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Rivers and towns: Observations from the Irish Historic Towns Atlas by Sarah Gearty
Rivers are a dominant and enduring feature of Irish towns and cities, natural elements that have consistently served and interacted with urban development. They are firmly embedded within the topographies of towns, confidently defining the shape of the network of streets and buildings that grow and change around them. The name or names of a town often relate to water. Belfast (modern Irish Béal Feirste) is 'mouth of the sandbank', or more expressively 'approach to the tidal ford' across the River Lagan, and Dublin (Dubhlinn) is simply 'black pool', a feature of the lowest reaches of the River Poddle. Bandon (Droichead na Bandan) is the name of the local river, possibly derived ultimately from a pagan goddess.
Major rivers were strategically important for the earliest Viking and Anglo-Norman town-builders and continue to act as focal points for urban life to the present day such as the River Shannon in Athlone and Limerick, Nore in Kilkenny, Boyne in Trim and Liffey in Dublin. Similarly the characteristic Rivers Foyle and Bandon would have played important roles in the development of the planned, plantation towns of Bandon and Derry in the seventeenth-century. In contrast, local rivers are at a remove in Armagh, Kells and Kildare, all examples of towns that evolved out of early Christian monasteries.
Places divided by a river often have a dual story. Counties were divided by rivers at Athlone, Belfast and Bray. The distinctive 'Hightown' and 'Irishtown' of medieval Kilkenny and Limerick were separated by their secondary channels, the River Breagagh and Abbey River respectively. Bridges, of course, act as the connectors and respond to the topography of their associated river as opposed to the importance or size of the urban centre — fourteen bridges were recorded prior to 1900 in the small town of Maynooth but only two in Derry.
River Liffey, Dublin, by John Rocque, revised by Bernard Scalé in 1773. © Royal Irish Academy. To be reproduced in IHTA, no. 26, Dublin, part III, 1756 to 1847 by Rob Goodbody (forthcoming 2014).
2. River Nore, Kilkenny, by John Rocque, in 1758. © Trinity College Dublin. Reproduced in IHTA, no. 10, Kilkenny, by John Bradley (2000). Extract orientated east–west.
Early large-scale town plans give us some insight into what life may have been like along the rivers. In Dublin, John Rocque's map of 1756 (revised by Bernard Scalé in 1773) illustrates the city's quays with ships populating the Liffey as far inland as the then custom house (present-day site of the Clarence Hotel, Wellington Quay) and focus clearly on the river (1). In Kilkenny, however, Rocque showed the houses and plots of the High Street backing onto the water on his map of that city in 1758 — more characteristically of an Irish country town, it is the significant mill and associated sites further north on the river that appear to dominate (2). Sometimes a watermill was located right in the middle of town, as at Longford and Sligo; more usually one or more mills were positioned towards the edge or even completely outside, as at Fethard, Trim and Tuam. An extract from the large-scale Ordnance Survey town plan of Longford from 1836 shows the River Camlin and the appropriately named Great Water Street (3). A distillery (1824) was succeeded by a corn mill, then a flour mill and eventually a saw mill (1911), each in turn harnessing the power of the Camlin River and utilising the storehouses and yards of this complex for its own purposes. Breweries and other manufactories, such as weavers in Dublin, often choose river sites, and early hospitals exploited the resource such as St Francis Abbey in Kilkenny
3. River Camlin, Longford, Ordnance Survey, 1836. © National Archives of Ireland. Reproduced in IHTA, no. 22, Longford, by Sarah Gearty, Martin Morris and Fergus O'Ferrall (2010).
The towns and topics discussed above are taken from the Irish Historic Towns Atlas (IHTA) series. The IHTA is a research project based in the Royal Irish Academy, Dublin. Twenty-three Irish towns and cities have been published to date (seehttp://www.ria.ie/research/ihta/publications.aspx for full list). Each atlas contains large format maps and views of different dates that allow one to compare towns with one another. There are accompanying gazetteers that give detailed histories of streets and sites. A user's guide has been published, which is especially aimed at teachers: Reading the maps: a guide to the Irish Historic Towns Atlas, by Jacinta Prunty and H.B. Clarke (2011) and the recently published Maps and texts: exploring the Irish Historic Towns Atlas provides further comparative studies. Special prices are available from the Royal Irish Academy for teaching sets of the above publications (contact s.gearty@ria.ie). The 'Digital Atlas of Derry' is available at http://www.ria.ie/digitalatlasderry.aspx. More information on the project at http://www.ihta.ie.
Water and Maynooth: Resources, Networks and Aesthetics
Prof. Gerry Kearns, NUI Maynooth
For this week of Geographical Awareness, the Geographical Society of Ireland has proposed that we think a little more about Water. It is in fact striking how important the engineering of water has been for the historical development of our own town of Maynooth. In Maynooth there are six significant water features: Ryewater, the river Lyreen, the Mill Race, the Joan Slade, the Royal Canal and the lakes in Carton House. The water is important as a resource, as a source of power, for communications, as a defensive feature, and an aesthetic embellishment but in each respect it requires to be engineered. Our waterlands are human and historical creations. With these points in mind, let's take an imaginary walk around Maynooth.
An Exploration of Water - An overview
Maps to help understand the World - from Upworthy
Geography Awareness Week, 2012
Dr. Frances Fahy, NUI Galway
The Geographical Society of Ireland (GSI), in conjunction with the Association of Geography Teachers in Ireland (AGTI), organised Ireland's first Geography Awareness Week, which took place from the 11th-17th November 2012. The week was dedicated to celebrating the discipline of geography in Ireland and in addition to raising awareness among the general public, one of the key aims was to raise awareness among students and parents about the importance of geography and its practical applications. During the week a number of events took place in universities and post-primary schools across the country.
Across the third level institutes, NUI Maynooth, UCD, St Patrick's Drumcondra and NUI Galway invited post-primary geography students and teachers from local schools into their Departments and Schools. These students and teachers were provided with the opportunity to tour the laboratory and lecture facilities and hear from post graduate students and staff about what it is like to study and research in geography at third level. A series of public lectures was held throughout the country during the week – Mary Immaculate College in Limerick hosted a lecture on Mapping the City, UCD held public lectures on Geographical Information Systems, while NUI Galway hosted a one-day seminar on Planning and Sustainability. 'Managing the Impacts of Climate Change' provided the focus of the public lecture held in NUI Maynooth during the week and the AGTI hosted their Gwenda Hurst Lecture in TCD to coincide with GAW. In addition, throughout the week, a number of geography table quizzes and photo competitions took place. All of these events received a positive response and were well attended and supported.
To coincide with the GAW 2012 the GSI commissioned a cartoon titled 'What is Geography?' The aim of the educational poster is to address the common misconception that geography is narrowly focussed on knowledge regarding capital cities of the world and facts regarding counties, wine regions and lakes. The poster highlights how geography is about so much more than facts and figures and shows how geography helps us to understand how the world works with geographers exploring different systems such as human, physical, and biological, through space and time.
Ireland's first GAW appears to have been well received by those who participated in the events. In addition, GAW received a number of citations in the local and national media as well as on online forums. Over the coming years and with the support of geography teachers around the country, the GSI and the AGTI hope to build on this first Geography Awareness Week and develop a suite of teachers' resources and create an archive of activities which can be used in the classroom as well as out in the field.
NUIM Geog Blog
Tíreolaíocht Blog
Geography Society of Ireland, 2018


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text:
Paulo Leminski Filho (Curitiba,  — Curitiba, ) foi um escritor, poeta, músico, crítico literário, jornalista, publicitário, tradutor e professor brasileiro. Tinha uma poesia marcante, pois inventou um jeito próprio de escrever, com trocadilhos, brincadeiras com ditados populares e influência do haicai, além de abusar de gírias e palavrões. Foi influenciado pela cultura japonesa, principalmente pela poesia curta e objetiva dos haicais de Matsuo Bashō, autor no qual Leminski escreveu uma biografia sobre. Além da influência japonesa em sua poesia, Leminski também era faixa preta de judô.

Biografia
Filho do também chamado Paulo Leminski e de Áurea Pereira Mendes, seu pai era de origem polonesa e sua mãe filha de pai português e mãe brasileira de origem negra e indígena. Paulo Leminski foi um filho que sempre chamou a atenção por sua intelectualidade, cultura e genialidade. Estava sempre à beira de uma explosão e assim produziu muito, o que o fez ser dono de uma extensa e relevante obra. Leminski inventou um jeito próprio de escrever poesia, preferindo poemas breves, muitas vezes fazendo haicais, trocadilhos, ou brincando com ditados populares.

Em Curitiba, estudou no Colégio Estadual do Paraná. Em 1958, aos quatorze anos, foi para o Mosteiro de São Bento em São Paulo e lá ficou o ano inteiro. Lá adquire conhecimentos de latim, teologia, filosofia e literatura clássica. Leminski queria ser monge, contrariando o desejo de seu pai, que queria que ele seguisse sua carreira militar. Leminski abandonou suas vocações religiosas em 1963.

De volta ao Paraná, continua consumindo literatura, principalmente as literaturas grega, latina, francesa e até hebraica, pelas Sagradas Escrituras.

Leminski casou-se em 9 de fevereiro de 1963 com a desenhista e artista plástica Nevair "Neiva" Maria de Sousa, da qual se separou em 1968. Ingressou também nas faculdades de Direito e de Letras. Ainda em 1963, viajou para Belo Horizonte, participando da Semana Nacional de Poesia de Vanguarda, onde conheceu Haroldo de Campos, amigo e parceiro em várias obras, Augusto de Campos e Décio Pignatari, criadores do movimento poesia concreta.

Estreou em 1964 com cinco poemas na revista Invenção, dirigida por Décio Pignatari, em São Paulo, porta-voz da poesia concreta paulista. Em 1965 tornou-se professor de história e de redação em cursos pré-vestibulares, após ter abandonado a faculdade, chegando a se tornar o professor mais requisitado da cidade, por sua didática. Essa experiência o motivou a escrever seu primeiro romance, Catatau, que demorou 8 anos para ser concluído.

Em 1966, ficou em primeiro lugar no II Concurso Popular de Poesia Moderna promovido pelo jornal O Estado do Paraná, desembolsando a quantia de 80 mil cruzeiros. Durante essa época começou a praticar judô, conseguindo a faixa preta 4 anos depois. Além de praticante, Leminski também foi professor de judô.

Em 1967, fundou o Grupo Áporo, que em seu manifesto se propunha a combater o "provincianismo cultural de Curitiba". No mesmo ano, começa a escrever Catatau.

Em 1968, participou do I Concurso Nacional de Contos do Paraná, com um conto entitulado Descartes com lentes. Finalista do concurso, não venceu, o motivando a expandir o texto, que acabaria se tornando Catatau.

Casou-se em 1968 com a também poeta Alice Ruiz. Leminski e Alice foram morar em uma espécie de comunidade hippie. Ficaram lá por mais de um ano, e só saíram com a chegada do primeiro de seus três filhos, Miguel Ângelo. De 1969 a 1970 decidiu morar no Rio de Janeiro, trabalhando para jornais e revistas, e retornando a Curitiba para se tornar diretor de criação e redator publicitário.

Na década de 1970, teve poemas e textos publicados em diversas revistas - como Qorpo Estranho, Muda Código e Raposa.

Em 1975, lançou o seu ousado Catatau, que chamou de "prosa experimental".  Em 2012, Catatau foi traduzido integralmente para o castelhano por Reynaldo Jiménez.

Em 1976, publica Quarenta clics em Curitiba em conjunto com Jack Pires. Sendo uma espécie de fotolivro, possui 40 poemas escritos por Leminski e 40 fotos em preto e branco tiradas por Pires.

No final da década de 1970, na editora Grafipar de Curitiba, o casal Paulo Leminski e Alice Ruiz roteirizou histórias em quadrinhos eróticas, desenhadas por artistas como Claudio Seto, Júlio Shimamoto, Flávio Colin e Itamar Gonçalves.

Em 1980, com a iniciativa de amigos, publica Não fosse isso e era menos não fosse tanto e era quase. No mesmo ano, publica Polonaises. Todos os livros publicados por Leminski até esse ponto foram publicados de forma independente. Serão esses dois livros em conjunto com outras poesias escritas mais tarde que formarão a obra Caprichos e relaxos, publicada em 1983 pela editora Brasiliense por iniciativa do editor Luiz Schwarcz.

Também em 1980, Leminski publicou Tripas, um livro desconhecido tanto pelo público quanto pela crítica.

Paulo Leminski foi um estudioso da língua e cultura japonesas (como o zen-budismo) e publicou em 1983 uma biografia de Matsuo Bashō (Matsuó Bashô: a lágrima do peixe), autor que o influenciou em seus haicais e do qual traduziu vários textos. Além da biografia de Bashō, escreveu também durante a década de 1980 biografias de Cruz e Sousa (Cruz e Sousa: o negro branco), Leon Trótski (Trotsky: a paixão segundo a revolução) e Jesus Cristo (Jesus: a.C.), todos personagens no qual influenciaram Leminski de certa maneira. Das quatro biografias, duas são baseadas em traduções feitas por Leminski: Jesus possui várias traduções dos evangelhos, e Matsuó Bashô possui mais de 30 traduções de seus haicais, além de trechos de seus diários e outros breves poemas de autores orientais e ocidentais. Publicadas individualmente, as biografias posteriormente foram publicadas em volume único, entitulado Vida. Vida foi traduzido ao castelhano por Joaquín Correa.

Em 1984, publica seu segundo romance, Agora é que são elas.

Entre 1984 e 1986, em Curitiba, foi tradutor de Petrônio, Alfred Jarry, James Joyce, John Fante, John Lennon, Samuel Beckett e Yukio Mishima. Leminski falava 6 línguas estrangeiras: inglês, francês, latim, grego, japonês e espanhol. Quase metade das obras publicadas de Leminski são trabalhos de tradução.

Em 1985, publicou Hai Tropikais, em parceria com Alice Ruiz.

Publicou o livro infanto-juvenil Guerra dentro da gente em 1986, em São Paulo. 1986 foi o ano de sua última tradução, Malone morre, de Samuel Beckett, e de sua última biografia, Trotsky.

Em 1987, publica seu último livro em vida, Distraídos Venceremos.

Entre 1987 e 1989, foi colunista do Jornal de Vanguarda que era apresentado por Doris Giesse na Rede Bandeirantes. Ele criou e apresentou o quadro Clic-poemas.

Em 1989, volta para Curitiba, estreando como colunista para a Folha de Londrina em abril.

Dentre suas atividades, criou habilidade de letrista e compositor. Ele aprendeu seus primeiros acordes com seu irmão, Pedro Leminski Neto, e seguiu criando e compondo de maneira autodidata.

Leminski teve diversos parceiros musicais em vida como Moraes Moreira,  Itamar Assumpção, Zé Miguel Wisnik, Ivo Rodrigues, Fortuna, Edvaldo Santana, Guilherme Arantes, Marinho Galera, Celso Loch, entre outros.

Suas composições foram gravadas por nomes como Caetano Veloso, Ney Matogrosso, o grupo A Cor do Som,  Paulinho Boca de Cantor, Zizi Possi, Zélia Duncan, Gilberto Gil, Ângela Maria, Ná Ozzetti, Arnaldo Antunes e Vítor Ramil.

Como músico tinha projetos de mostra autoral em Curitiba e abriu diversos shows do músico Jorge Mautner. A música estava ligada às obras de Paulo Leminski, uma de suas paixões, proporcionando uma discografia rica e variada. Gilberto Gil compôs a canção Estrela por ocasião do nascimento da filha do poeta.

Teve influência da poesia de Augusto de Campos, Décio Pignatari e Haroldo de Campos. Em muitas ocasiões declarou sua admiração por Torquato Neto, que antecipou muito da estética da década de 1970, sendo poeta do tropicalismo, movimento que influenciou Leminski. Leminski fez parte da geração mimeógrafo, um movimento surgido logo após o tropicalismo em que os intelectuais tentavam escapar da repressão do regime militar com meios alternativos, principalmente através do mimeógrafo. Leminski teve convivência com Régis Bonvicino, Gilberto Gil, Caetano Veloso, Moraes Moreira, Itamar Assumpção, José Miguel Wisnik, Arnaldo Antunes, Wally Salomão, Antônio Cícero, Antonio Risério, Julio Plaza, Reinaldo Jardim, Regina Silveira, Helena Kolody, Turiba e Ivo Rodrigues. Sua casa, no bairro Pilarzinho, em Curitiba, era uma espécie de reduto da intelectualidade na capital paranaense, onde diversos artistas que estavam de passagem pela cidade aproveitavam a ocasião para trocarem informações, e realizar parcerias em composições musicais e poesias. Moraes Moreira, Gal Costa, Gilberto Gil, Caetano Veloso, Ademir Assumpção e Itamar Assumpção foram alguns dos artistas que o visitaram.

Leminski era trotskista e muito próximo da Organização Socialista Internacionalista (OSI), grupo que estava em situação de clandestinidade devido à repressão do regime militar. Escreveu um poema para o movimento Liberdade e Luta (Libelu), tendência estudantil universitária fundada em 1976 na USP, cuja OSI era responsável e que atuava no combate ao regime militar, ficando famosa pela palavra de ordem "abaixo a ditadura". Chamado Para a Liberdade e Luta, o poema refere aos trotskistas como "aqueles que o poder não corrompeu".

De 1968 a 1988 viveu com a poeta Alice Ruiz, que organizou sua obra, e quem inspirou sua primeira composição, Flor de Cheiro, em 1969. Com ela teve três filhos: Miguel Ângelo Leminski (1969-1979), que morreu com dez anos de idade, vítima de um linfoma, Aurea Alice Leminski (1971) e Estrela Ruiz Leminski (1981). A caçula lançou o álbum Leminskanções em 2014, com 25 músicas de Paulo e um Songbook, registrando cerca de 109 composições de seu pai.

Morreu em 7 de junho de 1989, em consequência do agravamento de uma cirrose hepática que o acompanhou por vários anos.

No ano de sua morte, foram publicadas a segunda edição de Catatau e o livro de poemas de literatura juvenil A lua no cinema.

Em 1991, é publicada postumamente a obra La vie en close, com poemas inéditos e organização de Alice Ruiz. Outros livros de poesia publicados postumamente com conteúdo inédito incluem Winterverno em conjunto com João Suplicy, publicado primeiramente em 1994, Metaformose: uma viagem pelo imaginário grego, publicado em 1994 e que foi agraciado com o Prêmio Jabuti de Poesia de 1995 em 3° lugar, e O ex-estranho, publicado em 1996. Em 2004, foi publicado Gozo fabuloso, livro de contos e crônicas.

Em 2013, a compilação da poesia completa Toda Poesia, também organizada por Alice Ruiz, que acompanhou toda a produção de sua obra, foi um fenômeno de vendas  da editora Companhia das Letras e fixou a importância do poeta na literatura brasileira. Em 2022, o livro chega ao mercado norte-americano com a tradução do professor emérito do Departamento de Estudos em Espanhol e Português da Universidade da Flórida, Charles A. Perrone, em parceria com o Doutor em Estudos Literários da Universidade Federal do Paraná, Ivan Justen Santana.

Obras literárias

Obra poética

 Quarenta clics em Curitiba. Poesia e fotografia, com o fotógrafo Jack Pires. Curitiba, Etecetera, 1976. (2ª edição Secretaria de Estado Cultura, Curitiba, 1990.) n.p.
 Polonaises. Curitiba, Ed. do Autor, 1980. n.p.
 Não fosse isso e era menos/ não fosse tanto e era quase. Curitiba, Zap, 1980. n.p.
 Tripas. Curitiba, Ed. do Autor, 1980.
 Caprichos e relaxos. São Paulo, Brasiliense, 1983. 154p.
 e Ruiz, Alice. Hai Tropikais. Ouro Preto, Fundo Cultural de Ouro Preto, 1985. n.p.
 Um milhão de coisas. São Paulo, Brasiliense, 1985. 6p.
 Caprichos e relaxos. São Paulo, Círculo do Livro, 1987. 154p.
 Distraídos Venceremos. São Paulo, Brasiliense, 1987. 133p. (5ª edição 1995)
 La vie en close. São Paulo, Brasiliense, 1991.
 Winterverno (com desenhos de João Virmond). Fundação Cultural de Curitiba, Curitiba, 1994. (2ª edição publicada pela Iluminuras, 2001. 80p.)
 Szórakozott Gyozelmunk (Nossa Senhora Distraída) - Distraídos venceremos, tradução de Zoltán Egressy, Coletânea organizada por Pál Ferenc. Hungria, ed. Kráter, 1994. n.p.
 O ex-estranho. Iluminuras, São Paulo, 1996.
 Melhores poemas de Paulo Leminski. (seleção Fréd Góes e Álvaro Marins) Global, São Paulo, 1996.
 Aviso aos náufragos. Coletânea organizada e traduzida por Rodolfo Mata. Coyoacán - México, Eldorado Ediciones, 1997. n.p.
 Toda Poesia,  Companhia das Letras, São Paulo, 2014.
 All Poetry, traduzido por Charles A. Perrone e Ivan Justen Santana, Ed. New London Librarium, 2022, Hanover, CT, USA
 Yo iba a ser Homero. Antología poética bilingüe organizada y traducida por Aníbal Cristobo. Barcelona, Kriller71 Ediciones, 2013.
 Leminskiana. Antología variada. Selección, cronología y prólogo de Mario Cámara. Buenos Aires, Corregidor, 2006. 384 pp.
 Distratti Vinceremo (Distraídos Venceremos),  tradução de Massimiliano Damaggio e versão de Tuti Maioli.  editora L'arcolaio.  2022
 Parezca y Desaparezca, tradução de Alejandro Güerri. editora Añosluz.  Buenos Aires, 2022

Obra em prosa
 Catatau (prosa experimental). Curitiba, Ed. do Autor, 1975. 213p.
 Agora é que são elas (romance). São Paulo, Brasiliense, 1984.1 63p.
 Catatau. 2ª ed. Porto Alegre, Sulina, 1989. 230p.
 Metaformose, uma viagem pelo imaginário grego (prosa poética/ensaio). Iluminuras, São Paulo, 1994. (Prêmio Jabuti de poesia , 1995)
 Descartes com lentes (conto). Col. Buquinista, Fundação Cultural de Curitiba, Curitiba, 1995.
 Agora é que são elas (romance). 2ª ed. Brasiliense / Fundação Cultural de Curitiba, 1999.
 Catatau. São Paulo, Iluminuras, 2010. 256p.
 Catatau, Buenos Aires, Editorial Descierto, 2012, 276 p., tradução, posfácio e cronologia de Reynaldo Jiménez.
 Szórakozott Gyozelmunk (Nossa Senhora Distraída) - Distraídos venceremos, tradução de Zoltán Egressy, Colección organizada por Pál Ferenc. Hungría, ed. Kráter, 1994. n.p.
 Ahora es que son ellas (Agora é que são elas) editora Libros de la resistencia tradução de Reynaldo Jiménez.   Espanha 2022

Biografias e ensaios
 Cruz e Souza. São Paulo, Brasiliense. Coleção "Encanto Radical", n° 24, 1985. 78p.
 Matsuó Bashô. São Paulo, Brasiliense, 1983. 78p.
 Jesus. São Paulo, Brasiliense, 1984, 119p.
 Trotski: a paixão segundo a revolução. São Paulo, Brasiliense, 1986.
 Vida (biografias: Cruz e Souza, Bashô, Jesus e Trótski). Sulina, Porto Alegre, 1990. (2ª edição 1998).
 Vida. Cuatro biografías, Puente aéreo, Mar del Plata/Barcelona, 504 p., tradução e prólogo de Joaquín Correa.

Ensaios

 POE, Edgar Allan. O corvo. São Paulo, Expressão, 1986. 80p. (apêndice)
 Poesia: a paixão da linguagem. Conferência incluída em "Os Sentidos da paixão". São Paulo: Companhia das Letras, 1987. p. 283-306.
 Nossa linguagem. In: Revista Leite Quente. Ensaio e direção. Curitiba, Fundação Cultural de Curitiba, v.1, n.1, mar.1989.
 Anseios crípticos (anseios teóricos): peripécias de um investigador dos sentido no torvelinho das formas e das idéias. Curitiba, Criar, 1986. 143p.
 Metaformose, uma viagem pelo imaginário grego (prosa poética/ensaio). Iluminuras, São Paulo, 1994. (Prêmio Jabuti de poesia , 1995) •
 Ensaios e anseios crípticos. Curitiba, Pólo Editorial, 1997. n.p.
 A Hora da Lâmina, Londrina, Grafatório Edições, 2017.

Traduções
 FANTE, John. Pergunte ao pó. São Paulo, Brasiliense, 1984.
 FERLINGHETTI, Lawrence. Vida sem fim (com Nelson Ascher e outros tradutores). São Paulo, Brasiliense, 1984. n.p.
 JARRY, Alfred. O supermacho; romance moderno. São Paulo, Brasiliense, 1985. 135 p. Posfácio e tradução do francês.
 JOYCE, James. Giacomo Joyce. São Paulo, Brasiliense, 1985. 94 p. Edição bilingüe, tradução e posfácio.
 LENNON, John. Um atrapalho no trabalho. São Paulo, Brasiliense, 1985.
 MISHIMA, Yukio. Sol e aço. São Paulo, Brasiliense, 1985.
 PETRÔNIO. Satyricon. São Paulo, Brasiliense, 1985. 191 p. Tradução do latim.
 BECKETT, Samuel. Malone Morre. São Paulo, Brasiliense, 1986. 160 p. indicação editorial, posfácio e traduções do francês e inglês.
 Fogo e água na terra dos deuses. Poesia egípcia antiga. São Paulo, Expressão, 1987. n.p.

Literatura infanto-juvenil
 Guerra dentro da gente. São Paulo, Scipione, 1986. 64p.
 A lua foi ao cinema. São Paulo, Pau Brasil, 1989. n.p.

Obras musicais

Obra musical
 Songbook Paulo Leminski - São Paulo, Iluminuras, 2015. 320p.

Produção musical
 1981- Verdura - Caetano Veloso no disco Outras palavras
 1981- Mudança de estação - A Cor do Som no disco Mudança de estação
 1981- Valeu - Paulinho Boca de Cantor no disco Valeu
 1982- Se houver céu - Paulinho Boca de Cantor no disco Prazer de viver
 1982- Razão - A Cor do Som no disco Magia tropical
 1988- Filho de Santa Maria - Itamar Assumpção no disco Intercontinental!
 1990- Verdura - Blindagem no disco Blindagem
 1990- Se houver céu - Blindagem no disco Blindagem
 1993- Mãos ao alto - Edvaldo Santana no disco Lobo solitário
 1994- Luzes - Susana Sales no disco Susana Sales
 1995- Filho de Santa Maria - Banda Beco no disco BECO
 1996- Mudança de estação - A cor do Som no disco Ao vivo no circo
 1997- Filho de Santa Maria - QUERO SEU ENDEREÇO da banda Bernardo Pellegrini e o bando do cão sem dono.
 2001- Luzes- Arnaldo Antunes no disco Paradeiro
 2004- Ogum - Estrela Leminski no Álbum Leminskanções
 2014- Verdura - Estrela Leminski no Álbum Leminskanções
 2014- Luzes - Estrela Leminski no Álbum Leminskanções
 2014- Filho de Santa Maria - Estrela Leminski no Álbum Leminskanções
 2014- Se Houver Céu - Zeca Baleiro no Álbum Leminskanções
 2014- Desilusão - Álbum Leminskanções
 2014- Ogum - Álbum Leminskanções
 2014- Razão - Álbum Leminskanções
 2014- Não Mexa Comigo - Estrela Leminski e Arnaldo Antunes no Álbum Leminskanções
 2014- À Você Amigo - Álbum Leminskanções
 2014- Navio - Álbum Leminskanções
 2014- Mudança de Estação - Álbum Leminskanções
 2014- Esta Voz está sendo ouvida em Marte - Álbum Leminskanções
 2014- Adão - Álbum Leminskanções
 2014- Ah Você Amigo - Leminskanções
 2014- Valeu - Álbum Leminskanções

Gravações em parceria (letras de Paulo Leminski e música dos parceiros)
 1976- Festa Feira - com Celso Loch no disco MAPA - Movimento de Atuação Paiol
 1982- Promessas demais - com Moraes Moreira e Zeca Barreto, gravação por Ney Matogrosso
 1982- Baile no meu coração - com Moraes Moreira no disco COISA ACESA
 1982- Decote Pronunciado - com Moraes Moreira e Pepeu Gomes no disco COISA ACESA
 1982- Pernambuco Meu - com Moraes Moreira no disco COISA ACESA
 1983- Sempre Ângela - com Moraes Moreira e Fred Góes no disco SEMPRE ANGÊLA de Ângela Maria
 1983- Teu Cabelo - com Moraes Moreira no disco PINTANDO O 8
 1983- Oxalá - com Moraes Moreira no disco PINTANDO O 8
 1984- Mancha de Dendê não sai - com Moraes Moreira no disco MANCHA DE DENDÊ NÃO SAI
 1984- Milongueira da Serra Pelada, O Prazer do Poder, Circo Pirado, Xixi nas estrelas, Cadê Vocês?, Coração de Vidro, Frevo Palhaço, Viva a Vitamina com Guilherme Arantes no disco PIRLIMPIMPIM 2
 1985- Alma de Guitarra - com Moraes Moreira no disco TOCANDO A VIDA
 1985- Vamos Nessa - com Itamar Assumpção no disco SAMPA MIDNIGHT
 1986- Desejos Manifestos - com Moraes Moreira e Zeca Barreto no disco MESTIÇO É ISSO
 1986- Morena Absoluta - com Moraes Moreira no disco MESTIÇO É ISSO
 1988- UTI - com Arnaldo Antunes, gravado por Clínica no disco CLÍNICA
 1990- Oração de um Suicida -com Pedro Leminski, Blindagem no disco BLINDAGEM
 1990- Sou legal eu sei - com Ivo Rodrigues no disco BLINDAGEM
 1990- Não posso ver - com Ivo Rodrigues no disco BLINDAGEM
 1990- Palavras - com Ivo Rodrigues no disco BLINDAGEM
 1990- Hoje - com Ivo Rodrigues no disco BLINDAGEM
 1990- Marinheiro - com Ivo Rodrigues no disco BLINDAGEM
 1990- Quanto tempo mais - com Ivo Rodrigues no disco BLINDAGEM
 1990- Legião de anjos - com Ivo Rodrigues no disco BLINDAGEM
 1991- Lêda - com Moraes Moreira no disco CIDADÃO
 1991- Morena Absoluta - com Moraes Moreira no disco OPTIMUN IN HABBEAS COPPUS
 1992- Polonaise - com José Miguel Wisnik no disco JOSÉ MIGUEL WISNIK
 1992- Subir Mais - com José Miguel Wisnik no disco JOSÉ MIGUEL WISNIK
 1993- Alles Plastik - com Carlos Careqa no disco TODOS OS HOMENS SÃO IGUAIS
 1993- Freguês Distinto - com Edvaldo Santana no disco LOBO SOLITÁRIO
 1993- Custa nada sonhar - com Itamar Assumpção no disco BICHO DE 7 CABEÇAS
 1994- Polonaise - com José Miguel Wisnik na trilha sonora do filme ED MORT
 1995- O Deus - com Edvaldo Santana e Ademir Assunção no disco TÁ ASSUSTADO? de Edvaldo Santana
 1996- Filho de Santa Maria - com Itamar Assumpção, gravado por Zizi Possi no disco MAIS SIMPLES
 1997- Lua no Cinema - com Eliakin Rufino no disco SANSARA da Sansara
 1997- Lêda - com Moraes Moreira no disco 50 CARNAVAIS
 1997- Mancha de dendê não sai - com Moraes Moreira no disco 50 CARNAVAIS
 1997- Parece que foi ontem - com Bernardo Pelegrini no disco QUERO SEU ENDEREÇO da banda Bernardo ellegrini e o bando do cão sem dono.
 1998- Legião de Anjos - com Ivo Rodrigues no disco DIAS INCERTOS
 1998- Rapidamente - com Ivo Rodrigues no disco DIAS INCERTOS
 1995- V. de Viagem - com Banda Beco no disco BECO
 1995- Peso da Lua - com Banda Beco no disco BECO
 1998- Coisas - com Celso Loch no disco VERFREMDUNGSEFFEKT BLUES
 1998- Além Alma - com Arnaldo Antunes no disco UM SOM
 1998- Dor Elegante - com Itamar Assumpção no disco PRETOBRÁS
 1999- Perdendo Tempo - com Antonio Thadeu Wojciechowski / Roberto Prado / Walmor Douglas na trilha sonora do filme BAR BABEL da banda Maxixe Machine
 2000- "O Velho Leon e Natália em Coyoacán" (poema musicado por Vítor Ramil, lançada em seu álbum Tambong)
 2001- Polonaise II - com Anna Toledo no CD Viva!
 2001- A palmeira estremece - com Guca Domenico no disco TE VEJO
 2002- Oxalá - com Moraes Moreira no disco de Gilberto Gil To Be Alive Is Good (Anos 80)
 2004- Isto - com Carlos Careqa no CD Não sou filho de ninguém
 2007 - Além Alma - com Cassyano Correr, pela banda Escola de Robô no disco "um mais um mais"
 2014- Diversonagens Suspersas - com Natalia Mallo no Álbum Leminskanções
 2014- Dor Elegante - com Itamar Assumpção no Álbum Leminskanções
 2014- Hard Feelings - por Serena Assumpção com Itamar Assumpção no Álbum Leminskanções
 2014- Sinais de Haicai - com José Miguel Wisnik no Álbum Leminskanções
 2014- Transformar - com Moraes Moreira  no Álbum Leminskanções
 2014- Oxalá - com Moraes Moreira  no Álbum Leminskanções
 2014- Promessas Demais - com Moraes Moreira e Zeca Barreto no Álbum Leminskanções
 2014- Live with Me - por Ná Ozzetti com William Shakespeare  no Álbum Leminskanções
 2014- Hoje tá tão Bonito - com Edvaldo Santana e Fortuna  no Álbum Leminskanções
 2014- Sou Legal - com Ivo Rodrigues  no Álbum Leminskanções
 2014- Nóis Fumo - com Alice Ruiz  no Álbum Leminskanções

 2021- Hoje tá tão Bonito - com Edvaldo Santana e Fortuna no Álbum ViVo de Fortuna

Prêmios

Obras sobre Leminski

Biografias
PELLEGRINI, Domingos. Minhas lembranças de Leminski - Geração Editorial, 2014. 200p
VAZ, Toninho. Paulo Leminski - O Bandido Que Sabia Latim. Record, 2001. 378p

Documentários
ALESSI, Cris e MALCHITZSKY, Mario. A Curitiba de Leminski (2017)- Documentário de Curta Curitiba e Prefeitura de Curitiba. Documentário sobre pontos da cidade de Curitiba frequentados por Paulo Leminski.
ANÍSIO Pedro Anísio. Cine-Haikai (1984) de Pedro Anísio.  Curta inspirado em Oswald de Andrade com Paulo Leminski e mendigos de Curitiba, filme poema que encontra na poesia o seu roteiro.
GARCIA, Sonia. Paulo Leminski, Um coração de Poeta (1989)  de Sonia Garcia. Documentário sobre a vida e a obra de Leminski, prosa, poesia, música, com depoimentos de Boris Schnaiderman, Leila Perrone Moyses, Haroldo de Campos, Cassiana Lacerda, Paulo Vítola, Caetano Veloso e outros.
KNIJINIK, João.  POLACO LOCO PACA (1987) Documentário de João Knijinik, com Paulo Leminski. Curta-metragem histórico que cobre a passagem dos Leminski pela cidade de Porto Alegre na década de 80.
MAGALHÃES, Ana Maria. Assaltaram a Gramática (1984), de Ana Maria Magalhães. Com os poetas Paulo Leminski, Francisco Alvim, Waly Salomão, Chacal, incluindo uma homenagem à Ana Cristina César.
SCHUMANN, Werner. Paulo Leminski - Ervilha da Fantasia (1985) - Documentário de Werner Schumann, com Paulo Leminski. No filme, Leminski fala sobre poesia, cinema, literatura, psicanálise e apresenta a sua obra. Quatro anos depois, ele viria falecer em Curitiba.

Reportagens
Rede Globo: Programa Meu Paraná, especial Paulo Leminski, exibido em 17 de outubro de 2009.
Rede Minas:Programa Diverso, especial sobre Paulo Leminski, exibido em 23 de outubro de 2012.

Estudos sobre sua obra
CARVALHO, Tida. O Catatau de Paulo Leminski: (des)coordenadas cartesianas. Cone Sul, 2000.
LEITE, Elizabeth Rocha. A experiência dos limites na poética de Paulo Leminski. (Tese Doutorado em Teoria Literária e Literatura Comparada). Universidade de São Paulo, USP, 2008.
LIMA NETO, Manoel Ricardo de. Entre percurso e vanguarda - alguma poesia de Paulo Leminski. São Paulo: editora Annablume, 2002.
MARQUES, Fabrício. Aço em flor: a poesia de Paulo Leminski. Autêntica Editora, 2001. 135p.
MELO, Marcelo J. Leminski e a Cidade: Poesia, Urbanização e Identidade Cultural. Monografia apresentada ao Curso de História da Universidade Federal do Paraná, Curitiba, 1996. 61p.
MENDONÇA, Maurício Arruda. O Romance-idéia Catatau de Paulo Leminski - uma Abordagem Literária e Filosófica - Londrina : Universidade Estadual de Londrina - Centro de Letras e Ciências Humanas, 2009. Dissertação de Mestrado.
MOREIRA, Paula Renata. Massa para o biscoito e biscoito para a massa: tensões entre expressão e construção na poética leminskiana. Fortaleza: UFC, 2006. Dissertação de mestrado.
NOVAIS, Carlos Augusto. O rigor da vida e o vigor do verso: o haikai na poética de Paulo Leminski. Belo Horizonte: UFMG, 1999. Dissertação de mestrado.
NOVAIS, Carlos Augusto. As trapaças de Occam: montagem, palavra-valise e alegoria no Catatau. Belo Horizonte: UFMG, 2008. Tese de doutorado.
OLIVEIRA, Fátima Maria de. Correspondência e vida de Paulo Leminski: f(r)icção de (tr)aços ou essa fúria que quer seja lá o que for. Rio de Janeiro: PUC-Rio, 2004. Tese de doutorado.
PEREIRA, Lívia Mendes. Paulo Leminski tradutor: a recriação do Satyricon de Petrônio em Língua Portuguesa do Brasil. Editora Dialética, 2022
REBUZZI, Solange. Leminski, guerreiro da Linguagem. 7Letras
SALVINO, Romulo Valle. Catatau: Meditações da Incerteza. São Paulo: Educ Fapesp, 2000.
SANDMANN, Marcelo. (org.) A pau a pedra a fogo a pique: dez estudos sobre a obra de Paulo Leminski. Curitiba: Secretaria de Estado da Cultura do Paraná, 2010.
SANTANA, Ivan Justen. Paulo Leminski, intersemiose e carnavalização na tradução. São Paulo: USP, 2002. Dissertação de mestrado.
TECA, William. Descartatau. Curitiba: Kotter Editorial, 2021.
TIMBÓ, Eduardo. O Catatau e as armadilhas borgeanas. Rio de Janeiro: UFRJ, 2015. Tese de doutorado.

Controvérsia
Segundo um dos biógrafos do poeta, Toninho Vaz, em 31 de janeiro de 1968 nascia o bebê de Neiva, primeira esposa de Leminski, o qual foi registrado em 15 de fevereiro de 1968 como Paulo Leminski Neto, filho de Paulo Leminski Filho e Nevair Maria de Souza Leminski. Todavia, em 1976, já separada de seu primeiro marido desde o ano de nascimento da criança, Neiva registrou o filho com o nome de Luciano Costa, tendo Ivan da Costa como pai (que efetivamente criou o rapaz): gerando a polêmica em torno da verdadeira identidade dele. Segundo a mesma, a certidão de nascimento anterior foi tirada por pressão da família do Leminski, com a qual vivia em uma comunidade hippie e que não aceitaria o fato de que ela engravidara de outro homem.

Referências

Bibliografia

Ligações externas

pauloleminski.com.br
leminski.com.br
KAMIQUASE: PAULO LEMINSKI
FUNDAÇÃO PAULO LEMINSKI
Documentário Paulo Leminski - Ervilha da Fantasia

Naturais de Curitiba
Brasileiros de ascendência africana
Brasileiros de ascendência indígena
Brasileiros de ascendência polonesa
Brasileiros de ascendência portuguesa
Alunos do Colégio Estadual do Paraná
Escritores contemporâneos do Brasil
Haicaístas
Letristas do Brasil
Poetas da segunda vanguarda
Poetas do concretismo
Poetas do Paraná
Roteiristas de histórias em quadrinhos do Brasil
Tradutores do Brasil
Mortes por cirrose hepática

redpajama_set_name: RedPajamaWikipedia


text:
Conserving the rich Omani heritage – The famous Getty Conservation Institute visited GUtech
16/05/2017 /0 Comments/in General News /by Manuela Gutberlet
HALBAN Creating awareness, conserving and saving the built tangible heritage of Oman for future generations has been of concern for various departments of the German University of Technology in Oman (GUtech). Representatives of the famous Getty Conservation Institute visited GUtech recently. Initially they were invited by Prof. Dr. Michael Jansen, Founding Rector of GUtech, to discuss possibilities for cooperation between the Getty Conservation Institute and the department of Urban Planning and Architectural Design at GUtech. "At GUtech we are planning to conduct a damage assessment study, documenting and classifying the damage of the city wall of the Nizwa oasis. Humidity and human influences have been damaging the wall continuously," said Prof. Jansen, who is an urban historian and archaeologist.
To promote conservation among the professional community in the Middle East and northern Africa, the Getty Conservation Institute is planning to conduct a training course on the conservation of earthen sites for mid-career professionals in the UAE, using some of the amazing earthen sites of Oman as case studies. "Our aim is to bring together professionals who are working in the field of architecture, urban planning, urban history and other sciences such as geosciences for a conservation course to be conducted by the Getty Conservation Institute in the coming years," said Claudia Cancino, Senior Project Specialist at the Getty Conservation Institute.
"GUtech is an excellent institution for supporting such a conservation course. With our knowledge in architecture, urban planning, engineering and geosciences we are committed to contribute to solve engineering and as well social issues that are of high importance for the society in Oman," said Prof. Dr. Ing. Michael Modigell, Rector of GUtech.
The Getty Conservation Institute is part of the Paul Getty Trust which also consists of the Getty Museum, Getty Foundation and the Getty Research Institute. In the past years, the Getty Conservation Institute has been conducting various conservation filed projects and workshops in cooperation with institutions in China, Italy, Peru, Tunisia and Morocco, among others. In Morocco the Institute supervised the conservation of earthen Kasbah Taourirt in Ouarzazate.
(c) Text & photo: GUtech/ Manuela Gutberlet
https://www.gutech.edu.om/wp-content/uploads/2017/05/group-photo-with-Prof.-Dr.-M.-Jansen-center-Getty-Foundation-and-UPAD-academics-Prof.-Gustavo-and-Prof.-Wayne.jpg 486 648 Manuela Gutberlet https://www.gutech.edu.om/wp-content/uploads/2017/11/newLogoGUtech-1.png Manuela Gutberlet2017-05-16 14:33:312017-05-16 14:34:37Conserving the rich Omani heritage - The famous Getty Conservation Institute visited GUtech
GUtech students invent a machine that produces biodegradable plastic "Towards a Sustainable Environment" – Engineering Event held at G...

redpajama_set_name: RedPajamaCommonCrawl


text:
Traction & Rolling Stock
Thameslink Class 700 - lack of USB/power facilities
Thread starter johntea
johntea
The past week I have been 'down South' and noticed a glaring omission on Thameslink Class 700 - unless I was being blind the lack of any USB sockets or power sockets on board!
It seemed odd not to have such facilities considering some of the routes are 2+ hours long, and even Northern back here in good old Yorkshire have managed to retrofit USB charging to many of their fleet!
johntea said:
They were specified by the DfT and the final specification did not include these features. The DfT have not provided funding for these features to be retrofitted.
Nothing strange about it. The more recently specified class 717 units which have a very similar interior have plug sockets under the seats.
There is a thread about it here https://www.railforums.co.uk/threads/plugs-electronic-devices-and-trains.128739/ and also information here on why they won't get retrofitted any time soon https://www.railforums.co.uk/threads/thameslink-class-700-progress.92632/page-150#post-2653472
jfowkes
The routes are 2+ hours long, but I suspect most actual journeys on them are under an hour.
Mikey C
The interiors of the 700s are awful full stop, the lack of WiFi on the 8 car trains another example of their poor spec when compared to the refurbished trains elsewhere on the network and indeed a lot of recent buses
Milo T.K
Mikey C said:
On 700040(?)-060 those have WiFi and on 700145-155
Aictos
The interiors of the Class 700s are perfectly fine for what they are, mass people movers which can load and unload passengers faster then previous trains used on the routes which is essential in the Core.
Some of the Class 700/0s do have wifi as so some of the Class 700/1s, in my view they do the job they were designed for and any fault with the design is purely down to the DfT not Siemens.
jfowkes said:
Apparently, the average journey time on the Thameslink routes is well under the hour, - more like 35 minutes. Apart from the core stations and the key outer stations having high footfalls, look at the figures for the metro stops, the routes have a consistently high usage.
That's your opinion of their interior. They have now been in service for over 4 years and are generally pretty reliable now the initial bugs were cleared. The fact is that regular passengers know they can turn up at the station and board any train* irrespective of the time of day, they are fast, relatively smooth even over rough track and rarely taken out of service.
Comparisons with trains provided for services elsewhere in the UK is pointless, the 700s are designed to move the maximum number of passengers over a highly tuned but absolutely limited infrastructure. Furthermore, that demand is not a simple gathering passengers on the way into the city and delivering them at a terminus, (then the reverse in the other peak), it is a distribution service from about 20 miles outside central London, with frequent major interchange stops, e.g. West Hampstead, East Croydon, Wimbledon etc..
* Not counting the current dysfunctional situation during the pandemic. Up to March last year, they were coping well with the ever increasing demand on Thameslink routes.
Bald Rick
There was extensive 'discussion' about this in threads some years ago. The trains were specified well over a decade ago - before iPads existed - when USB charging was much less of a thing. If you really need to charge - and I really struggle with the concept of needing to charge on anything but a long distance service - there are standard 3 pin sockets in first class. The rear first class section is always declassified.
Bald Rick said:
Their lack of power points is the result of a deliberately chosen spartan specification, not their age. By contrast, Voyagers were delivered with power points at all seats 15 years earlier.
mmh said:
To be fair, the Class 220/221 fleets were designed for InterCity services not a mix of Metro and Outer Suburban services, there is a difference.
Fincra5
DfT went cheap. Simples
My age point was specifically about USB chargers.
Voyagers have power points - because they are designed for long distance services.
Milo T.K said:
are wi-fi fitted from new.
The DfT not retro-funding bit concerns the other units.
Why do you "struggle" with such a concept.
I am a Thameslink 700 commuter, we need this, and so do many others.
Bet you don't commute on them.
D7666 said:
You've lost your bet. I was on the very first Class 700 in passenger service, and commuted on them ever since. And I've never needed to use a charger, and like I said I really don't understand why anyone would need to make use of such a facility. We have had mobile phones / laptops etc for 25 years and more, and managed perfectly well without on board train charging for most of that. I do understand the need for long distance services.
Can I ask why you need a facility to charge on a commuter service?
bramling
Hertfordshire / Teesdale
So there's been a fatality on the line ahead, and the train is stuck between stations, and is possibly going to be so for perhaps an hour or two. I'm going to be late for work, and as it happens my phone battery has died.
Can you *really* not see why being able to charge a phone on a commuter train might be beneficial. I'd agree it's not *essential*, but it's useful.
I do appreciate that there is in theory the option to use the sockets in first, however this isn't really a mainstream thing.
ValleyLines142
bramling said:
First Class at the rear of 700s is declassified. Plug sockets are available there.
ValleyLines142 said:
And how much does 16 such seats contribute to a train that has 624 other 2nd class seats, or whatever the exact number is ?
Suggesting NOT providing something just because someone themselves does not use it is pure selfishness.
I have no use for a toilet on a 700, I reckon in all but 5 years on using 700s I have maybe used 2 or 3 times. But no way would I suggest 700s don't need toilets.
I agree not essential, but it is valuable.
I do not need to charge my phone, but I sure do need to charge my work laptop for any delay, and actually have to plan to commute and NOT charge the laptop while travelling. I can't guarantee to get on of the 16 declassified seats on an unfitted 700. In fact, in the peaks, pre covid, it was impossible on my commute since neither end stations were terminal points hence always occupied.
Robertj21a
That's a terrible set of circumstances. I use my mobile phone a lot and still don't exhaust the battery by the end of the day. In any event, when travelling anywhere I also carry one of those small battery rechargers. Simples.
I agree, I personally would rather see a provision for plugs instead of Wifi but as others have said, many Thameslink journeys are designed to be 30 minutes max journey time and if need be, carry one of those portable charger packs!
SteveM70
What proportion of the ticket price of a brand new 700 do we think providing phone chargers would be? Surely a marginal saving? In the big scheme of things surely it makes sense to provide stuff like this in all new trains, not least because we don't know where they'll be used later in their lives. The one thing that's guaranteed to be true is that retrofitting will cost a lot more than providing from new
387star
Even older southern 377s are being fitted with plug sockets
I'm sure at some point they will be fitted
I don't have a battery pack, and my phone doesn't last very long. Probably need to get a battery pack or new battery or new phone.
But I still like the option of charging whilst travelling.
I note that charging facilities are now provided by many of the buses I use, and that Southern are retrofitting them to some of their trains (Class 377?).
I frequently use Thameslink declassified first for this reason.
I suggest that the overlap in the venn diagram of
1) 'number of times that a train is stranded for an hour or so by a fatality (or other reason)' and
2) 'my phone battery will die in that hour or so (but not before)' and
3) 'I have my charging cable / plug with me, but have neglected to charge the phone elsewhere previously'
... is negligibly small.
So no, I can't see why.
Let's be honest. For commuters, if you are leaving the house on the way to work without a fully charged phone, it's your own fault. And if you have a job where you spend the day unable to charge (relatively unlikely, but no doubt it applies to some people, some of the time), then you take your own portable charger. Because otherwise you'd have to be pretty sure that you'd have enough battery for the whole day, but not enough for the commute home.
What did you do with the 319s / 377s / 387s?
What would you do if you commuted on just about any other line?
Islineclear3_1
PTSO or platform depending on the weather
Not essential maybe, but it's nice to have a choice.
Yes, we certainly managed before on slam door trains and on early design newer stock but perhaps if the government want everyone to work from home now, perhaps we don't need on-train charging after all?
NotATrainspott
The new USB Type C 2.1 spec allows Power Delivery up to 240W (48V * 5A) and this could well remove the need for most wall-wart adapters for consumer electronics. People will get used to being able to rapid charge their phone or laptop using just the cable. That is, if wireless charging hasn't also gone to the step above and most people never plug their phones in at all.
The 700 fleet might be one of the first to undergo a mid-life refit to fit all this shiny new tech, at which point the complaint is that older trains require people to lug around more stuff. All those USB charging points might exist today but they're limited to maybe 10W a piece, which will seem like a waste of time when people are used to rapid charging their phones. IIRC, all of these points have legacy USB-B ports, which are also slowly disappearing from the consumer world.
If technology is continually improving, and installing it in a train causes it to be snapshotted for a decade or so, then there will always be trains which look out of date. It just happens that the 700 fleet specification was frozen before the most recent technological shifts.
ECML
Sorry to burst your bubble. But No !
Passengers going to London from Huntingdon have no choice other than to use Thameslink (unless they double back via Peterborough and use LNER) and the current journey time is 63 minutes ! (Yes it's close to 1 hour but it isn't under an hour and I can asure you they're are a lot of people who do travel Huntingdon - London and vice versa).
Ianno87
Steve Harris said:
@jfowkes said "most", not "every"
The significant bulk of passengers on 700s will be travelling from Central London to the likes of Stevenage, Luton, St Albans, Croydon, Gatwick, etc.
In Huntingdon's case, most passengers on the same train from St Neots and south thereof will have a sub-1 hour journey time.
USB was originally designed to be a universal connection (replacing serial/parallelFirewire ports etc.) but it has changed over the years and I think there are now 10 different types (including microUSB). Not to mention Apple's Lightning.
When does it all end? How could a train have truly universal charging points if there are so many different types of USB?
How long will it be until we have wireless charging?
Ianno87 said:
No. What he/she said was "I suspect most" (which is a subjective statment and I answered with another subjective statment).
Yes, passengers south of St Neots should have sub 1 hour journey providing they are travelling to London and not commuting to Gatwick Airport, which is entirely possible !
Unless we actually carry out a passenger census you or me won't know which one of our statements is nearest to the truth and if the vast majority of journeys on a 700 is sub 1 hour or not.
XAM2175
Islineclear3_1 said:
Because while the device end keeps changing, the 'wall' end has for the most part stayed the same from the very beginning.


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Seweryn Kłosowski (alias George Chapman, ur. 14 grudnia 1865 w Nagórnej, zm. 7 kwietnia 1903 w Wandsworth) – seryjny morderca, podejrzewany o popełnienie zbrodni przypisywanych Kubie Rozpruwaczowi.

Życiorys
Pochodził z Polski. Urodził się we wsi Nagórna w pobliżu Koła. Od grudnia 1880 do lutego 1887 roku był asystentem, a później młodszym chirurgiem. Wyemigrował do Anglii. W 1887 roku osiedlił się w Londynie, gdzie pracował jako fryzjer i wkrótce otworzył własny zakład. Zakład ów był kilkakrotnie przenoszony. Post Office London Directory z roku 1889 podaje adres 126 Cable Street, i tam prawdopodobnie pracował Kłosowski późnym latem i jesienią roku 1888. W roku 1890 zakład Kłosowskiego znajdował się już w budynku na 89 Whitechapel High Street, róg George Yard. Obydwie te lokalizacje nie były zbyt odległe od miejsc w których Rozpruwacz popełniał swe zbrodnie. Podaje się, że Kłosowski przebywał w Londynie w kwietniu 1891 roku, ale potem przeniósł się do Jersey City w stanie New Jersey w USA. Po której stronie Atlantyku przebywał w momencie zabójstwa Carrie Brown, jest przedmiotem domniemań. Był kilkakrotnie żonaty, ale jego małżeństwa kończyły się po krótkim czasie śmiercią żon w wyniku nagłej choroby. Mary Spinks zmarła 25 grudnia 1897, Bessie Taylor - 14 lutego 1901, Maud Marsh - 22 października 1902. Wszystkie zgony nastąpiły na skutek zatrucia, a ich podobne okoliczności przyciągnęły uwagę policji i doprowadziły do wszczęcia śledztwa. Dochodzenie ustaliło, że kobiety zostały otrute związkiem antymonu, podanym jako domieszka do lekarstwa. Kłosowskiego aresztowano, lecz osądzono tylko za zabójstwo Marsh. Kłosowski został skazany na śmierć i powieszony 7 kwietnia 1903.

Jego nienawiść do kobiet, wiedza chirurgiczna, oraz obecność w Whitechapel (i prawdopodobnie w okolicach Nowego Jorku w chwili zabójstwa Carrie Brown) podczas popełnienia zbrodni, nasunęły przypuszczenie, że to on jest zabójcą. To, że swoje żony otruł zamiast zamordować nożem, może świadczyć przeciw takiej hipotezie.

Brytyjscy seryjni mordercy
Kuba Rozpruwacz
Ludzie związani z Kołem
Polacy w Wielkiej Brytanii 1795–1918
Polscy seryjni mordercy
Straceni przez powieszenie
Urodzeni w 1865
Zmarli w 1903


text:
Claude Clerselier est un éditeur français né à Paris en 1614 et mort dans cette ville le . Il était avocat au Parlement de Paris.

Biographie
Il a été l'éditeur et le traducteur de plusieurs des ouvrages de René Descartes, notamment des Objections et Réponses qui suivent les Méditations métaphysiques (Paris, 1647, pour la première édition en français, dont la traduction avait été faite par le duque de Luynes), de ses Lettres (Paris, 1657, 1659 et 1667), d'un Traité de la formation du fœtus du même auteur avec les remarques de Louys de La Forge (1664), du Traité de l'Homme, du Traité du Monde (1667) et des Principes de Philosophie (1649). Il eut pour gendre Jacques Rohault, dont il publia les Œuvres posthumes 1682.

Il est probablement l'oncle du comédien Denis Clerselier, dit Nanteuil.

Notes et références

Annexes

Bibliographie
 Delphine Antoine-Mahut, "Claude Clerselier (1614-1684)", in: The Cambridge Descartes Lexicon, Dir. Larry Nolan, Cambridge University Press, 2015.
 Trevor McClaughlin, « Claude Clerselier's Attestation of Descartes's Religious Orthodoxy » in Journal of Religious History, n° 20, June 1980, pp. 136-46.
 Voir aussi Inventaire après décès de Claude Clerselier, Archives nationales, Minutier Central, Étude XXXIX, liasse 159, .
Voir, pour la traduction en question des Méditations métaphysiques, l'édition GF Flammarion, Paris, 1979, présentée par Jean-Marie et Michelle Beyssade.

Articles connexes
 Littérature française : Moyen-Âge -  –  -  -  -  -

Liens externes

Naissance en 1614
Naissance à Paris
Décès en avril 1684
Décès à Paris
Écrivain français du XVIIe siècle
Éditeur français
Philosophe mécaniste
Cartésianisme


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Take Back The Fight
By Nora Loreto (CA)
Two decades of neoliberalism have destroyed a structured, pan-regional feminist movement in Canada. As a result, new generations of feminists have come to age without ever seeing the force that an organized social movement can have in democratic society. They have never benefited from the knowledge, the debates, the actions, the mass mobilizations or the leadership that all accompany a social movement and instead organize in decentralized silos. As a result, government and corporate leaders have co-opted feminism to turn it into something that can be bought, sold, or used to attract voters. Campaigns like #BeenRapedNeverReported, #MeToo, the SlutWalks and the Canadian Women's marches, while important, don't yet have the organized power to bring the changes that activists seek to make in society.
Please note that books will begin shipping in January. You are welcome to order ahead.
In Take Back The Fight, Nora Loreto examines the state of modern feminism in Canada and argues that feminists must organize to take back feminism from politicians, business leaders and journalists who distort and obscure its power. Furthermore, Loreto urges today's activists to overcome the challenges that sank the movement decades ago, to stop centering whiteness as the quintessential woman's experience, and to find ways to rebuild the communities that have been obliterated by neoliberal economic policies.
Nora Loreto (CA)
Nora Loreto is a writer and activist from Quebec City. She writes regularly for the National Observer, The Washington Post and many other publications. She's the editor of the Canadian Association of Labour Media, and, with Sandy Hudson, she hosts a popular podcast called "Sandy and Nora Talk Politics." She is also the author of From Demonized to Organized: Building the New Union Movement.
Publisher Fernwood Publishing
product.metafields.bibliodata.BiographicalNote:
product.metafields.bibliodata.Contributor: Nora Loreto (CA)
product.metafields.bibliodata.Subtitle: Organizing Feminism for the Digital Age


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Community? We Don't Need No Stinkin' Community!


text:
Motion In Interaction
Suresh V. Selvaraj
Animation Principles in UI Design: Understanding Easing
An in-depth look into Ease-in and Ease-out
What do you think these balls are doing?
The green ball is obviously bouncing, but what's the red ball doing? Sure, it's moving up and down like the green ball. It's taking the same time as the green ball to go down and come back up. Yet, the red ball feels robotic, while the green ball feels like it's actually bouncing. Why do we feel this difference?
The answer is easing.
Well, this article is about easing, so that's obviously the answer, but to understand what's really going on here, we need to look deeper into the fundamentals of animation. We'll take this step by step — we'll learn the underlying concepts, explore ease-in and ease-out, break down easing curves and finally see how it all applies to UI Design.
Timing and Spacing
There are two important concepts we need to understand before we look at anything else — timing and spacing. These two go hand in hand and are pretty much inseparable. They are also crucial to make your animation readable.
NOTE: "Readable" is how animators define clarity in animation — how clear and easy it is to understand what's happening.
That doesn't read = It's not clear what's happening
That reads very well = It's super clear. I got it immediately
Timing: In our example, both the balls start at the top at 0sec, reach the ground in 0.5sec and come back up at 1sec. This is the ball's timing — the time it takes to complete an action. Both the balls have the same timing. But wait… how can they both be a 1 second animation, and yet feel so different?
Spacing: This is the key differentiator that makes the two animations vastly different. Let's break the first 0.5 seconds of our animation into smaller units of time so we can observe what's happening more closely. If we mark the spot where each ball will be every 0.1s, here's what we'll see.
Spacing for the red robotic ball and the bouncy green ball
You see that space between two units of time? That's the spacing. Easy stuff, right? The time is timing and the space is spacing!
Now, look at the red ball's spacing — it's perfectly even. As every 0.1 second ticks away, it moves by the exact same distance. There is absolutely no variation in its movement. The green ball, however, has different spacing for every 0.1 second. In the first 0.1s, it has very small spacing. As it falls down, the space gets wider and wider, until it finally hits the ground. In fact, it takes the green ball 0.4s to cover the first half of the distance, but just 0.1s to cover the remaining half!
So, why are we increasing the space this way?
Observing the real world
Observe what happens when you bounce a ball. Try it yourself or watch a few reference videos on youtube. Here are a couple of them I found: Bouncing ball with slo-mo and Tennis Ball Bounce
The Physics behind the bounce: The moment the ball is let go, it has a relatively slow speed. As the force of gravity pulls it down, the ball's speed keeps increasing until it hits the ground at maximum speed. The ground contact forces the ball back up at roughly the same speed. As the ball moves up, two forces are at work — the rebound force that's pushing it up and the force of gravity that's trying to pull it down. The rebound force is slowly spent, causing the ball to reduce speed as it rises higher, until finally it reaches the top of its bounce where there's no more rebound force. It hangs in there for a microsecond before gravity pulls it back down, causing it to accelerate as before.There's a reason I'm describing this in words. We're trying to break down a natural action into concrete steps so that we can recreate it.
A few key things to note:
When the ball is at the top, it is slow. As it falls, its speed increases.
While bouncing back up, the ball is fast to start with. It slows as it reaches the top.
When the ball is moving fast, it covers a lot of distance. As it slows down, the distance it covers is much less.
That last statement might sound superfluous but here's what we're interested in noting — a fast object covers a lot of distance in a single unit of time, while a slow object covers less distance in the same amount of time.
Applying what we observed
Let's apply this concept back to our animation. Look at our spacing diagram again. We have small spacing at the top, gradually increasing space every 0.1s, and finally, the largest spacing at the bottom. This is exactly what we saw in our study above. We've basically "copied" this principle over to the green ball, applied the reverse while it's going back up and voila — a bouncing ball!
NOTE: Don't be ashamed to "copy" nature as much as you can. Your audience will relate to the animation faster, making it easier for them to read.
Now that we understand the physics of a bouncing ball, let's look at the red ball again. It should be clear why the red ball doesn't feel like it's bouncing at all. Every 0.1 second, the red ball moves the exact same distance. From our studies, we know a bouncing ball can never move like that. And since, it doesn't move like a bouncing ball, it doesn't feel like a bouncing ball.
So, what moves the same way the red ball is moving with such perfectly timed, precisely spaced movement? Well, mechanical robots, of course! Our red ball is "copying" the spacing of mechanical robots. In other words, since it moves like a robot, it feels mechanical and robotic. It's really as simple as that!
Takeaway: your audience will unconsciously try to relate your animation to something they already know. If your animation reminds them of the world around them, it will feel natural. If it reminds them of a robot, it will feel robotic. If it doesn't remind them of anything they know, it'll look "strange".
Ease-in and Ease-out
You now know why we put uneven spacing in the bouncing ball. The technical term for this uneven spacing is easing. Depending on whether you have it at the start of your action or the end, it's called ease-in or ease-out.
Ease-in : when the ball starts out slow and builds up speed, it's called ease-in
Ease-in: start slow and accelerate
Ease-out : when the ball starts out fast and gradually reduces speed, it's called ease-out
Ease-out: start fast and decelerate
We've looked at a lot of theory to understand this one-line definition of easing!
CAUTION: There's a potential for confusion in this terminology. If you read a traditional animation book such as Disney's The Illusion of Life or The Animator's Survival Kit, they'll tell you that, when an object starts slow and then picks up speed, it's called ease-out, as it is "easing out" of its pose. But, in the software industry (CSS animation, Adobe Edge, etc), this is called ease-in! I'm not sure how this difference came to be, but unfortunately, that's how it is. So, if you read an article and they're calling an ease-in as ease-out, don't get too confused. Just take a quick look at what website you're on :D.
Reading the easing curves
You'll notice that when you open your software package, the easing functions won't show you a linear gradation like the diagrams above. Instead, you'll get a curve like this:
Icon for ease-in transition in most software products
So, how does this curve relate to everything we talked about till now? Let's plot our values on a graph and see what we end up with. Just basic math — something we (were supposed to) have done in school :).
Here's our graph sheet — we're going to plot time along the horizontal x-axis and the ball's y position along the vertical y-axis. For convenience, we've chosen 4 units of the x-axis to represent 0.1 second, and 1 unit of the y-axis to represent 10 pixels of the ball's vertical movement.
I measured the red ball's movement and recorded its y-position at each 0.1 second. Here are the recorded values:
Time   Y-Position
(sec): (pixels)
0.0  :   0
0.1  :  34
0.3  : 102
Notice that for every 0.1 seconds, the red ball moves by exactly 34 pixels. If we plot that on our graph and connect the marked points, we get a straight line. Incidentally, this is the icon you'll see in most software for a linear transition.
Plotting the red ball on a graph
Now, let's do the same for the green ball. The values I got were:
The amount of change in the ball's vertical position varies for each 0.1 second. It starts out with a very small change (just 2 pixels) and slowly ramps up. In the final 0.1 second, it increases by a massive 83 pixels. Plotting these points on the graph gives us this curve.
Plotting the green ball on a graph
Does that look familiar now? This is why the icons are the way they are. They represent the rate of change, or spacing as we now know it.
NOTE: You'll see more easing options in your software such as quadratic, cubic, quartic, etc. They're just higher easing, but the concept is the same. Just remember — the higher the easing, the more easing you get.
Easing applied to UI Design
Finally! Let's see how this is applied to UI Design.
There are no rules. Only tools
- Glenn Vilppu
I hesitate to suggest any rules for applying ease-ins and ease-outs in your apps. However, I can provide some common examples of how it's being used in modern apps.
The most common usage you'll see in mobile apps is the menu slide. If the app did not use any easing, here's what it would look like:
Boring menu without easing
A little boring, isn't it? Let's apply easing and see what happens.
Menu, sprinkled with easing magic
Ah! Much better. We've applied ease-in while the screen slides out and ease-out as it slides back in.
But, why can't we apply ease-out while sliding out?
Well, technically, you can, but here's what's happening: The user is clicking a button to make a stationary screen move away.
An object starting from rest can not immediately reach its top speed. It needs to build up speed. Think of a car — when you start your car, it doesn't instantly reach 100km/h. It gradually accelerates until it reaches cruising speed. We're mimicking this to make our screen's movement feel realistic. So, we're starting slow and gradually building up speed. Doesn't that sound exactly like ease-in? This is why our screen has ease-in while sliding out.
While sliding back in, our screen is like a car that is braking to come to a halt. It starts fast and is reducing speed to stop — which is an ease-out.
So, if you're having trouble figuring out how you should animate a particular element, try to relate it to a physical behavior. It'll immediately become clear how you should animate your UI element.
Update: I've received some feedback on using Ease-out for the menu sliding out, or EaseInOut for providing a start and stop feel.
Look around other apps you use and you'll be surprised how often easing is applied. Other than menus, they're used to swap screens, bring out an email attachment, display action sheets and a whole lot more. On iPhone, you can see it while unlocking the screen, opening/closing an app, sliding notifications … pretty much all over. Notice how these actions feel 'natural' as you navigate your phone.
And now that you know why it feels natural, try and capture the same feel in your apps! I'm excited to see how you use these concepts in your designs.
I hope this article has helped you understand easing functions better. It turned out to be a tiiiiny bit longer than I originally intended :). I'd love to hear your comments — add them on here, or ping me @SureshVSelvaraj
More from Motion In Interaction
收錄介面動態設計相關討論與技術文章,歡迎大家投稿 :)
Read more from Motion In Interaction
Founder of Nivritti Software. Makers of Mitya — an interaction prototyping tool. www.mitya-app.com


text:
var connect = require('connect');

connect()
    .use(function (req, res, next) { next('An error has occurred!') })
    .use(function (req, res, next) { res.end('I will never get called'); })
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redpajama_set_name: RedPajamaGithub


For this year's Let's Get Real conference, Culture24 is kicking off with a very special evening called the Church of Fail, which celebrates personal failure through fun and play. We're framing the conference with this approach: getting down and personal, opening up, sharing stories and generally having a good laugh while we learn.
The Church of Fail was developed by business change consultants NixonMcInnes. It draws on standup comedy and improvisation practices to help turn shared stories of failure into learning experiences. It was conceived to shift the way we feel about and react to failure.
A lot has been written recently about failure for the arts, especially its role in nurturing innovation through embedding organisational R&D processes into the everyday mechanics of arts development. Embracing failure in this way is a positive step forward for any arts organisation dealing with change. However, there is a danger that failure can become too quickly instrumentalised as a critical business development tool, rather than something that is confronting, messy and personal. Trying to keep failure within a strict project management framework can take attention away from a more personal ingredient: vulnerability.
As American scholar Brene Brown expressed so eloquently in her TED talk on the subject: "Vulnerability is the birthplace for innovation, creativity and change" (three qualities in great demand in this climate of reduced arts funding). While vulnerability does sit at the heart of understanding failure, as a concept it feels different. It speaks to us as sensitive individuals, confronting the barriers we often put in place to hide when we feel we don't understand something or lack the confidence in our own value.
At Culture24 we want to talk about the concept of digital vulnerability. This has nothing to do with cyber security or identity theft; it's about how our individual weaknesses manifest themselves in our journey towards genuine digital integration at all levels of our work life. Cultural organisations face a lot of challenges as they struggle to adapt to evolving online behaviours, consumer expectations and competition for attention share.
Through our Let's Get Real action research project we've worked with more than 150 cultural organisations across three years running workshops, benchmarking, analysing, discussing, sharing case studies, measuring and evaluating. While these challenges may appear focussed at an organisational level, the reality of digital change is that it's more about people and their developing needs.
It's not organisations that struggle to adapt to digital change, fail to interpret changing online behaviours or feel dazed and confused by trends in social media; it's the human, imperfect, passionate and vulnerable people who work in them. At the heart of our research work is a sort of group therapy, where each person explores their own digital vulnerabilities as they seek to cope with digital change and how it impacts their day-to-day rhythms of work.
What is clear to us is that through recognition of digital vulnerability at this individual level, we can become self-aware organisations that are more ready to face and adapt to digital change. Recognising vulnerability is not an acceptance of weakness but rather an empowering choice to be honest, open and to let our true selves be seen. At its heart it is about making connections with people and being more human. Crucially, as organisations we need to demonstrate more of these human qualities to connect with our audiences, not less.
Understanding our digital vulnerability is also vital to improving our cultural impact online; it plays a key part in building connections. Our conference title – Is your content fit for purpose? – is all about helping organisation's explore how they can make these kind of human connections with their audiences by thinking about their own content: its depth, responsiveness, shareability and tone of voice.
Shelley Bernstein, vice director of digital engagement and technology at the Brooklyn Museum is known for her honest and open dialogue about her museum's digital developments – the good and the bad. She regularly blogs about her processes and experiments, reflecting on their success in terms of her overall mission and showing vulnerability in the tension of some of her decisions.
The institution's recent decision to back away from some platforms, to actually remove the museum's content and stop tagging activities, caused ripples of controversy. But whatever her peers think, Bernstein was clear that the decision was based on prioritising which platforms met the needs of her primary audience: those local to Brooklyn. This took courage, an admission of vulnerability and a reality check about the number of platforms her team were able to support.
Recognising our own digital vulnerability, our own humanness, allows us to become more open and accepting. If we really want to do digital better, if we want to be more fit for purpose, as organisations we need to demonstrate more of these human qualities in all aspects of our work.


Wishing all of you a happy, healthy holiday season!
As many of you know, shingles is a localized, painful rash. The rash often lasts only a week or two, but the usual severe pain associated with it can last a lifetime. Shingles results from the reactivation of the chickenpox virus that lies dormant in the nerves of our spine or brainstem. All of us who have had chickenpox are at risk for shingles, and the lifetime estimate can be as high as 1 in 3.
For the past decade, we have been vaccinating those over 60 (sometimes 50) with Zostavax. This vaccine reduces the chance of getting shingles by 50% and seems to attenuate the symptoms should one break through. The effectiveness of this vaccine seems to wane after a decade.
A new and improved vaccine should be available early next year. Shingrix, administered twice 6 months apart, reduces the incidence by 90-95% and seems to remain much more effective over time. When available, we are recommending that those over 50, regardless of prior vaccination status, receive the vaccine. It looks like it will be covered by Medicare or your private insurance and we can send a prescription to your pharmacy on request or at the time of your next appointment. Coverage may take a few months to be on formulary by your private insurance company. It appears that it will be safe for those whose immune system is weakened by illness or medication. Side effects generally are localized redness or swelling at the site of injection, or perhaps feeling achy for a few days.
Please contact us if you have any questions regarding this new and innovative vaccine.
35% of American households have guns.
People who have guns in their homes are substantially more likely to die of gun violence. They have much higher rates of suicide, homicide (typically from domestic disputes) and accidental gun deaths.
33,000 Americans died of gunshot wounds last year. 2/3 of these were suicides. Roughly 1,000 were women murdered by their current or former domestic partner. 3,500 children were killed by gun violence. Many children were killed accidentally when they were playing with a family member's gun.
If you have children in your home, consider getting rid of any weapons, or keep them unloaded, disassembled and locked.
Talk to parents of your children's playmates to make sure they don't have guns in their home that are unsecured and may pose a danger to your child.
If there is a history of domestic violence in your family, you should not have guns in your home. 1 in 3 women have been the victim of domestic violence.
If there is a history of a major depression in a family member who lives with you, you should not have guns in your home. 96% of suicide attempts with guns are fatal, versus 6% of suicide attempts with knives or poisoning.
The American Heart Association and American College of Cardiology have updated the guidelines for high blood pressure in adults. The new guidelines are based on a comprehensive review of the latest medical evidence and clinical trial research. So, what's behind these changes? The new guidelines eliminate the category of pre-hypertension. Research shows adults with blood pressure readings considered pre-hypertensive under the old guidelines (120-139/80-89) are already at up to double the risk of having a heart attack or stroke! As of today, if your blood pressure tops 130/80 you are considered to have high blood pressure. Clearly, earlier detection and treatment results in significant cardiovascular benefit and improved overall health!
The good news is that high blood pressure is treatable and the new guidelines focus on prevention, earlier detection and lifestyle changes being the key. Even with the lower threshold for diagnosing high blood pressure, only a small increase is expected in the number of adults requiring anti-hypertensive medication. There are many effective strategies to reduce your numbers that don't involve drugs.
It is so important to know your numbers so you can start a conversation with your doctor. The key to this is knowing how to accurately take your blood pressure. Correct home monitoring with an accurate device can provide valuable information to your doctor. Office setting readings can often be falsely elevated, and at least two readings on two separate occasions are needed for diagnosis.
•	Don't smoke, drink caffeinated beverages or exercise for at least 30 minutes prior and sit quietly for at least 5 minutes before taking a B/P reading.
•	Sit up straight with both feet flat on the floor.
•	The cuff should fit correctly and be placed above the bend of your elbow with your arm resting on a stable surface at heart level.
•	Keep a diary for your doctor. Take at least 2 B/P readings a few minutes apart in the morning (before you take your B/P medicine-if any) and in the evening before dinner.
Bottom line: Be sure to know your numbers and work with your doctor to develop an individualized treatment plan that's right for you. Lowering your blood pressure can save your life!
More to come on the new guidelines, lifestyle changes and treatment for high blood pressure in the next newsletter!
Thursday and Friday, November 23rd and 24th.
Client Portal Update: We are continuing to hand out the patient portal information to you at your office visit. For those of you that haven't received the information please search your e-mail junk folder for an e-mail from "personal physicians" after you receive your instruction letter mailed to your home. This e-mail gives you the token to access your account. When we print off your instructions to mail, an e-mail is automatically generated and sent. We appreciate your patience and please pardon the delays! The information that will be sent for enrollment should answer most questions you may have and of course please feel free call the office with any questions or concerns you may have!
New Insurance Cards for 2018: Please CONTINUE to let us know if you have received a new insurance card! We must have the correct information to obtain approval for your medications, ordering labs and scheduling diagnostic tests. We will continue to check and update all cards at your office visit.


text:
Yushan Li (left) and Jun Zhou (sitting) designer's of PRONOUNCE in their Fall 2019 collection. Photographed by Alexandre Gaudin. Fashion by Gaultier Desandre Navarre.
by Nick Remsen; photos by Alexandre Gaudin
Jan 8 2019, 10:09pm
Arty Sportswear Shines In London With These Two On-the-Rise Labels
Pronounce and C2H4 bring a new flex to the sportswear arena.
You know when you were a kid at the pool and someone would inevitably have one of those toy torpedos that you'd try to underwater-throw, at just the right angle, to glide rather than sink? Who'd have guessed the sartorial equivalent of said aquatic playthings would effectively work as the closures on a duffel coat or a raggedy cardigan? These exaggerated, XL-sized accents were one detail that propelled Pronounce—the ascendant label by Yushan Li and Jun Zhou—into London's heady artful-sportswear zone this season. Their Fall 2019 collection was rife with the sort of sharp consideration one might expect of a duo with the combined educational background of Central Saint Martins, London College of Fashion and Milan's Instituto Marangoni.
PRONOUNCE Fall 2019. Photographed by Alexandre Gaudin. Fashion by Gaultier Desandre Navarre.
"The collection was about an abstract concept… a beam of light. We want to celebrate individual spirits," said Yushan. That singularity and quirkiness was further evinced through muted colors paired with neon pops, oddball geometric faces on vests, and contrast taping along the edges of outerwear with tweaked proportions (including a pseudo-empire-waist parka), all of which gave the (arguably oversaturated) sportswear category an interesting new flex. And while the label, which the duo launched in 2015, is technically split between Shanghai and Milan, Yushan says that London is the pair's preferred point of exhibition: "It is the best platform. It makes us push ourselves to present at the highest level, converting what we are thinking in the moment."
Another relative newcomer to look for in this arena is C2H4, founded in 2014 by Shanghai-born Yixi Chen. Its moniker has an accidentally scientific origin story: "Yixi," while a name, is also the sound of the word for the compound Ethylene, the chemical symbol for which is C2H4. Apparently Ethylene has a "sweet and musky" smell, but the label, if one were to define it as such, lets off a far more acrid and metallic odor. Fall's smoky, icy, steely palette was paneled into ultra-technical parkas, anoraks, shorts and even a boiler-suit.
Yixi's vision of sportswear was more expected—something, in a way, of a futuristic sailing uniform—but nonetheless intriguing. And that's a big takeaway from London after this past weekend: tracksuits and sports-inflected gear are old hat, but designers are now finding ways to subvert the genre to procure something that's a bit more compelling. It won't always look "new"—there are some referential bits in both of these collections that will remind ardent viewers of collections past and elsewhere—but new in this sense might be near impossible to achieve at this point. Rather, it's the subtle, edited differentiations that are still giving sportswear its kick… and these labels are two very much worth zooming in on.
C2H4 Fall 2019. Photographed by Alexandre Gaudin. Fashion by Gaultier Desandre Navarre.
Yixi Chen (left), designers of C2H4 in the Fall 2019 collection. Photographed by Alexandre Gaudin. Fashion by Gaultier Desandre Navarre.
Credits: Model: Rishi Robin at Rebel Management; Photographer: Alexandre Gaudin; Fashion Editor: Gaultier Desandre Navarre, Special thanks to The British Fashion Council
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Mappes family makes mark on Center Grove wrestling
The end of this year's wrestling state finals will mark the end of an era for the Mappes family and Center Grove.
Mappes family makes mark on Center Grove wrestling The end of this year's wrestling state finals will mark the end of an era for the Mappes family and Center Grove. Check out this story on IndyStar.com: http://indy.st/2o8VKk1
Matthew VanTryon, matthew.vantryon@indystar.com Published 1:49 p.m. ET Feb. 15, 2018
From right, Center Grove senior Gleason Mappes practices against fellow senior Jonah Hays at Center Grove High School, Greenwood, Ind., Thursday, Feb. 8, 2018. Mappes was preparing for the semi-state match in Evansville, where he lost 2-3. He will compete in IHSAA state finals, to be held February 16 and 17 at Banker's Life Fieldhouse.(Photo: Jenna Watson/IndyStar)Buy Photo
GREENWOOD – Gleason Mappes couldn't understand why his brother Shelby was so upset.
"What's wrong?" he asked his mom as a second-grader. "What's the big deal?"
Shelby Mappes had just lost in the state wrestling semifinals.
Fast forward to 2012.
Gleason's eyes lit up as he walked into Bankers Life Fieldhouse. The fifth-grader was overwhelmed by the pomp and circumstance surrounding the state finals. To him, this seemed bigger than the high school wrestling. After his brother won a state title, Sean Mappes seemed bigger than a high school wrestler.
"Being at state in general seemed like the Olympics," the youngest of the four Mappes brothers said. "I thought (Sean) might go to the Olympics some day. That's who my brother was to me at that time. I thought maybe I could do that one day. Maybe I'd be lucky enough to come close."
For as long as he can remember, this has been Gleason's life. Instead of watching Saturday cartoons, he watched wrestling matches. For the past 13 years, a Mappes brother has been wrestling at Center Grove. First Shelby, then Sean, then Rhett and now Gleason.
Win or lose, this weekend will mark an end of the era for the Mappes family. Gleason wants to make sure he goes out on top.
"I've been thinking about it since I was 8 years old."
Center Grove's Gleason Mappes will finish family tradition at state
At center, senior Gleason Mappes (14) listens to coach Cale Hoover as practice winds down at Center Grove High School, Greenwood, Ind., Thursday, Feb. 8, 2018. Mappes will compete in the 160-pound class at IHSAA state finals, to be held February 16 and 17 at Banker's Life Fieldhouse. Mappes is the last of four siblings to wrestle for the Trojans. Jenna Watson/IndyStar
From top to bottom, Center Grove senior Gleason Mappes works through a practice match against fellow senior Jonah Hays at Center Grove High School, Greenwood, Ind., Thursday, Feb. 8, 2018. Mappes was preparing for the semi-state match in Evansville, where he lost 2-3. He will compete in IHSAA state finals, to be held February 16 and 17 at Banker's Life Fieldhouse. Jenna Watson/IndyStar
Coach Cale Hoover, senior wrestler Gleason Mappes and his parents (facing away) Therese and Don Mappes talk after practice at Center Grove High School, Greenwood, Ind., Thursday, Feb. 8, 2018. Wrestling became a Mappes tradition: Don wrestled in high school and Gleason's older brothers Rhett, Sean and Shelby were successful Center Grove wrestlers as well. Therese drives the team bus for away matches and is best known as "Mama Mappes" to Trojans wrestlers. Jenna Watson/IndyStar
From right, Center Grove senior Gleason Mappes practices against fellow senior Jonah Hays at Center Grove High School, Greenwood, Ind., Thursday, Feb. 8, 2018. Mappes was preparing for the semi-state match in Evansville, where he lost 2-3. He will compete in IHSAA state finals, to be held February 16 and 17 at Banker's Life Fieldhouse. Jenna Watson/IndyStar
From right, Center Grove senior Gleason Mappes takes direction from coach before a practice match against fellow senior Jonah Hays at Center Grove High School, Greenwood, Ind., Thursday, Feb. 8, 2018. Mappes and Hays will compete in IHSAA state finals, to be held February 16 and 17 at Banker's Life Fieldhouse. Jenna Watson/IndyStar
From left, Center Grove senior Gleason Mappes works through a practice match against fellow senior Jonah Hays at Center Grove High School, Greenwood, Ind., Thursday, Feb. 8, 2018. Mappes and Hays will compete in IHSAA state finals, to be held February 16 and 17 at Banker's Life Fieldhouse. Jenna Watson/IndyStar
Center Grove head wrestling coach Cale Hoover gives direction during practice at Center Grove High School, Greenwood, Ind., Thursday, Feb. 8, 2018. Jenna Watson/IndyStar
Center Grove senior Gleason Mappes and his father Don are seen in front of a sign that shows Gleason's older brothers Shelby and Sean placing in the Trojans wrestling top five for pins, takedowns and wins, after a practice at Center Grove High School, Greenwood, Ind., Thursday, Feb. 8, 2018. Gleason is the last of four brothers who have wrestled at Center Grove. Jenna Watson/IndyStar
Center Grove senior wrestler Gleason Mappes jumps rope after practice at Center Grove High School, Greenwood, Ind., Thursday, Feb. 8, 2018. Jenna Watson/IndyStar
From left, senior wrestler Gleason Mappes and his parents Don and Therese talk after practice at Center Grove High School, Greenwood, Ind., Thursday, Feb. 8, 2018. Wrestling became a Mappes tradition: Don wrestled in high school and Gleason's older brothers Rhett, Sean and Shelby were successful Center Grove wrestlers as well. Therese drives the team bus for away matches and is best known as "Mama Mappes" to Trojans wrestlers. Jenna Watson/IndyStar
One day, a young Gleason asked his dad why all of his brothers wrestled.
"Because we're Mappes," Rhett interjected. "That's what we do."
Their dad, Don, won a wrestling title with Roncalli in 1976. Don didn't push his sons into wrestling. But once the first son started, the rest followed.
"Once one gets involves, it just kind of becomes a family affair," Don said. "(But) if you push them towards something because of what you want, quite often you don't get the result you're looking for."
Shelby, a 2009 graduate, has the second-most wins in program history. Sean, a 2012 graduate, is third. Gleason, who enters his final state tournament with 143 wins, is tied with Sean.
Sean and Shelby have plenty of other places in the Trojans record book. They are first and second for wins in a season, though Gleason could join those ranks with a strong showing this weekend. They are third and fourth in career pins, Shelby is third in career takedowns and second in season takedowns.
Gleason grew up surrounded by greatness. But it wasn't always clear that he would follow in his brothers' footsteps.
He struggled early during his freshman season, on and off the mat. He entered Christmas break with just as many losses as he had wins. His frustration often boiled over.
"We've had a few conversations where I chased him out of the gym, trying to get him calmed down to make sure he didn't hurt himself," Trojans coach Cale Hoover said.
Coach Cale Hoover, senior wrestler Gleason Mappes and his parents (facing away) Therese and Don Mappes talk after practice at Center Grove High School, Greenwood, Ind., Thursday, Feb. 8, 2018. Wrestling became a Mappes tradition: Don wrestled in high school and Gleason's older brothers Rhett, Sean and Shelby were successful Center Grove wrestlers as well. Therese drives the team bus for away matches and is best known as "Mama Mappes" to Trojans wrestlers. (Photo: Jenna Watson/IndyStar)
Something flipped in Gleason's head at just the right time. He entered sectionals seeded fifth but finished fourth to grab the final spot to advance to regionals. He finished third at regionals and fourth at semi-state.
All of the sudden, he found himself wrestling on the stage he equated to the Olympics a few years before. He lost in the first round of the state finals, but the result was irrelevant.
"The state finals still seemed like that big of a deal," he said. "I got a taste of what it was like, 'Man, that was pretty sweet.'
"But that wasn't enough."
He's made strides each of the past two seasons, finishing fourth each year. But last year's defeat in the semifinals proved especially difficult to handle.
"I really felt like I could take the state title," he said. "Things I didn't realize were flaws got exposed and I got beat. It was a really tough pill to swallow."
Gleason took a few days off, then got back in the gym. That summer, he went to FloWrestling Nationals, where he wrestled against some of the best in the nation. He didn't want to fall short again.
"He despises losing like few people I've ever met," his coach said.
From top to bottom, Center Grove senior Gleason Mappes works through a practice match against fellow senior Jonah Hays at Center Grove High School, Greenwood, Ind., Thursday, Feb. 8, 2018. Mappes was preparing for the semi-state match in Evansville, where he lost 2-3. He will compete in IHSAA state finals, to be held February 16 and 17 at Banker's Life Fieldhouse. (Photo: Jenna Watson/IndyStar)
As he contemplates the last weekend of his high school wrestling career, Gleason talks in measured tones, choosing his words carefully. He exudes a quiet confidence that comes with knowing that he's done everything he can to prepare. And that's all he can do.
It's a far cry from the freshman who would throw headgear, try to hurdle chairs and break through doors when a practice session didn't go his way.
"It's easy to get your emotions out of whack," the senior said. "That doesn't just come with losing, it comes with winning as well. I try to not get too high or too low, because no matter what, you're going back to practice on Monday."
Next Monday, he won't be going to practice. Or maybe he will. He'll be wrestling at the University of Indianapolis next year while participating in their nursing program.
"My future is set," he said. "As long as I put my whole heart into it and work hard and focus, I'm not going to leave with any regrets. It's easy to be confident when you put everything into it."
He hasn't given much thought to his legacy at Center Grove, or the mark his family has left on the program. Neither have his parents. But they know it will be different. Their weekends will be less hectic. His mom won't be driving the team bus anymore, like she has for the past decade.
"It's going to be bittersweet to let it go and let somebody else follow their kids," Therese Mappes said. "It's going to be a new chapter, starting for Gleason and us. What are we going to do on the weekends?"
Don Mappes has made a habit of going to Trojans practices. Old habits are hard to break.
"Maybe next year I'll just come over to practice a couple times," he said. "It's been a big part of our lives, so it's going to be a strange feeling."
Sean, who lives in Chattanooga, Tenn., hasn't seen Gleason wrestle in high school. But he'll be there this weekend, hoping to see his littlest brother win the first state title for the program since he did it himself.
"I wanted to do better than Shelby," Sean said. "I wanted Rhett to do better than me. Gleason? Top us all."
Cale Hoover is going to soak in this weekend, too. Next season, he won't be coaching a Mappes for the first time in 13 years.
"He's improved more over four years than anybody I've coached," Hoover said of Mappes. "I went into the season knowing I need to enjoy every day. There's no doubt it's going to be different."
As for Gleason himself, he hasn't thought about the emotions that will inevitably come when the weekend finishes. He's too busy focusing on the task at hand. He enters his final tournament with just one loss on the season, last weekend at semi-state.
"I believe I'm the best person in that bracket," he said. "That's not being cocky, I'm just confident in my abilities.
"I don't think I'll feel that, 'Holy crap, this is my last time wrestling for Center Grove' until I walk off the mat for the last time."
Follow sports producer Matthew VanTryon on Twitter @MVanTryon.