text:
Bouga, de son vrai nom Madjid Boughachiche, est un chanteur de rap français originaire de Marseille. Il est connu pour sa chanson Belsunce Breakdown, titre de la bande originale du film Comme un aimant, morceau classé plusieurs semaines dans les meilleures ventes en France et en Belgique.

Depuis fin 2006, il présente une web-émission culturelle sur Cosca Network, Cosca TV, créée par Nadia et jeremyFreeAgent.

Biographie
Bouga est originaire de Marseille, dans les Bouches-du-Rhône. Il grandit dans le quartier de Belsunce.

Il compose en 2000 la chanson Belsunce Breakdown, titre de la bande originale du film Comme un aimant, classée plusieurs semaines dans les meilleures ventes en France et en Belgique. La chanson est également certifiée disque d'or. Bouga confie que :

En décembre 2014,  Bouga rejoue Belsunce Breakdown version fanfare.

Discographie

Apparitions
 1999 : Bouga - C'est la Tactique du Porc-Epic (sur la mixtape La Cosca)
 1999 : Bouga Feat Freeman, Tony, Paco, Soprano et Brigand - Libre Style (part 2) (sur la mixtape La Cosca)
2000 : Bouga - Belsunce Breakdown sur la bande originale du film Comme un Aimant d'Akhenaton
2001 : Ishtar feat. Bouga, Dida - C'est la vie (pour le film La Vérité si je mens ! 2)
2004 : Bouga - Le taulier vous dit merci (sur la compilation OM All Stars)
 2005 : Akhenaton feat. Bouga - Supa Bad (sur l'album d'Akhenaton Double Chill Burger)
 2006 : Bouga feat. Veust Lyricist - Les frères Castagne (sur la mixtape La Cosca Team Vol.2)
 2006 : Bouga - Cui Cui (sur la mixtape La Cosca Team Vol.2)
 2006 : Bouga feat. L'Algérino, Akhenaton, Shurik'n, Freeman, Saïd, Don Vicenzo, Soprano, Alonzo, Veust Lyricist & Sako - La ronde (sur la mixtape La Cosca Team Vol.2
 2006 : Bouga feat. Le Rat Luciano, L'Algérino & Psy 4 de la Rime - Marseille All Star (sur la compilation d'Alibi Montana Crise des Banlieues Vol.2)
 2007 : Bouga - Ne m'en voulez pas (sur la mixtape IAM Official Mixtape d'IAM
 2007 : Bouga feat. Cheb Aïssa - Aime-moi ce soir (sur la compilation d'Imhotep Chronique de Mars Vol.2)
 2007 : Bouga - B.O.U.G.A. (sur la compilation Opinion sur Rue Vol.3)
 2007 : Bouga feat. Incontrolable, Carpe Diem, Hors d'atteinte & Black Marché - Freestyle (sur la compilation Marseille Connexion part 2)
 2009 : Bouga - Intro (sur la compilation Maghreb United de Rim-K du 113)
 2010 : Sya_Styles & Bouga - "Où sont les..."
 2011 : Bouga feat. Mazen (Zbatata) & Sadik Asken - Frenchkick (sur la compilation PMP Vol.2 - Paris/Marseille Project' de Dk Prod)
 2014 : Pitchouno feat. D. Train, Bouga & Moox - On est au max (sur l'album Look d'enfer de Sébastien Patoche)

 Filmographie
 2009 : Les Barons'' de Nabil Ben Yadir

Notes et références

Liens externes

  Bouga sur MusicBrainz

Rappeur français
Personnalité liée à Marseille
Nom de scène
Musicien lié aux Bouches-du-Rhône

redpajama_set_name: RedPajamaWikipedia


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You are here: Home / Offices / Research Support Services / Integrity / Research Code of Conduct / 3. Before Starting Research / 3.1 Applying for funding and support
3.1 Applying for funding and support
Requirements on researchers making applications for research funding
When you are applying for research funding or support of any kind (including grants, fellowships or studentships) you must ensure that the information you provide in any application is clear and accurate.
If you apply for research funding or support of any kind, you must not seek to identify or approach the assessors of your application. If you are requested to nominate assessors as part of the application process, you may approach them to seek their permission to nominate them.
When applying for research funding, you must make sure that you are familiar with the research funder's terms and conditions for applications and awards and ensure that you abide by these at all times.
When applying for research funding you must comply with the University policies and regulations. You must also report to your Departmental Ethics Officer or Ethics Sub-Committee member any application which may give rise to a conflict of interest . More information on conflict of interest can be found in section 3.5, Conflict of interest.
Any researcher who is a signatory on an application for research funding or support of any kind must share responsibility for ensuring that the information submitted is clear and accurate, and will be held jointly responsible for and will be held jointly responsible for any plagiarism (including self-plagiarism – See 6.2.4), fabrication, falsification or misrepresentation.
Where an application involves collaborative working with individuals and organisations outside the University, applicant Researchers must ensure the collaborator's costs and any letters of support or agreements are appropriately included in the application. More information can be found in section 3.6, Working with individuals and organisations outside the University.
When considering whether to apply for philanthropic funding you must seek advice in the first instance from the Development and Alumni Relations Office. The Guidance Note on the Definition of Philanthropic Donations and worked examples provides assistance for staff involved in planning approaches or bids for philanthropic support.
The University has an obligation to conduct its fundraising, research and enterprise funding operations and relationships in an ethical manner, and to ensure that due diligence is observed when assessing whether or not to proceed with a funding application, or to accept an unsolicited philanthropic donation or research funding, or to establish specific philanthropic relationships or contracts.
The University's Ethical Policy and Guidelines for the Acceptance and Refusal of Donations and Research and Enterprise Funding provides guidance for staff involved in planning and bidding for philanthropic donations or research or enterprise funding. You must ensure that any research funding sought follows these guidelines and, where there is any doubt, you must seek advice from the Director of Development and Alumni Relations Office, the Director of Research and Enterprise Division, as appropriate.
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Search Gear Reviews
Balls and Accessories
Golf Brands (A-F)
3Bays
Bettinardi
Blast Motion
Golf Brands (G-P)
Nikon Golf
Golf Brands (P-Z)
Equipment Guides
Wilson Golf (Brand Profile)
Wilson is most recently synonymous with Padraig Harrington in particular who has stuck with the company through thick and thin over the last 20 years. Wilson has been around for a lot longer though with the company now over 100 years old being founded in 1914.
One of the legends of the game though, Gene Sarazen is the one person who built the brand to where it is today.
Sarazen was inspired by the aerodynamics of an airplane's wing to help design a wedge that would glide through greenside bunker sand. In the early 1930's Sarazen was the one who founded the sand wedge and that had the Wilson brand name attached to it.
Wilson Golf Brand Profile
Founders: Sulzberger & Sons Bank (name inspired by popularity of then President Woodrow Wilson)
Headquarters: Chicago, Illinois, USA
Employees: 1020+ (Wilson Sporting Goods Co.)
Revenue: $125 million (2016)
Major Professional Endorsements: Padraig Harrington, Kevin Streelman, Paul Lawrie
Website: www.wilson.com
Recent Wilson Golf Product Reviews
Our Take On The Wilson Staff D7 Irons
With the New Year just a few dark nights away, a set of shiny new golf clubs might be at the top of your wish list to get 2019 going. In that sense, Wilson ...
Michael Todt	December 18, 2018	1
Wilson FG Tour PMP Wedge Review
On this page you'll find our detailed assessment of the Wilson FG Tour PMP Wedge, the pros and cons, and a side-by-side comparison with other wedges we ...
Michael Todt	March 7, 2016	1
Wilson Driver Competition
Wilson Golf – Brief History & Product Overview
Wilson is a brand that has gone from industry leader throughout the mid-1980s to financial losses, later settling for manufacturing bargain box sets to meet budgets.
By the early 2000s, Wilson only had about a one percent share of the market in USA for clubs and golf balls which was miniscule.
However, Wilson has been mounting a big turnaround and is certainly on the right track reinvesting into research and development.
They are once again targeting the premium segment of the market rather than cheaper box sets for beginners. One of the tremendously clever ideas they have now is a television show that will be airing on Golf Channel where contestants compete to design a new Wilson driver that will hit shelves late 2018.
Whilst financials are hard to come by, Wilson have been rumoured to have recorded a profit for the last 5 years and revenue in the USA has grown year on year for the last 8 years.
Wilson Golf President Tim Clarke has stated himself that in the race of the golf industry over the years, slow and steady is the way to do it.
Clarke believes the trouble started with Wilson when its former parent company Pepsi Co lacked any managers that had golf backgrounds and subsequently fell behind and at a rapid pace. Wilson missed the boat in the mid 90's where manufacturers were offering oversized clubheads which appealed to the amateur making the game a touch easier.
The other aspect was Wilson fell into the trap of supplying cheap box sets in Walmart stores across the USA unfortunately having a negative effect on the brand as a whole not being taken seriously anymore.
Wilson also saw the opportunity in 2016 to take advantage of the Nike equipment exit and try win over their hardware customers switching to Wilson.
They've now released a limited edition Custom FG Tour V6 Raw set of irons that has huge marketing appeal and look absolutely beautiful. A raw grind finish that rusts over time and strangely looks more impressive the more rusted they are.
The FG Tour line targets the better golfer and there are other iron models termed the C300 and D300 and D350 that are for low handicaps to mid/high handicaps. There are only four wedge options in the stable with the FG Tour PMP still being the leader of the pack.
The most surprising thing though is just how many golf balls they carry in the range. A total of 29 models of golf ball that cater for Tour players to beginner golfers.
This is one niche they realised would be pivotal when planning their resurgence – especially in the USA. The golf ball industry is massive and growing their piece of that pie has resulted in profitable numbers the last 8 years.
All Wilson Golf Reviews
About Golf Assessor
Golf Assessor provides independent golf equipment reviews and side by side comparisons so that you can make the most informed decision on your next purchase. Our aim is to help you play better golf! If you are just starting out in golf, check out our sister site, Golf Guide for Beginners.
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© 2016-19 Golf Assessor. All rights reserved.


text:
Filed under: Silica — Notch @ 4:48 pm
Solvay (Brussels, Belgium) announced today that it is investing in a new production line at its silica plant in Livorno, Italy to produce highly dispersible silica (HDS) using sodium silicate derived from rice hull ash. Production is expected to begin by the end of 2024.
This new breakthrough silicate process provides a circular solution as it gives a second life to rice husk in a local value chain. Coupled with renewable energy integration at the plant, it will allow Solvay to achieve a 50% reduction in CO2 per ton of silica. This will make the Livorno site Europe's best in class silica production site in terms of CO2 footprint.
Solvay plans to gradually replace its existing portfolio of Zeosil highly dispersible silica for the tire industry with circular HDS, which the company says will help tiremakers reduce their CO2 footprints and reach sustainability goals. In addition to the tire industry, the new silica also has applications in the personal care and food/feed industries. Solvay is the first silica producer to commit to the production of RHA-based silica in Europe, though Evonik announced last September that it will add an RHA-based silica unit at a plant in Thailand in 2024.
Solvay also announced plans to build a new HDS plant in North America over the coming years, but did not provide details on this project. The new facility will be designed for circular raw materials and be aligned with the company's carbon neutrality roadmap, according to Solvay. The company is also investigating projects on circular HDS in Asia and South America.


text:
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James Gunn is taking a little break from the Marvel Cinematic Universe to return to his horror roots. Gunn is producing a new Untitled Elizabeth Banks Get Out Horror Movie with The H Collective, which is being directed by David Yarovesky (The Hive). Production has already kicked off, according to the movie's producers and, in honor of the movie getting underway, they've announced the full cast for the upcoming horror flick.
This untitled horror movie produced by Guardians of the Galaxy director James Gunn will feature Jackson Dunn (Shameless), David Denman, (Power Rangers) Meredith Hagner (Search Party) and Matt Jones (Mom), in addition to the previously announced Elizabeth Banks to round out the cast. Banks Sleep No More and Gunn previously collaborated on his directorial cult horror classic Slither.The script was written by Brian and Mark Gunn. The H Collective will fully finance the project and produce alongside Gunn and his company, Troll Court Entertainment. The movie began principal photography last week. Gunn took to Twitter to confirm the casting and to announce that he's currently on set filming the movie.
There are precious few details available in regards to this mystery horror movie, but it sounds like James Gunn is quite involved, despite the fact that he's not directing. He's definitely a hands-on producer in this case. In between directing the Guardians of the Galaxy Curse of the Nun movies for Marvel Studios, Gunn has found time to squeeze these horror projects in. Last year, The Belko Experiment, which he wrote and produced, was released. Currently, he's busy writing Guardians of the Galaxy Vol. 3, which he's set to direct as well.
Director: David Yarovesky
Actors: Becky Wahlstrom, David Denman, Elizabeth Banks, Jennifer Holland, Matt Jones, Meredith Hagner, Steve Agee
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Dead bodies begin to turn up all over the city, each meeting their demise in a variety of grisly ways. All investigations begin to point the finger at deceased killer…
Genre: Crime, Horror, Mystery, Thriller
A group of student activists travel from New York City to the Amazon to save the rainforest. However, once they arrive in this vast green landscape, they soon discover that…
Country: Canada, Chile, Spain, USA
Day of the Dead: Bloodline
My love for Romero and his legacy of flesh-munching living dead knows no bounds. Of all my favorite films, the original "Dead Trilogy" is a collection of films that I…
Island Zero
Horror movies set on islands are numerous and run the gamut from slashers (Humongous) to thrillers (The Most Dangerous Game) to creature features (Jurassic Park). The common thread between them…
Discarnate
Bloody regular Fabien M. sent us in the first art for Mario Sorrenti's Discarnate, starring Thomas Kretschmann (King Kong, Resident Evil: Apocalypse, Blade II), Bex Taylor-Klaus ("Scream", "The Killing"), Nadine…
Housesitters
We kind of stumbled upon house sitting and we thought, ok if we could stay at other people's places and watch their pets from them, then we could string together…
The second trailer for The Bad Man (USA – 2018) has just been released, the new horror written and directed by Scott Schirmer, director who has behind the brutal Found…
'Luis Miguel, the series' on Netflix, every time he gets better to know all the details of the intimacy of the singer, in addition The Last Laugh to exploring the…
Dennis Iliadis previously directed Blumhouse's Delirium and The Last House on the Left. He's Out There marks Mike Scannell's first feature screenplay. Rounding out the production team, Edward Wild is…
The Legend of Halloween Jack
John Legend Chekka Chivantha Vaanam rocked out on Easter Sunday as he played Jesus in NBC's live staging of Jesus Christ Superstar. The Oscar-winning R&B singer headlined an all-star cast…
The House on Mansfield Street
Ryan Murphy hates the word "camp." He sees it as a lazy catchall that gets thrown at gay artists in order to marginalize their ambitions, to frame their work as…
The Screamfest Horror Film Festival on Tuesday unveiled the first wave of titles for its upcoming 18th edition, including world premieres for Daniel Farrands' The Accused Amityville Murders and The…
Trailer: BrightBurn
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Same same but different lift landing at various floors of my housing estate. Copyright @ishotaphototoday. All rights reserved.
Little momo and the "maximum volume" american tourister luggage. Copyright @ishotaphototoday. All rights reserved.


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I've got enough spare parts to begin construction of another cabinet. This one will be a minicab upright.
side was cut, it was used as a template for side two.
This cabinet will use a 14 inch LCD and scaled accordingly around that.
My goal with this one is to use as many reclaimed / re-purposed building materials and electronics.
"and WHERE do you thing THAT thing going to live?"
Settled on a width of 16 inches. Ripped front, back, top and bottom to width on table saw.
Mounted the flat screen computer monitor using some long metric screws to some ply.
First build using a flat screen. Much easier than a heavy, unwieldy CRT.
Control panel top plate created using 1/2 inch ply. Going with a single player streetfighter layout.
No MDF in this build.
Bookmarked. Can't believe i missed this one. I Love mini cabs. cant wait to see how this one turns out.
Finished making the control panel box. Used 1/2 ply. Happ joystick and 6 cherry switch buttons in fighter layout.
Next step wiring up switches to groovy game gear USB GP WIZ .
LOVING this. I was considering a host of dedicated mini-cabs for my kids' room, but probably won't be able to finish them before my kids are too tall to enjoy 'em. Thinking of stealing your quote, however, and turning it on its ear. "No real wood in this build."
paint done. simple rustoleum satin black thinned with laquer thinner and then sprayed with a HVLP gun.
control box wired up. went with a streetfighter layout.
player one and player two start/select buttons on face of box.
offset control box to mimic a showcase cab.
monitor bezel is a piece of plexi which has been painted on the inside.
now need to decide on marquee art.
Went on deviant art.com to look for some arcade art. Found a Wreck it Ralph promo poster there and cropped/scaled it to fit the marquee.
Deviant art.com has some good stuff. Take a look there in case you are in need of some user generated artwork.
I've got two kids who love the movie, but never have seen pac-man, tapper and other games featured. That movie ignited the fuse to crank out this simple cabinet for them.
I printed it up and sandwiched it between some plexi and luane for a simple marquee.
installed the marquee and rolled it into its new home.
ready to start building another.


text:
package org.apache.hadoop.yarn.server.resourcemanager.scheduler.fair;

import java.util.Collections;
import java.util.HashMap;
import java.util.HashSet;
import java.util.Map;
import java.util.Set;

import org.apache.hadoop.conf.Configuration;
import org.apache.hadoop.security.authorize.AccessControlList;
import org.apache.hadoop.yarn.api.records.ReservationACL;
import org.apache.hadoop.yarn.api.records.Resource;
import org.apache.hadoop.yarn.security.AccessType;
import org.apache.hadoop.yarn.server.resourcemanager.reservation.ReservationSchedulerConfiguration;
import org.apache.hadoop.yarn.server.resourcemanager.scheduler.fair.allocation.AllocationFileParser;
import org.apache.hadoop.yarn.server.resourcemanager.scheduler.fair.allocation.QueueProperties;
import org.apache.hadoop.yarn.util.resource.Resources;

import com.google.common.annotations.VisibleForTesting;

public class AllocationConfiguration extends ReservationSchedulerConfiguration {
  private static final AccessControlList EVERYBODY_ACL = new AccessControlList("*");
  private static final AccessControlList NOBODY_ACL = new AccessControlList(" ");
  // Minimum resource allocation for each queue
  private final Map<String, Resource> minQueueResources;
  // Maximum amount of resources per queue
  @VisibleForTesting
  final Map<String, ConfigurableResource> maxQueueResources;
  // Maximum amount of resources for each queue's ad hoc children
  private final Map<String, ConfigurableResource> maxChildQueueResources;
  // Sharing weights for each queue
  private final Map<String, Float> queueWeights;

  // Max concurrent running applications for each queue and for each user; in addition,
  // for users that have no max specified, we use the userMaxJobsDefault.
  @VisibleForTesting
  final Map<String, Integer> queueMaxApps;
  @VisibleForTesting
  final Map<String, Integer> userMaxApps;
  private final int userMaxAppsDefault;
  private final int queueMaxAppsDefault;
  private final ConfigurableResource queueMaxResourcesDefault;

  // Maximum resource share for each leaf queue that can be used to run AMs
  final Map<String, Float> queueMaxAMShares;
  private final float queueMaxAMShareDefault;

  // ACL's for each queue. Only specifies non-default ACL's from configuration.
  private final Map<String, Map<AccessType, AccessControlList>> queueAcls;

  // Reservation ACL's for each queue. Only specifies non-default ACL's from
  // configuration.
  private final Map<String, Map<ReservationACL, AccessControlList>> resAcls;

  // Min share preemption timeout for each queue in seconds. If a job in the queue
  // waits this long without receiving its guaranteed share, it is allowed to
  // preempt other jobs' tasks.
  private final Map<String, Long> minSharePreemptionTimeouts;

  // Fair share preemption timeout for each queue in seconds. If a job in the
  // queue waits this long without receiving its fair share threshold, it is
  // allowed to preempt other jobs' tasks.
  private final Map<String, Long> fairSharePreemptionTimeouts;

  // The fair share preemption threshold for each queue. If a queue waits
  // fairSharePreemptionTimeout without receiving
  // fairshare * fairSharePreemptionThreshold resources, it is allowed to
  // preempt other queues' tasks.
  private final Map<String, Float> fairSharePreemptionThresholds;

  private final Set<String> reservableQueues;

  private final Map<String, SchedulingPolicy> schedulingPolicies;

  private final SchedulingPolicy defaultSchedulingPolicy;

  // Policy for mapping apps to queues
  @VisibleForTesting
  QueuePlacementPolicy placementPolicy;

  //Configured queues in the alloc xml
  @VisibleForTesting
  Map<FSQueueType, Set<String>> configuredQueues;

  // Reservation system configuration
  private ReservationQueueConfiguration globalReservationQueueConfig;

  private final Set<String> nonPreemptableQueues;

  public AllocationConfiguration(QueueProperties queueProperties,
      AllocationFileParser allocationFileParser,
      QueuePlacementPolicy newPlacementPolicy,
      ReservationQueueConfiguration globalReservationQueueConfig)
      throws AllocationConfigurationException {
    this.minQueueResources = queueProperties.getMinQueueResources();
    this.maxQueueResources = queueProperties.getMaxQueueResources();
    this.maxChildQueueResources = queueProperties.getMaxChildQueueResources();
    this.queueMaxApps = queueProperties.getQueueMaxApps();
    this.userMaxApps = allocationFileParser.getUserMaxApps();
    this.queueMaxAMShares = queueProperties.getQueueMaxAMShares();
    this.queueWeights = queueProperties.getQueueWeights();
    this.userMaxAppsDefault = allocationFileParser.getUserMaxAppsDefault();
    this.queueMaxResourcesDefault =
            allocationFileParser.getQueueMaxResourcesDefault();
    this.queueMaxAppsDefault = allocationFileParser.getQueueMaxAppsDefault();
    this.queueMaxAMShareDefault =
        allocationFileParser.getQueueMaxAMShareDefault();
    this.defaultSchedulingPolicy =
        allocationFileParser.getDefaultSchedulingPolicy();
    this.schedulingPolicies = queueProperties.getQueuePolicies();
    this.minSharePreemptionTimeouts =
        queueProperties.getMinSharePreemptionTimeouts();
    this.fairSharePreemptionTimeouts =
        queueProperties.getFairSharePreemptionTimeouts();
    this.fairSharePreemptionThresholds =
        queueProperties.getFairSharePreemptionThresholds();
    this.queueAcls = queueProperties.getQueueAcls();
    this.resAcls = queueProperties.getReservationAcls();
    this.reservableQueues = queueProperties.getReservableQueues();
    this.globalReservationQueueConfig = globalReservationQueueConfig;
    this.placementPolicy = newPlacementPolicy;
    this.configuredQueues = queueProperties.getConfiguredQueues();
    this.nonPreemptableQueues = queueProperties.getNonPreemptableQueues();
  }

  public AllocationConfiguration(Configuration conf) {
    minQueueResources = new HashMap<>();
    maxChildQueueResources = new HashMap<>();
    maxQueueResources = new HashMap<>();
    queueWeights = new HashMap<>();
    queueMaxApps = new HashMap<>();
    userMaxApps = new HashMap<>();
    queueMaxAMShares = new HashMap<>();
    userMaxAppsDefault = Integer.MAX_VALUE;
    queueMaxAppsDefault = Integer.MAX_VALUE;
    queueMaxResourcesDefault = new ConfigurableResource(Resources.unbounded());
    queueMaxAMShareDefault = 0.5f;
    queueAcls = new HashMap<>();
    resAcls = new HashMap<>();
    minSharePreemptionTimeouts = new HashMap<>();
    fairSharePreemptionTimeouts = new HashMap<>();
    fairSharePreemptionThresholds = new HashMap<>();
    schedulingPolicies = new HashMap<>();
    defaultSchedulingPolicy = SchedulingPolicy.DEFAULT_POLICY;
    reservableQueues = new HashSet<>();
    configuredQueues = new HashMap<>();
    for (FSQueueType queueType : FSQueueType.values()) {
      configuredQueues.put(queueType, new HashSet<>());
    }
    placementPolicy =
        QueuePlacementPolicy.fromConfiguration(conf, configuredQueues);
    nonPreemptableQueues = new HashSet<>();
  }

  /**
   * Get the map of ACLs of all queues.
   * @return the map of ACLs of all queues
   */
  public Map<String, Map<AccessType, AccessControlList>> getQueueAcls() {
    return Collections.unmodifiableMap(this.queueAcls);
  }

  @Override
  /**
   * Get the map of reservation ACLs to {@link AccessControlList} for the
   * specified queue.
   */
  public Map<ReservationACL, AccessControlList> getReservationAcls(String
        queue) {
    return this.resAcls.get(queue);
  }

  /**
   * Get a queue's min share preemption timeout configured in the allocation
   * file, in milliseconds. Return -1 if not set.
   */
  public long getMinSharePreemptionTimeout(String queueName) {
    Long minSharePreemptionTimeout = minSharePreemptionTimeouts.get(queueName);
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redpajama_set_name: RedPajamaGithub


text:
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Review of Elizabeth Goodstein, Georg Simmel and the Disciplinary Imaginary
Simmel's Borderline Sociology: On Elizabeth Goodstein's Georg Simmel and the Disciplinary Imaginary
Reviewed by Mark Featherstone, Keele University
Elizabeth Goodstein's new study of Georg Simmel's borderline sociology is a labyrinthine work, situated somewhere between philosophy, sociology, and cultural history, and a valuable contribution to understandings of Simmel's continuing importance for interpreting the contemporary world. Following her earlier study of boredom and modernity, Experience without Qualities (2004), Goodstein, who is currently Professor of English and Liberal Arts at Emory, has written a book that requires her reader to immerse themselves in Simmel's thought in order to fully understand his continued relevance. Building upon Simmel's own view of his likely legacy as 'cold cash' for his interpreters, Goodstein's thesis is that his work has been cut up, understood in terms of fragments, and objectified in such a way that fails to recognise his overall contribution to thinking about the modern world without God. In her view, Simmel's sociological readers have tended to miss his modernist style, taking up the surface of his work, and failing to take account of the deep structure of his overall philosophical project concerning infinite reciprocity. In much the same way that Simmel's concept of money involves the reduction of continuous, related quality in the creation of fragments of quantity available for universal exchange, Goodstein's view is that the disciplinary, and specifically sociological, reception of his work has transformed his essays into cold cash, disparate fragments that can be used here, there, and everywhere, and that this has meant that the deeper philosophical quality running through his work has been largely lost and forgotten about. Since it is precisely this reduction that Goodstein tries to resist in her reading of his work, the challenge for the reader of her book is similarly to try to avoid sacrificing the whole to the part, and instead to seek to understand her overall project through the relationship between individual sections of her kaleidoscopic work, which it is possible to say cohere around the theme of a vision of infinite reciprocity that transgresses any attempt to contain the quality of relationality within the objective limits of either discipline or money.
At the start of her work Goodstein makes the claim that Simmel is a kind of borderline figure in sociology, who is simultaneously regarded as a founding father and marginal thinker, and the rest of her book explains and explores this tension in terms of Simmel's own work, which becomes a sociological-philosophical model for understanding the history of his reception in the emergent discipline of sociology. The complexity of Goodstein's project resides in the way in which she constructs and presents this story, moving between an exploration of Simmel's modernism and philosophy of money and his disciplinary reception and potential future political value, in such a way that creates a kind of parallax effect that requires her reader to hold two stories in tension at the same time. Brought together these two strands of the text's narrative form a fragmented whole (which resembles the structure of Simmel's own work where content is always form and form is always content) that sees individual essays contribute to an overall philosophical project focused upon Simmel's potential value for rethinking discipline in a world defined by relationality. Reading the development of Simmel's work from the first version of The Problem of Sociology (1894) through The Philosophy of Money (1900) to his later work The View of the Life (1918), Goodstein emphasises the importance of this overall philosophical project for understanding his contribution to modern thought (essentially, the ontological concept of infinite reciprocity), but also the reason he remains a marginal, borderline figure who sits uneasily on the very edge of both sociology and philosophy (on the basis that he falls between the two epistemes precisely because of his expansive coverage). This tendency towards universalism was, of course, present in Simmel's early Neo-Kantian work, which emphasised the epistemological foundations of inquiry, and also his final works in the field of life philosophy (The View of Life), where the concept of sociation is extended towards the idea of the infinite nature of reciprocity. For Goodstein, this project was never about establishing a rigid formal model for understanding the social world, but rather coming to terms with the endless flux of life in a post-Nietzschean universe without secure foundations. Thus Goodstein's Simmel is writing in the wake of Nietzsche's Zarathustra and his relativism is concerned with recognising the way in which the death of God takes away the transcendental signifier that could secure the ground of universal meaning.
Given this nihilistic situation, Goodstein points out that the importance of the fragment in Simmel's work is that it is able to function as a synecdoche, and a window onto the whole which it is no longer possible to think about in any kind of unified, totalised way. Where the idea of God had been able to unify and create a situation where social relations came together in a synthetic whole defined by belief, Simmel's modernism recognises that this is no longer possible in the wake of His demise. Against Hegelian synthetics, Goodstein explains that Simmel sought to found a new philosophy for a model of society fragmented by its lack of transcendental foundations. The effect of this recognition of the end of transcendence was that Simmel's brand of philosophy became immanent and sociological and fractured and perspectival since it was no longer possible to find a privileged viewpoint above society or a particular perspective within the forms of association making up society that would trump all others. It is because of this immanent perspectivism or relativism that Goodstein seeks to correct the standard view of Simmel as the sociologist of modernity (for example, she is critical of Frisby's (1986) work in these terms), by suggesting that it would be better to emphasise his cultural modernism and explore his contribution to the formation of sociology, rather than simply assert his identification as a sociologist in a straightforward way that ignores his situation on the border between philosophy and sociology. In explaining the link between Simmel's philosophy and sociology, Goodstein argues that his overall project was always animated by a desire to think philosophically, and understand the ontological relatedness of empirical phenomena under the surface, which could be revealed by phenomenological, sociological studies of particular cases or examples of forms of association.
The value of this strategy for Goodstein is that it was able to make sense of the fractured, complex, nature of the modern social world through individual cases, even though it could never suspend this complexity in some over-arching mechanistic worldview. This is, in turn, why Goodstein thinks her project of rereading Simmel and rethinking his borderline status is valuable in the present. Beyond the scholarly value of her project for philosophers, sociologists, and cultural historians, she suggests that the wider purpose of returning to Simmel, and excavating his philosophical-sociological project, is that his method of reading synecdochally may enable us to start to make sense of our own situation, caught in a rapidly changing world characterised by a maelstrom of apparently disconnected phenomena that seem to offer no final truths. As the modernist thinker of flux, and philosopher of sociological phenomena, Goodstein suggests that returning to Simmel could renew philosophy, but more importantly save sociology from its disciplinary straightjacket defined by quantitative methods and crude empiricism in order to make it more appropriate to the study of a world characterised by interconnectivity and a complete lack of foundations. As the synecdoche of synecdoches that simultaneously connects everything to everything else by virtue of its infinite exchangeability and reduces all quality to quantity in the form of objective, empirical, substance (cold cash), the exploration of Simmel's masterwork, The Philosophy of Money, sits at the heart of Goodstein's book. The technological innovation of money, which resides in the way in which it cuts into singular quality in order to translate it into commensurate quantity, takes on such importance for Goodstein because this process also explains Simmel's discipline (in this instance meaning training or correction) that entailed the transformation of his expansive philosophical-sociological project concerned with plumbing the depths of empirical phenomena into the cold cash of the sociological essayist focused on disparate cases without obvious connection.
In Goodstein's view this is precisely why Simmel is simultaneously considered a founding father of sociology able to shed light on modern social conditions, but also cast onto the very margins of the subject because of his apparent lack of a systematic vision. Goodstein's point here is that Simmel's wider vision, which was by no means systematic in the Hegelian sense, was contained in his philosophy, which is precisely what was lost in his conversion into a sociologist in the early 20th century by a range of interpreters, including the early Chicago School sociologists Albion Small and Robert Park. For Goodstein the problem of Simmel's readers is thus that they have emphasised the empirical, ontic, dimensions of his work and missed out the deeper philosophical, ontological aspects of his thinking with the result that the sociological Simmel is, in her view, a kind of partial Simmel. This is problematic because, she explains, the experiences of immersion and distancing are deeply embedded in the lived foundations of Simmel's modernism based in his life in late 19th / early 20th century Berlin. Indeed, Goodstein argues that the experience of living and working in Berlin is at the very heart of Simmel's work, and that he became a kind of personification of the city through his writings which captured the state of urban fragmentation and endless flux that characterised the period. Akin to Socrates who lived on the margins of Athenian society, Goodstein points out that Simmel never really found a home in the German university because its rigid disciplinary structures clashed with his own approach defined by the attempt to fuse philosophy and sociology which he developed on the basis of his lived experiences. In this respect, she explains that the loneliness of his path, and what she calls his 'painful marginality', was representative of his experience of the city.
But while Simmel's readers have tended to focus on the immersive dimensions of his work and the way he captured the experience of early 20th century Berlin, they have in Goodstein's view, lost sight of the sense of distance and estrangement that also constitutes his thought, meaning that they have never properly understood the stakes of his philosophical project which concern the ways in which the individual is made or subjectivated in cultural forms that they themselves also produce through their associations with others. In making this point Goodstein follows Levine, Carter, and Gorman (1976a,b) who noted the fragmented nature of Simmel's reception in American sociology in important papers published in the mid-1970s. Citing this influential work first published in the American Journal of Sociology, Goodstein points out that Simmel's readers have tended to take particular insights from his work, but never engage with his broader project that represents the modern condition through its complexity. While early readers of Simmel, including Nicholas Spykman (1925 / 2004), are thus criticised for their lack of fidelity to his overall project, Goodstein also takes issue with more recent works, and specifically Gary Jaworski's (1997) attempt to explain Simmel's broader thematic influence on American sociology, by suggesting that this ultimately shows how readers have made use of Simmel to support their own views through elastic interpretations, without real concern for the deeper, contextual meaning of his thought. Overall, Goodstein's view is that readers of Simmel from Spykman to Frisby have tended to attempt to order or systematise his work, with the result that they have lost sight of his modernism that is, in her account, essentially representative of his understanding of the social, economic, and cultural conditions of the early 20th century. This is, for example, how Goodstein reads Gianfranco Poggi's (1993) study of Simmel's book on money, which she thinks reduces the complexity of The Philosophy of Money and, centrally, seeks to position his work within a disciplinary logic that cannot really contain it. Although it is possible that Goodstein overstates the extent of Simmel's subjection to disciplinary structures through her choice of source material, because others, most notably Kemple (2007) and Pyyhtinen (2009), have recently explored his 'other sociology' concerned with boundaries and borderlines, her thesis is largely convincing in its exploration of his reception in American sociology and the hegemonic form of the discipline more generally.
In order to account for the origins of this process, and explain why Simmel was ultimately read back into discipline, Goodstein takes up the problem of subjectivation in the late 19th / early 20th century. Here, she argues that without the secure foundations of the theological universe to secure meaning, and organise subjectivity, the classical idea of bildung started to fail, leaving the natural sciences to modernise and materialise knowledge, but also understandings of what it means to be an individual. As a result Goodstein draws a line between the rise of the modern discipline, which represents a response to the death of God and the failure of transcendence, the emergence of the naturalised individual, who is no longer cultivated but simply represents a kind of objective fact, and the money economy, that objectifies and quantifies otherwise deeply embedded, qualitative social relations, in order to construct a vision of modernity that takes in the individual suspended in the objective money economy and that reaches an understanding of the world through discreet, disciplinary forms of knowledge. However, while these processes appeared to liberate the individual, value, and knowledge from their traditional, embedded situation, thus producing the excess of freedom the existentialists would later confront, Goodstein makes the point that Simmel recognised the dialectical negation implicit in these changes which meant that (1) the individual was cancelled by the very excess of individualism within the estranged collective, (2) value was undermined by the translation of quality into quantity that screens out anything incomparable, and (3) knowledge narrowed towards an object produced by a particular way of approaching the world. In each case what is lost, in Goodstein's reading of the value of Simmel's philosophy, when sociologists fail to take into account the deep structure of these changes is precisely an understanding of the effect of the abolition of the philosophical, ontological ground that would otherwise form the phenomenological base for individualism, evaluation, and thinking. Thus Goodstein emphasises the problem of failing to recognise Simmel's philosophical project, and only focusing on his sociological studies, on the basis that science, and by extension social science, cannot think beyond the empirical case in order to understand the ontological relation of everything to everything else without transcendental guarantee that forms the basis of modern social life.
For Goodstein, this failure to recognise the relativity of life is the problem of the contemporary financialised world, where everything is governed by the most abstract form of money (fictitious capital), and the techno-scientific university, where thought and knowledge are understood in terms of metrics which somehow pass judgement on the relationship of thinking to a narrow conception of ultimate truth, rather than the mobile relative vision of the truth that stands in a post-Nietzschean universe without transcendental foundations. Against this process of abstraction of quality into quantity, which ironically also involves a kind of crude materialist reduction of the movement of life into the immobility of the objective thing, Goodstein sketches out a new politics of knowledge through a discussion of Simmel's philosophy of money and method of sociation. From Simmel's point of view, working on the edge of the sharp separation of the humanities and social sciences, Goodstein shows how the new disciplinary structure looks like a fetish that is no longer really connected to life. This is, of course, exactly what money also achieves through the way it symbolises and quantifies every object and every quality, which is the reason why it is possible to connect the emergence of the money economy to the rise of the disciplinary imagination in the post-Nietzschean world without foundations. This is also the reason why Simmel becomes such as important commentator on the philosophical conditions that led to both the quantification of value in the form of money and the objectification of knowledge in the shape of the discipline that transformed him into a sociological founding father and philosophical stranger.
Given this borderline situation, the objective of Goodstein's project is to try to reclaim the full scope of Simmel's philosophical-sociological thought, in the name of responding to the flux of the present where interconnectivity has become a kind of first principle. The value of this work is that it has the potential of revealing the deep sociological, and potentially ecological, participation of everything in everything else in such a way that transgresses the limits of both the globalised money economy and the disciplinary university. Goodstein's book itself is divided into three sections, focusing on (I) Simmel's modernity, (II) his philosophy of money, and finally (III) his liminality in relation to what she calls the disciplinary imaginary. In the first part of the book Goodstein sets out Simmel's vision of vergesellschaftung or 'becoming social' that will be familiar to readers with a working knowledge of his approach. Explaining that this approach constitutes a pure form of sociology based on the study of association, she shows that this methodology never lapses into abstract formalism, simply because Simmel never suggests that there is anything called society beyond the constantly shifting relations between individuals who are made in these connections. In this way Goodstein responds to Durkheim's critique of Simmel's 'bastard speculation', which revolves around the idea that the focus on association creates a formal abstraction that is more than the sums of its concrete parts, by showing how form is content in Simmel's work. Although Goodstein never makes this point, it would actually be more accurate to say that Durkheim relies on abstraction (through the idea of the objective social fact), rather than Simmel who never looks to escape the reality of infinite reciprocity. However, Goodstein uses this debate to show how the Durkheimian social scientific approach started to form the discipline of sociology in the early 20th century, leaving Simmel marginalised working on philosophical studies of the social.
Moving into the second section of the book, which focuses on Simmel's philosophy of money, Goodstein explores Simmel's borderline methodology and builds a case for its continuing relevance today. Centrally she shows how money represents Simmel's key idea, the living reciprocity of elements, and follows this through his exploration of the separation of subjectivity and objectivity. Here, money leads to the hypertrophy of objective culture and the atrophy of subjective culture and produces a kind of nihilism of meaningless things. However, since money is a substantial representation of the relativity of life, it is possible to interpret economic culture in order to reach an understanding of the reality of infinite reciprocity or the life process. Paraphrasing Heidegger's (1954 / 2013) interpretation of the meaning of technology, which is never about technology, Goodstein thus shows that the meaning of money is not money itself, but rather exchange, endless mobility, and the quality of 'being given away'. By looking through money in order to see its deeper meaning, the focus of Simmel's work was thus to think beyond objectivity in the name of subjective culture based in thick social relations. Advancing this discussion, Goodstein outlines the meaning of culture for Simmel, which revolves around the way in which social interactions produce worlds. While objective relations produce quantitative worlds, where there is little meaning beyond number, subjective relations produce thicker worlds based in deeper connections, which then provide spaces for the subjectivation of individuals who are more than calculators. It is on the basis of this reading of Simmel's theory of kulturprozess, meaning the way worlds are constituted through particular ways of relating and thinking about relating, that Goodstein opposes his methodology, which is based in a fusion of the human and social sciences, to the disciplinary imaginary and the social science model that emerged from the end of the 19th century through the 20th century up to the present when the quantitative approach is completely dominant, at least from an institutional point of view. Given that Simmel thought that money was the symbol of the quantitative, objective form of life, Goodstein writes of his phenomenological method of cultural analysis focused on the interpretation on the empirical in the name of revealing the deeper ontological truth of reciprocity in terms of a homeopathic approach, where money culture (geldkultur), or the interpretation of money culture, is the ultimate cure for money culture.
In the third and final section of her book Goodstein extends this interpretation of Simmel's method through a discussion of his liminality (or borderline status) in relation to the hegemonic disciplinary form of the social sciences. Moving beyond The Philosophy of Money to focus on his 1908 book Soziologie, and in particular his revised version of The Problem of Sociology, Goodstein shows how Simmel clarified his methodological approach to studying historically specific, grounded cases in order to read out to more general, deeper ontological conditions. While the former level of analysis, which we might associate with discipline, produces a partial view of phenomena, Goodstein shows that for Simmel, only philosophy is able to extend empirical or, we might say following Heidegger, ontic insights into ontological understandings. Contrary to the partial view of quantitative social science, this in, from Goodstein's perspective, how Simmel's philosophical sociology is able to produce a comprehensive view of the becoming social (what Simmel calls super-individualism) of human and, I would risk the claim in relation to ecology, non-human life. Expanding upon her theory of Simmel as a borderline thinker, simultaneously founder father of and marginal figure in sociology, in the final part of her book Goodstein takes up his case through his own work on the stranger (The Stranger from his Soziologie) in order to argue that the name 'Simmel' represents a kind of limit or lack in the contemporary social sciences around their inability to think ontological questions. Noting that Simmel's stranger is simultaneously intimate and distant, and that the condition of being strange (fremdsein) is at the very heart of what it means to be social (we are never identical, the same, but rather different and therefore always strange), Goodstein suggests that Simmel is in this respect the philosophical sociologist for the 21st century on the basis of his very marginality in relation to the social sciences.
Reading Goodstein's book it is clear why Simmel matters today. In a globalised society characterised by hyper-connectivity, we are all simultaneously intimate and distant to each other, and in respect strangers. Goodstein notes that society is defined by the experience of the limit or boundary (grenzwesen), and in this way there can be no social system without marginal figures – the enemy, the criminal, the pauper – who in a globalised society are everywhere, simply because boundaries of all kinds have moved inside and become intra-social. The only absolute outsider in a globalised society would come from outer space. Given this situation where global hyper-connectivity has created a kind of hyper-social condition, it is clear to see how Simmel's stranger applies in the contemporary. As Simmel notes, from the very start the social individual (there is no other kind) is always split between being-with-others and being-for-themselves. The condition of being-social is always defined by the condition of not-being-social. Strangeness has, therefore, always been constitutive of the social condition, but this is surely even more apparent now, in a world which feels smaller and more intimate by virtue of globalising technologies. Of course, the globalised money economy symbolises this condition of universal strangeness, where we are all connected and occupy the same space, but also separate and distant from each other, but it is also not reflexive of this state of being because its base objectivity prevents it from recognising the truth of infinite reciprocity. The same is true, in Goodstein's view, of discipline, and in particular the social sciences, which tend to focus upon empirical cases to the exclusion of deeper philosophical insights, and for this reason never really get to grips with the ontological condition of universal participation in the whole that processes of globalisation simultaneously reveal and conceal.
It is certainly possible to interrogate Goodstein on this point, which we might capture through her interpretation of Wolff's (1950) reduction of Simmel's stranger who is empirically sometimes inside and sometimes outside of society rather than more radically, ontologically caught on the boundary of sociability, and particularly question the extent that this disciplinary reduction has taken place, simply because Kemple (2007), Pyyhtinen (2009), and others have read Simmel in precisely the more expansive philosophical terms she sets out in her work. Although this view suggests that Goodstein may overstate her case about the subjection of Simmel to the disciplinary imagination on the basis of her tendency to focus on his reception in American sociology, and that a 'still to be written history' of Simmel in European thought may lead to different conclusions about understandings of his modernism, I am not convinced that this overstatement is significant enough to undermine her thesis and would argue that her work remains an important contribution to thinking about the value of Simmel's 'other sociology' for decentring the hegemonic norm of the discipline that remains on the whole resistant to philosophical, speculative insights. This is ultimately why Goodstein thinks we need to read Simmel today. In order to really grasp and then address global problems produced by states of hyper-social interconnection, we need a philosophy of social relations that can enable us to think beyond the empirical case which occupies the disciplinary imagination. Against this closed model for producing knowledge, we need to be able to think in more expansive, philosophical-sociological ways. We need to be able to think strangeness. We need to be able to think other-wise. In this respect Goodstein has written a truly important book on Simmel and his place on the margins of the discipline of sociology, but beyond this I think she has also produced an equally important work on the need to think differently in a world defined by hyper-connectivity and what Simmel called infinite reciprocity.
Frisby, David (1986) Fragments of Modernity: Theories of Modernity in the Work of Simmel, Kracauer and Benjamin. Cambridge, Mass: MIT Press.
Goodstein, Elizabeth (2004) Experience without Qualities: Boredom and Modernity. Stanford, CA: Stanford University Press.
Goodstein, Elizabeth (2017) Georg Simmel and the Disciplinary Imaginary. Stanford, CA: Stanford University Press.
Heidegger, Martin (1954 / 2013) The Question Concerning Technology and Other Essays. New York: Harper.
Jaworski, Gary (1997) Georg Simmel and the American Prospect. Albany: SUNY Press.
Kemple, Tom M., (2007) 'Introduction – Allosociality: Bridges and Doors to Simmel's Social Theory of the Limit' in Theory, Culture & Society 24 (7-8): 1-19.
Levine, David N., Carter, Ellwood B., and Gorman Eleanor M., (1976a) 'Simmel's Influence on American Sociology: I' in American Journal of Sociology 81 (4): 813-845.
Levine, David N., Carter, Ellwood B., and Gorman Eleanor M., (1976b) 'Simmel's Influence on American Sociology: II' in American Journal of Sociology 81 (5): 1112-1132.
Poggi, Gianfranco (1993) Money and the Modern Mind: Georg Simmel's Philosophy of Money. Berkeley: University of California Press.
Pyyhtinen, Olli (2009) 'Being-with: Georg Simmel's Sociology of Association' in Theory, Culture & Society 26 (5): 108-128.
Spykman, Nicholas (1925 / 2004) The Social Theory of Georg Simmel. Piscataway: Transaction.
Wolff, Kurt (1950) The Sociology of Georg Simmel. New York: Free Press.
Mark Featherstone is Senior Lecturer in Sociology at Keele University. His publications include Planet Utopia: Utopia, Dystopia, Globalisation (2017).


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Paul Otto Manz (May 10, 1919 – October 28, 2009), was an American composer for choir and organ. His most famous choral work is the Advent motet "E'en So, Lord Jesus, Quickly Come", which has been performed at the Festival of Nine Lessons and Carols at King's College, Cambridge, though its broadcast by the neighbouring Choir of St John's College, Cambridge, in its Advent Carol Service precipitated its popularity.

His most famous organ works are his volumes of neo-Baroque chorale preludes and partitas. Paul Manz long served the church as recitalist, composer, teacher and leader in worship. He was Cantor Emeritus at the Evangelical Lutheran Church of Saint Luke, Chicago, Illinois; as well as Cantor Emeritus of Mount Olive Lutheran Church in Minneapolis, Minnesota. He was the director of the newly established Paul Manz Institute of Church Music, and was Professor Emeritus of Church Music at Christ Seminary Seminex at the Lutheran School of Theology at Chicago.

Biography
Manz was born to Otto and Hulda (Jeske) Manz in Cleveland, Ohio. Trained as an educator at Concordia Teacher's College in River Forest, Illinois (now Concordia University Chicago ) he earned a master's degree in Music at Northwestern University.

A Fulbright grant enabled him to study with Flor Peeters in Belgium and Helmut Walcha in Germany. The Belgian government invited him to be the official United States representative in ceremonies honoring Flor Peeters on his 80th birthday and his 60th year as titular organist of the Cathedral of Saint Rombout in Mechelen, Belgium. At that time, Flor Peeters referred to his former student as 'my spiritual son.'

Manz concertized extensively in North America. He appeared at Lincoln Center in New York City, with the National Symphony Orchestra, under conductor Geoffrey Simon, at the Kennedy Center in Washington, D.C., with the Chicago Symphony Orchestra at Orchestra Hall and with the Minnesota Orchestra under the direction of Charles Dutoit, Leonard Slatkin, and Henry Charles Smith. In addition, he played recitals in churches and cathedrals here and abroad. He was in great demand for his hymn festivals, which are his legacy as a church musician. He conducted many organ clinics, participated in liturgical seminars and appeared as lecturer and recitalist at the regional and national conventions of the American Guild of Organists.

The esteem and respect with which Manz is regarded can be seen in the many honors he received. He was twice named one of the "Ten Most Influential Lutherans," served as National Councilor of the American Guild of Organists and is listed as one of the "101 Most Notable Organists of the 20th Century." He was the recipient of many honorary doctorates and awards. Northwestern University, his alma mater, presented him with the prestigious "Alumni Merit Award;." The Lutheran School of Theology at Chicago presented him with the distinguished "Confessor of Christ Award"; The Chicago Bible Society presented him with the "Gutenberg Award; and the Lutheran Institute of Washington, DC honored him with the first "Wittenberg Arts Award." At a convention of the Association of Lutheran Church Musicians, his colleagues honored him for his work in the church. A large gathering in Minneapolis, Minnesota held a "Paul Manz Celebration: Honoring the Life of a Church Musician" where substantial gifts were given to the Ruth and Paul Manz Scholarship for Church Musicians.

Trinity Seminary of Columbus, Ohio bestowed the "Joseph Sittler Award for Theological Leadership" and among his many honorary doctorates is the Doctor of Sacred Music degree from Valparaiso University, and most recently, the Doctor of Music degree from St. Olaf College, Northfield, Minnesota.

As a performer, Manz was most famous for his celebrated hymn festivals. Instead of playing traditional organ recitals, Manz would generally lead a "festival" of hymns from the organ, in which he introduced each hymn with one of his famously creative organ improvisations based on the hymn tune in question. The congregation would then sing the hymn with his accompaniment. Sometimes he would play an improvisation between each sung stanza, as with his well-known variations on the tune, St. Anne, sung to the Isaac Watts text "Oh God, Our Help in Ages Past" with which he would traditionally end each festival. Many volumes of these improvisations have been written out and published and are played by church organists throughout the world.

From 1957 until 1976, while continuing to serve at Mt. Olive, Manz was called to Concordia College, St. Paul, as professor and chair of the Division of Fine Arts. He left this position in 1976 to return to full-time parish service at Mt. Olive - now as Cantor.  During his time there Paul developed the Hymn Festival  for which he eventually became known throughout the world. Having heard his first hymn festival in 1945, Paul recast the format, adding the unique approach of bringing a number of hymns together under a theme with appropriate readings interspersed. He also brought back the ancient practice of alternation during the singing of hymns. He started doing this at weekly services at Mt. Olive, eventually exposing a wider audience to it through hymn festivals.

His idea for the hymn festival began to germinate when he presented annual organ recitals at Mt. Olive: "I would always begin and end with a hymn; many people would come to those recitals, and I  found that they thoroughly enjoyed singing the hymns. So finally, instead of doing a recital with a hymn at the beginning and the end, I did a program with hymns only. It caught on like wildfire, and I have subsequently presented hymn festivals all over the world."
Concordia St Paul Memorial Service Program

Selected works

His musical compositions are internationally known. His organ works are extensively used in worship services, recitals and in teaching. His choral music is widely used by church and college choirs here and abroad. His motet, "E'en So, Lord Jesus, Quickly Come" is regarded as a classic and has been frequently recorded. His life and works are the subject of a doctoral dissertation which details his career spanning more than fifty years and analyzes his organ works.

References

9.  The Journey Was Chosen: The Life and Work of Paul Manz (2007) by Scott M. Hyslop, Morning Star Music Publishers, St. Louis, MO
10. Paul O. Manz - The Enduring Legacy of the Hymn Festival (2014) by James W. Freese, Lutheran University Press, Minneapolis, MN

External links
Paul Manz Organ Series
A Portrait of Paul Manz
Ruth and Paul Manz Organ

American male classical composers
American classical composers
American classical organists
American male organists
Classical composers of church music
Valparaiso University people
American Lutherans
1919 births
2009 deaths
Musicians from Cleveland
Concordia University Chicago alumni
Bienen School of Music alumni
Lutheran School of Theology at Chicago faculty
20th-century American composers
20th-century organists
Classical musicians from Ohio
20th-century American male musicians
Lutheran Church–Missouri Synod people
20th-century Lutherans
Male classical organists


FC Barcelona Lassa won its dress rehearsal for the playoffs by fending off Khimki Moscow Region 83-74 in the final regular season game on Friday. Barcelona allowed just 42 points in the final 30 minutes after watching Khimki score 32 in the first quarter. Pierre Oriola led the way for Barcelona with 14 points, Kyle Kuric had 13 and Ante Tomic and Adam Hanga both tallied 12 points as the Spanish side won its sixth straight home game to finish with an 18-12 record. Barcelona had already clinched fifth place and a playoffs spot. Khimki ended its EuroLeague season by losing its final eight games for a 9-21 record for 13th place. Sergey Monia and Charles Jenkins both scored 13 points while Andrey Zubkov hit for 11 points and Andrew Harrison added 10 points and 4 assists in the loss.
Chris Singleton's three-pointer gave Barcelona its first lead, 3-2, but Zubkov had a great start for the guests with 7 points as Khimki led 5-10. Tomic scored twice and Kuric hit a triple to put Barcelona up 12-10 before the Khimki shooters heated up. Harrison nailed 2 three-pointers and Malcolm Thomas and Jenkins both hit one each in a 9-22 finish to the first quarter and a 21-32 lead for Khimki. Harrison's next three opened the second quarter. Hanga and Oriola answered for the hosts, trimming the gap to 26-36. Khimki hit the next 5 points with Jenkins detonating a fastbreak dunk and pushing the advantage to 26-41. Barcelona was finally able to get some defensive stops while Victor Claver had 5 points and Oriola added a pair of baskets in an 18-0 run to pull ahead 44-41. Thomas put back a miss to end the 6:39-minute scoreless drought and Khimki trailed 44-43 at the break. Jaka Blazic kept up Barcelona's momentum with the first 5 points of the second half for a 49-43 lead. The hosts' offense stalled for the next 6 minutes and Khimki pulled back ahead 49-54 thanks to 4 points from Jordan Mickey and three-pointers from Jenkins and Monia. Thomas Heurtel and Roland Smits combined for 3 free throws but Hanga's tough layup was the only basket for Barcelona in the final 8:46 minutes and Khimki was leading 54-58 after 30 minutes. Barcelona had a strong start to the fourth quarter, thanks also to an unsportsmanlike foul by Harrison, with Oriola hitting the 2 free throws and Kuric following with a three-pointer and Kuric's dunk after a Hanga steal made it 63-58. Monia responded with 2 three-pointers and Khimki was back up 65-66. Hanga sparked a decisive 14-2 surge with a three-pointer, a steal and a dunk as Barcelona went up 79-68 with 3 minutes to play. Khimki managed the next 6 points to make it a five-point difference but Oriola knocked down 2 free throws with 53 seconds left and Heurtel ended all the visitors' hopes with a tough layup with 19 seconds remaining.
Sergey Monia picked up a season-high 13 points to go with 6 rebounds and 1 steal in his 200th EuroLeague appearance. The 35-year-old Russian is one of 43 players with 200 games played in the EuroLeague, having lined up for CSKA Moscow, Dynamo Moscow and Khimki. Monia also has played in 104 games in the EuroCup.
Pierre Oriola came off the bench and really produced for Barcelona with 14 points on 6 shots from the field and 6 perfect free throws. He also had 2 rebounds, 1 assist and 2 steals.
Barcelona hit 23 of 35 (65.7%) two-pointers and 13 of 14 (92.9%) free throws while Khimki was held to 16-for-32 (50.0%) two-point accuracy and downed just 9 of 16 (56.3%) foul shots. Khimki was unable to use a 19-3 advantage in second-chance points coming off the visitors' 11 offensive rebounds.
Barcelona will now get ready for the playoffs with a showdown against Anadolu Efes Istanbul. Khimki meanwhile will concentrate on the VTB United League.
"We are happy about this victory. We can play very good basketball, but without defense we are an average team. We showed today the rhythm of the game. Khimki had 32 points in the first 10 minutes, and then after that we started to play basketball. Basketball without defense I cannot understand and don't teach this basketball. This is a very good message for the team, that everyone should take more responsibility, more intensity, especially in the one-on-one game on defense. Then we don't have any problem."
"I want to congratulate Barca on their good play and nice victory. I want to wish them good luck in the playoffs and for sure I wish for them to be in the Final Four. We had some problems with some guys because we had a tough game a couple days ago with Lokomotiv Kuban Krasnodar. The VTB United League was also very important because we are looking to play in the final, because the final would mean the EuroLeague next season. We are focusing on this. We lost a couple guys against Loko - Stefan Markovic and Alexey Shved - so we were playing today with eight guys and it's difficult to be good with eight guys. We fought well, we were motivated. But you saw that Barca was stronger. They are a better team than us at the moment."
"We didn't play our game today, especially in the first quarter. We let them play their game and we didn't play our defense. We definitely have to improve in these situations. Obviously, the game did not decide anything but still we are preparing ourselves for the next couple of games. It's nice to be in the playoffs. Obviously, last year we didn't have a chance. This year we improved a lot. We were more balanced this year. We played much better, especially at home. It's just the first step. It was our goal from the beginning of the season to make the playoffs, but we are still hungry and we will keep working to make the Final Four."
"It means a lot for this club, especially after two bad years, to be in the top eight again. We played against [Anadolu Efes Istanbul] two times this year: we won here, they won there. Very good team. They are playing amazing this year, especially on offense, but we will talk about Efes in about 10 days."


text:
Island Information
Clipper ship tied up at Packer's wharf, near schooner Shenandoah.
Pride of Baltimore II Makes Brief Stop in Vineyard Haven
Will Sennott
Tuesday, September 17, 2019 - 6:39am
There isn't much dockage for a 157-foot topsail schooner in Vineyard Haven Harbor. But when Capt. Jan C. Miles made a call to fellow schooner captain Bob Douglas that his vessel, Pride of Baltimore II, was seeking safe harbor, Mr. Douglas found a spot.
Graceful schooner after sunrise Monday morning. If winds are favorable, she is due to leave Tuesday. — Mark Alan Lovewell
After four months at sea, sailing through Lake Michigan, down through Lake Huron, up through Lake Erie, cutting through the St. Lawrence River into the Gulf, wrapping around Nova Scotia and cruising along the coast of the Maine, the historic vessel pulled into Vineyard Haven Sunday afternoon. The ship is tied to Packer's loading dock, where she awaits favorable wind to complete the final leg of her journey to her home harbor in at the northern ridge of the Chesapeake Bay.
On Monday Captain Miles stood aboard the ship as his 12-man crew oiled the 107-foot masts, painted swivel guns, varnished the wheel box and stitched a small portion of the 9,000 square feet of sail.
Captain Miles compared the routine maintenance of the vessel to the maintenance of an automobile. If she had an odometer, he estimated the ship would have registered well over 250,000 nautical miles — visiting more than 200 ports in 40 countries in North, South and Central America, Europe and Asia.
"It's like driving a car cross country," he said. "You can't change the oil while you're on the road."
The mission of the vessel is to serve as an ambassador for Maryland to maintain and develop both national and international relationships. But the Pride of Baltimore II is also a storyteller.
Uniquely built ship is based on the historic design of the Baltimore Clipper. — Mark Alan Lovewell
Not a replica, she is a uniquely built ship based on the historic design of the Baltimore Clipper, with a V-shaped hull that gracefully cuts through the water. Sleek and fast, the vessel can sail closer to the wind than many of her predecessors.
Framed in webbed shrouds of rigging that fell from the mast, Captain Miles gestured to the Shenandoah anchored 100 yards aft.
"The Shenandoah is a breed apart, but a close descendant of the Pride," he said.
The speed and maneuverability of the Baltimore clippers spawned a maritime history of equal parts crime and nationalistic rebellion. They were often used to smuggle contraband in the early 19th century, as they were able to outpace pursuit boats.
They were also made famous by their success as small and nimble warships. They played a vital role in defending Baltimore Harbor in the War of 1812 against the vastly superior, fully-rigged British Royal Navy — the battle that inspired the lyrics to The Star Spangled Banner.
Eventually, their sacrifice of cargo space for speed made them obsolete.
The first Pride of Baltimore was launched in 1977 to commemorate America's bicentennial, but was lost at sea along with the captain and three crew members during a violent squall north of Puerto Rico in 1986.
Capt. Jan C. Miles. — Mark Alan Lovewell
Pride of Baltimore II was commissioned the same year following an outpouring of public support. Pride II is 10 feet taller and 20 feet longer than the first.
Standing at the end of the wharf Monday, Stan Sersen was about to climb back aboard the Pride II. He is part of the guest crew aboard the vessel, and joined the voyage in Brockville, Ont. He lives in Baltimore and has a view of Pride II from his window when it is in her home harbor.
"It's emblematic of American patriotism," Mr. Gerson said, gesturing toward the 15-star flag billowing in the wind. "I still feel connected to that history today."
Captain Miles is expecting northeasts wind Tuesday morning that will set the ship on her course out of Vineyard Haven. Once on her way, she will sail at about 13-knots, 110 miles each day, toward her home harbor in Baltimore.
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Andy Murray produced a near flawless display of tennis against Canadian Milos Raonic in the fourth round to set up a quarter-final against Croat Marin Cilic tomorrow (Wednesday, Sept 5).
Murray has produced a mixed bag of US Open performances this year, but it seems he is peaking at the right time. He is just one match away from a potential heavyweight showdown with Roger Federer.
Murray, the British No.1, has once again enjoyed an excellent season, in reaching a final, semi-final and quarter-final so far in the three Grand Slams, but his maiden title eludes him. Murray did win the Olympic title, in a superlative performance against the great Roger Federer. That victory was made all the more sweet as he had lost to the Swiss maestro on the same court less than a month before in the Wimbledon final. Although it may have been viewed as a career-defining moment, Murray has still not won a Grand Slam title, despite reaching a quartet of finals.
The US Open has always been highlighted by Murray as "the one," as at Flushing Meadows he is not in the media spotlight, and surrounded by the hype that plagues the surly Scot at Wimbledon. The hard courts of New York seem to suit Murray and it was the first Grand Slam final he reached, back in 2008. He even won the junior title there in 2004.
Murray has yet to produce two outstanding performances in a row in this tournament, which may be a worry heading into his quarter-final showdown. Murray beat Alexander Dolgopolov in the first round without hitting his straps, but in beating Ivan Dodig in round two, Murray showed his full range of shots, and more importantly his attacking prowess.
His third round encounter against Spaniard Feliciano Lopez gave Murray his greatest challenge to date as despite winning the first two sets, Murray seemed to fade in the heat, and once again appeared to show his opponent that he was struggling with an injury. Murray did bounce back to win the fourth set, but every set he won was on a tie-breaks.
His opponent in the quarter-finals is Marin Cilic, who seems to be finding his best. The 13th seed needed five sets to win both of his opening matches against relatively unknown players. Cilic then beat Kei Nishikori in the third round, before beating Martin Klizan in straight sets in the fourth round. Klizan was the man who emphatically knocked out Jo-Wilfred Tsonga, but that epic match looked to have taken its toll, as Klizan faded as the contest wore on.
Murray and Cilic have met eight times before, with the Scot coming out victorious on all but one occasion. However that occasion will give the Croat confidence, as it occurred at the US Open back in 2009, when he shocked the tennis world with a straight sets demolition of Murray. The Scot is heavy odds-on in the betting at around 1/9 to win this match and Murray did beat Cilic at Wimbledon this year in a straightforward three-set victory in the fourth round. But having been upset by the Croat here before, he will not be taking anything for granted.
A repeat of that sensational upset is unlikely, as Murray has learnt a lot since then, and with new Coach Ivan Lendl, Murray's improved attacking game has reaped the rewards. The lanky Scot will be too strong, but Cilic should have enough to steal a set.
Betting Tip: Murray to win by a set score of 3-1 which is best betting odds of 3/1 with William Hill Bookmaker . (American residents only should bet with: BetOnline Sportsbook).


The Spirits Bay collection is inspired by the unique beauty of the Toterere shell; shaped by the ocean and the elements until only the strongest part remains. Crafted exquisitely in sterling silver, this striking pendant is a wonderful accessory for any woman who has achieved her dreams through hard work and perseverance. Dimensions: 35x25mm. Comes with a sterling silver toggle satin cord. Exclusive to the Spirits Bay Collection.
Disappointed that you have to organize for the leather necklace to be tied so you can wear it I would have expected from Michael Hill that you can unpack and wear without having to get it altered so you can wear your gift.


text:
Q: why wireshark can't track wget packet? When I use wireshark to track tcp packet, it works fine. But when I use wget command, it can't track. What's the problem ?
○ → wget http://superuser.com/questions/674605/what-is-type-of-icmp-packets-tcp-or-udp
--2016-10-01 10:50:36--  http://superuser.com/questions/674605/what-is-type-of-icmp-packets-tcp-or-udp
Resolving superuser.com... 151.101.193.69, 151.101.1.69, 151.101.65.69, ...
Connecting to superuser.com|151.101.193.69|:80... connected.
HTTP request sent, awaiting response... 200 OK
Length: 74235 (72K) [text/html]
Saving to: 'what-is-type-of-icmp-packets-tcp-or-udp'

what-is-type-of-icmp-packets-tcp-or-udp       100%[==============================================================================================>]  72.50K  37.3KB/s    in 1.9s

2016-10-01 10:50:39 (37.3 KB/s) - 'what-is-type-of-icmp-packets-tcp-or-udp' saved [74235/74235]

And wireshark gets nothing:

A: I got it, because I use VPN which causes the dest ip changed to VPN address .

redpajama_set_name: RedPajamaStackExchange


As if it weren't bad enough that authors have to come up with words to write down, we then have to winnow through them to take out the words that don't add anything.
These are the words to put into 'Find', and on each and every occasion they pop up, look at rewording and tightening your story. Don't be fooled into thinking this is a quick job. It will take you days of hard work and thinking, for the average novel. But it will be worth it. Really worth it.
That's my list. What would you add to it?
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Change your own dining area while using the perfect food table. The lounge is and also the of your dwelling, in which you serve up food items and also laughing out loud together with family in addition to friends. Pick eating pieces of furniture which fits your requirements makes the home a relaxed position to shell out time. This Ceramic Barn guideline will assist you see precisely how to show ones exuberance for design whilst you give your own living area having functionality along with style.
Square and also sq furniture: Every person while dining needs around 24" of span and a minimum of 12" connected with breadth to spread out and also eat pleasantly, consequently a rectangular table calculating 4' lengthy and 3'wide seats as much as three folks – a couple of for every single side. A different 12" involving duration each and every conclusion on the table chairs in place to 6 diners: two on each side, a person on the travel of the table and the other for the 12 inches in the table.
Game furniture: Your pedestal bottom lets for further lower leg place compared to a kitchen table with normal legs. Even though a new 5' rounded family table with feet helps out about three diners, the same stand that has a stand seats up to people.
Peak: Almost all food game tables usually are 30" substantial, and many couch chairs will be 17"–19" high. Regarding convenience and calf room, try to let at least 12" in the table for you to the top seating'seats.
Settlement: Diners should be able to move around the particular dining room table, get recliners and take a seat comfortably. Enable no less than 42" between the stand borders and also the wall structure and the table edge or any furniture.
Getting the balance right in between the size of a room pieces of furniture in addition to the quantity of readily available place boosts the design as well as performance of your room. A little stand inside a massive area might not become the focal point you seek, though some sort of stand that's larger sized could make the area experience cramped. Once you degree the table to be able to how big is the area, an individual preserve harmony as well as providing there is lots of space.