text:
Q: Spring custom Converter not applying - no matching editors or conversion I use Spring MVC 4.3.3, Data 1.10.4, Thymeleaf 3, Hibernate 4.3.5, Oracle 10g, JBoss Wildfly.
I have custom objects, converter not kicking in when controller tries to save it; bindingResult has error.
@Entity
public class Cat{
  private CatType catType;
}

Controller
@PostMapping(value="/create", params={"save"})
public String save(final Cat cat,...){ //error here
    if(bindingResult.hasErrors()){
        return "cat/create";
    }
    ...
}

My Thymeleaf form trying to submit is

    Type
    <select id=catType name="catType" th:field="*{catType}">
        <option
            th:each="catType: ${allCatTypes}"
            th:value="${catType.getId()}"
            th:text="${catType.getName()}">
                Category type
            </option>
    </select>

Relevant error is

org.springframework.validation.BeanPropertyBindingResult: 1 errors
  Field error in object 'cat' on field 'catType': rejected value [100]; codes [typeMismatch.cat.catType,typeMismatch.catType,typeMismatch.ae.tbits.atn.aiwacore.common.model.CatType,typeMismatch]; arguments [org.springframework.context.support.DefaultMessageSourceResolvable: codes [cat.catType,catType]; arguments []; default message [catType]]; default message [Failed to convert property value of type [java.lang.String] to required type [ae.tbits.atn.aiwacore.common.model.CatType] for property 'catType'; nested exception is java.lang.IllegalStateException: Cannot convert value of type [java.lang.String] to required type [ae.tbits.atn.aiwacore.common.model.CatType] for property 'catType': no matching editors or conversion strategy found]

So I create a converter (also tried formatter).
Thymeleaf config
public class ThymeleafConfig extends WebMvcConfigurerAdapter implements ApplicationContextAware {
...
  @Override
  public void addFormatters(FormatterRegistry registry) {
    registry.addConverter(catTypeConverter());
    super.addFormatters(registry);
    logger.info("Added formatters");
  }

  @Bean
  public CatTypeConverter catTypeConverter(){
    return new CatTypeConverter();
  }
}

And my converter class
public class CatTypeConverter implements Converter<String, CatType> {
  public CatTypeConverter(){
    super();
  }

  @Override
  public CatType convert(String source){
    ...
  }

If I put a breakpoint in my ThymeleafConfig.addFormatters(), I can see my converter being added to converters collection, it is present. But later when I break in controller save method, my converter is missing from the converters collection. So mysteriously my converter is getting cleared, hence the error I think.
I researched all over SO, couldn't get it to work.
Among others, I followed this: http://www.thymeleaf.org/doc/tutorials/3.0/thymeleafspring.html#the-conversion-service


The California horticulturist and floral magazine (1870). Scan of 2 d images in the public domain believed to be free to use without restriction in the US.
El Hornero (1919). Scan of 2 d images in the public domain believed be free to use without restriction in the U.S.
Nathaniel Currier. Favorite Cat (detail). ca. 1840?50. Via Metropolitan Museum. Scan of 2 d images in the public domain believed to be free to use without restriction in the US.
Study of a night-jar (Camprimulgus genus).Lenardi, Vincenzo 1621-1646. Fitzwilliam Museum. Scan of 2 d images in the public domain believed to be free to use without restriction in the US.
Traité de physiologie comparée des animaux considérée dans ses rapports avec les sciences naturelles, la médecine, la zootechnie et l'économie rurale (1886). Scan of 2 d images in the public domain believed to be free to use without restriction in the US.
Animal; headshots. Seal in profile. Scan of 2 d images in the public domain believed to be free to use without restriction in the US.
The direction of hair in animals and man; (1903). Scan of 2 d images in the public domain believed be free to use without restriction in the U.S.
Pastel drawing of cats. Cat yawning. Scan of 2 d image in the public domain believed to be free to use without restriction in the US.
Folk art, giant cat head in a field. Scan of 2 d images in the public domain believed to be free to use without restriction in the US.
Image of cat head on book cover. Scan of 2 d image in the public domain believed to be free to use without restriction in the US.
Cornelis Saftleven, A Cat Peeping Through a Fence. Painting. Scan of 2 d image in the public domain believed to be free to use without restriction in the US.
Alexandre François Desportes; head of a cat. 18th Century. Scan of 2 d image in the public domain believed to be free to use without restriction in the US.
Portrait of dog face , pastel. Scans of 2 d images in the public domain believed to be free to use without restriction in the US.
John Gould, Mammals of Australia. Ca. 1840. Scan of 2 d images in the public domain believed to be free to use without restriction in the US.
Ulisse Aldrovandi, animals, pathology and monsters. Italian illustration. Scan of 2 d images in the public domain believed to be free to use without restriction in the US.


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Category: Unfiled
Posted on 3 rd January 2020 13 th January 2020 by — Leave a comment
Now, I know that Stonehenge holds a unique place in people's imaginations, and there are endless and ongoing debates about why and how it was built etc.
Alongside more traditional heritage and archaeological interest in them, the sense of mystery, the ancient past and so on that stone circle's often contain also interconnects with a "wyrd" or "otherly" sense of history, folk culture and so on, which has added to the interest in them.
I also knew that there have been an awful lot of books published on Stonehenge and stone circles in general. However, even allowing for all that I was still somewhat pleasantly surprised to see just how many Stonehenge model and construction kits of one form or another have been released commercially. In this post are just a few of those that I've come across.
English Heritage's online shop stocks some of them along with all kind of Stonehenge ornaments, including two different "Stonehenges in a tin" (!)
English Heritage also used to sell a Stonehenge fridge magnet cross stitch kit, which I rather liked the idea and look of, as it seems to interweave so many things in a sort of slightly wrong but also interesting way; a certain Wicker Man-esque aesthetic, ancient history, traditional crafts, the commercialisation of religious or sacred souvenirs etc. Other related cross stitch items which I don't think are still available from them include a bookmark and a keyring. For some reason the bookmark seems a bit more "acceptable" than a fridge magnet or a keyring, perhaps because books are often held in higher esteem than such things.
I like the figures of the visiters in the pop-out kit above, who seem to variously be questioning or bemused by Stonehenge, or in one case imagining an elaborate possibly worship orientated wooden structure over the top of it.
(Above: Stonehenge model kit with Arthurian extras, completed by zoidpinhead – link below.)
These various model kits seem to be a mixture, and possibly inspired by, an interest in the sacred, profane and at times just sheer playfulness. In that sense, they could well be filed alongside some of HeyKidsRocknRoll pop-up diorama sets of the likes of Delia Derbyshire, The Stone Tape, Quatermass and the Pit, The Wicker Man etc. Those dioramas could be considered examples of when contemporary secular cultural work, which for some people has gained an almost sacred-like aspect, is the inspiration for playful or child-like build at home ornaments.
Actually, surprisingly, I don't think HeyKidsRocknRoll have made a Stonehenge or stone circle related diorama. A Halloween III: Season of the Witch set might well work, one which incorporated the film's nefarious company scientists' lab and their use of chippings from Stonehenge, the ancient power of which is used in novelty Halloween masks sold to the public, that are intended to bring about the destruction of their wearers.
Another reference point might also be Zupagrika's various build your own Brutalist architecture kits, particularly those based on Soviet-era Eastern Bloc architecture, as that was built during and as symbols of a regime which attempted to do away with traditional religion and replace it with a belief or faith system based around the political system and its figureheads.
The above model isn't a Stonehenge LEGO kit as it first may appear, but rather a LEGO compatible nanoblock kit, which in its utilising of the grey areas of copyright law could well be considered a form of profanity in terms of the corporate world's belief systems.
I was rather taken by the above adapted kit, the photograph of which is included in an article on building your own miniature stonehenge garden – link below.
When I was searching for Stonehenge model kits I came across a blog called Clonehenge which contains a searchable set of posts, lists etc of Stonhenge replicas "from the megalithic follies of the 1800s to the present". It includes amongst other things posts on retail bought and custom kit builds, large permanent replicas and laptophenge which, of course, does what it say on the can. And a whole lot, lot, lot more. Blimey, there's been a fair old bit of Stonehenge clonehenging that's gone on in the world.
And talking of mixing the sacred, profane and playful, last but not least, there's Jeremy Deller's inflatable bouncy castle replica which has travelled around Britain and the world. Funded in part by Creative Scotland and Arts Council England it is called, appropriately enough, and in a way that I expect both undercut and annoyed its critics, Sacrilege.
Stonehenge models and ornaments at the English Heritage shop
Pop Out Stonehenge
Build Your Own Stonehenge kit
LEGO-like Stonehenge model speed build video (even faster if you set the speed to 2x!) – strictly speaking I think it's a LEGO compatible nanoblock kit
How to Make a Miniature Stonehenge Garden for the Solstice
Clonehenge's list of 95 permanent large replica Stonehenges
Stonhenge model kit at Papermodelsonline
Aedes Ars Stonhenge model kit at Always Hobbies
A completed Arthurian Stonehenge model kit by zoidpinhead at Beasts of War
HeyKidsRocknRoll pop-up dioramas (now with added Kate Bush Wuthering Heights "red dress" felt ornaments!)
Zupagrafika's build your own Brutalist and Constructivist architecture sets etc
Jeremy Deller's Sacrilege
Elsewhere at A Year in the Country:
Halloween III: Season of the Witch – A Curious Slice of Culture and Collisions with the Past
Zupagrafika and Lost Future Intertwinings with a Family of Electronic Innovators
HeyKidsRocknRoll Delia Derbyshire Handmade Diorama
Posted on 14 th May 2019 12 th November 2019 by — Leave a comment
The Watchers – Preorder
Preorder today 14th May 2019. Released 7th June 2019.
Available in two CD editions: Dawn Light edition £11.95. Nightfall edition £22.95. Also available as a download.
Preorder via our Artifacts Shop and at Bandcamp.
Both CD editions are hand-finished and custom printed using archival giclée pigment ink by A Year In The Country.
Amongst Britain's trees there are thought to be over 3,000 ancient oaks – those which date back 400 years or more – and of those trees more than 115 are 800 to 1,000 years old or more. They are part of a tree population that also includes ash trees that have lived for hundreds of years and a yew that is estimated to be between 2000-3000 years old or possibly many thousands of years older and that some consider to be the oldest living thing in Europe.
These are living organisms which could be seen to be undertaking a very stately, still form of time travel, to be watchers and observers over the passing of the years, centuries and even millennia.
Some of them have lived through invasions of their island home undertaken by wooden ships, sword and arrow, the final days and passing of the old ways and the times of magic and witchcraft, the coming of the industrial revolution and the dawning of the digital era.
Throughout it all they have stood by and watched the endeavours of humans and the encroaching of their lands as the tales passed through traditional folklore evolved into the sometimes dizzying swathes of today's cultural landscape, with these "mighty oaks" and their companions now coming to be living amongst the invisible hubbub of modern day wirelessly transmitted communications.
The numbers of these longstanding inhabitants of this once largely green and unpaved land have dwindled due to the march of progress but a few stalwartly continue their journeys through time. The Watchers reflects on those journeys and these ancient trees' residing over growing layers of history.
Features music and accompanying text on the tracks by Grey Frequency, Field Lines Cartographer, Widow's Weeds ft Kitchen Cynics, Depatterning, A Year In The Country, Phonofiction, Pulselovers, Sproatly Smith, Vic Mars, The Heartwood Institute and Howlround.
Dawn Light Edition. Limited to 104 copies. £11.95.
Hand-finished white/black CD album in textured recycled fold out sleeve with fold-out insert and badge.
Top of CD and underneath of CD.
Further packaging details:
1) Custom printed using archival giclée pigment ink.
2) Includes 2.5 cm badge, secured with removable glue on string bound tag.
3) 1 x folded sheet of accompanying notes, hand numbered on back.
Nightfall Edition. Limited to 104 copies. £22.95
Hand-finished box-set contains: album on all black CD, 2 x sheets of accompanying notes, 2 x prints, 3 x stickers and 3 x badges.
1) Cover, notes and prints custom printed using archival giclée pigment ink.
2) Contained in a matchbox style sliding two-part rigid matt card box with cover print.
3) Fully black CD (black on top, black on playable side).
4) 2 x folded sheets of accompanying notes, printed on textured laid paper – one sheet hand numbered on back.
5) 2 x prints on textured fine art cotton rag paper.
6) 2 x 2.5 cm badge, 1 x 4.5 cm badge.
7) 1 x 5.6 cm sticker, 1 x 3.5 cm sticker, 1 x 12cm sticker.
1) Grey Frequency – In A Clearing
2) Field Lines Cartographer – A Thousand Autumns
3) Widow's Weeds ft Kitchen Cynics – The Brave Old Oak
4) Depatterning – Ook/Dair
5) A Year In The Country – Radicle Ether
6) Phonofiction – Xylem Flow
7) Pulselovers – Circles Within Circles
8) Sproatly Smith – Watching You
9) Vic Mars – The Test Of Time
10) The Heartwood Institute – The Trees That Watch The Stones
11) Howlround – The Winter Dream Of Novel's Oak
Posted on 18 th September 2018 18 th September 2018 by — Leave a comment
Recording Our Own Ghosts – A Review of A Year In The Country: Wandering Through Spectral Fields at Folk Horror Revival (and Other Intertwinings)
There is a piece on the A Year In The Country: Wandering Through Spectral Fields book by Grey Malkin at the Folk Horror Revival site:
"A Year In The Country embrace a wide range of avenues to bring together not only a sense of how far reaching and varied the origins, mainstays and current players of genres such as folk horror or hauntology can be, but crucially also how they intertwine and cross pollinate."
"Each chapter expertly charts its chosen subject's impact upon the public consciousness as well as indicating that these artefacts are now part of a greater cultural cobweb that may well have threads and components that are radically different in genre or style but that equally have a strong commonality in their sense of unease and their haunted content; of similar ghosts in the machine (or spooks in the television and bookshelves)."
The article is a layered exploration of both the book and the cultural background it explores, taking in the likes of The Wicker Man, The Midwich Cuckoos, No Blade of Grass, 70's acid folk, hauntology etc.
Alongside Grey Malkin's own writing on the book, the piece also contains extracts from a conversation between him and the book's author Stephen Prince:
"I think, to a certain degree, the way in which it isn't easily definable how the different and loosely gathered areas of culture that are discussed in 'Wandering Through Spectral Fields' appear to connect, influence one another, have become part of a lineage etc is an aspect of what is appealing about them and that gathering; it is part of what creates a certain mystique around it. Possibly in an age where every area of culture, no matter how niche, can be investigated and explained by for example a brief online search, it is the sense of a hidden history and stories, of an at least partly unexplained aspect to such work that is one of the things which may draw people to it."
Intertwinings:
Harvest Hymns II – Sweet Fruits, was published in 2018 by Folk Horror Revival and as with a number of their other book releases explores otherly folkloric and hauntological orientated work. It includes Cuckoos in the Same Nest, which is an alternate version of the Cuckoos in the Same Nest: Hauntological and Otherly Folk Confluences and Intertwinings chapter from the A Year In The Country: Wandering Through Spectral Fields book.
Grey Malkin is one of the instigators of/collaborators with The Hare And The Moon, Embertides and Widow's Weeds.
Embertide's Ash, Oak & Sulphur is included on the upcoming A Year In The Country released album The Quietened Mechanisms:
"An exploration of abandoned and derelict industry, infrastructure, technology and equipment that once upon a time helped to create, connect and sustain society… and their echoes and remains."
Audiological Transmission #44/52: A Whisper In The Woods – The Forest / The Wald by The Hare And The Moon ft Alaska
The Hare And The Moon's work has also been featured on a number of A Year In The Country released albums, including A Whisper In The Woods on The Forest / The Wald, which is a:
"…study and collection of work that reflects on fragments and echoes of tales from the woodland and its folklore; greenwood rituals performed in the modern day, fantastical childhood rhymes, sylvan siren calls that tremble through tangles of branches, electronics pressed into the summoning of otherworldly arboreal creations unearthed amidst the creeping thickets and elegies to woodland intrustions, solitudes and seasons."
The Hare And The Moon "existed between 200 and early 2017 and are now as ghosts". You can visit the spectral echoes of their explorations of the further furrows of folk/folklore at their Bandcamp page.
Also Widow's Weeds' track The Unquiet Grave was included on the A Year In The Country released album Audio Albion, which is a:
"…music and field recording map of Britain, which focuses on rural and edgeland areas… the history, myths and beliefs of the places, their atmospheres and undercurrents, personal and cultural connections – the layered stories that lie amongst, alongside and beneath the earth, plants and wildlife."
Recording our own ghosts; a review of 'A Year In The Country – Wandering Through Spectral Fields, Journeys in Otherly Pastoralism, the Further Reaches of Folk and the Parallel Worlds of Hauntology' at Folk Horor Revival
The Hare And The Moon's Bandcamp page
Harvest Hymns II – Sweet Fruits
A Year In The Country – Spectral Fields – Wyrd Kalendar Mix 1; Chapters 1-13
A Year In The Country – Spectral Fields – Wyrd Kalendar Mix 2; Chapters 14-26
Afore Ye Go – A Final Visit to A Year In The Country at Late Junction, Accompanied by Explorations of Pastures New in Starburst and Revisiting a Highland Lament in Willow's Songs
The Forest / The Wald
Categories: AYTIC-Year 4, Unfiled
Posted on 6 th August 2018 9 th April 2018 by — Leave a comment
Detectorists, Layered Timeslips, Albion in the Overgrowth, The Unthanks and Secrets Never Told: Wanderings, Explorations and Signposts 32/52
Previously at A Year In The Country I have written about "glimpses of Albion in the overgrowth" – referring to times when mainstream television has explored, expressed and/or reflected a sense of the undercurrents or flipsides of rural, pastoral and folk culture, its layered, sometimes semi-hidden tales and histories (something I have also referred to as a form of "otherly pastoralism" and which has also been known as "wyrd" culture).
Along which lines is the ending of the first episode of Series 3 of the BBC television program Detectorists.
In this sequence the two main characters, Andy and Lance, played by series creator Mackenzie Crook alongside Toby Jones, are in a field and just about to stop their metal detecting (which is their hobby) for the day, when one of them picks up a signal on his detector, which leads him to digging up a falconry whistle.
When he blows this whistle there is a sense of a chill, unsettled wind running through the air and in the sequence the whistle's tone acts as a carrier signal back through time.
As they begin to leave, via the use of CGI, the field in which they are in and its trees slip back through time to many centuries ago and the edges of the screen start to flicker and vignette, while the colours become subtly muted and sepia-ish.
A youngish woman in white shroud like garments blows the same falconry whistle that Andy and Lance have just found and looks around to find the returning bird.
Off slightly in the distance from her, and it is not clear if she is watching across time or not, she observes a priest overseeing a ceremony in which a woman is burying a pot of gold coins in the ground – possibly as a form of tribute to the gods and spirits – accompanied by what I assume are her children and family.
Magpies watch the group and then time slips forward, the seasons change, a couple/young lovers, who via their clothing can be identified as being from centuries later, stroll across the field.
Time moves forward again and a farmer is shown ploughing the field and unearthing the buried coins behind him, which the magpies are drawn to and fly off with.
Then time once more advances and the images fades back into to the present, with Andy and Lance being shown walking across the field once more, while the viewers now possess the knowledge that, unbeknownst to the detectorists, there is treasure in this field.
(It is part of folklore that magpies are drawn to shiny objects and decorate their nests with them, although apparently research shows that this is not the case – more details at the "The science vs folklore of Magpies" link below. Also, I'm not sure, particularly in light of this research, whether the magpies flying off with the coins was filmed in the real world and involved an awful lot of patience or if this was also created via CGI – I expect I don't really want to know, as it might remove some of the magic of this sequence.)
The ending of the episode is not overtly dark, although there is something quietly unsettling about it, which may in part be due to the magpies lending a slightly ominous presence to proceedings.
The sequence is artfully done and somewhat entrancing, being enhanced by the English folk group The Unthanks evocative performance of Daved Dodd's song The Magpie that soundtracks it and which in itself draws its lyrics from the traditional children's nursery rhyme One For Sorrow:
One for sorrow,
Two for joy,
Three for a girl,
Four for a boy,
Five for silver,
Six for gold,
Seven for a secret,
Never to be told.
Eight for a wish,
Nine for a kiss,
Ten for a bird,
You must not miss.
The first known recording of this nursery rhyme dates back to John Brand's Observations on Popular Antiquities in Lincolnshire in 1780, when it was just four lines:
Two for mirth,
Three for a funeral
And four for birth
One of the earliest known versions to extend this was published in 1846, with variations, in Michael Aislabie Denham's Proverbs and Popular Saying of the Seasons:
Two for mirth
Three for a funeral,
Four for birth
Five for heaven
Six for hell
Seven for the devil, his own self
Which adds something of an almost folk horror like aspect to the rhyme.
Along which lines, the lyrics to Magpie as sung by The Unthanks are as follows:
One's for sorrow
Two's for joy
Three's for a girl and
Four's for a boy
Five's for silver
Six for gold
Seven's for a secret never told
Devil devil I defy thee
Oh the magpie brings us tidings
Of news both fair and fowl
She's more cunning than the raven
More wise than any owl
For she brings us news of the harvest
Of the barley we done called
And she knows when we'll go to our graves
And how we shall be born
In this episode of Detectorists closing sequence the version of the nursery rhyme from above which has ten "for"s is not completed, rather in the song Magpie it ends on "Seven for a secret, Never to be told", which in this context, along with the verse where the magpie is attributed with prescience, helps to invoke a sense of a land layered and possibly even haunted by its secrets, treasures and past events.
Which connects to Johnny Flynn's theme song for the series, which explores not dissimilar themes, alongside a related sense of modern-day seeking and searching (related to which, as I say in the A Year In The Country: Wandering Through Spectral Fields book, Detectorists is in part "a portrait of people just trying to make the most of things while hopefully adding some magic to their lives"):
Will you search through the lonely earth for me
Climb through the briar and bramble
I'll be your treasure
I felt the touch of the kings and the breath of the wind
I knew the call of all the song birds
They sang all the wrong words
I'm waiting for you, I'm waiting for you
(Mmmmmm)
Will you swim through the briny sea for me
Roll along the ocean's floor
I'm with the ghosts of the men who can never sing again
There's a place follow me
Where a love lost at sea
Is waiting for you
(The lyrics to Johnny Flynn's Detectorists.)
The sequence also sets in motion the ending of this apparently final series of Detectorists, where (and hopefully not to give too much away) Andy and Lance finally seems to find some of what they have been seeking; their treasure both literally and in the form of a more settled sense of belonging and their hopefully rightful places in the world.
Detectorist Season 3, Episode 1 ending featuring The Unthanks
Johnny Flynn's Detectorists
The science vs folklore of magpies
1) Day #146/365: Glimpses of Albion in the overgrowth
2) Day #274/365: Borrowings from Albion in the overgrowth…
3) Day #275/365: Borrowings from Albion in the overgrowth (#2)… becometh a fumetti…
4) Day #316/365: The Detectorists; a gentle roaming in search of the troves left by men who can never sing again
5) Wanderings #19/52a: The Folk Roots Of Peak Time Comedians From Back When / Wandering The Layers
6) Chapter 20 Book Images: "Savage Party" and Randall & Hopkirk (Deceased) – Glimpses of Albion in the Overgrowth
7) Wanderings, Explorations and Signposts 25/52: Requiem Part 1 – Further Glimpses of Albion in the Overgrowth and Related Considerations
Posted on 13 th July 2018 13 th July 2018 by — Leave a comment
Image AA/28
File under: A Year In The Country ocular explorations
Posted on 15 th June 2018 29 th March 2018 by — Leave a comment
Posted on 19 th March 2018 29 th June 2018 by — Leave a comment
The Sun in the East – Norfolk & Suffolk Fairs and Albion Unenclosed – Part 2: Wanderings, Explorations and Signposts 12/52
In Part 1 of this post (which can be read here) I wrote about three photography orientated books which document British alternative/counter cultural outdoor festivals from the 1960s to 1980s: Jeremy Sandford and Ron Reid's Tomorrow's People (1974), Richard Barnes' The Sun in the East – Norfolk & Suffolk Fairs (1983) and Sam Knee's Memory of a Free Festival – The Golden Era of the British Underground Festival Scene (2017).
Part 2 of this post focuses further on The Sun in the East, a book which via a collection of Richard Barnes' and other photographs alongside articles, cartoons, fliers and posters, interviews, memories and reflections on the festival etc presents a snapshot of a set of smaller scale fairs or festivals including the Barsham Faires and Albion Fairs, which took place in a particular area of Britain between 1972-1982.
As referred to in Part 1 of the post, in large part the overall aesthetic and culture presented and captured in the book is what could be loosely called latter period hippie-esque and possibly proto-new age traveller (with a few punks/anarcho-punks sneaking in towards the end).
And as also mentioned in Part 1, accompanying those aesthetics some of the fairs in The Sun in the East were medieval themed, with the entertainers and some of the attendees costumed or dressed in that manner. This may have reflected an early 1970s folk related interest in such things, an almost Arcadian wish to return to the land and the old ways that was often interconnected with hippie-esque culture and which has been described as a form of "imaginative time travel" (to quote Rob Young).
(As an aside, some of the posters/fliers for the festivals show the entrance fee as being 30p or 20p if in costume, which allowing for inflation is approximately £2.50 to £1.50 at contemporary prices – which seems somewhat cheap compared to the modern day festival ticket prices that can run into hundreds of pounds).
The festivals the book features are different from most of those in Tomorrow's People and Memories of a Free Festival in that they weren't big name band orientated, rather they featured performers nearer to say street performers – mimes, clowns, puppeteers, stilt walkers, small scale theatre shows etc.
In the photographs these performers seem nearer to being just another part of the festival, with them often performing literally in amongst the other attendees.
Looked at now, the festivals and in particular their entertainments in part seem not all that dissimilar to say a new age/eco leaning contemporary family friendly festival that was possibly organised or sponsored by for example a local council or a grant funded organisation of some form – which is also possibly in part a reflection of the incorporation and acceptance by wider society, governing bodies and authorities of some elements of what was once more fringe and counter culture.
Alongside the medieval and hippie-esque aspects and those just mentioned performers, looking through The Sun in the East there are at times old time music hall, cabaret and burlesque aspects to some of the performances, which is an intriguing prefiguring of the more recent revivals in such things.
The Sun is in The East is now long out of print and at the point of writing not all that cheap to buy second hand but it's worth seeking out as a document of a semi-forgotten corner of cultural history.
I was first pointed in the direction of the book by undercurrents-of-folklore explorers and merchandisers Hare and Tabor, who as I have mentioned around these parts before have produced a t-shirt which is inspired by artwork for the Albion Fair, proceeds from which go towards funding the Fairs Archive, which is a travelling exhibition that documents the Fairs.
Their Albion Fair t-shirt page also contains some interesting background on the fair and related links. Well worth a visit.
The Albion Fair t-shirt at Hare and Tabor
The Fairs Archive
The not-so-pocket-money-friendly out of print The Sun in the East book
Rob Young's Electric Eden
1) Day #4/365: Electric Eden; a researching, unearthing and drawing of lines between the stories of Britain's visionary music
2) Day #40/365: Electric Eden Ether Reprise… from the wild woods to broadcasts from the pylons…
3) Week #6/52: Tomorrow's People, further considerations of the past as a foreign country and hauntology away from its more frequent signifiers and imagery…
4) Audio Visual Transmission Guide #46/52a: Barsham Faire 1974 and a Merry Albion Psychedelia
5) Chapter 1 Book Images: Electric Eden – Unearthing Britain's Visionary Music – Folk Vs Pop, Less Harvested Cultural Landscapes and Acts of Enclosure, Old and New
6) Wanderings, Explorations and Signposts 11/52: The Sun in the East – Norfolk & Suffolk Fairs and Albion Unenclosed – Part 1
Posted on 13 th November 2017 11 th April 2018 by — Leave a comment
The Quietened Cosmologists – Further Reviews and Broadcasts: Artifact Report #46/52a
Some further reviews and broadcasts of The Quietened Cosmologists album, which is:
"…a reflection on space exploration projects that have been abandoned and/or that were never realised, of connected lost or imagined futures and dreams, the intrigue and sometimes melancholia of related derelict sites and technological remnants that lie scattered and forgotten."
First up is a review in Electronic Sound issue 35 by the magazine's Commissioning Editor Neil Mason…
…that issue has a classic 1950s/1980s style 3D cover complete with red/blue anaglyph glasses, which is a nice touch and something of a nod to the lineage of 3D now that one of the latest incarnations of 3D in the home is largely coming to an end as manufacturers have mostly stopped making 3D televisions.
The issue is available here and as part of a vinyl bundle here.
Next up is Dave Thompson's review at his Spin Cycle column on Goldmine magazine's site:
"…a rumination on what might have been – the space missions that were promised, that were planned and then abandoned, or that never got off even the figurative ground in the first place… Disconnected voices from impossible distances, radio signals, muted melodies, ambitious hope and scientific daydreams…"
Find the column here.
Andrew Young reviews the album at Terrascope:
"Keith Seatman has beats a plenty like a wonky Kraftwerk after they have discovered Steve Birchall's epic Reality Gates album, proper space rock… Listening Center take us to a strange ticking otherworldy place, a place that feels at once vast and infinite, a haunting slice of space music… The record ends with Landfall at William Creek, David Colohan's spectral hammered dulcimer peels away into the inky vastness of space, a beautiful end to a fine record."
Visit the review here.
We Are Cult included the album in a review round up
"…it's a cracking collection of electronica… about the abandoned, uncelebrated, and unrealised attempts to reach the stars… David Colohan's desolate Landfall At William Creek perfectly evokes lonely space junk rusting in the wilderness… Keith Seatman's 093A-Prospero is best described as a sort of interstellar Lieutenant Pigeon."
An interstellar Lieutenant Pigeon? Well, count me in (!).
Visit the reviews round up here.
The Unquiet Meadow included Pulselovers Lonely Puck amongst some fine company on their show which wanders through and explores the further reaches of folk and where they meet the spectral concerns of hauntology…
Originally broadcast on Asheville FM, browse the playlist here and the show's site at the radio station here.
In a rounding the circle manner, some time A Year In The Country fellow travellers Pete Wiggs and James Papademetrie of the "phantom seaside radio" show The Séance have included David Colohan and Field Lines Cartographers tracks on two of their show.
First heard via the airwaves at Radio Reverb and Sine FM, the episodes and their playlist's are archived here and here.
In a further rounding of the circle manner, Mat Handley of Pulselovers played David Colohan, Time Attendant and Vic Mars' tracks on his You, the Night & the Music show.
That show was also originally broadcast on Sine FM. Visit the online archive for the episodes here and here.
The Gated Canal Community Radio Show, hosted by record labels Front & Follow and The Geography Trip, played Howlround's track on their show.
Originally on Reform Radio, the show is archived here and here and the show's blog can be found here.
In an interconnected manner, Wyrd Daze included three tracks from the album on their Samhain Seance 6 : Triffid Witch mix, alongside tracks from Front & Follow's 10th anniversary compilation Lessons and their Blow series, plus the likes of Leyland Kirby and The Haxan Cloak.
The online archive can be found here and details of the mix can be found here. Wyrd Daze's main site can be found here.
Previous reviews and broadcasts of The Quietened Cosmologists:
Artifact Reports #37/52a: The Quietened Cosmologists Writing, Posts and Broadcasts
Artifact Report #38/52a: The Quietened Cosmologists Writing, Posts and Broadcasts
Artifact Report #39/52a: The Quietened Cosmologists at You, the Night & the Music and feuilleton
Artifact Report #44/52a: A Year In The Country at The Golden Apples of the Sun
A tip of the hat to everybody involved. The support is much appreciated.
The Quietened Cosmologists features Field Lines Cartographer, Pulselovers, Magpahi, Howlround, Vic Mars, Unit One, A Year In The Country, Keith Seatman, Grey Frequency, Time Attendant, Listening Center, Polypores and David Colohan.
Further details can be found around these parts here, at Bandcamp here and can be previewed at Soundcloud here.
Posted on 7 th November 2017 11 th April 2018 by — Leave a comment
All The Merry Year Round – Pre-order: Artifact Report #45/52a
Pre-order available today 7th November 2017. Release date 28th November 2017.
Artifact #6a
Featuring United Bible Studies, Circle/Temple (Dom Cooper of The Owl Service/Bare Bones/Rif Mountain), Magpahi, Cosmic Neighbourhood, Field Lines Cartographer, Polypores, A Year In The Country, Sproatly Smith, Pulselovers, The Hare And The Moon & Jo Lepine (The Owl Service), Time Attendant and The Séance (Pete Wiggs of Saint Etienne and James Papademetrie).
All The Merry Year Round is an exploration of an alternative or otherly calendar that considers how traditional folklore and its tales now sit alongside and sometimes intertwine with cultural or media based folklore; stories we discover, treasure, are informed and inspired by but which are found, transmitted and passed down via television, film and technology rather than through local history and the ritual celebrations of the more longstanding folkloric calendar.
However, just as with their forebears there is a ritualistic nature to these modern-day reveries whereby communal or solitary seances are undertaken when stepping into such tales via flickering darkened rooms lit by screens, although their enclosed nature is in contrast to more public traditional folklore rituals.
Accompanying which with the passing of time some televisual and cinematic stories continue or begin to resonate as they gain new layers of meaning and myth; cultural folklore that has come to express and explore an otherly Albion, becoming a flipside to traditional folklore tales and sharing with them a rootwork that is deeply embedded in the land.
In amongst All The Merry Year Round can be found wanderings down such interwoven pathways, travelling alongside straw bear and cathode ray summonings alike.
Available via our Artifacts Shop, our Bandcamp Ether Victrola and at Norman Records.
Dawn Edition £11.95. Night Edition £24.95.
Both editions hand-finished and custom printed using archival giclée pigment ink by
A Year In The Country.
Tracks also previewable at Soundcloud.
Dawn Edition. Limited to 104 copies. £11.95.
Hand-finished white/black CDr album in textured recycled fold out sleeve with inserts and badge.
Top of CD. Bottom of CD.
Further encasement details:
2) Includes 25mm/1″ badge, secured with removable glue on string bound tag.
3) Back of one insert hand numbered.
Night Edition. Limited to 104 copies. £24.95.
Hand-finished box-set contains: album on all black CDr, 12 page string bound booklet, 4 x badge pack, 4 x stickers, 1 x large badge.
1) Booklet/cover art custom printed using archival giclée pigment ink.
3) Fully black CDr (black on top, black on playable side).
4) Black string bound booklet: 12 pages (6 sides printed);
Printed on textured fine art cotton rag paper, heavy card and semi-transparent vellum.
Hand numbered on the reverse.
5) 4 x badge set, contained in a see-through polythene bag with a folded card header.
6) 1 x large badge.
7) 2 x square and 2 x round vinyl style stickers.
1) Towards The Black Sun – United Bible Studies
2) Rigel Over Flag Fen – Circle/Temple
3) She Became Ashes and Left With the Wind – Magphai
4) Winter Light – Cosmic Neighbourhood
5) Azimuth Alignment Ritual – Field Lines Cartographer
6) Meridian – Polypores
7) Tradition and Modernity – A Year In The Country
8) Moons (Part 1) – Sproatly Smith
9) Tales Of Jack – Pulselovers
10) I'll Bid My Heart Be Still – The Hare And The Moon & Jo Lepine
11) In a Strange Stillness – Time Attendant
12) Chetwynd Haze – The Séance
Artwork/encasment design and fabrication by AYITC Ocular Signals Department
Artifact #6a / Library Reference Numbers: A011ATMYRD / A011ATMYRN
Posted on 12 th October 2017 10 th April 2018 by — Leave a comment
(Revisiting) Travelling For A Living: Audio Visual Transmission Guide #41/52a
Back in the first year of A Year In The Country I wrote about Travelling For A Living, Derrick Knight's 1966 documentary about folk singers The Watersons.
At the time it was quite a hard film to track down – it had been available on video tape once upon a time, it could be found in an out of print boxset and I think it was available at the BFI's Mediatheques (there were a handful of these around the UK in cinemas, libraries etc, which had a number of screens and headphones where you could watch archived films, television etc).
Anyways, with the advent of the online BFIPlayer in more recent times, you can now watch Travelling For A Living relatively easily online, so I thought I would revisit it.
The film follows The Watersons throughout their life on the road, playing at folk clubs, recording in studios, at home in Hull as friends and other performers visit (including a fleeting rare glance of folk singer Anne Briggs).
Although it was released in 1966, it seems to belong to an earlier much more kitchen sink, almost post-war period.
Often representations of British life and social history from that time focus on a swirling, colourful, pop-mod-about-to-be-psych Swinging London metropolitan view of things.
Travelling For A Living presents a more gritty Northern contrast to that (although no less vital), an almost alternative history view of culture at that time which seems to have been semi-written out of popular cultural history.
However, quite possibly, the locations and music shown in Travelling For A Living was nearer to the day-to-day life of more of the nation than that of Swinging London; more backroom of a local pub than Kings Road high life, club and boutique orientated.
"I think one of the reasons I'm drawn to the film is that it provides a glimpse or two of a culture which, though it existed in what is now looked back upon as a time of swinging Britannia and heading towards the psychedelia of the late 1960s summer of love, appears to be very separate from the more often considered views and aesthetics of the time.
This is a much more grassroots, kitchen sink, gritty culture/counter-culture and to my eye makes me think more of the 1950s than the 1960s; all monochrome steaming breath and black wearing beat style.
In a way it reminds me of images of the 1980s Medway garage punk scene, such as those taken by Eugene Doyen; it shares that sense of a culture that is occurring separate to the mainstream stories and histories of the time and shares a similar kitchen sink, no frills and fripperies aesthetic."
(From the first year post on Travelling For A Living.)
Folk music is often associated with rural areas and tradition but in Travelling For A Living it is generally shown in amongst a much more Northern town setting – the film featuring extensive evocative terraced house street views and is connected to the harsh realities of the local fishing industry from which some of the traditional songs The Watersons sing originated.
At one point their musical producer talks about how all the other music that they've heard – Ella Fitzgerald, more contemporary work by the likes of The Rolling Stones, music hall, jazz etc – edges into their music.
(I could add pub singing to that as their take on folk singing seems in part to have developed from and could be connected to the oral, communal tradition of pub singing, which developed in the local area after the war and the demolishing of the music hall, with the associated music moving into pubs: at one point Norma Waterson say of pub singing "This is our tradition, it's what we were brought up on.")
Him saying that got me wandering as to how much The Watersons were replicating the past and how much they were creating their own take on traditional music.
"This music doesn't exist today as a living form but only in odd corners of memory; selected, hidden in the early recordings, notes and jottings treasured in the collections of Cecil Sharpe House. From these still warm ashes The Waterstones created music which is then seen to be very much alive." (From the narration to the film.)
There were relatively few recordings of traditional folk available at the time, it being more an oral tradition and often existing outside or before the widespread recording of music or only have been recorded in written form by the likes of folk music researchers and revivers such as Cecil Sharpe in the early 20th century.
(As a connected aside, in the film The Watersons are shown visiting and listening to the archives of Cecil Sharpe House.)
Therefore reference points and memories of this earlier music may well have been fragmentary in nature and not have leant themselves to exact replication; possibly meaning that music created by The Watersons back then was in part an almost hauntological, hazy remembering of folk music – one that is both a homage to earlier traditional folk and which has also to a degree over the years come to represent what traditional folk music sounds like.
(File Post Under: Cathode Ray & Cinematic Explorations, Radiowave Resonations & Audiological Investigations)
Travelling For A Living
Day #11/365: Lal Waterson – Teach Me To Be A Summers Morning
Day #242/365: The return of old souls; fleeting glances of Anne Briggs
Day #243/365: Travelling For A Living; tea served in the interval at nine o'clock and a return to populous stories and wald tales
Categories: Audio Visual Transmission Guides, AYITC: Year 3, Unfiled
Posted on 21 st September 2017 10 th April 2018 by — Leave a comment
The Moomins And The Seams That Keep Giving: Wanderings #38/52a
I suppose that one day much of the semi-lost or unreleased music/cultural treasures will have been fully mined and there won't be any more for archivists such as Jonny Trunk and Finders Keepers Records to seek out and send out into the world…
…but that moment doesn't seem to have quite arrived yet and things still seem to keep turning up.
Along which lines, there are some rather lovely editions of the Moomins soundtrack released by the just mentioned folk at Finders Keepers Records.
I guess you could file The Moomins alongside other gently bucolic, quietly left-of-centre work such as Ivor The Engine, Bagpuss and possibly gently edgeland, quietly left-of-centre work such as The Flumps and The Wombles…
…although when watching clips/episodes of the series, wheat they put me in mind of were the left-of-centre fantasies and fairy tales of some of the Czech New Wave (something I recently also said about Isabell Garrett's animated film Bye Bye Dandelion).
Which may not be all that surprising, considering Finders Keepers/Finders Keepers history of releasing Czech New Wave related soundtracks such as Valerie and Her Week of Wonders and Daisies (and I could also possibly wanders towards the woodcut-esque tales-from-the-forest covers of the Folk Is Not A Four Letter Word left-of-centre folk compilation albums, which were compiled by Finders Keeper-er Andy Votel).
File under: Trails and Influences / Year 3 Wanderings
Intertwined wanderings around these parts:
Day #164/365: A saggy old cloth cat and curious cultural connections…
Day #247/365: Folk Is Not A Four Letter Word and voyages through other playful fancies from behind the once ferrous drapes…
Audio Visual Transmission Guide #38/52a: Bye Bye Dandelion
Elsewhere in the ether:
Findings at Finders Keepers Records. Delvings at Trunk Records.
Categories: AYITC-Year 3 Wanderings / Ether Signposts, AYITC: Trails and Influences: Year 3 Wanderings, AYITC: Year 3, Unfiled
Posted on 4 th April 2017 10 th April 2018 by — Leave a comment
Further – A Temporary Audio Visual Space: Ether Signposts #14/52a
Although it's quite rare I make it down to the metropolis nowadays, I've been somewhat drawn to and intrigued by the Further event put together by DJ Food and Pete Williams:
"An irregular event held in different places, it's not a club night, it's not monthly, there's no dance floor. It HAS got all the things we love in it though: experimental music and film, food and drink, socialising and a bit of record hunting. Taking old analogue image making techniques from the 20th century and recontextualising it into new spaces for today.
"We have Jim Jupp (Belbury Poly) and Julian House (The Focus Group) from Ghost Box Records playing a rare audio visual set and Howlround sound tracking Steven McInerney's short film, 'A Creak In Time'.
"Pete and I will be pulling all manner of projections, films, slides and FX out to illuminate the gallery at the beginning and end of the evening to compliment our DJ sets."
Sounds like a good old night and even allowing for the night bus home, you could probably be in bed by 1am if you live around those parts.
(The description of the event as a "A Temporary Audio Visual Space" made me think of Hakim Bey's concept/book Temporary Autonomous Zones, which refers in part to spaces where the norms and rules of society and formal structures of control briefly do not apply, areas where for example a carnivalesque or explorative sense of freedom can be created. Though in Further's case such things would I expect be more in terms of visual and musical aesthetics rather than the more overtly political considerations of Hakim Bey's work.)
I particularly like the hand tinted slides that DJ Food posted on his site (because of the nature of AYITC you'll need to pop over to his site to get the full effect). And if I'm not mistaken, there's a Howlround design from the AYITC released Torridon Gate in amongst them.
Further could well be filed alongside the upcoming The Delaware Road Kelvedon Hatch event, in that both have Howlround performing and both I expect may well appeal to people who are culturally hauntologically/spectrally inclined. The Ghost Box Belbury Youth Club events may also be another reference point.
The event is on May 6th at The Portico Gallery in London.
(File post under: Other Pathway Pointers And Markers)
Directions and destinations:
The Further website
The Hand Tinted Slides
Categories: AYITC-Ether Signposts, AYITC: Year 3, Unfiled
Posted on 29 th March 2017 10 th April 2018 by — Leave a comment
Boards Of Canada – Tomorrows Harvest; Stuck At The Starting Post / Tumbled From A Future Phase IV ? : Wanderings #13/52a
So, Gemini, the first track on Boards Of Canada's Tomorrow's Harvest album from 2013…
It begins with an Advisory Circle / Ghost Box-esque TV ident-like introduction (although I suppose considering who came first, any such things on Advisory Circle / Ghost Box releases are possibly Boards Of Canda-esque) and then…
…well it seems to tumble down a wormhole and create a soundtrack to some imagined future version of the 1974 film Phase IV, a science fiction soundtrack that seems to be both beautiful and terrifying.
The album's title and the limited artcard edition seem to add to that Phase IV air, of a natural world order gone out of kilter and what seem to be only-just-official scientific investigation attempts.
It also puts me in mind of the hidden, subterranean investigations and research facility of The Andromeda Strain although without any of the comfort that the passing of time and the film being aimed towards a mainstream audience has added.
(And talking of hidden, subterranean, are these fully officially sanctioned research facilities?… Beyond The Black Rainbow and its soundtrack may also be an appropriate reference point.)
The cover artwork features a cityscape photographed from the land that surrounds it, caught in a sickly yet beautiful haze, which could be wandering towards shades of the environmental disasters of 1970's No Blade Of Grass or maybe even the skies from the 1979 Quatermass series once the harvesting has taken place.
Brrr.
Inside devastated crops, broadcast towers, unidentifiable research-esque buildings/installations, distant hazy figures in desertscapes, barbed wire, forests, marks in the earth, a possibly abandoned car, what could be a reflection in a car light or may be on the glass of the visor of protective suiting and present-day-from-the-future concrete monolithic buildings all jostle for space, captured via the pixels of I assume a traditional cathode ray television screen.
The effect is strangely beautiful, entrancing and unsettling – similar indeed to Gemini.
I tend to find with this album that I rarely make it past this first track. In fact I often don't even make it through this one track – it throws and distorts my mind, not through being extreme in terms of say dissonant audio but just in the atmosphere it conjures of all the above.
(File under: Trails and Influences / Year 3 Wanderings)
Day #88/365: No Blade Of Grass and a curious mini-genre…
Day #149/365: Phase IV – lost celluloid flickering (return to), through to Beyond The Black Rainbow and journeys Under The Skin
Day #197/365: Huff-ity puff-ity ringstone round; Quatermass and the finalities of lovely lightning
Day #255/365: Beyond The Black Rainbow; Reagan era fever dreams, award winning gardens and a trio of approaches to soundtrack disseminations… let the new age of enlightenment begin…
Week #15/52: Phase IV / a revisiting / the arrival of artifacts lost and found and curious contrasts
The Andromeda Strain #1. The Andromeda Strain #2 (contemporary revisiting). Award Winning Gardens / Mercurio Arboria / Beyond The Black Rainbow. Phase IV. Phase IV lost and found. No Blade Of Grass (and a good sit down with a cup of tea afterwards while the old nerves recover).
Gemini. Tomorrow's Harvest: encasement.
Posted on 6 th September 2016 6 th September 2016 by — Leave a comment
A Year In The Country – No More Unto The Dance pre-order and release dates
Audiological Transmissions Artifact #5
Available to pre-order on 19th September 2016 at our Artifacts Shop and our Bandcamp Ether Victrola. Release date 3rd October 2016.
Two limited editions: Dawn fold-out and Night boxset.
Notes and Scribings:
No More Unto The Dance is a reflection of nightlife memories and the search for the perfect transportative electronic beat; a collection of reverberations that have fragmented with the passing of time.
It is a document of life once lived in the very heart of metropolises, immersed in their subcultures: a time that was predicated in part by a passion for club culture, dancing, dressing up and related explorations carried out with the obsession, enjoyment and energy of youth.
Much of that gradually (or sometimes not so gradually) faded away or took other pathways.
The world in which this recording was made does still come alive at night but it is more likely to be the nocturnal foraging and wanderings of wildlife rather than in a low-ceilinged basement lit by a strobe light.
The music presented here is the soundtrack to those basements, filtered through the looking glass of a life far removed from the bright lights and big city, the dressing up and dancing but a memory – a world far, far apart, almost that seems to belong only to the worn and aged pages of a faded, forgotten magazine.
The journey it takes envisions a mixtape of memories and echoes of those pages, of 12"s bought because of the primal rush their electronics would bring on when listened to in a record shop, the lucky dip of unknown records bought hopefully from the racks of bargain basements, the more abstract/triphop beats to be found in intriguingly designed/obscure sleeves and to times lost in the seemingly endless dreams of a club; a time when the future burned with the brightness, optimism and idealism of youth.
Memories and Echoes:
1) Dark days
2) Fractures
3) Plaintive Resonations
4) Future Dissolvation
5) Airborne At Five Minutes To Midnight
6) In The Midnight Sun
7) A Moment Of Optimism
8) The Experiment Ends
9) After The Dream
10) When Did It All Break?
11) A Revisiting Of Familiar Tropes
12) A Fanfare And A Last Hurrah
Categories: Audiological Transmissions Artifacts, Unfiled
Posted on 9 th August 2016 9 th August 2016 by — Leave a comment
Audiological Transmission #32/52: The Quietened Bunker – Crafty Mechanics
Audiological exploration by Time Attendant from the album The Quietened Bunker.
The album is available via our Artifacts Shop, at our Bandcamp Ether Victrola and at Norman Records.
Transmission sent, received, transmitted: Considerations of The Quietened Bunker at A Closer Listen:
"Time Attendant's "Crafty Mechanics" contains the elements of a club track, but is not for dancing; it's what a club might sound like if all the machines wound down. "
Categories: The Quietened Bunker, Unfiled, Year 2: Audiological Transmissions
The Quietened Bunker – preorder and release dates
Pre-order 1st August 2016. Release date 15th August 2016.
Will be available via our Artifacts Shop and our Bandcamp Ether Victrola.
The Quietened Bunker is an exploration of the abandoned and/or decommissioned Cold War installations which lie under the land and that would have acted as selectively populated refuges/control centres if the button was ever pushed; a study and reflection on these chimeric bulwarks and the faded but still present memory of associated Cold War dread, of which they are stalwart, mouldering symbols.
Audiological contents created by Keith Seatman, Grey Frequency, A Year In The Country, Panabrite, Polypores, Listening Center, Time Attendant, Unknown Heretic and David Colohan.
Night Edition. Limited to 52 copies. £25.00.
Hand-finished box-set contains: album on all black CDr, 12 page string bound booklet, 4 x badge pack, 4 x sticker pack & landscape format sticker.
Both editions hand-finished and custom printed using archival giclée pigment ink by A Year In The Country.

redpajama_set_name: RedPajamaCommonCrawl


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A critical assessment of data quality and venous effects in sub-millimeter fMRI.
Home » Citations » A critical assessment of data quality and venous effects in sub-millimeter fMRI.
Summary of "A critical assessment of data quality and venous effects in sub-millimeter fMRI."
Advances in hardware, pulse sequences, and reconstruction techniques have made it possible to perform functional magnetic resonance imaging (fMRI) at sub-millimeter resolution while maintaining high spatial coverage and acceptable signal-to-noise ratio. Here, we examine whether sub-millimeter fMRI can be used as a routine method for obtaining accurate measurements of fine-scale local neural activity. We conducted fMRI in human visual cortex during a simple event-related visual experiment (7 T, gradient-echo EPI, 0.8-mm isotropic voxels, 2.2-s sampling rate, 84 slices), and developed analysis and visualization tools to assess the quality of the data. Our results fall along three lines of inquiry. First, we find that the acquired fMRI images, combined with appropriate surface-based processing, provide reliable and accurate measurements of fine-scale blood oxygenation level dependent (BOLD) activity patterns. Second, we show that the highly folded structure of cortex causes substantial biases on spatial resolution and data visualization. Third, we examine the well-recognized issue of venous contributions to fMRI signals. In a systematic assessment of large sections of cortex measured at a fine scale, we show that time-averaged T*-weighted EPI intensity is a simple, robust marker of venous effects. These venous effects are unevenly distributed across cortex, are more pronounced in gyri and outer cortical depths, and are, to a certain degree, in consistent locations across subjects relative to cortical folding. Furthermore, we show that these venous effects are strongly correlated with BOLD responses evoked by the experiment. We conclude that sub-millimeter fMRI can provide robust information about fine-scale BOLD activity patterns, but special care must be exercised in visualizing and interpreting these patterns, especially with regards to the confounding influence of the brain's vasculature. To help translate these methodological findings to neuroscience research, we provide practical suggestions for both high-resolution and standard-resolution fMRI studies.
ExpoQual: Evaluating measured and modeled human exposure data.
Medical data quality assessment: On the development of an automated framework for medical data curation.
Can early detection prevent venous leg ulceration?
Endovascular Recanalization of Chronic Venous Outflow Obstructions.
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text:
The squire at the frontier lost his horse,Certain bad luck is actually "a blessing in disguise."
Near China's northern borders lived a man well versed in the practices of Taoism. His horse, for no reason at all, got into the territory of the northern tribes. Everyone commiserated with him.
"Perhaps this will soon turn out to be a blessing," said his father.
After a few months, his animal came back, leading a fine horse from the north. Everyone congratulated him.
"Perhaps this will soon turn out to be a cause of misfortune," said his father.
Since he was well-off and kept good horses his son became fond of riding and eventually broke his thigh bone falling from a horse. Everyone commiserated with him.
One year later, the northern tribes started a big invasion of the border regions. All able-bodied young men took up arms and fought against the invaders, and as a result, around the border nine out of ten men died. This man's son did not join in the fighting because he was crippled and so both the boy and his father survived.
Another story conveying a moral of bless or bane happened in the state of Sung, and the old man and his son also ended up with lucky escape of death from an invasion and besiege. But that a black cow born a white calf and the subsequent sacrificing implies more mysterious and spiritual senses instand of philosophical wisdom:
A family in Sung had for three generations never swerved from the path of virtue. Without any apparent reason a black cow belonging to this family dropped a white calf, Confucius was asked, and said that it was a lucky omen, and that the calf ought to be sacrificed to the spirits, which was done accordingly.
After one year, the father of the family became blind without a reason.
The cow then produced a white calf a second time. The father sent his son to ask Confucius, who replied that it was a propitious portent, and that the animal must be immolated, which was done again.
After a year, the son lost his eye-sight, nobody knew why. Subsequently, Ch'u attacked Sung, and besieged its capital. At that time the besieged were in such a distress, that they exchanged their sons, and ate them, breaking their bones, which they used as firewood. It was but for their blindness that father and son were not called upon to mount guard on the city wall. When the enemy's army raised the siege, father and son could see again.


When you're feeling lousy, you want a quick fix for whatever's ailing you.
But despite what you may think, the best way to feel better may not be through antibiotics. These meds fight bacteria, so if those nasty bugs aren't what's making you sick, taking antibiotics won't actually do a damn thing. Or nothing good, anyway.
That's because unnecessary antibiotics can cause a host of unpleasant side effects, ranging from mild conditions like rashes or the runs, to serious problems like allergic reactions or an intestinal condition called Clostridium difficile.
And what's more, they might also be promoting the growth of antibiotic-resistant bacteria that can cause problem when you need to fight real bacterial infections down the road.
In fact, a new study from the U.K. found that 13 percent of antibiotics prescribed for upper respiratory infections fail to treat the illness, possibly because the bugs were resistant.
So before you pop that penicillin, make sure you actually need it. Keep reading for 5 common ailments that don't require antibiotics.
When swallowing burns, you probably have strep throat on your mind.
But that bacterial cause is actually quite rare in adults, accounting for only about 10 percent of sore throats. So it doesn't make sense that 60 percent of people who see their doc are prescribed antibiotics for it, as a recent Harvard study found.
Bacterial strep throat often presents with just a sore throat, fever, and swollen glands in your neck, though it might also be accompanied by pus-covered tonsils, too.
Sore throats caused by viral infection—which make up the vast majority—on the other hand, have a little bit of everything: runny nose, cough, and maybe a little muscle pain.
And that's the crux of the issue: Bacteria are single-celled microorganisms that can be killed by antibiotics. Antibiotics, on the other hand, aren't effective against viruses.
Treating a viral infection with those meds won't help you get better.
If your symptoms point to the bacterial route, you can ask your doctor about getting a rapid strep test, says Dr. Linder. In some cases, a physician can diagnose strep based on symptoms alone. More often, though, the test is necessary for certainty.
Old-school treatments work best for strep: Penicillin remains the antibiotic of choice. Newer options like azithromycin—known by the catchy nickname "Z-paks"—may not be as effective.
"Z-paks are killing a broader spectrum of bacteria, so it kills more of the good bacteria as well as the bugs that cause strep throat," says Dr. Linder.
Treat a viral sore throat like you would a cold: lots of rest, fluids, and some ibuprofen for the pain. People usually recover from the viruses that cause sore throat in about five or six days, a U.K. study found. In the meantime, limit your exposure to others so you won't get them sick, too.
A nasty, hacking cough might not be reason for antibiotics—even if you're spitting up plenty of colorful mucus, which is often the cause with acute bronchitis.
"When people cough up something green or yellow, they tend to freak out, but that's your body cleaning up the viral infection," says Dr. Linder.
"Viral infection" means antibiotics won't help. The prescription rate should be zero, but a separate study found that people with acute bronchitis were given antibiotics 71 percent of the time.
That may be because doctors are afraid of missing a case of pneumonia, which carries some similarities with bronchitis but can be bacterial.
Both can involve lots of coughing, but bronchitis will often come with a slight sore throat or runny nose, too. Pneumonia, on the other hand, often has a higher fever, shortness of breath, and chest pain in addition to the coughing.
Though your cough can linger for up to three weeks with bronchitis, you should start feeling better after Days 4 or 5. If you still feel lousy, you should make an appointment with your doctor.
He or she will listen to your lungs to make sure everything sounds okay. If things sound abnormal—or if you have a fever or high pulse rate—your doctor will probably order a chest X-ray. This can diagnose pneumonia.
If your X-ray shows pneumonia, antibiotics are the recommended treatment. But if it's just bronchitis, keep yourself comfortable with lots of rest, fluids, and a cough suppressant, especially at night, says Dr. Linder.
Think a spider bit you? It could actually be a skin abscess, a painful, pus-filled infection on your skin.
These tend to look like a pimple, boil, or pustule that develops and grows.
And they hurt, too, which is why many patients actually think they have a spider bite, says Timothy Jenkins, M.D., an assistant professor in the division of infectious diseases at the University of Colorado School of Medicine.
These infections are caused by bacteria—most commonly by staph, including MRSA in some cases—but they don't necessarily need antibiotics.
In fact, a study by Dr. Jenkins found that almost half of the abscesses in the study could be treated by drainage alone. Yet doctors prescribed antibiotics in nearly 75 percent of these cases.
"For most small abscesses or simple abscesses, simply opening up the cavity so the pus infection can drain out is adequate," he says.
Fair warning: the drainage can be painful, which is why some patients might be clamoring for pills instead. The doctor makes a small incision into the abscess and uses an instrument to break up any pockets of pus inside. Then they pack the abscess with gauze to keep it open so the infection continues to drain out.
That's enough to treat most simple abscesses, but for more complex cases, you may also need antibiotics. These include if you have a compromised immune system due to a condition, or if your abscess continues to expand or causes the surrounding skin to become red or swollen, says Dr. Jenkins.
Each year, one in seven adults experience the stuffy nose and pounding facial pain that signal nasal passage inflammation, or a sinus infection.
In most cases, the bug is due to a virus, not bacteria. However, 83 percent of sufferers are prescribed antibiotics.
If you have a run-of-the-mill sinus infection, you can treat it at home.
Try ibuprofen or acetaminophen to reduce fever and pain, a decongestant like Sudafed 12-Hour, and a nighttime cold remedy like Nyquil to help you sleep, says Dr. Linder. You can also use a nasal spray for up to five days.
There are three situations where antibiotics might be indicated, says Dr. Linder. These include severe symptoms—high fever and profound sinus pain—right from the beginning, symptoms that persist for 10 days or longer, or symptoms that continue to worsen.
In these cases, you should make an appointment with your doctor. If an antibiotic is indicated, your doc will likely prescribe Augmentin, a combination of amoxicillin and clavulanic acid, which allows the antibiotic to work more effectively.
When your tooth is throbbing, you want relief—and fast. But in many cases involving a simple toothache, antibiotics won't help at all.
You might have dental sensitivity, where you feel pain when drinking something hot or cold because your tooth's root is exposed. Or a nerve in the middle of the tooth can be become inflamed, either from clenching or grinding your teeth or because of a cavity.
Bacteria doesn't cause this inflammation, so antibiotics won't provide any relief, says Thomas Sollecito, D.M.D., chairman of the department of oral medicine at the Penn School of Dental Medicine.
Back in 2001, a study in the British Dental Journal found that 74 percent of people with a toothache who visited an emergency dental care clinic were prescribed an antibiotic. That's a problem, since the researchers said that local treatment could have relieved the pain.
This would include things like filling the cavity or sealing an exposed root, says Dr. Sollecito.
There are some cases in which your toothache will require an antibiotic. They are: when the area around your tooth is swollen; when you have pockets of pus; or you develop fever, chills, or malaise.


text:
LEMON, Leslie
Private 37412 & 4/3449 20th Bn. (Tyneside Scottish) Northumberland Fusiliers.
Died Monday 9th April 1917 (Age 22)
At Rest: Roclincourt Valley Cemetery, Pas de Calais, France
Memorial Ref.: Sp. Mem. A.2.
Leslie was born Westwood in 1895, the son of James & Sarah Lemon of New Westwood. The 1891 Census indicates that the family originated from Derby (the three eldest Lemon children having been born in Derby). The younger children were born at Codnor, Derbyshire, indicating the family also lived in Codnor at one time. There were 10 occupants of the Lemon home at the time of the census. These were: – head of household – James Lemon age 47 (occupation – Stationery Engine Driver) and his wife Sarah age 36; son Edward age 20 (occupation – Forge Worker); son Charles age 14 (occupation – General Labourer); son William aged 12; daughter Sarah age 10; son Arthur age 9; and another daughter, also named Sarah age 7 years. Leslie Lemon and his brother Percy Lemon were yet to be born. Also in residence were: – George Lemon, nephew, age 18 (occupation – Iron Puddler) and a Charles Mathew who was perhaps a boarder.
In 1906 Leslie was a scholar at Ironville & Codnor Park Church of England School. His fellow classmates included Harry Heald, George Wilmott and Joseph Barker who, like Leslie, lost their lives during World War One. His school mate George Wilmott had a narrow escape in 1905 when he fell into the nearby Codnor Park Reservoir and was saved from drowning by Leslie's brother, Percy.
Leslie became an employee of James Oakes Pipeworks, Pye Hill. An article in the Free Press of 1917 also tells us that Leslie was "an earnest and consistent Sunday School Teacher connected with St Mary's Church, Westwood and he was held in very high esteem by all who knew him." Leslie enlisted at Derby on 11th March 1916 and less than 4 months later, on the 9th July 1916 was posted to France. Less than one year later, on Monday 9th April 1917, Leslie was killed in action, aged 22 years. He was 'runner' to Captain MFL Selby, Officer Commanding 20th Northumberland Fusiliers who wrote to the Lemon family informing them of his death. In his letter to Leslie's brother, Percy Lemon, Captain Selby states the following: –
"It is with great sorrow that I have to inform you that your brother was killed in action on the 9th April last and as he acted as my runner I can assure you that he is missed very greatly by me. As I have been in the push ever since I have not had time to write before. He was beloved by all the men and was a perfect soldier. He was killed instantaneously and could not have suffered any pain. I hope you will accept my deepest sympathy and convey same to all who loved him. Trusting God will be merciful to you all and comfort you in your great loss. Yours very sincerely M.F.L. Selby Captain, O.C. 20th Northumberland Fusiliers." ( Note: As far as we are aware, Captain Selby survived).
Leslie was awarded the British War and Victory Medals.
Private Leslie Lemon is commemorated at the Roclincourt Valley Cemetery, Pas de Calais, France. The 9th April 1917 was the first day of the Battles of Arras and heavy losses were sustained. The Roclincourt Valley Cemetery was begun after the 9th April by the units which fought on that day and was used until the following August.
Leslie's Gravestone at Roclincourt Courtesy Stephen Andrews
Roclincourt Valley Cemetery Photograph Courtesy Stephen Andrews (2012)
Leslie's gravestone states "KNOWN TO BE BURIED IN THIS CEMETERY" and is, therefore, the 'Special Memorial' to Leslie – his exact burial place is unidentified within the cemetery.
Leslie is also remembered on the family grave at St Mary's Church, Westwood (as is his brother, Charles Alfred Lemon, who died on 14th February 1925, aged 47 years).
Leslie was one of two brothers who joined up. His brother Percy Lemon was promoted 'from the ranks' attaining the rank of Lieutenant. Percy was to survive the war and is listed on the Jacksdale War Memorial as having served. An H Lemon is also listed as having served but
at this stage we have no conclusive proof to indicate that he was a relative.
Northumberland Fusiliers World War One Casualties – 17,005 (Source: R. Capewell 'Discovering Military Badges').


text:
Snagging 'Fishlips' May Yield An Even Bigger Catch
Comments Off on Snagging 'Fishlips' May Yield An Even Bigger Catch
Sen. Al Franken. Photo by Lorie Shaull.
The disclosure by newscaster Leann Tweeden that she was molested and bullied by Al "Fishlips" Franken could turn out to be a watershed in our national discussion about workplace sexual abuse and harassment. It might even hook a president.
Sen. Franken, a Minnesota Democrat who gained fame as a comic on Saturday Night Live, built his political career in part by presenting himself as a dedicated ally of women. He has been a reliable supporter of his party's legislative agenda, an outspoken defender of abortion rights and a sharp-tongued critic of all things Trump.
Progressive organizations loved him, right up to the moment when Tweeden posted a now-notorious photo of Franken appearing to grab her breasts as she slept on a military fight home after a USO tour in 2006.
Tweeden described in a blog post and on the air how, at the start of that tour, Franken prepared a script that called for them to kiss, and insisted that they rehearse the kiss when nobody else was around. "He mashes his mouth up against mine, and he sticks his tongue in my mouth, and as it happens – it happens so fast – and he puts his tongue in my mouth, and his mouth is just wet and slimy – and to this day I call him 'fishlips,' because it's disgusting," she recounted on KABC in Los Angeles.
"Other than our dialogue on stage, I never had a voluntary conversation with Al Franken again," Tweeden wrote in her online post. "I avoided him as much as possible and made sure I was never alone with him again for the rest of the tour. Franken repaid me with petty insults, including drawing devil horns on at least one of the headshots I was autographing for the troops."
Then, on the way home, someone snapped a photo of the leering comic as he put his hands over Tweeden's breasts while she slept. To ensure her public humiliation, the photo was included in a souvenir CD that went to everyone on the tour. Tweeden included the photo in her post, making Franken instantly recognizable as nothing more than a bully. His expression was exactly what you would expect to see in a nasty social media post by an obnoxious middle schooler.
Franken initially responded with a brief semi-apology in which he claimed he does not remember the "rehearsal" the way Tweeden does. He later wrote a more elaborate missive that boiled down to the same thing, saying his recollection varies from hers and stating that the photo was an unfunny attempt at a joke. Not unfunny enough to keep out of the souvenir CD, however. As to the belittling of Tweeden during the rest of the tour, Franken said nothing at all.
When The New York Times and The New Yorker broke the stories about Harvey Weinstein's long history of abuse of female actors (and his alleged sexual assaults against several, which he has denied), there was initially an awkward silence from many in the entertainment industry, coupled with a rush by Democrats to distance themselves from their long association with the movie mogul.
That wall of silence has at least been breached, if not entirely crumpled, in the weeks since then. As allegations, and in many cases admissions, of past misconduct by prominent men have multiplied, the partisan "war on women" storyline that was pushed by Democrats (including Franken) is being displaced. The list of alleged harassers, coercers, gropers and rapists spans the political spectrum across the power centers of Washington, New York, Silicon Valley and Hollywood. While Democrats have been forced to reconsider their past support for Bill Clinton – already, Clinton protege Kirsten Gillibrand has said the 42nd president should have resigned over the Monica Lewinsky affair – and to contemplate an ethics investigation into Franken's conduct, the GOP (outside Alabama) was quick to abandon former Judge Roy Moore. The implications for President Trump are not good.
There will, of course, continue to be intense disagreements over issues such as abortion, workplace advancement and compensation, parental leave, and many other so-called "women's issues." Principled people, as well as charlatans and creeps, have staked out positions on both sides of these issues. If you liked the presidency of Barack Obama, you most likely did not care for the tenure of George W. Bush, and vice versa. Yet both of them had women in their inner circles, and nothing has emerged to make us question the respect and decency they showed their colleagues, inside the White House and out.
That is not the case with the current Oval Office occupant. If he survives physically and politically to the end of this term, President Trump is going to face a reckoning just as surely as will Weinstein, Franken and so many others.
It's true that Trump was elected despite the famous Access Hollywood recording, as well as multiple allegations of sexual aggression and misconduct against him. This may have only been because of the baggage carried by his opponent, however. That particular shield will not be available in 2020.
The #MeToo movement opened a lot of eyes. Most of those eyes were probably male. For this to be more than a passing internet meme, however, women need to keep speaking up, and men need to keep listening and responding when they do. That is easier when we dispense with the wedge-issue opportunism of the false legislative "war on women." Republicans and Democrats hold sharply different opinions about legislation and judicial nominees, but we should all agree that men should keep their pants on and their tongues out of other people's mouths unless invited to do otherwise, in private.
If we are prepared to credit the allegations recently raised against former Roy Moore, and if we are going to reconsider and rehabilitate the charges leveled long ago by various women against the House of Clinton, then it's hard to see how Trump's history can avoid the same reconsideration. Even if we merely revisit how badly he openly treated women like Rosie O'Donnell, Megyn Kelly and others during the 2016 campaign, leaving aside all the other charges he insists are false, the president's prospects don't look good.
Tweeden showed us that Franken's respect for women is not much more than a fish story. Perhaps by encouraging some humility among Democrats, she will also encourage Republican primary voters to pick a better specimen to enter in the presidential race three years from now.
Al Franken, Bill Clinton, Donald Trump, Harvey Weinstein, Leann Tweeden, Politics, Roy Moore, Sexual Harassment
⇐ The Perfect vs. The Passable
Melinda Kibler in U.S. News & World Report ⇒


text:
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This is an exclusive business profile of Kusumkhera Aluminium & Steel Work located in , Haldwani. From this Page, you can directly contact Kusumkhera Aluminium & Steel Work from the enquiry form provided on the right. On the left you can get the Verified Mobile Number of Kusumkhera Aluminium & Steel Work – feel free to call us to know more about our products & services. We will soon update our Catalog which you can download to get latest information about all our products & services and latest deals & offers by Kusumkhera Aluminium & Steel Work. Do check out our Job Openings section to know about all the vacancies in Kusumkhera Aluminium & Steel Work. You can also check out our Photo Gallery section to see latest photos of Kusumkhera Aluminium & Steel Work. Before leaving, do not forget to give us your review and rating if you have been a customer of Kusumkhera Aluminium & Steel Work in the past.
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Parks and Recreation has several facilities that can be rented for a minimal fee. Visit the ActiveNet registration site for online reservations or reserve in person at 306 East Live Oak.
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When optimizing against the mean loss over a distribution of predictions in the context of a regression task, then even if there is a distribution of targets the optimal prediction distribution is always a delta function at a single value. Methods of constructing generative models need to overcome this tendency. We consider a simple method of summarizing the prediction error, such that the optimal strategy corresponds to outputting a distribution of predictions with a support that matches the support of the distribution of targets --- optimizing against the minimal value of the loss given a set of samples from the prediction distribution, rather than the mean. We show that models trained against this loss learn to capture the support of the target distribution and, when combined with an auxiliary classifier-like prediction task, can be projected via rejection sampling to reproduce the full distribution of targets. The resulting method works well compared to other generative modeling approaches particularly in low dimensional spaces with highly non-trivial distributions, due to mode collapse solutions being globally suboptimal with respect to the extreme value loss. However, the method is less suited to high-dimensional spaces such as images due to the scaling of the number of samples needed in order to accurately estimate the extreme value loss when the dimension of the data manifold becomes large.
Code implementing generative models using 'extreme value loss'.
ngutten: The extreme value loss thing I've been discussing incessantly for the last four months: https://t.co/jOPs6qKayu Easy-to-train generative models for low dimensional, multimodal problems.


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When I listen to the talk of people who desire herbal remedies, I often hear such things as, "I'm at ease because when it comes to herbal remedies there is no worry about side-effects", and, "if it's herbal remedies you can be at ease even if you are pregnant".
I think that certainly there are many herbal remedies that of course are made from plants and other natural sources and because they can be taken with the same kind of feeling as food.
However keeping that in mind, herbal remedies may not suit us, as just with food, there is a chance that an allergy may develop in us depending on our body's makeup.
Also, in combination with western medicine, there are herbal medicines that must be cautioned for combination with herbal medicines, diuretics, and thyroid formulations of incompatible combinations with interferon. Even more so, when using multiple herbal remedies, if the crude drug (ingredient) are duplicated and become too much, then it will be easy for side effects to occur.
Of course, the frequency of these side effects is low, and there is no need for excessive worry. First of all, please know about the fact that even herbal medicines have side effects, and that it is very important to be able to tell us exactly about your body's condition and whether or not you are currently taking any other medicines. Additionally, it is imperative that you must not give to other people the medicines that are prescribed to yourself.


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I have found that if you love life,life will love you back.


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Q: I am a 44-year-old woman. I had my first menstrual period when I was nine years old. After the birth of my second child, I had an intrauterine contraceptive device (IUCD) inserted and it is into its ninth year (with one change at the five-year mark).
Since the beginning of this year, I have been experiencing discomfort in the form of headaches, fatigue and irritation almost every month. Quite often, I also feel hot (though not to the extent of sweating) and feel heat radiating internally.
I understand that having irregular periods is a sign of perimenopause. But I am unable to monitor the frequency and flow of my periods as I have the IUCD. If I am indeed experiencing perimenopausal symptoms, how do I relieve the discomfort, both medically and naturally?
Also, as I started menstruating early, does it mean that I will experience menopause early?
A: As you are still young, you should consult a doctor to exclude other causes for the symptoms you have. These include thyroid issues such as hyperthyroidism, in which the thyroid gland produces excessive hormones.
An overactive thyroid gland can cause symptoms such as heat intolerance and fatigue.
After an evaluation by a medical practitioner and excluding other causes, the approach to managing perimenopausal symptoms should start with lifestyle management - including regular exercise and maintaining a healthy body weight.
This is because excessive body fat can increase the body's core temperature and cause symptoms to worsen.
Maintaining good sleep hygiene and having regular sleep patterns are also important.
Performing relaxation exercises, such as yoga and taiji, has been shown to be effective in alleviating some of the symptoms.
Avoiding certain food triggers, such as caffeine and spices, may help, especially for those who are sensitive to these substances.
If lifestyle changes fail to alleviate these symptoms, please discuss the risks and benefits of hormonal therapy with your doctor.
Hormonal therapy remains the most effective way to treat hot flushes in perimenopausal women and can be used safely if there are no contraindications.
This treatment involves receiving female hormones to replace those that the body no longer makes after menopause.
Meanwhile, there are no conclusive studies to show that starting menstruation early will lead to early menopause.
Get a copy of Mind Your Body, The Straits Times or go to straitstimes.com for more stories.


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