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Employee at DFS knocked out by falling furniture
Posted on 13th March 2017 at 9:00 am.
The national furniture retailer DFS has been fined £1million and ordered to pay costs of £15,099 after one of its employees was knocked unconscious when part of an unstable load fell on him. The Health and Safety Executive's (HSE) investigation found the company did not manage the risks associated with moving heavy loads between manufacturing locations. It failed to ensure the work was supervised, despite reports of several near-misses from unsecured loads.
The employee was unloading wooden furniture frames at a DFS upholstery site on 2 July 2015 when an unsecured piece of furniture fell and struck him. The impact knocked him unconscious and he sustained serious head and neck injuries, Derby Magistrates' Court was told.
DFS pleaded guilty to breaching s 2(1) of the Health and Safety at Work Act and s 3 of the Managing Health and Safety at Work Regulation for failing to risk assess the task.
Speaking after the hearing, HSE inspector Lyn Spooner said:
"The fundamental and systemic failings identified in [DFS's] health and safety management systems is far from what would be expected from a company of their size who has the ability to deliver higher standards of safety."
A DFS spokesperson was quoted saying:
"The health and safety of our employees is extremely important to us. The employee who was injured, in July 2015, is a valued member of our team; we deeply regret the accident he suffered and we're very glad that he is back at work in his previous role.
This case has highlighted some areas where, on occasion, our procedures were not as strong as they should have been. Over the last 18 months we've invested heavily in health and safety including reviewing our health and safety procedures and retraining all our employees.
We've been working in complete cooperation with the Health and Safety Executive as they conducted their investigation and we're pleased that they, and the district judge, recognise the improvements we've made. We fully accept the outcome of this case and we will continue to take all necessary steps to safeguard our employees.
We have a strong manufacturing safety record and this is the first time we've had a prosecution of this nature."
ISO 45001 back on track
London Bus Company fined after fatal ladder fall


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VLC Media Player 2.0 New Features – Everything You Need To Know
Satish Kumar February 21, 2012 Software 2 Comments
VLC Player 2.0 is the latest version released by VideoLAN Organization. The official release of VLC 2.0 Final was made on 20th Feb 2012. This open source video player is very much capable of handling most media formats. VLC 2.0 is the first landmark update since its first official release in June 2009. You can find a lot of changes in the VLC 2.0 version. Especially the look and feel in Mac platform is really impressive. It can support the Blu-ray playback being overshadowed with amazing interface. VLC 2.0 on the Mac platform replaces the simplistic interface and resembles iTunes old versions. You can observe a lot of other additional features in the Mac version of VLC 2.0.
The stable Mac version of VLC 2.0 can play more audio and video files. You can find a two-paned window which contains a list of common locations for media files. You can see this in the left hand pane of VLC 2.0. And it also gives you an invitation to drag and drop files into the window for playback on right side of the player. Now if you come to the windows version, VLC 2.0 has got great support towards it too. The one major upgrade you can find in windows version is, you can find a dedicated 64 bit build of VLC. Apart from this small upgrade, you can find many more updates and features like never before. Check out more of the VLC Media Player 2.0 new features below!
VLC Media Player 2.0 New Features:
The most important features you will find in VLC 2.0 :
1) Simple, Fast and Powerful.
2) Plays almost all everything (Files, Discs, Webcams, Streams)
3) Supports all types of codecs like MPEG-2, H.264, DivX, MPEG-4, WMV and etc. without any packs needed.
4) Completely free from spyware, ads or user tracking.
5) Works on most platforms like Windows, Linux, Mac OS X, Unix and Other.
6) Media Converter and Streamer.
The new VLC 2.0 can support a lot of Audio and Video formats, Check out the list of formats it support in audio and video.
VLC 2.0 : Audio Formats
MPEG Layer 1/2, MP3 – MPEG Layer 3, AAC – MPEG-4 part3, Vorbis, AC3 – A/52 (Dolby Digital), E-AC-3 (Dolby Digital Plus), MLP / TrueHD">3, DTS, WMA 1/2, WMA 3 1, FLAC, ALAC, Speex, Musepack / MPC, ATRAC 3, Wavpack, Mod (.s3m, .it, .mod), TrueAudio (TTA), APE (Monkey Audio), Real Audio 2, Alaw/µlaw, AMR (3GPP), MIDI 3, LPCM, ADPCM, QCELP, DV Audio, QDM2/QDMC (QuickTime), MACE
VLC 2.0 : Video Formats
MPEG-1/2, DIVX (1/2/3) , MPEG-4 ASP, DivX 4/5/6, XviD, 3ivX D4, H.261, H.263 / H.263i, H.264 / MPEG-4 AVC, Cinepak, Theora, Dirac / VC-2, MJPEG (A/B), WMV 1/2, WMV 3 / WMV-9 / VC-1 1, Sorenson 1/3,(Quicktime), DV (Digital Video), On2 VP3/VP5/VP6, Indeo Video v3 (IV32), Indeo Video 4/5 (IV41, IV51), Real Video 1/2, Real Video 3/4
Apart from these above formats, VLC 2.0 can support a lot of additional Input features, Subtitle/Tag formats, A/V outputs, A/V filters, Interfaces and other additional formats, In one simple world, VLC 2.0 is a universal player which can play anything. You can always check the list of features from the official site. Click here to check all the available features of VLC 2.0.
If you take a look at the new interface, you can find many changes in the look and feel of VLC player. The amazing silver look of VLC 2.0 is really pleasant and professional.
As you can see the above screenshot with different panels and different options, each one of them has got its own way of functioning. Take a look at the left and right panels in the player, which allow you to add multiple files at a time. As told above, the files can be added by just dragging them and dropping into the player. You can observe that almost everything is changed in the new VLC 2.0 Player. You can also download a lot of new VLC 2.0 skins from the official site. Click here to take a look at the latest VLC 2.0 Skins.
And if we talk about the stability, VLC 2.0 is more stable and will crash very less if you compare it with the previous versions. The new interface is really light, you can surely make out the difference between the older versions and the new stable version of VLC 2.0. If you want to download this amazing player, you can download from the below link directly. Let us know what you think of the VLC Media Player 2.0 New Features and if you have any queries, you know what to do!
The 4 Best Open Source ERP and CRM Software Available Online
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Sukul Sharma February 24, 2012
I have just downloaded the VLC 2.0 and it looks pretty awesome!!
Ahsan March 1, 2012
Way cool! Some very valid points! I appreciate you penning this article plus the rest of the website is extremely good.

redpajama_set_name: RedPajamaCommonCrawl


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Tag: saints row the third
I think I may be done with Battlefield 3
It's the game that many people upgraded their PCs for but Battlefield 3 isn't the darling that Bad Company 2 was, at least for me and the guys I play with.
Expectations were high for this game. The trailers promised massively destructible environments and so much more but the final game did not live up to the hype. I guess it couldn't really, could it? We were expecting a game that would be the second coming of Christ in gaming terms, weren't we? If Jesus played any game, he'd choose Battlefield 3. Now I think he'd probably pick up Skyrim and go adventuring by himself wielding swords and magic fireballs to defeat his foes!
I played Bad Company 2 since early 2010. It wasn't always a rosy relationship (remember C4 on the MCOM stations?) but it took over a year for me to become as apathetic towards it as I am about Battlefield 3 now. The latter game only came out in September! Veterans of PC gaming gush about Battlefield 2. Do you feel the same about Battlefield 3?
I've let my Xbox Live subscription lapse, and I'll probably trade in the Xbox version of BF3 for store credit. I'll still jump into a game (on PS3) if anyone wants but the heady excitement of the early days has already worn off.
There is a ray of light, for me at least. I've rediscovered single player gaming. Skyrim kept me distracted for a few hours over the Christmas holidays but it's Saints Row the Third that is my favourite game of 2011. There is so much silly and creative fun and idiocy in that game that it's a pleasure to play. It's even better coop!
Closely following that game, I have to admit the many hours I put into Darwinia were a pleasure too. Such a simple game but the story gripped me – help a developer rid his computer generated world of viruses! Loved that.
Catch you all in Killing Floor, L4D2, or most likely anything but Battlefield 3…
Now playing: Saints Row the Third
It's wacky, it's crazy and it's insane. This is part of the intro level. Absolutely love it!
I also got Skyrim and various other games in the Steam sale but SRtT has to be my favourite recently purchased game.


text:
.DEFAULT: clean build
.PHONY: clean distclean

css = ./node_modules/.bin/lessc $< $@ && ./node_modules/.bin/autoprefixer $@

build: \
	setup \
	toggles.js \
	toggles.min.js \
	css \

clean:
	rm -rf toggles.js toggles.min.js css

lib:
	mkdir lib

css/themes:
	mkdir -p css/themes

distclean: clean
	rm -f lib/compiler.jar lib/jquery-1.8-extern.js

css/toggles.css: less/toggles.less

setup: \
	lib \
	lib/jquery-1.8-extern.js \
	lib/compiler.jar \
	css/themes \
	node_modules/.bin/lessc \
	node_modules/.bin/autoprefixer \

lib/jquery-1.8-extern.js:
	wget -O $@ http://closure-compiler.googlecode.com/svn/trunk/contrib/externs/jquery-1.8.js

lib/compiler.jar:
	wget -O- http://dl.google.com/closure-compiler/compiler-latest.tar.gz | tar -xz -C lib compiler.jar

node_modules/.bin/lessc:
	npm install less

node_modules/.bin/autoprefixer:
	npm install autoprefixer

toggles.js: js/Toggles.js js/wrap.js
	sed -e "/<<Toggles>>/r js/Toggles.js" -e "/<<Toggles>>/d" js/wrap.js > toggles.js

toggles.min.js: toggles.js
	java -jar lib/compiler.jar --compilation_level ADVANCED_OPTIMIZATIONS --externs lib/jquery-1.8-extern.js < $< > $@

css: \
	css/toggles.css \
	css/themes/toggles-dark.css \
	css/themes/toggles-iphone.css \
	css/themes/toggles-light.css \
	css/themes/toggles-modern.css \
	css/themes/toggles-soft.css \
	css/themes/toggles-all.css \
	css/toggles-full.css \

css/toggles.css: less/toggles.less
	$(call css)

css/toggles-full.css: css/toggles.css css/themes/toggles-all.css
	cat $^ > $@

css/themes/toggles-all.css: css/themes/toggles-dark.css css/themes/toggles-iphone.css css/themes/toggles-light.css css/themes/toggles-modern.css css/themes/toggles-soft.css
	cat $^ > $@

css/themes/toggles-dark.css: less/themes/toggles-dark.less
	$(call css)

css/themes/toggles-iphone.css: less/themes/toggles-iphone.less
	$(call css)

css/themes/toggles-light.css: less/themes/toggles-light.less
	$(call css)

css/themes/toggles-modern.css: less/themes/toggles-modern.less
	$(call css)

css/themes/toggles-soft.css: less/themes/toggles-soft.less
	$(call css)

redpajama_set_name: RedPajamaGithub


MacLachlan, P., & DePaola, T. (2016). The moon's almost here (First edition.). New York: Margaret K. McElderry Books.
MacLachlan, Patricia,, and Tomie DePaola. The Moon's Almost Here. First edition. New York: Margaret K. McElderry Books, 2016.


Each of the alumni below were a part of Cheerleading while they attended Condon . Register if you would like to be listed below.
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I'd love to hear from you! If you have any questions about availability of original works or would like more information about the custom art process, please leave your contact info below. If you'd like to be added to my email list please mention that in the comment section. I won't add your name unless you specifically request it. And, of course, I never share contact info with anyone!


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Lost in Space: Outsiderness and the Art of Dave Lane
Installation view of Out in Space at the Richard L. Nelson Gallery, University of California at Davis. Photo by Robin Bernhard
This essay originally appeared in the catalogue for Out in Space: Sculptures, Drawings, Paintings by Dave Lane, at the Richard L. Nelson Gallery at the University of California at Davis through March 8. Curated by gallery director Renny Pritikin, the exhibition fills the Nelson with dozens of Lane's gigantic steel sculptures, fabricated out of discarded farm equipment and industrial scrap, and lines the walls with his word-filled drawings. For more about the show, including additional catalogue essays by Pritikin and Lane himself, go to http://nelson.ucdavis.edu.
Years ago, when I first started writing about outsider art, I mentioned the term to someone who didn't happen to be an art world insider. She looked puzzled and asked, "Outside art—you mean art that's shown outdoors?"
By that definition, Dave Lane is indisputably an outsider artist. Much of his work originates out of doors, in his backyard studio, and many pieces are too big to be shown comfortably anywhere else. Moreover, his creations explore the vast, human-dwarfing world out beyond the buildings and banalities we erect to protect ourselves from what's always looming over us—the immensity of time, the endlessness of space, the great outdoors on a literally cosmic scale.
Lane wants to show us the ultimate solace he has found out there where most of us see only terrifying desolation, and warn us of the desolation and terror he sees lurking where most of us look for comfort—family, home, the insides of our own heads, the cozy little worlds we draw tightly around ourselves to keep what we can't comprehend at bay.
This evangelical aspect of Lane's work, and the obsessions that drive him to create, point to the reasons he has been likened to an outsider artist. True, Lane himself falls outside the outsider universe by almost every definition. Yet his art and its intentions evoke some of the most moving and unsettling qualities of the outsider idea.
Of course outsider art really doesn't refer to art out in the open. But what exactly it does mean has long been under dispute, even among specialists in the field. The term was launched in the early 1970s as the English-language equivalent of art brut, Jean Dubuffet's coinage for the work of the institutionalized insane and the deeply eccentric. People have been arguing ever since about how or whether to use it. Dubuffet's own definition of art brut was very personal and full of loopholes, and attempts to transpose his idea to the American context and apply it to art by everyone from rural Southern African-Americans to the developmentally disabled to prison inmates quickly ran into a minefield of intellectual, marketing, and political-correctness problems.
Some have tried to replace outsider with more neutral terms, such as self-taught or vernacular. Yet even many indisputably establishment artists are largely self-taught and use vernacular sources and themes, and anyway these antiseptic labels deliberately ignore the deep strangeness that is part of the power of such outsider masterpieces as Henry Darger's hallucinatory scenes of charging soldiers battling naked children, Adolf Wölfli's ecstatically dense autobiographical song-maps, and Martin Ramirez's throbbing vaqueros and madonnas.
The most useful definition of outsider is the one pointed to by the critic Arthur Danto: "art not of the art world." Just about all artists feel compelled to make art, but outsiders create to grapple with a different set of problems. Most art responds—brilliantly or incompetently, sophisticatedly or crudely—to our culture's dominant art-historical narrative, whether as a reflection of the story, an effort to move it forward, or a reaction against it. Outsider work can be recognized by its lack of engagement with that narrative, by its more personal, more obsessive focus, by the way art conventions are shoved aside in the artist's fanatical effort to realize a compelling vision that has little to do with art per se. As a result, outsider works' intention, look, and spirit stand well outside what we're likely to find in most galleries, art schools, or museums.
For those who define outsider artists via their biographies, rather than their work, Dave Lane emphatically does not qualify. He's a college graduate who lives in a comfortable house and has held down a demanding job for more than a quarter century. He has studied art in depth, in both academic and informal settings, and is well versed in the practice and thinking of other contemporary artists. This is a portrait of an art insider, not the unhinged recluse the words outsider artist typically connote.
Lane's art, however, thrums with otherness. His giant steel constructions look like nothing but themselves, with their ominous rollers and sharp prongs, their artful near-symmetry and neo-Victorian furbelows, their ponderous lightness, their air of mysterious but urgent purpose. It's all too clear that aesthetics are not the primary motivation for his text-filled thought-maps, dense tangles of mentation-made-visible, records of ideas tying themselves into fantastical crochet.
The point is not merely that Lane's work is highly original, but that its originality flows from Lane's burning need to trumpet a message he can find no other way of conveying. Perhaps calling Lane a visionary artist—yet another term sometimes treated as a synonym for outsider—is the best way to describe his undertaking.
Like outsider master Howard Finster, who saw his art as a vehicle for spreading visions of God's word, Lane is a proselytizer, albeit one whose message is considerably less familiar. His works, large and small, all have a primarily heuristic function: they seek to articulate what Lane's visions have revealed to him about the nature of the mind and the world.
Lane grew up in rural California, east of Modesto, and spent much of his time on his family's ranch outside of Tuolumne. As a child he was an avid model builder, making every model kit he could get his hands on. It was also in childhood that he first sought to manage troubling dreams by recreating them with paper, pen, and cardboard. When he was about ten years old he dreamt about giant bird heads that were also locomotive-like mechanisms. Later he tried to recreate these "bird machines" with old boxes and a toy wagon, to the bemusement of his neighbors. This was perhaps his first experience with the difficulty of explaining what his creations were about.
He attended college first in Modesto and then at Cal State Fresno. Putting aside his youthful desire to be a writer, he majored in engineering in the interest of future employability. He maintained his model-making hobby, abandoning commercially produced kits for "scratch building" of model boats. When he again began having frightening dreams, he sought relief from the anxiety they provoked by drawing them on paper and sculpting them in bronze.
After graduating he moved to Sacramento and was hired as a map maker by a state agency for which he has worked ever since. But he was plagued by visions, and the "bird machines" and other dreams of his childhood forcefully came back to him. He redoubled his efforts to make models of what he'd seen. His earlier small bronzes led to increasingly ambitious pieces in wood and then steel. Through Sacramento State's Open University extension program, Lane learned welding and other techniques, then refined and elaborated them through his own intense practice, building ever larger, more technically challenging pieces.
He also moved far beyond simply recreating his dreams, instead seeking to understand and elaborate them in scientific, artistic, and philosophical contexts, letting them lead him into a never-ending exploration of the process of exploration. He has seized on metaphors of outer space—of interplanetary travel, of aliens who create and destroy planets, of intergalactic civilizations that sow stars like wheat—as a way of investigating our place in the world, the nature of time, and the purpose of art. Casting himself as a kind of mad scientist, he tinkers with a magical device that is his own brain, observing its limits, experimenting with ever more complicated art-machines that push consciousness in previously unimagined directions.
He began entering his sculptures in the California State Fair's art show in 1996, and has appeared there every year since. Many thousands more people visit the state fair, he has pointed out, than ever enter a typical gallery. Although his sculptures have repeatedly won recognition at the fair, including two Best of Show awards, he has never sold his work and has rarely exhibited elsewhere. He estimates that his large sculptures cost him an average of $8,000 apiece to make.
In his thought-maps and in the texts that are a feature of many of his other works, in his statements about individual pieces, in his voluminous writings, and in conversation, Lane overflows with the desire to tell "what all these things are about," "these things" being not only his work but his life, his ideas, perhaps the whole world as it exists for him. He explains one analogy with another, follows one digression breathlessly into the next, nests one metaphor inside another like Russian dolls that range from infinitely small to big enough to contain the whole universe. For him it is not enough that all this has led to the work he has made; he passionately wants the rest of us to see, in the steel colossi and paper and paint before us, the full measure of the "all this" from which his art arises. He knows this is impossible, but he cannot bear to give up. He is endlessly frustrated by this and perhaps thereby endlessly inspired.
At the same time, Lane's urge to communicate struggles with an equally strong urge to conceal. His elegant Keys pieces are proclaimed to embody a secret that the artist will neither write nor speak about. His Family Secrets series include paintings whose content is deliberately obscured and creatures with multiple eyes that are unwilling to articulate what they see. Even when Lane tries to communicate what he's up to, his impassioned explanations resist clarity at every turn; pursuing his meaning is like chasing a fox that keeps disappearing into thickets of story and digression. His thought-maps lay bare what's on his mind but in tiny writing that curves around the page and doubles back on itself; to decipher them a reader has to be nearly as obsessed as the artist himself.
This primal tension between revelation and secrecy is one reason that, despite Lane's Christian faith and stoic acceptance of humankind's humble place in the universe, his work radiates a profound anxiety about loss. In everything from his use of rescued farm equipment and discarded industrial steel to his preoccupation with the recycling of planets, Lane expresses a yearning to recapture what time takes away, to preserve and reuse as a way of pushing back oblivion. He seeks to preserve his visions, too, in his art and his archives: amid all the collections that crowd his house—of globes, antique machine parts, art books—perhaps the biggest collection of all is his years-long, day-to-day record of his own thoughts and activities, entombed in dozens of thick white binders.
He is haunted by the prospect of nonexistence—the Earth's, his own. The more he diligently populates his world with ever bigger and more elaborate creations, the more painful is his recognition that in time both he and they must inevitably disappear. His maps and his family genealogies of planets seek to impose order on disorderly thoughts and feelings, but the ordering system itself keeps elaborating into incoherence. His towering, rusting space machines devour worlds as well as create them; they're as terrifying as they are beautiful. His ranks of giant keys proclaim the impossibility of unlocking the shackles that bind our hearts.
There is so much Lane wants to tell us, so much he needs to show us, but in the end all we are left with are the gorgeous, heartbroken, angry, jubilant things he has made. That is both a tragedy and a triumph. The tragedy lies in the work's qualities of outsiderness—the urgency of its message, the impossibility of its mission. The triumph is the work itself, whose richness of potential meaning—formal, emotional, scientific, religious, psychological, political, philosophical—far exceeds even the artist's maddest ambitions.
Tessa DeCarlo
Tessa DeCarlo claims to have a few illusions remaining.
Aubrey Beardsley, 150 Years Young
The exhibition title, Aubrey Beardsley, 150 Years Young, refers to Beardsley's (1872–1898) birth 150 years ago, and the freshness of his work today. He was a consumptive who died at the tragically early age of twenty-five, and here we see the scope of his early genius.
Kate Beaton's Ducks: Two Years in the Oil Sands
By Wyatt Sarafin
A comics memoir, workplace drama, and, most fundamentally, a migration and generation story that's specific to the Canadian provinces. Dilating and expanding moments of time, it subtly encompasses the quiet and unassuming tragedies that mark our present moment.
FEB 2022 | ArtSeen
The recent exhibition, Van Eyck to Mondrian: 300 Years of Collecting in Dresden, follows in the spirit of this change, although it is drawn from the brilliant depositories of the Kupferstich-Kabinett in Dresden. These collections are largely focused on drawings produced during the Northern Renaissance and Baroque period, although they also include more recent works.
A Few Paper Clips and A Couple Million Years
By David Brooks
Feeding on caterpillars, beetles, spiders, and spider eggs, the blackpoll warbler will double its body weight to fly 20,000 kilometers from its summer habitat of the Canadian boreal forests nonstop overwater to winter in the Amazon. Challenging our imaginations, this twelve-grams-of-feathers has the longest overwater flight known of any songbird.
Looking For a Place to Hang
By Marie Carter
Nonfiction: Art on the Wall Inspires Duo
"When We Were Kings" Pro-Boxing Back in the Hood
By Karl Greenberg
Justice Center a Success, But Budget Cuts Loom
By Kieran K. Meadows
NYC: A Nice Place to Be Unemployed?
By Richard Wells
Crisis? What Crisis? Singing the Gospel at Crapola's End
By Christopher Ketcham
Wearing Me: A Tale of T-Shirts
By Rebecca Armstrong
Experimental Geography: From Cultural Production to the Production of Space
By Trevor Paglen
Remembering Huey Long
By Christian Roselund
Lux Interior (RIP)
Tales from the Other Side, Berger's From A to X: A Story in Letters
By Nicholas Jahr
Picking Up the Pieces, Sanger's The Inheritance: The World Obama Confronts and the Challenges to American Power
By Tom Bouman
Inside Detroit , Bergmann's Getting Ghost
By James Arnett
A Different Sort of Romeo, Sandweiss's Passing Strange: A Gilded Age Tale of Love and Deception Across the Color Line
By Nicholas DeRenzo
A Rather Bestial Fellow, Bailey's Cheever: A Life
By Ian Crouch
Robert Mangold with John Yau
Lisa Yuskavage with Phong Bui
Joe Amrhein with Phong Bui
Being Vincent van Gogh
John Newman
Chris Martin Works on Paper
Melissa Meyer New Works
Philip Guston 1954-1958
Jonathan Torgovnik: Intended Consequences: Rwandan Children Born of Rape
Daria Martin: Minotaur
Pierre Bonnard & Peter Doig
Today's Special: Saucy Curatorship and Tofu Art
Susan Bee: Eye of the Storm
Mike Womack: High Grade Empty
The Art World on Facebook: A Primer
Brooklyn Dispatches
The Third Mind—American Artists Contemplate Asia, 1860 – 1989
SHE: Images of Women by Wallace Berman & Richard Prince
Stephan Pascher: Who Got the Chickens
By Liz Wing
Grace Rim: YES Love, YES Life
Matta: Five Decades Of Painting
The Last Breath of Piero Manzoni
Keren Cytter
: Les Ruissellements Du Diable
DisEchoNance
By Warren Fry
FICTION: Who Is She?
By J.W. McCormack
FICTION/DRAMA: Triple the Tragic Fantastic
By Win Clevenger
NONFICTION: A Natural Inclination
By Brian Sholis
NONFICTION: Craziest Guys on the Lower East Side
NONFICTION: Skywriting
FICTION: Bodies In Motion
By Joseph Salvatore
NONFICTION: Who Is the Foulest of Them All
By Clinton Krute
By Sharon Mesmer, Dan Fall, and Polly Rosenwaike
DIY Parties
Voice(s) of America Robert Ashley at La MaMa
By Fred Cisterna
Tired Soldiers of the Modern Age
By Jed Lipinski
Kim Kashkashian with Alessandro Cassin
"Flourishes of Things You Love" Beirut's Zach Condon
By Kate Crane
Permission to Dance The Luminescent Orchestrii's Sxip Shirey
Jill Sigman's ZsaZsaLand Keeps the Party Going
Savion Glover, a Rhythmic Musician
By Emily Macel
Reviving the Grande Dame
Orfeo ed Euridice at the Metropolitan Opera
zoe/juniper at Dance Theater Workshop
Quality Over Quantity: Dance in Immediate Medium's Chuck.Chuck.Chuck.
Got My Vans On But They Look Like Sneakers
Takashi Miike takes New York
Japanese Cult Cinema and Abjection
By Evan Walter
A Night at the (Virtual) Opera
On Golden Pond, With a Psycho
I Hate Mathematics and Racists
Bob Jude Ferrante's New Theory of Vision
By Susan Bernfield
Venice Saved: A Seminar
By Gary Winter
Take the Train
By Aurin Squire
By Lewis Warsh
The Sweethearts
By Mario Benedetti
An Excerpt from Jacques Roubaud's forthcoming novel, The Loop
RERUNS REZOOMED a serial novel
Ginger, A Novelized Memoir in Progress— Comments and Other Confusing Advice From the Editor
By Guillermo Castro
Life Sentences
By Elizabeth Fodaski
Double or Nothing
By Ron Singer


text:
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About six months ago I penned my first review of a tape from Toronto-based UltraAnalogue Recordings, Shostakovich Cello Sonata & Elgar's Salut d'Amour. To say that I enjoyed myself would be an understatement (have I mentioned how much I love my job?) and so it was only a matter of time before I went back for more. The Shostakovich was a recording of cello and piano, and here we have a selection of pieces for violin and piano.
As with all of UltraAnalogue's recordings, this one was made live in proprietor Ed Pong's own concert hall (which also doubles up as his swimming pool!). For my previous review I chatted at length with Ed about his recording process and if you missed that piece or fancy a refresher, check out Putting the 'ultra' into analogue: introducing Canada-based UltraAnalogue Recordings.
Pong's recording process is one of extreme simplicity: just two microphones are plugged into a stunningly beautiful bespoke microphone preamp, which in turn connects up to a bespoke outboard recording amplifier on a Studer A80. The resulting master tape is then copied to create a 'running master', using a second A80 which is also equipped with bespoke recording and playback amplifiers. The original master is then stored for safekeeping and all tapes sold to customers are made on a one-to-one basis from the 'running master', again using the second customized A80.
A word on those 'bespoke' amplifiers (microphone preamp, tape recorder, tape reproduction): they are all designed by valve and tape doyen Tony Ma, using classic Western Electric valves. Think pure silver wiring, no capacitors, transformers also wound from pure silver wire – essentially a set-up that is about the purest I know of. If there's one thing I'm getting to know about Ed Pong, it's that he's not a man to compromise (except that his home concert hall doubles as a swimming pool of course – so perhaps he occasionally compromises on interior separates!).
The duo of musicians on this recording are Tatsuki Narita (violin) and Yun-Yang Lee (piano).
Narita was born in Japan in 1992 and began violin studies at the age of three. In 2006 (at age 14) he won first prize in the 60th Student Music Concours in Japan, and went on to collect several more awards that year – a habit that he has continued to this day, regularly winning top awards both in his native Japan and on the international stage. As if that wasn't impressive enough, let's add one more detail: Narita plays a sublime 1738 Guarneri del Gesu violin.
Born in Taiwan, Yun-Yang Lee began playing piano at age six. At 17 he became the youngest ever person to graduate with a major in piano from the Conservatoire de Paris, winning with a unanimous vote. Lee is another winner of many competitions, both at home and abroad.
The recording comprises five pieces, which collectively showcase the musicians, the instruments and the recording itself.
It could be said, however, and with absolutely no disrespect to Yun-Yang Lee, that this tape is primarily a celebration of the violin. While the repertoire is carefully and sensitively chosen to showcase both performers, there's little doubt that the real majesty on show here is the violin (I have my thoughts about why this might be the case – more rambling on which later).
First up is Camille Saint-Saëns' popular Danse Macabre. Initially conceived as a song, Saint-Saëns later reworked the piece as a tone poem, replacing the vocal with a solo violin. A bit of research reveals that it was also originally written for violin and (small) orchestra, but I think it's ideal for this duo and I never felt I was missing anything orchestra-wise. That's the beauty of this tape: it's so well considered and arranged. The two musicians play perfectly together. They perform a dance, as the piece suggests, interweaving together so fluidly.
Narita's violin is without doubt the standout focus: the violin part in the piece (supposedly played by the devil) is played with a madness, mania, despair. It's heart-wrenchingly aching. It's a superb opener to the tape. You can't ignore this music – it's short (around 8 minutes) yet attention-grabbing, arresting and challenging. Beautiful yet desperate. It may well tear your heart and soul open, make you bleed, but you'll be glad of the pain. Finally, I know what people mean when they speak of 'good pain'.
Following the Saint-Saëns is the first of two pieces by Spanish composer Pablo de Sarasate, perhaps his most famous piece, Zigeunerweisen, Op. 20, Gypsy Airs. Unsurprisingly this piece has a distinctly Spanish flavour to it, and a gypsy air at that. For some reason it reminds me of watching old black and white, silent movies. The musicians set such a vivid scene and paint an almost cinematographic image in my listening room. The clarity of the soundstage is crystal, and the transparency truly see-through. Again, the piece is magnificent showpiece for the violin and Narita does not disappoint. The wonderfully rare and famous Guarneri del Gesu breathes music into my room, I can feel its age, the wood, the bow, the strings, the finger-board even as Narita bashes, plucks and taps at the strings. Like the Danse Macabre, Zigeunerweisen is a highly entertaining, almost pyrotechnic journey. Just two tracks in and I'm fully charged, like a battery at 100%.
The third piece is by Ernest Bloch. Called Nigun, (Improvisation), it's the central portion of his three-part Baal Shem or Three Pictures from Hassidic Life, a composition about an ancient mystical Jewish movement in the 18th century. It continues perfectly where the first two pieces left off, brimming with passion, despair, wretchedness, turbulent emotion. Unlike the previous two pieces this one was written specifically for piano and solo violin (rather than for an orchestra), so here it's being performed in its natural state. Lee's piano lays the perfect foundation for Narita's violin. Almost like a canvas, Lee presents the context, the foundation, the background, while Narita paints upon it with vivid strokes and with passion. Extreme passion.
In the fourth piece we return Sarasate, but now there's a change of mood. Introduction and Tarantella Op. 43 is very dancey, so connects well with the first two dance-based pieces, but this one is not fraught or turbulent. Also written specifically for violin and piano, the piece perfectly showcases the exuberant yet sensitive players and begins to cosset the listener, ready for the finale.
The fifth and final piece is the Méditation from Jules Massenet's opera Thaïs. Everything that comes before this piece is exciting, like being being at a party and it's your party and everyone's having the time of their lives. And then this piece comes in and relaxes and settles the soul. Like it's the end of the evening and all your friends are hugging you goodbye and thanking you for a wonderful time, and you sit in your favourite armchair with one final drink feeling the glow of good times and the anticipation of sinking into your bed for a sound night's sleep. It soothes, it's beautiful, it's masterfully performed and a wonderful way to close this tape.
Narita and Lee are clearly very accomplished musicians, and Narita's violin, the sensationally rare 1738 Guarneri del Gesu (considerably more rare than a Stradivarius), really is something special. But credit for the incredible sound of this tape must also go to the recording process, and particularly to UltraAnalogue's Ed Pong.
Pong has a deep love of musical instruments and, as I touched on in that abovementioned previous ramble, he is even crafting a violin himself. Pong sent me some video footage of his own violin getting a road test by the supremely talented Xiang Yu. Yu was making a comparison between Pong's violin and a Stradivarius. Now, I've seen posts in various places online suggesting that an 'expert panel' can't tell a modern violin from a Stradivarius. Twaddle! Watching Pong's video, which was recorded on an iPhone, it's clearly obvious to me which is the Stradivarius (which isn't to put down Ed Pong's instrument – it sounds excellent, but a Stradivarius is a Stradivarius and you can hear the depth and colour of the old instrument). In that same footage, Yu then picks up a selection of bows, and you know what? You can clearly hear the differences between the bows. So, to anyone who claims they can't hear the difference between a Stradivarius and a modern violin, I'd politely suggest they avoid investing too much money in their audio system as it would be wasted on them! Anyway, my point in all of this is that Ed Pong has a deeper-then-usual appreciation of how a violin should sound. He comes at it not just as a recording engineer, but also a luthier, and I think that makes all the difference.
I'm going to head off on a bit of a 'by the way' tangent here (as ramblers tend to). If you read my recent review of Lyn Stanley's Moonlight Sessions then you may recall that I was able to compare two versions of that recording, one with CCIR equalization and the other with NAB. In that case, the CCIR recording sounded truly excellent and was particularly strong on clarity and detail. But then the NAB version totally blew my socks off, being less startlingly clear and less overtly detailed, but with a flesh-and-blood natural realness that left me reeling (no pun intended).
So when I happened to mentioned this to Ed Pong, he advised that he records his original masters in NAB, because he feels that the character of violins sounds more natural when recorded in NAB, with a fuller, warmer mid-bass and sweeter highs. If the customer can play NAB, then Ed would suggest opting for this, to be closer to the original master. But, since not every R2R deck can, he offers his copies to customers in both/either EQ format. Time for another direct comparison then… I got one of each.
Again, my experience was similar that that with the Lyn Stanley recording. I found the CCIR version brighter. CCIR boosts the treble more on a recording and therefore rolls it off more on replay. That's why if you play a CCIR tape on a NAB machine it will sound bright, because the treble boost is being insufficiently attenuated on replay. In this case, there are a number of other factors which I imagine have a bearing. First, Ed Pong records at quite a high recording level (fluxivity) of 396nWb/m (I'm in the process of drafting an article on that very subject, so if you're not 100% sure about this whole area, watch this space!). And second, the sound of a violin can push the boundaries at the upper end of the frequency range. So here, when the violin and piano are played fortissimo (loud), they are really 'in your face' and there are moments, for me, where they almost tend towards a bit of glare and harshness. (I say 'for me' because I'm aware of my own sonic tastes and preferences, yet fully appreciate that they are mine and that those of others may differ).
But when I switch over to the NAB version, these peaks don't push my sonic boundaries at all. I'm in my happy place. The recording sounds sublime and so very, utterly, natural. On the one hand there's still that exciting edge-of-the-seatness and yet at the same time there's a gentle, comfortable feeling of stunningly natural tonal colour. That sense of occasionally reaching a little too close to a sonic boundary that I had with the CCIR version is gone, and so when Narita makes that violin soar as he does in so many places on this tape, it's like listening to angels. Truly, it's heavenly. I genuinely don't think I've heard a more 'violiny' violin recording ever (I realize nobody's likely to quote me on that, since it's not the most eloquent thing you'll ever read in a review, but hey, the way it is for me, is the way it is!). So now I know what a 300-year old Guarneri del Gesu sounds like in my living room. This is a good thing.
First, I can't recall ever hearing a more realistic recording of violin and piano anywhere. And to hear such a magnificent recording of such prestigious and hallowed instruments (that 300-year old Guarneri del Gesu) is an honour and a privilege. I'll listen to this tape over and over again.
Second, I got to re-test my earlier impressions about the difference between NAB and CCIR equalization. To be honest I was once again surprised at the degree of that difference, so much so that I am now sold. I'm 100% a NAB man. (At least for now, until/unless proved otherwise!).
And third, this tape is about what makes me love music, love my work, love life so much! It's all about passion. Not a 'life is great and everything's coming up roses' kind of passion. No, this tape is all about a turbulent soul. One that lives on the edge, pushes to the limit and strives to live life to the maximum, experiencing the most it can. By the time the tape ends you'll be hard pushed to accept that all you've done is spent a mere 30 minutes with your hi-fi system. You'll have been on a journey so emotive, so involved, so full of spirit, and feel so exhilarated and exhausted in equal measure, you'll swear you've been bounced between heaven and hell for half a lifetime. In a good way.


text:
Brockhaus ist eine international agierende, mittelständische Unternehmensgruppe mit Stammsitz in Deutschland. Die der Gruppe zugehörigen Gesellschaften befinden sich in der derzeit fünften und sechsten Generation zu 100 % in Familienbesitz. Die Unternehmensgruppe ist Inhaber der Marke Brockhaus für industrielle Güter und Dienstleistungen. Mit der gleichnamigen Enzyklopädie Brockhaus besteht eine Abgrenzungsvereinbarung unter Berücksichtigung der unterschiedlichen Tätigkeitsfelder.

Unternehmensgeschichte
Peter Friedrich Julius Brockhaus (* 1828 in Kückelheim im Amt Plettenberg, † 1894 in Plettenberg) gründete 1864 ein Unternehmen für Eisen- und Messingdrahtgewebe unter dem Namen "Friedrich Brockhaus" im Oestertal (Wiesenthal), das 1880 von seinem Neffen Ernst Brockhaus (* 1848 in Elberfeld, † 1915 in Wiesenthal im Amt Plettenberg), einem Sohn von Carl Friedrich Wilhelm Brockhaus (* 1822 in Himmelmert im Amt Plettenberg, † 1899 in Elberfeld), übernommen wurde. Peter Friedrich Julius Brockhaus stellte unter anderem Siebe, Geldkassetten, Fliegenschränke und Kinderwiegen her. Nach der Übernahme durch Ernst Brockhaus im Jahr 1880 wurde das Unternehmen in "Ernst Brockhaus & Co." umbenannt. 1900 übernahmen die Söhne von Ernst Brockhaus, Walt(h)er Brockhaus (* 1874  in Wiesenthal im Amt Plettenberg, † 1934 in Plettenberg) und Julius Brockhaus (* 1875 in Wiesenthal im Amt Plettenberg, † 1952 in Plettenberg) das Werk Wiesenthal.

Ernst Brockhaus gründete 1897 mit seinen Brüdern Paul Brockhaus (* 1852 in Elberfeld, † 1936 in Plettenberg) und Hermann Brockhaus (* 1884 in Wiesenthal im Amt Plettenberg, † 1955 in Plettenberg) die "Oestertaler Eisengießerei", die 1909 in "Oestertaler Röhrenindustrie" umbenannt und später vom Unternehmen "Ernst Brockhaus & Co." übernommen wurde.

Julius Brockhaus (* 1837 in Kückelheim im Amt Plettenberg, † 1901 in Oesterau im Amt Plettenberg) errichtete 1874 in Oesterau eine Gesenkschmiede. Um seinen Kapitalbedarf decken zu können, nahm er zwei Kommanditisten in das Unternehmen auf und firmierte unter "Julius Brockhaus & Co." 1879 schieden Julius Brockhaus und ein Kommanditist aus. Paul Brockhaus, ein Neffe aus der Elberfelder Linie (Sohn von Carl Friedrich Wilhelm Brockhaus), übernahm die Gesenkschmiede. 1880 wurde er dann alleiniger Besitzer. Vermutlich änderte sich zu der Zeit auch die Firma in "Paul Brockhaus Oesterau". 1920 traten seine Söhne Paul Friedrich Brockhaus und Werner Artur Brockhaus als Teilhaber in das Unternehmen ein. In den schwierigen Zeiten der 1920er-Jahre vereinigten sich die Werke Wiesenthal und Oesterau und wurden zur "Brockhaus Söhne oHG".

Im Kaltwalzwerk wurden 1947 alle maschinellen Einrichtungen auf Veranlassung der Besatzungsmächte demontiert.

1958 wurde die Lennetal Eisenhandelsgesellschaft mbH gegründet, die heute Brockhaus Lennetal GmbH heißt.

1964 erfolgte die Gründung der Dr. Brockhaus Messtechnik GmbH & Co. KG in Düsseldorf durch Dr. Jacques G. Brockhaus, Vater von Dirk E. Brockhaus.

In den Jahren 2000 bis 2001 stand der Verkauf der Firmen Brockhaus Söhne GmbH & Co. KG und der Kaltwalzwerk Brockhaus GmbH an, die zu diesem Zeitpunkt über 1.000 Mitarbeiter beschäftigten und sich im Besitz von rund 70 Gesellschaftern befanden.

Dirk E. Brockhaus war ab 2002 Alleingesellschafter der verbliebenen Unternehmen und kaufte nur kurze Zeit später zwei weitere Werke vom Käufer zurück. Es erfolgte die Neugründung der Brockhaus Stahl GmbH.

Caspar N. Brockhaus trat 2009 als Vertreter der 6. Generation in die Unternehmensgruppe ein.

Ein umfangreiches Re-Branding stellte 2010 den Markennamen Brockhaus in den Vordergrund und unterstreicht die Kompetenzen der Gruppe in den Geschäftsfeldern Stahl, Umwelt und Messtechnik. Die Unternehmensgruppe befindet sich derzeit in fünfter und sechster Generation im Besitz von Dirk E. Brockhaus und Caspar N. Brockhaus.

Als Reaktion auf bestehende Überkapazitäten wurde die Herstellung von Feinblechzuschnitten zum Ende des Jahres 2013 eingestellt.

2020 wurde die Tochtergesellschaft Brockhaus Polska Sp. z o.o. mit Sitz in Czestochowa in Polen gegründet. Das neue Unternehmen betreibt F&E und wird zusätzlich als Einkaufsgesellschaft genutzt.

Das Unternehmen gab im Dezember 2020 bekannt, dass es in den Geschäftsbereichen Kaltwalzwerk, Umwelttechnik und Recycling seit 2019 CO2-neutral arbeitet. Zur Erreichung der CO2-Neutralität werden die CO2-Emissionen des Unternehmens bilanziert und mit dem Erwerb von Verified Carbon Units (VCU) über das Programm Verified Carbon Standard neutralisiert.

Geschäftsbereiche
Die Unternehmen der Gruppe sind in vier Geschäftsbereichen tätig. Stammsitz der Unternehmensgruppe ist Plettenberg, Nordrhein-Westfalen. Der Geschäftsbereich Messtechnik befindet sich in Lüdenscheid. Zudem wird ein Standort in Polen betrieben.

Geschäftsbereich Kaltwalzwerk
Im Kaltwalzwerk wird warmgewalzter Bandstahl zu Kaltband veredelt. Dieser Stahl wird beispielsweise für Sicherheitsteile in der Automobilindustrie verwendet, die besondere mechanische Eigenschaften besitzen müssen. Das Abmessungsspektrum erstreckt sich von üblichen bis hin zu extremen Breiten-Dicken-Verhältnissen (beispielsweise 14 mm Dicke bei 30 mm Breite oder 5 mm Dicke bei 14 mm Breite).

Geschäftsbereich Umwelttechnik
Im Bereich Umwelttechnik wird mit Abluft- und Abwasser-Reinigungstechnologien für die Petrochemie gearbeitet. Die Anlagen werden von Erdölraffinerien und Chemieunternehmen genutzt, um die gesetzlichen und standortspezifischen Anforderungen an den Schutz der Gesundheit und der Umwelt sicherzustellen, indem schädliche Stoffe, z. B. Kohlenwasserstoffe, adsorbiert und entsorgt werden.

Geschäftsbereich Recycling
Das Recyclinggeschäft ist die logistische Dienstleistung, metallische Produktionsabfälle aus der stahl- und metallverarbeitenden Industrie dem Rohstoffkreislauf wieder zuzuführen. Mit LKW werden die metallischen Produktionsabfälle bei metallverarbeitenden Unternehmen eingesammelt und vergütet. Auf dem Schrottplatz werden die Schrottsorten geprüft und sortiert, bevor die Materialien an Gießereien und Stahlwerke zur Wiedereinschmelzung verkauft werden.

Geschäftsbereich Messtechnik
Im Geschäftsfeld Messtechnik werden Spezialgeräte zur Bestimmung magnetischer Werkstoffeigenschaften konzipiert und gebaut. Hersteller von Elektroblech sowie Transformatorenbauer und Generatorenbauer benötigen diese Mess- und Prüftechnik, um energieeffiziente Werkstoffe bzw. Komponenten herzustellen. Die Messgeräte kommen zur Anwendung in der Forschung und Entwicklung, bei der Wareneingangskontrolle, bei der Qualitätssicherung sowie der Optimierung in der Fertigung. Nach Unternehmensangaben ist Brockhaus im Bereich der Qualitätskontrolle von Elektroblech Weltmarktführer. Das Elektroblechmessgerät mit der Produktbezeichnung EBA-CoilMap ist patentrechtlich geschützt. In Deutschland wurde das Patent 2020 vom deutschen Patent- und Markenamt erteilt.

Literatur
 Florian Langenscheidt, Peter May (Hrsg.): Das Lexikon der deutschen Familienunternehmen: Deutsche Familienunternehmen mit allen wichtigen Informationen zu Herkunft, Geschichte, Daten und Fakten. Gabler, Wiesbaden 2009, ISBN 978-3-8349-1640-2.
 Florian Langenscheidt (Hrsg.): Aus bester Familie: 100 vorbildliche deutsche Familienunternehmen. 2. Auflage. Gabler, Wiesbaden 2011, ISBN 978-3-86936-254-0.
 Florian Langenscheidt u. a. (Hrsg.): The best of German Mittelstand. The family business. Deutsche Standards, Köln 2015, ISBN 978-3-942597-47-0.

Weblinks
 Offizielle Website
 Zur Geschichte des Unternehmens: Beschluss im Verwaltungsverfahren des Bundeskartellamtes (5. Beschlussabteilung) vom 4. Juli 2001
 75 Jahre Brockhaus: Werksgeschichte 1864 bis 1939 Wiesenthal, Oesterau und Plettenberg Bahnhof

Einzelnachweise

Unternehmen (Plettenberg)
Kaltbandhersteller
Produzierendes Unternehmen (Umwelttechnik)
Messgerätehersteller
Gegründet 1864
Produzierendes Unternehmen (Märkischer Kreis)
Brockhaus (Familie)

redpajama_set_name: RedPajamaWikipedia


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text:
Q: Realizing arcpy.mapping.MapDocument("CURRENT") I am curious as to how arcpy.mapping.MapDocument("CURRENT") works. I used to execute highlight in the sub thread, but didn't work.
Does it only work in the main thread (including arcpy.SelectLayerByAttribute_management)?
import threading
import arcpy
import pythonaddins

class ButtonClass1(object):
"""Implementation for power_line_planning_addin_addin.button (Button)"""

def __init__(self):
    self.enabled = True
    self.checked = False

def onClick(self):
    mxd = arcpy.mapping.MapDocument("CURRENT")

    def selected(mxd):
        sql_statement = "[PLANNING_POWER_LINE_ID] = \'%s\'" % ("route_1")
        layers = arcpy.mapping.ListLayers(mxd)
        for lyr in layers:
            if lyr.name.encode("utf-8") == "plan_project":
                arcpy.SelectLayerByAttribute_management(lyr, "NEW_SELECTION", sql_statement)
                arcpy.RefreshActiveView()
                arcpy.RefreshTOC()

    th1 = threading.Thread(target=selected, args=(mxd,))
    th1.start()
    # th1.join()

redpajama_set_name: RedPajamaStackExchange


text:
Q: retain sqlite data records during screen orientation change in my app im using gridview
when in portrait mode it shows one column.
in landscape mode new layout defined to show 2 column.
this is how the app works..
when app is launched, progress dialog is called to load website name from sqlite database and async is used to load website from sqlite db. the progress dialog is dismissed after the  gridview is inflated.
now after loading the website name into gridview the screen orientation changes, it restarts the progress dialog.
i know that on screen orientation change the ondestroy() and then oncreate() are called.
this is my app's src code.
public class RSSReaderActivity extends Activity {

    private ProgressDialog pDialog;
    ArrayList<HashMap<String, String>> rssFeedList;
    RSSParser rssParser = new RSSParser();
    RSSFeed rssFeed;
    Button add_rss;
    // array to trace sqlite ids
    String[] sqliteIds;
    public static String TAG_ID = "id";
    public static String TAG_TITLE = "title";
    public static String TAG_LINK = "link";
        GridView gridview;
    @Override
    public void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);
        setContentView(R.layout.site_list);

        add_rss = (Button) findViewById(R.id.add_rss);
        gridview = (GridView) findViewById(R.id.gridview);
        rssFeedList = new ArrayList<HashMap<String, String>>();

        new loadStoreSites().execute();
        gridview.setOnItemClickListener(new OnItemClickListener() {
        ...
        ...
        );

        add_rss.setOnClickListener(new View.OnClickListener() {
            ...
            ...
        });
    }

    @Override
    protected void onActivityResult(int requestCode, int resultCode, Intent data) {
        super.onActivityResult(requestCode, resultCode, data);
        // if result code 100
        if (resultCode == 100) {
            // reload this screen again
            Intent intent = getIntent();
            finish();
            startActivity(intent);
        }
    }
    class loadStoreSites extends AsyncTask<String, String, String> {
        @Override
        protected void onPreExecute() {
            super.onPreExecute();
            ...
            ...
        }
        @Override
        protected String doInBackground(String... args) {
            // updating UI from Background Thread
            runOnUiThread(new Runnable() {
                public void run() {
                    RSSDatabaseHandler rssDb = new RSSDatabaseHandler(getApplicationContext());

                    // listing all websites from SQLite
                    List<WebSite> siteList = rssDb.getAllSites();

                    sqliteIds = new String[siteList.size()];

                    // loop through each website
                    for (int i = 0; i < siteList.size(); i++) {

                        WebSite s = siteList.get(i);

                        // creating new HashMap
                        HashMap<String, String> map = new HashMap<String, String>();

                        // adding each child node to HashMap key => value
                        map.put(TAG_ID, s.getId().toString());
                        map.put(TAG_TITLE, s.getTitle());
                        map.put(TAG_LINK, s.getLink());

                        // adding HashList to ArrayList
                        rssFeedList.add(map);

                        // add sqlite id to array
                        // used when deleting a website from sqlite
                        sqliteIds[i] = s.getId().toString();
                    }
                    gridview.setAdapter(new SimpleAdapter(RSSReaderActivity.this,rssFeedList, R.layout.site_list_row,new String[] { TAG_ID, TAG_TITLE, TAG_LINK },new int[] { R.id.sqlite_id, R.id.title, R.id.link }));
                    registerForContextMenu(gridview);
                }
            });
            return null;
        }

        protected void onPostExecute(String args) {
            // dismiss the dialog after getting all products
            pDialog.dismiss();
        }

        }
      }

SO how do we use onsavedinstance() over here.. please can anyone guide me.

A: add this in menifest file
  android:configChanges="keyboardHidden|orientation|screenSize"


text:
Există și un asteroid numit 1285 Julietta.

Juliet este un satelit interior al lui Uranus. A fost descoperit din imaginile realizate de Voyager 2 pe 3 ianuarie 1986 și a primit denumirea temporară S/1986 U 2. Este numit după eroina piesei Romeo și Julieta a lui William Shakespeare. Este desemnat și Uranus XI.

Juliet aparține grupului de sateliți Portia, care-i include și pe Bianca, Cressida, Desdemona, Portia, Rosalind, Cupid, Belinda și Perdita. Acești sateliți au orbite și proprietăți fotometrice similare. Din păcate, în afară de raza orbitei de 53 km și albedo-ul geometric de 0,08, nu se știe practic nimic despre Juliet.

Pe imaginile Voyager 2 Juliet apare ca un obiect alungit, cu axa majoră îndreptată spre Uranus. Raportul axelor sferoidului prolat al lui Juliet este de 0,5 ± 0,3, ceea ce este mai degrabă o valoare extremă. Suprafața sa este de culoare gri.

Juliet se poate ciocni cu Desdemona în următorii 100 de milioane de ani.

Vezi și

 Sateliții naturali ai lui Uranus

Referințe
Note explicativeCitații

Legături externe

 Profilul lui Juliet de către NASA's Solar System Exploration
 Diagramă Juliet + Inel (Prin amabilitateaAstronomy Magazine 2005)
 Sateliții cunoscuți ai lui Uranus (de Scott S. Sheppard)

Romeo și Julieta
Obiecte astronomice descoperite în 1986
Sateliții lui Uranus


text:
Байбузовка () — село, относится к Савранскому району Одесской области Украины.

Население по переписи 2001 года составляло 1056 человек. Почтовый индекс — 66214. Телефонный код — 4865. Занимает площадь 5,06 км². Код КОАТУУ — 5124380301. Расстояние от Саврани — 15км

История села
Предположительная дата основания деревни 1798 год, именно в этот период появились первые письменные упоминания о нём, более точная дата не известна и не известны имена основателей. Предположительно (по легенде) село основал казак по имени Байбуз, который построил себе дом возле реки и завёл семью. Позже его примеру поступило несколько людей и появилось село, которое стали именовать Байбузовка.

Деревня — родина советского партийного и государственного деятеля, почётного гражданина Феодосии И. С. Мокроуса (1904—1974).

Проблемы населённого пункта
Среди главных проблем можно отметить отсутствие рабочих мест для молодежи, поэтому село пустеет, жители переезжают в город. Нет развлечений для молодежи.

В селе только одна аптека, которая работает до 13:00.

Есть магазины продовольственные, хозяйственный, но нет расчета кредитной картой. Нет банкомата и обмена валют.

Большая проблема для развития села, развития в нем туризма — это печальное состояние дорог. Жители предпочитают ездить через лес песчаными дорогами, чем пользоваться трассой Киев-Балта, проходящей через село.

В селе давно есть хороший интернет — основной провайдер Укртелеком. Но не очень хорошая мобильная связь, здесь Киевстар — наиболее качественная связь.

Общественный транспорт — три раза в день проходит маршрутка Одесса — Пищана, места надо бронировать заранее. Популярный вид транспорта — автостоп, есть специальная группа на вайбере по савранскому району.

Такси из Саврани — 250 грн.

Достопримечательности
Красивое село, сохранившее свою аутентичность. Хаты под камышом, разлив реки Савранки, хвойные и лиственные леса. На возвышенности, откуда можно увидеть панораму всего села, можно зимой кататься на лыжах и санках. В селе есть три больших ставка, находящиеся в аренде, владельцы занимаются рыборазведением.

Есть очень интересный школьный музей, где собраны экспонаты, касающиеся быта данного региона, в музее есть уникальный рабочий ткацкий станок.

Жители активно продвигают сельский, зеленый туризм. Появились первые объекты размещения — гостевой дом Бабусина Хата.

В селе есть небольшая школа и детский сад (Байбузівський НВК 1-2 ступеня). Также одной из достопримечательностей Байбузовки есть Свято-Иоанно-Богословский храм в центре села, неприметная на вид, главная её ценность — это редкие образы, которые хранятся в ней. К сожалению попасть в нее можно только по праздничным дням и во время службы.

Базарный день — среда, съезжаются продавцы во всего района.

Местное население занимается домашним хозяйством. Выращивают скот, обрабатывают многочисленные поля и свои огороды. На полях садят в основном кукурузу, подсолнух, пшеницу. Осенью собирают орехи, грибы. Местность богата лекарственными травами.

В селе активно празднуют Свято Борщу, Маланку, Покрова. Сохранились местные очень интересные обычаи.

Байбузовка — отличное место для отдыха всей семьей в любое время года.

Ссылки
 Байбузовка на сайте Верховной рады Украины

 Жители Савранского района Одесщины устроили праздник борща

Литература

Населённые пункты Савранского района


Music lovers! We are so excited to bring you our next session of local stars. Not only is this special evening a free event if you click going and sign up to eventbrite..BUT we are also offering an open champagne bar to start the night.
This month we are featuring Shane Fontane, Brett Rubin & Jill McDonald!
Shane Fontane is the talented producer and founder of the label A Deep Within and if you haven't had a chance to listen to his music we highly recommend you check it out. There will definitely be a track in there you'll want to add to your collection.
We are so pleased to give this spotlight chance to inform our party people of the technical side of our growing underground community.
Also featuring Brett Rubin the creator of Terrace Afterhours in Las Vegas coming through to throw down vibes and get the dancefloor lit. He just got signed to Armada Music so we'll need you to come through and help celebrate this.


We @PPC Co. realize what a benefit it is to shop from the privacy and comfort of your own home (allowing you to spend more time doing the things you truly enjoy, like detailing or cruising in your vehicle). Here at PPC Co., we appreciate and would like make it easy do that. PPC Co. offer an assortment of car care products to address all of your car care needs. They're only a click away. We work with the best car care suppliers to provide this service to you. Whatever floats your boat, PPC Co's. got it. And, we'll have it delivered right to your front door.
Below, we have listed the product suppliers we carry--in alphabetical order for your convenience, so you can locate your favorite product with ease. If you need assistance finding something, or simply have a question regarding a certain product, don't hesitate to give us a call on ☎ 1-800-643-229. PPC Co. is always available to help.
Polishes waxes clay bars Anti-corrosion Cleaning and degreasing .
Direct to Rust Direct to Galvanised Primers & Thinners . . .


The term "disk space" is oftentimes identified as "disk quota" or "data storage", yet all these terms refer to the very same thing - the volume of info that you'll be able to upload to a cloud hosting account. The overall size of the things you have is calculated by accumulating the storage space consumed by all the content in your account, the most apparent being the files that you upload. Two more things can often be overlooked by various users, though - e-mail messages and also databases. Sizable attachments or databases of larger script-driven internet sites will often require a lot of disk space too. In order to employ a more common analogy, the hard disk space of your computer is consumed not just by files that you download, but also by documents you write plus programs you add. In the same way, various things are counted towards the hard disk space that your information takes on a web hosting server, in addition to the uploads.
Our cloud hosting plans were designed with the concept that shortage of storage space shouldn't be a thing that can stop the progress of your websites. Which is why we've applied an approach which is different from the one that most website hosting companies take - instead of making a variety of accounts on a single server and subsequently running out of disk space, we employ a cloud hosting platform where the storage space is handled by an entire group of servers. As a result, we can attach more machines if they're required and more HDDs, to be able to provide more disk space for all of the files of our customers. Different clusters take care of your emails as well as your databases, which means that not only are you able to develop your web sites not worrying about hdd space, but also all the servers will operate better and faster owing to the fact that every single service has its own space and an individual server doesn't handle different kinds of files.
All our semi-dedicated server plans have "disk space" as a feature just to emphasize that it's completely unlimited. We can achieve that through the use of a progressive, custom-made cloud hosting system, where your databases, files and emails will be located on independent clusters of servers. We are able to add more hard drives or whole servers to any of the clusters and whenever necessary, and furthermore our hosting Control Panel was created to work with such a system. In comparison, nearly all Control Panels on the hosting market can function only on a single server, and in spite of what lots of suppliers advertise, they actually make a variety of accounts on just a single machine. Using a semi-dedicated server package through our company, you'll never have to concern yourself with hdd space restrictions and you can direct your attention to developing your websites.
All our VPS servers come with disk space allocations proportional to the computing power that you get with each and every package. Using a higher package, for example, the chances are greater you will host numerous domain names or a single big website, hence the hdd storage grows as you upgrade your plan. When you select our Hepsia hosting Control Panel, all the domain names will share the storage space, and if you choose DirectAdmin or cPanel, you can generate separate web hosting accounts and set a limited volume of the full VPS storage for every specific domain name. You can even share out disk storage from one domain to another if required. If you obtain a particular VPS plan and you want extra space later on, you'll be able to upgrade to a higher-end plan with no more than a few mouse-clicks from your billing section. The extra resources will be included in your present plan without any downtime or content migration.
Our dedicated servers have numerous hard disk drives in order to match the processing power you'll get, which means that you won't ever need to worry for running out of hard disk space. The hard disks can operate in RAID, which means one drive can function as a copy of another drive in order to make sure that all of your data will be protected, or you can use it as a stand alone for even bigger full storage space. Many hundreds of gigabytes of hard disk space will be at your disposal all of the time, which means that you will be able to operate large web sites, upload huge files and keep a copy of your individual archive. Considering the fact that a dedicated server is the most powerful kind of website hosting, you will be able to upload/download files with ultra fast speeds. If required, we also provide the option to include more HDDs and utilize even more space for your data. We offer 3 hosting Control Panels with the dedicated servers - using Hepsia, all domains will share the overall server space and they will be managed from a single place, while with DirectAdmin and cPanel you'll have the alternative to create distinct website hosting accounts with pre-defined disk space allocations for every domain name hosted on the server.


In the News contains the latest articles, press releases, photos and newspaper/other coverage of Chapter 86 that have been published for public consumption. Video and audio recordings made by and for Chapter 86 will be included. These recordings may be excerpted from chapter events or relate to initiatives undertaken by chapter membership. In order to ensure you experience all such information to the fullest, recordings will be noted.
Entries in In the News are in date order, with the latest entries first. If you wish to refer to an article you previously read and remember key facts or words from the article, you may use the SEARCH function at the top right of the page to find the appropriate article.


From corporate boardrooms to NGO field offices, "growing to scale" is a concept that's increasingly on the discussion agenda. But what does it really take to scale up a program or an innovation? Does quality always get sacrificed in favor of quantity? More importantly—can new technologies, like mobile, help take a great project to the next level?
These questions, posed by the USAID- and MasterCard Foundation-backed 'm-Education Alliance', will be key topics for debate at the upcoming event "Scale & Sustainability in Mobile Technologies". Hosted by Development Gateway in Washington, DC, on May 8, the session will bring together Brookings Institution researchers and development experts to share their views on mobile tech's role as a catalyst for community project scale-up.
Maurice Masozera, Monitoring/Evaluation Specialist for the USAID-funded Akazi Kanoze Youth Livelihoods Program, is one of these panelists. Drawing on his experience leading the roll-out of a Souktel mobile job platform for this EDC-led project, Masozera will facilitate a discussion about 'lessons learned' when using SMS for participant tracking, outreach, and job matching.
Akazi Kanoze, which means "work well done" in local language Kinyarwanda, harnesses the potential of Rwandan youth by organizing career counseling, hosting job training sessions, and creating opportunities for young job-seekers to interact with entrepreneurs, employers or mentors.
Souktel's JobMatch platform is integrated into these activities as a tool that helps youth search for work via text message. Partnerships with mobile networks MTN and Tigo ensure that service users can access SMS job listings (or create SMS "mini-CVs" with their qualifications) at low cost. Meanwhile, an online data tracking interface keeps tabs on participants' usage of the system, and lets EDC staff know when they've been matched with work or further training and education.
For Akazi Kanoze, the mobile service isn't just a way to make job information and data collection more accessible—it's also the key to scale: By 2014, the project aims to reach 15,000 youth in partnership with the Ministry of Public Service and Labor. SMS job-matching allows for outreach to a far greater number of young Rwandans, at a far lower cost than traditional channels like job centers.
The Washington, DC, event is the latest in a series run by the Mobiles for Youth Workforce Development (mYWD) Working Group, an initiative of the m-Education Alliance. In partnership with the MasterCard Foundation and USAID, the Working Group is a community of practice dedicated to exploring how mobile tech can increase young people's access to employment and workforce skills.


text:
Peter Latona – Is currently serving his 27th year in Law Enforcement. He served in SWAT for 23 years and retired a Team Leader. While serving on SWAT he trained with numerous special operations members, special agents from the FBI, Secret Service, and Homeland Security, as well as numerous law enforcement agencies from around the United States and Canada. Pete has more than 20 years of instructor experience. He holds instructor certifications in tactical response, handgun, tactical rifle, shotgun, and Defense and Arrest Tactics (DAAT). Pete is an Army Vet with experience in counter-narcotics.
Bob Kuspa – Is a retired Police Sergeant, who served 25 years in law enforcement. Bob served as an undercover drug investigator, firearms instructor, tactical response instructor, emergency vehicle operations instructor, vehicle contacts instructor, SWAT Team Leader and Hostage Negotiator. Bob is a military vet who served in both the US Army and the WI Air National Guard. He served as Military Police and CID Special Agent then as Air Force Security Forces. Bob volunteered for an overseas deployment in Afghanistan during Operation Enduring Freedom.


text:
Funktionsanalyse er inden for matematik en undersøgelse af en række egenskaber ved en matematisk funktion, ofte ud fra funktionens forskrift. Sådanne opgaver er almindelige i gymnasiets og hf-kursernes matematikundervisning, da de involverer en række matematiske discipliner såsom løsning af ligninger og uligheder, samt differentialregning og bestemmelse af grænseværdier.

Funktionsanalysens forskellige punkter
Funktionsanalyser udarbejdes oftest ud fra en fast "skabelon" der fastlægger hvad der skal bestemmes omkring den analyserede funktion. Her følger nogle almindeligt forekommende analysepunkter:

Definitionsmængde
Set fra et "rent" matematisk synspunkt går denne del af funktionsanalysen ud på at finde de uafhængige værdier , hvortil man kan beregne en afhængig værdi af funktionen : I nogle tilfælde vil visse værdier for  som giver anledning til problemer, for eksempel division med nul eller uddragning af logaritmen til et ikke-positivt tal, når man prøver at beregne funktionsværdien.

For at bestemme funktionens definitionsmængde må man undersøge funktionsforskriften for "potentelle problemer" med divisorer (nævnere i brøker) der kan give nul, eller forskrifter der er sammensat af funktioner, hvis definitionsmængder ikke omfatter alle reelle tal, og derefter opstille og løse ligninger eller uligheder for at finde de tal der således ikke kan indgå i den analyserede funktions definitionsmængde.

I nogle tilfælde repræsenterer den uafhængige variabel et eller andet fysisk fænomen, som i sig selv har en "definitionsmængde": Hvis  eksempelvis repræsenterer et antal personer, kan man rimeligvis "begrænse" definitionsmængden til heltal.

Værdimængde
Funktionens værdimængde er mængden af samtlige de afhængige værdier er kan "komme ud" af den analyserede funktion: Bestemmelsen heraf hænger sammen med bestemmelsen af definitionsmængden, monotoniforholdene og eventuelle asymptoter, og er ofte et af de sidste af de egenskaber man beregner i funktionsanalysen.
 I nogle tilfælde, for eksempel eksponentialfunktioner, er der en vandret asymptote som sætter en nedre, og lige netop "uopnåelig" grænse for værdimængden.
 Omvendt kan mange funktioner give anledning til uendeligt store, positive og/eller negative funktionsværdier, hvilket giver et ubegrænset interval som værdimængde.
 I atter andre tilfælde skifter monotoniforholdende ved en bestemt værdi, og giver anledning til et maksimum eller minimum: Hvis sådan et ekstremum viser sig at være globalt, har funktionens definitionsmængde en enten øvre eller nedre grænse som ikke er uendelig stor, og denne grænse beregnes ved at indsætte det  hvor monotoni-skiftet sker

Skæring med koordinatsystemets akser
Tegner man funktionens graf ind i et koordinatsystem, forekommer det at denne graf vil skære akserne i koordinatsystemet, og denne del af funktionsanalysen handler om at bestemme præcis hvor dette i givet fald sker.
 Skæring med den akse hvorpå den afhængige værdi ("resultatet") af funktionen "udmåles" (almindeligvis y-aksen) bestemmes ved at indsætte 0 som den uafhængige værdi ("x").
 Skæring med x-aksen (og evt. z-aksen for tredimensionelle systemer) bestemmes ved at sætte funktionsforskriften lig med nul: Det giver en ligning, som man derefter løser med hensyn til den uafhængige værdi, og løsningsmængden giver derefter de værdier hvor grafen skærer aksen.
 Et eksempel kan være y=-x+1=0 dvs at x=1-y
 På x aksen er y=0 og kan derfor uden videre fjernes i denne sammenhæng.
 Dvs x=1

Monotoniforhold
Funktionens monotoniforhold "inddeler" definitionsmængden i et antal intervaller, indenfor hvilke funktionen er "monoton", dvs. udelukkende vokser eller udelukkende aftager. I funktionsanalyser beregner man ofte de præcise værdier for den uafhængige variabel på de steder hvor funktionen skifter fra at være voksende til at være aftagende eller omvendt. Her ud fra kan man fastslå hvor funktionen eventuelt har lokale eller globale ekstrema.

Givet funktionsforskriften indebærer dette at man finder funktionens differentialkvotient: Denne vil være positiv overalt hvor funktionen er voksende, og negativ overalt hvor den er aftagende, så ved at søge efter de steder hvor differentialkvotienten er lig nul, får man de ovenfor omtalte "skillepunkter". I nogle tilfælde vil differentialkvotienten have forskellige fortegn på hver sin "side" af de(t) fundne skillepunkt(er), og i så fald har man fundet et ekstremum. I andre tilfælde har differentialkvotienten samme fortegn på begge sider af et skillepunkt, og så er der tale om et saddelpunkt.

Asymptoter
Asymptoter er rette linjer som funktionens graf vil nærme sig, men aldrig helt "nå", efterhånden som den uafhængige variabel går mod bestemte værdier der ikke indgår i definitionsmængden, herunder plus eller minus uendelig. Ud fra grænseværdien af funktionsforskriften kan man fastslå om funktionen har sådanne asymptoter
 Lodrette asymptoter skal søges omkring værdier der ikke indgår i definitionsmængden, typisk som en konsekvens af at de medføre en division med nul: Omkring disse asymptoter er grænseværdien plus eller minus uendelig.
 Vandrette asymptoter viser sig som endelige, konstante grænseværdier der ikke afhænger af den uafhængige variabel.
 Skrå asymptoter afsløres af at funktionens grænseværdi er en lineær funktion.

Litteratur

 Hebsgaard, Thomas m.fl. (1989): Matematik Grundbog 2. Forlaget Trip, Vejle.

Se også
 Spektrum (funktionsanalyse)
 Matrix

Referencer

Eksterne henvisninger
Websites som laver funktionsanalyse:

 https://matheguru.com/rechner/kurvendiskussion
 http://funktion.onlinemathe.de/
 http://www.thkoehler.de/midnightblue/m_kdb.htm

Kilde
 http://www.sciencenet.dk

Matematisk analyse


An authentic rustic wall decor can give a unique and charming vibe. Old cabins, medieval castles, and ancient villas convey an exquisite atmosphere that take you back to several decades ago. You can easily bring the alluring quality of rustic walls into your house just with the use of paint. Using a variety of faux painting methods, whether you prefer an earthy wooden grain, a natural stone design, or any other kind of rustic wall decor or texture, you can have your friends and guests wondering if it is the real thing.
You can apply a rustic wall decor and imitate the appearance of a rustic weathered plaster wall. You can do this by using a faux painting method called textured fresco. The procedure starts by painting a textured base coat over your walls with the use of a paint roller. After doing so, gently press and drag a trowel on the coated surface in order to produce an assortment of sculptured figures. Then, choose a base paint colour for applying onto the dried and textured base coat. The last step requires you to apply a glaze onto the walls using a glazing mitt or a large sponge. This is to give your walls an old and weathered appearance.
Another way to give your space a rustic wall decoris with old stones. First, paint a light grey base coat onto your walls. Such base coat will also serve as the colour for the grout contours between the faux rustic stones. Make use of a blue painter's tape and a measuring tape in order to trace the contour of the piled stones on the walls. Then, sponge on a dark grey glaze onto your walls at random. You may then get rid of the blue painter's tape after the walls have dried and pat the same region using cheesecloth in order to give it some refinement.
The third rustic wall decor technique is called sponging, which can give an appearance of rustic stoneware or mottled porcelain onto your walls. After the sponging process, clean and prime the walls. Blend an acrylic glaze with dark blue paint, and apply this mixture onto your walls using a paint roller. Then, randomly pat the walls with a damp sea sponge in order to create an aged and rustic look. You should do this by starting at the topmost corner in small wall portions and working your way down. The glaze and paint mixture has to be wet as you pat it off with the damp sponge in order to create the best rustic quality that looks authentic.
The last rustic wall decortechnique is the wooden grain painting method, which can give your walls a rustic quality of natural wood. All you need for this method are acrylic glaze, two shades of brown paint, and the special tools in a wood-graining rocker toolkit. Apply a paint primer, followed by two coats of the brown paint onto the walls. Blend acrylic glaze with white paint and apply it onto a small portion of the wall. Brush a combing tool through the wet mixture to create a wooden characteristic. Lastly, pull a rocker tool over the brushed area to produce fake knotholes.


text:
Okinawan at Heart
A blog about Okinawan history, culture and people
Kublai Khan's Mongols and Okinawa
Part of Okinawa's history has been the balancing act it has had to play with the superpowers that surrounded it, especially China, Japan, and later the Western powers, in particular Britain and the United States.
The first recorded conflict with a foreign nation involved Kublai Khan and his Mongols.
Kublai Khan – Genghis Khan's Grandson
Genghis Khan was a famous leader of the Mongols who conquered much of central Asia, including Persia, Turkey, southern Russia and parts or East Asia.
His grandson Kublai Khan conquered northern China and declared himself emperor in 1271, and succeeded in conquering all of China by 1279. The capital of his new Yuan ("Original") Dynasty moved to Beijing. Mongols held top positions and mainly non-Chinese held second tier positions. He is said to have not trusted the Chinese. Three race distinctions were made: Mongol, Other, and Chinese. Inter-marriage between these groups was forbidden. However all religions were tolerated provided they did not go against the empire.
During his reign over China, the Silk Road flourished. Paper currency was introduced. Relations with the West increased. There were at least nine European embassies in the capital city. One famous visitor to his court was Marco Polo. Arts flourished, in landscape paintings and stage plays. A pony express type messenger system was established allowing quick communications across long distances.
The Mongols were very good fighters on land, especially their cavalry. They had iron stirrups which gave archers on horseback much better stability and accuracy. They used coordinated battle formations rather than individual warrior combat. They had gunpowder, and catapults that launched explosive bombs. At sea, however, they were not so great at fighting.
Conquering China was not enough for Kublai Khan. He wanted more. He set his sights on additional conquests, in particular Japan. This is where Okinawa comes into the story.
Kublai Khan Calls on Okinawa
In 1272 the Mongols sent an envoy to Okinawa and requested from King Eiso that the Ryukyu kingdom submit to Mongol authority, and in addition to supply them troops and other support in their upcoming campaign against Japan. King Eiso rejected their demands and sent them away.
Khan's First attack on Japan fails
The first attempted invasion of Japan occurred in 1274. The Mongols set sail from Korea with 25,000 troops. They landed at Hakata Bay in Northern Kyushu. The Mongols had a massive cavalry, but no room to maneuver. They also brought their catapults and bombs. The Japanese Samurai defended with swords and bows. After one day of fighting, the Mongols retreated to their ships. That night a typhoon blew in and destroyed much of their fleet. Their invasion had failed and they left.
Mongols Try to Bully Okinawa – but Fail
Kublai Khan was even more determined to invade Japan after this failure, since he concluded he had been beaten by bad weather and not by the Japanese military. He began preparing an even more massive invasion force, and once again sent an envoy to Okinawa demanding their support. This time a military contingent came with them.
The Okinawans refused again, and a struggle broke out. The Mongols were finally driven away but not before taking some 130 Okinawans captive.
Second attack on Japan – the Kamikaze legend
In 1281 Khan launched a fleet of 140,000 troops to invade Japan. Japan by this time had improved their fortifications and were ready. The Japanese held off the Mongols from advancing a beachhead in fierce fighting from June to August. On August 15 a large typhoon descended on the Mongol forces. The ships in the harbor and their troops were severely battered. Many lives were lost. The Mongols stranded on shore were cut down by Japanese swordsmen.
This decisive battle left a strong impression on the Japanese. It was the first time a foreign power had tried to invade their country. The typhoon that saved them was called "Kamikaze", or "Divine Wind of the Gods". The Japanese homeland would not be threatened with invasion again until 1945. The Japanese would resurrect the image of the Kamikaze to use suicide bomber attacks against the American ships advancing toward them in World War II.
End of Mongol Rule and the New Ming Dynasty
Kublai Khan wanted to launch a third invasion attempt but by this time the country was suffering from the cost of his previous tries and other public works projects internally. He died in 1294 and the invasion never happened. The Mongol dynasty then split into factions. In the 1350's and 1360's there were a series of revolts by several secret groups.
The Yuan Dynasty of Kublai Khan finally collapsed in 1368, and a beggar-turned-revolutionary named Zhu Yuanzhang became the first emperor of the Ming ("Brilliant") Dynasty.
Relationships between the Ming Dynasty and Okinawa would prove to be very beneficial to the Okinawan Kingdom.
Posted by Michael Schoonover at 9:00 AM
The Eiso Dynasty – Return to Prosperity
Shunten: The First Okinawan King of Historical Record
The First Okinawan Dynasty and the Legend of Tametomo
Michael Schoonover
Consultant, Writer
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When suggesting options to and fitting multifocal soft contact lenses on patients, practitioners have more lens designs than ever. Instead of just two or three stock lens designs to choose from before going with a custom design, we now have monthly replacement and daily disposable multifocal soft lens options from most companies. This has made it more difficult for some to make a specific recommendation with a patient sitting in the chair. It can lead to a lack of interest from the eye care provider, or it can even decrease the chance of success. When a presbyope comes into the office and wants multifocal soft contact lenses, how do you choose the right lens design?
Technology allows us to visualize the optics of these newer lens designs to see how they differ from each other. The NIMO TR 1504 from Lambda-X allows for the optical measurement of such lenses, providing a power map (Figure 1) and power profile that can be used to visualize the magnitude and location of powers within a lens. This information can then be combined with clinical data to drive a more scientific approach, rather than simply grabbing a lens and hoping that it works.
Figure 1. Power map of a center-near aspheric soft lens design. The highest add power is in the middle of the lens (red), while the distance power of this -5.00D lens is found toward the periphery.
As with fitting any patient interested in wearing contact lenses, you want to acquire specific information prior to suggesting a lens. The initial data that I prefer to have includes accurate refraction, keratometry values or corneal topography, horizontal/diagonal visible iris diameter, pupil size in standard room illumination and ocular dominance. Patients with average values on pupil size, iris diameter, and keratometry, as well as a spherical refraction, may achieve an appropriate fit with a variety of stock contact lenses.
The next decision to make involves replacement schedule. If a patient suffers from dryness or wears contact lenses only once in a while, a daily disposable stock lens may be a good option. Custom lenses typically have longer replacement schedules, making daily disposable and weekly/biweekly replacement lenses a good option for patients who could benefit from or who prefer more frequent replacement.
The optics of stock lenses have improved significantly over the past 10-15 years as well. In the same time period, we have seen multifocal soft lens success rates go from ~50% to as high as 85% from patient reports.1-4 Some of the newer designs attempt to decrease certain high-order aberrations that presbyopic patients may experience. The optics of these lenses (Figure 2) give us an idea of whether the patient in our chair will be successful with the lens we choose.
Figure 2. Power profile of a -1.00D lens with high add power. Notice where the full distance power (-1.00D) is located from the center of the lens. This distance can be compared to the pupil diameter of a patient to determine whether they will get the full distance and add powers or not.
With all of the advances that have taken place and the increase in patient success, why would we need custom lenses anymore? Just as stock soft spherical and toric lenses don't provide optimal fit and excellent visual performance for all patients, the same goes for stock soft multifocal lenses. In fact, this is an area in which patients can see a large benefit in going with a custom lens design. In addition to customizing the diameter and base curve of a lens to achieve an optimal fit, the optics can be adjusted for each individual patient as well. Patients who have larger or smaller than average pupil size may benefit from optics tailored specifically to their eyes (Figure 3). These custom optics can help improve the quality of vision in addition to their best measured visual acuity, possibly even minimizing any glare complaints they may have with the lenses. These results can be accomplished by adjusting the distance, intermediate, and near zone sizes and the aggressiveness of change from near to distance power (and vice versa for center-distance lenses). The end result might be a patient who is able to successfully wear a soft multifocal contact lens that corrects the full distance and near in each eye, rather than having to resort to a modified monovision approach (which often happens with complete presbyopes).
Figure 3. Power profile of a -2.00D lens with high add power. Notice the large near zone and the quick power transitions to the full distance power. These adjustments can't be made with stock lens designs.
Utilizing technology to understand soft multifocal contact lens designs better, we can make great suggestions for our patients. Taking the scientific approach to fitting can help increase success with soft multifocal lenses as well as decrease chair time. Both stock and custom lenses play an important role in successful soft multifocal lens fitting. Knowing when a stock lens might work well versus going to a custom design based on optical profile could help decrease the frustration from both the patient and the practitioner. This is certain to be a focal point of investigation, which will give us more information and get us closer to obtaining our desired success rates with soft multifocal contact lens patients.
Benoit, DP. You Can't Win Them All. Contact Lens Spectrum. 2017 Jun;32:16.
Dinardo A, Smiley G, Fosso T. Common factors in multifocal lens success. Paper presented at the Global Specialty Lens Symposium Las Vegas, January 2015.
Dr. Chad Rosen is an Assistant Professor at the Michigan College of Optometry (MCO). He completed a residency in Cornea and Contact Lens at Pacific University College of Optometry, a research fellowship at the Vision Research Institute of MCO, and a Master of Business Administration from Ferris State University.
He is a Fellow of the American Academy of Optometry (FAAO) and the Editor in Chief for the Journal of Contact Lens Research and Science.
Dr. Rosen has been involved in a variety of contact lens-related research projects and enjoys lecturing at an international level to practitioners in the contact lens community.