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PRO BONO SERVICE AWARDS CEREMONY IS FEB. 7
The 2019 Pro Bono Service Awards ceremony will be held at 3:30 p.m. this Thursday, Feb. 7, at the Supreme Court of Florida. The annual Pro Bono Service Awards recognize outstanding commitment to providing legal services to Florida's poor. Thursday's ceremony will be streamed live at http://wfsu.org/gavel2gavel as well as on Facebook at www.facebook.com/floridasupremecourt. Last year,…
MIAMI'S PATRICIA A. REDMOND TO RECEIVE 2019 TOBIAS SIMON PRO BONO SERVICE AWARD
Attorney Patricia A. Redmond (photo) of Miami, who has been a champion of pro bono legal service since the 1970s, is the recipient of the 2019 Tobias Simon Pro Bono Service Award, the highest statewide pro bono award. The award will be presented by Chief Justice Charles T. Canady in a Feb. 7 ceremony at…
22 LAWYERS WILL RECEIVE FLORIDA BAR PRO BONO AWARDS IN SUPREME COURT CEREMONY FEB. 7
The Florida Bar will recognize 22 lawyers for their work on behalf of low-income and disadvantaged clients at a Feb. 7 ceremony at the Supreme Court of Florida. Established in 1981, The Florida Bar President's Pro Bono Service Awards are intended to encourage lawyers to volunteer free legal services to the poor by recognizing those…
LEON COUNTY JUDGE NINA ASHENAFI-RICHARDSON TO RECEIVE DISTINGUISHED JUDICIAL SERVICE PRO BONO AWARD
The Hon. Nina Ashenafi-Richardson (photo), a judge with the Leon County Court system since 2008, is the recipient of the 2019 Distinguished Judicial Service Award. The award, which honors outstanding and sustained service to the public especially as it relates to support of pro bono legal services, will be presented by Chief Justice Charles T….
JUDGE ROY B. DALTON, JR., TO RECEIVE DISTINGUISHED FEDERAL JUDICIAL SERVICE PRO BONO AWARD
The Hon. Roy B. Dalton, Jr. (photo), a judge in the U.S. District Court of the Middle District of Florida in Orlando, is the 2019 recipient of the Chief Justice's Distinguished Federal Judicial Service Award. The award, which recognizes an active or retired federal judge for outstanding and sustained service to the public, especially as…
THE YOUNG LAWYERS SECTION OF THE ORANGE COUNTY BAR ASSOCIATION TO RECEIVE STATEWIDE PRO BONO AWARD
The Young Lawyers Section of the Orange County Bar Association is the recipient of the 2019 Voluntary Bar Association Pro Bono Award, which will be presented by Chief Justice Charles T. Canady at a Feb. 7 ceremony at the Supreme Court of Florida. The award recognizes a Florida voluntary bar that has demonstrated a significant…
YOUNG LAWYER TORI SIMMONS OF TAMPA TO BE HONORED FOR PRO BONO SERVICE
Tori Simmons of Tampa (photo) is the recipient of the 2019 Florida Bar Young Lawyers Division Pro Bono Service Award. The award recognizes public service or legal aid performed by a lawyer who is 35 or younger or who has not practiced for more than five years. It will be presented in a Feb. 7…
FLORIDA BAR OPENS NOMINATIONS FOR PRO BONO SERVICE AWARDS
The Florida Bar has issued a call for nominations for the annual pro bono service awards, which honor lawyers, judges, law firms and associations that have contributed extraordinary pro bono service. The deadline for most nominations is Nov. 1, 2018, while nominations for The Florida Bar Young Lawyers Division Pro Bono Service Award is Aug….
YOUNG LAWYER JENNIFER EDWARDS OF ST. PETERSBURG TO BE HONORED FOR PRO BONO SERVICE
TALLAHASSEE − Jennifer Edwards of St. Petersburg (photo) is the recipient of the 2017 Florida Bar Young Lawyers Division Pro Bono Service Award. The award recognizes public service or legal aid performed by a lawyer who is younger than 36 and who has not practiced for more than five years. It will be presented at…
JUDGE VIRGINIA BAKER NORTON TO RECEIVE DISTINGUISHED JUDICIAL SERVICE AWARD
TALLAHASSEE – The Hon. Virginia Baker Norton (photo), an administrative judge with the Civil Division of the Fourth Judicial Circuit in Duval County, is the recipient of the 2017 Distinguished Judicial Service Award. The award, which honors outstanding and sustained service to the public especially as it relates to support of pro bono legal services,…


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From Empiric
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Empiric acquires student accommodation property in Manchester: Victoria Point
The Board of Empiric Student Property plc is pleased to announce that the Group has acquired the long leasehold (999 years from March 2007) of a 561 bed scheme in Manchester for £29.5 million (excluding costs) from MCR Property Group.
Victoria Point, Manchester was constructed in 2009 by the vendor as a private residential scheme comprising apartments and duplexes across six separate blocks of accommodation on a 3.5 acre site. The property has been let entirely to students since it was built and is located in the Victoria Park area of Manchester, a popular student area convenient for The University of Manchester, Manchester Metropolitan University and the Royal Northern College of Music.
The 561 beds are set out in a mix of two, three and four bedroom apartments with nine three bedroom duplexes. The accommodation has large bedrooms, fully fitted kitchens and family-sized bathrooms. The property also benefits from 197 car parking spaces and landscaped gardens. There is scope to upgrade the accommodation and ancillary facilities, on a staged basis, with the potential to enhance rental growth.
Victoria Point has an excellent occupational track record, is fully let for the 2015/16 academic year and is letting well for 2016/17. The property, which is in close proximity to the Group's Welsh Baptist Chapel forward funded development, will be managed through the Hello Student® platform.
Paul Hadaway, Chief Executive of Empiric Student Property plc, commented:
"With its large student population - the third largest in the UK with 61,990 full-time students in 2014/15 according to HESA statistics - we are pleased to have made this further significant purchase in Manchester, taking our presence in the city to 765 beds. This large site with low density provides the opportunity for further development, if appropriate, including communal facilities to create a purpose-built student hub. This acquisition is in line with Empiric's investment criteria and returns profile."
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text:
import { Box, Text } from "@artsy/palette"
import * as React from "react";
import { InquiryAffiliatedRemoveButton } from "./InquiryAffiliatedRemoveButton"

type Option = { text: string; value: string }

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}

redpajama_set_name: RedPajamaGithub


text:
Reading: 'Blood Piano': Music, Femininity and the Abject – A Practice-Led Enquiry
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'Blood Piano': Music, Femininity and the Abject – A Practice-Led Enquiry
Imogene Newland
Recent theoretical study in the field of musical analysis asserts that music performance may be understood as a transgressive encounter based on the writings of George Bataille (Bataille, 2008 [1957]; Rebelo, 2006; Waterman, 2008). Through identifying an overlap between choreographic methodology and the examination of instrumental gesture, I propose ways in which these theoretical findings may be translated into practice-led research. Arising within the context of gesture-based research as a stimuli for choreographic activity, I discuss musical practice as a mode of simulation marked out by physical mimesis. I propose the manifestation of effort through physical gesture in music performance as an expressive component conducive to live art interpretation where the performer's body plays a key role. Richard Leppert's discussion of music and femininity as historically synonymous furthers this research by contextualising the abject within the framework of the transgressive (Leppert, 1995 [1993]; Kristeva, 1982 [1980]).
The gestural repertoires developed through instrumental practice with particular reflection on piano performance are well documented by Henry Shaffer, François Delalande, Jane Davidson, Eric Clarke and Mark Thompson (Shaffer, 1976, 1981, 1984; Delalande, 1988, 1995; Davidson, 2007; Clarke, 2006; Thompson, 2007). The kinds of gestural scores generated in such analyses - such as Delalande's classification of gesture types based on the playing of Glenn Gould - would usefully lend themselves to a choreographic interpretation (Delalande, 1988). Indeed, annotations of musical scores with gestural motifs, such as Thompson's analysis of Gould's playing of the 'Goldberg Variations' by J.S. Bach are redolent of the gestural scores generated in workshops led by choreographer Jonathan Burrows. Burrows, in collaboration with composer Matteo Fargion, has explored a number of choreographic interventions informed by musical structure. In a Burrows/Fargion workshop as part of the Bodysurf project at Findhorn in 2009, participants were encouraged to develop score-based exercises adapting rhythmical frameworks arising within John Cage's 'Lecture on Nothing' (1959). Within this framework, individuals were encouraged to explore different combinations of sitting gestures, vocal sounds and text while at the same time adhering to patterns in keeping with Kevin Volans's notion of variability.1 However, it has yet to be explored how gestural analyses within music performance research might be usefully translated into choreographed material that could be used to comment upon the physical aspects of music making, with special attention to ways in which material could be made available to non-instrumentalists.
How to Cite: Newland, I., 2012. 'Blood Piano': Music, Femininity and the Abject – A Practice-Led Enquiry. Body, Space & Technology, 11. DOI: http://doi.org/10.16995/bst.74
Published on 01 Jan 2012
Reproduction, Simulation
In his discussion of imitation in musical performance, John Sloboda comments: '[...] expressive techniques are passed from one musician to another by demonstration' (Sloboda, 1985: 88). In this case, it is possible to consider gestural mimesis in music performance as an act of simulation in which the physical acquisition of repertoire may be partially reproduced. The rehearsal process means that a gestural repertoire based on the physical demands of any given piece may be first established and then reproduced in a quasi self-mimetic process. This gestural repertoire serves as an embodied muscular memory to musical reproduction and may be described as a codified technique in keeping with choreographic theory. The interpretation of different repertoires for live musical performance is a creative act in which compositional motifs are continually re-articulated and individualised. This kind of creative activity may be described as the genus of musical identity, where the dissemination of individualised accounts constitute a kind of evolutionary trademark. This process is marked out in cyclic periods of learning and acquisition, followed by periods of creative output and realisation. As such, we may recognise musical activity as a process of reproduction by acknowledging the cyclical nature of creative performance intervention. Paul Fitts and Michael Posner describe skill acquisition by dividing learning into three distinct phases. In the first, the 'cognitive' stage, the player works out specific problems in relation to a piece through 'conscious attention'. In the second, difficulties are broken down and overcome so that playing can be 'refined'. In the third and final stage, actions become 'autonomous' and playing therefore '[...] requires no conscious attention' (Fitts and Posner, 1967: 11-15). This, Reid claims, is a process of transferring information from short to long term memory (Reid, 2002: 104-5). The long term physical embodiment of musical material comes to represent the 'reiterative' and 'constitutive' acts of gestural expression where the automated nature of delivery means that performance must take place in a state of semi-absence.2This relinquishing of conscious control marks a transition from the effort produced through skill acquisition to the assimilative technique that results in the embodied state. How might one realise the effort implicit in the internal physical and perceptual shifts of acquisition and assimilation in music performance through practice-led research? In the following paragraphs I outline approaches to expressive delivery in music performance and how the study and classification of gesture has identified a subversion of physical displays of effort. I do this as a way into describing my own practical investigations within the live art installation 'Blood Piano'.
Embodying Effort
Recent scholarly study of musical gesture has debated the value of making visible the physical effort required in the execution of virtuosic repertoire, claiming that it would detract from the transmission of the work (Clarke, 2006; Gracyk, 1997; Mark, 1980). However, performers such as Daniel Barenboim continue to encourage physical effort as an expressive device in music performance, claiming that '[...] effort is integral to expression' (Barenboim, 2005). Specific gestures acquired through the learning and rehearsal of a piece of music therefore require the musician to choose how much physical effort to make manifest and when. Such manifestations are considered to be more of a choreographic supplement to compositional ideas than having an actual sonic effect on sound production, except in cases of particular technical demands that result in gestures of negotiation (Wanderley, 1999). In this case, we might consider gestural expression in music performance as partially dependent on the predilection of the player to attempt to physically embody musical ideas. Significantly, one of the criticisms of research with human-computer interactions is that there appears to be no visible physical effort on the part of the performer. Drawing on the example of the CHANT system for simulation developed in IRCAM in the 1980s, Clarke notes that this is often interpreted as the performer having 'no physical commitment'. Clarke identifies his criticism within the discourse that in traditional virtuosic performance, while the listener wishes for the performer's physical effort to remain invisible, they still desire an affirmation of the physical presence of the performer's body. Clarke describes the performer's presence as an involvement of '[...] mind and body in the "heroic struggle" to express and communicate' (Clarke, 2002: 191). Such criticism supports the importance of having a physical affirmation of musical delivery where visual representation may come to constitute a kind of 'mutual confirmation' between the body of the performer and the body of the spectator (Merleau-Ponty, 2005 [1945]: 215).
In what ways might the role of effort as an expressive device be made explicit through practice-led research that consistently frames the body as crucial to musical delivery? In the following passage I outline ways in which femininity and the abject play a key part in ways in which the body may be read in music performance drawing on Leppert's discussion of music and gender. This outline has regard to a discussion of the musical 'other' as an abject expression of physical desire in keeping with notions of effort and simulation described above.
Femininity and the Abject in Music Performance
In his account of the role of gender in relation to musical discourse in Europe from the sixteenth century onwards, Richard Leppert attests that historically, 'woman' and 'music' were seen to be synonymous. Following on from Roland Barthes's contention that musical experience is akin to a repeatable orgasmic embrace, Leppert insists music was considered a 'feminine' entity on the grounds that it aroused bodily desire and instigated a condition of bliss in the listener (Barthes, 1977; Leppert, 1995 [1993]). This kind of musical jouissance - already well documented by scholars such as Pedro Rebelo and Ellen Waterman and informed by the writings of George Bataille - suggest music as an essentially erotic experience played out in a quasi-transgressive state (Rebelo, 2006; Waterman, 2008; Bataille, 2006 [1957]).3
Leppert continues his discussion by relating notions of the 'musical gaze' with the formation of the piano as a physical object. He suggests that incorporating utilitarian features such as '[...] sewing machines or cupboards for bric-a-brac' into keyboard instruments led directly to what he terms the 'feminization of the piano' (Leppert, 1995 [1993]: 136). In this way the doubling of the piano's function to include domestic elements strengthened the connection between women and keyboard instruments by transforming the way in which it was used. Leppert furthers his explanation by describing that the piano was designed to reflect the attributes of the female body as a way of controlling woman as a symbol of desire. Indeed, the visual connection between the piano and the shape of the female body was so strong in Victorian society that it was deemed necessary to cover the ankles of the legs of the piano with small skirts (Grover, 1976). This was due to the over-arching belief that the sight of a woman's ankle (and by proxy, the piano's ankle) was a sexual invitation and should therefore be hidden from view. Leppert writes:
[...] the visual fascination with the piano connects to the scopophilic fascination with women's bodies in art. The compulsion to sort out and stabilize the sign 'woman', an obsession with Victorian men, is tied not only to the demands of identity, sexual difference, and power but also to the equally troublesome categories 'desire' and 'pleasure' (Leppert, 1995 [1993]: 155).
The attempt to control woman both symbolically and literally during this time was reflected in a pervading fear of the unknown and little understood territory of the female reproductive system. This preoccupation with controlling 'woman' was evident in the catechism hysteria, which connected the menstrual cycle with otherwise 'unexplainable' neurological symptoms. The idea that woman's sexual desire was in some way beyond control was encapsulated in the belief that such symptoms were produced by a 'wandering womb', which detached itself from its proper place and moved up to the neck resulting in feelings of suffocation. Indeed, it was believed that the condition could be cured through 'hysterical paroxysm' or 'pelvic massage', now understood as female orgasm. That sexual reproduction and female sexuality was at the centre of this now widely disproved theory is of great significance in seeking to understand ways in which 'woman' has been categorised, controlled and in some cases, forcibly misunderstood.
In Powers of Horror: An Essay on Abjection Julia Kristeva describes abjection as a confirmation between self and other which, she claims, is a 'precondition of narcissism' affirmed through subjective bodily experience. Kristeva insists that abjection is the foundation through which '[...] meaning, language and desire is founded' and as such is intimately connected to jouissance (Kristeva, 1982 [1980]: 5). Kristeva centres her discussion around the affirmation of the human as it is experienced through contact with and recognition of bodily fluids such as semen, sweat and blood. In addition, she considers the abject as a state of disgust or revilement in reaction to the affirmation of the human. Connecting the feminisation of the piano with the over-arching attempt to control 'woman' as a symbol of desire, I have considered the implications of the abject in musical performance with primary concern for the feminine other. I have attempted to realise these conceptions through practice-led research that might then be used to reflect upon the notion of musical delivery as an act of reproduction.
'Blood Piano': Live Art Installation
I used the two-part live art installation 'Blood Piano' to explore notions of femininity and the abject within the framework of music performance as a transgressive act. Drawing on the myth of Sisyphus, an upright piano was dragged though Belfast city centre recalling Charles Rosen's statement that the piano is '[...] a lumbering and embarrassingly inconvenient prehistoric beast on the point of extinction' (Rosen, 2002: 56). The piano was then installed in PS2 Gallery on Donegall Street where I used a series of choreographic interventions with the piano to explore themes of effort, desire and repetition. In this second section a mechanism was fitted into the interior of the piano to give the appearance of bleeding from the keys as it was played. Finally, the piano was left to 'bleed out' its remaining contents, which formed a thick pool of blood across the gallery floor.
The first part of 'Blood Piano' required the collection and transportation of the upright piano from Oxfam on the Dublin Road to PS2 Gallery though Belfast city centre. The transportation presented a significant risk and so after some intense deliberation, it was decided wheels would be affixed to the back of the piano thereby transporting it on its side. This - while solving the risk of possible toppling - presented the alternative difficulty of negotiating the now much wider base through narrowed streets. In addition, the difficult nature of transporting the piano on and off pavements and across busy roads only enhanced the already present risks. Between myself, the video-artist and photographer, as well as the kind escort provided by PS2, it was decided that no help would be given to the performer(s) in case of difficulty. Indeed, at times where the piano was caught on the side of a pavement, the Sisyphean performer deflected offers of help with a low guttural growl. I felt it was very important in this case to let the Sisyphean performer struggle with the various difficulties in order to allow him to embody the effort imposed by this large and cumbersome beast, the piano. The fact that the mobile installation was recorded by passing pedestrians on phone-camera as well as on the CCTV video footage of local shops was an added bonus.
Part 1 of 'Blood Piano', Bedford Street, Belfast, 6 June 2011. Live art installation featuring performers Mads Floor Andersen and Sheena Kelly, directed by Imogene Newland and photographed by Chris Parker.
Audience reactions to this first half of the performance included the mobile installation being followed by a group of bewildered tourists asking for explanation as well as several genuine offers of help from passers by. There also seemed to be a concern for the well being of the dancer, who had a rather bumpy and noisy ride on the piano and was at risk of injury from the unpredictable nature of the piano as it moved along the uneven pavements.
In the second stage of the performance, the female dancer presented a choreographic intervention with the piano in repeated fifteen minute cycles. These interventions explored the tactile and erotic relation between the female body and the piano where physical transgression was a primary stimulus. As the piece progressed, more and more blood emanated from the keys of the piano as it was played, dripping directly onto the body and nightdress of the dancer. At a strategic point during each cycle, the Sisyphean performer - who otherwise remained stationed as a static voyeur in the corner of the room - opened the upper lid of the piano and 'refilled' its organ-like vessels with more blood from containers carried with him. The dancer appeared to churn blood from her own body, first reacting in disgust, then madness and finally, totally ecstatic and violent abandon at her contact with the blood. As the cycles progressed, she became more and more covered in the blood, and the piano, through being beaten by her, became less and less audible.
Despite there being a sign on entrance to the gallery warning audience members that blood spattering was an imminent risk, certain avid spectators chose to stand in close proximity to the piano, including two young children. Observers reported experiencing a sensation of nausea at the sight of the blood regardless of the fact that it was not real, while two members felt induced to leave the gallery space altogether in order to recover from feeling faint outside. Initial reactions to the performance included requests for a more philosophical explanation as well as quiet reflection and in some cases, stunned silence. In discussions following the event audience members related feeling trapped inside the small space and as a consequence intimidated by the close proximity of events. The general consensus was one of a feeling of disgust at the sight of blood and a recognition of the connection this aspect had with menstruation and life cycles.
Working with the dancer on Part 2 of 'Blood Piano' presented the challenge of devising a coherent and convincing musical narrative. During the initial creative process, the dancer observed my gestures in playing piano repertoire, constructing a list of possible physical motifs on which to base improvisation. I then observed her imitation of my gestures at the piano, paying particular attention to the ways in which tone quality might be improved through altering bodily approaches to the attack and release of specific chords. It quickly become apparent that singular note articulations would be less convincing to the outside eye than techniques such as cluster chords. I noticed an implicit difference in the tone quality of the gesture produced depending on whether the direction given was with attention to the tone produced or with attention to the shapes made with the body. Approaching each musical gesture from a primarily physical standpoint was absolutely crucial in this developmental stage. It soon became clear that trying to direct improvisation from the standpoint of musical tone was to have far less developmental significance than to describe gestures based solely on physical movements. While it may be argued that this was due to the fact that the performer was a dancer and not a musician, I wonder whether such an approach may be usefully adopted within music pedagogy.
For example, in asking the dancer to articulate a cluster chord, I directed her attention to not only the precision of depressing all notes at exactly the same time, but also to articulating the release of the chord with a downwards movement of the torso. This gesture made the release of the chord more visible, and therefore more articulate, to the outside eye. Not only this, but the diverted concentration of the dancer from the nature of the sound itself to the gesture as a bodily process transformed the sound in a positive manner. Specifically, the attention to bodily movement focussed the dancer on relaxing the body so that when the gesture was executed the sound had a more lasting ringing quality than the harsh sound produced by simply depressing the keys. In addition, I encouraged the dancer to visualise the sound travelling physically within the space of the piano as a kind of imaginary counter-point to supplement sound production and improve overall tone.
The performance score for Part 2 of 'Blood Piano' was made to provide a visual representation of the temporal progression of the piece with particular detail for specific physical gestures to be executed at the piano. Within this, a second score - Score A - was developed in order to prescribe a structure for improvisation based on cluster chords primarily specified through physical movement directions. Score A contained a total of seven gestures that were marked with instructions such as in which position the torso should be held in relation to the piano (hunched or straight back, for example) as well as dynamic guidelines and suggestions for attack and release of specific compositional motifs. Redolent of Christian Wolff's 'Duo for Pianists II' (1958), Score A presented strict performance directions for structured improvisation where a gradual progression of energy and temporal proximity of gestures was necessary. The use of this score was designed to evolve naturally, marking the transition from 2-3.30 minutes/seconds of the main score.
Main score from Part 2 of 'Blood Piano' developed by Imogene Newland
The particular development of this score not only served as a visual reminder to my working process with the dancer but offers the possibility for future dissemination to other performance practitioners wishing to explore these ideas. Importantly, the score is designed in such a way as to be easily translatable by non-instrumentalists who might otherwise struggle when confronted with a more traditional, staff-notated musical score. This method of forming a choreo-musical score also provides an interesting graphic representation of ways in which musical and movement material may be cross-fertilized to produce new and challenging interdisciplinary work. Finally, the score serves as an alternative form of documentation to the performance, leaving evidence for further thought and discussion.
Certain aspects of the second part of 'Blood Piano' project carried high risks and presented the possibility for an unpredictable outcome. One such aspect was the way in which the piano would be affected by the bleeding mechanism in terms of sound and resonance. In order to produce the bleeding effect of the piano, a thin strip of upholstery sponge was placed in the narrow gap between the front of the key bed and the keys themselves. This sponge was then soaked with blood via plastic tubing from four water carriers, placed above the main mechanism. The tubing was funnelled down through the mechanism at strategic points so as not to disrupt hammer action. Not being able to test the blood mechanism before the opening performance due to the fact that the keys would become stained in advance and possibly swell as a result of liquid absorption, produced a certain level of anxiety. A preliminary test with water confirmed that gaps throughout the piano frame - under the keyboard, as well as at the bottom of the piano - would also leak.
In the planning stages of 'Blood Piano' I had estimated that 20 litres of blood should be adequate, given that each of the four water carriers could hold a maximum of five litres with a projected drainage rate of four litres per fifteen minute performance. However, on the day of performance, due to the unpredictable nature of circumstances where a prior test was not possible, a total of 10 litres was used. Approximately half of this blood drained during the process of the performance. On return to the gallery space the following morning, I discovered the blood had slowly drained out of the piano, forming a thick pool four feet across the gallery floor and appearing to move at a rate of one and half to two inches per hour. This process slowed throughout the following day and seemed to stabilise by the evening. The reflective consistency of the pool allowed for a mirror image of the installation, which included the bloodied nightdress thrust casually over the piano stool.
Interpretative Reflection
In the first part of 'Blood Piano' I aimed to actualise notions of intense physical effort in relation to musical practice. By substituting a gruelling physical task in place of actual piano playing, I intended for the Sisyphean performer to embody conceptions of struggle in order to question the nature of ambition with regard for musical competence. I hoped that the idea of the piano as a cultural burden - imminently infallible and incontestable - would give rise to the idea of a kind of musical stasis in which the habitual '[...] recycling of canonical repertoire' forms a literal ensnarement of progressive creative output (Meyer, 1967). In this way I hoped the spectator might connect the futility of the Sisyphean performer's task with the sense of insurmountability that the piano may be considered to represent. The performer's effort - and therefore his desire - for musical competence becomes a burden on the performer; an arduous and repetitive act with no final 'perfect' outcome. The idea that the performer therefore in some way feels 'bound' to the piano, as a vice or fetish object, may support the notion that the kind of expectations the piano as an object presents may indeed not be creative, but rather, trapping.
I used the theme of life cycles affirmed through the abject (blood) in the second stage of the performance to draw parallels with music as a feminine entity. Here, I hoped menstruation would be seen as an active participator to the generation of sound and the creation of music in concurrence with feminine desire. I intended the female performer to appear to generate the bleeding scenario through her tactile relation with the instrument, bringing to mind notions of loss of virginity. Further to this, I feel that the female body and the piano may be seen to be connected through the sense that the more the female performer became exhausted, the more the piano bled. In this way we might consider that the piano is bleeding for the female performer in order to actualise her effort and through this the female body and the piano may be seen to be interchangeable. For me, the Sisyphean body in this second part of the performance symbolised desire through actively generating the renewal of blood to the piano, facilitating the cycle through a method of giving part of (his) own body. The Sisyphean body, I think, acted as the sustaining life force to the female performer, whose increasing contact with blood acted as a unifying and life-confirming fluid in keeping with Kristeva's notion of the abject (Kristeva, 1982 [1980]). Further to this, the idea of an overt display of physical expression within the context of music performance may be considered abject where a subversion of corporeal realisation has, historically, been encouraged.4
The performance can be recognised as having a strong influence from Viennese Actionism5 where blood and violent confrontation is used as a facilitator to transgressive states. The transgressive state in 'Blood Piano', I believe, occurred for the performers through strenuous and sustained physical struggle and through contact with bodily fluid (blood). The blood was used to affirm the performers' effort and to symbolise their desire for the experience of otherness achieved through contact and interaction with objects.The state of being derived from this experience is one in which the performers actualise the notion of transgression through bodily participation with the piano. The parallel with menstruation as confirmation of the feminine abject with the notion of music as a feminine entity in need of social control furthered the idea that sound production at an instrument constitutes the 'reproductive' at the most intimate level. The parallel between the 'muting' of the piano and the 'muting' of the female body may be seen as a 'working through' of the 'reiterative' and 'constitutive' acts of gender performativity and gestural mimesis. In this sense the attempt of the subject to 'reproduce' a desired ideal through observation, imitation and assimilation may be considered alongside notions of effort and repetition in music performance. The conceptualisation of music as a creative by-product of real and human bodily process allows for a kind of 'giving birth' of sound - and therefore desire - to take place. This conceptualisation allows for the feminine abject as the musical other to emerge, described through an acute physical and emotional struggle actualised through live art processes with the piano.
Sheena Kelly performing Part 2 of 'Blood Piano' at PS2 Gallery, Belfast, 8 June 2011. Directed by Imogene Newland and photographed by Chris Parker.
1 'What is predictable must be both predictable and unpredictable: and what is unpredictable, must be both unpredictable and predictable' (Volans/Burrows, 2010: 107).
2 The term 'reiterative' and 'constitutive' acts with regard to mimesis was first established by theorist Judith Butler in her book Gender Trouble: Feminism and the Subversion of Identity (2008 [1990]). Her discussion pertains to the idea that gender is performative and this performativity manifests itself through 'reiterative' and 'constitutive' acts that serve to reinforce culturalised gender assumptions.
3 Originating in French psychoanalytic theory, the term jouissance was originally coined by Lacan in his seminar 'The Ethics of Psychoanalysis' (1959-1960) and is used to refer to pleasure, usually of a sexual nature.
4 I recall here Thomas Mark's statement that '[...] the virtuosity of a performer like Horowitz involves a certain self-effacement; a virtuoso does not call to attention the effort demanded by a difficult piece' (Gracyk, 1997: 145 paraphrased from Mark, 1981: 32)
5 Developed throughout the 1960s and earlier 1970s, the Viennese Actionists were a group of artists including Hermann Nitsch and Günter Brus that tackled issues of transgression and taboo through performance by using various bodily fluids including blood (Vergine: 2007 [2000]).
Barenboim, Daniel (2005) 'Master class on the Beethoven Sonatas' with Lang Lang, David Kadouch, Shai Wosner and Jonathan Biss; Chicago: Chicago Symphony Hall on DVD released in 2007. London: EMI
Bataille, George (2006 [1957]) Eroticism translated by Dalwood, Mary. London and New York: Marion Boyars
Barthes, Roland (1977) Image Music Text translated by Heath, Stephen. London: Fontana Press
Burrows, Jonathan (2010) A Choreographer's Handbook. New York: Routledge
Butler, Judith (2008 [1990]) Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge
Cage, John (2009 [1959]) 'Lecture on Nothing' from Silence: Lectures and Writings. London: Marion Boyars
Cammurri, Antonio; Mazzarino, Barbara; Ricchetti, Matteo; Timmers, Renee and Volpe, Gualtiero (2004) 'Multimodal Analysis Of Expressive Gesture in Music and Dance Performances' in Gesture-based Communication in Human-Computer Interaction LNAI2915. Berlin: Springer-Verlag
Clarke, Eric F (2002) 'Understanding the Psychology of Performance' pp59-72 in Rink, John (2010 [2002]) Musical Performance: A Guide to Understanding. Cambridge: Cambridge University Press
Clarke, Eric F (2006) 'Making and Hearing Meaning in Performance' in Nordic Journal of Aesthetics 18(33-34): 24-48. Stockholm: Thales
Delalande, François (1988) 'The Gestures of Gould' pp85-111 in Guertin, Ghyslaine (editor) Glenn Gould: Pluriel. Montréal: Corteau
Davidson, Jane (2007) 'Qualitative Insights into the Use of Expressive Body Movement in Solo Piano Performance: A Case Study Approach' in Psychology of Music 35(3): 381-401. Thousand Oaks, California: SAGE Publications
Delalande, François (1995) 'Meaning and Behaviour Patterns: The Creation of meaning in Interpreting and Listening to Music' pp219-228 in Tasasti, Eero (editor) Musical Signification Essays in the Semiotic Theory and Analysis of Music. Berlin: Mouton de Gruyter
Fitts, Paul and Posner, Michael (1967) Human Performance. Westport, Connecticut: Greenwood Press
Gracyk, Theodore (1997) 'Listening to Music: Performances and Recordings' Perspectives on Art and Technology Issue of The Journal of Aesthetics and Art Criticism 55(2): 139-150. Hoboken, New Jersey: Wiley-Blackwell
Grover, David S (1976) The Piano: Its Story from Zither to Grand. London: Robert Hale Ltd
Kristeva, Julia (1982 [1980]) Powers of Horror: An Essay on Abjection translated by Roudiez, Leon S. New York: Columbia University Press
Leppert, Richard (1995 [1993]) The Sight of Sound: Music Representation, and the History of the Body. Berkeley: University of California Press
Mark, Thomas (1980) 'On Works of Virtuosity' in The Journal of Philosophy 77(1): 28-35. New York: The Journal of Philosophy Inc.
Merleau-Ponty, Maurice (2005 [1945]) Phenomenology of Perception translated by Smith, Colin. New York: Routledge
Meyer, Leonard B (1967) Music, the Arts and Ideas. Chicago: University of Chicago Press
Rebelo, Pedro (2006) 'Haptic Sensation and Instrumental Transgression' in Contemporary Music Review 25(1/2): 27-35. London: Routledge
Rosen, Charles (2004 [2002]) Piano Notes: The Hidden World of the Pianist. London: Penguin Books Ltd
Shaffer, Henry (1976) 'Intention and Performance' in Psychological Review 83(5): 375-393. Washington, DC: American Psychological Association
Shaffer, Henry (1981) 'Performances of Chopin, Bach and Bartók: Studies in Motor Programming' in Cognitive Psychology 13: 326-376. London: Psychology Press
Shaffer, Henry (1984) 'Timing in Solo and Duet Piano Performances' in Quarterly Journal of Experimental Psychology: Human Experimental Psychology 36A(4): 577-595. London: Psychology Press
Sloboda, John A (1985) The Musical Mind: The Cognitive Psychology of Music. Oxford: Oxford University Press
Thompson, Mark (2007) 'Expressive Gestures in Piano Performance'. Jyväskylä, Finland: University of Jyväskylä
Vergine, Lea (2007 [2000]) Body Art and Performance - The Body as Language. Milan: Skira Editore S.p.A
Wanderley, Marcelo (1999) 'Non-Obvious Performer Gestures in Instrumental Music' GW'99 LNAI 11739: 37-48. Berlin: Springer-Verlag Berlin Heidelberg
Waterman, Ellen (2008) 'Naked Intimacy: Eroticism, Improvisation, and Gender' in Critical Studies in Improvisation 4(2). Guelph, Canada: Public Knowledge Project
Wolff, Christian (1958) 'Duo for Pianists II' for 2 pianos/4 hands PE.P06493. New York: Edition Peters
Imogene Newland is a researcher and practitioner whose work intersects gesture-based study within the fields of music performance and choreography. Originally trained as a pianist specialising in contemporary repertoire, Imogene became interested in the overlap between postmodern dance practices and gestural analysis and classification in music performance in 2003. She has subsequently formed a series of practice-led works that address the intimate and intensely physical relation between the body and the piano.
Imogene has an MA with distinction in choreography from Dartington College of Arts and a Licentiate of the Royal Schools of Music in piano performance. She has presented her original performance works at, amongst others, the Arnolfini, Bristol, the Klankkleur Festival, Amsterdam and Ars Electronica, Linz. She has recently completed her practice-led PhD "The Piano and the Female Body: the Erotic, the Seductive and the Transgressive" at the Sonic Arts Research Centre, Queen's University Belfast.
Newland, I., 2012. 'Blood Piano': Music, Femininity and the Abject – A Practice-Led Enquiry. Body, Space & Technology, 11. DOI: http://doi.org/10.16995/bst.74
Newland I. 'Blood Piano': Music, Femininity and the Abject – A Practice-Led Enquiry. Body, Space & Technology. 2012;11. DOI: http://doi.org/10.16995/bst.74
Newland, I. (2012). 'Blood Piano': Music, Femininity and the Abject – A Practice-Led Enquiry. Body, Space & Technology, 11. DOI: http://doi.org/10.16995/bst.74
Newland I, ''blood Piano': Music, Femininity and the Abject – A Practice-led Enquiry' (2012) 11 Body, Space & Technology DOI: http://doi.org/10.16995/bst.74
Newland, Imogene. 2012. "'blood Piano': Music, Femininity and the Abject – A Practice-led Enquiry". Body, Space & Technology 11. DOI: http://doi.org/10.16995/bst.74
Newland, Imogene. "'blood Piano': Music, Femininity and the Abject – A Practice-led Enquiry". Body, Space & Technology 11 (2012). DOI: http://doi.org/10.16995/bst.74
Newland, I.. "'blood Piano': Music, Femininity and the Abject – A Practice-led Enquiry". Body, Space & Technology, vol. 11, 2012. DOI: http://doi.org/10.16995/bst.74
Published by Open Library of Humanities
Open Library of Humanities is a registered charity in England and Wales (1163413). Registered company number 08615787. Registered office: Salisbury House, Station Road, Cambridge, CB1 2LA


Specific Gravity: 0.97400 to 0.97800 @ 25.00 °C.
Refractive Index: 1.44600 to 1.45000 @ 20.00 °C.
Jasmopyrane has a floral jasmin note with a rich sweet herbaceous character and hints of tea. The FORTE quality is a broader-cut, lower cost option that is slightly more tenacious and has a more pronounced green mushroom.
Use: Jasmopyrane has a floral jasmin note with a rich sweet herbaceous character and hints of tea. The FORTE quality is a broader-cut, lower cost option that is slightly more tenacious and has a more pronounced green mushroom.


text:
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Join us for a fun night of wine & trivia hosted by Cam Molidor of Trivia with Budds!
Open to the public, this event is a fundraiser benefiting Soroptimist International of Valencia. A portion of the proceeds from this event will be donated to help support SIV's mission of improving the lives of women and girls.
All guests must be 21 and over. This is not a painting event.


text:
The Samsung SGH-i780 or Samsung Mirage is a Windows Mobile-based smartphone manufactured by Samsung.
The SGH-i780 has a candy bar-style design and a 320×320 resolution screen. A qwerty keyboard with the
numeric keys overlaid on keys in the third to fifth column of the keyboard and the touch sensitive screen is used for input. In addition it has a small touchpad, which moves a cursor on the screen.

Specifications
 Processor: Marvell PXA310 624 MHz
 Dimensions: 115 × 61 × 12.9 mm
 Weight: 120 g
 Operating system: Windows Mobile Professional 6.1
 RAM: 128 MB
 ROM: 256 MB
 Camera: 2.0 MP
 Front-facing camera: 0.3 MP

External links
 Samsung i780 (SGH-i780)

Samsung mobile phones
Mobile phones introduced in 2008

redpajama_set_name: RedPajamaWikipedia


Landing that huge bass, or limiting out on walleye. Who could ask for more? A perfect day on the water, until the unthinkable happens. The boat won't start. My name is Warren Roosen, owner of Blue Water Marine of Detroit, and I understand how frustrating that is, being a boater myself.
Finding a reliable fishing boat repair shop can be a real challenge. Who do you trust? Do they have factory certification? Do they stock a wide variety of parts for your engine? Do their techs attend factory service schools on a yearly basis?
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We love pork chops! This sounds like a great way to enjoy them. I will make this for dinner one night soon!
For some reason I don't cook pork chops very often but they sure do look good in your photo, Kitty. They look like they stay nice and moist during baking.
This sounds like a good recipe, the potatoes sound great this way, and we love pork chops!
Looks delicious...I love those good ole homey meals!
Mmmm... Pork chops! Thanks for sharing!
Kitty, I wish these were in my oven right now, this dish looks delicious. Hope you are having a great holiday week end. Thank you so much for sharing with Full Plate Thursday and hope you will come back soon!


text:
Jax Daily Record Monday, Jan. 16, 201712:00 PM EST
Amazon.com a logistics game-changer for Jacksonville economy
by: Mark Basch Contributing Writer
Amazon.com Inc. will be a game-changer for the Jacksonville economy, as the online retailer builds two fulfillment centers bringing up to 2,700 jobs to the area.
Amazon also is possibly the leading game-changer in the entire logistics industry, Stifel, Nicolaus analyst John Larkin said in a research report after the company announced its plan for the second Jacksonville facility.
"This extraordinary company has retailers, carriers, and 3PL's (third-party logistics providers) scratching their collective heads," Larkin said.
"The company's entire infrastructure network is geared for speed and in the case where strategic logistics partners are not up to the challenge, the company begins to provide transportation and logistics services itself," he said.
Its expansion goes beyond the flood of distribution and fulfillment centers it is building in Jacksonville and other U.S. cities.
"Just in the past year or two, the company has rolled out its own trailer fleet, has developed an Uber-like last mile delivery process named Flex, has received its license to operate as a non-vessel owning common carrier in the international container shipper market, has developed its own air parcel hubs with its 'own' dedicated aircraft, has been at work developing its own truck brokerage operation, and recently revealed a plan to deliver packages by drone from airborne warehouses," Larkin said.
He said logistics companies have to come up with an "Amazon strategy" to deal with the growth.
"Either engage in a fully integrated, collaborative partnership with Amazon, or align with more traditional, slower moving customers. It may well prove difficult to serve both of these 'masters' sustainably," Larkin said.
Stein Mart not a 'little Amazon'
Stein Mart Inc. relaunched its e-commerce web site last year as the Jacksonville-based fashion retailer sought to increase sales.
However, Chief Financial Officer Gregory Kleffner said at an investor conference last week that Stein Mart doesn't expect its online business to be a big part of its sales strategy.
"There's not a lot of people making a lot of money on e-commerce," Kleffner said.
"We don't want to be a little Amazon and make no money on this stuff and just go for the top line," he said.
Kleffner and interim CEO Hunt Hawkins spoke at the ICR Conference in Orlando, a major annual investor conference.
Stein Mart, which has 290 stores in 31 states, does not expect to see big growth in its store network this year either. Hawkins said he expects it to increase by less than 10, with store openings offset by closings as leases expires.
"It's not that we won't open stores, it's just that we're going to be more picky about the stores we open," he said.
The two executives spoke a few days after Stein Mart said it expects to report a fourth-quarter loss, after disappointing holiday sales. They are working on strategies to rebuild sales this year.
"As a retailer, you've got to evolve, you've got to continue to flow with your customer and you've got to be ready to take advantage of it when she's ready to start working with you," Hawkins said.
Shoe Carnival lowers forecast
Shoe Carnival Inc. also had a disappointing holiday season, prompting the footwear chain to lower its earnings guidance during a presentation at the ICR Conference.
The company now projects earnings of $1.36 to $1.38 a share for the fiscal year ending Jan. 28, down from its previous forecast of $1.46 to $1.51. Shoe Carnival earned $1.45 a share in fiscal 2015.
The company said comparable-store sales (sales at stores open for more than one year) fell 1.1 percent in November and December, as an improvement in December was not enough to offset a weak November.
Former Jacksonville Jaguars owner Wayne Weaver is chairman of Shoe Carnival and its largest shareholder, controlling 25.2 percent of the stock along with his wife, Delores.
International Baler CEO Griffin resigns
International Baler Corp. last week announced Roger Griffin resigned as president and CEO and was replaced by William Nielson, who had been chief financial officer.
Griffin had been CEO since 2008 of the company, which makes baling equipment used for waste disposal and recycling. The company said in a news release he resigned to pursue other interests, but gave no other details.
Nielsen had been CFO since 1994.
Regency Centers increases guidance
Regency Centers Corp. last week increased its earnings projections for 2016.
The Jacksonville-based shopping center developer, which will release final results on Feb. 8, said it expects core funds from operations of $3.28 to $3.30 a share, up from its previous guidance of $3.25 to $3.28.
Funds from operations are basically earnings excluding noncash charges such as depreciation and amortization expense, and are a key indicator of a real estate investment trust's performance.
Regency also projected core FFO of $3.42 to $3.48 for 2017, but said that guidance does not include the impact of its pending merger with Equity One Inc. Regency hopes to complete that deal in the second quarter.
Mixed ratings on Rayonier, Regency
As Raymond James analysts Collin Mings and Paul Puryear began the year with a fresh look at real estate investment trust stocks, they upgraded Rayonier Inc. from "market perform" to "outperform" but downgraded Regency from "outperform" to "market perform."
The Rayonier upgrade came as the analysts upgraded the timber REIT sector to "overweight" within the universe of REIT stocks.
"Since November 2014, Rayonier has undergone significant changes — there have been modifications to management, its real estate strategy, and timberland portfolio (most notably, in the Pacific Northwest)," Mings and Puryear said in a research report.
"Rayonier shares responded favorably in 2016 (after lagging in 2015) to the aggressive, yet deliberate, steps taken to improve the company through portfolio repositioning/capital allocation decisions. We see additional upside in 2017 and an attractive total return proposition — particularly relative to alternatives in the broader REIT universe," they said.
Regency produced a total return (stock price increase plus dividends) of 4 percent last year, lower than many Jacksonville-based companies that produced double-digit returns.
However, Regency's total return was better than the overall large-cap shopping center REIT industry, which had a net negative 1 percent return last year, the analysts said.
"We believe this relative performance has translated into a more balanced risk/reward profile entering 2017, especially given its pending merger with Equity One" Mings and Puryear said.
"We continue to believe Regency shares can be held by investors at the current valuation, especially given the quality of its portfolio, but would look to deploy new capital into other alternatives," they said.
Analyst rates Advanced Disposal 'outperform'
Oppenheimer analyst Noah Kaye last week initiated coverage of Advanced Disposal Services Inc. with an "outperform" rating.
Kaye set a $25 price target for the stock, which was trading at $22.24 at the time. The Ponte Vedra-based company was priced at $18 in its October initial public offering.
"Relative to its integrated waste management peers, we see Advanced Disposal as a regional growth play with an improving free cash flow profile. We look for return to positive volume and further accretive acquisitions to drive upside to shares," Kaye said in his report.
He expects the IPO to help the company grow through acquisitions.
"We see increased flexibility as free cash flow improves and IPO proceeds provide Advanced Disposal with dry powder," Kaye said.
"While we expect management will continue to focus on tuck-in deals, increased flexibility and a more nimble debt load could enable larger deals," he said. "We believe location will inform strategy, particularly in regions where Advanced Disposal has significant disposal assets and minimal competition."
Safariland completes international deals
The Safariland Group, a Jacksonville-based provider of safety and survivability equipment, announced the completion of three international acquisitions last week.
The company acquired Pacific Safety Products Inc., which it said is the largest body armor manufacturer in Canada, for 15.4 million Canadian dollars (about $11.7 million).
Safariland also bought two British companies that make protective equipment, Aegis Engineering Ltd. and LBA International Ltd. Terms of those deals were not disclosed.
Safariland was formerly part of Armor Holdings Inc., which was sold to BAE Systems Inc. in 2007. Former Armor CEO Warren Kanders then bought the Safariland business from BAE in 2012.
Invitation Homes files IPO plans
Invitation Homes Inc., a Dallas-based company that leases single-family homes in Jacksonville and 12 other markets, is planning an IPO.
The company controlled by the Blackstone Group filed a registration statement with the Securities and Exchange Commission to sell $100 million in stock in its IPO, but several reports said the deal is expected to exceed $1 billion.
The registration statement says Invitation Homes is concentrated in the Western U.S. and Florida, with 54 percent of its revenue in the most recent quarter coming from Florida and California.
"We invest in markets that we expect will exhibit lower new supply, stronger job and household formation growth and superior net operating income growth relative to the broader U.S. housing and rental market," the filing says.
The company lists 2,018 homes in its Jacksonville portfolio producing 3.9 percent of its total revenue. It generated $905 million in revenue for the 12 months ended Sept. 30.
Work on Tru by Hilton may start in early February
Skechers to open outlet in Regency Pointe


text:
Q: Derivation of $\lim_{n\rightarrow \infty} p^{-n}(x^{p^n}-1)$ in $\Bbb{Q}_p$ Given the definition of $\ln_p(x)$ the $p$-adic logarithm, say by power series, one can show in $\Bbb{Q}_p$ that $\lim_{n\rightarrow \infty} p^{-n}(x^{p^n}-1)=\ln_p(x)$, but
the analogous limit in $\Bbb{R}$, i.e. $\lim_{n\rightarrow \infty} n(x^{1/n}-1)=\ln(x)$, can be derived as a Riemann Sum for $\int_1^x \frac{dt}{t}$ where the interval from $1$ to $x$ is partitioned into unequal subintervals with end points $1, x^{1/n},x^{2/n},...x^{n/n}$, c.f. Burk The Logarithm Function and Riemann Sums in The College Mathematics Journal, Vol 32 No. 5 November 2001 or also this StackExchange post https://math.stackexchange.com/a/3002438/254075 for the same idea of partitioning the interval of integration using a geometric progression.
I was looking for a similar derivation in $\Bbb{Q}_p$ but can't seem to make things work.  Proceeding naively and without any real motivation you can consider the geometric progression $1, x^{p^n},x^{2p^n},...,x^{p^n\cdot p^{n}}=x^{p^{2n}}$ and form sort of a pseudo-Riemann Sum
$$
\begin{align}
(x^{p^n}-1) \cdot \frac{1}{1} &=(x^{p^n}-1) \cdot \frac{1}{1} \\
(x^{2p^{n}}-x^{p^n}) \cdot \frac{1}{x^{p^n}} &=x^{p^n}(x^{p^n}-1) \cdot \frac{1}{x^{p^n}} \\
(x^{3p^{n}}-x^{2p^{n}}) \cdot \frac{1}{x^{2p^{n}}} &=x^{2p^n}(x^{p^n}-1) \cdot \frac{1}{x^{2p^n}}\\
& \vdots
\end{align}
$$
Adding up the terms leads to $p^{n}(x^{p^n}-1)$, since there are $p^{n}$ terms.  But what is needed is $p^{-n}(x^{p^n}-1)$, and what would be the motivation for such a procedure anyway?  Does anyone have thoughts, ideas, hints or references on an integral and a $p$-adic measure that could be used to derive $\lim_{n\rightarrow \infty} p^{-n}(x^{p^n}-1)$ and thereby define $\ln_p(x)$?

A: We can define the p-adic logarithm through the Volkenborn integral this way,
$$\ln_p(x) = \int_{\mathbb{Z}_p} x^{y+1}-x^y dy = \lim_{n \to \infty} \frac{1}{p^n} \sum_{k=0}^{p^n-1} x^{k+1}-x^k =  \lim_{n \to \infty} \frac{x^{p^n}-1}{p^n}$$
I felt like the question was wanting a little bit more than that, so consider the rest as bonus content to play around with. I figured it would be interesting to try to prove the regular logarithm rules we know and love starting here as our definition, for instance we can clearly see $\ln_p(1)=0$.
$$\ln_p(x) = (x-1)\int_{\mathbb{Z}_p} x^y dy$$
I wasn't able to get $\ln(ab)=\ln(a)+\ln(b)$ however we can get $\ln(x^n)=n \ln(x)$ when $|x-1|_p<1$ using a property of Volkenborn integrals:
$$\int_{\mathbb{Z}_p} f(z)dz = \frac{1}{n}\sum_{i=0}^{n-1} \int_{\mathbb{Z}_p} f(i+nz)dz$$
Now we have,
$$\int_{\mathbb{Z}_p} x^zdz = \frac{1}{n}\sum_{i=0}^{n-1} \int_{\mathbb{Z}_p} x^{i+nz}dz$$
$$\frac{\ln x}{x-1} = \frac{1}{n}\int_{\mathbb{Z}_p} (x^n)^zdz\sum_{i=0}^{n-1} x^i $$
$$\frac{\ln x}{x-1} = \frac{1}{n}\frac{\ln(x^n)}{x^n-1}\frac{x^n-1}{x-1}$$
$$\ln x = \frac{1}{n}\ln(x^n)$$
Furthermore while we're here, since $\ln(1)=0$ and the set of $x$ such that $|x-1|_p<1$ contains the $p$-power roots of unity in $\mathbb{C}_p$, this implies that for $\zeta^{p^n}=1$:
$$\ln \zeta = \frac{1}{p^n} \ln(\zeta^{p^n}) = \frac{1}{p^n}\ln(1) = 0$$
I suppose it might be possible either through a bit more careful integral maneuvering to get the more general $\ln(ab)=\ln(a)+\ln(b)$ or maybe we can say for any $a,b$ that we can find some sequence of the form $\ln(x^{m_i} x^{n_i}) = \ln(x^{m_i})+\ln(x^{n_i})$ with $x^{m_i} \to a$ and $x^{n_i} \to b$. These are just some possible ideas, don't quote me on it if they don't pan out!
You can find more discussion about the Volkenborn integral in many books such as Koblitz's, Robert's, or Schikhof's.

redpajama_set_name: RedPajamaStackExchange


text:
Q: AngularJS - Can't access retrieved JSON data in the view I just spent the last hour searching and reading a bunch of similar stackoverflow pages and was unable to find a solution. I'll try to be as descriptive as possible, but please let me know if I need to provide any other details.
Basically, I'm trying to grab a .json file using $http GET. Once I get it, I'll store it in $scope.bags and then on my html (view) page, I am trying to access the contents to use such as title, details, images, etc.
Lets start with the controller:
munyApp.controller('productController', ['$scope', '$location', '$http',
    function ($scope, $location, $http) {
        var $url2parse = $location.path();
        var $urlSplit = $url2parse.split("/");
        var $bag2show = $urlSplit.pop();
        var $bag2showString = String($bag2show);
        console.log($bag2showString);

        $http({method: 'GET', url: 'handbags/n1-black-details.json'}).success(function(data) {
            $scope.bags = data;
            console.log($scope.bags);
            $scope.message = "it works!";
        });

For now, please ignore the random var lines. I'll get to that later, as I'm guessing it's not related to my issue here.
And here's a small block of the HTML where the controller is to be used:
<div id="detail_large_container" ng-controller="productController">
    {{bags.id}}
    {{bags['id']}}
</div>

For some reason, I cannot get the id value to show up, which is supposed to be "n1-black".
This may seem really simple (it probably is, I'm a beginner with all of this), but the reason this is all perplexing to me is that I was able to do this same thing for another controller and it works out fine. I copy and pasted the working controller to modify as this newer one, and for whatever reason it doesn't seem to work.
Here's an example of another controller that IS working:
munyApp.controller('handbagsController', ['$scope', '$http',
    function ($scope, $http) {
        $http.get('handbags/bagsfull.json').success(function(data) {
            $scope.bags = data;
        });
}]);

With this above controller, it grabs the json file fine and I'm able to use its contents in the html page by using {{bags.somekey}}.
Some curious things that I ran into:

*

*On my new controller, it failed to fetch the .json file when I used the $http.get() syntax. It only started to fetch it successfully when I changed the syntax to use the $http({method: 'GET', url: ''}) style. Why I had to change it is really confusing to me.
I have all my controllers stored in the same .js file and my older ones use the $http.get() fine, while my newer one fails.

*I included a $console.log($scope.bags) after setting $scope.bags to the data that was fetched from the .json file. In my chrome console, it shows that it fetched the .json file fine. It correctly returned my .json file with all the data intact. But when I try to use the data in my html, it's just blank.

*For testing, I set a $scope.message = "it works" inside the $http.success function. When I use {{$scope.message}} in the html, it displays the message correctly. This leads me to believe I'm using the $scope correctly (my understanding of $scope is still pretty limited). So what is boggling is that the .json is being correctly fetched (as I can see in my console), and the html can display the $scope.message but can't use the $scope.data from the .json.

*Lastly, all those random var lines in the controller's code was just a way for me to grab the part of the URL after the last "/". It's using just standard JS code, which I think is okay. Maybe it's not?

Any help or insight regarding this would be greatly appreciated. Please let me know if you need any other information that'd be helpful for this!
Here's the .json file contents below (as requested):
[
    {
        "id": "n1-black",
        "title": "n°1 (Black)",
        "description": "TOTE IN TEXTURED CALFSKIN\\nBLACK\\n001",
        "images": [
            "images/handbags/details/n1-black-1.jpg",
            "images/handbags/details/n1-black-2.jpg",
            "images/handbags/details/n1-black-3.jpg",
            "images/handbags/details/n1-black-4.jpg"
        ]
    }
]

A: Just a guess, but you probably need to parse the JSON before you can use it.
Try this:
$http({method: 'GET', url: 'handbags/n1-black-details.json'}).success(function(data) {
    $scope.bags = JSON.parse(data);
    console.log($scope.bags);
    $scope.message = "it works!";
});

A: Just in case someone comes across this with a similar problem I will provide an explanation.
If you take a look at his JSON file you will see that it contains a JSON array with one item in it.
[
    {
        "id": "n1-black",
        "title": "n°1 (Black)",
        "description": "TOTE IN TEXTURED CALFSKIN\\nBLACK\\n001",
        "images": [
            "images/handbags/details/n1-black-1.jpg",
            "images/handbags/details/n1-black-2.jpg",
            "images/handbags/details/n1-black-3.jpg",
            "images/handbags/details/n1-black-4.jpg"
        ]
    }
]

In the success block he assigned the response of a get request for the JSON file to the bags variable on his $scope.
When he tried to use the expression {{bags.id}} it didn't work because bags was not an object but an array of objects. When he used {{bags[0].id}} it worked because bags[0] was the actual object he was expecting.

A: I found the solution, with the help of Nick. It still doesn't make sense to me why it worked this way but it did.
I had to state which part of the .json object I was using by stating {{bags[0].something}} instead of {{bags.something}}. I'm still a little unsure why, as my json file only has one object in it. I'm guessing I just have to write it like that regardless of the number of objects in it.
Also, the real reason why I was having trouble was because of where I was putting the ng-controller in my html page.
What I did was put it inside a div called A, and was trying to access data that was fetched using that controller from another div called B. It makes sense to me now why this doesn't work, and I think I just took another step closer into wrapping my head around the whole MVC idea.
Thanks for the help everyone!


text:
Pro-Moscow Yerevan Politicians Push for Armenia to Join Russian-Belarusian Union State
Staunton, January 4 – Only by joining the Russian-Belarusian Union State can Yerevan avoid losing to Turkey the Armenian territory between Azerbaijan and the Azerbaijani exclave of Nakhichevan, according to Artashes Gegamyan, leader of a group of Yerevan politicians who have set up an organizing committee to promote Armenian membership in that state.
The group was formed a week ago, but only today has the National Unity Party leader and former presidential candidate, explained for a Moscow audience the reasons he and his colleagues are convinced that such an arrangement is not only necessary but the only path for the salvation of Armenia and the Armenian nation (regnum.ru/news/polit/3156877.html).
In highly emotional language, Gegamyan makes the following points:
· First, according to him, Turkey is animated today by the same notions that led to the genocide of Armenians in 1915 with Ankara's talk about "one nation, two [or more] states" recalling Hitler's words in advance of the Austrian Anschluss.
· Second, Turkey is backed by the US, the UK, and Israel which is interested in promoting instability in the southern Caucasus so as to weaken both Russia and Iran, and that Armenians, who understand that, cannot expect help from that direction.
· Third, Armenia in the latest Qarabagh war has suffered such enormous losses in personnel and civilians and in territory, with the Artsakh Republic having lost 80 percent of its lands, that it faces the possibility that it will lose still more in the future.
· Fourth, economically, Armenia is almost completely dependent on Russia and consequently must form an alliance with Moscow far closer than any it has yet had.
· And fifth, the flashpoint in all this right now is not in Qarabagh but in the Zengezur region between Azerbaijan and the Azerbaijani exclave of Nakhichevan, a region across which the November 10 declaration calls for transit but one that Turkey and Azerbaijan have far more sweeping goals.
Gegamyan concedes that many in Armenia reject these ideas and have worked to ensure that his group has not been able to use the media there to mobilize support. That is why he has chosen to use a Russian news outlet to ensure that his position and that of his comrades reaches a broader audience.
It is unlikely that there is much support for such a union state at least not at present given that many Armenians believe that Moscow betrayed their country by not constraining Azerbaijan or intervening in a more timely fashion to block the advance of Azerbaijani forces. But as time passes, that may change.
On the one hand, Russia's efforts to bring back to the Stepanakert area as many Armenians who fled from there as possible are likely to win over many Armenians to the idea that in fact what Russia did was to intervene, admittedly relatively late, on their side, and will be ready to do so more fully against Azerbaijan and Turkey in the future.
And on the other, precisely because some Armenians like Gegamyan see Armenia recovering some of its losses in the area around Stepanakert, they are going to focus on the other portion of the agreement, about transit routes and especially the one between Azerbaijan and Nakhichevan now.
To the extent that Gegamyan reflects such views and to the extent that Russia may want to play to them, that could easily mean that the hopes of Baku and Ankara for unconstrained transit between Azerbaijan and Nakhichevan could be dashed, not so much by a complete blockage as by bureaucratic delays.
Given that the Minsk Group seems committed primarily to the question of the status of Qarabagh, these two factors could combine to create a situation in which the Zengezur corridor along the Iranian border could become the next flashpoint in this conflict, one that would involve a far larger number of actors.


We Care Design started as a research/exploration twitter project for my personal journey as an Alzheimer's Carer in 2010. It is now growing into a consultancy business.
Service Design meets Healthcare for Adults & Elderly with Dementia – Patients, Pros and Carers. Discovering how it is and how it can be.
The aim was originally to gain a thorough understanding of Alzhemer's Disease, Alzheimer's Care, Service Options and any other wisdom that would support me in my new role. Through twitter, I hoped too to connect with other carers, but at the start there were very few carers online in the UK.
I am a Designer by profession, most recently I specialise in Service Design & Innovation – skills that help me on this journey include: problem solving, listening, prototyping, designing, visualising, communication, testing, iterating, information design, collaboration, digital and mobile service design.
Services available for Alzheimer's in the UK are fragmented and the description of 'post code lottery' definitely applies. This current situation of no national service standard, puts family carers at an even bigger disadvantage for planning and managing care of their loved ones, more stressful than it already has to be. So family carers are forced into a kind of DIY coping mechanism, and part of this, for me at the start, was the twitter account We Care Design.
Five years down the line I have become a bit of an expert on dementia care in the home and am looking to develop and use my new skills and insights to enable innovation with and by others and particularly the big players in the UK. The needs are too high to let things happen by chance/not happen at all. People with dementia are important and we can make their lives and the lives of their loved ones, more easy and less stressful than they currently have to be.
The person at the centre of We Care Design is of course my father and his care and my own needs as a carer. The observations written here are personal and of course this is just one experience of dementia (there are many more). I am always happy to connect with people who can contribute to my toolkit of skills and knowledge on Alzheimer's and I am always happy to collaborate with others and share my insights… so please do say hello!


Imagine living in a magnificent gated community that borders the Pisgah National Forest! Build your dream home on this gentle, walkable, lot in the Homestead at Mills River. The 1.4 acre lot has paved frontage on three sides and is ideal for a home with a walk-out daylight basement. Architectural review plus minimum sq. ft. 2800 sq. ft. for one level home, a 2-story home requires 1800 sq. ft. on the main floor. Enjoy the river club for fly fishing! Live amidst the deer and wild turkeys!


text:
@implementation YCYFastLoginView

+ (instancetype)fastLoginView {

    return [[[NSBundle mainBundle] loadNibNamed:NSStringFromClass(self) owner:nil options:nil] firstObject];
}
@end