their intentional misconduct or gross negligence.

In my experience, these tendencies often result in some unanswered contract questions: Is the indemnification obligation subject to the limitation on the types of damages? And, similarly, is the indemnification obligation subject to the cap on the total amount of damages? If not, then the entire effort to manage exposure or risk will be undermined - particularly if the indemnity is very broad.

For example, if the indemnitor must hold harmless the indemnitee for any breach of the agreement, no matter the degree of maliciousness or culpability, then the breaching party not only faces unlimited exposure, but may have to pay the indemnitee's legal expenses as well. So, the indemnitor should try very hard to make sure that the remedy and damages limitations expressly apply to the indemnification. However, if there's a much narrower obligation, such as indemnification only for intentional misconduct, or personal injury, then it is more difficult to argue that a cap should apply.

So, it is essential to remember to think through limitation and indemnification mechanisms and make sure the relationship has been addressed. Otherwise, there may be a gaping hole in the efforts to make a contract armor-plated or bulletproof.

Our Chicago business lawyers have extremely deep experience with all types of contracts and agreements, including the risk management points discussed above. Contact us to speak to a Chicago contract lawyer about your particular needs. We are available for meetings in Chicago and Deerfield and many surrounding towns.


transesophageal echocardiography

Also found in: Dictionary, Thesaurus, Acronyms, Encyclopedia.
Related to transesophageal echocardiography: cardioversion, Cardiac catheterization, Transesophageal echocardiogram

Transesophageal Echocardiography

Since the esophagus is right next to the heart, transesophageal echocardiography provides a very clear picture of the heart. It can provide information on the size of the heart, its pumping strength, and the location and extent of any damage to its tissues. It can detect abnormal tissue growth around the heart valves. It is also good at detecting abnormalities in the pattern of blood flow, such as the backward flow of blood through partly closed heart valves, known as regurgitation or insufficiency. It is especially useful in cases in which conventional echocardiography (a test where the transducer is kept on the patient's chest) cannot offer a good image, such as when the patient is obese or has a thick chest wall. It is useful for monitoring heart function during cardiac surgery and detecting blood clots in the left atrium of the heart.

Patients should avoid consuming alcohol for a day or so before the procedure, since alcohol may amplify the effects of the sedative used with the procedure.

Echocardiography creates an image of the heart using ultra-high-frequency sound waves—sound waves that are much too high in frequency to be heard by the human ear. The technique is very similar to ultrasound scanning commonly used to visualize the fetus during pregnancy.
A transesophageal echocardiography examination generally lasts 30-60 minutes. The patient is given a mild sedative and the back of the throat is sprayed with a local anesthetic, in order to suppress the gag reflex. Next, a special viewing tube called an endoscope, containing a tiny transducer, is passed through the mouth and into the esophagus. It is carefully moved until it is positioned directly next to the heart. Essentially a modified microphone, the transducer directs ultrasound waves into the heart, some of which get reflected (or "echoed") back to the transducer. Different tissues and blood all reflect ultrasound waves differently. These sound waves can be translated into a meaningful image of the heart, which is displayed on a monitor or recorded on paper or tape. The transducer may be moved several times during the test to help doctors get a better view of the heart.

The patient may be given a mild sedative before the procedure, and an anesthetic is sprayed into the back of the throat in order to suppress the gag reflex.

After the test, it is important to refrain from eating or drinking until the gag reflex has returned-otherwise, the patient may accidentally inhale some of the food or beverage. If a sedative has been given, patients should not drive or operate heavy machinery for at least 10-12 hours. They should avoid consuming alcohol for a day or so, since alcohol may amplify the effect of the sedative.

Transesophageal echocardiography may cause gagging and discomfort when the transducer is passed down into the throat. Patients may also experience sore throat for a few days after the test. In rare cases, the procedure may cause bleeding or perforation of the esophagus or an inflammatory condition known as infective endocarditis. The patient may have an adverse reaction to the sedative or local anesthetic.

Normal results

A normal transesophageal echocardiogram shows a normal heart structure and the normal flow of blood through the heart chambers and heart valves.

Abnormal results

A transesophageal echocardiogram may show a number of abnormalities in the structure and function of the heart, such as thickening of the wall of the heart muscle (especially the left ventricle). Other abnormalities can include blood leaking backward through the heart valves (regurgitation), or blood clots in the left atrium of the heart.

Key terms

Endoscope — An instrument used to see and examine the inside of a body cavity or organ.
Gag reflex — A normal reflex consisting of elevation of the palate, retraction of the tongue, and contraction of the throat muscles.
Regurgitation — Backward flow of blood through a partly closed valve.
Ultrasound — Sound waves at a frequency of 20,000 kHz, often used for diagnostic imaging.

trans·esoph·a·ge·al ech·o·car·di·og·ra·phy

recording of the echocardiogram from a transducer swallowed by the patient to predetermined distances in the esophagus and stomach.

transesophageal echocardiography (TEE)

transesophageal echocardiography

Two-dimensional transesophageal color-flow Doppler echocardiography Cardiology An ultrasonographic imaging modality used to examine cardiac structures–valves, chambers and inflow and outflow tracts and function in which a transducer is placed immediately behind the heart in the esophagus and stomach; because there are no interfering air spaces or bone, the image is superior to that obtained with transthoracic echocardiography and is of particular use in evaluating the status of the endocardium–eg, to identify vegetations on the cardiac valves Indications for TEE ID cardiac source of embolism–35%, prosthetic heart valve malfunction–20%, endocarditis–16%, aortic dissection, cardiac tumor, valvular disease, and others, based on a series of 5000 Pts. See Biplane–intraoperative transesophageal echocardiography, Echocardiography.

trans·e·soph·a·ge·al echo·car·di·og·ra·phy

(tranz'ē-sō-fā'jē-ăl ek'ō-kahr'dē-og'ră-fē)
Recording of the echocardiogram from a swallowed transducer.
Synonym(s): transoesophageal echocardiography.
Enlarge picture

transesophageal echocardiography

Abbreviation: TEE

contrast echocardiography
transesophageal echocardiography

Patient discussion about transesophageal echocardiography

More discussions about transesophageal echocardiography
References in periodicals archive ?
Superiority of transesophageal echocardiography in detecting cardiac source of embolism in patients with cerebral ischemia of uncertain etiology.
Transesophageal echocardiography and magnetic resonance imaging are useful and highly accurate tools in the diagnosis of PFE.
Transesophageal echocardiography is often the diagnostic modality used for evaluation of cardiovascular sources of cerebral emboli.
Usefulness of transthoracic and transesophageal echocardiography in recognition and management of cardiovascular injuries after blunt chest trauma.
9] Suprahepatic balloon positioning is accomplished with the aid of transesophageal echocardiography (TEE).
Right upper lobe pulmonary edema caused by acute mitral regurgitation diagnosis by transesophageal echocardiography.
Mounting a standard transesophageal cardioversion electrode onto the head of a transesophageal echocardiography probe creates a novel hybrid device that enables a cardiologist to first make sure no clot is present in the left atrium, then immediately apply a very-low-energy shock to convert the patient to normal sinus rhythm--all during a single sedation of the patient, explained Dr.
Transesophageal echocardiography did not show vegetations or other evidence of endocarditis.
the developer of the world's only hemodynamic transesophageal echocardiography (hTEE[TM]) management device, announced that the first in a planned series of symposia presenting hTEE study findings and cases was held October 14(th) in Lisbon, Portugal.
After a historical perspective of 3D echocardiography, opening chapters deal with the integration of 3D echocardiography in routine clinical practice, overview the different 3D transesophageal echocardiography systems, and review normal mitral valve anatomy and measurements.
Perioperative Two-Dimensional Transesophageal Echocardiography is an excellent practical guide to cardiac surgically-relevant transoesophageal echocardiography in the operating room and the intensive care unit.


world wide wonderground

5 ian. 2008

Musically, Elsiane is a hybrid of styles and influences. Their evocative compositions organically blend a pop sensibility with influences that range from classical music through jazz, rock and electronic. At once universally appealing and surprisingly intimate, their songs combine a polished surface and musical virtuosity with emotional depth and a highly personal vision.

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