Globalization has significantly redefined the nature of governance in the water sector. Non-state actors—multilateral and transnational donor agencies and corporations, non-government organizations, markets, and civil society at large—are assuming a bigger role in public policy-making for water resource management. New discourses on neoliberalism, integrated water resource management (IWRM), public–private partnerships, privatization, and gender equity have come to influence water governance.
Drawing upon detailed case studies from India, Bangladesh, Nepal, Sri Lanka, and Bhutan, this volume shows the implications of these new global paradigms for water allocation and management practices, institutions and governance structures in South Asia. It suggests that, despite claims to the contrary, they have done little to further human well-being, reduce gender disparity, or improve accountability and transparency in the system. Steering away from blueprint approaches, it argues for a more nuanced and contextual understanding of water management challenges, based on local knowledge and initiatives. This book will be useful to those interested in political economy and water governance, natural resource management, environmental studies, development studies, and public administration, as well as to water professionals, policy-makers and civil society activists.
Vishal Narain is Associate Professor, Management Development Institute (MDI), Gurgaon, India.
Chanda Gurung Goodrich is Principal Scientist, Empower Women, International Crops Research Institute for the Semi-Arid Tropics (ICRISAT), Hyderabad, India.
Jayati Chourey is Assistant Professor, Symbiosis Institute of International Business, Symbiosis International University, Pune, India.


text:
Hylomyrma balzani är en myrart som först beskrevs av Carlo Emery 1894.  Hylomyrma balzani ingår i släktet Hylomyrma och familjen myror. Inga underarter finns listade i Catalogue of Life.

Bildgalleri

Källor

Externa länkar

Myror
balzani

redpajama_set_name: RedPajamaWikipedia


The Others is a small, black-and-white risograph publication that is composed with the intent to powerfully communicate a vengeful manifesto from the voices of scorned and experienced outsiders. The "otherness" factor is never disclosed, yet the consequences for its neglect radiate from each page. Strongly worded indictments fill The Others, creating a textual condemnation that feels verbal due to the simplciity and audacity of its design.


text:
WATCH: Spectacular NASA Video Shows Giant Eruption Arching High Above the Sun and Exploding Into Space
ImaGeoBy Tom YulsmanJul 2, 2015 6:24 PM
Source: NASA Goddard Spaceflight Center The Sun was very restless late in June. Starting in the third week of the month, it erupted with numerous flares and flung giant clouds of solar material, called coronal mass ejections, or CMEs, toward Earth. One result: A strong geomagnetic storm that caused the skies to ignite in spectacular displays of the Northern Lights much farther south than usual.
SEE ALSO: Another in a String of Flares Explodes From the Sun, Sending a Cloud of Solar Material Racing Toward Earth
NASA's Solar Dynamics Observatory spacecraft was there to capture all the action, including a gargantuan eruption on June 18th that arched high above the surface and then blew out into space as a substantial CME. You can see the giant arch of glowing plasma in the image above. Several Earths could fit under that arch! Make sure to click on the image to watch a spectacular video by the NASA Goddard Spaceflight Center covering about four hours of the event. Right now, the Sun is comparatively calm, and it is forecast to stay that way for the next several days. (For the latest three-day forecast from the Space Weather Prediction Center, go here.)
Ancient Humans and Their Early Depictions of the Cosmos
6 Amazing Images From the James Webb Telescope in 2022
Why Do The Stars Look Pointy in Images From the James Webb Space Telescope?
Citizen Scientists Are Using the JWST to Study Mysterious Brown Dwarfs
Totality Touches The Moon During The Lunar Eclipse
Why You Should Visit National Parks After Dark

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Get data based on different week start and end dates

<meta http-equiv="Content-Type" content="text/html; charset=utf-8"><title>Data</title>

name
last_name
email
start_date
end_date

venky
sai
ascd@gmail.com
2018-06-25
2018-07-01

raki
asd
ascd@gmail.com
2018-06-25
2018-07-01

rakesh
raki
ascd@gmail.com
2018-06-25
2018-07-01

venkatesh
sai
ascd@gmail.com
2018-06-25
2018-07-01

jhon
sai
ascd@gmail.com
2018-06-25
2018-07-01

venky
sai
ascd@gmail.com
2018-07-02
2018-07-08

raki
asd
ascd@gmail.com
2018-07-02
2018-07-08

rakesh
raki
ascd@gmail.com
2018-07-02
2018-07-08

venkatesh
sai
ascd@gmail.com
2018-07-02
2018-07-08

jhon
sai
ascd@gmail.com
2018-07-02
2018-07-08

venky
sai
ascd@gmail.com
2018-07-09
2018-07-15

raki
asd
ascd@gmail.com
2018-07-09
2018-07-15

rakesh
raki
ascd@gmail.com
2018-07-09
2018-07-15

venkatesh
sai
ascd@gmail.com
2018-07-09
2018-07-15

jhon
sai
ascd@gmail.com
2018-07-09
2018-07-15

venky
sai
ascd@gmail.com
2018-07-16
2018-07-22

raki
asd
ascd@gmail.com
2018-07-16
2018-07-22

rakesh
raki
ascd@gmail.com
2018-07-16
2018-07-22

venkatesh
sai
ascd@gmail.com
2018-07-16
2018-07-22

jhon
sai
ascd@gmail.com
2018-07-16
2018-07-22

I have data like this. If I select Start_date:'2018-06-25' and end_date:'2018-07-01'. I should get data from that week. If select any start_date and end date in the week. I should get that weeks data. Example Start_date:'2018-06-28' and end_date:'2018-07-09'. If I select Start_date:'2018-06-25' and end_date:'2018-07-11'. I should get three weeks of data. Is this possible?

A: SELECT * FROM yourTable WHERE start_date::date > '2018-06-25' and end_date::date < '2018-07-01'

A: instead of  Start_date:'2018-06-28' and end_date:'2018-06-09' you should use >= and <= in the where clause, it might look something like this:
select * from your_table where Start_date >= '2018-06-09' and end_date <= '2018-06-28'

redpajama_set_name: RedPajamaStackExchange


Hayes is a town in west London in the London Borough of Hillingdon. It is a suburban improvement arranged 13 miles west of Charing Cross. Hayes was created in the late nineteenth and twentieth hundreds of years as an industrial region to which private areas were later added to house production line laborers. Its improvement was ordinary of the Second Industrial Revolution – the production of new light building commercial enterprises on the edge of existing urban areas. Hayes has a long history, however, as the spot names of the zone demonstrations.
Until the end of the nineteenth century, Hayes was principally a rural and brickmaking region. Nonetheless, its area on the Grand Junction Canal and the Great Western Railway gave it various focal points amid the Industrial Revolution in the late nineteenth century. It was a direct result of this vicinity that the Hayes Development Company offered locales on the north side of the route, neighboring the waterway. Hayes' Beck Theater opened in 1977, and offers an extensive variety of visiting shows in an inviting present day building. The Beck is really a group theater, offering one-night shows, parody, show, movies, musical drama, and mimes.
Hayes' Botwell Green Library is arranged in the Botwell Green Leisure Center, which in 2010 supplanted both the old Hayes Library and the old swimming showers. The old pool building stayed abandoned tailing its 2010 closure, until Hillingdon Council decimated it in late 2012 having first provided for itself arranging authorization for a lodging plan on the site.
Escorts in Hayes will keep you company at any hour of day or night, they're available for hire, via email or basic phone calls. Astonishing girls in all shapes and sizes, from blondes to redheads, we even got a few bald ones, if a client wishes so, keep in mind that we don't shave the girls as per request. Hayes Escorts will make sure you feel comfortable and relaxed during your session, you can even request a sensual massage when the girl arrives.


text:
package com.taobao.android.multidex;

import com.taobao.android.dx.cf.direct.DirectClassFile;
import com.taobao.android.dx.cf.iface.FieldList;
import com.taobao.android.dx.cf.iface.MethodList;
import com.taobao.android.dx.rop.cst.Constant;
import com.taobao.android.dx.rop.cst.CstBaseMethodRef;
import com.taobao.android.dx.rop.cst.CstFieldRef;
import com.taobao.android.dx.rop.cst.CstType;
import com.taobao.android.dx.rop.type.Prototype;
import com.taobao.android.dx.rop.type.StdTypeList;
import com.taobao.android.dx.rop.type.TypeList;

import java.io.FileNotFoundException;
import java.io.IOException;
import java.util.Enumeration;
import java.util.HashSet;
import java.util.Set;
import java.util.zip.ZipEntry;
import java.util.zip.ZipFile;

/**
 * Tool to find direct class references to other classes.
 */
public class ClassReferenceListBuilder {
    private static final String CLASS_EXTENSION = ".class";

    private final Path path;
    private final Set<String> classNames = new HashSet<String>();

    public ClassReferenceListBuilder(Path path) {
        this.path = path;
    }

    /**
     * Kept for compatibility with the gradle integration, this method just forwards to
     * {@link MainDexListBuilder#main(String[])}.
     * @deprecated use {@link MainDexListBuilder#main(String[])} instead.
     */
    @Deprecated
    public static void main(String[] args) {
        MainDexListBuilder.main(args);
    }

    /**
     * @param jarOfRoots Archive containing the class files resulting of the tracing, typically
     * this is the result of running ProGuard.
     */
    public void addRoots(ZipFile jarOfRoots) throws IOException {

        // keep roots
        for (Enumeration<? extends ZipEntry> entries = jarOfRoots.entries();
                entries.hasMoreElements();) {
            ZipEntry entry = entries.nextElement();
            String name = entry.getName();
            if (name.endsWith(CLASS_EXTENSION)) {
                classNames.add(name.substring(0, name.length() - CLASS_EXTENSION.length()));
            }
        }

        // keep direct references of roots (+ direct references hierarchy)
        for (Enumeration<? extends ZipEntry> entries = jarOfRoots.entries();
                entries.hasMoreElements();) {
            ZipEntry entry = entries.nextElement();
            String name = entry.getName();
            if (name.endsWith(CLASS_EXTENSION)) {
                DirectClassFile classFile;
                try {
                    classFile = path.getClass(name);
                } catch (FileNotFoundException e) {
                    throw new IOException("Class " + name +
                            " is missing form original class path " + path, e);
                }
                addDependencies(classFile);
            }
        }
    }

    Set<String> getClassNames() {
        return classNames;
    }

    private void addDependencies(DirectClassFile classFile) {
        for (Constant constant : classFile.getConstantPool().getEntries()) {
            if (constant instanceof CstType) {
                checkDescriptor(((CstType) constant).getClassType().getDescriptor());
            } else if (constant instanceof CstFieldRef) {
                checkDescriptor(((CstFieldRef) constant).getType().getDescriptor());
            } else if (constant instanceof CstBaseMethodRef) {
                checkPrototype(((CstBaseMethodRef) constant).getPrototype());
            }
        }

        FieldList fields = classFile.getFields();
        int nbField = fields.size();
        for (int i = 0; i < nbField; i++) {
          checkDescriptor(fields.get(i).getDescriptor().getString());
        }

        MethodList methods = classFile.getMethods();
        int nbMethods = methods.size();
        for (int i = 0; i < nbMethods; i++) {
          checkPrototype(Prototype.intern(methods.get(i).getDescriptor().getString()));
        }
    }

    private void checkPrototype(Prototype proto) {
      checkDescriptor(proto.getReturnType().getDescriptor());
      StdTypeList args = proto.getParameterTypes();
      for (int i = 0; i < args.size(); i++) {
          checkDescriptor(args.get(i).getDescriptor());
      }
    }

    private void checkDescriptor(String typeDescriptor) {
        if (typeDescriptor.endsWith(";")) {
            int lastBrace = typeDescriptor.lastIndexOf('[');
            if (lastBrace < 0) {
                addClassWithHierachy(typeDescriptor.substring(1, typeDescriptor.length()-1));
            } else {
                assert typeDescriptor.length() > lastBrace + 3
                && typeDescriptor.charAt(lastBrace + 1) == 'L';
                addClassWithHierachy(typeDescriptor.substring(lastBrace + 2,
                        typeDescriptor.length() - 1));
            }
        }
    }

    private void addClassWithHierachy(String classBinaryName) {
        if (classNames.contains(classBinaryName)) {
            return;
        }

        try {
            DirectClassFile classFile = path.getClass(classBinaryName + CLASS_EXTENSION);
            classNames.add(classBinaryName);
            CstType superClass = classFile.getSuperclass();
            if (superClass != null) {
                addClassWithHierachy(superClass.getClassType().getClassName());
            }

            TypeList interfaceList = classFile.getInterfaces();
            int interfaceNumber = interfaceList.size();
            for (int i = 0; i < interfaceNumber; i++) {
                addClassWithHierachy(interfaceList.getType(i).getClassName());
            }
        } catch (FileNotFoundException e) {
            // Ignore: The referenced type is not in the path it must be part of the libraries.
        }
    }

}

redpajama_set_name: RedPajamaGithub


An article about Andre Haidu - by Gideon Lewensohn.
I met Andre Haidu for the first time in Jerusalem at his home in 1989. He told me at that time that music is like a mountain whose peak we can never reach.
This meeting gave me wings; the strength to come live in Israel to study with him.
A pupil of Zoltan Kodaly and Olivier Messiaen, Haidu is a sort of Bela Bartok of Chassidic music. Like his illustrious example and compatriot, he has been collecting a lot of niguns, spiritual melodies of various chassidic groups as well as from many other Jewish/Israeli communities. From this material he composed originals pieces. He wrote a very interesting study about the Meron Nigun and composed pieces on Mishna texts. Haidu is a great improviser too and has a phenomenal encyclopedic knowledge in both Torah-oriented and secular realms.
When I first began to learn with him I was a little disappointed. This was the time of the Oslo Accords, prior to the assassination of PM Rabin. At that time, Israeli society was not, on the whole, interested in that which is connected to religion.
I had come to Haidu for his piece "The soul descends into the body" created around a Lubavitch (Chabad) nigun. However, Haidu was more interested at that time to be recognized beyond Israeli borders, to become an international composer.
I have heard that he has recently returned to the music of the nigun and leads a band composed of some of his former students. They improvise on Chabad niguns. Could my own Techelet Ensemble experience have influenced him? Who knows? But what I do know is that the listening of that same piece I speak of, "The soul descends into the body" is what inspired in his students a strong desire to work on nigun melodies.
- the Neshama Yoredet Betoch ha guf ("The soul descends into the body").
Andre Hajdu was born in Budapest (Hungary) in 1932. He studied there at the Ferenc Liszt Acadamy under Szervanszky and Ferenc Szabo (composition), Szegedi (piano) and Zoltan Kodaly (ethnomusicology).
In 1956 he emigrated to Paris and continued his studies at the Conservatoire National de Musique under Darius Milhaud (composition) and Olivier Messiaen (philosophy of music).
Since 1966 he lives in Jerusalem. He taught at the Rubin Academy of Music both in Tel-Aviv and Jerusalem. As a researcher he studied Gypsy folk music and Jewish klezmer and hassidic repertoires and published several articles on these subjects.
As a composer he wrote a great deal of compositions consecrated to Jewish topics (Ludus Paschalis, Jonas, The false prophet, Dreams of Spain, Job and his comforters, Mishna songs). Several books are consecrated to music teaching through a creative approach (involving the player in the process of composing) such as "Milky Way", Art of Piano Playing, "Book of Challenges", "Concerto for ten little pianists".
His compositions were played by Orchestras and Ensembles such as the Jerusalem Symphony, Israel Chamber Orchestra as well as the Philadelphia, Leningrad, Berlin, Stockholm and Munich Philarmonics. Works available in CD: On Light and Depth (IMI), l'Ecclesiaste (RCA Victor-BMG), Teruath Melech (Plane), Dreams of Spain and Concerto for an ending Century (Hungaroton). In 1997 he received the Israel Prize for his lifework.
In 1977, the distinguished Israeli composer, André Hajdu, completed a rather surprising orchestral score entitled "Stories about Mischievous Children. " It took both the orchestra (the Israel Chamber Orchestra which had commissioned the work) and the audience by surprise. Its blunt affinity with the symphonic gestures of Gustav Mahler and Richard Strauss, and the introspective focus on childhood in a work for adults, were aesthetically and sociologically quite unprecedented in Israeli concert music.
For Hajdu, looking back into the 19th century was a reflection of his seeking his own personal past, allowing it to float up and partake in the creative process. "Stories about Mischievous Children" shows how Hajdu the child had his personal memories; however, as a musician, his musical memories are no less intimate and dear. Writing about André Hajdu does not just acknowledge his immense musical contribution to the repertoire of Israeli music: it also acknowledges his unique contribution to an important cultural and spiritual evolution taking place in Israel.
In early Israeli culture - the still new society armed with ideology - childhood was not a particularly welcome focal point. Israeli poetry, which was geared towards ideas and ideals, did not nurture any "I," not even with great poets like Uri Zvi Greenberg or Nathan Alterman. Poets such as Rachel and later Leah Goldberg, did focus on the "I" but then they could afford to, they were women after all... Men were to build a new reality in the old-new land and could not afford childhood to blur the vision with tears. It took a while for a younger generation of poets, from Natan Zach to Yona Wallach, to acknowledge the "I." The "I" in Israeli music is now gaining increasing presence as a kind of post-modernist response to the "I" in poetry. Hajdu was the one who planted some of these seeds in the two Rubin music academies in Jerusalem and Tel Aviv where he taught. Later, he stopped teaching there and has been focusing on his work with composers at Bar-Ilan University and at the High School for Arts and Sciences in Jerusalem. However, his impact on the younger generation of composers and performers goes far beyond those who attended his classes over the last 28 years.
Hajdu is so uniquely ordinary that one may justifiably suspect he is hiding a huge enigma. He detests any kind of uniform and will not easily surrender to any dress code, be it elegant or casual. His kippa (skullcap) is of the knitted type, very popular in nationalist religious circles. Its position on his skull, just above his forehead, makes this trivia very special. Professor David Flusser, an expert on early Christianity and a close friend, once remarked that with this particular positioning of his kippa, Hajdu reminds him of a mediaeval saint. Some 40 years ago, Hajdu was destined to become a national Hungarian composer when his gypsy cantata won an international prize in Warsaw. Instead he left for the west, graduated from the Paris Conservatory, and immigrated to Israel in 1966.
As a young and promising student of Zóltan Kodály at the Franz Liszt Academy in Budapest, he followed in the footsteps of the two giants, Bartók and Kodály. Armed with notepaper, pencil and romantic fervour, he made trips to remote villages in search of treasures he later discovered in his own heritage as well. These adventures turned out to be very significant in his development. Theodore Adorno points out in his writing on Mahler that the use of Chinese elements in Mahler's work tends to a sublimation of Jewish identity. The psychologically safe exploration of the musical childhood of the gypsies, as well as other ethnic groups, was a preparation for a more difficult and demanding exploration of the childhood of his own Jewish people. It is important to realize that the Bartokian and Kodalian interest in ethnomusicological research was not just an extension of national trends in Europe but also a recognition of the crucial importance of childhood in the psychology of the individual and the community.
In 1970, already in Israel, Hajdu tried to integrate ethnomusicological and psychological awareness in his compositions. Testimonium, a musical festival dedicated to the Jewish heritage staged his Ludus Pascalis, a miniature opera for men and boys' choirs, soloists and instruments, featuring texts from the Talmud, the Psalms, mediaeval Passover games and a variety of musical sources ranging from Christian hymns to Talmud study chants. No musical stage in Israel had yet experienced an artistic confrontation with history and identity to such an extent. The use of children on stage gave a psychological impact without precedent. Budapest was the womb from which Hajdu emerged and is the centre of his pendulum occillation from west to east. The orient-occident dialectic so typical of Budapest is a central feature in his cultural make-up. In a way, Budapest always remained part of the Austro-Hungarian Empire and a centre of its heritage. Yet it also contained the Magyar Asian elements which appealed so much to creative minds like Bartók and Kodály. This dialectical relationship was also reflected in the divergent backgrounds of Hajdu's parents, and, needless to say, this duality had a strong impact on his personality and development.
Andreas, known to all as André, was born in Budapest in 1932. His mother belonged to the upper-middle class Jewish community. Anything western was idolized and German was the spoken language at home. His father, on the other hand, came from the Debreçen area of the eastern Hungarian steppes, which is much less European than the rest of the country. His parents separated when André was a child and he was raised mainly by his mother. When he was 12, his mother, herself a piano player, sent him for piano lessons. These, however, were soon interrupted by the Nazi invasion of Hungary. André and his mother found shelter in a house which was protected by the Red Cross. After more than once miraculously escaping deportation to a concentration camp, they were sent to a ghetto just ten days before the Red Army entered Budapest and rescued its inhabitants from impending starvation.
In Budapest, André enrolled in the piano class of Mme. Kadosa at the Franz Liszt Academy. Kadosa was a very conventional and rather rigid piano teacher, not exactly compatible with Hajdu's effervescent personality. Fortunately, his rebellion took a positive turn and he developed a profound interest in improvisation and composition. This led him in 1949 to the composition department of the Academy.
The intellectual and artistic climate was very favourable and Hajdu befriended the painter Tibor Csernus and the architect Miklós Erdely who later became a leading avant-garde artist in Hungary and had a lasting influence on him.
As the pendulum of Hajdu's life swings, we find two other important cities. Paris to the west and Tunis to the east. In 1956, Hajdu fled Hungary in the hope of getting to London, but the lines at the British consulate in Vienna "were so long" that he settled for Paris instead. This typically offhand anecdote as Hajdu himself told it to me, expresses a childlike, impatient, nonchalant attitude towards reality. The impulsive choice turned out to be of great significance for him in terms of his cultural and intellectual development. For Hajdu, who was raised in an atmosphere which glorified the occident, Paris was the ultimate west: literature, theatre, opera, film and the Parisian cafés with their high intellectual voltage. One could sit for hours, think or argue, even if that meant less time for composition.
Indeed, a look at Hajdu's Parisian oeuvre shows no more than ten works over a period of ten years, yet nearly every one marks an approach, a mode of thinking which was unique and which was developed later on. Babeliana (1964) anticipated Mishnayoth (1971-72) in its stylistic diversity; Petit Enfer (1959) anticipated "On Light and Death" (1983-84) and Continuum. A guitar piece, Microcosmos (1965) anticipated five volumes for piano entitled "The Milky Way" and the Piano études (1975-86) and the "Book of Challenges" (1994). All of these works have in common the notion of the child and the pendulum, and they truly acknowledge either the child in the composer or the composer in the child.
At the Paris conservatory, Hajdu studied under Darius Milhaud and Oliver Messiaen. Among his class mates were Gilbert Amy, William Bolcom, Philip Corner and Paul Mefano, to name just a few. In Paris he met a variety of stimulating people from the playwright Samuel Beckett to Prof. Israel Adler of the Hebrew University, who brought him on his first visit to Israel in 1966. Though neither Milhaud nor Messiaen taught composition in the strict sense of the word, both made a lasting impression on him. Milhaud's nonchalant imperturbability, his personality as a composer whose work is brilliant and skillful but never pathetic, echoed and reinforced Hajdu's own leanings. This attitude allowed Hajdu to develop a stylistic diversity that contrasted strongly with the contemporary striving for "a new language" as a supreme value. Messiaen, a devout Catholic, attributed great cosmic significance to every sound and devised a theosophical theory of musical composition. The relationship with Messiaen was complicated. His qualities and knowledge were of great inspiration yet the hermetic system of metaphysical application in his music was quite unacceptable to Hajdu who wanted to maintain the swing of the pendulum.
During the Paris period, Hajdu visited London, Darmstadt, Vienna and Biarritz. The eastward swing of the pendulum in the direction of Tunis was a result of job-seeking; however it turned out to be a critical step in the preparation for Jerusalem a few years later. The Music Conservatory in Tunis offered him the job that Paris had not. It also offered him an opportunity to live in a place free of dense western intellectualism and projections. Form no longer mattered that much. There was a meditative improvisando state to replace it. In 1969 in Tunis, he composed the "Diary from Sidi Bo-Said" for piano solo. Another achievement was discovering a yet unknown type of Jew: not the cosmopolitan Hungarian Jew or the assimilated French Jew, not even idealistic Zionists or the religiously observant; but just "ethnic" Jews, clearly part of a "people. " Upon his return to Paris in 1961, a heightened interest in Jewish studies started to develop, while on a job as a film composer in Rome working on a Canadian feature which was being filmed in Greece. The editor was a bright and scholarly observant Jew who brought the work to a halt every Sabbath eve. One Sabbath afternoon he introduced Hajdu for the first time in his life to the Talmud. Upon his return to Paris, he started attending a beginners' class in Talmud.
In Jerusalem, Hajdu met the composer Joseph Tal who was thrilled with the score of Petit Enfer and immediately contacted Prof. Oeden Partos, the director of the Rubin Academy in Tel Aviv. A job offer at the academy ensued and Hajdu settled permanently in Israel. For almost two years Hajdu indulged in a very intense but private study period of the Mishna (Jewish oral law codified in 200 ce), not in the traditional study hall, but at his piano at home. The result was the cycle, "The Floating Tower, " 56 settings of mishnaic texts for voice with piano, chamber music combinations and orchestra, as well as choral settings. The stylistic versatility ranges between Renaissance and 20th century music.
Hajdu introduced "childhood" into Israeli music and musicology. He wrote music using recollections of music from the past and he began composing "new" music that young pianists wanted to play. He introduced improvisation, outside the jazz genre, into the curriculum at the Rubin Academy. He spent days and nights researching hassidic music at a time when only "oriental" Jewish music was considered a politically "correct" topic. Finally, he introduced texts from the mishna into the repertoire of Israeli choral ensembles.
Israeli culture woke up one morning and to its amazement found its socialist-inclined irreligious kibbutz members singing texts from sources that were still considered culturally "dangerous." At the same time, Dan Almagor wrote a show of hassidic songs and stories presented by young Israelis in jeans and playing guitars. East European Jewish folklore was "rehabilitated." Next was to come the awakening of "ethnic" expression of sephardic Jews as a legitimate expression of Israeli society. The childhood of Jews as a collective as well as individuals started a revolution which ignited a powerful interest in the religious childhood of the Jewish people.
For Hajdu, all history, whether personal or national, is a kind of childhood. This becomes clear when we realize that for Hajdu music has its own childhood and perhaps its own nightmares. The tick of the metronome, marking passing time in our western linear minds, is not permitted to take over. The child with his fantastic perception of events must stay along, and his voice must be heard regardless of adult perplexity or embarrassment.
No mistake should be made, Hajdu is not naive, as neither Mahler nor Chaplin were. Childhood as a focal point, overt or hidden, is not necessarily an indication of naivété but may also serve as a sophisticated method of manipulating the defense mechanisms of both the speaker and the listener, the composer and the audience. In Hajdu's idiomatic world, the theatrical function of the child appears again and again. It is a boy soprano who sings a mishnaic text about women dying in labour in "The Floating Tower." At the end of that mishna, the orchestra bursts out in a typical Mahlerian sigh, while the boy singer abandons words and concludes with syllables. The effect is irresistible and the audience is left to choose between a smile, a tear, or both.
The Christian children in Ludus Pascalis come back, 20 years later, in his cantata "Dreams of Spain" (1991). This semi-staged cantata deals with one of the most cataclysmic events in Jewish history, the expulsion from Spain of 1492. The mature Hajdu now chose an almost operatic grand gesture which clearly marked a new level in his development. This successful attempt paved the way for his next great work, an oratorio, "Job and his Comforters" (1992).
Utilizing Jewish themes, whether textual, conceptual or purely musical, is part of one unified quest which constitutes a dialectical search for both the personal and the communal childhood. Looking into the past was always a dignified and cautious objective of Israeli literature and music. But for years, Israeli artists and musicians were very anxious to be considered serious and were reluctant to dive into childhood, a step that carries the risk of having unwanted childhood traumas come to the surface. To conclude on a more universal tone, I would like to suggest that one can understand through Hajdu's idiom of "Child and Pendulum" the tragedy of much of contemporary western music, an art which in the last few decades has systematically locked itself away from its childhood. By reducing the power of musical memory, nostalgia and recollection and through the use of theoretical models and systems, both technical and aesthetic, in the process of eradicating childhood from the agenda of the contemporary composer, the music lover has found himself as a deserted child in an unknown land not having any tools to engage in a dialogue with his environment. It is possible that Hajdu's obsession with childhood in his composition and teaching is his response to the alienation he felt visiting Darmstadt's avant garde festivals in the 1950s. This alienation is shared by many music lovers today and perhaps we need a sensitive child to detect it and cry out.
Perhaps André Hajdu is that child?


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Global Governance of Science : Report of the Expert Group on Global Governance of Scienceto the Science, Economy and Society Directorate,Directorate-General for Research, European Commission. / Andanda, Pamela; Kaiser, Matthias; Nielsen, Linda; Stehr, Nico; Qiu, Ren-Zong.
Luxembourg : European Commission, 2009. 44 s.
Andanda, Pamela ; Kaiser, Matthias ; Nielsen, Linda ; Stehr, Nico ; Qiu, Ren-Zong. / Global Governance of Science : Report of the Expert Group on Global Governance of Scienceto the Science, Economy and Society Directorate,Directorate-General for Research, European Commission. Luxembourg : European Commission, 2009. 44 s.


Inspire deserving youth to become involved in sports by providing an opportunity to train at an elite level while emphasizing a strong commitment to education.
Auburn legend Bo Jackson went over the top against Alabama, excelled at two professional sports and has long been regarded as one of the best athletes of all time.
On Saturday, Jackson took the ALS Ice Bucket Challenge and did so in over the top style outside Bo Jackson's Elite Sports in Lockport, Illinois.
Jackson donned arm floaties, an inner tube around his waist, goggles and a snorkel as he was doused with ice water by a Bobcat machine.
NextNext post:Letters like this is why Bo does what he does.
Letters like this is why Bo does what he does.


text:
Home Collection Artists Peter Paul Rubens
Siegen 1577 - Antwerpen 1640
The Antwerp painter Peter Paul Rubens was appointed court artist to the Duke of Mantua in Italy at a young age. In 1603 he travelled to Madrid, where he was able to see the paintings of Titian and Raphael in the Spanish court. He subsequently travelled between 1604 and 1608 to Mantua, Rome, Genoa and Milan. He mainly studied the painters Titian and Michelangelo, and was very impressed by the work of Caravaggio, from whom he purchased a canvas. After returning to Antwerp, he worked until his death as court artist to the Spanish regents of the Netherlands. He built a house in Antwerp based on Italian villas, and started a flourishing studio. Countless artists, including such celebrities as Anthonie van Dijck and Jacob Jordaens, were trained in his studio. Rubens left much work to his assistants, but carefully oversaw everything. He was one of the most influential painters of his time and the greatest exponent of the Baroque in the north.
Evening landscape with timber wagon Peter Paul Rubens
The Martyrdom of Saint Livinus Peter Paul Rubens
The union of England and Scotland Peter Paul Rubens
The Three Crosses Peter Paul Rubens
Narcissus Falling in Love with His Own Reflection Peter Paul Rubens
The Martyrdom of Saint Peter Gaspar de Crayer
Portrait of a Woman Peter Paul Rubens
Saint Teresa of Avila's Vision of the Dove Peter Paul Rubens
Woman Riding an Elephant School van Fontainebleau
Partial Sketch of a Figure Peter Paul Rubens
Sketch of a Seated Woman with a Book (?) in her Lap (Fragment) Peter Paul Rubens
Lot and his Daughters Peter Paul Rubens
The Wrath of Achilles Peter Paul Rubens
Portrait of Louis XIII, King of France Jacob Louys
print Nicolaes Lauwers
Diana Hunting Deer Anthonie van Dyck


GoFundMe, the online company that hosted the fundraiser for Johnny Bobbitt organized by Florence couple Kate McClure and Mark D'Amico, announced Thursday it would pay Bobbitt the balance of any funds he didn't receive from the fundraiser amid an ongoing criminal investigation into the couple's handling of the funds.
Johnny Bobbitt, the homeless veteran whose generosity to a stranger inspired thousands of others to do the same, will be getting all $400,000 of the money raised for him after all.
GoFundMe, the online company that hosted the fundraiser for Bobbitt organized by Florence couple Kate McClure and Mark D'Amico, announced Thursday night it would pay Bobbitt the balance of any funds he didn't receive from the fundraiser amid an ongoing criminal investigation into the couple's handling of the funds. Previously the company had indicated it planned to pay $20,000 to an account set up by Bobbitt's attorney "to provide assistance" to him during the investigation.
"Johnny will be made whole and we're committing that he'll get the balance of the funds that he has not yet received or benefited from. GoFundMe's goal has always been to ensure Johnny gets the support he deserves," said a statement issued by the company and Bobbitt's legal team.
The statement cited the company's GoFundMe guarantee, which promises refunds to donors and payments to intended beneficiaries for cases of fraud or misuse of donations.
But there's fine print to the guarantee. For starters, GoFundMe's policy states the company has "sole discretion" to determine if donations have been misused and it specifies that refunds will be capped at $1,000 per donor per campaign.
For intended beneficiaries, the company promises to pay "undelivered balances" up to $25,000 but states in some circumstances it may refund donors in lieu of making payment to beneficiaries.
The company also lists a number of exclusions and requirements for donors and beneficiaries seeking refunds or undelivered balances, including a requirement that claims for refunds be made within 30 days of a donation. For beneficiaries, a request for a balance payment must be submitted within 90 days from the campaign's creation date.
GoFundMe, which boasts of relaying more than $5 billion in donations from more than 50 million donors worldwide, told the Philadelphia Inquirer on Thursday it planned to waive both the refund and repayment limits and the 30- and 90-day claim deadline requirements for the Bobbitt case, which has received global media coverage dating back to last year when the homeless man happened upon McClure after she ran out of gas on an Interstate 95 exit ramp in Philadelphia.
Bobbitt told her to wait in her car and walked a few blocks to a gas station, where he used his last $20 to buy her a red gas can.
McClure didn't have the cash to pay him back, but she returned a few days later with D'Amico to give Bobbitt some money, food and clothes as a thank you.
According to the most recent accounting, a total of $402,706 was raised from 14,347 individual contributors.
While the story once highlighted the public's generosity and GoFundMe's global reach, it has since become a cautionary tale about potential hazards surrounding charitable fundraising campaigns as Bobbitt sued the couple alleging they mismanaged the proceeds and potentially spent some of the funds on themselves.
The story took another turn last week, first when McClure's and D'Amico's attorney revealed that there was no money from the fundraising campaign remaining, and then when Burlington County Prosecutor Scott Coffina took the rare action of publicly confirming a criminal investigation was underway.
The office searched the couple's Florence home for several hours Thursday morning, removing a BMW the pair had purchased, as well as several bags and boxes. No criminal charges had been filed in the case as of Friday.
The couple could face potential civil penalties for violations of New Jersey's Charitable Registration and Investigations Act, which requires charitable organizations or initiatives that raise over $10,000 to register with the state Division of Consumer Affairs, which maintains a searchable database.
The law, which was created in 1994, applies to all fundraising for charitable purposes, regardless of whether money is solicited online through a site such as GoFundMe, or through direct mail, telephone or other means.
More than 24,000 charities have registered with the state since the law was created, according to Consumer Affairs.
Officials in the department's Charitable Registration section is responsible for reviewing charities for compliance during their initial registrations and annual renewals. Charities that fail to comply with the requirements can have their registration suspended or revoked or face potential civil penalties.
New Jersey's criminal statutes also can place strict restrictions on how charitable contributions are used and handled.
One example was a 2010 case involving the former treasurer of the South Jersey High School Ice Hockey League, who was convicted of misapplication of entrusted property for commingling funds raised for the hockey league with his own and used it for personal and business expenses. The Medford resident claimed he never stole the funds because he would later return the money to the league accounts to repay what he took, but he was still convicted and sentenced to a five-year prison sentence.
Another high profile Burlington County case involved Lori Stilley, a former Delran resident who was sentenced in 2013 to four years' probation and 500 hours of community service, for scamming money from friends, acquaintances and others by lying about a phony cancer diagnosis.
Throughout 2011, the fundraising activities on her behalf brought in more than $11,000 that was intended to help pay her medical bills, and Stilley also wrote and sold an e-book that generated more than $3,000 in proceeds, according to authorities.


Listen to the album "Discord4 Demos" by Audio Damage.
Discord4 is the latest version of our most popular and long-lived product, our Discord stereo pitch shifter. Originally modeled from the H910, Discord has long since become its own effect and a studio standby, and this version includes major additions to further stretch its capabilities.
Discord4 retains its pair of tempo-synced delays and bandpass filters from previous versions, and adds a reverb in the feedback loop (for easy access to "shimmer" effects). We have also replaced the modulation sources from the original with our all-new FLFO (Flexible LFO) design. Panorama controls are included to control the stereo width of the wet signal. Finally, soft saturation and limiting have been added or improved throughout the signal path, for an overall improved sound and added vintage-style warmth, and to allow for extreme feedback experiments without fear of overloading your DAW's channel.
• Reverb: A simple stereo reverb is added to the feedback path, for "shimmer" effects and further sound exploration.


Challenging but fair. It is a very beautiful, mature course. Most picturesque!
This is a stunning course, but the vast amount of natural habitat with dense vegetation makes losing balls an issue for the recreational golfer. The facilities are lovely, and the condition of the course is superb. The staff is most accommodating. This is not a course that can be walked as a practical matter due to the distance between some holes, so it is cart only for good reason.
This course set among orange groves is lovely and just challenging enough to be interesting but not overwhelming. It is not too hilly, so walking is possible for those who prefer that to riding in a cart.
This is a beautiful course, and the houses that adjoin the course are stunning. The conditions around some of the greens were not perfect, but overall the conditions were good. It is a very hilly course, so walking can be tiring.
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Larrakia, Larakiya, Larakeeyah, Larrakiya, Larrak-eah, Larrakeeyah, Larrakiha, Laragia, Larragea, Larrekiya, Larrakeeha, Larreekeeyah, Larikia, Larrikia, Larrikiya, Larriquia, Binnimiginda (coastal hordes), Gunmajerrumba (inland hordes), Marri (a southern horde).
Larrakia is a non-Pama Nyungan language from the Darwin region of the Northern Territory. Larrakia (N21) is an exonym (a name given by outsiders), but is commonly used in modern times by Larrakia people. Gulumoerrgin (N21) was an endonym (a name used by the people to refer to themselves and their language) in times past. This database uses Larrakia as a term that is commonly used, and documented in early historical sources (Michael Walsh, pers. com. 2018). Larrakia people are often referred to as 'saltwater people'.
Mark Harvey. Larrakia dictionary, ASEDA 0774.


Holidays in secondary classrooms can be a challenge because you don't want activities to seem too young or boring. Check out what other teachers are doing to make holiday celebrations fun in their classrooms.
Q1: Does your school celebrate the holidays? With what types of events or activities?
A1: As a school, we have a holiday concert where the choirs and bands perform. Then we have a school-wide sing along on the last day before holiday break.
1: Our school doesn't officially celebrate Christmas or not celebrate Christmas – it's more of a classroom thing. We're reading A Christmas Carol.
A1: We also added a family gingerbread house making night.
Q2: Do you celebrate the holidays in your classroom? With what types of lessons or activities?
A2: I love reading the play version of "A Christmas Carol"!
Q3: How do you keep students focused on curriculum during this month which is filled with special events and activities?
A3: I teach real content and keep up regular routines until the last day of school before holiday break.
Q4 & Q5: Share some resources for helping students think beyond themselves during the season of giving (e.g. blog posts, Pinterest ideas).
A5: I've also tried "Paying it Forward" with classes. One year we sang at an assisted living and made "grandfriends".


NKU guards Chad Jackson (top right), Tyler White (left) and center Jalen Billups (bottom right) struggle to rebound the ball against FGCU's Marc-Eddy Norelia (center) during NKU's 59-65 loss to FGCU. NKU lost to Florida Gulf Coast 59-65 at The Bank of Kentucky Center on Thursday, Feb. 12, 2015.
Coming off a huge Homecoming win over Lipscomb, the NKU men's basketball was hoping to repeat by beating the top team in the Atlantic Sun in the Florida Gulf Coast Eagles, but fell short, losing 65-59 in a nail-biter on Thursday night at The Bank of Kentucky Center in front of 2,226 fans.
After leading 37-35 at halftime, the Eagles outscored the Norse 30-22 in the second half to secure the season sweep over NKU.
Bezold said that one area in which the Norse struggle is being a "mature" team.
Tayler Persons led the charge for the Norse, leading with 19 points. Tyler White added 13 points as well, going 3-11 from beyond the three-point line.
NKU guard Tayler Persons shoots the ball during the second half of NKU's 59-65 loss to FGCU. NKU lost to Florida Gulf Coast 59-65 at The Bank of Kentucky Center on Thursday, Feb. 12, 2015.
The game was up and down for a majority of the 40 minutes played. There were 10 lead changes throughout the game and the score was tied five times.
The beginning of the game was close for the first six minutes. After NKU took a 11-9 lead with a little over 13 minutes left in the game, Florida Gulf Coast went on a 11-0 run to take a 20-11 lead with 10 minutes remaining in the first half.
The game was again back-and-forth until NKU went on a 17-5 run to close out the half on top by two at 37-35 after Tyler White nailed a buzzer-beater three-point shot to end the half.
Early in the second half, both teams had little runs of their own and it remained close until the final two minutes of the game.
Turnovers and free throws turned out to be the demise of the Norse in the loss. NKU turned the ball over 15 times, including a costly turnover late in the game when Persons passed it to Todd Johnson, who wasn't looking and the ball went out-of-bounds.
In the end, Florida Gulf Coast scored 19 points off NKU turnovers, while NKU only scored 11 points off 12 FGCU turnovers.
NKU also missed some important free throws, including Persons missing the first of a one-and-one with NKU down by four with 2:23 left. The Norse finished shooting 52.9 percent from the free throw line.
NKU crept back to within two points with 57 seconds left, until the Eagles' Jamail Jones' layup extended the Eagles lead back to four.
A costly turnover by Todd Johnson with 11 seconds left proved to be the end of the game, as Florida Gulf Coast's Julian Debose slammed it in the bucket to send the final score to 65-59.
The loss sends NKU's record to 10-14 overall and 4-5 in the Atlantic Sun.
The Norse return to The Bank of Kentucky Center on Saturday night at 7:00 p.m. to face Stetson.


Selling a lightly used 430EX, bought Jan 2008, just one year old this month. In a good and working condition.
Original package local box version.
Will throw in a diffuser free!
PM me your best price if you are interested.
Bought a 580EXII, so selling this 430EX.
Highest bid $345 so far.
Will try to close this by Sunday Evening.
Open up for sale again.


Being in a relationship with your significant other is bound to be filled with highs and lows. Having a healthy relationship involves a lot of effort, time and patience as the allure of new relationship peters out and we begin to truly know and understand our own and our partner's relationship quirks, strengths and challenges. When you throw a massive wrench like cancer into the works, it inevitably exposes the work we need to do individually and as a couple to evolve. Let's take a look at why that might be happening, and reflect upon some ideas that might help you and your partner grow together through the process, rather than apart.
First and foremost, when the crisis of a cancer diagnosis happens, you are in a constant process of triaging the most important issue/concern/need of the moment. This often creates a backlog of things that have not been attended to. The person who has been diagnosed is the focus of support, which can lead to loved one's needs being neglected, especially if the system is facing multiple stressors (health, financial, children, etc) at once.
A common scenario is that the person who is diagnosed becomes immersed in the health crisis and therefore less available, and the partner becomes immersed in managing everything else and therefore less available. The image that comes to mind is of a camel, initially the camel is able to sustain the strain on it's system because it has it's reserve of water and energy stored for a long haul. Yet, if the camel does not have regular infusions of water and food, it becomes weaker and weaker. This metaphor can apply to a couple managing the crisis of cancer, over time the reserve of intimacy will be spent if it is not replenished.
To add to the challenge, we each have our own unique way of managing stress, and when you are under pressure it is much easier to misread and/or personalize incidents. Communication struggles that were present before become amplified if we aren't mindful. We may feel desperation to process difficult things, like death anxiety, which may be intolerable to the other person. Our community may not be able to see or appreciate the individual and family needs, which can deepen the sense of isolation.
With this in mind, developing a compassionate approach with one another can ease the tension and provide some breathing room in the moment. Compassion is the art of bringing kindness into our relationship with our selves and our partners. We often turn towards criticism of self and others as a mean of trying to change or control a situation, which only does harm. A compassionate approach may include asking for a change, but the emphasis is on being able to communicate from the heart about what you observe about yourself, your partner, the situation and the needs. When we attempt to show our partner that we are trying to "walk in their shoes", we are building an opportunity for connection which repairs attachment. Time, patience and practice are necessary to reap the rewards of this form of communication.
We frequently need to revise our expectations for situations, especially when they are causing tremendous challenge. Most of us have inadequate preparation for facing a life threatening condition, and that vulnerability can cause us to become defensive. Some will rise to the challenge, others need extra support to get there. Discussing this with your treatment team is really important, in order for them to connect you to the professional available. It's not a time to be shy to ask for help.
– Stephanie McLeod-Estevez, LCPC, is an art therapist and breast cancer survivor. She began Creative Transformations to help others who are healing from a life threatening illness or injury. Creative Transformations offers individual sessions, in person or via Skype, workshops, and this weekly blog. Sign up today so you never miss one by visiting: www.creative-transformations.com, where you will also find the links to our Facebook, Twitter and Instagram pages.
I will never forget the moment when my 9 year old son said to me, "I will probably get cancer one day". He said it in a rather matter-of-fact way, in the same way a child might say- "one day I will be old enough to drive". For me, it was like getting punched in the gut again by cancer, I was completely surprised and I felt sad. To have your children lose a part of their innocence so young is hard to witness.
I took a deep breath, I had all sorts of conflicting feelings, thoughts and desires, but I knew I needed to just reconnect with my breath and slow down.
Rather than launch into my own thoughts about this topic, I started off with a few questions to have him share more of his thoughts, concerns and feelings. This allowed me to stay present to his need, instead of dumping my needs on top of him and potentially making him more anxious with information that he didn't need to hear at that time.
I did my best to not make promises that I could not keep or that I have no control over. For example, I couldn't promise him that he would never have cancer. Yet when he asked to have genetic testing, I did explain that he could have that done once he was an adult if he still wanted it done.
We explored that while we couldn't necessarily control whether or not he would get cancer, that there were things we could do to support our own health and well being- including physical, emotional and spiritual health, and we identified what he does already to do this.
I took the opportunity to check in about any "leftovers" from the cancer experience that we had just been through as a family, explaining to him that often major life experiences will ask to be processed over and over again, as a way of healing.
It is a beautiful thing to watch how resilient and strong our children can be with support, information and attending to their worries and pain. Validation is a powerful intervention in our parenting toolbox. It isn't always easy to do, especially when our own feelings are triggered in the moment, but the reward of responding rather than reacting always pays off.
– Stephanie McLeod-Estevez, LCPC, is an art therapist and breast cancer survivor. She began Creative Transformations to help others who are healing from a life threatening illness or injury. Creative Transformations offers individual sessions, in person or via Skype, workshops, and this weekly blog. Sign up today so you never miss one by visiting: www.creative-transformations.com.
When I initially was diagnosed, we waited to understand the treatment plan before telling them what was happening. I was concerned because they both knew that my own mother had died from breast cancer before they were born, so I wanted to protect them from that fear as much as possible. Once it became clear that chemotherapy was going to cause me to lose my hair completely, we knew that we would have to discuss the side effects of my new medicine, but I was still hoping to protect them from the "C" word.
We sat them down to explain the side effects, and the first question out of my oldest son's mouth was- "do you have cancer?" Initially I was evasive, saying it was something like that. However, when he asked me the same question 6 weeks later, I knew that he needed to hear it. Telling the boys helped us all, making it easier to undergo the 5 months of chemo prior to surgery.
It opened the door for them to express their worries and fears. They needed to know if I would die, when I was in pain, to express their anger at the cancer. My youngest took it upon himself to tell anyone who seemed curious, "This is my mom, she's bald". He was also very proud to tell people when my hair was starting to grow again.
The day before the double mastectomy, the kids had a half-day of school. This meant that not only was I trying to squeeze in a full day of work seeing clients in my private practice, but I also had to juggle getting home in time to take them off the bus, take them with me for the plastic surgeon to draw the surgery lines on my body, and pick up my husband from his work (since we only had one car) so that he could drop me back off at work to finish meeting with clients. It was one of those days where if any of the timing were to go off, we would be in trouble.
At the end of the appointment, my amazing plastic surgeon turned to the boys and asked them if they had any questions for her. My oldest asked with a strained voice "Will she die?" and my youngest told her, while looking her straight in the eye, "If she dies, I will kill you." While of course we don't condone violence, to watch them be vulnerable, brave, protective and honest about their feelings made me so proud of them. I knew that they worried about me dying throughout the treatment process, and I was really impressed with the way that they were able to talk about it.
So if you have children and you are beginning this process, be prepared that they are quite intuitive. Keep it as simple as possible, allow their questions to guide you as to what they are prepared to hear and need to understand. Honesty with them will allow them to be more open with their feelings, as well as to keep the sacred trust intact. We were able to start attending a support group for families with critically ill members at the Center for Grieving Children in Maine, http://www.cgcmaine.org/, which was a blessing for all of us. Hopefully there is a program in your area as well.
– Stephanie McLeod-Estevez, LCPC, is an art therapist and breast cancer survivor. She began Creative Transformations to help others who are healing from a life threatening illness or injury. Subscribe now to the weekly blog and learn more about the individual sessions, offered in person and via the Internet, by visiting our website www.creative-transformations.com.


* An executable formalisation of the MCS-51 microprocessor in Matita. Dominic P. Mulligan and Claudio Sacerdoti Coen. Submitted to FMCAD 2011.
* [http://hal.archives-ouvertes.fr/hal-00524715/fr/ Certifying cost annotations in compilers]. Roberto M. Amadio, Nicolas Ayache, Yann Régis-Gianas and Ronan Saillard. Technical Report, Université Paris Diderot (Paris 7).


Yellow cornmeal polenta is similar to cornmeal mush and the best purchase is in bulk cornmeal quantities. Granulated corn meal or Polenta is very similar to mush, which is a dish of boiled cornmeal that is also often sliced and fried. Polenta is commonly eaten with sweet toppings such as maple syrup, but can be topped with any product to suit your personal tastes. Produced by Bulk Food Inc.
Ingredients: dried yellow corn.Repackaged in a facility that also processes products contain peanuts, tree nuts,soybeans, milk, egg, fish, crustaceans shellfish and wheat ingredients.


text:
Tuborg è una società danese produttrice di birra fondata nel 1873 e finanziata da Carl Frederik Tietgen.

Storia
Nel 1873 un gruppo di finanziari e banchieri si riunì per allestire un cantiere edilizio a nord di Copenaghen, proprietà del signor Jonas Thue, chiamata Thuesborg (castello di Thue).
In seguito l'area cambiò nome da Thuesborg a Tuborg.
Il 13 maggio 1873 venne considerato l'anniversario della nascita ufficiale della Tuborg, perché vide la nascita di Tuborg Factories Ltd.
Philip W. Heyman, direttore della Tuborg dal 1880, fu un personaggio molto importante poiché cedette le attività non remunerative della Tuborg Factories e concentrò gli sforzi su quella più redditizia: produzione e vendita della birra.

Si fuse con la United Breweries nel 1894 che dopo entrò tramite un accordo con Carlsberg nel 1903.
Nel 1970 fu acquisita definitivamente da Carlsberg.
Oggi, sono impegnati in una esportazione globale del prodotto.
La società è entrata di recente nel mercato irlandese.

Marchi
I marchi del gruppo Tuborg sono venduti in 31 paesi:
 Tuborg Green
 Tuborg Lemon
 Tuborg Christmas beer
 Tuborg Gold
 Tuborg Red
 Tuborg Twist
 Tuborg Black

Voci correlate

Carlsberg

Altri progetti

Collegamenti esterni

Aziende danesi
Birre danesi


Today saw the installation of Justin Welby as 105th Archbishop of Canterbury.
The service was moving, with many elements incorporated to reflect the international diversity of the worldwide Anglican communion. Although myself a Roman Catholic, I wish the new Archbishop of Canterbury the best and pray for him as he seeks to tackle the many challenges facing his church.
I was, however, momentarily distracted from the beauty of the service by this image of a protester in Canterbury, shown on the BBC News website here.
We'll let the misspelling of the word "privatise" go.
But both Pope Francis and Archbishop Welby can hang up their hats and go home, because this lady clearly has such a direct line to the Lord that she is able to tell us God's political stance on any issue of the day. With such an ability we should probably make her a Lord Spiritual so she can sit in the House of Lords and meddle in British lawmaking with the others.
Christ would "NOT" privatise the NHS? Really? What does He think about Clinical Commissioning Groups? Is it okay with Him if private firms perform non-clinical work for NHS hospitals (such as cleaning or catering), or must this be owned and managed by the state too? And I have a feeling I know her answer, but does our Lord support the renationalisation of the railways in Britain?
Why does the left have such a monopoly, a stranglehold on the idea of compassion in our country?
Why is it that to speak out against the state taking such a large, meddling role in all of our lives marks one out as a mean-spirited and cruel person, indifferent to the needs of others?
And why do we all buy in to the idea that in order to be charitable and compassionate, we must funnel our efforts to help our neighbours, the less fortunate and the downtrodden through an inefficient state bureaucracy?
If the counterargument is that people would be selfish and insufficiently generous without the heavy hand of government coercion and taxation to take wealth and redistribute to those in need, what does this say about the leftist's view of human nature?
Did it ever occur to this protester that perhaps it is directly because the state plays such a large part in everything that we do, from cradle to grave, that the church to which she belongs is withering and shrinking by the year?
I ask these questions because the answers to these issues of how best to act charitably, to help your neighbour and provide for those in need seem to be self-evident to so many on the left. Of course, they say, we must give more to the government so that they can give back to us according to our need. Certainly the newly-installed Archbishop of Canterbury, Justin Welby, seems to subscribe to this mindset, from what we know of his recent remarks.


text:
Weekly Briefing
Paul Salem, Marvin G. Weinbaum and Alex Vatanka
Khashoggi disappearance sends shock waves
In this week's briefing, MEI experts discuss recent and upcoming events including the disappearance of a journalist from the Saudi consulate in Turkey, the arrests opposition leader and prominent journalist in Pakistan, and Iran's decision to join the Financial Action Task Force (FATF).
Alex Vatanka
Rouhani's path to becoming Supreme Leader
At the heart of Rouhani's political message in 2013 and 2017 was the promise of fundamental political and economic reform, including negotiations with foreign adversaries such as the United States. If he cannot pull it off because Khamenei won't allow it, then Rouhani should put his case to the people.
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At long last: MUGS!! Popula Superfriends, our final Subscription Drive gifts will be mailed very shortly. Thank you!
Thank you again for your generous contributions to our first subscription drive. We are finally picking up the Popula Mugs at the end of this week, so your subscriber gifts will arrive in the next ten days.
We're already at work on the next Popula Digest Zine No. 2, which will be out to you in late May/early June.
We partnered with Amnesty International to co-publish an account of civilian casualties from the US bombings in Somalia, in comics form.
Shuja Haider remembers his late father.
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Pat is Professor of Cell Signalling in the Department of Biochemistry, Institute of Integrative Biology at the University of Liverpool, where he runs a multidisciplinary lab. He obtained an undergraduate degree in Biochemistry at the University of Bristol, and completed his PhD with Sir Philip Cohen at the University of Dundee. After 4 years of postdoctoral research in the USA with Jim Maller, he set up his laboratory in the UK with an MRC Career Development Fellowship in 2005. His interests include all aspects of protein phosphorylation and sulfation, analysis of protein kinase and sulfotransferase regulation, pseudokinases and pseudoenzymes and kinome-wide mechanisms of acquired drug resistance in cells. He teaches medical biochemistry and cell signalling, running modules explaining the biochemical mechanisms underpinning cell communication.
Director and academic lead of the Liverpool Enzyme Screening And Assay Facility. This facility provides an academic and commercial service for enzyme studies using differential analysis of modified fluorescent peptides. In 2014, we acquired a Perkin Elmer Caliper EZ Reader II system, and have access to multiple kinase inhibitor and FDA-approved drug libraries for screening using a huge number of enzyme and substrate pairings.


Your enthusiastic church youth group has car washes and bake sales to fund a life-changing summer mission's trip overseas … but all succumb to hellacious dysentery on the second day of ministry.
At last, the perfect man of your dreams asks you out ... but when you wake up from the whirlwind romance, you realize your dream's a nightmare!
Hallelujah, the powers that be finally give you the overdue raise and promotion … but the accompanying insane work hours force you to miss your son's game-winning touchdown.
Yes, after years of believing for a child, the little white strip finally smiles, "pregnant," but slowly your body feels like and resembles an alien mutation! The truth is ... a pregnancy is a setup for a baby. That adorable heaven-sent, cooing infant is accompanied by mounds of diapers, sleepless nights, projectile vomiting and no instruction manual!
For instance ... who doesn't love a beautiful wedding? The engraved invitations, carefully chosen soul-stirring music, fragrant blossoms, flickering candles, tuxedoed groomsmen, satin-gowned maidens, the charmingly nervous groom and the radiantly stunning bride in angelic, luminous, breathtaking splendor.
Isn't it foolish when we stumble attempting to carry the weight of the world on our shoulders instead of casting our cares on Him because He cares for us? Isn't it comforting to know that whether the wounds are from living in the combat zone of planet earth or self-inflicted in ignorance ... we have a Friend who understands, empathizes and heals our shattered hearts? He alone has the ability as Divine Creator to work our collected experiences and fashion us into His mirror image of love, goodness and glory.
My cousin, Michael, treasured a little hand-carved wooden box enshrining a silver ring and a broken tooth. Such is life ... the priceless and the brokenness in precious earthen vessels— shaped in suffering.


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Foie Gras... or Faux Pas?
A trip to an Upstate N.Y. foie gras (now illegal in CA) farm sheds light on the process.


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Historian traces century-old story of a Bennington family at war
Posted byCherise Madigan	 May 29, 2018 Leave a comment on Historian traces century-old story of a Bennington family at war
Originally published in the Bennington Banner on May 28, 2018.
One hundred years ago, more than 500 Bennington citizens left their homes in the Green Mountains in an effort to "make the world safe for democracy."
Of those men and women 16 would be killed — six from diseases like influenza — and 27 more would be wounded in action. Though many Bennington families contributed literal life and limb to the war effort, one name stands out in particular to local researcher Robert Tegart — who has dedicated himself to studying the social impacts of "The Great War" in Bennington.
Bennington's Larin family gave four sons to the allied effort during the First World War according to Tegart, both through the Canadian and American military. While three returned to Bennington wounded, however, one would not make it out alive.
Tegart, who became a member of the Bennington community a year and a half ago, has long enjoyed a love of history. Upon moving to the Green Mountains the retiree set to researching his new home's role in World War One, with a specific focus on the social impacts of the war.
"It goes back to my childhood, when my father and uncles went away to World War Two," explained Tegart, whose mother and mother-in-law also served the war effort on the homefront. "I like to look at communities and see how war impacted families; how they got through it, and how they carried on afterwards. That's my thrust here in Bennington — trying to figure out what happened on the homefront before, during, and after the war."
Tegart is no stranger to such in-depth study, having pursued a similar project in his former home of Clinton, NY. In Bennington, the citizen historian has scrutinized all records of the war to be found — utilizing the Bennington Museum, the Bennington Free Library, and Banner archives — to compile a masterlist of approximately 515 local residents who served in World War One.
"I put names in a spreadsheet as I found them, and when I sorted it by last name I noticed that there were four Larin's," Tegart said. "I came across some other groups of siblings too, but the four of them really stuck out."
'Lovers of peace,' sent to war
As the war began across the Atlantic in 1914, Bennington was rather isolated within the Green Mountains with a somewhat self-sufficient economy of farms and textile mills. Three years later, however, Bennington would shirk that isolation to contribute to the war effort.
"In this old Vermont town, we are lovers of peace but we are believers first in national fair play and integrity," read a Banner editorial in 1917. "We may have to enter the world war. If we do, let it be known that Vermont is not behind the rest of the union, nor Bennington the last place in Vermont in readiness for this duty."
Many Bennington residents enlisted, serving throughout all branches of the Armed Forces. These soldiers were not a diverse group, Tegart notes, with most born in Bennington — or elsewhere in Vermont — and of French or British heritage. With an average age of 24, many left behind the farms, mills, and shops of their hometown.
Not all who enlisted were men, though, as Tegart cites three Bennington area women who served either in the Army Nurse Corps or the Red Cross in France.
"These women were on the front lines," Tegart said, noting that women's groups also played a significant role on the homefront. "That was fascinating to me, in that era, when they couldn't even vote. I believe that one woman from Arlington was an ambulance driver, and she was one of the first people to enter a formerly occupied town with her ambulance. That's pretty gutsy."
Perhaps the largest wartime contribution from one family, however, bore the 'Larin' surname. A French-Canadian family who immigrated to Bennington at the turn of the century, the Larins and their six children eventually settled down on Bennington's Park Street. By 1917, Margaret Larin was a widow with two daughters — Louise and Margaret — as well as four sons: Joseph, George, Francis, and John.
Margaret's eldest son, Joseph, did not wait for the United States to enter the war effort, but rather returned to his home country of Canada to enlist at the age of 29. It was in 1914 that Joseph vowed to be "faithful and bear true allegiance to his majesty King George the Fifth" in his service with the Canadian Overseas Expeditionary Force.
Though there was no draft in Canada at the time, Tegart says that many French Canadians in Vermont felt compelled to do their "patriotic duty and return to join the forces."
Joseph was not the only brother to travel to Canada, but he was the only one to elist successfully in 1914 according to Tegart. The second oldest, George, enlisted in April 1915 at the age of 22, and was assigned to the 36th Battalion Canadian Expeditionary Force. Just as his unit prepared to depart, however, George was struck by temporary blindness and discharged as medically unfit on May 25, 1915. Though his younger brother Francis also tried to enlist in Canada, he was discharged for unknown reasons according to Tegart.
In France Joseph suffered from trench foot, and was wounded on two separate occasions. The second injury would prove most severe, with extensive wounds to Joseph's face and jaw culminating in a medical discharge.
"He was terribly wounded in the jaw, and this is 1915 so the medical sciences in terms of reconstruction weren't there yet," Tegart explained. "They put him back together with skin grafts, bone grafts… I've got the records of him in hospitals in France, then in Britain, and finally they brought him back to Canada."
After his bout of blindness George returned to Benington to work at Black Cat Textiles, and was inducted into the United States Army in April 1918. Just months later, on Oct. 9, George was killed in action and later buried in France's Meuse Argonne American Cemetery.
John, 21 at the time, was shipped off to France in 1918. Just two days before George's death, John was wounded in action with injuries to the face and jaw. The 26 year old Francis was drafted three days after John enlisted, and embarked for France in May 1918 — though he was wounded in action by a shot to the arm on July 31, 1918.
For a period of approximately six months, Margaret Larin received no information on the condition or exact whereabouts of her sons. It was not until the war was over in 1919 that the mother learned of her three sons in recovery, and received notice that George had been killed in action.
"I keep thinking of this poor mother, who at one point didn't know if her children were alive or dead," Tegart said. "I can't imagine what that woman went through."
Joseph spent several years in Canada recovering from his wounds, and later returned to Bennington to find work in the mills. As the Great Depression began, and employment became scarce, Joseph returned to Canada where he would die in 1952. John went on to work as a furniture salesman in Bennington, and was eventually employed by several local establishments including the Paradise Inn, the Four Chimneys, and the Monument Inn. Francis also returned to Bennington, working at Black Cat textiles initially and later opening Larin's Battery Shop in Bennington.
"Four brothers from Bennington left home to serve their country, and three would return to Bennington and Canada," wrote Tegart in his research. "Like many of the World War I veterans, these citizen soldiers would return to civilian life, pick up where they left off, and attempt to live out their lives in peace."
An ongoing effort
It was exactly 100 years ago that the Larins, and other Bennington families like them, saw their sons and daughters march off to war — some, like George, to never return. From Tegart's perspective, it's the impact that war has on those families that's most compelling.
"It really goes back to my parents, and their role in the second World War," Tegart said. "That war touched everyone, and I was curious if the First World War was the same way. Maybe not to the same degree as it was a shorter war, but it was certainly impactful."
Though Tegart has spent the last year and a half researching, he says there's still more work to be done. As there seems to be no trace of the Larin family in Bennington's modern-day records, Tegart is hoping that members of the community may come forth with stories, pictures, or letters regarding the Larins and other World War I veterans from the area.
Once he's satisfied, the citizen historian may even pursue research on Bennington in World War Two.
"People think that I'm a warmonger sometimes, but it's not war that I study," Tegart concluded. "I'm a pacifist. I'm not unpatriotic, I know that you have to do what you have to do, but I believe in looking at the social impact of all of this silliness."
Do you have documents, photos, or stories to share regarding the Larin's or other local World War One Veterans? If so, consider contacting researcher Robert Tegart at rttegs@gmail.com.


The Most Attended and Most Successful Clean Comedy Theater in the World! Featuring magicians, fire-eaters, jugglers, ventriloquists, comedians, live country and gospel music as well as the World-Famous Comedy Barn Canines. Bring the family to The Comedy Barn Theater for a night of entertainment everyone will love!
The Comedy Barn Theater is the award-winning family comedy variety show in the Smoky Mountains.
Their show features magicians, fire-eaters, jugglers, ventriloquists, clean family comedians, live country and gospel music as well as fun barnyard animals.


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Washington, D.C. Campus
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Public Relations Fundamentals | Washington, D.C.
Whether you're an entrepreneur, startup, small business, or just looking to up your media skills, this class will help you understand the fundamentals of public relations. You will learn how to use resources and skills to reach out to journalists for the optimal chance of getting media coverage for yourself or your business. You will also learn about what it means to run a PR campaign, what tactics are best, and what angles are most likely to make news when pitching the media. Plus, you will practice these skills in-class with practical applications of what you've learned.
How to find, craft and sell news worthy topics to the media
Differences between various media options such as, earned, paid, and social with a focus on earned media and tactics
About how the media machine works - why things get covered, why other things don't, how to branch out to get multiple points of - coverage in television, radio, print, and online, and how to think creatively to gain PR opportunities
How to build a strategic PR campaign to include other buzz worthy efforts like events and partnership opportunities
Able to gain a clearer idea of where to go from here, for your business, product, and yourself and how to advance in the marketplace
How to think like a publicist and run a campaign like one
Students who will benefit the most from this class will already possess good to advanced oral and written communications skills, a basic working knowledge of Microsoft Office Suite, and follow the broad news and social media regularly.
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Cosmo Coin (COSM) is a cryptocurrency token and operates on the Ethereum platform. Cosmo Coin has a current supply of 923,000,000 COSM with 670,780,889 COSM in circulation. The last known price of Cosmo Coin is 0.027043 USD and is down 7.02% over the last 24 hours. It is currently trading on 15 active market(s) with 2,386,493 USD traded over the last 24 hours. More information can be found at https://cosmochain.io/.


It's the beginning of Spring and it's time to add something new to keep students engaged and trying new things. They've done a lot of games with movement, trivia, and visual analysis to build knowledge, so I wanted something new yet familiar. Then it came to me. I searched for history crossword puzzles.
Sure enough, there are several sites that specialized in crossword puzzles. I found one that I liked. It had a huge selection of ready-made history crosswords and a crossword and word search generator. I had to try it.
1. Add words and hints.
I took words from a Quizlet deck and listed them in the left column. Then, I found a short piece from Quizlet that served as a good hint, which was pasted into the right column.
The check answers button is another time saver. I saved a PDF of this for my records when I PDFed the puzzle.
4. Save the puzzle to PDF.
I like to make PDFs whenever I can so that all of my lesson materials can be stored digitally in one place. Sure, hard copies are a must for an activity like a crossword (although there are ways to do it paperless, like with Google Sheets).
Right click (or your device's equivalent) and select print. You'll only get the puzzle, not the rest of the site, which is always helpful when developers set it up that way.
5. Store your puzzle in Drive (or somewhere reasonable).
Like I said, my puzzles are stored in Drive. If a teacher walked by my room and liked what he saw, I could share it immediately with the app on my phone. It literally takes 10 seconds to keep those kinds of promises.
This is all me working on the struggle – the never-ending journey that takes me away from the usual and leaves my students, occasionally, with a lesson that may stick long enough to be useful.
Hi there. This is a good resource.
As a Computing teacher my class is online, so I use Hot Potatoes (from uvic.ca) to make my crosswords in interactive html form.


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Eclipse Enterprise Java and Web Developer Tools
Enables Enterprise Java Bean, Java Enterprise Application, Fragments, and Connector, Java Web Application, JavaServer Faces (JSF), Java Server Pages (JSP), Java Servlet, Java Web Services, and Tag ...
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Includes the HTML, CSS, and JSON Editors, and JavaScript Development Tools from the Eclipse Web Tools Platform project, aimed at supporting client-side web development and node.js applications. Als...
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JBoss Tools is an umbrella project for a set of Eclipse plugins that includes support for JBoss and related technologies, such as Hibernate, JBoss AS / WildFly, CDI, OpenShift, Apache Camel, Red Ha...
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This plugin is a Highspeed JSON editor - designed to handle bigger files very fast. Especially files were JSON is in one line, which is normally a problem in eclipse: It often freezes /slows down e...
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The JSON Editor is a simple plugin for the Eclipse IDE that Supports every eclipse flavor (JavaEE, CDT, RCP, you name it!) Supports eclipse version 3.7 - 4.11.0 and most probably later...
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Head of Programme Development at International Inspiration (IN), Poonam Sattee, writes about her recent trip to Bangladesh, where IN works in partnership with the Centre for Rehabilitation for the Paralysed (CRP) to deliver the Access & Empowerment programme, funded by Comic Relief.
The key purposes of my visit and many of the IN monitoring and evaluation visits is to see how the programme is operating on the ground; observe activities and make recommendations and ensure our learning from the programme is disseminated and incorporated into future work and to build capacity around safeguarding.
An overarching objective of the Access and Empowerment programme in Bangladesh is to address the barriers that children with disabilities face when trying to access education. CRP provides assistive devices to children with disabilities such as wheelchairs and frames so they are able to access school buildings and they work with schools to ensure classrooms are physically accessible and children with disabilities have access to basic facilities such as toilets and drinking water pumps. These small changes can make a huge difference to the lives of children with disabilities so they can lead a life exactly the same as their peers. CRP is unlike no other charity that I have worked with. The scale of its operations are incredible – comparable to the NHS in terms of the breadth of the services it provides and has a presence in 9 other locations across Bangladesh – working to ensure their services are able to reach the most marginalised.
Across the sport for development sector, I have seen so many examples of where we just don't get it right sometimes. Placing the child in a wheelchair in goal at a football match isn't participation; it's tokenistic. Or the mandatory inclusion of girls in a team and yet the team still exclude them as they play; it just doesn't work. Children end up feeling more excluded than ever and can lead to an experience that is both damaging and negative of sport. CRP is one of the best examples I have come across of how to truly ensure sport is inclusive and how when it is done right, it can be the most empowering experience and I was able to see this first hand at an organised sports day event.
All the activities were designed according to ability to ensure equal competition and play (e.g. separate races for those in a wheelchair and those who use long trolleys and for patients with additional disabilities, they were given extra time or allowed to begin in front of others.) Even the spinal cord injury patients who had just emerged from surgery were involved through participation in the memory games where they looked at a series of objects and had 2 minutes to remember as many as they could. It is highly competitive in one sense because the determination of each participant and their excitement was clearly visible from their faces! On the other hand, there is an overwhelming sense of community and achievements are celebrated collectively, which for many patients, their participation in these events was something inconceivable before they began their treatment and rehabilitation with CRP.
A woman I met, Komola, told me that months ago her spinal cord injuries were so serious that she was confined to bed but thanks to CRP, she is able to move independently in her wheelchair and take part in the sports day. Sports are helping her to fine tune her coordination and motor skills, improve spatial awareness and mobility and improve her coordination. The pride in her eyes as she told me her story showed me that sport has touched her life more than words could ever express.
Discrimination against children with disabilities continues to be deeply ingrained. Disability is so often misunderstood – where many blame disability on bad karma from a previous life or believe that disability is catching, and therefore families exclude children without disabilities from interacting with them. As children with disabilities are consequently hidden away in the home and without access to health care, education and other services, their future remains bleak and breaking this cycle continues to be a challenge.
How do we break this?
Through sport… Well in fact, through children with disabilities being the gatekeepers of sport.
Within schools, CRP have distributed sports materials so children can continue to play sport outside of school and it is the children with disabilities that are in charge of these materials. If children wish to play with the sports materials, they need to come to the house of the child with disabilities to play. This has created a very curious dynamic – where children initially, were just going to the child with disabilities house just to play with the resources but in time these brief interactions turn into conversations, which have developed into friendships This powerful force of friendship has meant that children are now educating their community on disability and children with disabilities are finally able to take their place in school and are treated like a friend, not a child with a disability.
I was treated to a dance show in celebration of Bangladesh's Independence Day on the 26th March and was absolutely blown away by the dancing and the depth of emotion on the faces of the young boys and girls. It was so beautiful, incredibly moving and so natural. Bangladesh has on its hands the next generation of classical dancers and it doesn't even know it yet. Dance is an incredibly expressive symbol of the potential that sport has to change cultures and stigmas around people with disabilities.
I end my blog not with any wise words or thoughts but a picture (right). This little boy is Azmanis 9 years old and is one of the beneficiaries of this programme who can now finally attend school. There are no words to describe his excitement as he received the sports equipment and immediately began to play with his friends. We often talk about the wider impacts of sport but can forget these individual stories where for one child, the world around them has begun to change for them and it is due to the power of sport.


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