Here's one of MAC's best selling shade. I read famous celebrities like Anne Curtis, Heart Evangelista, Ruffa Gutierrez and Kriz Aquino have this in their kikay kits.
I love the sturdy black bullet case of MAC's lipsticks.
LA Colors has a clear "cheap" plastic cap that easily cracks.
Both are creamy but MAC has a drier texture compared to LA Colors that is a bit glossy when applied.
Both lasts for about 3-4 hours on me without eating or drinking.
I included other pink lipsticks for comparison.
Pink Parfait is a blue based pink while Pink Nouveau looks a purplish pink in the tube, but goes bright pink when applied. Fig is a warm medium pink while Mauve has a purple undertone but not bright when applied - its a very pretty MLBB shade on me.
I love Pink Nouveau but if you're looking for something cheaper Pink Parfait is an alternative. Plus I really love the glossy texture of LA Colors lipsticks, its very moisturing!
hey kim, where did you buy your LA colors?
i will be wearing my mac pink nouvaeu later. glad l.a. colors have a dupe in care i can't afford to replace my pink nouveau once i ran out.
hi khymm! i got requested to do a comparison, too...just havent posted it yet.
@ Shen - thanks! Muah!
my favorite part of your blog! spend vs save :D hehehe. wow it really looks the same ha, though mas bright yung LA colors but really close! sayang kase ang onti ng available colors dito sa Manila ng LA colors lipstick.
Loud pink!!! Love your swatches Khymm! =) I just don't think I can carry any of those lippies though, boo!
Btw sis, as u know i had troubles w/ my blog feed lately, and its now been fixed.
nice lippies. i like pink nouveau btw i tagged you, go and checked my blog to claim your award.


text:
Wild night in at HU's Wylin' Out
Image 5 Nov 2019 hamptonscript
Kayla Smith | Staff Writer
Photo Credit: Kayla Smith
Hampton students crowded the Student Center Atrium Oct. 23 to watch Hampton's very own alumna Chelsea Raye host "Wylin' Out," HU's spin on Nick Cannon's "Wild n' Out."
Every floor of the building was packed to watch the Blue Squad battle the Black Squad in competition for who could make the audience laugh the most.
There were multiple rounds to the night, with each round covering a different topic that kept the audience laughing. Segments ranged from a family reunion round that sent teams out into the crowd to pick an unsuspecting audience member to an impersonation round that had team members doing their best imitation of whatever the theme was. The stage was set, and the rules for the rounds were placed. Witty, and sometimes even personal, jokes were exchanged back and forth between teams and sometimes even against actual audience members. For two hours, teams did not back down.
The groups' approaches were also very important to winning over the audience on this night. It was still a competition between the two, and whoever had a combination of the most dings from DJ Vince and the most reaction from the crowd won that specific round.
When asked how the audience played a role in the types of jokes the teams were going to tell, HU student Ishani Lee, a senior journalism major from Petersburg, Virginia, and member of the Blue Squad, said, "If other people's jokes were similar to mine and the audience didn't laugh, I went a different angle."
Not all the jokes were a hit, with misses were made obvious by the crowd's reaction.
During intermission of the show, there were special performances from the four finalists of People's Choice that took place two weeks ago. The winner of the competition would get the opportunity to open the show for the DaBaby concert the following day. A very talented duo ended up winning this time, and the rest of the performers won prizes as well, ranging from opening for Kash Doll at the tailgate Oct. 25 to receiving unreleased
A Different Homecoming merchandise. After intermission, the jokes kept coming, and the teams picked up right where they left off.
HU's Wylin' Out Girls also filled the stage, helping to keep the crowd entertained by throwing candy and snacks to them, joining in on the jokes during the "Talkin' Spit" and "Pick Up" rounds. The "Pick Up" round really showed each team's creative side. The night ended with a fiery last round and final remarks from all of the opponents on both sides. The DJ for the night, DJ Vince, also added to the atmosphere with his comical commentary and funny sound effects. However, through all of the back and forth, this friendly rivalry ended up in a tie due to the main fact that no one had kept track of who won that round! In the end, it came down to the audience to pick who won, resulting in a win for the Black team. The night was filled with laughs and fun that made it a great way to spend HUHC168.
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text:
Pols "haggle" with landlords to keep day care centers
By Thomas Tracy
When the city's Administration of Children's Services (ACS) announced recently that budget constraints were forcing them to close ten borough day care centers, City Councilmember Lew Fidler had a simple yet profound solution for their plight.
It was just one word, but it's one that the Bloomberg administration uses rarely, if at all. After all, doesn't anyone ever "haggle" anymore?
Fidler told members of Community Board 18 last week that when ACS told them that they were going to close upwards of sixteen day care centers throughout the city — the lion's share of which will be in Brooklyn — he wanted to know one thing.
"I asked them if they considered calling all of the lease holders and tell them that if they don't cut their rents by ten percent the city was going to cut their leases," he explained, recalling the conversation. "They looked at me and said, 'That's a good idea.'"
It apparently never dawned on the city to do that, Fidler said.
"Instead, they decided to simply close the ones with the highest lease costs based on an artificial number in their heads and move the kids around."
A little back and forth between the city and the lease holders could go a long way to keeping everyone happy — especially in this financial climate, where property owners are having trouble filling their spaces, Fidler said.
ACS officials said that the closing of the day care centers will save the city $9 million. Centers on the chopping block include the Court Street Day Care Center at 292 Court Street, the Farragut Day Care Center at 104 Gold Street, Bethel Baptist and Strong Place Day Care Center at 242 Hoyt Street, Salvation Army Fiesta at 80 Lorraine Street, Martha Udell Early Childhood Academy at 505 St. Marks Avenue, Alonzo Daughtry at 1005-07 Bedford Avenue, BBCS Duffield Children's Center at 101 Fleet Place, Bedford Avenue Day Care Center at 40 Brevoort Place, La Puerta Abierta CCC-PAL at 2864 West 21st Street, and Learner's Haven DCC at 432 Rutland Road.
City officials said that the day care centers are under-enrolled and have high leases ranging from $150,000 to $450,000 a year.
If they are closed, the children at these day care centers would be offered seats in nearby centers, according to an ACS spokesman.
Finding the closures "counterproductive" parents with children in these centers have vowed to protest the cuts.
Yet that may not be necessary. It seems that before they close a single center down, the city will try haggling first – with the Brooklyn delegation's help.
"We're going to work closely with landlords to renegotiate childcare facilities' leases or enter into "mixed-pay leases" in which the city would pay a portion of the rent and the operating board of the center pays the rest of the rent," explained City Councilmember Steve Levin (D-Brooklyn Heights), who has two day care centers in his district facing the city's budget axe.
—with Michele De Meglio


text:
Q: Inclusion-Exclusion Principle for basic combinatorics problem...
How many ways are there to pick five people for a committee if there are six
  (different) men and eight (different) women and the selection must include at
  least one man and one woman?

I know to solve this with very basic combinatorial analysis (though I know the principle is also basic). We find the total people we can choose for the committee and proceed with cases: 1 where we have all men on the committee, 1 where we have all women on the committee and then we subtract the two cases from our total. This gives us
$${14 \choose 5} - {8 \choose 5}-{6 \choose 5}.$$
How would I compute for Inclusion-Exclusion Principle, though? I've no idea where to begin with it other drawing a venn diagram and labeling set M and W...

A: You have more-or-less done it already.
For $i \in \{0,1,\ldots\}$, let $a_i$ be the number of committees with $\geq i$ absent genders.
We include $a_0=\binom{14}{5}$.
We exclude $a_1=\binom{8}{5}+\binom{6}{5}$.
We include $a_2=0$.
We exclude $a_3=0$.
And so on.

A: In my opinion, this is the answer:
1m and 4 w : 6 X 8C4
2m and 3 w : 6C2 X 8C3
3m and 2 w : 6C3 X 8C2
4m and 1 w : 6C4 X 8
Since these are all mutually exclusive, they can all be added.

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Microlighting Ireland – A picturesque flying experience!
Have you ever wondered what it's like to touch the clouds?
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For you next extreme encounter, experience Microlighting Ireland!


text:
Q: Question regarding Drift velocity in general? The derivation of drift velocity in case of electrons is equivalent to the case of an charged ionic gas and therefore all the arguments also apply there. Now for an ideal "ionic" gas which interacts with each others only as perfect spheres would (for arguments sake), when we apply an external electric field, they would just show drift, that means that they "favour" one direction more than the others where drift velocity is given by $v_d=(eE/m)\tau$ where $\tau$ is the average relaxation time. Hence the net velocities of the electrons wont vectorially add to zero, and moreover the speed as given by kinetic theory of matter would not depend only on the temperature but also depend on electric field. Does this not contradict two fundamental postulates of kinetic theory?
Moreover in case of electrons in a circuit with many series resistors, the relaxation time would be different. The resistivity as defined by $E=\rho J$ and $\rho=m/(ne^2\tau)$ where j=current density, n=number of electrons per unit volume and e=electronic charge, should be different for all the series resistors. But then will not the drift velocity be different for all the resistors if the top equation is correct since the resistivities might defer, causing the relaxation time to differ. Doesn't this contradict the postulation of a steady current which requires constant drift velocity. Moreover suppose we use the same material of different cross section, since there is no area dependence in the drift velocity, it shouldn't change but then again we don't get a steady current as J remains a constant and I is simply J times A.

A: Alternate method to derive drift velocity:
Consider a field $\vec{E}$ inside the conductor.
Using equations of motion we can say that for every charge inside the conductor, $$\vec{v_1}=\vec{u_1}+\frac{\vec{E}e}{m}t_1$$ $$\vec{v_2}=\vec{u_2}+\frac{\vec{E}e}{m}t_2$$ $$.$$ $$.$$ $$.$$ $$\vec{v_n}=\vec{u_n}+\frac{\vec{E}e}{m}t_n$$
where $t_1,t_2,...t_n$ are the times until each of them collide with another particle respectively.
Summing them and dividing by the number of charge particles($N$) we get, $$\sum_{i=1}^n\frac{\vec{v_i}}{N}=\sum_{i=1}^n\frac{\vec{u_i}}{N}+\frac{\vec{E}e}{m}\sum_{i=1}^n \frac {t_i}{N}$$
We can say that $$\sum_{i=1}^n\vec{u_i}=0$$ as the charges initially are in perfect random motion. Thus substituting $\sum_{i=1}^n\frac{\vec{v_i}}{N}$ as $\vec{v_d}$, the drift velocity and $\sum_{i=1}^n \frac {t_i}{N}$ as $\tau$, the relaxation time for each particle we get
$$\vec{v_d} = \frac{\vec{E}e}{m}\tau$$


text:
NINA ISABELLE INTERVIEWED BY LINDA MARY MONTANO
transcribed by Brian McCorkle
L: We ask the angels to inspire us. So Nina, um, tell me the story of you and Sylvia and her illness.
N: Well she had never been sick, really. Never really been to the doctor or, I mean she'd had like a cold or a couple of fevers in her lifetime, she's 9 now. So I usually, when she would get a fever in the past, I would just, wait it out. We never really went to doctors - I would of course if it was an emergency but we never had to. In this case she had a fever on Monday morning so she stayed home from school and - I just kept taking her temperature that day and thinking that she would probably just have a regular fever and it would just be a couple of days and she would be back in school. By that night her fever was getting higher it was like 103 and 104, and the next day, at the end of the second day, her fever was 105. So I brought her to the emergency room in Kingston and they took her temperature in the waiting room and it was 105. And, they gave her some Tylenol and Motrin, which i'd been giving her at home also. When the doctor came to see her at the emergency room her fever had come down to about 102.7 - and they tested her for strep and the viruses by doing nose and throat swabs - and they sent those to the machine in the lab to determine if she had strep or any viruses - and those came back negative and they listened to her lungs and they couldn't hear anything. And they sent us home saying that she had another virus that their machine just couldn't detect and to just continue treating her with Tylenol and Motrin or Ibuprofen. I had the feeling that something was wrong and that they were missing something and I wasn't in the right mindframe to say so or speak up - it was like every time I went to form my thoughts and say something to the doctor it was like he was talking and I just couldn't figure out what I needed to say or wanted to say - it was like I had a feeling something was wrong but - I think I thought I said that having a 105 fever was pretty high for a virus. And he said "Oh, no it wasn't 105" And I was just thinking, well it just was in the waiting room with the nurses, but he was saying it wasn't. It was this weird feeling of believing him because he was a doctor but knowing that he was wrong when he said that she didn't have a fever of 105 with such authority. So, when we left I was really irritated by that whole experience. The next morning she was still not better, she was - I would look at her and she would kind of look like she was blue, and I would look again and she didn't look blue. So, there was again this feeling of, did I, am I correct in that? It was this continual process of checking in with my perceptions and not really knowing what was real, but also being a person that has experienced a lot of things that have caused me to learn to trust myself. So it was like a whole other level of that way of being. So I took her to the pediatrician that afternoon, and he, by that time she had a rash on her body and her mouth looked weird and she had been throwing up all day, not able to keep any fluid down. And he tested her again for strep and his machine said that she tested positive for strep and he said it looked like she had scarlet fever because she had a rash all over herself. And her tongue was white. So he gave her some Amoxycillin to take, and I thought "Oh, well, good, so it was something" - I knew it was something - I was feeling hopeful that this would - that she would take these antibiotics and he said they would work really quickly and that she would turn around really quickly and that scarlet fever isn't really as big of a scary deal as it sounds, and that it responds quickly to the antibiotics and she should feel better the next morning. So she still wasn't able to keep any fluid down, she was looking blue and green and really pale and really lethargic - her breathing was starting to be really rapid, and it seemed as if she in pain. She kept saying she had pain in her lung, I didn't know it was her lung then, I thought it was her stomach, where she was indicating. So, we got home and I tried to give her the antibiotic and she just threw it up, so I called the doctor and asked how long does it need to stay in her stomach until it had gotten into her system and they said "Oh it should be fine, just give her another one in the morning." So I was just sort of getting her ready to go to sleep and in the morning we would get up and she would be better, or at least starting to be better. But I had this feeling, like maybe I should take her into the hospital again because something just didn't seem right. So I kept going back and forth with that thought, "just wait until morning she'll be better" and "no you should take her in again." But then also we've already been to two doctors and they'd sent us home and it just seemed ridiculous to go to a third emergency room after hours. And I didn't want to go back to the Kingston Hospital because they already missed the fact that she had strep and sent us home and said she had nothing wrong with her.
I was really on the fence about going back to the hospital - I just felt like they were going to say "oh nothing's wrong - go home and wait it out" - but I think this is the scariest part of it is that I almost didn't go to the hospital. I decided to go to Poughkeepsie, which is a half an hour drive, but I knew it was a better hospital, and by the time we got there there was all kinds of Christmas traffic because it was night, it was December 16th or 17th. She wasn't able to walk or move, and she had turned blue, we pulled into the parking lot - I didn't know if I should call 911 but I was in the hospital parking lot so I just hoisted her onto my back and fireman carried her from the parking garage to the hospital. It was dark and windy and everything was vacant, it seemed like there were no street lamps. It just seemed really like, time slowed down, like I was carrying this near-lifeless child through this parking lot towards this light of the entrance of the hospital. And I went in the front entrance and they said "This isn't the Emergency Room it's around the other side of the building." So I just quickly turned around and started running as fast as I could with her on my back. And we had to traverse the side of this giant hospital in the dark, like we were going through alleyways with dumpsters, it seemed. And there was just no one around. It just seemed really unbelievable - one of those moments when time is just stretching out and you're aware of the urgency and ridiculousness of your situation. So I got into the Emergency Room door which was around the other side of the building it was a really small entrance. And they wheeled up a wheelchair behind me and I plunked her down into it and they saw that she was blue and not moving and didn't really look alive so they quickly hooked her up to a monitor and it said that her heart rate was 180 and her oxygen level was like 58 or something, really low. They kept hitting the machine saying "this can't be right - this can't be right" and a couple of them were just taking their time, trying to get the machine to be accurate. Then one nurse came rushing out and she said "The machine's fine! Get Doctor -" um, the pediatrician who was on call there, I
forget his name. And they rushed her back there and they immediately gave her a shot of Venkomyacin, she'd gone septic and they didn't know, initially, what was
wrong with her. They were asking all kinds of questions, had she been exposed to something. They just put her in an ambulance and I got in the front of the
ambulance and we rode to Westchester Hospital, and they put her in the intensive care unit for children and we didn't know what was happening at that point.
They gave her an ultrasound of her body and it showed that her left lung was full of pus. They couldn't hear that, neither the emergency room or the doctor's
office could hear that for some reason when they listened to her chest, I guess because it was so full. So, they drained her lung the next morning by putting her unconscious and putting a tube in. Then she - they showed me a picture of the X-Ray and you could see her esophagus going off at a 45 degree angle from her throat, and her heart was shoved up into her left shoulder area because her lung was so full of pus that it was displacing her heart and her esophagus - it was the worst looking X-Ray I've ever seen. Like a person's body parts all in the wrong spot. It was just this feeling of time being altered and not having any control over the situation and knowing that I needed to be fine with that.
L: Nina do you need to take a break right now and put your hands on your heart?
And thank yourself for - just thank your heart, thank yourself, just be -
gratitude. Thanking Nina.
- pause -
L: Can you imagine Sylvia in your arms, healed.
N: Yeah, and I've recited the facts of this situation so many times and it's much
different than the actual experience.
L: And what's your feeling today, where are you vibrating with it today?
N: I think this whole situation is sort of in another compartment, it's like
frozen there for the sake of reflection or study. Because, I don't think I could
go around each day actually with this memory in my - like the memory and
awareness that I use in my every day life. So, it still feels kind of unreal, and
as if it never happened, and also as if it was no big deal at all, and also as if
it was a life-changing event. As if there was life before this and life after
this. So it has - you know I don't know if it hasn't been enough time but it
hasn't settled, it feels like the time that we spent in the hospital was, could
have been like an entire year. It could have been 20 years ago, or 3 years ago,
or yesterday. It feels like it could have been much longer or much shorter, it
feels like it could have been 3 days or an entire year. The time around it and
having to do with - everything having to do with this is just warped in this time
and space way.
L: So there's Nina the mother and there's Nina the artist-mother, and you were able to be in touch with so many people via your iPhone, the group chats. But you
also, just from photos and with stories, Nina the artist really came to that situation, in terms of how you dealt with room, and the people and the doctors
and the nurses and the visitors, so could you tell me about Nina the artist, in the room with your daughter?
N: Yeah I thought about this a lot because I was talking with you Linda on the phone, most days we would check in and you would ask how we were doing and we kept in close touch and I - I remember, I don't know how many years ago it was, but I was talking to you about this time Sylvia and I were in the grocery store. And she was throwing a tantrum, and my cart was full of groceries, and I just had to abandon the cart and leave, these really difficult mothering moments. And you said something like "What would the mother that you would want to be - how would that mother be performing, and how could you perform as a mother in that situation?" And I remember having this huge realization when you said that, that I had a choice how I responded to Sylvia, that I could perform in that moment as a mother having a child who's having a tantrum in the grocery store. Just this realization that performance could be - that could be a coping mechanism - but it's not really a coping mechanism it's like a mechanism, so - ever since that point I've really used that performance mechanism in my mothering, because I've really had to because we wind up in so many difficult situations. And it's not performance in the way of being perfect, it's more like what is my role here and how can I embrace that role? That mechanism of awareness really creates that ability to view multiple possibilities and then choose one. And then even if that possibility that you chose isn't working out - you're still able to step out of that role, view a hundred more possibilities, and chose another one. So it gave me this really maneuverable framework for navigating mothering and life. So I already had been sort of practicing that, in a way that became very natural to my just daily way of going about, that I didn't realize until this latest hospital experience how much I rely on that mechanism as a mother and as an artist and all throughout my life, it's now something that informs my choices and my awareness about my artmaking projects, circumstances and situations I find myself in life, or if I'm envisioning and conceptualizing different possibilitie - that sort of performance mechanism that you introduced me to has really informed my approach to life, mothering, and art. So that was one of my big realizations, in this process, or in this experience.
L: You're also a scientist, you know, you're a trained and practicing massage therapist - you're multi-multi leveled, multi-talented, so you have access to so many different personas, and quote characters and other voices that you can use and you really pulled out or pulled into all of them. Because I remember either reading or hearing from you that the scientist was wowing the doctors and nurses and the artist or the artist-mother was creating an installation in the room, the mother was in bed with the daughter - it was just an incredible, incredible experience for us, who knew about it online and knew about it being connected to your heart and to your heart, we all love you, and then Sylvia, and then Brian. So it was just - literally, I couldn't do anything while this was going on, I was just with you every second. I couldn't I couldn't function outside the persona of being Nina's love and Nina's friend. That was my, my practice.
N: Yeah it was essential, and I can't even express the web that we all became, people coming and going, so many people were involved and connected and just wanting to help in so many ways - and helping in so many ways, that it was like - I'm not a person who's able to just sit around, and there wasn't a lot of sleeping over the 17 days but - it was Christmas and we had construction paper, we were making daisy chains and decorating the room, and the room became filled with hanging paper chains and cut-outs and it became a really exciting room that way. We were studying all the different antibiotics she was on and what their scope of treatments were - which things they would kill and which things they wouldn't. Making lists and crossing off things because the doctors couldn't really - they weren't really able to identify which bacteria had caused the lung to fill up so we were - I was trying to figure that out by processes of elimination. And that became these long long lists and learning about how antibiotics can have antagonistic effects on each other and it seemed like the two that they were giving her were canceling each other out and they would add a third one and the fever still wouldn't come down and the white blood cells would still go higher - she was on three antibiotics and it was just getting worse. So it was definitely entering science mode, definitely entering busy mode of just manipulating material with my hands non-stop, talking to people, just really being outside of myself. And I was remembering, I'd worked many years ago in search and rescue in Yosemite Valley, and there was a similar thing that happens there when there's an emergency and you just get down to doing the work. And that I remember that time shifts, time stops, and you just have - it's like everything's in slow motion. So I guess as a scientist and artist who's thinking and working with perception -in this case I'm still stuck thinking about the role of perception, I'm thinking about why we perceive certain situations - why time is warped and bent, and for what purpose, what parts of us make that happen? And how can we control that or
maximize it?
L: Do you think your early training as a gymnast and as a high-flying, risk-taking performer, that that internal persona allows you to confront high-flying life-art issues, in this case? All of your past actions and trainings came together.
N: Yeah, I think - my Dad was a gymnast, an acrobat and a trampolinist, and so from the time I was little he would be tossing me up in the air and having me balance on his hands - we would be doing hand balancing and acrobatic things - and training me on trampoline, I would be launching myself in the air. So I was really, had this, I think maybe in a way that puts a person outside of their body, so I had this really strong sense of my physical body, and an equally strong sense of the space outside of my physical body, so it's almost like I inhabited two spaces. So, I think it created the ability to see myself from outside, which is why, Linda, when you introduced the idea of choosing roles, that was really a surprisingly simple thing - as much as I'd been able to see myself from outside my body I had never imagined this possibility of seeing that self choose - make choices. So, as much as I have this experience of being outside my body sort of naturally, I'm missing a lot of experiences that seem very natural for other people that have to do with awareness of choice. So I think it has its pluses and minuses, being disconnected - not disconnected but having a sense of the outside-the-bodiness.
L: Is that because there's a level of suspension that comes from having been suspended - it's almost like an angelic timelessness, an angelic suspension.
N: Yeah I don't know I've thought about this in relationship to having been a trampolinist because, I remember, when I was maybe 15 or 16 I had quit gymnastics and I just wanted to focus on trampoline. So I was learning these really complicated skills on the trampoline, one of them was a double-twisting double- backflip, which you do in succession with a bunch of other tricks. So it requires jumping up in the air and flipping around two times while you spin around two times. So it takes these really tiny muscle movements and you're going really high in the air, and it's so many tiny movements that it feels like you have a year when you're up in the air doing that trick. I can still, even to this day, feel the microscopic movements inside of my body that you need to do in order to
make that trick happen. Yet, in that split second, the amount of time it takes to
perform that trick, it expands and it seems like you have, maybe an entire minute
or five minutes or something.
So, we used to use video cameras to record ourselves and you could see this, just
this human going up in the air and spinning around really quickly and then
landing. And when you slow motion the thing down you can see: "Oh, my elbow was
sticking out, I need to pull my elbow in" - you just saw these really microscopic
things that you needed to do with your body, like just tuck your chin in a
quarter of an inch or something.
So, I thought about this when I was studying body work, and I forget which
practioner was talking about people who'd been in car accidents, where their body
comes to a direct halt. They've been speeding, and then the physical body comes
to a quick halt, that the etheric or energy body continues to move past the car,
and outside of their body, and their energy body didn't come to a halt, it just
kept kind of gliding into the space in front of them. So, I thought about my
experience as a trampolinist and this high-impact kind of jumping, this being-in-
the-air, maybe that was happening.
We wouldn't call it "traumatic experience" because you were choosing to do it and
you didn't usually get hurt but it caused this similar thing to the "outside
body" that maybe happens when people are in car crashes or other high-impact
injuries or something.
It's just a perception of time being weird and altered. And the perception of the
body, the physical body and the outer bodies.
L: So, it's almost like three personas, I'm sure there are more, there's Nina the
artist, with all kinds of things happening in that room: the stars and paper cut-
outs, and iPad games, and there's Nina the scientist, which you are also, who's
doing all of this medical research, there's Nina the partner with Brian as
collaborator, and there's Nina the Mother. There's no which one is second, third
fourth, and I'm sure there's more, there's Nina the spiritual seeker.
So there's these five to seven, to twenty-faceted - there's Nina the daughter,
who's relating to parents what's going on, Nina the communicator. It's this
multi-faceted opera of care and love, that is unbelievably fertile, rich, and
applaudable.
What would be your advice to other mothers, to other fathers, to other others in
this situation? What - it's a teaching, what you did, is a teaching, it's a
course, you could study what you did for years! What all you went through. What
do you think people studying what you did will come away with or learn, or need
to learn?
N: The first thing that I kept telling other mothers when I would see them is
just, "Go to the doctor, don't try to ride it out, it doesn't matter." I have so
many friends, myself included, we try to avoid going to the doctor, because maybe
it's expensive, or we don't trust them, or something.
The first lesson, practical and the lesson that can save the most lives
potentially is just go to the Doctor. It doesn't matter if you're wrong, just
keep going. If you know that something is wrong don't trust them, just keep going
to the Emergency Room over and over and over if you have to. I think that's the
most urgent, pressing message that I found myself wanting to tell my other Mom
friends. I think I'll probably be more inclined to go to the doctor all the time
now. Also, from being involved in athletics we were trained to never go to the doctor,
you know. So it was sort of overriding this programming I'd had my entire life
that the body is invincible and it can heal itself no matter what, you never need
to go to the doctor - that's the most practical advice.
And probably I think - I don't know, there were times when I was thinking "I
don't know how I'm doing this, I don't know how I'm not falling over or screaming
or having an anxiety attack or being really scared or crying." I don't know how
all of those things didn't happen, other than to say it was thanks to this
performative mechanism that allowed me to really be present with what was
happening and to realize I was in control of my anxiety and my fear, and that
those sorts of responses wouldn't have any impact on the outcome.
So, that sort of awareness and logical thinking kind of let me off the hook. "Oh,
I don't need to have anxiety, I can see how that's not useful."
L: As a practicing artist, you mention four or five things: screaming, anxiety,
et cetera. Do you feel that the coming-down-from-the-suspension, or from twirling
or twisting, from being put into the air of this situation; do you feel that
those are things you'll be dealing with in your work, or in therapy, or that you
will scream in your house when you're alone in your house, or do you feel that
these kind of detrituses and these left overs, this material, do you have any
idea how you'll be using the material?
N: Yeah, I feel like it's probably not ready to come out, like it's sitting,
solidifying a little more, I think when it comes out, then, it's going to be
really directed, and that might show up in having - I mean I know this from going
through things like this in the past that it gives me this ability to be really
clear in my impulses and my choices and my instincts. To recognize when an
institnctive notion is occurring and to direct it really quickly and not question
So, I think maybe all of these sort of difficult experiences in my life are
continually fortifying that mechanism of choice-making and embracing and owning
decisions and actions. Where there's not really a lot of - it's been training me
to function in this way that's just sort of following impulse, but also the
impulses have been correct in a lot of ways. Or it's like they're getting to be
better, they're not always the most useful or beneficial thing, but it's like
honing that mechanism, to where I feel like, eventually, a person, if they keep
going through stuff like this for their whole life, might be able to direct that
process really effectively.
L: And you said persons going through this, I'm kind of thinking, like my
brother's a surgeon, and my niece is a pediatrician and an internist: I'm
thinking medically right now, and, you had 17 days of really being in close
proximity with the medical, more than that, close proximity with people in the
medical world. What did you learn from them?
N: They have these slogans, like "We operate on Occam's Razor!"
L: What was that?
N: "Our protocol is developed based on Occam's Razor!" The most likely scenario
is the most probable, is probably it, or something.
"All of our decisions are informed by protocol, we don't-" they don't use, if
they have a hunch or a notion, they have to bend their protocol to sort of force
a way for their instinct, whereas operating as an artist I might have an instinct
or a notion and I might have to force some sort of rules or material, physical
material, to suit my notion.
So I could see - just, that they have this kind of comfort with fencing
themselves in with this, because it's like life or death, when you're on the
fence and making a decision like this about whether a child lives or dies, you
can't, as a human, be like, making a quick instinctive decision. Because you're
not going to be 100% correct. So they have to put these parameters in place so
that they're not accidentally killing children.
L: What does that look like?
N: They're working with something that's more important I guess, it's not more
important, but it's much different than "Oh I'm going to make a sculpture and the
welds didn't hold" or "I had the welder set on 4" or something, it's like "Oh I
made a mistake" but it's not like somebody's going to live or die because I chose
the wrong color or, you know, my seams didn't hold, or someone disagreed with
what I was doing, or one of those things like, as an artist, being misunderstood,
like worst case scenario you do a project, no one understands it, everyone
misunderstands it, it fails, or something, it's like "So fucking what" there's no
children who just died so it doesn't really matter, so that's sort of liberating.
L: It makes us glad to be artists?
N: I guess so, not to say that it's just frivolous, I think we're all searching
for real useful ways of going about that translate to how to live life
effectively, and that can save lives.
L: I always felt that I wanted the same level of integrity as my brother had when
he was doing surgery on a child. I wanted that same brilliance, that same,
integrity again, that same attention, that same, care, that same, knowledge.
Because that's a level to aim for, and that's a level that I could feel in a
family member and want to emulate.
N: Yeah it's probably great if we have that level of care and awareness in
everything we do in our lives, and I agree. Because even, I guess on the surface
it doesn't seem like anybody lives or dies based on any of my successes or
failures with all of my art projects, but they're, they're little spirit ideas,
little spirit babies or something.
So it's, I mean, I guess it would just be, if we were to decide that human
spirit, human beings were different or more important than idea-babies or spirit-
babies.
It's probably not true that there's a hierarchy and one is more important than
L: But the endurance that you participated in with your daughter and with your
partner, Brian, and your ex-husband being there also in the picture, has, was an
invitation to the next level of excellence. Because there's a graduation from the
heart, our hearts, our hearts expand from these life endurances. And then it's
like the art, the art will, the art will benefit.
Or the life will benefit.
N: Yeah, and that's really sticking with me, more and more, as I know you, and am
influenced by you. There really is no difference between my life projects and my
art projects, and that they both deserve equal levels of integrity.
L: How is your relationship with Sylvia altered, changed, moved into or out of,
or... what's new, what's old, what's?
N: Well, I've made a point of, I have my observations of she and I's
relationship, and I've tried to be really clear in not articulating her
experience as my experience, or my observation of her experience may not be
correct. So I, kind of refrain from imposing my observation of her experience,
and what it might be.
I witnessed her working with certain things in this circumstance, being
confronted with things she had no choice over. Kids are given a lot of
encouragement in this era, lately, that they have choice, and that they have
choices about their bodies and what things they say are okay and what things are
not okay. That they need to make good choices and use their voice, and make these
choices.
So she's been raised that way, except in this case, she was put in a position
where she didn't have any choice, they had to take blood when they had to, and
they had to do stuff to her, she didn't choose, and she didn't want to.
And so it was difficult for me to watch that sort of reckoning and realize, we've
been wanting to give our kids this, idealized notion that they have choice and
autonomy and their body is theirs, and it's all great and well-meaning things,
except in a case like this, you also have to be able to give over, to give over
control of the things that you can control, and to know the difference - the
ability to know, when you don't have a choice, and the ability to be okay.
So she's 9, and she hasn't had many experiences like that, so watching her, have
a crash course in that, is one things that I noticed, as far as she and I's
relationship, that's a tough one to speak about. We're still so connected, that
we sort of have an understanding of each other and our relationship to each other
that's unlanguageable.
Just, feeling and knowing each other in a way that is still really instinctive
and connected in some, sphere that doesn't have language. And then also
experiencing the stuff that does have language, just being really tired of
whining, and all of the regular mother things, like really needing her to do what
you're asking her to do, and being really tired, with those regular sorts of
parenting things.
L: The ability - what would you say to mothers about honesty? What I've observed
in your relationship with Sylvia, in general, you have a rule that being honest
and forthright and saying the truth, no matter how truthful or puzzling or
upsetting or shocking it might be, never stops you, and so in a way that really
helped, because I could see that some people might not have been as able to be
truthful in the circumstance you were in - to talk about blood and guts, and
sickness and life, in front of your daughter and also - anyway, I think you're
very brave. And would you recommend - how would you get other people to be as
brave as you? And is that from being suspended in the air?
N: I don't know.
L: Why are you so brave and how can you teach that bravery?
N: I don't know because, brave, I might have just learned it, you know,
parenting, you learn a little bit of it from the way your parents raised you, and
some of that is good and bad. I mean, my Dad was kind of a fearless person and he
talked a lot about violence and fighting and blood, so a lot of his speaking was
really straight forward and graphic and, he had been in a lot of fist fights and
he was kind of a rough and tumble person, and his father was - he had a lot of
experiences growing up in a tough area where he, found a finger, this guy jumped
him and he punched him and just kept punching him, and so, I just grew up with
these - I kind of question it now. That is a defense mechanism, I think, to speak
about bloody and graphic things with such ease, it's partly conditioned, I don't
think it's great, because as I've gotten older and I've gotten more respect for
the body, I think that's, not such a healthy response, to be so vocally graphic
about things that are so important. But that's how he was, and my family is still
kind of like that, so I don't know, I guess the other thing is being
disinhibited, which could be from head injuries, or it might just be a way or
being that I am, I can't really not say what I'm thinking, and I never think it -
I think it benefits everybody involved to know the most information, and if
everyone said what they were thinking, I think everyone would appreciate that.
L: Ra, ra! Applause for all that, fabulous, thank you for mentoring that. And I'm
sure those nurses were applauding you, and doctors.
N: Yeah, maybe doctors and nurses are used to that, sort of, speaking.
L: How did the animus of Brian's presence, who actually has a lot of anima in
him, how did you feel, he supported you, and how would you recommend, future
people who would be in a similar situation to ask for the kind of support you got
from him?
N: I mean, he was just continually there, there wasn't a question of whether he
would be there for us, he just was, and that was really comforting. The feeling
of, I didn't even have to ask, there was no resentment, it was just, straight up,
unconditional help and support. Neither of us, I mean we were tired, but that
wasn't even an issue. So I think, just having another person there was really
great, and really gave me a lot of stability and comfort. And Sylvia too, he was
able to, a lot of times, defuse things that were happening, then he would pick
up, and start reading books to her and stuff.
I guess, just having the ability to collapse a little bit and know that somebody
else was going to be there.
L: If you were to interview Nina right now, what would you ask her, about this
experience?
N: I would ask her, how is she going to be, how is she going to be better the
next time this happens? What is the thing to carry and learn, the next thing? I
don't even know if there's a way to answer that because it will just evolve over
Or, how will she, I wonder if these spheres of reality will, over time, converge?
And how would she know if that has happened and what would it matter?
L: What does converge mean, to you?
N: I guess the experience is kind of fragmented from my awareness, I notice when
I start to retell the facts of this experience, that they're kept in another
compartment of my awareness that's really far from the awareness I use to go
around in my daily life. I wonder if there will come a point when the distance
between those two modes of functioning becomes closer.
L: What does she say to Nina?
N: She would say, "Why does that matter? Between those things. Why are you
fascinated with where things are, the location of perceptions? Why do you care so
much about wanting to know where things are and how they get from one place to
another?"
L: I could answer that.
N: You could?
L: I am Nina, and I am up in the air! My dance threw me up in the air, and I
don't know where in the name of God I am! I'm twisting, I'm turning, I'm
trampolining and I'm jumping, and I'm up and I'm turning around and I'm falling
down - I don't know where I am, and the distance, relations, so that's -
N: Right, that makes sense, thanks Linda.
L: My God! My God! Oh my God, where am I? What's the relation to the next - I'm
an angel, flying.
N: Hm, good point.
L: So, Nina says to all parents [long pause]
You talked about money today, before we began, it was so beautiful, and you
talked about bills coming to you, through her birth father, that she had
insurance, it was so touching, you talked about money, because most people are
just like cray-cray about, totally cray-cray. And you said, with all beauty, yeah
there was one bill, about $15,000 or eighteen and then you said, I want you to
close your eyes, and feel this, you said "I don't care if it was a million
dollars, I don't care if I had to pay for the rest of my life, if it was a
million dollars, I would pay and pay, because it was my daughter's life that was
saved."
And that's, that's the other Nina. That's the new Nina.
N: Yeah, it was a perspective shift, at the same time we were in the hospital my
septic system was blowing up in my house, and, you know, before we went to the
hospital that was a terrible ordeal, and, you know, I hired this plumber, it was
$300, not fixed, hired another guy, $900, kind of fixed, you need another thing,
it's going to be $8000. And then, that very day, "your septic needs to be
rebuilt, it's $8000" - we go to the hospital. I was on the verge of caring about
that, you know, and in relationship to something like this, those other things
that would really just be a really big deal in a person's life, just doesn't
matter. I don't know how that will happen, it just will, I don't even care, right
We're just not using much water for now, it's fine.
So then all these other things, oh we hit a deer! I had to have my car repaired,
just all these other things that at other points in my life would be like "Oh
this is terrible, why is all this terrible stuff happening?"
And now, it's like, it's like nothing, it doesn't even matter, all this stuff
that used to matter, it just doesn't.
L: You know I'm thinking like Castaneda's, commandment, that we keep death on our
left shoulder, is so lovely, because, if, and sometimes the translation is "Oh my
God! Fill-in-the-blank is going to die! And I'm so, cray-cray, about what I'm
thinking about Fill-in-the-blank right now!" But, if I was looking through the
lens of, they're going to die some day, how would that change my direction, my
position, my being-in-the-air, my endurance
N: That's another one of those magical Linda-perspective-shifting mechanisms
L: And you did it, you did it, you had a perspective shift, you had a large
shift, and a very very powerful life-death journey, endurance.
N: Maybe the distance between those spheres of perception I was trying to measure
and locate will become evident when I go back to being comfortable and I get to
this point where I start to get mad about some stupid thing like, I'm thinking of
my neighbor lady was mad because we drove on her yard and it made a dent on her
lawn and she was so mad. And I could just sit there while she was yelling at me
thinking "wow, she cares about different things than I do." So maybe when the
experience, the near-death experiences and the mundane idiocy of daily life
problems like holes in your yard, when those things start to become so far apart
that you can't see the near-death experience any more and you start to care about
a hole in your yard or something, maybe those things could indicate distance. I
don't know if that would mean, like, getting closer together or farther.
L: Somehow, it all boils down to love, and the vibrational frequency of love.
And, and then translating that love and death and love and fear and how to come
out, how to come out of these wonderful teachings with the banner, the banner
for, the flag of love.
I mean I'm thinking of, in the exact same scenario, you know, [xxxxxxxxxxxxxxxxxxxxx] - this is, off record maybe.
N: We'll stop here [shuts recorder off]


Durable rope for intensive gym use! The special braided core construction of the 10.1 Gym Rope minimizes sheath slippage, especially when used as a top rope. Gym operators also appreciate its durability in the daily operation of climbing gyms.


text:
<?php

namespace Magento\Setup\Model;

use Magento\Framework\ObjectManagerInterface;
use Zend\ServiceManager\ServiceLocatorInterface;
use Magento\Setup\Mvc\Bootstrap\InitParamListener;
use Magento\Framework\App\Bootstrap;
use Magento\Framework\App\DeploymentConfig;

/**
 * Object manager provider
 *
 * Links Zend Framework's service locator and Magento object manager.
 * Guaranties single object manager per application run.
 * Hides complexity of creating Magento object manager
 */
class ObjectManagerProvider
{
    /**
     * @var ServiceLocatorInterface
     */
    private $serviceLocator;

    /**
     * @var ObjectManagerInterface
     */
    private $objectManager;

    /**
     * @param ServiceLocatorInterface $serviceLocator
     */
    public function __construct(ServiceLocatorInterface $serviceLocator)
    {
        $this->serviceLocator = $serviceLocator;
    }

    /**
     * Retrieve object manager.
     *
     * @return ObjectManagerInterface
     * @throws \Magento\Setup\Exception
     */
    public function get()
    {
        if (null === $this->objectManager) {
            $initParams = $this->serviceLocator->get(InitParamListener::BOOTSTRAP_PARAM);
            $factory = Bootstrap::createObjectManagerFactory(BP, $initParams);
            $this->objectManager = $factory->create($initParams);
        }
        return $this->objectManager;
    }

    /**
     * Causes object manager to be reinitialized the next time it is retrieved.
     *
     * @return void
     */
    public function reset()
    {
        $this->objectManager = null;
    }

    /**
     * Sets object manager
     *
     * @param ObjectManagerInterface $objectManager
     * @return void
     */
    public function setObjectManager(ObjectManagerInterface $objectManager)
    {
        $this->objectManager = $objectManager;
    }

    /**
     * Returns ObjectManagerFactory
     *
     * @param array $initParams
     * @return \Magento\Framework\App\ObjectManagerFactory
     */
    public function getObjectManagerFactory($initParams = [])
    {
        return Bootstrap::createObjectManagerFactory(
            BP,
            $initParams
        );
    }
}

redpajama_set_name: RedPajamaGithub


text:
Location in website: Home » See and Do » Visitor Attractions
Leisure Centres, Museums & Visitor Attractions
Wester Ross has several indoor facilities including leisure centres / swiming pools at Gairloch, Poolewe and Ullapool.
Gairloch Leisure Centre (attached to the local high school) is open to the public every evening, all weekend and every day throughout the school holidays. The centre has a fitness centre, climbing wall, tennis / badminton facilities, outdoor football areas and so on. Telephone: 01445 712345.
Poolewe indoor swimming pool: Telephone 01445 781345
Lochbroom Leisure at Ullapool has a full size facility that combines a leisure centre and 25m swimming pool with sauna. Facilities include multi sports games hall, fitness room, indoor climing wall, floodlit outdoor courts. Telephone 01854 612884
Visitor Centres:
Generally speaking, these cover the history and cultural heritage of the area - Wester Ross has a rich history of Vikings, battles, Gaels, more battles, Celts, and so on. There are also a number of visitor facilities aimed at informing you about our diverse natural environment. Some of the finest geological sites in Europe are to be found here, and indeed the modern science of geology was pretty much kicked off here in the first place.
Applecross:
The Applecross Historical Society runs the Heritage Centre situated opposite Clachan Church and graveyard, and near the site of ancient St Maelrubha's monastery. Open from Easter to the end of October - Monday to Saturday from 12 noon to 4pm.
Lochcarron:
Attadale Gardens: Started by Baron Schroder in the late 19th century, Attadale Gardens include hill paths meandering through 20 acres of conifers and rhododendrons, along with many low level walks and attractions.
Totally transformed after the 1980 storms by owner Nicky Macpherson, it is an artist's garden designed to frame the magnificent views of Skye and the surrounding hills. Waterfalls, Monet bridges, meconopsis, bamboo and candelabra primula are reflected in dark pools. Sculpture lurks in unexpected places.
Made in Lochcarron - arts, crafts and information centre. Situated at the Smithy Community Hub, half a mile west of Strathcarron junction or 1 mile east of Loch Carron golf course. Open 10am to 5pm, Monday to Saturday. Run by the Kirkton Woodlands and Heritage group. Tree-house and picnic area also on site. Telephone 01520 722882.
Kinlochewe / Loch Maree:
Beinn Eighe National Nature Reserve: Altroy Visitor Centre (just outside Kinlochewe, heading towards Gairloch). Interactive displays, child friendly, "all abilities" trails, information on the Nature Reserve, along with walks, and local wildlife. Telephone 01445 760258. Open daily from 10am to 5pm.
Gairloch:
Gairloch Heritage Museum - Converted nuclear bunker showcasing the history, culture and natural heritage of this beautiful area of the North West Highlands. Open Monday -
Saturday 10am - 6pm (except Thursdays - 8pm). Closed Sundays. Telephone
Poolewe:
Inverewe Gardens. Internationally famous sub tropical gardens with Visitor Centre, shop & restaurant. Telephone 0844 493 2225
Russian Arctic Convoy Museum: This is a project to develop a museum in memory of those who braved the convoys between Loch Ewe and Russia during the Second World war. Although not quite a museum as yet, the RACM project operates an intriguing and thought provoking exhibition looking at the history, artefacts, and information surrounding these convoys. This is open at their visitor centre in Birchburn, Aultbea, from 10am - 4pm. Tel: 01445 731137
Ullapool:
Leckmelm Arboretum: Just a few miles before Ullapool, Leckmelm Arboretum was laid out in the 1880s and many of the trees and rhododendron specimens date from that time. These include Wellingtonias, Cedars and Chilean pine. Some of the trees are record-breakers!
Lael Forest Walks:In the 19th century tree hunters travelled the world collecting rare seed and planting them in arboreta – specialist tree collections – like this one. Spend some time in the exotic freshness of this extraordinary woodland and enjoy making your own discoveries.
Ullapool Museum. Exhibitions and displays centering around the history of the Ullapool and Wester Ross areas. Telephone 01854 612987
Knockan Crag. Just a few miles North of Ullapool lies Knockan Crag. The science of geology was virtually born here, and this is one of the most important geological sites in the world. There is an excellent (unmanned) visitor centre here, along with walks and trails aimed at creating a clear understanding of the forces at work beneath your feet.
Strathpeffer:
The Museum of Childhood can be found here, and is situated in what used to be Strathpeffer station! The museum's collections are mostly themed around childhood although the museum was originally based on the doll collection of local lady, Angela Kellie. Over the years though the collections have expanded through donations and now feature toys and games, clothing and textiles, education material, photographs, books and larger items such as prams and cradles. The museum also now collects items relating to the local history of Strathpeffer and the railway station.
6 Big Reasons to Visit Wester RossFind out more…


text:
19/20 Upper Zone Replacements and Mountain Sub-Zone B PZ Elimination Project
San Bernardino Municipal Water Department
The proposed Project will consist of installing approximately 11,000 feet of new main water pipelines to replace various existing main pipelines within the Upper Zone and the Mountain Sub-Zone B pressure zone service areas. Additionally, existing service laterals and fire hydrants will be replaced along the new waterline alignments. Once the new mains and service laterals have been installed. the existing mains and service laterals will be abandoned in place. The Mountain Sub-Zone B Elimination component of the proposed Project will consist of converting the sub-zone area and part of the Mountain pressure zone to the College/Palm pressure zone by removing an existing pump station that maintains pressure to the sub-zone and Installing new pressure reducing valves at approximately 70 residences where the pressure will exceed 80 pounds per square inch (psi). The disturbance limits for these facilities will be restricted to existing disturbed road rights-of-way and the yards of residential homes.
Miguel J. Guerrero
397 Chandler Place
Highland Avenue
State Highways
Interstate 215 freeway and State
The proposed project is located in the City of San Bernardino, San Bernardino County, California. The replacement pipeline, fire hydrants, service laterals, and pressure reducing valves will be installed within the northwest portion of the City of San Bernardino. north of Highland Avenue. west of the Interstate 215 freeway and State Route 18.
Section 15302
The State CEQA Guidelines provide a series of categorical exemptions for projects that have been deemed to have minimal impacts on the environment. The proposed project is the installation of replacement water mains, fire hydrants, service laterals and pressure reducing valves within the northwest portion of the City. The installation and use of these replacement facilities will enhance the water delivery services to a residentially developed portion of the City. This project has been determined to have no potential to cause significant adverse effects on the environment and will ensure that adequate water can continue to be supplied to the various residential areas in this portion of the City. Categorical Exemption Class 2 exempts "replacement or reconstruction of existing structures and facilities where the new structures will be located on the same site as the structure replaced and will have substantially the same purpose and capacity as the structure replaced ...(c) Replacement or reconstruction of existing utility systems and/or facilities involving negligible or no expansion of capacity. " The exceptions to the issuance of categorical exemptions have been evaluated for the proposed project The proposed project has been determined not to have a potential to cause significant adverse environmental effects as a result of any of the exceptions. Therefore, this proposed action is not forecast to cause any potential for significant adverse environmental impacts and qualifies with the requirements for Class 2 Exemption.
2020090396_Recorded Notice of Exemption from Clerk of the Board SB County PDF 1315 K


text:
Roseta Stone: Redux
Tom Givon tgivon at uoregon.edu
Wed Feb 9 00:04:50 UTC 2011
Previous message: Roseta Stone: Redux
Next message: Roseta Stone: Redux
Before you actually tried to learn an Athabaskan language, or at the
very least worked on one, maybe you had better refrain from asserting
that "a language that is not for amateurs is not for people".  TG
On 2/8/2011 6:33 AM, A. Katz wrote:
> A language that is not for amateurs is not for people.
> This has nothing to do with RS or computer language teaching. As
> others have stated, the technologically based systems are not a panacea.
> But a language that ordinary people can't pick by talking to their
> parents in childhood is either dead already or not a human language.
>    --Aya
> On Tue, 8 Feb 2011, john at research.haifa.ac.il wrote:
>> I would be amazed if a single person actually learns to speak Navajo
>> using Rosetta Stone. This is not a language for amateurs.
>> John
>> Quoting "s.t. bischoff" <bischoff.st at gmail.com>:
>>> Hi all,
>>> Over the last week I was involved with an event at the American Indian
>>> Language Development Institute and the folks that created the Navajo
>>> Rosetta
>>> Stone gave a short talk about the software. What follows is my
>>> understanding
>>> of how it came to be.
>>> The Navajo Rosetta Stones was created in collaboration with Rosetta
>>> Stone
>>> and the non-profit Navajo Language Renaissance (NLR). NLR is a
>>> non-profit
>>> organization that is NOT affiliated with the tribal council or
>>> government in
>>> any way, for obvious reasons I think (e.g. getting council approval
>>> for the
>>> project). However, it has been endorsed by the school leadership and
>>> NLR is
>>> actively trying to get the school district to adopt the software.
>>> You can
>>> view the NLR website here http://navajorenaissance.angelfire.com/ A
>>> non-community member started NLR after using Rosetta Stone to learn
>>> Russian.
>>> She thought it would be good if Rosetta Stone created a Navajo
>>> version. She
>>> contacted Rosetta Stone (RS), and they told her they would provide
>>> here with
>>> the software to develop the lessons,  a photographer, and technical
>>> assistants (limited on the ground, mostly by phone) to develop the
>>> program
>>> for $300,000. Another option would be for her to apply for a grant
>>> from RS
>>> to cover most of the costs. So the NLR was created, a partnership
>>> between
>>> community members and one non-community member,  as a non-profit
>>> organization and applied. RS gave two grants the year they applied,
>>> one went
>>> to NLR. The grant covered all but $27,000 of the $300,000. So NLR
>>> had to pay
>>> RS $27,000 to have access to the software to create the Navajo Rosetta
>>> Stone. This means they had to create the lessons and pay speakers and
>>> informants themselves. RS provided the software, a photographer, and
>>> technical support for the $27,000. NLR now is the only group that
>>> can sell
>>> Navajo Rosetta Stone, which they do for $150 per license and $200 for a
>>> personal box set. It is not clear if they have to pay RS a
>>> percentage of
>>> those revenues or not. When I asked a clear answer wasn't given. NLR
>>> also
>>> has a "training" session for administrators and teachers which costs
>>> $1500 a
>>> day and $400 per 3 hours. Needless to say, it is not
>>> un-controversial in the
>>> community for many of the usual reasons. Ironically, the speaker
>>> after the
>>> Rosetta Stone folks gave a talk that demonstrated how to create nearly
>>> identical language lessons as Rosetta Stone's simply using power
>>> point. I
>>> was encouraged to let folks know that they should contact the NLR if
>>> they
>>> have any questions at mbittinger at rosettastone.com. You can try a free
>>> introductory lesson here http://navajorenaissance.angelfire.com/ The
>>> folks
>>> at NLR praised RS for their efforts and felt they had really done
>>> them a
>>> service. In short, they were very happy with the arrangement and how
>>> it was
>>> working out. They were also upset by the controversies surrounding the
>>> Navajo Rosetta Stone and felt they were really the result of a
>>> misunderstanding and misguided assumptions. One finally thing, they
>>> did seem
>>> to think that it was not a pancea, but rather another useful tool in
>>> language revitalization efforts.
>>> Cheers,
>>> Shannon
>> ------------------------------------------------------------------------
>> This message was sent using IMP, the Webmail Program of Haifa University


text:
Locating an Address on the Internet instructions How the DNS System Is effective
The Internet is a single colossal network of networks that involve hundreds of millions of computers, touch screen phones, and other machines linked collectively by a wide variety of technologies. Included in this are telephone lines, fiber-optic cabling, microwave links, and wi-fi connections.
The purpose of all these components is to enable people and also machines to communicate with each other.
Many of the computers and other products linked to the Internet run on many different operating systems, such as Mac OPERATING-SYSTEM, UNIX, Google Chrome, Android, House windows, and Linux.
These systems are not compatible and application designed for one operating system typically does not work or does not work well, on another operating system.
Equip the machines to exchange their views, they must follow specific units of rules. These are built to overcome the limitations of having many different operating systems and are known as practices.
Protocols provide machines using a common language and way of sending and receiving data.
Without a common set of protocols that most devices must follow, communication online just could not happen due to the fact that linked machines that run in different operating systems would not manage to exchange information in any important way.
The two most important practices used on the Internet are the Net protocol (IP) and the tranny control protocol (TCP). These kinds of protocols establish the rules with which information passes through the Net.
Without these rules, your computer should be connected directly to another personal computer in order to access the information on the other side of the coin computer. In addition, to exchange their views, the two computers would need to have a very common language.
Before they will begin communicating, however, the particular computers have to be able to find the other person. They do so by following the principles of the IP protocol.
IP protocol
Every device online has a unique identifying amount without which it would be extremely hard to distinguish one device coming from another. This number is named an Internet Protocol (IP) deal with. A typical IP address is composed of a dot-decimal number; like 192. 168. 1 . 1 )
In the early days when the Web consisted of little more than a couple of computers linked together, a person connected your computer with an additional computer by inputting which other computer's IP address within a dot-decimal format. This was simple when you only had to understand a few IP addresses.
The issue with the dot-decimal format is the fact that these kinds of numbers are difficult to remember, especially now that the world wide web has expanded into a network of hundreds of millions of joined devices.
In the early days, Internet surfers had a text data file that linked names for you to IP addresses, a bit like a cell phone directory. To find the correct Internet protocol address for a connection you are required to consult this directory.
After that, as the number of devices for this Internet expanded exponentially at an ever-increasing rate, keeping this particular directory up to date became difficult.
In 1983 the website name system (DNS) was created. This particular links text names in order to IP addresses automatically.
These days, to find another website on the web, all you have to do is keep in mind its domain name, eg its page. ie, and the DNS program will translate the website name into the IP address needed to link you to the site… all carried out automatically and invisibly.
However, how does this system work? It can be simple really.
The Internet consists of millions of domain name servers. They are linked together via the web and their purpose is to with each other manage a massive distributive data source that maps domain name order to IP addresses. 'Maps' is actually geek-speak for 'links' or even 'connects'.
When you are trying to access a website, your computer uses a close-by DN server to convert the domain name you enter to its related IP address. You will be then connected to the website you would like using that IP address.
Conceptually, it's a very simple system along with would be in fact except that:
At present, there are billions of IP contact information in use.
Millions of people are putting domain names every day.
At any granted point in time, DN servers are generally processing billions of requests along the Internet.
Because of the truly substantial nature of the DNS data bank, each domain name server merely holds a tiny portion of the complete database.
This means that when your computer system contacts its nearby website server, there are several possibilities:
Typically the server can provide the Internet protocol address because the domain is listed within the portion of the database.
It might contact other domain name computers for the IP address.
It can route the request to another website server.
If the IP address should not be found, you'll probably get a fault message saying that the website is invalid.
All the sector servers on the Internet are gathered into a hierarchy. At the top lever are the root DN servers. Below are the actual authoritative name servers. You will find different root DN machines for the various suffixes (such as. com, ie, internet, org,. co. UK, and thus on) at the ends associated with domain names.
The authoritative title servers contain the actual 'directory' information that links domains with IP addresses.
But these servers only manage domain names with particular adjunction, eg. ie or. com but not both. And indeed every authoritative name server will simply hand a tiny portion of the actual database relating to a particular suffix.
Suppose you want to connect to his page. ie, for example. If your nearby DN server does not have the actual IP address for his page. for example in its own database, it is going to send the domain name to 1 of the root DN machines.
The root server will not come back the address itself; rather it will send back a listing of the DN servers which handle it. ie suffixes. The local DN server can request each of these servers in turn until it eventually gets the IP address for his page. ie.
DN servers take care of billions of requests every day. Typically the workings of this massive distributive database are invisible to the user. The system, nevertheless, is efficient and extremely reliable caused of redundancy and caching.
There are actually multiple DN servers at most levels, so if one falls flat there are plenty of others available to take care of requests.
In addition, whenever your community DN server gets an IP address from an authoritative brand server, it will cache which information, ie retain the idea in memory for a few times or a few days so that when it gets the same request via another user it will have the details to hand.
The DNS can be a truly amazing technique – it is a database that is certainly distributed throughout the world on a lot of machines, managed by thousands of people, and yet it behaves such as a single, integrated database as well as handles billions of requests each day!
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text:
Diemut Poppen (born in Münster, Germany) is a German musician.

She began violin lessons at the age of seven, but changed to the viola having been exposed to it through playing chamber music.  She has been taught by leading players such as Kim Kashkashian, Bruno Giuranna, Yuri Bashmet, ,  and the Amadeus Quartet. She has also studied with Frans Brüggen, Heinz Holliger and Claudio Abbado.

Poppen has been a member of the Chamber Orchestra of Europe, the Lucerne Festival Orchestra and the Orchestra Mozart.

She succeeded Nobuko Imai in her position at the Hochschule für Musik Detmold. She has been a member of the jury at several international competitions such as the ARD International Music Competition in Munich. She is also director of the Thüringische Sommerakademie (Chamber Music Summer Academy in Thuringia) and she founded the Osnabrück Chamber Music Series.

Poppen has recorded for different labels such as Deutsche Grammophon, Live Classics, Cappricio, Ondine, Ars Musici, Tudor and EMI. Her wide repertory includes the new Mijail Pletnev and Kancheli Styx concertos for viola and orchestra.

She currently teaches at the  Reina Sofía School of Music (Escuela Superior de Música Reina Sofía) in Madrid.

References

German classical violists
German music educators
Year of birth missing (living people)
Academic staff of the Reina Sofía School of Music
Living people

redpajama_set_name: RedPajamaWikipedia