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Conversations on community, creativity & craft
I began conducting and then collecting the following radio, online, and print interviews about writing, art and the writing and art life when I accepted the producer/host position in 2005 for WCBN-FM's Living Writers Show in Ann Arbor, where I'd moved to study for my MFA. I continue to love talking to creative people about their passions and preoccupations. I hope you enjoy!
Live-Broadcast Radio Interviews
The Living Writers Show, WCBN-FM Ann Arbor. Poets & prose writers read from their work and talk about their passions and preoccupations with host-producer, Ashley David. Live broadcasts were engineered by Chaz Berret and aired Wednesdays from 4:30-5:15 p.m. (2005-2007). The roster follows, and recordings of the interviews are provided when available (and as I have time to upload them to the site).
Uwem Akpan—fiction writer and Jesuit priest from Nigeria—
Uwem Akpan, author of Say You're One of Them (photo credit: Granta.com 11/14/08)
reads from his work and talks about callings, writing Africa, and the role geography plays in the life a child. (aired: 12/6/06)
Suad Amiry, author of Sharon and My Mother-in-Law
Suad Amiry—architect and former Palestinian Minister of Culture—reads from her memoir, Sharon and My Mother-in-law, and talks about the day-to-day of living in the occupied West Bank. (aired: 12/21/05) https://ashleydaviddotcom.files.wordpress.com/2011/12/suad-amiry.mp3
Kevin Baker—novelist—reads from his novel, Strivers Row, the final installment of the "City of Fire" trilogy, and talks about Malcolm X, the Harlem riots of 1943, the Triangle Shirtwaist Factory Fire, the Civil War draft riots in New York City and the writing of historical fiction. (aired: 3/8/06) https://ashleydaviddotcom.files.wordpress.com/2011/12/kevin-baker.mp3
Neil Bartlett reads from Who Was that Man?: A Present for Mr. Oscar Wilde
Neil Bartlett, author of Who Was that Man?: A Present for Mr. Oscar Wilde (photo credit: nationaltheatre.org.uk)
and discusses guidebooks, gay culture, and his life and work as an artist in London. (aired: 9/21/05)https://ashleydaviddotcom.files.wordpress.com/2011/12/neil-bartlett.mp3
Terry Blackhawk—poet, teacher, and executive director of InsideOut Detroit—reads from Escape Artist and talks about confinement and liberation, neo-formalism, and the writers-in-the-schools program she founded and directs. (aired: 4/12/06)
Lan Samantha Chang—novelist, teacher, and director of The Iowa Writers Workshop—
Lan Samantha, author of Hunger (photo credit: Prairie Lights Bookstore, 11/10/06)
reads from her collection of stories, Hunger, and talks about memory, contemporary mythmaking, and "writing what you know." (aired: 12/14/05)
Billy Collins, former US Poet Laureate, reads from his 8th book of poems, The Trouble with Poetry and Other Poems, and talks about death, dogs, diction and other weighty matters. (aired: 10/19/05) https://ashleydaviddotcom.files.wordpress.com/2011/12/billy-collins.mp3
Peter Ho Davies, in a special sneak-peak preview, reads from his forthcoming novel—The Welsh Girl—and navigates a conversation through Nazi characters, national identity, novel-making, and Tom Jones. (aired: 12/20/06)
Kwame Dawes—poet, playwright, novelist, and director of the Calabash International Literary Festival and the South Carolina Poetry Initiative—
Kwame Dawes (photo credit: AtlantaBlackStar.com)
reads from Midland and Wisteria and talks about the aesthetics of Bob Marley, the power of art, growing up in Ghana and Jamaica and living and writing in South Carolina. (aired: 2/22/06)
Margaret Lazarus Dean reads from her hot-off-the-press first novel, The Time it Takes to Fall, a coming-of-age novel set against the backdrop of the Challenger space shuttle explosion in 1986, and discusses aliens and alienation, the inner and outer space of US innocence, and disasters of various stripes. (aired: 2/21/07)
Andrew Delbanco, author of Melville: His World and Work
Andrew Delbanco—social critic and Columbia University professor of humanities and American studies—reads from Melville: His World and Work and talks about the ways in which Melville, who set the standard for the great American novel with Moby Dick, captured the imaginative, social, and political concerns of his day, and why after a century and a half, his work continues to capture ours. (aired: 11/9/05)
Nicholas Delbanco, author of The Vagabonds
Nicholas Delbanco—novelist, essayist, teacher, and chair of the Hopwood Awards committee—reads from his most recent novel, The Vagabonds, and talks about crafting a writing life, the responsibility of mentorship, and the Avery Hopwood awards and legacy at the University of Michigan. (aired: 2/8/06) https://ashleydaviddotcom.files.wordpress.com/2011/12/nicholas-delbanco.mp3
Jeffrey Eugenides, author of The Virgin Suicides and the Pulitzer Prize winning Middlesex, reads from his work; maps the great American attention span; tackles mutation, metamorphosis, and conflict; and rounds out the confab with a dash of decayed grandeur. (aired: 11/1/06)
Jeffrey Eugenides (photo credit: Karen Yamauchi)
https://ashleydaviddotcom.files.wordpress.com/2011/12/jeffrey-eugenides.mp3
Robert Fanning—poet—reads from his new book, The Seed Thieves, and talks about music, poetry, and death; about writing life, writing art; about the making of a book. (aired: 9/13/06)
Vievee Francis—poet—reads from Blue-Tail Fly, her first book, which was chosen by Poets & Writers Magazine as one of 12 notable debut books for 2006, and discusses writing personae poems, Callaloo, Cave Canem, and literary legacy at the intersection of empire, the Mason-Dixon, and the Detroit poetry scene. (aired: 1/3/07)
Jonathan Franzen—novelist, essayist, and frequent New Yorker contributor—reads from his work and talks about taste, complacency, the "so what" question, and birds. (aired: 11/30/05) https://ashleydaviddotcom.files.wordpress.com/2011/12/jonathan-franzen.mp3
Alice Fulton, author of Cascade Experiment (photo credit: Hank De Leo
Alice Fulton—poet, essayist, and teacher—reads from her new book of selected poems Cascade Experiment and talks about the processes of circling back, beginning anew, and experimentation. (aired: 1/25/06) https://ashleydaviddotcom.files.wordpress.com/2011/12/alice-fulton.mp3
Mary Gaitskill reads from her novel, Veronica, and talks about pity, love, and redemption, about the essence of human nature and the places we put it. (aired: 9/27/06)
Albert Goldbarth
Myla Goldberg, author of the best-selling Bee Season, reads from her newest novel, Wickett's Remedy and discusses flu epidemics, differential equations, and megalomaniacal antics in art, lit, and life. (aired: 10/25/06)
Laurence Goldstein reads from his 4th book of poems, A Room in California, and discusses his work as poet, scholar, teacher, and long-time editor of The Michigan Quarterly Review. (aired: 9/21/05) https://ashleydaviddotcom.files.wordpress.com/2011/12/laurence-goldstein.mp3
Lorna Goodison—internationally recognized Jamaican poet, painter, prose writer, and teacher—reads from her work, and talks about struggle and resistance, patience and fortitude, and about writing from and across cultural heritage. (aired: 1/11/06)
Lorna Goodison (photo credit: Denis Valentine)
Linda Gregerson, author of Magnetic North
Linda Gregerson reads from her hot-off-the-press fourth book of poems, Magnetic North, and discusses questions of inequity, locations and occasions of art, and the guiding stars of formal experiment and invention. (aired: 3/7/07)
Patricia Hampl reads her poetry and non-fiction and talks about disappearing worlds, the power and weaknesses of first person writing, and the shifting nature of memory. (recorded 9/22/05, aired 10/5/05)https://ashleydaviddotcom.files.wordpress.com/2012/05/patricia-hampl.mp3
Melanie Lynne Hauser reads from her novel Confessions of Supermom and talks about an incredible Swiffer accident, chick lit, and soccer mom stereotypes. (aired: 9/7/05)
Robert Hershon, Hanging Loose (photo credit: The Brooklyn Rail)
Robert Hershon—poet, editor, and publisher of Hanging Loose Press—reads from his newest book, Calls from the Outside World, and talks about the absurd, the fabulous, politics, Brooklyn, and Rosemary Clooney, and making poems, among other things… (aired: 4/26/06) https://ashleydaviddotcom.files.wordpress.com/2011/12/robert-hershon.mp3
John Hodgman: You may know him as The Resident Expert on Jon Stewart's The Daily Show, or as The PC Guy on the Mac commercials… You may even know him as the nicest guy you ever shared a cab with to leave a Paris Review party… But around The Living Writers Show, we know him as The Professional Writer who wrote The Areas of My Expertise. He reads from said book on today's show and discusses hell, fire & damnation; children's games; and Latin American authors of renown in some circles..and even the decline and fall of civilizations, Rome in the 4th century, and the future of cyborgs on earth. (aired: 10/4/06)https://ashleydaviddotcom.files.wordpress.com/2011/12/john-hodgman.mp3
Holly Hughes—performance artist, playwright, and teacher—
Holly Hughes (photo credit: Kelly Campbell)
reads her work and talks about complacency, controversy, and oh yes, decency, action, art, and the NEA 4. (aired: 3/15/06) https://ashleydaviddotcom.files.wordpress.com/2011/12/holly-hughes.mp3
Roy Jacobstein—poet, physician, and international development consultant—reads poems from Ripe and talks about political poetry, writing from outside academia, and wearing multiple hats. (aired: 10/26/05) https://ashleydaviddotcom.files.wordpress.com/2011/12/roy-jacobstein.mp3
Linton Kwesi Johnson—poet, international reggae star, political
Ashley David with Linton Kwesi Johnson at the WCBN studio
activist, and Black Panther leader in Britain—reads from his work and talks about civil rights struggles on both sides of the Atlantic and the relationships between dub poetry, reggae, R&B, and rap. (aired: 3/22/06)
Heidi Julavits—writer and founding editor of The Believer—reads from her new novel The Uses of Enchantment and discusses victims, predators, adolescent girls, sexuality, and the construction of the self. See also Dora, Freud, the 80s, motherhood, the coast of Maine, crayons, bad coffee, and the making of a magazine. (aired: 11/15/06)
Ted Libbey, one of the U.S.'s most highly regarded music critics and commentators as well as the Director of Media Arts Programs for the NEA, reads from his classical music encyclopedia, NPR Guide to Building a Classical Music Library and discusses the nature of including everything (and leaving some things out). (aired: 5/23/06) https://ashleydaviddotcom.files.wordpress.com/2011/12/ted-libbey.mp3
John McCain—US senator, 2-time presidential candidate,Vietnam POW, and best selling author—reads from Character is Destiny, and talks about character, inspiration, responsibility, and torture. (aired: 12/7/05) https://ashleydaviddotcom.files.wordpress.com/2011/12/john-mccain.mp3
Raymond McDaniel, author of Saltwater Empire (photo credit: The Poetry Foundation)
Raymond McDaniel reads from his forthcoming second book of poems, Saltwater Empire, and talks about Dixie-fried poetry, predicting the future, and redemption. (aired: 11/2/05) https://ashleydaviddotcom.files.wordpress.com/2011/12/raymond-mcdaniel.mp3
Ken Mikolowski
Sean Norton reads from his first book of poems, Bad with Faces and talks about journey, renunciation, and style. (aired: 10/12/05) https://ashleydaviddotcom.files.wordpress.com/2011/12/sean-norton.mp3
Patrick O'Keeffe reads from his collection of linked novellas, The Hill Road, and, in his first interview about this debut collection, talks about Ireland, change, loss, and finding his subject. (aired: 9/14/05)
Julie Orringer—widely celebrated for her fiction and recently transplanted to Ann Arbor—reads from her work and explores literal and metaphorical jet lag, the lit-life versus the writing-life, and the drive to create worlds that others may inhabit. (aired: 1/17/07)
Eileen Pollack, author of In the Mouth (photo credit: U-M Dept of English)
Eileen Pollack—novelist, creative non-fiction writer, journalist, and teacher—reads from the forthcoming collection of stories, In the Mouth and talks about truth and lies, literary vogue, and the business of writing (and learning to write). (aired: 11/23/05)
Richard Rhodes—Pulitzer prize-winning author—reads from his most recent book, John James Audubon: The Making of an American and talks about birds, conservation, expansion, the making of a country, and nuclear disarmament. (aired: 5/3/06) https://ashleydaviddotcom.files.wordpress.com/2011/12/richard-rhodes.mp3
Jim Shepard—novelist, teacher, and "patron saint of the mal-adapted"—reads from his novel Project X and talks about adolescent boys, growing up, and being a writer-parent. (aired: 12/08/06)
Jim Shepard, author of Project X (photo credit: Barry Goldstein)
https://ashleydaviddotcom.files.wordpress.com/2011/12/jim-shepard.mp3
Samuel Shimon—writer and co-founder of Banipal, the magazine of Modern Arab Literature—reads from his autobiographical novel An Iraqi in Paris and talks about life as a homeless intellectual on the streets of Paris, Hollywood movies vs. the French New Wave, and how Iraq is "like a dish of Spanish paella." (aired: 11/29/06)
Keith Taylor, author of Guilty at the Rapture
Keith Taylor—poet, prose writer, critic, and teacher—reads from Guilty at the Rapture, just out from Hanging Loose Press, and talks about the poetry bug, poetry worlds, genre bending, and the call of the whooping crane. (aired: 4/5/06) https://ashleydaviddotcom.files.wordpress.com/2011/12/keith-taylor.mp3
Richard Tillinghast—poet, critic, teacher, performer, and "Leonard Wiggins" in a James Atlas novel—reads from his work, and covers the usual bases: Southerners to Puritans, social movements to poetry. (aired: 11/16/06)
Ari Weinzweig, founder of Zingerman's Family of Businesses and author of the Guide to Good Eating
Ari Weinzweig—food & business writer and founding partner of Zingerman's Community of Businesses—reads from his Guide to Good Eating and talks about globalization, consumption, community…and of course, American food. (aired: 3/29/06)
Colson Whitehead—MacArthur Fellowship and Whiting Award recipient and Pulitzer Prize finalist—reads from his newest book, Apex Hides the Hurt, and talks about snakes, beetles, co-conspirators, and the color line. (aired: 4/19/06)
David Wojahn—poet—reads from his work and discusses regionalism and the location of literary heart, the difference between Junior Parker and Elvis, and the implications of gussying up the plain and painful. (aired: 2/7/07)
P.S. The show is still alive and well and currently hosted by T Hetzel. You can listen live on WCBN-FM or subscribe to the podcasts on iTunes.
Online Text-based Interviews
In February 2012, I was profiled for The University of Georgia's "Amazing Students" column on UGA.EDU. Check it out here.
Sean Hill, author of Blood Ties & Brown Liquor (photo credit: Minnesota Prairie Roots)
Sean Hill, poet and author of Blood Ties & Brown Liquor, and I chatted by email in the early months of 2011 about his work plus origins, wanderings, reconciliation, and the evolution of a student-run multicultural journal—in the Reconciliation issue of Mandala Journal. Check it out here.
José Romelo Lagman, photographer, and I chatted by email in April 2010 about rooted cosmopolitanism for Mandala Journal Blog. Check it out here. And, while you're at it, check out his photo-essay, "Rooted Cosmopolitanism."
Pingback: Credentials | Strategic Words


What happens in Vegas… you know the line. But some of it gets out on these Las Vegas blogs who know that some of the best stories in one of the best cities around are too good not to be told. According to them, what happens in Vegas… is worth blogging about!
Dubbed "real stories from the most unreal city on earth," this blog is all about telling those stories that you thought only happened in movies. One recent post was a guest post from a cabbie. Fun read.
Part of LasVegasVegas dot com, this blog brings you poker news and articles about the most famous of gambling games all around the city. Tips for sports gambling as well.
Written by Steve Kieva, this blog is exactly what it says- everything about Las Vegas, from the newest show to the newest restaurant to the place that can't pay its bills.
This one is focused on things to do in Las Vegas, whether you are visiting for pleasure or business or both. They organize everything by categories so it is easy to find what information you need.
Just what it says, this blog covers the rich and famous when they come to Vegas and do what the rich and famous do. Oh, and it says it's written by Robin Leach!
This is a design and casino blog that brings you all the best and newest in those areas.
This blog highlights all of the newest and most outlandish and fun that is happening in and around Vegas. Well worth reading for new ideas if you are a frequent Vegas traveler.
This is an LA Times blog, so you get the news and happenings from Vegas from the LA point of view- well, the LA journalism point of view.
With a tagline like "living in the shadow of the strip," you know this blog is keeping it real with the stories. It is about living in and around Las Vegas and written by local experts on doing just that.
"Helping to preserve 20th Century Las Vegas" is their tagline. They publish articles and stories about the historical sites and sounds of Vegas.
Thanks Murray! I go to Vegas so often for work I hardly ever get to sight see. My first trip was last weekend and I can't wait to go back. I'm going to start reading these blogs for some insider tips and to look for horror stories to avoid.


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Pat Boran
Pat Boran was born in Portlaoise in 1963 and has long since lived in Dublin. He has held a number of positions as Writer-in-Residence with public libraries/authorities and third level institutions in the city, as well as with the Western Education and Library Centre in Enniskillen, Co. Fermanagh. He is a former Programme Director of the Dublin Writers Festival, a former presenter of both The Enchanted Way and The Poetry Programme on RTÉ Radio 1, and continues to contribute to a number of programmes on the station, including the highly popular Sunday Miscellany.
Since receiving the Patrick Kavanagh Award for Poetry in 1989 he has published six full-length collections of poetry. Those books are: The Unwound Clock (1990), Familiar Things (1993), The Shape of Water (1996), As the Hand, the Glove (2001), The Next Life (2012) and Waveforms: Bull Island Haiku (2015) which also includes a selection of the the author's photographs. His New and Selected Poems, with an introduction by the late Dennis O'Driscoll, was published in 2005 and reissued by the Dedalus Press in 2007 since when editions have appeared in Italian, Hungarian and Macedonian translation. In 2017 Orange Crate published A Man Is Only As Good: A Pocket Selected Poems, updating and revising that earlier New and Selected in a pocket-sized format.
In addition to poetry he has published numerous short stories in magazines on radio. A collection, Strange Bedfellows was published in 1991 while a short fiction title for children, All the Way from China (1999), was a finalist for the Bisto Book of the Year Award.
His non-fiction titles include the humorous memoir, The Invisible Prison: Scenes from an Irish Childhood (2009), the writers, handbook The Portable Creative Writing Workshop (various editions) and A Short History of Dublin (2000).
He has edited a large number of poetry publications. He is a former editor of Poetry Ireland Review; for EXPO2000 he edited the literature and arts newspaper Portal distributed free to visitors to the Irish stand; with Peter Sirr he co-edited Dublin 15, an audio CD of poems about the city; and he has edited numerous print anthologies of poetry and prose, including Wingspan: A Dedalus Sampler (2006), Flowing, Still: Irish Poets on Irish Poetry (2009), The Bee-Loud Glade (2009), Shine On, Irish writers in support of those affected by mental ill-health (2011), with Gerard Smyth If Ever You Go: A Map of Dublin in Poetry and Song (2014), the One City, One Book designated title for that year, and, most recently, with Eugene O'Connell, the poetry and prose anthology The Deep Heart's Core: Irish Poets Revisit A Touchstone Poem (2017).
He has conducted writing workshops all over Ireland and has represented Ireland at poetry and literature festivals throughout Europe. He has reeived a number of Arts Council Bursaries and travel awards and was the 2008 recipient of the US-based Lawrence O'Shaughnessy Poetry Award.
His website can be found at www.patboran.com.

redpajama_set_name: RedPajamaCommonCrawl


The Nelson Trust has a national and international reputation as a centre of excellence in the treatment of addiction. Their belief in the capacity for individual change and sustainable recovery based on lifelong abstinence is an approach which was once seen as radical but is today accepted as the most effective evidence-based treatment for people with entrenched and complex substance misuse problems. They provide treatment for around 150 clients each year from all over Britain and beyond, and together with our work in the local community in Gloucestershire and Wiltshire they work with over a thousand individuals each year.
Based in the town of Nailsworth, Forest Green Rovers are the longest serving member of the Football Conference. They're aiming to break this habit over the next few seasons and climb into the football league for the first time – with positive changes and investment on and off the pitch pushing us towards success.
Forest Green Rovers are aiming to create a truly sustainable football club, which would be a world first. Somewhere they can demonstrate all of our thinkingand technology, and through that engage with a new, large and passionate audience. A global audience ultimately. It's the chance to introduce some Eco into the world of sport, and not just football.
We support Tetbury Youth Under 9's football.
EESI is proud to sponsor Old Centralians Men's Rugby club in Gloucester.
EESI is proud to sponsor Dan Cooper and his team. From Brimscombe in Stroud, Daniel has run his team under the Dan Cooper Racing banner since 2015, riding Honda machinery for the 600cc and 1000cc classes at all of the International Road Races including the North West 200, Isle of Man TT, Ulster Grand Prix and Macau Grand Prix.
EESI currently employ 11 local apprentices and have supporting young people in the local community for decades. For more information on our apprenticeships programme or to apply for an apprenticeship with EESI, please visit our careers page here.


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/ Corporate / PNNL to Tackle Future Grid Challenges Through New Facility, Capabilities
PNNL to Tackle Future Grid Challenges Through New Facility, Capabilities
Matt Ball on August 19, 2015 - in Corporate, Design/Engineering, Electric Grid
RICHLAND, Wash., Aug. 19, 2015—With the opening this week of the Systems Engineering Building at the Department of Energy'sPacific Northwest National Laboratory, a new suite of capabilities become available to researchers and industry to tackle the nation's top challenges in grid modernization, buildings efficiency and renewable energy integration.
The LEED Gold-certified facility houses power grid and buildings control rooms, testing platforms and a number of laboratories to address a broad range of energy challenges. The facility also features the latest in industry software and real-time grid data with access to advanced computational capabilities that allow researchers to design, test and evaluate tools and concepts in a setting that mirrors current industry conditions.
"By linking SEB's new, high-speed data streams with PNNL's high-performance computing capabilities, we can see the grid as never before, enabling improvements to today's tools as well as completely new, predictive capabilities," said Steven Ashby, PNNL laboratory director. "The SEB enables researchers to work side-by-side with industry to accelerate these advancements, which are critical to achieving DOE's vision of a reliable, secure and sustainable power system."
The building is being dedicated on August 19 by Elizabeth Sherwood-Randall, deputy secretary of energy; Patty Murray, U.S. Senator (D-WA); Dan Newhouse, U.S. Representative (R-WA); and other key industry partners and stakeholders. A recorded webcast of the dedication, overview video and other resources can be found on the SEB dedication page.
Multitude of resources under one roof
Through the SEB, PNNL is expanding its Electricity Infrastructure Operations Center to include two power grid control rooms that can be configured to accommodate a variety of industry testing needs and scenarios.
As one of the first industry partners to use the new facility, IncSys CEO Robin Podmore was impressed with its capabilities. "We train grid operators from around the world, such as those in Brazil before the World Cup," Podmore said. "PNNL's new facility provides the capabilities and training environment industry has been waiting for. It is the best mock control room facility for training and human performance evaluation I have seen in the world."
The facility also houses PNNL's Building Operations Control Center to better integrate grid and buildings research, for example designing and testing new buildings control strategies that would increase energy efficiency while reducing strain on the grid.
"With the new capabilities at SEB, we've turned PNNL's campus into a grid-buildings testbed to investigate how we can turn buildings and other traditional energy-consuming devices into valuable resources for the power system," said Carl Imhoff, manager of PNNL's Electricity Infrastructure programs. "Transforming buildings into responsive, two-way assets holds tremendous potential to increase grid reliability and control as well as integrate renewable energy."
Key to this effort is the use of PNNL's Volttron™, which enables appliances and other devices to communicate among each other to prioritize power needs and deliver electricity accordingly. The technology is open source and publicly available, an approach PNNL pursues whenever possible as a means to speed development and industry adoption. Another example is PNNL's GridLAB-D™, a first-of-its-kind analysis and simulation tool that enables users to see — in extremely high resolution — how making changes to one part of the grid, such as incorporating more wind power, affects other parts of the system.
SEB also houses the Power Electronics Laboratory, which provides dedicated lab space for PNNL's electric vehicle charging, energy storage and controls research. The adjacent outdoor pad provides space to connect to even larger assets, such as utility-scale energy storage units and commercial-grade roof top air conditioners.
Interdisciplinary teams at Pacific Northwest National Laboratory address many of America's most pressing issues in energy, the environment and national security through advances in basic and applied science. Founded in 1965, PNNL employs 4,300 staff and has an annual budget of more than $1 billion. It is managed by Battelle for the U.S. Department of Energy's Office of Science. As the single largest supporter of basic research in the physical sciences in the United States, the Office of Science is working to address some of the most pressing challenges of our time. For more information on PNNL, visit the PNNL News Center, or follow PNNL on Facebook, Google+, LinkedIn and Twitter.
electrical grid energy high-performance computing pacific northwest national laboratory
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Thoughts on a 7-3 Rangers win
Rangers 7, Indians 3
By Adam J. Morris May 31, 2016, 9:18pm CDT
Share All sharing options for: Thoughts on a 7-3 Rangers win
David Richard-USA TODAY Sports
How about that Colby Lewis, huh? A six inning outing, no runs, just two hits (both in the third inning), two walks (both in the sixth inning), and two strikeouts. Colby was lifted after just 99 pitches, and I had thought he might be left in for another inning, but after struggling with his command in the sixth, it was apparently determined that Colby's night was done.
Colby is now sporting a spiffy 3.09 ERA on the season.
Tony Barnette gave up a pair of runs in the seventh, and although the Rangers got those runs back, plus another, in the eighth, giving the team a four run lead, Jeff Banister went with Jake Diekman in the 8th, with Diekman throwing a scoreless inning.
In the ninth, both Matt Bush and Sam Dyson were warming, which seemed kind of perplexing to me...both have been used a lot so far, and with a four run lead, you would assume Luke Jackson or Alex Claudio could pitch the ninth. Apparently, both pitchers were up because Banister wanted Dyson to pitch if it was a four run game, but not a five run game, because once the Rangers added an insurance run in the top of the ninth, Bush got the call.
It was Bush's sixth appearance in nine days, and that sort of workload doesn't appear to agree with him, as after a grounder to start the inning, he gave up three straight singles, and was yanked for Dyson. Bush's average fastball velocity today was 95.5 mph, per Brooks Baseball, with a max of 96 mph. When he was first called up, Bush was throwing 99 mph. It seems like a guy who was in prison the past couple of years may not be equipped to pitch as often as he's being asked to so far this year,
Anyway, it ended up with Bush and Dyson both having to pitch in a game the Rangers were up five in the ninth in, and my guess is Bush is unavailable tomorrow. In fact, I wouldn't be surprised if the Rangers sent Bush down in the near future, because it appears he's suffering from this workload.
On to more positive things...it was a big offensive night for Texas against Corey Kluber, one of the better pitchers in the A.L. Jared Hoying and Bryan Holaday combined to get Texas on the board with a single and home run combo -- and I know before the season we were expecting Hoying and Holaday to be fueling the offense -- and a Jurickson Profar solo shot made it a 3-0 game.
Texas put three more on the board in the eighth, with Holaday and Profar singles being followed by Desmond and Beltre doubles, and the final run came in the ninth, courtesy of an Elvis Andrus single, a stolen base, and a Hoying RBI single.
Two hit days for Hoying, Holaday, Profar and Beltre, while Prince Fielder was 0 for 4. Prince now has a 561 OPS on the season.
And hey, Texas is still in first place, is a game back of the best record in the A.L., and has Cole Hamels going tomorrow. Woo-Hoo!!!


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Forza Horizon 5 reveals full Mexico map
Complete with excellent volcano and delightful coastal tracks
News by Imogen Beckhelling Contributor
This November, Forza Horizon 5 is taking us on a road trip to Mexico, and now developers Playground Games have given us a full look at the map we'll get to explore. The standout bit is absolutely the giant volcano, La Gran Caldera, which players will be able to see from all over the world. Better yet, the devs say it's full of windy tracks and areas you can launch your car off of it.
The official Forza Twitter account posted the image of the sprawling new map below. I'm really intrigued by that volcano, and it looks like there are some lovely coastal trails too.
Anyone else suddenly fancy a road trip?
In their latest video showcasing parts of Forza Horizon 5, the developers go through the map explaining a little bit about each area. This map is supposed to be 50% larger than Forza Horizon 4's UK map, and honestly, it looks like it has more interesting landmarks too. Look, there's only so much excitement you can get from several rainy fields.
They also mention that the aforementioned volcano has lots of switchbacks, as well as "about a hundred different ways you can jump off of it". One other notable point of interest is the sand dunes over to the west, near the coast. While there is one race track nearby, there generally aren't many roads going through that area, so it'll likely be a prime spot for offroading.
Other than that, it all looks very nice and varied. Playground previously talked about the biomes players would be driving through, and you can kind of get a sense of where each of those will be - from the jungles and farmland to the east, and the sandy zones to the west. Each of these will be affected differently by seasonal weather - I'm personally quite excited to experience the tropical thunderstorms.
Forza Horizon 5 is set to release on November 9th on PC and Xbox Consoles. It'll also be on Game Pass at launch.
Imogen Beckhelling
Imogen is a lore enthusiast and lover of all the fun shenanigans game communities get up to. She spends too much time playing Overwatch, and not enough time having interests that aren't to do with video games.
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Qantas has set a new record for non-stop flight as QF9 has landed at Heathrow International Airport.
This flight marks the start of the only direct non-stop flights between Australia and the UK.
The historic flight was operated by a Boeing 787-9 Dreamliner, and carried more than 200 passengers and 16 crew.
Qantas says inaugural Perth-London non-stop service carrying "more than 200 passengers" – i.e. not a full load on 236-seat Dreamliner. Industry speculation is they need to block ~30 seats in order to reduce weight.
It touched down shortly after 5am (local time) after a 17 hour flight from Perth.
Qantas Flight 10 (QF 10) will depart Heathrow for Perth, Australia at 1:30pm local time today.
The historic flight opens up a new era of travel with the original seven stop Kangaroo route from 1947 being reduced to one giant hop.
Qantas shared historic images of the original Kangaroo route as it grew up to make such bold jumps. They help to highlight how cabin services have improved over the decades.
This is an original 1948 menu from the Kangaroo route service.
Qantas Super Constellations were capable of carrying 64 passengers, in a two-class configuration, First and Tourist.
On 27 October 1959, Qantas introduced the B707 jets on the Kangaroo route between Australia and London.
The early B707s could accommodate 24 First Class and 60 Tourist Class seats or 120 in an all-tourist class configuration.
Twin galleys were a big feature on Qantas 707s starting in 1959 – each was larger than previous aircraft types – and could produce 84 individual meal servings of traditional Qantas standard.
Qantas' 747 Service, introduced in 1971, featured the Captain Cook Lounge onboard.


text:
Q: Getting "apple mach-o linker id error undefined symbols for architecture i386" when implement a Library in iOS5 I'm having troubles to implement the PayPal Library in XCode 4.
I get this error when I try to build the project:

Undefined symbols for architecture i386:
    "_xmlParseMemory", referenced from:
        -[AdaptivePaymentsSOAP11Binding_CancelPreapproval connectionDidFinishLoading:] in libPayPalMPL.a(AdaptivePayments.o)
        -[AdaptivePaymentsSOAP11Binding_ConfirmPreapproval connectionDidFinishLoading:] in libPayPalMPL.a(AdaptivePayments.o)
        -[AdaptivePaymentsSOAP11Binding_ConvertCurrency connectionDidFinishLoading:] in libPayPalMPL.a(AdaptivePayments.o)
        -[AdaptivePaymentsSOAP11Binding_ExecutePayment connectionDidFinishLoading:] in libPayPalMPL.a(AdaptivePayments.o)
        -[AdaptivePaymentsSOAP11Binding_GetPaymentOptions connectionDidFinishLoading:] in libPayPalMPL.a(AdaptivePayments.o)
        -[AdaptivePaymentsSOAP11Binding_PaymentDetails connectionDidFinishLoading:] in libPayPalMPL.a(AdaptivePayments.o)
        -[AdaptivePaymentsSOAP11Binding_Pay connectionDidFinishLoading:] in libPayPalMPL.a(AdaptivePayments.o)
        ...

Searching on the web I found that this is a tipical error when passing from XC3 to XC4. Maybe the Library isn't updated. But that file .a that you see there seems to be uneditable.

A: Solved. Have to load 3 frameworks: libXML, Security and libz.

redpajama_set_name: RedPajamaStackExchange


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"Superman II" Retrospective
January 4, 2021 January 3, 2021 neilosemanclassic, directing, producing, retrospective
At Christmas 1978, when Superman: The Movie opened to enthusiastic reviews and record-breaking box office, it was no surprise that a sequel was in the works. What was unusual was that the majority of that sequel had already been filmed, and stranger still, much of it would be re-filmed before Superman II hit cinemas two years later.
Jerry Siegel and Joe Shuster's comic-book icon had made several superhuman leaps to the screen by the 1970s, but Superman: The Movie was the first big-budget feature film. Producer Pierre Spengler and executive producer father/son team Alexander and Ilya Salkind purchased the rights from DC Comics in 1974 and made a deal to finance not one but two Superman movies on the understanding that Warner Bros. would buy the finished products. Salkind senior had unintentionally pioneered back-to-back shooting the previous year when he decided to split The Three Musketeers – originally intended as a three-hour epic – into two shorter films.
After packaging Superman I and II with A-listers Marlon Brando (as Kryptonian patriarch Jor-El) and Gene Hackman (as the villainous Lex Luthor), the producers hired The Omen director Richard Donner to helm the massive production. Donner cast the unknown Christopher Reeve in the title role, while John Williams was signed to compose what would prove to be one of the most famous soundtracks in cinematic history. Like many big genre productions of the time – Star Wars and Alien to name but two – Superman set up camp in England, with cameras rolling for the first time on March 24th, 1977.
Tom Mankeiwicz (creative consultant), Marlon Brando (Jor-El), Richard Donner (director), Pierre Spengler (producer). Brando is dressed in black to isolate his head for the Fortress of Solitude hologram effects.
"We were shooting scenes from the two films simultaneously, according to production conveniences," explained creative consultant Tom Mankiewicz in a 2001 documentary. "So when we had Gene Hackman we were shooting scenes from II and scenes from I, or when we were in the Daily Planet we were shooting scenes from both pictures in the Daily Planet, while you were in that set."
Today – largely thanks to Peter Jackson's Lord of the Rings trilogy – we are used to enormous, multi-year productions with crew numbers in four figures, but the scale of the dual Superman shoot was unprecedented at the time, eventually reaching nineteen months in duration. It was originally scheduled for eight.
"Dick [Donner] never in the course of the picture got a budget; he never got a schedule," claimed Mankiewicz. "He was constantly told that he was over schedule, way over budget, but nobody told him what that budget was or how much he was over that budget."
Given that overspends were funded by Warner Bros. in return for more distribution rights, Spengler and the Salkinds were watching the value of their huge investment trickle away. So despite Donner's popularity with the rest of the cast and crew, his relationship with the producers became ever more strained, to the point where they weren't even on speaking terms.
Richard Lester directed iconic Swinging Sixties films like "A Hard Day's Night" and "The Knack… and How to Get It".
Ilya Salkind suggested bringing in The Three Musketeers director Richard Lester, who agreed on condition that he would be paid monies still owed to him from that earlier film. By some accounts his role on Superman was that of a mediator between the director and the producers, by others he was a co-producer, second unit director or even a back-up director in case Donner cracked under the pressure of the endless shoot. "Where does this leave… Donner?" asked a newspaper report of the time. "'Nervous,' a cast member says."
Eventually, with the first movie's release date looming, the filmmakers decided on a change of plan. Superman II would be placed on the back burner in order to prioritise finishing Superman: The Movie – and get it earning money as quickly as possible. At this point, three quarters of the sequel was already in the can, including all scenes featuring Brando and Hackman, both of whom had had contractual wrap dates to meet.
Superman: The Movie was a hit, but Donner would not direct the remainder of its sequel. "They have to want me to do it," he said of the producers at the time. "It has to be on my terms and I don't mean financially, I mean control." Of Spengler specifically, Donner was reported to bluntly state, "If he's on it – I'm not."
And indeed Donner was not. The Salkinds had no intention of acceding to his demands. Instead, the former mediator Richard Lester was hired to complete Superman II, and Donner received a telegram telling him that his services were no longer required. "I was ready to get on an airplane and kill," he recalled years later, "because they were taking my baby away from me."
Master of miniatures Derek Meddings wets down the New York street. Many miniature effects were reshot simply so Lester could claim directorship of them.
Meanwhile Brando was trying (unsuccessfully) to sue the producers over royalties, and demanded a significant cut of the box office gross from the sequel. Rather than pay this, the producers elected to re-film his scenes, replacing Jor-El with Superman's mother Lara, as played by Susannah York.
It was far from the only reshooting of Superman II footage that took place. Ironically, given the earlier budget concerns, Lester was permitted to redo large chunks of Donner's material with a rewritten script in order to earn a credit as director under guild rules. Major changes included a new opening sequence on the Eiffel Tower, Lois Lane's realisation of Clark Kent's true identity after he trips and falls into a fireplace, and a different ending in which a magic kiss from Clark erases that realisation from her memory.
Some of the reshoots included Lex Luthor material, but Hackman declined to return out of loyalty to Donner; the result is the fairly obvious use of a double in the climactic Fortress of Solitude scene. The deaths of Geoffrey Unsworth and John Barry, plus creative differences between Lester and John Williams, meant that the sequel team also featured a new DP (Robert Paynter), production designer (Peter Murton) and composer (Ken Thorne) respectively, although significant contributions from all of the original HODs remain in the finished film.
Comparing his own directing style with Donner's, Lester told interviewers, "I think that Donner was emphasising a kind of grandiose myth… There was a type of epic quality which isn't in my nature… I'm more quirky and I play around with slightly more unexpected silliness." Indeed his material is characterised by visual gags and a generally less serious approach, which he would continue into Superman III (1983).
Although some of the unused Donner scenes were incorporated into TV screenings over the years, it was not until the 2001 DVD restoration of the first movie that interest began to build in a release for the full, unseen version of the sequel. When Brando's footage was rediscovered a few years later, it could finally become a reality.
Footage from Margot Kidder's 35mm screen test was incorporated into the Donner Cut to show Lois Lane discovering Clark Kent's true identity. Although causing some minor continuity errors, the scene is far more intelligent than Lester's rug-tripping revelation.
"I don't think there is [another] film that had so much footage shot and not used," remarked editor Michael Thau. A vast cataloguing and restoration effort was undertaken to make useable the footage which had been sitting in Technicolor's London vault for a quarter of a century. Donner and Mankiewicz returned to oversee and approve the process, which used only the minimum of Lester material necessary to tell a complete story, plus footage from Reeve's and Margot Kidder's 35mm screen tests.
Released on DVD in 2006, the Donner Cut suffers from the odd cheap visual effect used to plug plot holes, and a familiar turning-back-time ending which was originally scripted for the sequel but moved to the first film at the last minute. However, for fans of Superman: The Movie, this version of Superman II is much closer in tone and ties in much better in story terms too. The Donner Cut is also less silly than the theatrical version, though it must be said that Lester's humour contributed in no small part to the sequel's original success.
Whichever version you prefer, 40 years on from its first release, Superman II is still a fun and thrilling adventure with impressive visuals and an utterly believable central performance from the late, great Christopher Reeve.
10 Clever Camera Tricks in "Aliens"
August 17, 2020 January 3, 2021 neilosemanminiatures, practical effects, puppet, retrospective, sci-fi, special effects, VFX, visual effects
In 1983, up-and-coming director James Cameron was hired to script a sequel to Ridley Scott's 1979 hit Alien. He had to pause halfway through to shoot The Terminator, but the subsequent success of that movie, along with the eventually completed Aliens screenplay, so impressed the powers that be at Fox that they greenlit the film with the relatively inexperienced 31-year-old at the helm.
Although the sequel was awarded a budget of $18.5 million – $7.5 million more than Scott's original – that was still tight given the much more expansive and ambitious nature of Cameron's script. Consequently, the director and his team had to come up with some clever tricks to put their vision on celluloid.
1. Mirror Image
When contact is lost with the Hadley's Hope colony on LV-426, Ripley (Sigourney Weaver) is hired as a sort of alien-consultant to a team of crack marines. The hypersleep capsules from which the team emerge on reaching the planet were expensive to build. Production designer Peter Lamont's solution was to make just half of them, and place a mirror at the end of the set to double them up.
2. Small Screens
Wide shots of Hadley's Hope were accomplished with fifth-scale miniatures by Robert and Dennis Skotak of 4-Ward Productions. Although impressive, sprawling across two Pinewood stages, the models didn't always convince. To help, the crew often downgraded the images by showing them on TV monitors, complete with analogue glitching, or by shooting through practical smoke and rain.
3. Big Screens
The filmmakers opted for rear projection to show views out of cockpit windscreens and colony windows. This worked out cheaper than blue-screen composites, and allowed for dirt and condensation on the glass, which would have been impossible to key optically. Rear projection was also employed for the crash of the dropship – the marines' getaway vehicle – permitting camera dynamics that again were not possible with compositing technology of the time.
4. Back to Front
A highlight of Aliens is the terrifying scene in which Ripley and her young charge Newt (Carrie Henn) are trapped in a room with two facehuggers, deliberately set loose by sinister Company man Carter Burke (Paul Reiser). These nightmarish spider-hands were primarily puppets trailing cables to their operators. To portray them leaping onto a chair and then towards camera, a floppy facehugger was placed in its final position and then tugged to the floor with a fishing wire. The film was reversed to create the illusion of a jump.
5. Upside Down
Like Scott before him, Cameron was careful to obfuscate the man-in-a-suit nature of the alien drones wherever possible. One technique he used was to film the creatures crawling on the floor, with the camera upside-down so that they appeared to be hanging from the ceiling. This is seen when Michael Biehn's Hicks peeks through the false ceiling to find out how the motion-tracked aliens can be "inside the room".
6. Flash Frames
All hell (represented by stark red emergency lighting) breaks loose when the aliens drop through the false ceiling. To punch up the visual impact of the movie's futuristic weapons, strobelights were aimed at the trigger-happy marines. Taking this effect even further, editor Ray Lovejoy spliced individual frames of white leader film into the shots. As a result, the negative cutter remarked that Aliens' 12th reel had more cuts than any complete movie he'd ever worked on.
7. Cotton Cloud
With most of the marines slaughtered, Ripley heads to the atmospheric processing plant to rescue Newt from the alien nest. Aided by the android Bishop (Lance Henriksen) they escape just before the plant's nuclear reactor explodes. The ensuing mushroom cloud is a miniature sculpture made of cotton wool and fibreglass, illuminated by an internal lightbulb!
8. Hole in the floor
Returning to the orbiting Sulaco, Ripley and friends are ambushed by the stowaway queen, who rips Bishop in half. A pre-split, spring-loaded dummy of Henriksen was constructed for that moment, and was followed by the simple trick of concealing the actor's legs beneath a hole in the floor. As in the first movie, android blood was represented by milk. This gradually soured as the filming progressed, much to Henriksen's chagrin as the script required him to be coated in the stuff and even to spit it out of his mouth.
9. Big Battle
The alien queen was constructed and operated by Stan Winston Studios as a full-scale puppet. Two puppeteers were concealed inside, while others moved the legs with rods or controlled the crane from which the body hung. The iconic power loader was similar, with a body builder concealed inside and a counter-weighted support rig. This being before the advent of digital wire removal, all the cables and rods had to be obfuscated with smoke and shifting shadows, though they can still be seen on frame grabs like this one. (The queen is one of my Ten Greatest Movie Puppets of All Time.)
10. Little Battle
For wide shots of the final fight, both the queen and the power loader were duplicated as quarter scale puppets. Controlled from beneath the miniature set via rods and cables, the puppets could perform big movements, like falling into the airlock, which would have been very difficult with the full-size props. (When the airlock door opens, the starfield beyond is a black sheet with Christmas lights on it!) The two scales cut seamlessly together and produce a thrilling finale to this classic film.
For more on the visual effects of James Cameron movies, see my rundown of the top five low-tech effects in Hollywood films (featuring Titanic) and a breakdown of the submarine chase in The Abyss.
Looking Back: "Daemos Rising"
August 13, 2016 August 17, 2017 neilosemanCanon XL1, lighting, Mini-DV, retrospective, smoke, tungsten
Last month saw the re-release of Reeltime Pictures' Daemos Rising, an unofficial Doctor Who spin-off film I photographed way back in 2003. It's lovely to know that the film is popular enough for a high street release after so much time, and watching it again brought back many memories. Let the sharing of these memories commence…
2003 was Doctor Who's 40th anniversary year, but the show had been off the air for over a decade and many fans, myself included, thought it would never return. In September I was weeks away from the start of principal photography on my second (and last) no-budget feature, Soul Searcher, but I was delighted to take a break from the stresses of self-producing to DP a tribute to the show I'd grown up with. "You won't hear anything more from me now for a week," I announced on my Soul Searcher blog on September 16th, "for I shall be ensconced in a cottage in a woodland area of Dorset (or possibly Devon – they're easily confused), shooting a Doctor Who spin-off film for Reeltime Pictures. As you do."
The location was in fact in Devon: the home of Ian Richardson, who has since sadly passed away. (Ian had an illustrious stage and screen career, including the lead role in the original UK version of House of Cards.) Although Ian's involvement would be limited to a voiceover, his son Miles Richardson played the role of Douglas Cavendish, an ex-UNIT operative troubled by a time-travelling ghost, a creepy moving statue and of course the Daemons. For those non-Whoovers amongst you, the Daemons are a devilish alien race featured in a classic Third Doctor serial. Reaching its tentacles deep into the expanded Who-niverse, Daemos Rising was also a sequel to a prior Reeltime production, Downtime, and was tied in to a spin-off book series.
It was Miles who recommended me to director Keith Barnfather, having worked with me earlier that year on a feature called Blood Relative. Miles was joined on screen by his wife Beverley Cressman, playing Brigadier Lethbridge-Stewart's daughter Kate. Rounding out the cast of three, as the aforementioned spectre, was Andrew Wisher, whose father Michael was the very first (and arguably best) actor to portray Dalek creator Davros.
The shoot didn't start well. On the journey down to Devon, the prop shaft (bit that connects the engine to the wheels) dropped out of our rental van on the M5! Luis, the driver miraculously got us onto the hard shoulder while we still had some momentum, and the DVD extras include footage of us recovering as we awaited the RAC.
But this brush with death aside, I remember the shoot as a very happy one. It was a small team, just the three actors, Keith, his partner Anastasia, writer David J. Howe and his wife Rosie, and Luis on sound. We all stayed at the cottage, which was lovely, and enjoyed many a home-cooked meal and showbiz yarn. Miles and Andrew even gave an impromptu rendition of Billy Joel's a cappella classic The Longest Time at one point.
It was the era of Mini-DV, so I was shooting on my Canon XL1-S in glorious 576i. (I remember the damp playing havoc with the DV tapes when we shot the third act in a cave system called Kent's Cavern.) I also supplied the lighting package, which consisted of 2 x 800W Arrilites, 2 x 1000W Arrilites and a vintage 5K Mole Richardson fresnel. The latter required a local electrician to wire us a 32A socket into Ian's fusebox! Back then I used only hard light because I didn't know any better, and it gave everything a distinctive noir style.
Speaking of a distinctive style, Daemos Rising is a significant milestone in my career because it was the first time I ever used smoke. The script called for spooky mist in several scenes, so Keith bought a Magnum 550 and we ended up using it on all the night exteriors. He kindly gifted me the machine at the end of the shoot, and needless to say I never looked back. Many a cast and crew may think of their poor lungs and rue the day that Keith Barnfather gave Neil Oseman his first smoke machine!
While the day interior lighting looks rough to me now, I think many of the night scenes still look pretty good 13 years on. Although my lamps were all tungsten, and the XL1 didn't allow me to dial in a white balance, I would point the camera at something red and force the camera to white-balance on that, turning everything a nice James Cameron cyan.
Just days after we wrapped, the BBC announced that Doctor Who would return in 2005. I fear the new generation of kids who now form the core of Who's avid audience might find Daemos Rising a little slow and talky, but for fans of the classic series there is lots to enjoy. The tone and storyline are very Who, and there are several easter eggs scattered throughout the film. And some aspects of Daemos Rising fit the new series' continuity too, including the Brigadier's daughter Kate — now played by Jemma Redgrave – and UNIT's Black Archive.
The re-release provides the opportunity to watch Daemos Rising in the aspect ratio we originally intended, 16:9 (the original DVD having been masked only to 14:9) and also offers the option of 5.1 surround sound. It's available now from Amazon and high street retailers.


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Hermann Josef Schäufele (* 14. November 1906 in Stebbach; † 26. Juni 1977 in Langenegg, Vorarlberg) war ein deutscher Geistlicher und römisch-katholischer Erzbischof von Freiburg.

Leben
Hermann Schäufele wurde in eine Eisenbahnerfamilie geboren. Dies war mit mehrmaligen Ortswechseln verbunden. Er ging in Bellingen und Sasbach in die Schule, bevor er 1920 auf das Freiburger Berthold-Gymnasium wechselte. Nach dem Abitur trat er 1925 ins Collegium Borromaeum ein und begann das Studium der katholischen Theologie. Schon nach einem Semester wurde er zum Studium an die Päpstliche Universität Gregoriana nach Rom geschickt, wo er innerhalb neun Jahren sein Studium abschloss, am 25. Oktober 1931 das Sakrament der Priesterweihe empfing und in Philosophie und Theologie promoviert wurde. Danach folgten Stationen in Elzach und Mannheim, bevor er zum Studentenseelsorger in Freiburg berufen wurde. Hier geriet er mehrmals, wie viele Jugendseelsorger, ins Visier der Gestapo. 1938 trat er der katholischen Studentenverbindung Unitas-Lichtenstein bei. Nach deren Verbot im selben Jahr wurden viele der Verbindungsveranstaltungen im Haus von Hermann Schäufele durchgeführt.

Ab 1946 war Schäufele Direktor des Collegium Borromaeum, 1950 Konviktsdirektor, 1954 Offizial und wenig später Domkapitular. Am 11. April 1955 ernannte ihn Papst Pius XII. zum Titularbischof von Leptis Magna und zum Weihbischof in Freiburg. Die Bischofsweihe spendete ihm Erzbischof Eugen Seiterich am 11. Mai desselben Jahres. Mitkonsekratoren waren Bischof Isidor Markus Emanuel von Speyer und der Mainzer Weihbischof Josef Maria Reuss.

Nach dem frühen Tod von Erzbischof Seiterich 1958 wählte das Domkapitel Hermann Schäufele zu dessen Nachfolger. Papst Pius XII. ernannte ihn darauf zum Erzbischof und Metropoliten der Oberrheinischen Kirchenprovinz. Am 16. September 1958 wurde er durch den Bamberger Erzbischof Josef Schneider in sein Amt eingeführt. Im selben Jahr wurde er auch als Ehrenmitglied in die KDStV Hercynia Freiburg im Breisgau aufgenommen.

Sein Episkopat fiel in die Zeit des Wiederaufbaus und des Wirtschaftswunders. Gleichzeitig nahmen die gesellschaftlichen Veränderungen zu. Von 1962 bis 1965 nahm er am Zweiten Vatikanischen Konzil aktiv teil und nahm als Mitglied in der Kommission für die Bischöfe und die Verwaltung der Diözesen unmittelbar Einfluss auf die Formulierung bedeutender Aussagen des Konzils. Auch die nachkonziliare Erneuerung der Kirche in seinem Bistum fiel in seine Amtszeit. Der Aufbau demokratischer Strukturen entsprach allerdings nicht seinem Ideal der Kleriker- und Bischofskirche.

Er starb am 26. Juni 1977 in seinem bevorzugten Urlaubsort in Vorarlberg während des Rosenkranzgebetes, in dem Jahr, in dem im Erzbistum Freiburg das Jubiläum des 150-jährigen Bestehens gefeiert wurde. Dieses Jubiläum war Schäufele ein wichtiges Anliegen gewesen. Den eigentlichen Jubiläumstag aber konnte er nicht mehr miterleben.

Ehrungen und Auszeichnungen
Am 22. September 1962 wurde ihm "in dankbarer Anerkennung seiner Verdienste um die Erhebung der Wallfahrtskirche St. Georg in Walldürn zur Basilika minor und in Würdigung seiner lebendigen Anteilnahme am Gedeihen der Stadt und ihrer Bürgerschaft" das Ehrenbürgerrecht verliehen. 1966 wurde er mit dem Verdienstorden der Bundesrepublik Deutschland (Großes Verdienstkreuz mit Stern und Schulterband) ausgezeichnet.
Am 12. November 1960 wurde dem Erzbischof von Freiburg in einer Feierstunde der Ehrenbürgerbrief der Stadt Geisingen überreicht.

Wappen

Erzbischof Schäufele führte folgendes Wappen: Geviert; Felder 1 und 4 in Gold ein rotes Balkenkreuz (für das Erzbistum Freiburg),
Felder 2 und 3 in Blau über silbernem Wolkenboden eine goldene Sonne mit Gesicht.

Der Wappenspruch lautete: "In Semita Justitiae vita"

Literatur
 Karl-Heinz Braun: Schäufele, Hermann (1906–1977). In: Erwin Gatz (Hrsg.), unter Mitarbeit von Franz Xaver Bischof u. a.: Die Bischöfe der deutschsprachigen Länder 1945 bis 2001. Ein biographisches Lexikon. Duncker & Humblot, Berlin 2002, ISBN 3-428-10684-9, S. 217–221 (Volltext).
 Jürgen Brüstle: Studentenseelsorge im Spannungsfeld des Weltanschauungskampfes zwischen Katholischer Kirche und Nationalsozialismus 1933 bis 1945. In: Freiburger Diözesan-Archiv Band 117 (1997), S. 111–215 (Volltext)
 Christoph Schmider: Die Freiburger Bischöfe. 175 Jahre Erzbistum Freiburg. Eine Geschichte in Lebensbildern. Herder Verlag, Freiburg i. Br. 2002, ISBN 3-451-27847-2.
 W. Zwingmann: Schäufele, Hermann. In: Badische Biographien. NF 2. Kohlhammer, Stuttgart 1987, ISBN 3-17-009217-0, S. 234–237

 Johannes Schaber: Der Freiburger Erzbischof Dr. Hermann Schäufele (1906–1977) und sein Geburtsort Gemmingen-Stebbach. In: Kraichgau. Beiträge uzr Landschafts- und Heimatforschung, Folge 20, 2007, S. 253–266.

Weblinks

Einzelnachweise

Römisch-katholischer Bischof (20. Jahrhundert)
Römisch-katholischer Theologe (20. Jahrhundert)
Erzbischof von Freiburg
Weihbischof in Freiburg
Konzilsvater (Zweites Vatikanisches Konzil)
Römisch-katholischer Studentenpfarrer
Korporierter im CV
Korporierter im UV
Träger des Großen Bundesverdienstkreuzes mit Stern und Schulterband
Ehrenbürger von Walldürn
Deutscher
Geboren 1906
Gestorben 1977
Mann

redpajama_set_name: RedPajamaWikipedia


A towering lifelike tree, Ténéré offers shade to wanderers, adventure to climbers, and infinite possibility to those gathered beneath its 25,000 LED leaves.
In the southern Sahara desert, in a region called Ténéré, a solitary tree magically emerged from the barren sands. It was the most isolated tree on Earth.
The Tree of Ténéré became an important ceremonial gathering place for traders and travelers as they crossed the desert. It brought people together for community, ritual and rest.
It was mysteriously destroyed almost 50 years ago.
You're invited to experience this ritual anew. Impossibly real and magically alive, Ténéré gives wanderers a space for contemplation, community, creativity, and play. With your help, we'll bring it to cities and festivals around the world, starting at Burning Man 2017.
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Use your voices and biorhythms to create breathtaking colors and patterns in the canopy above. Watch DJs, choirs, and dancers perform in the treetop. Join in group yoga, meditations, and more under the shade.


text:
Refugees in limbo
How will the US travel ban affect those in search of a new life?
US President Donald Trump's executive order on immigration and refugees continues to send shock waves around the world. Signed on Friday, January 27, the order temporarily suspended entry of all refugees into the United States, and blocked Syrian refugees from entering the country indefinitely. It cut in half the number of refugees allowed to settle in the US to 50,000, less than half of what had been previously committed.
The order also blocked citizens from seven Muslim-majority countries – Iran, Iraq, Libya, Somalia, Sudan, Syria and Yemen – from entering the US for 90 days. During this period, the White House says it will be developing "extreme vetting" procedures to improve security screening. Refugees already have to go through an intense 18-month security clearance program.
There are an estimated 19,000 refugees in different parts of the world that were in various stages of the resettlement process, according to the International Organization for Migration. The UN Refugee Agency says at least 800 refugees were due to resettle in the US next week. They estimate that 20,000 refugees could have been resettled in the US during the suspension period.
Events moved with lightning speed since the ban went into effect. Scenes of chaos unfolded at airports around the country. Protests quickly formed in Dallas, Los Angeles, Denver, Chicago and New York City.
Questions continue to swirl over the legality of the order, as well as confusion over how it is to be implemented. By Saturday night, a nationwide injunction had been issued by a federal judge in Brooklyn, New York, blocking the deportation of those detained at airports, and at least three other similar rulings followed. Legal experts say these rulings are just the tip of the iceberg when it comes to determining the constitutionality of the president's order.
Meanwhile, the fates of thousands of refugees from around the world hangs in the balance, and the promise of a new life is at best uncertain. Jan Egeland, UN Senior Advisor on Syria and Secretary General of the Norwegian Refugee Council, joins The Stream to discuss what the international consequences of the executive order might be on the global refugee crisis.
In this episode of The Stream, we speak with:
Jan Egeland @NRC_Egeland
Secretary General, Norwegian Refugee Council
nrc.no
Abed Ayoub @aayoub
Legal & Policy Director, American-Arab Anti-Discrimination Committee
adc.org
Loide Jorge @LoideMusica
lrjorgelaw.com
What do you think? Leave your thoughts in the comments section below.
Resettlement for Syria's refugees
Escaping war, Syrian refugees find new challenges abroad.
Escaping war, Syrian refugees find new challenges abroad.Read more ...
The American dream and Trump: Part I
Naturalised US citizens weigh in on the election of Donald Trump.Read more ...
The American dream and Trump: Part II
Naturalised US citizens share their hopes and fears for the next four years.Read more ...


text:
Q: How to convert nested js Object to nested HTML
* list? Consider the following JS object:
const contObj = {
            title:"Webpage Title",
            1:{
                head:"Heading 01",
                cont:[
                    "ListItem 0101",
                    "ListItem 0102",
                    "ListItem 0103",
                    "ListItem 0104",
                    {
                        stmt: "ListItem 0105",
                        option: [
                            "SubListItem 0105-01",
                            "SubListItem 0105-02"
                        ]
                    },
                    "ListItem 0106",
                    "ListItem 0107",
                    {
                        stmt: "ListItem 0108",
                        option: [
                            "SubListItem 0108-01",
                            "SubListItem 0108-02",
                            "SubListItem 0108-03",
                            "SubListItem 0108-04",
                            "SubListItem 0108-05"
                        ]
                    },
                    "ListItem 0109",
                    "ListItem 0110"
                ]
            },
            2:{ ...
            },
            3:{ ...
            },
            4:{ ...
            }
     }

I want to use this object to fill up the empty webpage such that I get,

Webpage Title

Heading 01

ListItem 0101

ListItem 0102

ListItem 0103

ListItem 0104

ListItem 0105

SubListItem 0105-01

SubListItem 0105-02

ListItem 0106

ListItem 0107

ListItem 0108

SubListItem 0108-01

SubListItem 0108-02

SubListItem 0108-03

SubListItem 0108-04

SubListItem 0108-05

ListItem 0109

ListItem 0110

Heading 02

ListItem 0201

ListItem 0202

SubListItem 0202-01

SubListItem 0202-02

SubListItem 0202-03

ListItem 0203

ListItem 0204

        ...

Here's what I've tried so far:

$(function () {
 const conObj = {
  title:"Webpage Title",
  1:{
   head:"Heading 01",
   cont:[
    "ListItem 0101",
    "ListItem 0102",
    "ListItem 0103",
    "ListItem 0104",
    {
     stmt: "ListItem 0105",
     option: [
      "SubListItem 0105-01",
      "SubListItem 0105-02"
     ]
    },
    "ListItem 0106",
    "ListItem 0107",
    {
     stmt: "ListItem 0108",
     option: [
      "SubListItem 0108-01",
      "SubListItem 0108-02",
      "SubListItem 0108-03",
      "SubListItem 0108-04",
      "SubListItem 0108-05"
     ]
    },
    "ListItem 0109",
    "ListItem 0110"
   ]
  },
  2:{
   head:"Heading 02",
   cont:[
    "ListItem 0201",
    {
     stmt: "ListItem 0202",
     option: [
      "SubListItem 0202-01",
      "SubListItem 0202-02",
      "SubListItem 0202-03"
     ]
    },
    "ListItem 0203",
    {
     stmt: "ListItem 0204",
     option: [
      "SubListItem 0204-01",
      "SubListItem 0204-02",
      "SubListItem 0204-03",
      "SubListItem 0204-04"
     ]
    },
    {
     stmt: "ListItem 0205",
     option: [
      "SubListItem 0205-01",
      "SubListItem 0205-02",
      "SubListItem 0205-03",
      "SubListItem 0205-04",
      "SubListItem 0205-05",
      "SubListItem 0205-06",
      "SubListItem 0205-07"
     ]
    },
    "ListItem 0206",
    "ListItem 0207",
    "ListItem 0208",
    "ListItem 0209",
    "ListItem 0210"
   ]
  }
 }
 $("#main").prepend("
" + conObj.title + "
");

 var conObjLen = Object.keys(conObj).length;
 console.log(conObjLen);
 for (const i in conObj) {
  const typ = typeof conObj[i];
  if ( typ == "object" ) {
   $("#main").append("
" + conObj[i].head + "

");
   const contListSrt = conObj[i].cont.slice(0, 3);
   const contListEnd = conObj[i].cont.slice(3, conObj[i].cont.length);
   console.log(conObj[i].head + " >> " +contListSrt);
   console.log(conObj[i].head + " << " +contListEnd);
   for (const j in contListSrt) {
    const conttyp = typeof contListSrt[j];
    if(conttyp == "object"){
     $(".top3:last-of-type > ol").append("
" + contListSrt[j].stmt + "

");
     const opt = contListSrt[j].option;
     for (const l in opt) {
      if (opt.hasOwnProperty(l)) {
       $(".top3:last-of-type > ol > li > ol").append("
" + opt[l] + "
");
      }
     }
    }
    else{
     $(".top3:last-of-type > ol").append("
" + contListSrt[j] + "
");
    }
   }
   for (const k in contListEnd) {
    const conttyp = typeof contListEnd[k];
    if(conttyp == "object"){
     $(".top3:last-of-type + ol").append("
" + contListEnd[k].stmt + "

");
     const opt = contListEnd[k].option;
     console.log(contListEnd[k].stmt + ">>>" + opt);
     for (const m in opt) {
      $(".top3:last-of-type + ol > li > ol").append("
" + opt[m] + "
");
     }
    }
    else{
     $(".top3:last-of-type + ol").append("
" + contListEnd[k] + "
");
    }
   }
  }
 }
});
.top3{
  color: green;
}

The code is messy but it works. The only problem I am not able to solve is that the SubListItems some times get repeated or a SubListItem of a different ol is getting appended to a totally different ol. I just don't understand why this is happening. The console logs give the desired list but the webpage built is wrong/repeated.


text:
Rediff.com » Cricket » Quick turnaround may see Smith miss third Ashes Test
Quick turnaround may see Smith miss third Ashes Test
August 19, 2019 10:22 IST
IMAGE: Australia's Steve Smith reacts after being hit on the arm by a ball from England's Jofra Archer. Photograph: Paul Childs/Reuters
Batsman Steve Smith must be free of concussion symptoms for 24 hours before he can begin return to play protocols, Australia's sports medicine manager has said, making him a doubt for the third Ashes Test starting on Thursday.
Smith suffered a sickening blow to the neck from a Joffra Archer bouncer during the second Test at Lord's, forcing him off the ground for a medical assessment.
The right-hander returned to the crease 40 minutes later before being dismissed for 92 but he was then ruled out of the final day's play and replaced by Marnus Labuschagne, who became Test cricket's first concussion substitute.
With the third Test starting at Headingley in Leeds on Thursday, time may be Smith's biggest enemy.
"He needs to be symptom free for 24 hours before he even gets to start the process," Cricket Australia's Alex Kountouris told reporters in Melbourne on Monday.
"So he is just recovering and sleeping, taking some time to feel better then after that he begins the process but there is obviously a very short time before the next Test."
Kountouris added that the decision on when Smith was able to return would be made solely by team doctor Richard Saw, who would follow the Cricket Australia protocols.
Saw made the decision to take Smith from the field on Saturday and, after a series of tests indicated no signs of concussion, allowed the batsman to continue his innings.
Smith, however, had developed symptoms overnight and after further testing on Sunday, which is part of the process, Saw ruled him out of the fifth day.
"Delayed concussions are reasonably common," Kountouris added. "About 30 per cent of concussions are delayed. So it's not uncommon and why we test the players the next day."
Kountouris added that any criticism about allowing Smith to return to the crease was misguided, given he had not presented with any signs.
"Everything he (Saw) did was according to the protocol," Kountouris said.
"At the time Steve did not have a concussion. He was fine to play. If we left him out of the game it would have been for only what we saw on the field."
"The reality is that only about one in five or six head impacts end up being concussions, which is why we monitor them. If you look at that game there were three other head impacts and only Steve developed a concussion."
"If we pulled every player out who had a head impact we'd be pulling out 80% of the players who don't have a concussion. That would be an over reaction."
The second Test ended in a draw, with Australia leading the series 1-0 after winning the opener at Edgbaston.
© Copyright 2020 Reuters Limited. All rights reserved. Republication or redistribution of Reuters content, including by framing or similar means, is expressly prohibited without the prior written consent of Reuters. Reuters shall not be liable for any errors or delays in the content, or for any actions taken in reliance thereon.
Related News: Steve Smith, Alex Kountouris, Australia, Jofra Archer, Richard Saw
'Frightening' Archer can be England's next superstar
PIX: Smith shines despite Archer bouncer blow
More from rediff
Taylor says India will not have it easy in New Zealand
Why Hardik was not considered for NZ Tour
The post-mortem of Australia's defeat in Rajkot
Have the doors been temporarily shut on Pant?
Should KL Rahul be a long term keeping option?
Sachin Tendulkar takes up coaching role


Luxury Vacation Rentals: Airbnb is working on a new ultra-premium tier called Airbnb Lux, focused on mansions, penthouses, and mega-homes that will be inspected to make sure they meet certain criteria.
News recently circulated that Airbnb is planning to create a new tier which will set standards for listings for houses and apartments. And The Most Expensive Homes is about to more details about it. CHECK IT OUT!
Airbnb is reportedly planning to launch a new ultra-premium tier called Airbnb Lux. It will be for mansions, penthouses, and mega-homes that will be inspected to make sure they meet certain criteria.
Airbnb has been getting the public acquainted with its higher-end offerings over the past year by arranging for celebrities to stay at them, who then post the posh digs on social media. It's clear that Airbnb has very concertedly been targeting celebs to spread the word about their affluent options, and it appears it is gifting the stays without paying the celebrities to post photos.
With this bolstered luxury portfolio, Lux could prove fruitful for Airbnb as higher-priced listings have greater profit margins. The company will start testing the new offering in some markets at the end of year, according to people familiar with the matter.
Looking to appeal to well-heeled travelers, Airbnb has been segmenting its offerings much the way hotel chains do. Just like you can walk into any hotel and expect a consistent set of towels, blankets, and quality, Airbnb Select is designed to do the same.


text:
\section{Introduction and Main result} In Titchmarsh's famous text on the Riemann zeta function [5], we find a reference to A.I. Popov's 1943 note [4]. Therein, we find the curious formula $x>1,$
\begin{equation}\sum_{n>x}\frac{\Lambda(n)}{n^2}\left(\{\frac{n}{x}\}-\{\frac{n}{x}\}^2\right)=\frac{2-\log(2\pi)}{x}+\sum_{\rho}\frac{x^{\rho-2}}{\rho(\rho-1)}+\sum_{k\ge1}\frac{k+1-2k\zeta(2k+1)}{2k(k+1)(2k+1)}x^{-2k-2},\end{equation}
where $\Lambda(n)$ is the Von Mangoldt function [3], $\zeta(s)$ is the Riemann zeta function [3, 5], and $\{x\}$ is the fractional part of $x.$ As usual, the $\rho$ denotes the non-trivial zeros of the Riemann zeta function [3]. Following this formula in [4] are some interesting corollaries, but ultimately no proof.\par

It is interesting to note that arithmetic series involving the fractional part function have also been studied by H. Davenport. We mention one of his identities [1]
$$\sum_{n\ge1}\frac{\Lambda(n)}{n}\{nx\}=-\frac{1}{\pi}\sum_{n\ge1}\frac{\log(n)}{n}\sin(2\pi nx).$$

 Now it does not appear that a proof has been offered of (1.1) to the best of our knowledge. The purpose of this note is to offer a generalization of (1.1) and in doing so we offer what appears to be the first proof of Popov's result.

\begin{theorem} For $x>1,$ and $r\ge1,$ we have

$$\frac{1}{2}\sum_{n>x}\frac{\Lambda(n)}{n^{r+1}}\left(\{\frac{n}{x}\}-\{\frac{n}{x}\}^2\right)=h_r(x)+\sum_{\rho}\left(\frac{r+1-\rho}{2(\rho+1-r)(\rho-r)}-\frac{\zeta(r-\rho)}{r-\rho} \right)\frac{x^{\rho-r-1}}{r+1-\rho}$$

\begin{equation}-\sum_{k\ge1}\left(\frac{2(k+1)+r-1}{2(1-2k-r)(2k+r)}+\frac{\zeta(2k+r)}{2k+r} \right)\frac{x^{-2k-r-1}}{2k+r+1},\end{equation}
where $$h_1(x)=\frac{2-\log(2\pi)}{2x},$$
and for $r>1,$ $$h_r(x)=\left(\frac{r}{2(2-r)(1-r)}-\frac{\zeta(1-r)}{r-1}\right)\frac{x^{-r}}{r}.$$

\end{theorem}

\begin{proof} First, it is well-known that [5]
\begin{equation} \int_{1}^{\infty}t^{-s-1}\left(\{t\}-\frac{1}{2}\right)dt=\frac{s+1}{2s(s-1)}-\frac{\zeta(s)}{s},\end{equation}
for $\Re(s)>1.$ Hence, using Mellin inversion and integrating over $[0, u],$ we have for $a>1,$
$$\frac{1}{2}\left(\{u\}^2-\{u\}\right)=\frac{1}{2\pi i}\int_{(a)}\left(\frac{s+1}{2s(s-1)}-\frac{\zeta(s)}{s}\right)\frac{u^{s+1}}{s+1}ds,$$
provided that $u>1.$ Now this integral has simple poles at $s=0$ and $s=1,$ both of which have residues of $0.$ Hence, for $-1<b<0,$
$$\frac{1}{2}\left(\{u\}^2-\{u\}\right)=\frac{1}{2\pi i}\int_{(b)}\left(\frac{s+1}{2s(s-1)}-\frac{\zeta(s)}{s}\right)\frac{u^{s+1}}{s+1}ds.$$ Now we may invert the desired series with $u=\frac{n}{x}>1,$ to obtain
$$\sum_{n>x}\frac{\Lambda(n)}{n^{r+1}}\left(\{\frac{n}{x}\}-\{\frac{n}{x}\}^2\right)=\frac{1}{2\pi i}\int_{(b)}\left(\frac{s+1}{2s(s-1)}-\frac{\zeta(s)}{s}\right)\frac{x^{-s-1}\zeta'(r-s)}{\zeta(r-s)(s+1)}ds,$$
provided that $r\ge1.$ Replace $s$ with $1-s$ to get the integral for $1<c<2,$
\begin{equation}\frac{1}{2\pi i}\int_{(c)}\left(\frac{2-s}{2s(s-1)}-\frac{\zeta(1-s)}{1-s}\right)\frac{x^{s-2}\zeta'(s+r-1)}{\zeta(s+r-1)(2-s)}ds,\end{equation}
and we see there is a double pole at $s=1$ when $r=1,$ a simple pole at $s=2-r$ when $r>1,$ simple pole at the non trivial zeros $s=\rho+1-r,$ and simple pole at the trivial zeros $s=-2k-r+1.$ The residue at the double pole $s=1,$ $r=1$ is the $h_1(x),$ and the residue at the simple pole $s=2-r$ when $r>1,$ is the $h_r(x),$ $r>1,$ part of the theorem. The residue at the non-trivial zeros $s=\rho+1-r$ gives the sum over $\rho$ in the theorem. Lastly, the residue at the trivial zeros $s=-2k-r+1$ gives the sum over $k$ on the far right side of the theorem. After these residues have been computed the remaining integral is $0$ and the theorem follows.

\end{proof}

\section{Further Comments}
We do not know specifically where Popov encountered (1.1), but we believe it is interesting to note that the sum involving the roots $\rho$ appears in [2, pg.69], which shows a connection with $\psi(x)=\sum_{n\le x}\Lambda(n),$ through the integral $\int_{0}^{x}\psi(t)dt/t^2.$ It is not difficult to make small adjustments to our proof to include other arithmetic functions as well. In closing we offer the analogue for Merten's function $M(x)=\sum_{n\le x}\mu(n)$ [5, pg. 370], involving $\int_{0}^{x}M(t)dt/t^2.$
\begin{theorem} We have for $x>1,$
\begin{equation}\frac{1}{2}\sum_{n>x}\frac{\mu(n)}{n^2}\left(\{\frac{n}{x}\}-\{\frac{n}{x}\}^2\right)=\sum_{\rho}\frac{x^{\rho-2}}{\zeta'(\rho)\rho(\rho-1)}+\sum_{k\ge1}\frac{k+1-2k\zeta(2k+1)}{2k(k+1)(2k+1)}\frac{\pi^{2k}2^{2k+1}(-1)^k}{(2k)!\zeta(2k+1)}x^{-2k-2}.\end{equation}

\end{theorem}

\begin{proof} The proof is identical to the $r=1$ case of Theorem 1.1 with the notable difference that the residue at the pole $s=1$ is 0, and at the trivial zeros we apply the formula [5]
$$\frac{1}{\zeta'(-2n)}=\frac{\pi^{2n}2^{2n+1}}{(-1)^n\zeta(2n+1)(2n)!},$$ for natural numbers $n>0.$ The remaining details are left for the reader.

\end{proof}

redpajama_set_name: RedPajamaArXiv


Archives and Special Collections is Upstate Medical University's only repository for archival and rare printed and 3-dimensional materials, making it an invaluable resource for faculty and students and visiting researchers interested in the history of medicine and science. We welcome researchers year-round. Please see our Using Archives and Special Collections page to plan your visit.
The Archival holdings currently include more than 2000 linear feet of records relating to Upstate Medical University and its predecessor institutions, Geneva College of Medicine (1834-1871) and Syracuse University College of Medicine (1872-1949). Finding aids have been made available online to assist researchers in using collections that have been processed.
The Special Collections holdings include nearly 13,000 volumes of rare books and journals and more than 330 pieces of antique medical and laboratory equipment, textiles, ephemera and pharmaceuticals.
The first separately published edition of the classic description of lymphadenoma or Hodgkin's Disease. Our copy was signed by Dr. Hodgkin.


text:
Rhetoric, Truth, and the work of trope
Alan Rumsey
Culture & Rhetoric; Studies in Rhetoric and Culture
Strecker, Ivo and Tyler, Stephen
New York and Oxford
Berghahn Books
Rumsey, A. (2009). Rhetoric, Truth, and the work of trope. In Strecker, Ivo and Tyler, Stephen (Ed.), Culture & Rhetoric; Studies in Rhetoric and Culture (1st ed., pp. 117-149). Berghahn Books. http://hdl.handle.net/1885/50172
Rumsey, Alan. / Rhetoric, Truth, and the work of trope. Culture & Rhetoric; Studies in Rhetoric and Culture. editor / Strecker, Ivo and Tyler, Stephen. 1st. ed. New York and Oxford : Berghahn Books, 2009. pp. 117-149
@inbook{c31bf4cc15a14ff1a37db2748015832e,
title = "Rhetoric, Truth, and the work of trope",
author = "Alan Rumsey",
editor = "{Strecker, Ivo and Tyler, Stephen}",
booktitle = "Culture & Rhetoric; Studies in Rhetoric and Culture",
publisher = "Berghahn Books",
Rumsey, A 2009, Rhetoric, Truth, and the work of trope. in Strecker, Ivo and Tyler, Stephen (ed.), Culture & Rhetoric; Studies in Rhetoric and Culture. 1st edn, Berghahn Books, New York and Oxford, pp. 117-149. <http://hdl.handle.net/1885/50172>
Rhetoric, Truth, and the work of trope. / Rumsey, Alan.
Culture & Rhetoric; Studies in Rhetoric and Culture. ed. / Strecker, Ivo and Tyler, Stephen. 1st. ed. New York and Oxford : Berghahn Books, 2009. p. 117-149.
T1 - Rhetoric, Truth, and the work of trope
AU - Rumsey, Alan
BT - Culture & Rhetoric; Studies in Rhetoric and Culture
A2 - Strecker, Ivo and Tyler, Stephen, null
PB - Berghahn Books
CY - New York and Oxford
Rumsey A. Rhetoric, Truth, and the work of trope. In Strecker, Ivo and Tyler, Stephen, editor, Culture & Rhetoric; Studies in Rhetoric and Culture. 1st ed. New York and Oxford: Berghahn Books. 2009. p. 117-149