text:
aesthetic diversity of women writers in the 21st century
Tag Archives: poetry
profiles in poetics: Kristy Bowen
Website: www.dancinggirlpress.com
www.kristybowen.net
From onset, poet Kristy Bowen has had, "an attraction to language combined with a mind prone to fantasy and imagination." The fervor of one to, "[string] together … things, words, images, ideas, found text to create something entirely new." In doing so, "The edges and structure are a little looser and more fractured, but I like it that way." As editor of Dancing Girl Press, Kristy "[seeks] to get more women and their work into the conversation of American literature, it's both frustrating and motivating…unfair and ridiculous in this day and age … [and] inspiring."
Bowen's work in this conversation alludes to the domestic settled in the everyday contemporaneous corporality of landscape and conversation. Domestic dust, she illuminates is, "a very closed, confined space, and one that belongs wholely to women ." This, "ordered system, or a system of systems … is subject to chaos and misfirings … desire, in the physicality of the poem, in the body that exists that is almost always in peril." But herein, we are able to transform voice: "The layering of multiple voices and consciousnesses over each other." Unification of subject and object intersect: "what seems to be true … is actually true."
A writer and visual artist, Kristy Bowen is the author of a number of book, chapbook, and zine projects. She lives in Chicago where she runs dancing girl press & studio, devoted to paper-oriented arts and publishing work by women writers/artists.
1.) What were the first inspirations that made you desire to become a writer? Who are your favorite writers and how did they change over time?
I think it was always a certain temperament I had even as a kid, an attraction to language combined with a mind prone to fantasy and imagination. This is what had me buried in books and stories from the time I could read and what made me eventually want to write them. I remember being 13 and enamored of Stephen King and Christopher Pike and deciding I needed to write a horror novel. I had about a hundred handwritten pages before I gave up, but the need didn't go away. Consequently, as far as poetry goes, it was Poe that captured my attention and for years I could have recited "Annabelle Lee" from memory. Though there were a number of things I considered and/or planned doing with my life, it eventually always came back to that. By the time I was in college and had decided to major in English, I had discovered Sylvia Plath ( though then it was more her journals that I was interested, her life (and death) as a writer than the actual poems I would devour later). At the time, it was mostly fiction writers that held my focus– William Faulkner, the Brontes, Margaret Atwood, Marilynne Robinson. While I'd read and loved classics like Millay and Dickinson, for someone who would become a poet, I was pretty out of the loop on more contemporary poets until I got to grad school and started reading Plath again, and then Sexton. Later, Louise Gluck and Jorie Graham and Anne Carson. This was when I was really starting to write more and deciding to spend my life doing this. I had always focused most of my study and interests in the direction of female writers, but it was actually TS Eliot that sort of broke things wide open for me, the possibilities that The Wasteland offered in terms of what poetry could be. By the time I landed back in grad school for my MFA, it was mostly current and emerging writers that excited me, people like Olena Kalytiak Davis, Larissa Szporluk, Daphne Gottlieb, Mary Anne Samyn, Sabrinah Orah Mark, and CD Wright.
2.) Who have been the creative inspiration / mentor writers in your career?
I've never really had anyone I would consider a mentor, but there are people I've encountered, both in terms of their work and friendship, who have influenced shaped my work (either consciously or subconsciously), people like Simone Muench, Lauren Levato, and Daniela Olszewska ) And, of course, there is a lot of inspiration to be found by immersing myself in writing as an editor/curator, so many dgp authors and their work adding to the virtual soup from which my own work generates.
3.) How has your own work changed over time and why?
I think my approach to crafting a piece of writing (I say writing and not poem since most of what I write lately is actually more prose-like) has changed very much from when I was starting out. I used to sit down with a subject in mind and hammer out a poem. In the last 10 years or so, and this may have to do with my forays into the visual arts (collage and book arts), it's become much more of a fragmentary process. A stringing together of things, words, images, ideas, found text to create something entirely new. It is much more fun and interesting and much less dogged this way, and it often leads me in directions I'd never even imagined. The edges and structure are a little looser and more fractured, but I like it that way.
4.) Have you been influenced by different genres, and if so how?
I mentioned collage and book arts, and many of my writing projects these days are entwined with and/or have a visual component. I think, with pretty much anything I write, story and narrative are the important part, the goal, what I'm reaching for. It might be fragmented and messy and associative and tangential, but it's there if you look for it. I'm also interested in non-creative forms of language and text (instruction manuals, word problems, letters, ephemera, indexes, glossaries.)
5.) What are your plans for the future?
I pretty much plan to just keep doing what I'm doing, writing things, making things. I have a list of projects I want to get to at some point, titles for unwritten manuscripts, sketches and description of art projects, books projects, things I want to do with the press. I just plan to keep moving forward.
6.) What are your views on writing by women as it has occurred in the past twenty years?
I think there has been a lot of progress, but also that there is still so much left to do (as things like VIDA statistics reveal.) As someone who is seeking to get more women and their work into the conversation of American literature, it's both frustrating and motivating. On one hand, as a female writer and reader of women's work, it feels limiting and unfair and ridiculous in this day and age.. But as a publisher, it feels inspiring to know that we're fighting the good fight.
7.) Who are promising women writers to look at in the future?
I just read and fell in love with Poisonhorse by Brandi Wells. dancing girl press has also recently issued a handful of first chaps by writers that are just staring to make their way into journals and the literary world (Caylin Capra Thomas, Laura Mei Roghaar, Meghan Brinson, Sarah Cook, Sacha Siskonen.) This is, of course, in addition to a number of more established poets we publish, all of whom you should keep an eye out for..
8.) If you were asked to create a flexible label of yourself as a writer, what would it be?
I guess I initially used to consider myself a "poet". Especially since my attempts at writing fiction were lacked a certain amount of endurance. I guess now, if I were to describe it, it would be more geared toward just "writer/artist" be that related to words or images or whathaveyou.
9.) "intertia," is a poem of domesticity that revolves around cultural staples. "rabbits," "milk," "ribbon," "lanternlight." These are words that have origin. The poem reads, "The trick is distance. / The trick is diminishment." If we change the materialism of the language, does the pathos attached to the object change the definition of domesticity?
The entirety of the first section does deal with the domestic, everyday space (as opposed to the strange, tranformative space in the other two sections.) It's also a very closed, confined space, and one that belongs wholely to women. I think everything in that section is moving toward something, or exists in those moments BEFORE one is moving towards something and away from that everydayness
10.) In the poem, "a little fever," "the glass factory, the space behind the body is warm, chambered // like heart. All wires and threaded light. / My mind a railcar sideways on a track". We are confronted by a heavy nostalgic beauty. Take the following, "Times like these, / if sliced open, you'd find a lake, a length // of copper inside us. A litany of weathered / saints sitting in the bathtub. Our legs listless, // petal heavy." This is a linguistic tradition of intimacy. As we attempt to evolve and change in language we cannot forget these damp, "sliced openings," of self from our parents, our minds, and our tradition. How then do you suppose we blend and acculturate these differences, while at the same time change the dissonance of a violent past? How does this happen in language?
I think the setting, or even the concept of, a glass factory makes the world of the poems prone to danger, to sharpness, to fragility and destruction. The body, and you could even say like language, is this very ordered system, or a system of systems, but also one that subject to chaos and misfirings. But there is also desire, and in desire, in the physicality of the poem, in the body that exists that is almost always in peril.
11.) The active character in your poem "double tongue," becomes divided. We read, "She's prettier, but I'm the quick one. / There's no telling what we can do / with our throats, this frail pipe // that joins us. Rough lungs, / cloven heart. Each night, / I practice scales. Her." And at the end of the poem, we are left with archetype: "We prefer to be addressed as Alice." The duplicity is at once active and passive. The split character is one of force. Can please allude to the departure from the passive towards Alice who is a transitory dynamic duplicitous female voice?
I think this poem best illustrates what I was reaching for with the entire book in terms of voice. The layering of multiple voices and consciousnesses over each other. Like the siamese twins, every voice in the book speaks both separately and yet also in unison. The twins become both subject and object, which is a thread in the book, the idea of women as spectacle, as something to be viewed, to be watched, to perform. And yet, they are also subjects with their own volition and narrative voice. In general, there is also a lot of duplicity going on. Twins, sisters, hybrids (mermaids, bird girls). The intersection of what seems to be true and what is actually true.
12.) In contrast to "intertia," "la grande ploungeuse," is a poem with no "milk". The opening lines begin, "It's the drama turns me / inside out, all black // velvet and the flare / of doves. Small things // placed inside the larger / like nesting dolls." We can still attach ourselves to the domestic through "dolls," and "doves," but here, the "arc of women / [fling] themselves into // the taught air." We have action, we have dissonance; we have movement. We do not have redemption, but we have voice. How does the language change specifically in regards to logos based definition of culture? And how does this affect our ingestion as readers of the characters within this undertaking of language?
This is, again, largely about the object/subject division. The woman at the top of a diving board is both performance and performer. This was one of the last poems that was written for the book, and I do feel like the language becomes cleaner and meaner at this point, so I'm not as much sure that it's the subject matter that changes the language or just happenstance. But I suppose if we look more at language itself as performance, at this point in the book, the concept of voice, becomes more layered and even muddy, even while the poems become more spare at times.
Posted By: blackglassmoon	Category: Kristy Bowen	Tags: Dancing Girl Press, interview, kristy bowen, poem, poetry, the bird of jackson county, womens quarterly conversation
profiles in poetics: Annie Guthrie
Annie Guthrie
Website: annieguthrie.net
thevolta.org
Annie Guthrie poetically transfixtures emphatic and empathetic states of semiosis. Jewelry, she explains, is about "noise, rhythm, placement, shape and tools and I think about tension and action in terms of poetry." A drawing produces intervals of "mark-making and how the gesture is made in language outside of chronology or narrative." The elements of "poetry [happen] across investigation and encounter and it isn't separate from life." Rather, "It's the score of a call and response of the interior." This compelling play enunciates how we encounter life and self.
In this interview, we consider Guthrie's book the good dark forthcoming from Tupelo Press in 2014. The tangled economical positions cue "gossip," "ontological and existential suffering," "visibility," and the constitution of this space. The main character tumbles towards desire; intimations of saturated intimacy. "Threat" occurs when "visible" dissolves the speaker's ability to merge with her beloved. Guthrie shares, "The identity of this beloved is often confused, for her, and for the reader. This is an enactment of spiritual grappling." It is only when she is able to accept self-difference that conscious calculation is surrendered. This, as Guthrie inspires, "[makes] room for…a spirit-ditch." Ultimately, "The speaker is seeking self/meaning/god in everything, which includes 'a boy,' 'the visible,' 'the body,' etc. In short, everything is considered. All approaches, conceptual, physical, perceptual, biological, intuitive, spiritual, are considered."
Annie Guthrie is a writer and jeweler from Tucson. She is the Marketing Director at the University of Arizona Poetry Center, where she recently curated a national symposium, Poetry off the Page, featuring poets who work in hybrid, multi-media forms and in other art forms such as film, theater, book arts and dance.
Annie has a metalsmithing shop at the Splinter Brothers warehhouse in Tucson where she designs custom pieces in platinum, gold and silver. Her how-to jewelry book, Instant Gratification, was published with Chronicle Books. Her jewels can be seen at http://www.annieguthrie.net and on Etsy.
Annie received an MFA from Warren Wilson and has been teaching Oracular Writing at the Poetry Center since 2009. Annie has poems published in Tarpaulin Sky, Ploughshares, Fairy Tale Review, Many Mountains Moving, HNGMAN, The Destroyer, RealPoetik, Everyday Genius, Omniverse, The Volta, Spiral Orb, The Dictionary Project, 1913, A Journal of Forms, Drunken Boat, and more. Her book "the good dark" will be published with Tupelo Press in 2014.
1.) What were the first inspirations that made you desire to become a writer?
In fourth grade, I wrote a "collection" of my "creative writing stories." The best one was called "fortunately, unfortunately." It amuses me that my thought default mechanism was already in place. In sixth grade, I won a prize for reading the most books in the school. I think I wrote a hundred book reports. I was trained as a reader. My family was book-centered. In junior high I always hid in the library at lunch time to avoid the other kids. I think writing is just what young readers begin to do. There was never a decision. My Mom always made us keep diaries. I was really into journalism class in seventh grade. Writing was the way I worked out my being. It still is. I grew up identifying as a writer but I really wanted to be a painter.
2.) Who are your favorite writers and how did they change over time?
I like difficult writing. I think I always have. I like to be made to think harder or differently. When I was a kid I loved mystery novels. That has translated in adulthood to a love of mystic/shaman writer-thinkers like Helene Cixous, William Bronk, Bhanu Kapil, Gaston Bachelard, Sofie Calle, Michael Palmer, Virginia Woolf, Paul Celan, J.M. Coetzee, Jesse Ball, Fanny Howe, Fyoder Doestoyevsky, Hiromi Ito, W.G. Sebald, Fred Moten, Susan Howe. When I love a writer I read them for life. Additions are made, but my loves don't change. I'm very loyal. I'm slinking around the thought-archives of Dalkey and Naropa and the Sorbonne.
I worked with Claudia Rankine early on at Warren Wilson and she remains a powerful influence and friend. She's got this ferociously lightning mind on top of this thick, established stratum of calm. An incredible human. Another great thinker that has shaped and re-shaped really my entire approach to writing, teaching, and to life is Kim Young, a painter, and a dream and IChing scholar. My husband Tommaso Cioni is my greatest teacher. He is a great manifester; he writes poetry with his lifestyle.
I don't know. The subject of inquiry changes, so the writing changes. I like to think of the writing as what's left behind of my inductions and transductions. It's crafted evidence of thought. So whatever I am inspiriting gets its traces all over the pages.
Absolutely everything has a chance to emphatically and empathically influence me. If I am making jewelry I think about noise, rhythm, placement, shape and tools and I think about tension and action in terms of poetry. If I am drawing I think about mark-making and how the gesture is made in language outside of chronology or narrative. I read a lot of fiction, because I am interested in building and accumulation. I often get a little lost in research when I explore other fields. I am teaching a class called "Oracular Mapping," and so I am reading a lot of material related to urban planning. Right now I am reading "The Wayfinding Handbook," "The Image of the City," and "Visual Complexity: Mapping Patterns of Information," for instance. The poetry happens across investigation and encounter and it isn't separate from life.
It's the score of a call and response of the interior.
I'm going to continue teaching "Oracular Writing" at the Poetry Center in Tucson – it keeps me on my toes. Hopefully I can manage a tiny book tour when the book comes out. I have friends in big cities and I will probably just design it around where my loved ones live: Paris, New York, San Francisco, Los Angeles, Asheville…hmm I am forgetting somebody.
Artist.
8.) In the section: "chorus," the voice of, "*the priest" orchestrates a scenario in which the "Lord performs a test". The priest has set up "one mirror, in an empty room, the entrance to his home. / And the call to his guests: 'Come, I'm in the back'." The visitors are invited to walk through a "secret" opening admitting, "I don't care for submission. As much as coincidence. / I'm not good at being very happy, / when not spoken to directly." The request is one to look at themselves in a petri dish of sorts where the priest assumes an omniscient hierarchical presence. If this was a coincidental happening they may succumb in a discourse that places both respective intentions across from one another. However defining his position within his own home is alienating and their participation is black and white. They defensively acknowledge the test. The structure of the test dissolves the intimacy of the interaction. Does the test lack intimacy because of the structure of the environment, or does it lack intimacy because of the structure of the pathos? Which do you believe to be more hierarchical?
The priest is telling a story (an unlikely one for the priest to tell) about the Lord. It's the Lord's home, and the Lord's test that the priest illustrates. However, the priest's own sermon undoes his intentions, because his characters lose their identity in the syntax: the reader doesn't know if it is the Lord whispering, or his guests. This is serving to abolish hierarchy. The syntactical arrangement itself is a gesture toward intimacy. Which is what the speaker is seeking throughout all her investigation.
How can the spiritual component of this piece be altered so that the priest is an open presence not lost in a looming controlling based spectrum that is based on fear? Well I wouldn't want to do that, because it isn't a tract, it isn't redemptive. These poems are evidence left by a speaker, a seeker who leaves a trail of ontological and existential suffering.
Is this a critique of monotheism?
No, this is a poem- it contains our loneliness – god's, and ours.
9.) The voice "*the gossip," in the same section, is a tavern "damp, dark, filled with enough / to feel invisible." We learn, "The Visible [is] a violent character here." We read on, "She's tethered to a game. The man will play the ground. / 'What are you doing, protecting your rook?' he'll say, taking the queen. / 'Trying to find a good place to hide,' she'll say, letting him down." This societal reflection juxtoposes girl in her visibility as both victim and passivity. The "game" of social underpinnings is everywhere. "He" is the player. Here "She" lets him down. If she plays him does this admonish both visibility as violent and she as passive? Where in your mind do you see the flexible underpinnings of being both visible and non-violent, active, and cooperative? And why is this gossip?
The gossip tells of an encounter between a man and our main character ("she.") The "visible" is a spiritual threat to her, she who is trying to mystically dissolve, or merge with her beloved. The identity of this beloved is often confused, for her, and for the reader. This is an enactment of spiritual grappling, but not a sociopolitical commentary. The gesture to want to hide inside of the inanimate and too-small rook reveals the crisis and confusion of the character, she missing entirely he man's grounding gesture to keep her in the game (in the present.) Gossip is not real, it's gossip. A poem is a kind of gossip, that is, it can only touch some part of the truth about this kind of crisis.
10.) The character/theme "*gossip" at one point in the "chorus," shares, "In alongside intuition a certain new loneliness creeps / when she found out she might be the inventor of herself / the light the words her eyes spill." This is juxtaposed to the transition in the last section is titled, "body," in which an asterisk is unaccompanied, and "I" is used instead. We listen, "what if wish & love open at the same time? / I ask the glass with a kind of dare // (the difference between fantasy and prayer is innocence)." If the fantasy is towards self it is both love and open. This assumes a type of "innocence". Does this ask us to reassess our patriarchal lens of competition?
It's meant to reveal a move the character has made, into perhaps a place without reference. Her investigations are leading her into a reassessment of the lenses she has been using.
11.) The work ends as follows: "I counted truth for my life, recanted – / finding a sameness in things. // The body took the blame / for the deeds of the mind. // It was this kind of human." "Human" becomes "body". In sameness we depart from gossip, but how do you see this partaking in language? How does our difference assemble our visibility outside of fantasy and where does the body reunite with the mind?
When awareness achieves "lightspice," fantasy and difference are momentarily dissolved (the robes fall; dark). This kind of character doesn't end, and can't, inside language, do anything but pick up difference again (to spell, to read, is to differentiate.) Perhaps the reunification will happen next: when difference itself is acknowledged, reunification as a goal, might be dropped. Which could make room for.. .
How do you see genders re-equating to each other outside of this pathos in visibility?
This book takes us through a spirit-ditch. I don't see it as a gender-differentiated place.
The inequality suffered is not happening between genders here in this place. The speaker is seeking self/meaning/god in everything, which includes "a boy," "the visible," "the body," etc. In short, everything is considered. All approaches, conceptual, physical, perceptual, biological, intuitive, spiritual, are considered.
Posted By: blackglassmoon	Category: Annie Guthrie	Tags: annie guthrie, interview, poem, poetics, poetry, the good dark, there were rectangles everywhere, womens quarterly conversation
profiles in poetics: Maureen Alsop
Maureen Alsop
www.maureenalsop.com
www.alchemicalflamingo.blogspot.com
Constellatory impressions of self, need "[agents] for energy [shifts]" in relationships. Maureen Alsop is a poet who sifts through the "imprints, subtle accumulations of a personal, yet collective landscape." She expresses, "The YOU I refer to is always multilayered. You, the stranger. You, my father. You, deceased. You, who go on living. I know you; you know me/ not. You are whispered of. You am I and I am you." And here, the "fractal patterns in nature suggest," interpersonal relationships "theoretically [as] institution [are] easily a miscarriage. Relationships are powerful". We manifest self-reflections of choice motivated in life. This energy is an "act which, in consequence, forces a form of 'self as installation.' I am a walking, breathing relic of my departed tribe." We are subtle accumulations; relics of our past, present, and transformative future tribes.
Maureen Alsop, Ph.D. is the author of, Mantic (Augury Books), Apparition Wren (Main Street Rag), and several chapbooks, most recently a blade of grass made bare by its own anatomy (Blue Hour Press), Luminal Equation in the collection Narwhal (Cannibal Press), the dream and the dream you spoke (Spire Press), and 12 Greatest Hits (Pudding House, pending). Additional chapbooks include Nightingale Habit (Finishing Line Press) and Origin of Stone. Maureen is an associate poetry editor for the online journal Poemeleon and Inlandia: A Literary Journal. She presently leads a creative writing workshop for the Inlandia Institute, the Riverside Art Museum, and The Rooster Moans.
I don't think I desired to be a writer; I sort of couldn't help it. Favorite writers have not changed for me. I still love and return to D.H. Lawrence, Katherine Porter, Tennessee Williams, Ernest Hemmingway, T.S. Eliot, Larry Levis, and many other writers. I also like reading random sources for ideas, books on symbolism; the Bible (though I'm hardly religious) is a great source text. There are some beautiful poems and language in those testaments.
2.) Who have been the creative inspiration / mentor writers in your career? Too many to name…
3.) How has your own work changed over time and why? I used to obsess on narrative aspects of poetry. I think this was because I was keenly aware that I was a "closet anti-narrative anarchist." I still believe that poetry is often sacrificed to fiction. Eventually I figured out how to wed my antithesis. I worked at that to some satisfaction (narration). It's like learning a technique. Not that I've mastered narration, but I understand it's mechanics well enough, respect the human tendency for story, and appreciate my own way of thinking. Now I can allow the structure of my poems to fall away just enough to see where my poem's scaffolding supports it's own rawness.
4.) Have you been influenced by different genres, and if so how? I'm highly visual. So visual imagery whether it's a physical landscape I am standing in, a film, a painting, these effect my psyche and shift my approach to language by inexplicable means. I remember experiencing some "writer's block" (which I don't really believe in) a few summers ago so I decided to watch every Ingmar Bergman film I could lay my hands on as a source to write from. Very little writing trickled out, but recently I shared a poem with a friend and she felt that the poem was a reflection of Bergman's Persona. The association shocked me. I believe in the power of the subconscious. Let your subconscious do the work and shut the thinking brain off. Be ready to write, always. I also have a steady awe for physicality. Getting into myself physically and also 'getting out of the way of myself' is a revelatory prowess. Physical practices: breath-work, bodywork, meditation are increasingly as important to me as my writing.
5.) What are your plans for the future? I've heard the phrase, "if you want fear, create a future." In this transitional era, I've started to create a few projections—mostly finger-puppet shadows on a blank tableau. My intimations rework themselves without reference. Hawk's flight-patterns frequently crowd my evenings.
The New Yorker article indicating that women writers are less likely to be published than their male counterparts was extremely discouraging. Yet in our country, probably more than any other, we have more writers than we've ever had. I'm not sure really what to make of technological changes and trends. Movements are vast and rapid. Opportunities create optimism—our culture seems to promote both of these qualities in equal balance. Poetry circles have small drains in which to swirl/channel. I guess my view would be "do what you want to do, work at it, expect nothing, try to enjoy the process." I don't see any other choice or barrier beyond one's own determination to grow. Maybe I'll adapt a masculine pseudonym and watch my readership multiple (joke).
7.) Who are promising women writers to look at in the future? Hillary Gravendyk, Sarah Maclay, Amy Schroder, Elena Karina Byrne, Farrah Field, Bethany Ides (performer/artist), Louise Mathias, Carolyn Guinzio, Nicelle Davis, Lily Brown, Bronwyn Tate, Julia Cohen… there are many
8.) If you were asked to create a flexible label of yourself as a writer, what would it be? Anyone who writes poetry probably lives in an atypical reality; one's imagination, self-possession, the requiescat ability to filter environmental influences, these are potent manifest allies. Call me crazy; call me Ishmael.
9.) The poem "Thumomancy" is titled and speaks to the divination to be inspired, not by God, but of soul. In corporeal form we are asked how the body is an immortal essence of self, foreseeing future events. We reevaluate the connection of body and passing, not from love, but humanity. A squirrel is majestic "constructing snow angels, turning your palms/ skyward, but the gesture/ of your hands were not holy. Tonight the oncoming/ boxcar whistles your unfolding." Instead of an ideal future utopia the speaker gravitate to a past "you" in the form of a squirrel. Not the most flattering of flittering animals. Here "night has given me an addiction," an "accident without origin." An "unfolding" occurs within the soul as it collides with the collapse and ultimate death of the squirrel. Please extend these notions of the unfolding as they occur both in the death of the body of "you" and of the soul. Is the connection to the "other" through death? And if so, why is this poem in the middle of the book?
Well, as much as I have empathy for a squirrel, the little critter was an incidental sideline for the poem, not meant as the sole focal point. Though I am intrigued that the poem may be interpreted that way, and honor that interpretation so let me consider the squirrel… where s/he came from and what s/he means. I do remember one summer in Canada (we had a cottage on Lake Huron we visited annually) that a squirrel shimmed down the chimney, where he became trapped and died. Not a joyous occasion for my parents for sure. I felt that critter's desperation, imagined myself trapped in the cottage, starving. There were tons of squirrels where I grew up. I could spend hours observing. I remember a painting I created of a squirrel that I was very proud of as a kid. When I moved to Australia, then California, there were no to very few such creatures. They are not my favorite animals necessarily, I'm not a big rodent fan, but I do love animals, so see them as a cousin.
Absence's force unfolds, as you say, by multitudes. In relation to the poem, based on a divination by the means of one's own soul, obviously there are some childhood references lurking. The beginning of life on the planet, the understanding of the means for being alive, the illumination of joy and it's undercarriage/partner, sorrow. Creating snow angels. The sound of a distant train. A dead squirrel. These are all imprints, subtle accumulations of a personal, yet collective landscape. Soul, transgression's agent for energy's shift, seems a central preoccupation, thus a centerpiece poem.
The YOU I refer to is always multilayered. You, the stranger. You, my father. You, deceased. You, who go on living. I know you; you know me/ not. You are whispered of. You am I and I am you.
10.) "Epithalamium" is a poem where God is a coughing song embedded into the logos of a young girl. She awaits passively her confinement as she digests the language of His omission. The Epithalamium is a traditional Greek song in praise of a bride and groom on the way to their marital chamber. But the poem has a conflicting sentiment. "The small girl never looks up" as she wants to "kiss someone familiar," instead "[staring] at a diagonal / scar down the wall," staring just long enough to see Him. God is a hierarchical king in this ideology overpowering the girl without redemption. Traditional marriage here has no redemption. Does this reflect in your opinion our current marital conversations and how do you believe this logos and song needs to change to empower the partnership?
I love being married, but theoretically marriage as institution is easily a miscarriage. Relationships are powerful. However all these relationships and structures we develop are self-reflections. I do think marriage can be redeeming. In this poem, the speaker comes to terms with her marriage to life, which is also her marriage to death. It's not exactly a poem one would hear at a traditional wedding, though I like to imagine that (a wedding in which everyone wears black, funerary right?…). The postulate is the question of death rather than marriage. People have a natural fear of death, which in itself is quite natural. The poem is an understanding, a marriage to death; this partnership is not exclusive. Intimate, yes. A profound, awakening? No. Probably equivalent to any other event (even as simple as flossing one's teeth) signifying we are alive, small epiphanies; the light we cannot hide from is the same.
11.) Death and memory essence in "The Arrival of Memory". The "soul inside soul wants to talk," "later this fall will know you were not alive," and a "voice that won't drift keeps naming the water a blue afternoon." In "Necromancy," (a divination of one speaking to the dead) we read, "what finds you again is you," "who find love in secret will not know the tremble of the body," and "your hair will be filled with kisses, larkspur, birdseed. A crown of bees fill the mirror." Can you please discuss this interlocution with the past, how the soul connects to memory, and where presence and clarity enrich the conversation?
If the soul exists it is transcendent. If we consider soul as life force, what transcends is our ancestral lineage through the mechanism of the body. Our DNA is as delicately positioned for survival, as it is destruction/ completion. Fractal patterns in nature suggest an end to any continuum. The imprint of this poem, as with many of the poems in the collection, Mantic, involved a repositioning of awareness into my father's psyche. He passed away when I was seventeen, but his life (and unexpected death) resonates in my every fiber. Many of the poems were also written as my mom began to decline. She too has recently passed away. What remains is my animalistic longing to embody their energy; an act which, in consequence, forces a form of "self as installation." I am a walking, breathing relic of my departed tribe.
Posted By: blackglassmoon	Category: Maureen Alsop	Tags: Gyromancy, interview, Manic, Maureen Alsop, poem, poetry, womens quarterly conversation
profiles in linguistics: Anne Waldman
Official Fast Speaking Music Website: http://www.wix.com/fastspeakingmusic/fsm
Naropa Summer Reading Program Website: http://www.naropa.edu/swp/
Website: http://en.wikipedia.org/wiki/Anne_Waldman
Anne Waldman is a woman who addresses the world with capacity, clarity, and intent. She feels the pain of our strands of linear patriarchal dissonance and seeks to resonate with a voice that confronts and at the same time challenges us to find magic, dream, and non-linear space outside of this constrictive definition. The feminine is embraced with a strength that encourages collaboration and breath. Waldman's nurturing address is simultaneously flexible, vulnerable, and fierce.
Performance, body, connection to other and spirit unite in the work of Waldman's art and poetry. She is many, including teacher, activist, scholar, performer, collaborator, mother, wife, woman; an artist that takes up space with intention. Her performances nurtures the body, music, breath, spirit, and inconsistency of language. When asked about her journey to our present, she tells me, "I feel I found my own way, that as a woman I was charged to re-invent the world."
1.) Where are you from? What were the first inspirations that made you desire to become a writer?
New York City, although I was actually born in Millville New Jersey where I lived a few weeks before returning to Macdougal Street in Greenwich Village. My father was in Germany during the war and my mother went to give birth near his family.
First inspirations: the playfulness and montage of dream, the fragments of conversations, tesserae of information, trying to understand the "body politic" and the female, body at the same time. The orality of Greek drama and Shakespeare (I worked at the Stratford Poetry Festival in Connecticut as a teenager)
I was interested in expressing myself in poetry, in a different kind of magical language – which was an art honored in my family, given priority and respect…
2.) If you were asked to create a flexible label of yourself as a writer, what would it be? How has your own work changed over time and why?
I "poet" covers most of the ground which includes the sense of orality and performance but I am also an editor, a cultural activist, professor at the very fluid Kerouac School involved with "infra-structure poetics".
Over time, I began to work on longer projects. Investigative projects that go deeper and deeper into my own psychic patterns of consciousness.
3.) Who, what, where, influenced you as a writer? In other words how did you arrive here as a writer?
A sense of being part of a continuum of writing- a community of writing through time was important. The classics, a sense of lineage……the work of Yeats, Wallace Stevens, the Romantics, Ezra Pound, H.D., Gertrude Stein… & the old poetry- Chinese, Japanese sages. And the singing of the India artist such as Shubalaksmi, the Egyptian Om Kalsoum. Opera (I listened to the Met broadcasts as a child). I was developing naturally as a writer. It was not about "influence" It was shared concerns, empathy, curiosity. I was going in a lot of directions. It waa about adhesiveness, what is it you love or desire?
I think it's more important to talk about the directions that were happening organically, not "influences." We are not simply "tabula rasas" that come in to be influenced! And this model seems so academic. But some of my excellent teachers at Bennington: Howard Nemerov, Bernard Malamud, later back on St Mark's places where I started working at the Poetry Project (in 1966) Ted Berrigan who was an active "first responder", my mother Frances LeFevre Waldman, Edwin Denby. The heroes of the New American Poetry: Robert Duncan, Frank O'Hara…I had also met Dane diPrima when I was about 17 years old, seeing her "in situ" at the Albert Hotel with child, alchemical texts, Buddhist shrine was empowering…writers of my own generation- Bernadette Mayer, Alice Notley. But it wasn't mentorship. I was very clearly finding my own way. Allen Ginsberg was an example of the generous rhizome- connecting up the world. I feel I found my own way, that as a woman I was charged to re-invent the world.
4.) You write that "the poem is a textured energy field or modal structure. The poems for performance seem to manifest as psychological states of mind. They come together in a mental, verbal, physical, and emotional form, making their particular demands on my voice and body. I am the 'energumen'." Do you believe that performance poetry needs to encompass different elements that accent the performance or is all poetry performance poetry?
This is a good question. Of course as we read poetry silently we are also performing it in our heads. And many elements play in our minds, and you can actually also feel the language in your gut, your heart, your own intellect and imagination. It can traverse a lot of boundaries of experience. In a way how you read or present aloud can also do this, but you also want to be nuanced so that the participant- the audience person – can also be involved with their own relationship and individual response. You want to open that up rather than shut it down. I don't think I would say all poetry is performance poetry. I also have trouble with that term" performance poetry" in any case as the ultimate defining term. It is not adequate to the task. The root is "parfornir" to do something in front of an audience. But there are subtler issues of the way the language works in the public space, the gestalt of the whole "poet" person, the quality of the voice, the range. I never like these things "rehearsed".
5.) You have been cited as saying that you believe performance poetry to be a "ritualized event in time". Could you please expand on this idea of ritual and performance and how it has affected your work?
Work or writing generally starts in private- the Ur-text as it were, or ur-ideas, and then it is re-actualized in performance in public space in a particular time frame that has certain boundaries. But it actualizes the energy of the first spark. But the situation might also allow for improvisation. It's not that there is a proscription for this- or an absolute theory that would indicate how to proceed. Ritual is "an act re-done" and it needs to be as potent as the first time to make the energy come alive.
6.) Lisa Jarnot says of your work that you are "possessed with a passion to witness, to understand, and to describe. For years she has inhabited a poetics of responsibility. Now the highlights of that journey are gathered together, revealing the luminous path that she has carved through the middle of the imperfect world. Vow to Poetry is a vow to life – enlightening, challenging, and crucial to the American tradition."Can you describe what it means to you to have a poetics of responsibility? How has the development of your spirituality and cultural activism affected your poetry?
I think they are inseparable and inhabit my sense of the duty of the poet, especially in these dark times.
I think you are attentive to the pain of the world and that you hope through art and poetry you can relieve some of that suffering.
7.) I am interested in your perspective regarding the relationship between the melopoeia of language and music and how they overlap/support/emphasize each other in ways that would not be possible without collaboration.
The melopoeia is inherent in the poetry, so the possibilities for "sounding" already exist. And then one can take this forward. And of course collaboration, yes, opens the field, as with the "Cyborg on the Zattere" opera project with Steven Taylor. It has four singers, several musicians and readers. Everything is enhanced through the actual music.
8.) Can you further discuss the importance of collaboration and how this act impacts your own poetics? What are your plans for the future?
It is hugely important, and I am interested in the mind and patternings of others in the work they do. I don't formulate these kinds of acts. Every collaboration has its own vision and shape. Whether it's working with painter Pat Steir on piece entitled "Cry Stall Gaze" that the Brodsky Center at Rutgers is printing- beautifully I might add – that will be presented as a scroll, or the work I do on my husband Ed Bowes's movie scripts. Ambrose is very active in what he appreciates and wants in my work.
As for my plans, I am working on a "poundatorio" a mini-opera using the "knot" of Ezra Pound– his brilliant poetry & his difficult & offensive politics– with composer & musician Steven Taylor. A new CD with Ambrose Bye, my son, and we will be traveling to Montreal and Europe soon for performances.. A new writing project. Iovis- the 1,000 page hybrid is forthcoming this June, and that will lead to further travels. A new anthology from the Naropa archive.
So many I encounter almost daily. Women around the Belladonna collective, women working through the Kerouac School at Naropa nexus, around the Poetry Project. Programs like New England College Low Residency MFA. I think community is important for younger women writers.
Posted By: blackglassmoon	Category: Anne Waldman	Tags: anne waldman, poetry
profiles in poetics & linguistics
Amber Dermont
Amber Nelson
Amy Newlove Schroeder
Anna Swir & Piotr Florczyk
Annmarie O'Connell
Arisa White
Caryl Pagel
Danielle Vogel
Deborah Poe
Elena Karina Byrne
Eleni Sikelianos
Elizabeth Colen
Elizabeth Frankie Rollins
Elizabeth Myhr
Emily Motzkus
Erika Lutzner
Halina Duraj
Hildred Crill
J. Hope Stein
Jacqueline Gens
Jamie O'Hara Laurens
Jessica Piazza
Joannie Stangeland
Katherine Towler
Kathy Burkett
Katie Farris
Kelli Anne Noftle
Khadijah Queen
Kirsten Lunstrum
Kristen Nelson
Kristi Maxwell
Laura Solomon
Lauren Gordon
Layli Long Soldier
Leah Umansky
Lori Anderson Moseman
Lynne Thompson
Maria Garcia Teutsch
Marilyn McCabe
Molly Brodak
Patricia Fargnoli
Renee Angle
Rosebud Ben-Oni
Sabrina Orah Mark
Sarah Maclay
Selah Saterstrom
Soma Mei Sheng Frazier
Tamara J Madison
Tantra Bensko


text:
Prince Harry and Meghan Markle delivered meals to Los Angeles residents in need
Prince Harry and Meghan Markle have kept a low profile since leaving their senior royal roles and relocating to Los Angeles.They've kept so quiet that they managed to sneak out and deliver meals to L.A. residents in need during the COVID-19 pandemic.The couple volunteered through Project Angel Food, a Los Angeles nonprofit that prepares and delivers medically tailored meals to chronically ill people.Donning N95 masks and gloves, the Duke and Duchess of Sussex dropped off a week's worth of perishable meals and three weeks' worth of shelf-stable foods to 20 of the charity's clients last week, Project Angel Food CEO Richard Ayoub told CNN.The charity's client base, mostly people too sick to leave their homes to purchase food, has quickly swelled during the coronavirus pandemic, and the volume of calls — up to 70 per day — for help has overwhelmed drivers tasked with delivery, he said.That's where Harry and Meghan came in. Ayoub said the pair volunteered twice, including on Easter Sunday, to drop off food (while maintaining social distancing, of course).One of the nonprofit's clients told Ayoub they didn't realize who had delivered their food until the pair had left."They were dressed so casually — that's not how you expect to see them," Ayoub said. "You don't expect to see them at your door."Project Angel Food is one of the first charities the couple has supported since officially giving up royal duties on March 31. They announced this month the launch of their new charity, Archewell, since the two can no longer use the Sussex Royal brand.Ayoub said he doesn't know if or when Harry and Meghan will be back, but they're welcome to return whenever they like.
Prince Harry and Meghan Markle have kept a low profile since leaving their senior royal roles and relocating to Los Angeles.
They've kept so quiet that they managed to sneak out and deliver meals to L.A. residents in need during the COVID-19 pandemic.
The couple volunteered through Project Angel Food, a Los Angeles nonprofit that prepares and delivers medically tailored meals to chronically ill people.
Donning N95 masks and gloves, the Duke and Duchess of Sussex dropped off a week's worth of perishable meals and three weeks' worth of shelf-stable foods to 20 of the charity's clients last week, Project Angel Food CEO Richard Ayoub told CNN.
The charity's client base, mostly people too sick to leave their homes to purchase food, has quickly swelled during the coronavirus pandemic, and the volume of calls — up to 70 per day — for help has overwhelmed drivers tasked with delivery, he said.
That's where Harry and Meghan came in. Ayoub said the pair volunteered twice, including on Easter Sunday, to drop off food (while maintaining social distancing, of course).
One of the nonprofit's clients told Ayoub they didn't realize who had delivered their food until the pair had left.
"They were dressed so casually — that's not how you expect to see them," Ayoub said. "You don't expect to see them at your door."
Project Angel Food is one of the first charities the couple has supported since officially giving up royal duties on March 31. They announced this month the launch of their new charity, Archewell, since the two can no longer use the Sussex Royal brand.
Ayoub said he doesn't know if or when Harry and Meghan will be back, but they're welcome to return whenever they like.
Previous Is it safe to open mail and packages during the coronavirus outbreak?
Next 'Nerve-racking': Truck driver rescued from cab dangling 70 feet over Virginia river

redpajama_set_name: RedPajamaCommonCrawl


text:
Orectognathus coccinatus é uma espécie de formiga do gênero Orectognathus, pertencente à subfamília Myrmicinae.

Referências

Myrmicinae

redpajama_set_name: RedPajamaWikipedia


Brighton are determined to close out the season by securing the Sky Bet Championship title on the final day of the season - Sunday - a fortnight after securing promotion to the top flight.
KIERAN GILL: There will be no need for the Championship trophy to be hovering in a helicopter in between Brighton and Newcastle's ties on Sunday.
Rafa Benitez says his Newcastle United future hinges on next week's meeting with owner Mike Ashley. The Spaniard has however starting making plans for summer recruitment.
Newcastle manager Rafael Benitez has to "manage expectations" next season when the Magpies return to the Premier League after promotion at the first attempt from the Championship.
Newcastle manager Rafael Benitez is set for crucial talks with owner Mike Ashley next week, which he says will determine his future and that of everyone at the club.
RAFA BENITEZ is set for face-to-face talks with Mike Ashley to determine his Newcastle future next week.
Rafa Benitez talked of his intention to meet club owner Mike Ashley.
Preview followed by live coverage of Sunday's Championship game between Newcastle United and Barnsley.


Bruce Dooyema asked his parents for a dozen baby chickens as part of a school project when he was 13 years old. His parents instead bought two dozen. This school project led to a lifelong career and passion for global egg production.
Center Fresh has operations in four Iowa counties, and thanks to Dooyema, in the African nations of Mozambique and Zimbabwe. This year, a farm will also be started in Zambia.
Dooyema is passionate about providing exceptional care for the hens, being a good steward of the environment, contributing to his community and helping developing countries to learn how to raise affordable and nutritious food. He's served on the American Egg Board for the past 18 years, and his sustainable approach recently led to appointments on the International Egg Foundation Board and World Poultry Foundation Board.
"After successfully raising two dozen chickens, my parents put up a 60,000-bird hen house the summer before my freshman year of high school," Dooyema shares.
With Dooyema's dad, Junior, in his mid-50s and putting in long, hard labor hours as a dairy farmer, his son's interest in egg production provided an opportunity to re-focus the family farm. "We had 60 milk cows, a 50 farrow-to-finish hog operation and 100 steers – our operation was iconic of farms in the 1970s. We did a lit bit of everything," Dooyema says.
The consolidations came as egg consumption was growing. It didn't happen overnight, however.
In 1984, TIME magazine dealt a blow to the industry by dubbing eggs as a bad source of cholesterol. Today, the egg industry has come a long way from the famous cover story that made eggs the villain when it came to heart disease. It's a fascinating reminder of the improvements in understanding human nutrition and heart health.
Recent recommendations from the American Heart Association, American Diabetes Association and the 2015 Dietary Guidelines for Americans no longer limit cholesterol intake and include eggs as part of healthy eating patterns.
Eggs provide high-quality protein and unique nutrients such as choline and lutein, making them a perfect complement to any diet. At an average cost of 17 cents per serving, eggs are an affordable source of highquality protein.
For Dooyema and other egg producers, hen health is unequivocally their top priority.
Inside the barns, technology maximizes environmental controls. Center Fresh strives to have the perfect temperature according to the age of the bird; proper light; quality water, feed and ventilation; and sanitary conditions.
For example, a day-old pullet needs air temperature around 92 degrees F, while a young bird thrives at 70 degrees F. As hens age, optimal temperature is around 80-82 degrees F.
Dooyema says every Tuesday managers discuss what's happening with each flock. The team analyzes weather conditions – adjusting for warmer or cooler temperatures – and the age of flock to determine the rations.
The age of bird and the diet affect the size of the egg. Most people want to buy large eggs at the grocery store, so the key is to manage the diet so the eggs are the right size.
"It's how we make our living – and we want a healthy food supply, so we are doing everything possible to keep our birds happy," Dooyema explains. "When birds are happy, they lay more eggs.
A visit to Mozambique in 2006 inspired Dooyema and his brothers Kim and Eric to bring modern egg farming practices to the African country. They helped build a modern, fully integrated egg facility in Mozambique that allows local egg farmers to produce nutritious and safe eggs to help feed the county's growing population.
Before building the facility, there was minimal commercial egg production in the region. With each Mozambique resident only consuming 10 eggs per year, there is a great need for this highquality protein source.
"Mozambique is one of the 10 fastest growing economies in the world. However, the area has 70-90 percent unemployment, and small farmers don't receive the education and skills to learn sustainable practices," Dooyema says.
When Center Fresh starts a new farm, they also launch a technical training school called Ebenezer. Students live on campus for two years and are trained on how to grow produce, crops, broilers and manage layer houses.
"This ensures they will have the skills to go into their own communities and start whatever type of agriculture that interests them," Dooyema explains.
Beyond teaching, Center Fresh's priority has been to reduce disease pressure. Because hens were in uncontrolled environments, disease spread rapidly on the ground, often wiping out 50 percent of flocks. Dooyema built a simple cage system — which has received enormous praise from the president of Mozambique — that has led to happier and healthier hens.
A similar project was developed in Zimbabwe and another is planned for Zambia.


In this image of heart cells in a mouse that has had a heart attack, some of the red cells are new cells generated to repair the heart attack damage.
Human trials of stem cell therapy for post-heart attack patients have raised as many questions as they have answered — because while the patients have tended to show some improvement in heart function, the stem cells do not appear to turn into heart cells or even survive.
But in a featured paper published in the latest edition of the journal Cell Stem Cell, Harvard Stem Cell Institute (HSCI) researchers at Brigham and Women's Hospital (BWH) provide a solution to the puzzle — and what appears to be a new use for stem cells.
The stem cells being transfused into the patients may not be developing into new heart muscle, but they still appear to be beneficial. Some stem cells in the bone marrow, called c-kit+ cells, appear capable of stimulating adult stem cells already present in the heart to repair the damaged tissue.
What this means, in effect, is that the c-kit+ stem cells are functioning much as a drug might, stimulating the heart's own repair mechanism.
"It seems that heart muscle is being made from heart stem cells that are already there," said Richard T. Lee, who led the new study. Lee, a Harvard Medical School professor of cardiology at BWH and leader of the HSCI Cardiovascular Disease Program, notes that "there have been some adult stem cells found in the heart, but it hasn't been clear under what circumstances they are active, and how to turn them on.
"The study explains why some forms of cell therapy are helping the heart even though the cells themselves don't survive inside the heart," Lee said.
Up to this point, researchers working in regenerative medicine have envisioned two basic roles for stem cells: They can be used as treatments, to be given to patients to directly replace lost cells and repair damage; and they can be used to model diseases in the laboratory, and serve as targets for traditional drug discovery and initial testing. The Lee paper suggests a third role for these ubiquitous cells: At least in the heart, they can apparently stimulate other stem cells to repair damaged tissue. In a heart attack, heart muscle dies, reducing the heart's ability to pump blood throughout the body. When that damage reaches a certain point, congestive heart failure, which is as lethal as many metastatic cancers, sets in.
Results thus far from studies in humans — Lee's study was done in mice — "have shown a small improvement in heart function, but a big enough improvement so there is potential to prevent heart failure," Lee said.
Ideally, Lee said, researchers would like to find a chemical that would, like the c-kit+ stem cells, stimulate adult cardiac cells to repair heart attack damage.
According to her research, Katharine Park said, "The female body really lay at the heart of the development of autopsy and dissection as medical practices." And with that, she is overturning a long-held myth that human dissection was prohibited by the church.


text:
""" Working with organizations

"""
import os

from bigml.api import BigML

from .world import world
from .world import setup_module as general_setup_module
from . import create_source_steps as source_create
from . import create_dataset_steps as dataset_create
from . import create_model_steps as model_create
from . import create_prediction_steps as prediction_create

def setup_module():
    """Operations to be performed before each module

    """
    # Project or Organization IDs

    general_setup_module()
    world.bck_api = world.api
    world.api = BigML(world.USERNAME, world.API_KEY, debug=world.debug,
                      project=world.project_id)
    print(world.api.connection_info())
    world.clear()

def teardown_module():
    """Operations to be performed after each module

    """

    if os.path.exists('./tmp'):
        shutil.rmtree('./tmp')

    if not world.debug:
        try:
            world.delete_resources()
        except Exception as exc:
            print(exc)
        project_stats = world.api.get_project( \
            world.project_id)['object']['stats']
        for resource_type, value in list(project_stats.items()):
            if value['count'] != 0:
                # assert False, ("Increment in %s: %s" % (resource_type, value))
                print("WARNING: Increment in %s: %s" % (resource_type, value))
        world.api.delete_project(world.project_id)
        world.project_id = None
    world.api = world.bck_api
    print(world.api.connection_info())

class TestProjPrediction(object):

    def setup(self):
        """
            Debug information
        """
        print("\n-------------------\nTests in: %s\n" % __name__)

    def teardown(self):
        """
            Debug information
        """
        print("\nEnd of tests in: %s\n-------------------\n" % __name__)

    def test_scenario1(self):
        """
            Scenario: Successfully creating a prediction with a user's project connection:
                Given I create a data source uploading a "<data>" file
                And I wait until the source is ready less than <time_1> secs
                And the source is in the project
                And I create a dataset
                And I wait until the dataset is ready less than <time_2> secs
                And I create a model
                And I wait until the model is ready less than <time_3> secs
                When I create a prediction for "<data_input>"
                Then the prediction for "<objective>" is "<prediction>"

                Examples:
                | data                | time_1  | time_2 | time_3 | data_input    | objective | prediction  |
                | ../data/iris.csv | 10      | 10     | 10     | {"petal width": 0.5} | 000004    | Iris-setosa |

        """
        print(self.test_scenario1.__doc__)
        examples = [
            ['data/iris.csv', '10', '10', '10', '{"petal width": 0.5}', '000004', 'Iris-setosa']]
        for example in examples:
            print("\nTesting with:\n", example)
            source_create.i_upload_a_file_with_project_conn(self, example[0])
            source_create.the_source_is_finished(self, example[1])
            assert world.source['project'] == world.project_id
            dataset_create.i_create_a_dataset(self)
            dataset_create.the_dataset_is_finished_in_less_than(self, example[2])
            assert world.dataset['project'] == world.project_id
            model_create.i_create_a_model(self)
            model_create.the_model_is_finished_in_less_than(self, example[3])
            assert world.model['project'] == world.project_id
            prediction_create.i_create_a_prediction(self, example[4])
            prediction_create.the_prediction_is(self, example[5], example[6])
            assert world.prediction['project'] == world.project_id

redpajama_set_name: RedPajamaGithub


text:
British & Irish Lions 2021
Varsity Cup
One Day Cup
English Premiership
ATPTour
WTATour
SA Rankings
Three Springboks named in World Rugby's Team of the Decade
Tendai Mtawarira (Getty)
Tendai Mtawarira, Bismarck du Plessis and Bryan Habana have been named in World Rugby's Team of the Decade.
Siya Kolisi has also been mentioned in a special edition featuring rugby's heroes of the pandemic.
New Zealand's Richie McCaw has been named World Rugby Player of the Decade.
Three Springbok Rugby World Cup winners - Tendai Mtawarira, Bismarck du Plessis and Bryan Habana - were named in World Rugby's Team of the Decade as part of the World Rugby Awards Special Edition held on Monday evening.
There was also special recognition for current national captain Siya Kolisi and his colleagues for their fundraising efforts through the #StrongerTogether for R32-12 campaign, which raised more than R1 million for hunger alleviation during the Covid-19 pandemic.
The awards evening celebrated members of the rugby family who have provided outstanding service during the Covid-19 pandemic as well as players and teams who have starred over the last decade in a virtual show.
Instead of the traditional awards celebrating performances on the pitch in 2020, supporters had the opportunity to vote for their six favourite Players and Tries of the Decade Awards, with the World Rugby Awards' star-studded panel given the difficult task of selecting two Teams of the Decade.
The Men's Team of the Decade features a strong South African front row presence in Mtawarira, who retired from Test rugby after the 2019 Rugby World Cup, and the experienced Du Plessis.
Habana, the Springboks' most prolific try scorer during his international career which spanned 12 years, is the third South African named in the Team of the Decade.
Du Plessis and Habana were team-mates when South Africa won the Rugby World Cup in 2007, while all three players were members of the team's 2-1 series win over the 2009 British & Irish Lions.
"On behalf of the entire South African rugby fraternity, I would like to congratulate all our Springboks who featured in the World Rugby Awards tonight," SA Rugby president Mark Alexander said via a press statement.
"'Beast', Bismarck and Bryan always gave everything they had for the Springbok jersey and were great ambassadors for our wonderful country. Their inclusion in the Team of the Decade is great reward for their consistently high level of performance in the green and gold.
"To Siya and the Boks of 2019, well done on a great effort to help raise funds for those less fortunate who were hit very hard because of the pandemic earlier this year - we are all very proud of your efforts.
"Congratulations to our other nominees too, from the Blitzboks and the Springboks, for always giving their all when representing South Africa on rugby fields around the globe."
All the action from the men's stars included in the World Rugby Men's 15s Team of the Decade in association with @Mastercard#WorldRugbyAwards pic.twitter.com/lmhiRvSzz4
— World Rugby (@WorldRugby) December 7, 2020
Every World Rugby Men's and Women's 15s Player of the Year recipient since 2010 were shortlisted for the World Rugby Men's and Women's 15s Player of the Decade, from three-time recipients Dan Carter and Richie McCaw to the Boks' Pieter-Steph du Toit, and women's players Emily Scarratt and Jessy Tremouliere.
The same was true for the World Rugby Men's and Women's Sevens Player of the Decade Awards with nine men and six women shortlisted, from two-time winners Perry Baker and Michaela Blyde to 2019 winners Jerry Tuwai and Ruby Tui. Blitzboks Cecil Africa, Seabelo Senatla and Werner Kok were also on the short-list.
Past winners of the International Rugby Players (IRP) Try of the Year from 2010 onwards were shortlisted for the International Rugby Players 15s Men's Try of the Decade, while the women's shortlist was selected by IRP and put to the public vote.
A total of 394 795 votes were cast by the public across the six categories during the voting window in October with rugby fans eager to have their say on who should claim the prestigious accolades for last decade.
New Zealand's two-time Rugby World Cup-winning captain Richie McCaw was named World Rugby Men's 15s Player of the Decade after seeing off competition from former team-mates Dan Carter, Kieran Read, Brodie Retallick and Beauden Barrett as well as Thierry Dusautoir (France), Johnny Sexton (Ireland) and Du Toit.
Fiji's Jerry Tuwai was the winner of the World Rugby Men's Sevens Player of Decade Award, seeing off competition from the Blitzbok trio, Mikaele Pesamino, Tomasi Cama, Tim Mikkelson, Samisoni Viriviri and Perry Baker.
The first award presented on the night was the World Rugby Women's Sevens Player of the Decade, which was claimed by Black Ferns Sevens star Portia Woodman.
France fullback Jessy Tremouliere added another accolade to her Player of the Year award in 2018 by being voted the World Rugby Women's 15s Player of the Decade ahead of Carla Hohepa, Michaela Staniford, Magali Harvey, Kendra Cocksedge, Sarah Hunter, Portia Woodman and Emily Scarratt.
Woodman claimed her second award of the night when her try against USA in the Rugby World Cup 2017 semi-final was named International Rugby Players Women's 15s Try of the Decade ahead of efforts by Alison Miller, Magali Harvey, Megan York and Danielle Waterman.
Jamie Heaslip's try for Ireland against Italy in the 2016 Six Nations was voted International Rugby Players Men's 15s Try of the Decade by fans after seeing off the competition from scores by Chris Ashton, Radike Samo, Habana, Beauden Barrett, Francois Hougaard, Julian Savea, Joaquín Tuculet, Brodie Retallick and TJ Perenara.
A total of six nations are represented in the World Rugby Men's 15s Team of the Decade, selected by the star-studded panel with seven players from New Zealand, three from South Africa, two from Ireland and one each from Australia, Italy and Wales.
World Rugby chairperson Bill Beaumont commented: "First and foremost, I am deeply proud of how the global rugby family has reacted to what has been an exceptionally challenging year. The rugby heroes featured in the ceremony and all the others that provided outstanding service during the pandemic are an inspiration to us all. This special edition of the World Rugby Awards is certainly a tribute to their resilience and solidarity.
"I would like to congratulate all tonight's recipients for their outstanding contribution to our game over the last decade, and for some of them, for many years to come. They are already part of rugby's history and it is my great privilege to acknowledge their legacy with these awards."
World Rugby's men's Team of the Decade:
15 Ben Smith (New Zealand), 14 George North (Wales), 13 Brian O'Driscoll (Ireland), 12 Ma'a Nonu (New Zealand), 11 Bryan Habana (South Africa), 10 Dan Carter (New Zealand), 9 Conor Murray (Ireland), 8 Sergio Parisse (Italy), 7 Richie McCaw (New Zealand), 6 David Pocock (Australia), 5 Sam Whitelock (New Zealand), 4 Brodie Retallick (New Zealand), Owen Franks (New Zealand), 2 Bismarck du Plessis (South Africa), 1 Tendai Mtawarira (South Africa)
World Rugby women's Team of the Decade:
15 Danielle Waterman (England), 14 Lydia Thompson (England), 13 Emily Scarratt (England), 12 Kelly Brazier (New Zealand), 11 Portia Woodman (New Zealand) 10 Katy Daley-Mclean (England), 9 Kendra Cocksedge (New Zealand), 8 Safi N'Diaye (France), 7 Maggie Alphonsi (England), 6 Linda Itunu (New Zealand), 5 Tamara Taylor (England), 4 Eloise Blackwell (New Zealand), 3 Sophie Hemming (England), 2 Fiao'o Fa'amausili, (New Zealand), 1 Rochelle Clark (England)
- Compiled by Sport24 staff
A post shared by SA Rugby (@bokrugby)
Mapimpi watch: Rassie must keep an eye out for idle star in Japan
WP injury report: Fouche concussed, Senatla sidelined with MCL injury
Bulls, Bok scrumhalf set to sign with Saracens
Next on Sport24
Rassie Erasmus reveals family battle with Covid-19: 'We were pretty bad'
world rugbyspringboksbismarck du plessistendai mtawarirabryan habanasiya kolisirugby
Australia 369/10 & 294/10
India 336/10 & 4/0
SA cricket legend Graeme Pollock on the mend after latest health setback
Proteas forced into last-minute charter flight dash to Pakistan
Solskjaer laments Man United's 'missed opportunity' after Liverpool draw
Siya's 'switch': Sharks could have case for co-captains
Rucking with Rob - Weekly
Resident rugby writer Rob Houwing gives you his take on what's happening between the poles.
What is your favourite sport to watch on TV?
MMA / WWE / UFC
5% - 1399 votes


text:
tester tester
Progress in South Orange, New Jersey
While mayor (From 2011-2015), South Orange saw four years of the lowest tax increases in over fifteen, hundreds of millions of dollars in investment, especially in the downtown, three years of debt reduction, four years of crime reduction, increased commitment to sustainability, better use of technology and more support for the arts. Most important, all done with a civic space now compromised of constructive, collaborative leadership and an informed, engaged public actively involved in shaping the future of the community.
Check out our progress in South Orange to learn more.
Inspiring and supporting a new generation of leaders
With Rethink Leadership, Alex and the Veracity team helped connect young elected officials from around the country to eachother. Figuring out what exists that motivates and demotivates people from entering our civic space is critical to understanding how best to move forward.
Alex also serves on the advisory board of New Leader's Council New Jersey and is a James Madison Fellow at the Millennial Action Project. Alex has spoken to hundreds of commnity groups, classes, schools and organizations around the world about leadership, governance and technology. Contact him to have him participate at your next panel, workshop or event.
Check out for more on Rethink Leadership to learn more.
Empowering innovation through Veracity Media
I founded Veracity Media to help support those trying to make the world and their communities a better place. In only a couple short years, we grew our scrappy to a major player in the political digital arena. We helped fight for access to affordable higher education, better veteran benefits, more women in elected office, more independents in our government, and much more.
Check out what they're up to: veracitymedia.com to learn more.
Researching: Art of Governance
A curated blog documenting, discussing and shedding light on various topics, news and ideas that I come across in my work and studies to better understand how to create more sustainable , equitable and effective governance structures.
Consulting: Civic Tech and Data Consultant with Living Cities
I am managing the implementation of a grant from the MacArthur Foundation to Living Cities to help better connect low-income communities to their city governments using technology in partnership with Code for America and NNIP from the Urban Institute. Cities (and local government generally) are an amazing laboratory for experimenting with how to best fix government, and I'm pretty pumped about taking my time from being in elected office and my prior company to help innovate how cities and communities govern and solve problems.
Consulting: Program Director with Run For America
Working with Run for America to research, iterate and implement a program to help inspire, provide support for and ultimately make more accessible running for office, most notably at the Congressional level in the US.
Teaching: Strategic Management for Good Governance
With Dr. Matt Hale, we're expanding the scope of experimenting with new ways that an MPA education can prepare students not just for jobs in the public sector, but to be critical stewards of the public sector.
Researching: How to ?
A theoretical and technical analysis into generating, structuring and making accessible more usable knowledge.


text:
/// \brief A container for all camera related properties
/// \author Renats Bikmajevs
/// \version 1.0

/// \class Camera
/// \brief A container of all camera and view related properties and methods

class Camera: public GameObject
{
public:
    /// \brief Default ctor
    Camera()=default;

    //public properties
    /// \brief coordinates which camera is pointing to
    glm::vec3 m_camTarget;
    /// \brief position of the camera
    glm::vec3 m_eye;
    /// \brief field of view
    float m_fovy;
    /// \brief aspect ratio
    float m_aspect;
    /// \brief near clipping plane
    float m_zNear;
    /// \brief far clipping plane
    float m_zFar;
    /// \brief camera zoom
    float m_zoom = 1.0f;
    /// \brief vertical rotation of the camera
    float m_rotX;
    /// \brief horizontal rotation of the camera
    float m_rotY;
    /// \brief old vertical rotation stored for finding relative rate of change
    int m_oldX;
    /// \brief old horizontal rotation stored for finding relative rate of change
    int m_oldY;
    /// \brief old zoom stored for finding relative rate of change
    int m_oldZoom;

    //public methods
    /// \brief method to adjust eye and call loadModelView
    void lookAtTgt();
    /// \brief method to call loadProjection
    void camPerspective();
    /// \brief method to update camera rotation angles
    /// \param[in] _x current x coordinates of the mouse
    /// \param[in] _y current y coordinates of the mouse
    void camOrbit(const int &_x, const int &_y);
    /// \brief method to update camera zoom
    /// \param[in] _y current y coordinates of the mouse
    void camZoom(const int &_y);
    /// \brief method to find current camera orientation vector
    void getCamDir();
private:
    //private methods
    /// \brief method to load ModelView matrix
    void loadModelView(const glm::mat4 _matrix);
    /// \brief method to load Projection matrix
    void loadProjection(const glm::mat4 _matrix);
}; //end of class

#endif // CAMERA_H


text:
Q: What's a cover note for a CV? I sent my CV to get a job into one company. But they rejected it.
The reason was: "Please do not send your CV without a cover note."
English is not my native language and it is hard for me to understand what cover note means. What is it?

A: Hmm. ODO doesn't help much.

cover note
  a temporary certificate showing that a person has a current insurance policy.

However, cover letter is more helpful, and even provides a suitable example:

a letter sent with, and explaining the contents of, another document or a parcel of goods:
you will need to write a covering letter to send with your CV

You are being asked not simply to send your CV, but attach it to a letter (or note) explaining why you are sending it.

redpajama_set_name: RedPajamaStackExchange


The international design publication Wallpaper* has named MPavilion by OMA as one of the top buildings that shaped culture in 2017.
Forty seven projects feature on the list of "the best examples of the smartest new builds, canniest restorations and smoothest extensions that are upgrading the experience of life in our cities and communities across the globe".
Tract worked with OMA and the Melbourne-based MPavilion consultant team to design the landscape, an angular, faceted batter that forms the back of the semicircular amphitheatre framing the pavilion for 2017.


text:
Olympic gold medalist dies after America's Cup sailboat capsizes in San Francisco Bay
May 9, 2013: The overturned Artemis Racing AC72 catamaran, an America's Cup entry from Sweden, is towed past Treasure Island after the boat capsized during training in San Francisco Bay in San Francisco, Calif. (AP/San Jose Mercury News)
SAN FRANCISCO – A 72-foot-long Swedish sailboat capsized Thursday in San Francisco Bay while practicing for the upcoming America's Cup races, killing an Olympic gold medalist from the United Kingdom and injuring another sailor, authorities said.
Artemis Racing said Andrew "Bart" Simpson died after the capsized boat's platform trapped him underwater for about 10 minutes around 1 p.m. PDT.
Simpson served as the Swedish team's strategist and had won one Olympic gold medal and one silver medal. He was 36 years old, according to San Francisco Fire Department officials.
Artemis said doctors "afloat" with the team and on shore couldn't revive Simpson after he was freed from the wreckage.
"The entire Artemis team is devastated by what happened," CEO Paul Canyard said in a statement posted on the team's website. "Our heartfelt condolences are with Andrew's wife and family."
Simpson and another sailor were injured when the Artemis Racing catamaran capsized near Treasure Island, a former naval station in the bay, Fire Department spokeswoman Mindy Talmadge said.
Both were brought to shore and taken to the St. Francis Yacht Club, where paramedics performed CPR on Simpson. He was pronounced dead a short time later, fire officials said.
The other sailor suffered minor injuries, and the rest of the crew of 13 was accounted for and taken back to their dock in Alameda in a boat operated by Oracle Racing, which is defending its 2010 America's Cup title in San Francisco this summer.
The Swedish-based team and two other yacht clubs are scheduled to compete with each other for the honor of challenging Team Oracle for the America's Cup, sailing's most prestigious trophy.
The boat that capsized is a specially built catamaran that can reach speeds of 45 mph.
Coast Guard Lt. Jeannie Crump said the agency did not know the extent of the damage to the boat. She said a commercial salvage boat was at the scene and would tow the vessel to Clipper Cove, between Yerba Buena Island and Treasure Island.
Crump added that Coast Guard officials weren't sure what caused the boat to capsize. The Swedish team has two boats, she added.
The America's Cup race is scheduled to run from July through September, and the teams are training in the bay.
The Louis Vuitton Cup for challengers starts July 4, with the winner facing Oracle in the 34th America's Cup beginning Sept. 7.
This is the second time a sailor has died during training for the America's Cup.
In 1999, Martin Wizner of the Spanish Challenge died almost instantly when he was hit in the head by a broken piece of equipment.
Artemis has had its share of upheaval in the buildup to the 34th America's Cup. Late last year, skipper Terry Huthinson of Annapolis, Md., was released. He was replaced by Nathan Outteridge of Australia, who won a gold medal at the London Olympics.
Artemis has had technical problems, as well. Last fall, Artemis said the front beam of its AC72 catamaran was damaged during structural tests, delaying the boat's christening. A year ago, Artemis' AC72 wing sail sustained serious damage while it was being tested on a modified trimaran in Valencia, Spain.


text:
Alumni Awards 2019
The Venice High School Alumni Association congratulates the 2019 Alumni Award Recipients for their service to Venice High School and the surrounding community.
Congratulations to this Years Recipients!
David and Rosi Kent - Distinguished Alumni's of the Year
David Kent ('79) was born and raised in southern California. Rosi Kent, Palisades High ('83) came to the United States when she was 14 years old. David and Rosi both attended Cal State Northridge, where they met in a computer science class 32 years ago. They have been married for 25 years and have two sons, Spencer ('17) and Ryan ('18).
Rosi, who is a Software Manager at Northrop Grumman, and David, who owns his own construction company, feel very lucky to have been such active volunteers during their children's younger years in school.
Rosi and David began volunteering in the school community when their first son started kindergarten at Mar Vista Elementary. They continued active involvement at Palms Middle School and Venice High School. Rosi and David have worked both in front and behind the scenes at their boys' schools on various committees and events. Whether it was leading the Spell-A-Thon Fundraiser, the building of the Haunted House, co-chairing the Friends of Palms Booster Club, running the Boys Basketball Snack Bar, leading the Friends of Venice Magnet group, working the snack bar at the football games, BBQ'ing for teacher luncheons and senior breakfasts, or doing the cleaning after school events, they helped at practically every event.
They believe in the importance of strong parental involvement in the community, so even though their youngest son culminated elementary school in 2011, David and Rosi still come back every year to help during beatification days, Halloween carnivals, PTA Founders Day, and other events. David joined the Venice High School Alumni Association two years ago and is currently the Associations' Vice President.
Donna Lasman - Gondolier of the Year
Donna Lasman is a Southern California native, born, raised and still residing on the westside of Los Angeles. She has fond memories of summers at the beach and the eclectic mix of entertainers and artists along the Venice Boardwalk. It is no accident that she found herself at home as the CEO for the Venice Chamber of Commerce. Combining her love for business and community involvement is what Donna enjoys most about her work.
Donna has more than 30 years' experience in business, specializing in the area of business development, management and leadership. Following college and after working for several firms, she finally joined the family business, an automotive parts distribution warehouse, as Vice President/General Manager where she tripled the size of the company during the 12 years she worked there. After the birth of her son, desiring a more flexible lifestyle she resigned her position and spent the next several years working as a community volunteer and as a marketing/business consultant.
During her years as a community volunteer, Donna was a passionate advocate for public education, especially literacy. Before her son entered grade school, she was a reading buddy for the Wonder of Reading Program. Donna was so impressed with the program and the library, that once her son entered Cowan Avenue Elementary School, she led the effort to create a partnered reading program for reluctant readers, and brought a Wonder of Reading Library to their school. Donna also worked as a library volunteer, and she managed the semi-annual book fairs for the 5 years that her son attended there. She loved reading the new releases, and most enjoyed inspiring children to love reading by suggesting books they would like. Donna continued working with struggling readers at Orville Wright Middle School, until budget cuts closed down the library. While her son attended LAUSD schools, Cowan and Orville Wright in Westchester, and then Venice High School, Class of 2013, Donna also served on their governing school site boards.
Donna re-entered the professional world when a friend recommended her for a position at LAX Coastal Chamber of Commerce working in Membership. In 2010, after 4 years with the LAX Chamber, she moved on to serve the Venice Chamber of Commerce as their CEO. Under her leadership, the Venice Chamber has grown from a 100-member organization to nearly 350 members, and 11 highly functioning committees comprised of dedicated volunteers that help support the Chamber's programs and activities. The Venice Chamber is the organization that takes care of the Venice Sign on behalf of the Venice Community, and the Chamber produces signature events such as the Holiday Lighting of the Venice Sign, the Venice Art Crawl, and the WAVE Awards, an annual event honoring teachers. Since 2012, the Venice Chamber has also assumed responsibility for coordinating sponsors for the Jackets of Excellence Program at Venice High School. In 2016/17, through the Chamber in Action committee, the Venice Chamber led the effort to restore the POW/MIA mural on Pacific. Donna is proud and honored to work with the Venice community and believes that her intimate knowledge of operating a business, combined with her leadership skills acquired from her business and volunteer involvement enables her to effectively and successfully represent the Venice community.
Nonny de la Peña - Alumnus of the Year
Often acknowledged as "The Godmother of Virtual Reality," Nonny de la Peña ('80) is a pioneer of virtual, augmented and mixed reality who is widely credited with inventing the genre of immersive journalism. In 2012, her piece "Hunger in Los Angeles" debuted at the Sundance Film Festival, marking it's place in history as the first VR (Virtual Reality) experience to be shown at the festival, and since then her work has continued to elicit global recognition at institutions and events such as the Victoria and Albert Museum, Brooklyn Museum, World Economic Forum and Venice International Film Festival. In 2017, Nonny was named one of CNET's Most Influential Latinos in Tech and most recently she received the 2018 WSJ Magazine Technology Innovator of the Year award.
If you know someone that should be considered for this prestigious honor, please submit an application.
Go to our website – http://www.venicehighalumni.com, Go to Get involved – Alumni Annual Awards. Link
Past Honorees Link


GBBD May 2014: Latest. Spring. Ever. Or is it?
It's been chilly and rainy for the past few days, and it really feels like the few nice spring days we've had were a total tease. Because of that, I originally titled this post "Latest. Spring. Ever."
And then I went back through May Garden Bloggers' Bloom Day posts of old... and discovered that the outside plants are actually NOT really that far behind. The purple allium that I posted last year are just starting to open, but everything else is pretty much on schedule.
And that pretty much covers everything that's going on here for Garden Bloggers' Bloom Day. (Except the 2 trays of annuals that I had to move into the house... but I'll save that depressing sight for another post!) For more of what's in bloom around the world, check out Carol's May GBBD roundup over at May Dreams Gardens.


About - GIVE ME 5!
The Give Me 5 Campaign is a campaigning and advocacy organisation with members in over 40 countries taking action to achieve the UN Sustainable Development Goals.
We believe in the fight for human rights of present and future generations.
Founded by Juan E. Chebly during the 3rd UN Financing for Development Conference in Addis Ababa, Ethiopia in 2015, the Give Me 5 Campaign is strictly nonpartisan. Our members use social media for good and lead by example in the implementation of the UN Sustainable Development Goals. Whether lobbying local leaders within their own communities or running cutting-edge grassroots campaigns, Give Me 5 pressures world leaders to invest more in achieving Sustainable Development and less in making war.
Our global society needs to shift substantive resources toward sustainable development if we are to ensure the well-being of people and planet by the year 2030. Through our partnership with the United Nations, we can house the trillions of dollars in funds needed to fuel this transition, and redirect every penny back to where it came from, but with a new focus on fulfilling the needs of each participating nation state, organisation, foundation, or individual.
We empower advocates to understand the importance of the UN Sustainable Development Goals and to take action within their own communities.
"With the equivalent of 5% of global military spending we could eradicate poverty forever and transition from fossil fuels to renewable energy..."
Let's speak up in one voice.
Almost done! Check your email and click the confirmation link.


The ability to win a jackpot prize with just one spin is what makes the excitement go to a whole new level, so who doesn't' like jackpot games. Jackpot winnings can vary from thousands to millions of dolars, giving you the opportunity to win instantly big money which can life-changing. All the great online gambling sites have a fantastic selection of jackpot games with a bunch of lucrative promotions. Fun games with a massive jackpot are the actual icing on the online gambling cake, and both online players and casinos are aware of this. In essence, a jackpot is a money pool which can be won at certain games. Back in the days before the introduction of online jackpot games players used to be over the moon with jackpot prizes which worth the modern day equivalent of ten or twenty thousand. Things have changed in a past couple of decades, and no one is truly impressed by a jackpot which is smaller than six figures anymore.
Major online gambling sites offer pooled jackpot games such as Mega Moolah, Major Millions and Age of Gods. Every time a player places a wager on a particular jackpot game, from whichever online gambling site, a percentage of his bet is put in the jackpot money pool. These games are enormously popular online, and therefore many players are participating and contributing to always growing jackpot money pool. When a jackpot is won at a money pooled jackpot game, it is won at every online casino where the game is available.
Considered progressive jackpots, most jackpot games money pool keeps and growing until it is won. Since the jackpot is constantly growing, you will win more the longer time passes without a winner. You will find that many slot games come with a progressive jackpot, but it's not limited specifically to them as many online casinos offer progressive versions of roulette, blackjack and other online gambling games for you to try. Opportunities to win big money are limitless.
Jackpot slots are a great way to win a lot more money when playing online slots. Most people tend to this that playing online jackpot slots is nothing more than a game of chance. That is mostly true, but not always the case. There are a few things that you can do to improve your overall chances of winning the jackpot while playing slots.
One of the easiest things you can do to win the jackpot at slots is to bet the maximum amount. This can increase your chances of having a payout. However, this is also a way to spend a lot of money in a short amount of time. Playing progressive slots is another way to earn big money while playing slots. A progressive jackpot continues to grow in size until someone wins it. Progressive slots add a little bit more excitement to an already fun game.
Traditional jackpots do not get any larger. They stay the same amount. Some people prefer traditional jackpots because they feel their chances of winning a smaller amount are better than their chances of winning one large amount. There is some truth to this way of thinking. The odds are in your favor when you choose to play for a small jackpot.
Winning the jackpot at slots is more left to chance than anything else. It does not hurt to try a few techniques in order to increase your chances of winning. If you are hoping to win big then it is suggested that you seek out progressive jackpots so that you can reap the most benefits. Progressive jackpots add some more thrill to the game as well. Check out the slots gaming collection at your favorite casino.
Jackpot Party Casino is one of the hottest casinos on the web. The first time that players install it they will get six million free coins. That is a huge bonus. This casino app has all of your favorite games and will keep you occupied for hours. This game can be played on Facebook or most mobile devices. It is completely free to play. 3D slots are available on this mobile app. This app provides a real live Las Vegas experience without ever having to leave the comfort of your home or office. You can enjoy playing your favorite slot games while on the go.
Throwback slot machines are available on this hot app. Online tournaments and huge jackpots that are progressive are just a few of the features that you will love. Daily coins are given to players who return every day to play. Some of the top games include Gorilla Chief, Space Invaders from the Planet Moolah, and Super Monopoly. These are just a few of the plentiful options that Jackpot Party Casino has to offer to you. This super fun app takes just a few minutes to download. Before you know it, you will be on your way to playing all of the best slots games.
Social casino tournaments are offered so that you can compete against your friends. There are mini-games and rewards for playing the mini-games. Zeus II, Jungle Wild, and Fu Dao Le are some of the most popular game offered at Jackpot Party Casino. There has never been a better time to check out all of the gaming fun that this one of a kind casino app has to offer. It is available for Android devices as well as iOS.
Winning a jackpot is not easy. It takes a lot of time, money, and energy in order to win a jackpot that is worth writing home about. Slots is mostly a game of chance, but there is a certain methodology to winning at this game. There are progressive jackpots that continue to grow in value until someone wins them. There are also traditional jackpots that stay the same the entire gameplay. Choosing the type that you want to play is the first step into making a battle plan to win at slots.
Choose games that have the very smallest jackpots in order to increase your chances of winning. You have a better chance of winning small jackpots than you do a jackpot that is large in value. You should always play the highest possible amount of credits in order to attempt a big win. This will increase your chances of winning, but will also spend a lot of money in a short period of time.
You should always bet the maximum amounts. Play slots games that have more pay lines in an attempt to improve your chances of winning the game. Play a game that suits your style and speed. You do not want to play a fast-paced game if you are more laid back. You should also be picky about where you choose to play slots. Some jackpots are bigger and easier to win than others. So, be sure to carefully review all of your options before choosing a gaming establishment where you can take your turn at winning the biggest jackpots. You should always remember to play responsibly and remember that you are playing for real money. If you want to win money you have to spend money.


When pregnancy and hemorrhoids blend, the effect is much more aggravation. Pregnancy is a vulnerable stage for just about any woman, which explains why choosing the best hemorrhoid treatment is absolutely even more difficult for pregnant women. There is the danger associated with producing sideeffects which will just impact medical regarding the mom and also the developing fetus. So to assure which treating hemorrhoids during pregnancy is performed correctly, here's some useful advice to consider.
To start with, utilizing a hemorrhoid treatment without prior consent from your physician is actually very dangerous. Irrespective perhaps the treatment provides virtually no sideeffects, you should always ensure your doctor possess approved your own deploying it. The key error patients help make, pregnancy notwithstanding, is employing remedy without bothering to endure appropriate medical prognosis. You have to realize the significance of getting the doctor's guidance that will help you handle the condition specifically if you are together with kid.
There are several types of traditional hemorrhoid treatment which you can use. Sadly, not really them all are going to be secure considering your present circumstance. As a rule, you really sure that the treatment you want on using has been cleared through your doctor or even is one area that may provide the the very least sideeffects or even none whatsoever. A good treatment to be able to believe in throughout in this instance is really a healing device, such as an antifriction strip, that can supply optimal remedy without the sideeffects generally associated with other forms of standard treatment.
In addition, you should be cautious of taking on preventive methods. Women that are pregnant are usually encouraged to gain weight to be able to situation themselves for the coming infant. In addition, maintaining a healthy diet is actually mandatory. However changing your diet plan significantly or resistant to the assistance your own obstetrician might cause unneccessary hurt to the introduction of the unborn kid. As a result, preventive methods, just like nutritional alterations should be obtained together with safety measure.
The actual same is true regarding demanding exercises. Fortunately, Kegel training is a common regimen recommended regarding pregnant women to help all of them deal with the burden as a result of the actual enlargement stomach. This is one determine that you can take into account being a principal hemorrhoid treatment. Achieving this routine on a regular basis will strengthen the actual pelvic muscle tissue, however may also market healthy circulation, which, if you are nevertheless free from hemorrhoids, is actually tremendously beneficial in stopping the condition postpartum.