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You might think a lighting designer wouldn't be considering environmental issues as they worked. If so, you'd be wrong. "It's something I've been concerned about professionally for a long time", Graham Festenstein tells me. In fact, stories about our environment – from the beauty of moonlight to the impact of rising sea levels – are the theme this year for LewesLight, the annual festival of light he's curating. "We're probably using less energy on one installation than someone would be using in their house for an evening", he reassures me, before pointing out that effective lighting doesn't always need to be bright. "We want to demonstrate that darkness is nothing to be frightened of; it's something to be embraced and enjoyed. Our eyes adapt to darkness really well."
Key locations across town will be transformed by lighting and projections for three nights. As with previous LewesLight festivals, the choice of sites is very important – and, at the time of our conversation, still very secret. "We want to find special places", Graham explains. Each illuminated installation will be staffed with well-informed volunteers. "We'd like visitors to understand a little bit more about why it's been created. Lots of arts events don't provide that."
LewesLight is undeniably a collaboration, generously supported by the lighting industry alongside production partners Sussex Events Limited. Lighting designers and organisers give their time for nothing, whilst an Arts Council grant means local artists can be paid for their contributions. The whole thing is run as a not-for-profit Community Interest Company, with a new emphasis this year on mentoring college and university students through the whole process. Safety concerns mean younger children can't participate directly; instead LewesLight is working with schools to create projects that will form part of the festival. A desire to work with young people is one of the reasons the festival has moved from October to February, fitting much better with term times. And, as Graham adds, "It's darker earlier, so we can kick off at six o'clock rather than seven o'clock, which is great for families and children." Also involved are the Linklater RATS (Raising Awareness of Tides and Sea levels), a youth group linked to the Lewes Railway Land Project. "It's 20 years since the Lewes flooding in 2000", Graham reminds me. "We wanted to work with them as this coincided with our ideas of exploring climate emergency and environmental issues."
Ultimately, Graham insists, LewesLight is about more than just light and darkness. "It operates on two levels, in a way. You can come and see it, you can enjoy it for what it is. But there's also the wider back story. I think the process of putting the thing together, engaging with people and bringing people together, is as important as the final result. We're not a gallery – this is a town."
LewesLight runs at sites across town from 28th February until 1st March 2020.
Free admission; full details at leweslight.uk
First published in Viva Lewes magazine issue 161 February 2020
Tagliatelle con salsa di pomodoro e spinachi
Peter Bayless, BBC MasterChef 2006
It was my wife who suggested that I entered MasterChef. After 39 years of working in advertising, I was getting tired of it – and I rather fancy that advertising was getting tired of me. "You should cook", she said. "Everyone loves your food. You need to get on one of those TV programmes."
I was born in north London immediately after the Second World War. Half of the street was a bomb site, so I wasn't allowed out to play. Instead I'd be in the kitchen with my mother, standing on a chair to stir puddings, roll pastry and even cut vegetables. This love of cooking was reinforced at the age of 12 when we went on a family holiday to the south of France. I'd never seen such exotic food. I applied to study catering at school but the headmaster convinced me to focus on art and design.
Winning MasterChef isn't a passport to instant success. It opened a few doors – I worked for Michel Roux, Raymond Blanc, John Williams at the Ritz – but realised I had to come back to earth. I took a job as a chef, wrote a book and magazine articles, did some radio and TV, then started teaching and doing private parties. And from August I'm going to be helping friends who run a Greek restaurant in Heathfield.
I'm very keen for people to learn how easy it is to create simple, nutritious, inexpensive food for themselves. That's what I'll be demonstrating at Firle Vintage Fair on 9th, 10th and 11th August, including this recipe.
Serves 4 people
200g 'tipo 00' pasta flour
2 whole eggs, beaten
Large saucepan of boiling water
Generous amount of salt
2 large handfuls of baby plum tomatoes, halved
2 large cloves of garlic, crushed with sea salt
2-3 tablespoons extra-virgin olive oil, plus extra for drizzle
2-3 handfuls of fresh spinach
Salt & freshly ground black pepper, plus extra for finishing
Bowl of grated parmesan (more or less to taste)
Bowl of chopped parsley
Half a glass of dry white wine
Method for the pasta
Place the flour into a food processor and, with the motor running, add the beaten egg in a stream until the dough begins to come together. (Italian nonnas – grandmas – do this all by hand.) Remove, knead to a smooth ball and wrap in film. Refrigerate for 15 minutes, then use a pasta machine to roll out the dough and cut it into wide tagliatelle strips. Dust with flour and set aside.
For the dish
Heat the oil in a large pan and add the tomatoes, followed by the crushed garlic. Add salt, pepper and the wine. Simmer gently while you cook the pasta in well-salted water for just 2 minutes. Lift the pasta from the water and add it to the sauce, along with a couple of spoons of the cooking water, then toss well together. Gently stir in the spinach. Serve in warmed bowls with a generous amount of grated parmesan, chopped parsley and a final flourish of extra virgin olive oil. Add freshly ground black pepper to taste.
As told to Mark Bridge
peterbayless.com
firlevintagefair.co.uk
First published in Viva Lewes magazine issue 155 August 2019
In June 2019, ex-EastEnders star Samantha Womack visited Brighton as part of the cast for The Girl on the Train, a play based on the best-selling novel by Paula Hawkins. She'd been playing the role of Rachel Watson in the touring production since it opened in January. This is an extended version of the interview that appeared in Viva Lewes magazine issue 153.
The main thing about Rachel is that she's broken by circumstance. She's very devil-may-care and rebellious but there's something quite vulnerable about her. Some performances I'll start with a slightly more accessible Rachel, or I can be very surly and aggressive – and the play will unfold with that starting point. That keeps my attention completely riveted to the dialogue as if it was fresh for the first time. Anthony Banks, the director, has been very clever: he's cast actors who are actually quite malleable. We all bend and adapt to our spaces. We're not militant in keeping everything too set in stone, which would be very boring for me. I'm not that kind of actor, I like to keep things fresh. Particularly there's an actor that plays the detective inspector, John Dougall; we've got a few scenes together and our scenes are such fun to do because he's playful and will react. He still listens and I still listen to him, so there's a kind of dance that happens. I really enjoy that aspect of acting.
It's quite an isolating feeling being on tour; some days you are very engaged and have a lot of energy and then other days you feel kind of slightly separate to your own life because you're living in hotel rooms. Sometimes I'll wake up with a certain kind of mood and rather than try and eradicate that completely I'll try and tailor it in some way to what I can use for the performance. I'm not really method method but I would definitely tend to use how I feel more than not, just because I think that's helpful to me as a person.
The concept is 'thriller' but it's a psychological drama as well. Anthony wanted the set to feel like pieces of the jigsaw puzzle that Rachel is trying to manage in her head, because she has these large holes in her memory. So bits of it glide on and glide off. But the sets themselves are quite barren, so there's almost a book-like quality, pages of a book turning. Our set has not only had to work in beautiful gothic theatres or smaller Edwardian theatres, it's also had to work for contemporary large spaces as well. That's the beauty of touring, really; what keeps it fresh is that each space brings along almost a new version of the play.
I love the freedom of a stage. It's working with a story chronologically, as well. There is something really satisfying about starting at the beginning and finishing at the end. With a soap, you'll be filming six to eight episodes in a day, so in the morning you'll be doing stuff where you've lost a baby and in the afternoon you'll be doing stuff where you're still pregnant. It can be that crude. Whereas with a play, the minute you set foot on that stage, it's a rollercoaster ride and you don't get off until the end. You have creative control as an actor, within the parameters of what's been set by the writer and the director, you then have a certain amount of freedom – and I have to say, as I get older, that freedom has become really important to me.
With television, let's say you do your establishing shot first, which will be all the characters in the scene on a wide angle. Whatever you've committed to do in that first wide shot, you then have to manufacture identically that same performance and tone for another thirty close-ups. I was listening to Laurence Olivier talking the other day about acting, I think it was a Parkinson interview. He said you're an engineer of sorts, your technicality is completely different, you're manufacturing the same thing over and over again – where you stand, where you move to, the tone in your voice – so it doesn't differ from what you originally committed to.
There's a lot of competition, so I try really hard not to get typecast. I understood very early on that I had to diversify if I wanted to survive, but it kept me interested creatively as well. In my 20s, I did things like Game On or Babes in the Wood. I was doing lots of comedy and kind of sexy vampy roles, and I thought 'Well, I'm going to need to be careful here'. I got written this beautiful part called di Pauli for a series called Liverpool 1, which was quite like The Vice, and all of a sudden there was this quite fiery character who was a female in a male dominated environment but she held her own - and then I thought 'Well, now I'm just doing TV and all of those theatre roles have stopped coming', so I went back to musicals, I did Guys and Dolls with Patrick Swayze but then I'd cut to a straight play. I have this need to survive. I'm the breadwinner, I'm a mum and acting is really hard to get employed in now.
I can drive through the night on Saturday night after two shows, I'll get home at about two in the morning but that means I wake up at home on Sunday. It's tough, I won't pretend that it's not. I'm exhausted, at weekends I just want to collapse into a little ball. Actually I'm tidying and I'm doing homework and I'm taking the dogs to go the vet; I'm trying to manage everything in that one day that I haven't managed to do in the week. But I'm very lucky; I have a very supportive husband who's also an actor, he understands how hard that is, and the kids are great too - they've grown up in this industry - we all pull together.
For me, Brighton is synonymous with my father. He was a very eccentric, sweet musician. Every time I turned up in Brighton, he'd come and meet me on the pier with his cowboy hat and his guitar and his Dalmatian dog. And he's not with us now. So I have these poignant memories. Growing up in Brighton in the '70s, we'd go down to the beach when I was two, three and four. He was discovered by Fleetwood Mac's manager and so I'd be babysat by all these incredible musicians. I've got very vivid memories of that, like the summer of '76 when it was really hot and being a little thing, barefoot and just kind of traipsing down to the beach with a bunch of hippies. Brighton is a very, very special place to me.
The Girl on the Train was at the Theatre Royal Brighton from Monday 17th until Saturday 22nd June 2019.
Rule 1: Everyone talks about Album Club
Back in June 2018, music publicist Del Day and musician Danny George took over Union Music Store from founders Stevie and Jamie Freeman. In some ways, little has changed. It's still very much the antidote to mainstream online retailing: a local record shop where the owners love discovering new music and sharing their knowledge. Despite this, they're also happy to order anything you want. "We're not snobs but we've only got a certain amount of space to play with", Danny admits. It's what Del describes as a curated approach. "We want it to be a shop where you can pick a record up and we go 'that's a great record' and genuinely mean it. It's becoming a little arts hub here for us – and we'd like to extend that."
Look closer and you'll spot a broadening of genres, heralded on my visit by the jazz trumpet of Lee Morgan greeting me as I walked through the door. "Since we moved in we've expanded the range of stock", Del tells me, "so rather than just being a specialist Americana/country shop, we've now got world, jazz, blues, some classic rock and a lot more interesting left-field records." You'll also discover loads more vinyl albums – "we're probably 80% new and used vinyl" – and, if you turn up on the last Wednesday evening of any given month, there's a good chance you'll find a session of the shop's Album Club taking place.
Album Club is "essentially like a book club", Del explains, attracting an even mix of men and women. You buy a copy of the month's chosen album – obviously the shop would appreciate your custom but what's more important to them is that people obtain a physical copy rather than relying on streaming services – and you listen to it as much as you can. "It's about embracing the art form again and actually cherishing buying the record. And this gives you a chance to reinforce that." Whoever turns up for the meeting will find the kettle on and beer in the fridge. "We meet in here at 7.30pm, we play back the record and we discuss it for about two hours", says Del. "It's basically a chance to nourish that artistic element in your head." There's no fee and no obligation to stay until the end.
Union Music Store has hosted five album club meetings so far, from Damien Jurado to Janelle Monáe. January's meeting will be listening to Merrie Men, the latest album from supergroup The Good, the Bad & the Queen. Yes, it's a diverse collection – but what's the point? Del has a characteristically matter-of-fact answer. "It's a little bit of publicity for our shop, it's a way of embracing the art form, which we think is really important, and it's also a social event. It's immensely enjoyable. I really look forward to it."
Union Music Store, 1 Lansdown Place, Lewes. unionmusicstore.com
First published in Viva Lewes magazine issue 148 January 2019
Penned Up
Penned Up is a unique two-week arts and literature festival that rotates around prisons. Not only is it designed for prisoners, it's also curated by them. "Prisoners are involved in the conception, the planning, the ideas and the promotion", Co-Director David Kendall tells me. "Some want to be more creative, others want to use what they learn to deal better with their time in prison. For some, it helps them through difficult times, for others it allows hope. The arts can address who we think we are, and who we think we should be."
This year, Penned Up came to Lewes Prison. It's a festival that takes place behind closed doors: its audience as well as its performers are prisoners. But outside is an event that's aimed at a wider audience. The Keep at Falmer is hosting 'Inside Lewes Prison' – two talks about life behind bars: a historical insight from County Archivist Christopher Whittick; and a personal perspective from author and journalist Erwin James.
Back in 1984, Erwin was neither of those things. He'd just been convicted of murder and sentenced to life imprisonment. It would be 20 years before his release. During that time, education and reading transformed his perspective. He took O-level English, then an Open University degree and a journalism course. But Erwin insists he isn't an exception, apart from his subsequent career choice. "The vast majority of people in prison hate being criminals" is what he found when talking to other offenders. "Few rejoice in being outcasts. Most are broken, damaged and, like any regular citizen, have dreams of living a regular life, with a job, a home, a family. There is never any excuse for crime, for causing hurt and pain to others, but if we don't use our prisons constructively the hurt and pain will continue."
Earlier this year the Secretary of State for Justice, David Gauke MP, said prison had three main purposes: protecting the public, punishment and rehabilitation. What does Erwin think? "Pretty much the same – but, since the majority of people in prison will be released one day and will be somebody's neighbour, we have to agree more as a society that rehabilitation is key."
Art can be a key part of this rehabilitation, according to Erwin. "My experience was that creativity – more than anything else – gives people who engage a sense of value and worth like nothing else can. I'm so grateful for the authors, musicians and poets who came to the prisons I was in over the years; they gave me hope that I might find the better part of me and, along with help from the teachers and good-hearted prison staff, I made it."
"I want people, the public, to be safer from people like I was. Helping people in prison is not about compassion for broken damaged lives; it's about practicalities, to make communities safer."
Inside Lewes Prison takes place 6pm – 8pm on Wednesday 7th November 2018 at The Keep. Tickets £5; booking essential via 01273 482349.
First published in Viva Lewes magazine issue 146 November 2018
Thomas Dunford: the Lutenist and the Lapwing
At the age of fifteen, Thomas Dunford was performing on stage at the Comédie Française theatre in Paris. The Spectator described him as 'a teenage rock star of the lute', while BBC Music magazine made favourable comparisons with guitarist Eric Clapton. So what brings this internationally-acclaimed musician to the 60-seat Lapwing Festival at Cuckmere Haven on Sunday 2nd September? "When people are friendly and the place is beautiful, it's as good for me as being in Carnegie Hall", Thomas tells me.
The lute is often seen as a medieval instrument, although its origins can be traced back much further. However, you're unlikely to hear a truly original lute being played. "It's one of the most fragile instruments that exists because it's extremely thin", admits Thomas. "Most instruments that are from the time have to be restored; they don't age like violins. After 30 years, the soundboard gets a little tired."
As well as having a long history, the lute is also more broadly defined than most modern instruments, with the number of 'courses' (strings) varying depending on the musical style and the manufacturer's preference. "The 'lute' could mean a six-course lute or a seven-course lute, theorbo or chitarrone [types of long-necked bass lute]… maybe a hundred different ways of playing and making the instrument", explains Thomas.
Innovative interpretation is something Thomas Dunford has embraced. He's recently formed 'Jupiter', a group of musicians who "play baroque music with my own convictions, which are that this music should be not conducted but everybody has to be the composer together." This is how he believes the music was originally performed. "I think the way baroque musicians would work was closer to what we do now with jazz music, where they improvise a lot. Bach himself was known more as an improviser than as a composer in his time. In order for us to play music by extraordinary improvisers, we have to know what it is like to create music out of nothing because that is what they were doing all the time in the baroque world."
"The lute is one of the most subtle instruments that I know. There are so many possibilities of tone colours – and it's an instrument that asks for silence. You play one note; there's a lot of resonance… and the resonance is always dying out. So it's an instrument that always invites the silence into variety."
Earlier this year Thomas released a CD of music by JS Bach, including some pieces that were originally written for other instruments. "When he writes, you feel that he's not thinking of any technical means, he's thinking in pure musical form", he says. "That's why Bach works on any instrument. It's the hardest and also some of the most beautiful music."
The Lapwing Festival runs from August 31st until September 2nd at Cuckmere Haven. lapwingfestival.com
First published in Viva Lewes magazine issue 144 September 2018
Mendelssohn Magic
East Sussex Community Choir is joined by the Corelli Ensemble this month for a performance of three much-loved Mendelssohn works. The programme ends with the symphony-cantata Lobgesang ('Hymn of Praise'), featuring soloists Dame Felicity Lott, Shona Knight and Paul Austin Kelly. "This is very uplifting music that we're singing", Dame Felicity tells us. "I love Mendelssohn; he's joyous and raises the spirits." A Sussex resident since 1980, Dame Felicity fell for the area after performing at Glyndebourne: "I used to love the drive out of London and the sight of the wonderful, rolling, soft Downs." But what prompted her to fit this particular event into her international schedule? "I thought it would be nice to do something locally, for once. I did a charity concert some time ago with Paul, the tenor, and really enjoyed singing with him." Not only does Dame Felicity know Paul and musical director Nick Houghton, she's also very familiar with the music. "I come from Cheltenham, where there's a competitive music festival. When I was a teenager I entered the festival and sang the duet from this with another young singer. It's called 'I waited for the Lord' and I've been singing that all my life."
Saturday 5th May 7.30pm at Lewes Town Hall; tickets £12 from Lewes Tourist Information.
First published in Viva Lewes magazine issue 140 May 2018
Belongings: Music and Migration at Glyndebourne
Walking into the staff café at Glyndebourne, I find myself surrounded by dozens of excited children who are taking a break from rehearsing a new opera. 'Belongings', composed by Lewis Murphy with words by Laura Attridge, compares the lives of World War 2 evacuees with present-day refugees fleeing war zones. As the youngsters return to the stage, Lewis sits down with a coffee. I ask him if there's a moral to the story. "If there is a moral, it's about learning from history", he tells me. "It's about openness and human connection. As well as entertaining the audience, I'm hoping we can make them ask questions of themselves."
Glasgow-born Lewis has been Glyndebourne's Young Composer in Residence since 2015, before which, he admits, "opera was quite new to me". He's clearly a fast learner. As well as composing 'Belongings', he's subsequently been commissioned with librettist Laura to write for Scottish Opera. Should we expect more music from the Attridge and Murphy partnership? "Whether we actually brand it as that, who knows. But in terms of setting ourselves up and promoting ourselves as creators of new opera, it's something we are interested in. We've reached a point now where we feel comfortable working together."
This type of collaborative approach runs throughout Belongings. "Lucy Bradley, our director, was involved from the very beginning of the project, talking with me and the librettist about the story and trying to structure the narrative of the whole piece. And Lee Reynolds, our conductor, has also been heavily involved."
Earlier this year, culture and arts project The Complete Freedom of Truth arranged for all four members of the creative team to visit the Italian town of Sarteano and meet young people in a refugee community. Lucy encouraged the community to perform an improvised drama that represented 'home'. "It was really heart-warming, touching and very humbling for us to see what these guys missed", Lewis says. "It was the first time we'd actually had direct contact with people who'd been through that situation."
Insight from the trip has been passed on to the 65 members of Glyndebourne Youth Opera, aged between 9 and 19, who are singing alongside three professional singers: Rodney Earl Clarke, Leslie Davis and Nardus Williams. "The production taking shape here looks incredible, so I'm really excited to see what happens." There's a special show for schools followed by one public performance – but what next? "I would love to get it performed again", Lewis says. "I think it is still a very relevant piece for our times. Themes of displacement and people being thrown into a new environment; these have happened throughout history and will probably continue to happen. As soon as you create conflict, people have to move."
Belongings will be performed at Glyndebourne on Saturday 11 November. Tickets available from 01273 815000 / glyndebourne.com
40 Shillings On The Drum
Bright new music for the Fading Sun festival
Some bands are happy to follow musical trends. Others are determined to set themselves apart from the crowd. 40 Shillings On The Drum is very much in the latter category, as keyboard player Seb Cole explains. "We want to take a new stance on rock music or folk music and give it a new direction."
The band is heading into Lewes – familiar territory for former Sussex Downs College student Seb – as part of the Fading Sun festival at The Dorset Inn on 8th, 9th and 10th September. It's the fourth year for the free festival, which aims to raise money for the St Peter & St James Hospice, the Starfish Youth Music project and Cliffe Bonfire Society.
Although the band's music is available online, with its latest video receiving more than 25,000 views on Facebook, it's recently produced a physical EP as well. "I think people prefer something a bit more tangible, something you can hold, look at and put in your car", Seb says. "There's something nicer about having CDs and vinyl, even though it's less convenient."
I ask Seb about the way the band recorded its songs. "Nothing's put in or created afterwards", he reveals. "It's all been people in the studio, recording take after take to get the right one. I'm very much one for 'if you're not able to play it live to an audience then you shouldn't be adding it in to your music'."
As well as playing keyboards and singing backing vocals, Seb also co-writes songs for the band with vocalist Daniel Scully. "Sometimes Dan will have written a set of lyrics but he'll also have in mind the way that the song would go and the melody of his vocal". This, Seb tells me, is unusual for a lyricist who doesn't play an instrument. "It means that you can write song after song very quickly. And every now and then, I'll send Dan a piece of music that I've written specifically for the group and he will put words to it in a more conventional manner."
"We write about where we live, people we know, the experiences that we've had as a group, both good and bad. A lot of the time it's inspiration from the normal day-to-day of what young musicians and bands are going through. Always fighting an uphill battle."
There's even a hint of battle in the band's name. Dan borrowed it from a version of the folk song 'Over the Hills and Far Away', which was rewritten by John Tams for the TV drama series Sharpe. "Before my time", admits Seb. "Dan suggested it - and we were all perfectly happy with that as soon as it was mentioned. It really stands out as being something different." As does the band.
40 Shillings On The Drum is at The Dorset Inn in the evening of Saturday 9th. 40shillingsonthedrum.uk


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Poesia concreta é um tipo de poesia vanguardista, de carácter experimental, basicamente visual, que procura estruturar o texto poético escrito a partir do espaço do seu suporte, sendo ele a página de um livro ou não, buscando a superação do verso como unidade rítmico-formal. Surgiu na década de 1950 no Brasil e na Suíça, tendo sido primeiramente nomeada, tal qual a conhecemos, por Augusto de Campos na revista Noigandres de número 2,  de 1955, publicada por um grupo de poetas homónimo à revista e que produziam uma poesia afins. Também é chamada de (ou confundida com) poesia visual em algumas partes do mundo.

Poesia concreta: movimento internacional
O concretismo, primeiramente, foi um movimento europeu das artes plásticas, na década de 1930, e da música, na década de quarenta. Dizia-se "concreto" por oposição à ideia de "abstrato" [carece de citação].

O surgimento oficial da poesia concreta dá-se em 1956, com a Exposição Nacional de Arte Concreta, no Museu de Arte Moderna de São Paulo, com a participação de poetas e pintores de São Paulo e do Rio de Janeiro. No entanto, já se vinha configurando desde o início da década, e mesmo anteriormente, surgindo como parte de um movimento ou tendência, muitas vezes de forma espontânea, no Brasil e em vários países da Europa.

Na Itália, em 1943, provindo do já antigo futurismo (o qual costumava fazer experimentos tipográficos e posteriormente sofreu forte influência da poesia cubista, através da influência do poeta Guillaume Apollinaire), o poeta Carlo Belloli escreveu, profeticamente , to see will become more necessary than to listen ("ver  tornar-se-á mais importante que ouvir") e produziu um tipo de poesia que chamou de "Testi-poemi murali" (Texto-poema mural). Mary Ellen Solt, em artigo de  1968, para a Indiana University Press,  considera tais textos-poemas como poesia concreta.

No entanto, os primeiros textos que atendem rigorosamente aos preceitos definidos para a poesia concreta no seu primeiro manifesto (Plano-piloto para poesia concreta, publicado em São Paulo, 1958, e assinado por Augusto de Campos, por seu irmão Haroldo de Campos e por Décio Pignatari, grupo reunido desde 1952 sob o nome de Noigandres), foram uma série de poemas chamados de "Poetamenos" e o primeiro livro do boliviano-suíço Eugen Gomringer,  Konstellationen (Constelações), ambos publicados em 1953. No mesmo ano, foi publicado na Suécia, pelo poeta brasileiro-sueco Öyvind Fahlström,  um manifesto chamado Manifest for konkret poesie (Manifesto da poesia concreta), que apresentava muitos pontos de contato com as proposições da poesia concreta paulista, enfatizando, porém, a importância do ritmo, o que, de todo modo, poderia nos levar a pensar em alguma poesia como "beba coca cola" (Décio Pignatari, 1957) ou na letra da composição musical "O quê" (Arnaldo Antunes, 1986).

A partir da metade da década de 1950, o movimento começa a propagar-se por vários países, tais como Alemanha, Áustria, Japão, Portugal, França, Espanha, EUA, Islândia, Escócia, Bélgica, Tchecoslováquia, Dinamarca, Turquia, Finlândia e Itália (neste último parecendo ter se desenvolvido da "poesia-texto mural").

Na exposição brasileira de 1956, além dos paulistas do Noigandres, participaram poetas, como Ferreira Gullar (maranhense que, à época, utilizava-se  de meios como a gravação de poemas em madeira), e artistas plásticos como Lígia Clark e Hélio Oiticica. Ferreira Gullar irá romper com os paulistas em 1959 e fundar o neoconcretismo. Mais tarde, o poeta maranhense se afasta também deste movimento, por considerar que o termo "poesia" não poderia ser dissociado da palavra escrita ou falada, e por acreditar que o neoconcretismo apontava para este caminho.

Características da poesia concreta

A poesia concreta é uma vanguarda no sentido de arte que busca a "ruptura", dado por Octavio Paz.

Expressas em grande parte no seu manifesto paulista de 1958 (Plano-piloto para poesia concreta), e de maneira mais clara, o que levou à grande adesão de outros poetas do mundo inteiro a este grupo, incluindo o boliviano-suíço Gomringer (considerado por muitos europeus o principal e único expoente deste movimento),  aparentemente, a poesia concreta opera por duas distinções básicas: a paranomásia e a disposição espacial dos vocábulos, frases ou caracteres. Operando por paranomásia e não abandonando o uso da palavra, a poesia concreta não será definida exclusivamente como uma poesia visual.

No "Plano-piloto", considera-se como seus precursores, pela ordem de referência no manifesto , Ezra Pound, Apollinaire, Eisenstein, Mallarmé, James Joyce, e.e. cummings, futuristas, dadaístas, Oswald de Andrade, João Cabral de Mello Neto, Webern e seus seguidores, Mondrian, Max Bill, a Geração de Orpheu e outros modernistas e a arte concreta em geral.

Em tom radical, o manifesto declara o fim do verso como unidade rítmico-formal do poema, que passa a reconhecer o espaço como agente estrutural, deixando de desenvolver-se de maneira meramente temporal e linear, intentando a simultaneidade da comunicação não-verbal:

"o poema concreto, usando o sistema fonético (dígitos) e uma sintaxe analógica, cria uma área lingüística específica - "verbivocovisual"- que participa das vantagens da comunicação não-verbal, sem abdicar das virtualidades da palavra"

Buscam os poetas concretos, nas palavras do grupo paulista, chegar à "estrutura-conteúdo", veiculando uma mensagem de forma não-usual. A própria estrutura do poema comunicará, complementando ou sendo complementada pelo sentido desenvolvido no texto.

Importante referência o manifesto faz  sobre a "renúncia à disputa do absoluto", considerando os seus poemas como uma obra de arte "perene", contextualizada na era da informação rápida, tal qual um anúncio publicitário, que tende a ser esquecido, substituído por outros.

Não há lugar na poesia concreta, segundo seu manifesto para "expressão, subjetividade e hedonismo". Os poemas devem ser um "poema-produto" que seguirá a fórmula inicial da poesia de Maiakovski, transformar o poema em equação ou "criar problemas  exatos e resolvê-los em termos de linguagem sensível".

Em adendo, posto em 1961, a poesia concreta paulista assume sua postura revolucionária, citando o mesmo poeta russo: "sem forma revolucionária não há arte revolucionária".

Legado

Além de ter gerado um movimento internacional com repercussões até os dias de hoje, o concretismo poético gerou correntes neo-concretistas e pós-concretistas no Brasil, onde teve mais força, como as do poeta Ferreira Gullar, considerado por muitos como o maior poeta brasileiro do século XX, o poema/processo, a poesia-práxis e a essência da poesia reduzida de Paulo Leminski, gerando polêmicas acirradas com alguns dos representantes destas correntes.

Além disso, os poetas de São Paulo, principalmente Augusto e Haroldo de Campos, produziram vasta e indiscutível obra nos campos da teoria literária (muito relacionada em seus pontos de vista aos da poesia concreta) e da tradução (utilizada com fins de crítica, conforme preceitos de Ezra Pound).

Também influenciou uma significativa parcela de novos poetas brasileiros até o início do século XXI, bem como a obra de renomados poetas do antigo modernismo, tal como Cassiano Ricardo e Murilo Mendes, parecendo ser o verdadeiro "ser ou não ser" da poesia brasileira pós-concretismo no Brasil a questão de  deixar-se ou não influenciar pela teoria (ou prática) da poesia concreta ou de seus principais articuladores.

Representações mais recentes, diversas da influência dadaísta além de voltados para concepções filosóficas, que refletem aforismos ou epigramas, obtiveram êxito e notoriedade, vencendo inclusive em concursos literários, a exemplo dos xarás: Fábio Sexugi e Fábio Bahia, que apesar do dificultoso reconhecimento em face da competição com poemas tradicionais, ganharam, então, certa notoriedade.

Poetas concretistas do Brasil

 Haroldo de Campos
 Décio Pignatari
 Augusto de Campos
 José Lino Grünewald e Ronaldo Azeredo, participantes do grupo Noigandres e da Revista Invenção;
Wlademir Dias-Pino, poeta visual, participante da exposição de 1956, dissidente do grupo paulista, autor do primeiro livro-poema;
José Paulo Paes;
Mário Chamie, colaborador da revista Invenção, criou o poema-práxis e a revista homônima;
Edgard Braga e Pedro Xisto, co-editores da revista Invenção;
Fábio Bahia, autor das páginas "Poema Concreto", mídias sociais. Autor do livro Testemunho do Projétil que Matou Maiakovski;
 Arnaldo Antunes.

Ver também
 Noigandres
 Concretismo

Ligações externas
Site oficial de Augusto de Campos
Omar Khouri. Noigandres e Invenção.
Páginas "Poema Concreto"

Concretismo
Poesia do Brasil
Movimentos da poesia moderna

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I have been interested in some of the concepts of functional programming lately. I have used OOP for some time now. I can see how I would build a fairly complex app in OOP. Each object would know how to do things that object does. Or anything it's parents class does as well. So I can simply tell Person().speak() to make the person talk.
But how do I do similar things in functional programming? I see how functions are first class items. But that function only does one specific thing. Would I simply have a say() method floating around and call it with an equivalent of Person() argument so I know what kind of thing is saying something?
So I can see the simple things, just how would I do the comparable of OOP and objects in functional programming, so I can modularize and organize my code base?
For reference, my primary experience with OOP is Python, PHP, and some C#. The languages that I am looking at that have functional features are Scala and Haskell. Though I am leaning towards Scala.
What you are really asking about here is how to do Polymorphism in functional languages, i.e. how to create functions that behave differently based on their arguments.
Note the first argument to a function is typically equivalent to the "object" in OOP, but in functional languages you usually want to separate functions from data, so the "object" is likely to be a pure (immutable) data value.
Something like multimethods which call a different function based on examining the arguments provided. This can be done on the type of the first argument (which is effectively equal to the behaviour of most OOP languages), but could also be done on other attributes of the arguments.
Prototype / object-like data structures which contain first-class functions as members. So you could embed a "say" function inside your dog and cat data structures. Effectively you have made the code part of the data.
Pattern matching - where pattern matching logic is built into the function definition, and ensures different behaviours for different parameters. Common in Haskell.
Note that this behaviour doesn't require any explicit classes to be defined: regular maps work fine. The dispatch function (:type in this case) could be any arbitrary function of the arguments.
About a year ago I was in a similar boat as you. I've done C++ and C# and all of my designs were always very heavy on OOP. I've heard about FP languages, read some info online, flipped through F# book but still couldn't really grasp how can an FP language replace OOP or be useful in general as most examples I've seen were just too simple.
For me the "breakthrough" came when I decided to learn python. I downloaded python, then went to project euler homepage and just started doing one problem after another. Python is not necessarily an FP language and you can certainly create classes in it, but compared to C++/Java/C#, it does have a lot more of FP constructs, so when I started playing with it, I made a conscious decision not to define a class unless I absolutely had to.
What I found interesting about Python was how easy and natural it was to take functions and "stitch" them to create more complex functions and in the end your problem was still solved by calling a single function.
You pointed out that when coding you should follow single responsibility principle and that is absolutely correct. But just because function is responsible for a single task, doesn't mean it can only do the absolute bare minimum. In FP, you still have abstraction levels. So your higher-level functions can still do "one" thing but they can delegate to lower level functions to implement finer details of how that "one" thing is achieved.
The key with FP however is that you do not have side-effects. As long as you treat the application as simple data transformation with defined set of inputs and set of outputs, you can write FP code that would accomplish what you need. Obviously not every application will fit nicely into this mold, but once you start doing it, you'll be surprised how many applications do fit. And this is where I think Python, F# or Scala shine because they give you FP constructs but when you do need to remember your state and "introduce side-effects" you can always fall back on true and tried OOP techniques.
Since then, I've written a whole bunch of python code as utilities and other helper scripts for internal work and some of them scaled out fairly far but by remembering basic SOLID principles, most of that code still came out very maintainable and flexible. Just like in OOP your interface is a class and you move classes around as you refactor and/or add functionality, in FP you do exactly same thing with functions.
Last week I started coding in Java and since then, almost on daily basis I get reminded that when in OOP, I have to implement interfaces by declaring classes with methods that override functions, in some cases I could achieve the same thing in Python using a simple lambda expression, for example, 20-30 lines of code that I wrote to scan a directory, would've been 1-2 lines in Python and no classes.
FP themselves are higher level languages. In Python (sorry, my only FP experience) I could put together list comprehension inside another list comprehension with lambdas and other stuff thrown in and the whole thing would only be 3-4 lines of code. In C++, I could absolutely accomplish the same thing, but because C++ is lower-level, I would have to write much more code than 3-4 lines and as the number of lines increases, my SRP training would kick in and I would start thinking about how to split up code into smaller pieces (i.e. more functions). But in the interests of maintainability and hiding implementation details, I would put all those functions into the same class and make them private. And there you have it... I just created a class whereas in python I would have written "return (.... lambda x:.. ....)"
In Haskell, the closest you have is "class". This class though not as same as the class in Java and C++ , will work for what you want in this case.
In your case this is how your code will look.
Then you can have individual data types adapting these methods.
EDIT :- Before you can specialize say for Dog you need to tell the system that Dog is animal.
Now if you want to use say in a function say foo, you will have to tell haskell that foo can only work with Animal.
now if you call foo with dog it will bark, if you call with cat it will meow.
in show $ foo d "Hello World"
You now can not have any other definition of function say. If say is called with anything not animal will cause compile error.
Creating polymorphic code with those is completely different than how OOP uses inheritance and virtual methods. While both of those might be available in your favorite OOP language (like C#), most functional languages (like Haskell) kick it up to eleven. It is rare to function to be non-generic and most functions have functions as parameters.
It is hard to explain like this and it will require lot of your time to learn this new way. But to do this, you need to completely forget OOP, because that's not how it works in functional world.
note however, that (a) there are no 'instances' of dog or cat and (b) you will have to keep track of the 'type' of your objects yourself.
The fault isn't with the OP, but there are a couple problems with the question.
The example you provide is simply to demonstrate Polymorphism, it isn't production code. Sometimes examples exactly like that are taken literally.
In FP and SOA, Data is separated from Business Logic. That is, Data and Logic don't go together. Logic goes into Services, and Data (Domain Models) does not have Polymorphic behavior (See Note 2).
There is a bad case of hardcoding in that example. I'm not only talking about the red colored string "dog barks". I'm also talking about the CatModel and DogModel themselves. What happens when you want to add a Sheep? You have to go into your code and create new code? Why? In production code, I would rather see just an AnimalModel with its properties. At worst, an AmphibianModel and a FowlModel if their properties and handling are so different.
How do you move from Classes in OO to Functional Programming? As others have said; You can, but you don't really. The point of the above is to demonstrate that you shouldn't even be using Classes (in the traditional sense of the world) when doing Java and C#. Once you get to writing code in a Service-Oriented Architecture (DDD, Layered, Tiered, Hexagonal, whatever), you'll be one step closer to Functional because you separate your Data (Domain Models) From your Logical Functions (Services).
You might even take it a bit further and split your SOA Services into two types.
Optional Class Type 1: Common Interface-Implementing Services for Entry Points. These would be "impure" Entry-Points which can call into "Pure" or "Impure" other functionality. This might be your Entry Points from a RESTful API.
So when you think of Classes in Object-Oriented Languages, being used in a Service-Oriented Architecture, it not only benefits your OO Code, it begins to make Functional Programming seem very easy to understand.
Note 1: Original "Rich" or "Active-Record" Object-Oriented Design is still around. There's a LOT of legacy code like that back when people were "doing it right" a decade or more ago. Last time I saw that kind of code (done correctly) was from an video game Codebase in C++ Where they were controlling memory precisely and had very limited space. Not to say FP and Service-Oriented Architectures are beasts and shouldn't consider hardware. But they place the ability to constantly change, be maintained, have variable data sizes, and other aspects as priority. In video games and machine AI, you control the signals and data very precisely.
Note 2: Domain Models do not have Polymorphic Behavior, nor do they have External Dependencies. They are "Isolated". That doesn't mean they have to be 100% Anemic. They can have a lot of logic related to their construction and mutable property alteration, if such applies. See DDD "Value Objects" and Entities by Eric Evans and Mark Seemann.
Note 3: Linq and Lambda's are very common. But when a user creates a new function, they rarely use Func or Callable as parameters, whereas in FP it would be weird to see an app without functions following that pattern.
Note 4: Not confusing Polymorphism with Inheritance. A CatModel might inherit AnimalBase to determine which Properties an Animal typically has. But as I show, Models like this are a Code Smell. If you see this pattern, you might consider breaking it down and turning it into data.
Not the answer you're looking for? Browse other questions tagged object-oriented python functional-programming scala or ask your own question.
What are the responsibilties of the main in object oriented programming?


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text:
Q: git: why would a merge commit be required for replacements? Our git repo was imported from a different VCS (Perforce) but the standard import was unable to recover branch relations (i.e. that branch 1.1 was derived from branch 1.0). To fix this we added grafts: git replace --graft <commit> <parent> to record the missing relation from the creation of each branch to its parent commit.
So we have a git repository that has some replacements in .git/refs/replace.
(These should probably have been removed by rebasing somehow but perhaps it is too late for that now)
These replacements must be pulled manually using:
git pull origin 'refs/replace/*:refs/replace/*'

A colleague was unaware of this but was somehow able to push a change to the repo such that:
git pull origin 'refs/replace/*:refs/replace/*'

results in a merge conflicts like:
Simple merge did not work, trying automatic merge.
ERROR: /some/file: Not handling case c6aa12b3f446c57921a68c5fc73dae9e086c2bdb ->  -> bb909246180daf894ccdb59cc4a4ff398ac62bad
fatal: merge program failed
Automated merge did not work.
Should not be doing an octopus.
Merge with strategy octopus failed

I don't understand what is being merged here.
If I use:
git pull origin 'refs/replace/*:refs/replace/*' -s ours

The merge succeeds and I end up (aftering commiting) with a merge message like:
commit 67d7f7cc40826e8a84beed3af9999d39e411e65d
Merge: 718dbe3 c9333d1 b870b22 d3f10f7 77d0835 de79e03 d7f0e7c 97ca1f8 Author: xxxxx
Date:   Tue Jul 11 11:33:55 2017 +0100
Merge commits 'refs/replace/00029d7b3e531215f6ce5afb32862b49d652e896', 'refs/replace/03d715c9890e5cec95ac62d1c9ecc54cb78b9f62', '

git claims several files are changed, though these are not files changed recently. I suspect they are the difference between two old branches.
After the merge/pull we have replacements in .git/refs/replace.
My colleague's report claims the changes pushed include grafts replicating 2 of the missing branch relations which he needed. These do not appear in .git/refs/replace at all.
If they are somehow mixed in with the ones pushed earlier there are some other questions:
How was he able to push without resolving the merge conflict first?
Also if you clone from the repository without pulling the replacements the relations he added are still pulled. There are two tell-tale commits with the commit messages like
Former-commit-id: bc735afc1d8bb842733cb94767afb8b42599eb6a

but there is no .git/refs/replace directory describing the replacement.
How could my colleague have been able to push his grafts as permanent changes to the repo that are pulled automatically when the earlier are not?
and such that there is no .git/refs/replace directory at all?
Can someone enlighten me as to what might be happening here?
Also is there something I can do to make the other branch relations permanent without rewriting history? My colleague appears to have done this but I can't understand how.
Resolved
To summarise the answers:
In git the opposite of a push is a fetch not a pull
My colleagues push wouldn't have had a merge issue as there wasn't one. Its was artifact of my using 'pull' instead of 'fetch'.
Thanks for the help.

A: I think 99% of the confusion is coming from the fact that you're using pull, instead of fetch, to replicate the replacement reps.  I expect this is trying to octopus merge all of the replacement refs into your current branch, which is of course rather nonsensical.
The way to make permanent changes to the lineage of commits is to do a history rewrite, and in the long run you should probably go ahead and do it rather than rely so heavily on the replacement mechanism.  Obviously that would require coordination of the team, but it's a one-time cost and then the repo will work much more seamlessly from then on.

A: The answer to the title question ("why would a merge commit be required for replacements?") is: It wouldn't.
Here is an important rule for using Git: never use git pull. :-)
(Once you're well-versed in Git, you can relax this rule, to use git pull only when you know exactly what's about to happen.)
In this particular case, you should run:
git fetch origin 'refs/replace/*:refs/replace/*'

and stop at that point.
If you plan to keep using replacements, you may wish to add this to the set of fetch = lines for each remote.  (Note that once you start using replacements, you tend to get stuck with them, so this may be a reasonable thing to do.  The other option, as in Mark Adelsberger's answer, is to wire the replacements in, e.g., using a no-op git filter-branch.)  This "add a fetch setting" must be done manually after each git clone, since a normal clone does not fetch replacement name-space names.  (This also ties into your mirror clone question from earlier: a mirror clone slavishly fetches all refs/* references, which includes the replacement name-space.)
Description
The git pull command is meant as a convenience short-cut.  It first runs git fetch, which is the actual operation to obtain commits and other items from other repositories.  Then it runs another Git command.
In most cases, after obtaining items (such as commits) from another Git repository, you must take some action to use those items yourself.  Obtaining them just plops them into your repository, giving them some sort of reference-name—usually a remote-tracking branch name, such as refs/remotes/origin/somebranch.
The action to take is usually git rebase, and sometimes git merge.  The git pull command will run git merge for you, i.e., take the wrong action, unless you tell it to run git rebase for you instead.  That may, of course, still be the wrong action—and in this case, it is.
The references you are bringing over are in the refs/replace/ name-space, not the refs/heads/ name-space (which holds branch names) and not the refs/tags/ name-space (which holds tag names).  The refs/replace/ name-space holds replacement items.
Replacements and tags share a curious feature, as compared to the normal use of branch names: no action is necessary to use them.  With branch names, when you obtain refs/heads/master from Monique's repository, you rename it to refs/remotes/monique/master, so that you can keep your master—a branch, in refs/heads/—separate from her master, which you keep only as a remote-tracking branch.  You will then take some section action—merge or rebase—to incorporate her work into yours.
With tags names, however, you might take Monique's refs/tags/v2.3 and call it your refs/tags/v2.3.  Now you both share the tag v2.3, and there is no second action required: your Git will look up the tag name v2.3 in your own refs/tags/ name-space for you.
The same holds with replacements.  A replacement object, in Git, is represented by a refs/replace/ name-space name with a very peculiar pattern: instead of refs/replace/master or some such, we find names like refs/replace/b06d3643105c8758ed019125a4399cb7efdcce2c.  That name maps to the replacement object itself.  That is, that big long hairy name maps to another big long ugly Git hash ID, which Git can use to access a different Git object.
For memorability, I'll use blah instead of b06d3643105c8758ed019125a4399cb7efdcce2c below.  So refs/replace/blah maps to another ID, which we might call bazinga.
When your Git is about to do something with an internal object whose hash ID is blah, it notices that there's a refs/replace/blah.  Instead of using the normal blah object, then, it looks up the bazinga object, and uses that one instead.  (With --no-replace-objects Git skips this "check for refs/replace/" step.)
That's how replacements work, and as a consequence, when you use them, you should just fetch them and stop.
If you view your .git/config file, you will see some lines of the form:
[remote "origin"]
    url = ...
    fetch = +refs/heads/*:refs/remotes/origin/*

Adding a line (keeping the original fetch = in place) of the form:
    fetch = +refs/replace/*:refs/replace/*

will make each git fetch origin pick up any new replacement objects automatically.  For more about this, see my answer to What is the difference between these `git fetch` syntaxes?

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text:
Anghiari je gradić u središnjoj Italiji, u talijanskoj regiji Toskani. Anghiari se nalazi na oko 110 km jugoistočno od Firenze, na nadmorskoj visini od 429 metara, i ima oko 5.800 stanovnika.

Poznati stanovnici
 Baldaccio d'Anghiari (oko 1400. – 1441.), kondotjer
 Federico Nomi (1633. – 1705.), književnik

Prijateljski gradovi
  La Plata, Argentina

Gradovi u Toskani
Općine u pokrajini Arezzo


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St. Mary's Healthcare System for Children is fortunate to have a community of big-hearted volunteers who graciously dedicate their valuable time so we can continue to offer the healing programs, technology and support our little patients need—and deserve.
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text:
The V-League 4th Season 1st Conference is a tournament of the Shakey's V-League. The tournament began last May 17, 2007 and ended on July 3, 2007 with the UST Tigresses winning two games to none against the SSC-R Lady Stags.

Tournament Format
Single Round Robin Tournament
Top five teams will compete in the semi-finals
Top two teams with the best record after the single-round robin semi-finals will advance to the finals
If a team won 3 out of 4 games, they will have a chance for a playoff berth against the second seed team for the finals
Best of Three Championship series

Starting Line-ups

Current standings

Elimination round

Semi-finals Berth Playoff
Adamson University and De La Salle University faced off in a playoff match to determine who will get the last semi-finals slot.

The other slots have been taken by Lyceum of the Philippines University, San Sebastian College - Recoletos, University of Santo Tomas and Ateneo de Manila University.

Semi-finals

Semi-finals standings

Finals Berth Playoffs
San Sebastian College - Recoletos and De La Salle University faced-off in a playoff match to determine who will get the last finals slot.

The other slot had already been taken by University of Santo Tomas; winning 8 out of 11 games and sweeping the semi-finals game. They lost by only a single set to Ateneo de Manila University.

San Sebastian College - Recoletos won also 8 out of 11 games all in all but failed to win 3 out of 4 games in the semi-finals. De La Salle University, even though they won only 6 out of 11 games, had been given a chance for a playoffs against San Sebastian College - Recoletos because they won 3 semi-final games out of 4 games.

Lyceum of the Philippines University and Ateneo de Manila University had been eliminated in the finals contention for failing to win three wins out of four games and with a lower standing than University of Santo Tomas, San Sebastian College - Recoletos and De La Salle University.

Among the eight teams this season, Adamson University, Far Eastern University and Colegio de San Juan de Letran were the first ones to be eliminated.

Championship Games
San Sebastian College - Recoletos had defeated De La Salle University and denied them the chance to have a 4-peat championship to face the University of Santo Tomas for the Finals. The Finals will feature the UAAP CHAMPION University of Santo Tomas and the NCAA CHAMPION San Sebastian College - Recoletos, the two most prestigious collegiate leagues in the Philippines. The reign and dominance of De La Salle University has ended and not to mention both University of Santo Tomas and San Sebastian College - Recoletos are the losing finalists to then mighty and powerful De La Salle University squad in the past seasons.

Awardees

Best Setter -  Maria Theresa Iratay (SSC)
Best Server -  Karla Bello (ADMU)
Best Digger -  Mary Jane Pepito (SSC)
Best Receiver -  Sheila Marga (LPU)
Best Blocker -   Michelle Laborte (ADMU)
Best Attacker -  Mary Jean Balse (UST)
Best Scorer -   Jaroensri Bualee (SSC)
Finals Most Valuable Player -  Mary Jean Balse (UST)
MOST VALUABLE PLAYER-  Jaroensri Bualee (SSC)

Shakey's V-League conferences
2007 in Philippine sport
2007 in volleyball


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text:
Home » PWSA Blog » Uncategorized » Pioneers in Support – Crisis Intervention Counselors
Pioneers in Support – Crisis Intervention Counselors
May 14, 2021 May 14, 2021 PWSA | USA
Many of you have called the PWSA | USA office in need of guidance for your child's IEP, support for behaviors that are out of control, information on a supportive living placement and many other subjects. You've no doubt been met with the calm, reassuring and knowledgeable voice of a Crisis Intervention Counselor. Unless you've been a part of our organization for many years, you do not have an understanding of how this very important program evolved.
In 2000, Janalee Heinemann was Executive Director and quickly realized the needs for PWS crisis support were more than she could ever meet. At the age of 68, when many would be enjoying retirement after serving 37 years as a hospital chaplain and chaplain instructor, David Wyatt, dear friend of Janalee and Al Heinemann, began to volunteer answering crisis calls for the organization. He brought his years of service as a chaplain as well as a Master's degree in Counseling to the position. In the fall of 2001, PWS parent Paul Alterman provided a grant that enabled David to receive a small salary. In less than a year, David had already worked with over 1900 families. Over the next 8 years, David answered hundreds of calls a year – everything from school issues, medical crises, behavioral crises, legal charges against the child and/or parent, and placement needs. Fighting his own health crises at the time, he was not deterred. He was often seen with a clipboard in his hospital bed, or in the PWSA | USA office with an IV line in place. David retired in 2008 and passed away in April of 2014.
Families had the following to say about David:
He was a great man and a very great friend to so many in our PWS community. Because of him, the lives of our children with PWS have been improved so much.
His selflessness, love and caring showed in everything he said and did. God blessed us with his soul and I and many others will never forget him.
In March of 2006, due to the overwhelming demand for crisis support services, Kate Beaver (parent of a child with PWS who has a Master's in Social Work) was hired. Over 1000 calls were handled in 2007 and the figure for 2008 increased by 20%. The services of the Crisis Counselors were filling a large need in the PWS community. Barb Dorn, parent of a young adult with PWS with 25 years of experience as a nurse, was employed from 2006-2007. For the many years that followed, Barb and Kate co-authored numerous booklets, brochures and handouts, as well as updating some of the materials already available. They created the Transition Planning Resource Guide, which was a huge resource for the community when it was published in 2016. It covered topics such as residential living options, personal health education, transitioning from school to work, and much more. Kate did a lot of work in the area of diet and nutrition, educating and counseling families and professionals on these important topics and trying to change cultural norms. Kate served as a counselor until her retirement in 2019.
In the fall of 2007, Evan Farrar was hired full time to take David's place and to expand the crisis program. He had a Master's of Divinity degree and completed his Master of Mental Health Counseling degree during his employment with PWSA | USA. During Evan's tenure, the extensive non-medical crisis intervention section of the website was formed, and the crisis team expanded its services to include earlier intervention by providing more educational materials and webinars on a variety of topics.
Providing resources to schools and special education advocacy were Evan's main focus. He holds a certificate from the William & Mary Law School of Special Education Advocacy and the Lehigh University Special Education Law Symposium. Evan was responsible for the establishment of the Wyatt Special Education Advocacy Training (WSEAT), which launched the association's advocacy efforts. Named in honor of David Wyatt, Evan had this to say about his predecessor:
His role was unique at PWSA | USA – along with Janalee – who really built the foundation of our crisis and family support program. Even to this day, his imprint can be seen not only in the services we provide but also – perhaps even more importantly – the way we provide them which reflect his kind, generous, and professional spirit. ~Evan
Evan wore many hats in his 10 years with the association, including serving as interim Executive Director on two occasions. At the end of his tenure, he also spent part of his time advancing the work of the Research Committee. He left in November of 2017 to open a private counseling practice.
Stacy Ward joined the team in August of 2016. She shared Evan's passion for special education advocacy and holds the same certifications he does. She is also passionate about supporting the parents and care providers of adults with PWS, emphasizing the fact that PWSA | USA provides care and services for the lifetime of the individual with PWS. She currently serves as Director of Family Support and has taken on many administrative duties within the organization including branding, the website, and convention. She enjoys these administrative duties in addition to her role as a counselor and uses all of that experience to help her plot the course of the Family Support program now and in the future. When asked what she is most proud of, she says that when she takes a support call, she approaches it from the perspective of the person with PWS, not the perspective of the family member who is calling. She always wants the individual with the syndrome to be at the forefront. Since her arrival, more residential care provider training is being done in-house, eliminating the need to outsource that service and incur those costs. She created the Managing Behavior video in 2018 and has continued to work on creating and updating the various publications the association offers to families and professionals. Another area she enjoys is public policy advocacy and she is excited to see the organization expand more into that arena.
Kim Tula began her role as a crisis counselor in February of 2019 after Kate Beaver retired and continues in that role today alongside Stacy. Kim holds a Master's degree in Human Services with a specialization in Multidisciplinary Human Services, as well as a Bachelor's degree in Psychology and Sociology. She is a Certified Social Worker. She began her career in a residential care setting in 1990 with the Prader-Willi Homes of Oconomowoc, holding various positions within the organization. She has been involved with the Youth and Adult Program (YAP) at the national conventions since 2011, serving as a behavior specialist and then program planner as well. She brings more than 30 years of experience working with individuals with PWS to the position and handles the majority of the support calls. A special interest Kim has is the grief counseling program and she has received training and certification in that as well. In the early days of the association, grief counseling was provided to parents of individuals with PWS as they often outlived their children. Today, that has changed and many individuals with PWS are receiving grief counseling when their parents die.
Beginning in 2002, and continuing to the present, the Willet family, in honor of their nephew Brian Schertz, has provided a yearly grant that is for legal and educational crises. This grant was used to fund the WSEAT, cover the costs for various publications and enable the crisis intervention program to address the needs of many other families. PWSA | USA is very appreciative of the Willet family's generosity. Funding from the Alterman family has continued since 2001, even after Paul Alterman's death. Many thanks to the Altermans for their support and generosity.
In the more than 20 years since its inception, it is not an exaggeration to say that tens of thousands of people have been helped, often in life-saving ways, by these professionals. Here are some quotes from the recipients of that assistance:
In 1993, my 13-year-old had no official diagnosis. PWSA was the ONLY source of information. They saved my child and my family by going above and beyond to educate and help us. Forever indebted.
When PWSA came into our lives, we were truly in the darkest and loneliest place we have ever been. This organization, and all of its wonderful people, wrapped their arms around us with love and gave us hope for our future.
I am so appreciative for the expertise and dedication of the team that comprises PWSA | USA's Family Support. Whenever our family is struggling to problem solve through a difficult situation, whether it be related to behavior, education, or community/state supports, Stacy is our "go to" for consultation. I inevitably come away with suggestions and strategies that help us move forward in a productive manner.
#HopeIsHere – Ethan and Mason
PWSA | USA Expands Capacity to Serve With Transition of the Prader-Willi Care Coordination Program from The Children's Institute of Pittsburgh
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'Iraq Kurds' oil revenue would be retained by central treasury'
Iraq may have oil reserves of 350 billion barrels, Deputy Prime Minister Barham Salih said on Monday, a massive figure that is triple the country's proven reserves and which even exceeds the oil in Saudi Arabia.
Salih said he had seen estimates from "reputable sources, reputable companies" that put Iraq's reserves at up to 350 billion barrels. He declined to name the sources.
Iraq's current proven reserves are 115 billion barrels, already the world's third largest. The country produces around 2.3 million barrels of oil per day (bpd).
"The real tragedy of this country is that Iraq is home to possibly the world's largest oil reserves. Some estimates put it at 350 billion barrels," Salih, a key player in attempts to finalise a draft national oil law, told Reuters in an interview.
"Extraction costs are very minimal compared to anywhere else in the world and we are still at 2 million barrels a day of exports. It's ridiculous."
Saudi Arabia has about 264 billion barrels of oil, according to statistics compiled by BP. Iran is next with around 137 billion barrels then Iraq with 115 billion.
Iraq, whose primary source of revenue comes from oil, needs huge amounts of investment to boost oil output but also to rebuild the country after years of sanctions and war.
Delays in approving the oil law to govern the industry have held back investment -- the current draft being negotiated for example was first agreed by the cabinet in February 2007.
Salih said it was hard to say when the draft might get to parliament, but added there was fresh momentum following recent talks, including discussions with the government in the largely autonomous region of Kurdistan in northern Iraq.
"What I have witnessed over the past three weeks is renewed commitment from the senior leadership to bring this issue to closure, but I do not underestimate the challenges," he said.
Salih said talks with officials from the Kurdistan Regional Government (KRG) including Nechirvan Barzani, its prime minister, had been positive.
Some Iraqi officials say contracts signed by the KRG with foreign firms are to blame for holding up the draft oil law. Iraq's oil ministry says the deals are illegal.
But Salih said issues of contracting could be resolved.
He said the KRG had committed to a "transparent" contract process and given its commitment that all revenue from contracts signed in Kurdistan would be retained by the central treasury.
"Super monopoly"
Asked if the KRG was talking only about future contracts, Salih said it included existing deals with foreign companies.
Salih said he believed the biggest obstacle to the draft oil law was deciding the role of the state in the management of the oil sector including who had ultimate control of reserves.
He said there were some efforts to make a restructured Iraqi National Oil Company the "super monopoly" of the industry.
"The real dilemma is whether we want to go back to a situation where a state monopoly will manage the oil sector, or rather mismanage it, as it has over the decades," he said.
"We do not want to cut down on bureaucracy (the oil ministry) to create a super bureaucracy elsewhere. This is a fundamental problem we have. It's nothing to do with the KRG."
Oil majors BP, Chevron, Exxon Mobil, Royal Dutch Shell and Total have been positioning themselves for years in the hope of eventually gaining access to Iraq's abundant reserves.
Iraq is negotiating deals with those companies for two-year oil service contracts at some of the biggest fields that aim to boost the country's oil output by 500,000 bpd.
Salih expressed frustration Iraq was producing so little oil compared to its reserves.
"We are still talking about technical service agreements with majors at a time when oil prices are at record levels and the world needs (our oil). To me that is obscene," he said.
"We need to recognise that even existing plans of say 5-6 years from now to reach 6 million barrels a day are totally outdated. These plans were from 1989 at a time when estimates of Iraqi reserves were like 110 or 120 billion barrels."
Last Mod: 29 Nisan 2008, 09:24


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"My perception about the country is changed" – Former environment minister
By Tamarausinla Omomo
The immediate past minister of state for environment, Ibrahim Usman Jibrin, on Wednesday, disclosed no amount of schooling could give him the knowledge he had gained under President Muhammadu Buhari's administration in the past three years.
He said his experience in the Environment Ministry has changed his perception about the country.
Jibrin on Wednesday tendered his resignation on Wednesday at the Federal Cabinet meeting following his emergence as the Emir of Nasarawa in Nasarawa State last week.
A valedictory session was held in his honour during Wednesday's Federal Executive Council (FEC) meeting presided over by Buhari at the Presidential Villa, Abuja.
"The last three years has been full of activities and I must thank Almighty God for given us the strength and courage to serve under your wonderful leadership," he said.
"There is no doubt that I have personally learnt a lot from you, your commitment to the entire nation and the desire to fight corruption. We have learnt a lot from these sterling qualities. No school can give anybody such knowledge," Jibrin added.
He said no president has signed more instrument of ratification on the environment than Buhari since the establishment of the ministry in 2000.
The newly-crowned Emir said Buhari has signed four instruments of ratification and that two others are in the process.
Emir of NasarawaIbrahim Usman Jibrin


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Money / Financial Planning
Rich Dad's Kim Kiyosaki Shares the 2 Things Every Woman Needs To Know About Money
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The Financially Savvy Female had the opportunity to chat with Kim Kiyosaki, co-founder and CEO of The Rich Dad Company and an advocate for financial education, especially among women. She has built her own wealth through entrepreneurship and investing, and hopes to teach other women to do the same. Here, we chat with Kiyosaki about how she got her start as an investor, what every woman needs to know about money and how we can close the financial literacy gap.
Important: 10 Ways To Build Wealth Fast
Keep Reading: 6 Top Tips for How To Turn $1,000 Into $10,000
How did you learn to invest?
The best way I learn about a specific investment is first, I study it. I do my homework. Then, armed with some education, I put a little money into it. Why just a little? No. 1, I'm probably going to make a few mistakes, so I want to make mistakes with a little, not a lot, of money. No. 2, if I put some money into an investment, even $10, my interest in that investment will increase tremendously because I am now in the game. I'll want to learn as much as I can about that investment and my knowledge accelerates.
I was taught there are two things you can invest — time and money. I highly recommend investing time in getting educated about an investment before investing a penny of your money.
At some point in your investing education, you have to get in the game. You have to put some money down. Otherwise, you'll find yourself in analysis paralysis and never do any investment deal.
What's the one thing you wish every woman knew about money?
My wish would be that every woman treats her money as a business. Because it is.
We work so hard for our money, but most of us pay little attention to managing — much less growing — our money. Treat every single investment as a business, whether it's an investment in a business, real estate, paper assets (stocks, bonds or mutual funds), or commodities (gold, silver, oil or crypto, to name a few).
The second thing is to understand the difference between an asset and a liability. In the Rich Dad/Rich Woman world, we define an asset as something that puts money in your pocket, whether you work or not. A few examples are a rental property with a positive cash flow, a stock dividend, an e-book that continues to sell or a loan you make to someone that pays you interest. These are assets.
A liability is something that takes money from your pocket. Your house, even if you have no mortgage, takes money from you in taxes, insurance and maintenance. The same is true for your car. The problem people get into is when they call their liabilities assets. A bank would have you think that your house, car, jewelry and artwork are assets. The only time they may become assets is when you sell them and make a profit.
Why do you think there is such a gender disparity in financial literacy?
The biggest problem I see is that not only are women not educated about money — because most men and women are not — but most of us women have actually been taught, since an early age, to depend upon somebody else for our financial well-being. We are taught to depend upon our husbands, or a family member such as parents or grandparents, or the government. We have not been expected to take care of ourselves financially.
A common myth out there is that when it comes to money, men are smarter than women. I don't believe that for one minute. The markets do not care if you are female, male, black, white or purple. The markets only care about how smart you are with your money. It's up to each individual woman to get herself educated about money and investing. It's not rocket science. Any woman can be a savvy investor. What it takes is time and the desire to learn about the world of money and investing.
Where to start? Start by learning the language, the vocabulary, of money. What's the cost of an online dictionary? Free.
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Gabrielle Olya
Gabrielle joined GOBankingRates in 2017 and brings with her a decade of experience in the journalism industry. Before joining the team, she was a staff writer-reporter for People Magazine and People.com. Her work has also appeared on E! Online, Us Weekly, Patch, Sweety High and Discover Los Angeles, and she has been featured on "Good Morning America" as a celebrity news expert.
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In 2022, $1 can't buy that much in terms of goods and services. However, you might be surprised at how much $1 could buy in the past. Remember when $1 could buy...
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The sudden and lengthy appearance of the coronavirus pandemic delivered many lessons -- among them, that life can be taken away from even the healthiest individuals in the blink of an eye. Planning...
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Experts Say More Money Won't Alleviate Work Stress, But Your Manager Can Affect Your Mental Health as Much As Your Spouse
You might be familiar with the phrase, "Happy wife, happy life." But a new study from The Workforce Institute at UKG implies that another accurate expression might be, "Happy boss, happy life." Find:...


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Lost Boys and Bad Girls
Q'orianka Kilcher as Aaya and Charlie Rowe as Peter, with Tinker Bell, in 'Neverland.'
By Nancy deWolf Smith
Not all of it is glittery kiddie fare. This two-night series, filmed against spectacular backdrops in Ireland and Italy, has a stronger undercurrent of evil and death than the production starring Mary Martin as Peter, for instance, that moved from stage to television in 1955 and became an instant classic. (It had a small downside: Some hospitals used to keep extra staff on duty on the night it aired in order to treat children injured while trying to fly.) The horror of walking a plank, the crocodile that waits to eat the rest of Captain Hook—these cannot have been entirely soothing to generations of young people. Yet most will have grown up to remember it all as a rollicking fantasy.


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Book A Studio Visit
Established in November 2012, Gusto Studios is a newly re-purposed studio, gallery and event space at 2309 Thornton Road #M, Austin, Texas 78704, in the Thornton Road Studios Complex in the heART of South Austin, presenting the photographic works of National Geographic Image Collection Photographer Greg Davis.
Artists Sunday 11/29/20
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Several times a year, Gusto has art and music events to help raise awareness for a local non profit organization. Talented local musical acts play to a crowd of art lovers and all work together to raise money and awareness for the organization being represented. Past musical acts have included, Monte Montgomery, The Whiskey Sisters, Atash, Kalu James, Charlie Mars and more. Partnered organizations have included Well Aware, the Hope Campaign and Love, Hope, Strength.
Gusto Studios was selected as a "Hidden Gem: Shopping" by Austin Monthly Magazine in 2014 and is open by appointment. Please contact us at info@gregdavisphotography.com to schedule a drop by.
Greg was Feature Artist at La Dolce Vita at Austin Museum of Art's La Guna Gloria as well as the Feature Artist at the Umlauf Garden Party. He has also exhibited his work at the Austin Museum of Art's Night in the Galleries, the International Art Expo in NYC, the Blanton Musuem, the Georgetown Art Center, the Abilene Contemporary Art Center and numerous juried shows across the US. He has been published internationally, as well as in the United States, including National Geographic.com, the New York Times and MSNBC.com.
Greg is a founding member of the Austin Center for Photography and his work is currently being represented by the National Geographic Image Collection
To purchase images from this or other collections, schedule a private viewing at the studio or rent Gusto for your next event, please contact:
info@gregdavisphotography.com
For further information about the gallery and or upcoming events and exhibitions, please follow our Facebook and Instagram pages.
@gregdavisphotography
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Paper is the debut solo album from Black Crowes guitarist Rich Robinson. This album contains brand new material along with songs that were initially written for Robinson's 2002-2003 project, Hookah Brown. Robinson handled guitar, bass, and other instruments as well as taking over the lead vocals, with the gaps being filled in by Joe Magistro (drums), Eddie Harsch (keyboards, credited as Eddie Hawrsch), Donnie Herron (fiddle, violin) and his son Taylor Robinson (percussion).
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Evidence-based recommendations on ab externo canaloplasty for primary open-angle glaucoma in adults. This involves widening the eye's main draining canal by inserting a tiny tube, then removing the tube and stitching the canal to keep it open.
This guidance replaces NICE interventional procedures guidance on canaloplasty for primary open-angle glaucoma (IPG260).


Who Is Most At Risk For Workplace Injuries? | Alverson + O'Brien, P.C.
Who Is Most At Risk For Workplace Injuries?
Whether your job is dangerous or not, there is always the chance that you could be hurt or become ill due to workplace conditions. But many jobs pose only a low risk of such a thing happening, while others are much more likely to lead to a workplace injury. While you may have some ideas about which jobs create this additional danger, the Bureau of Labor Statistics (BLS) has collected data so that we don't have to just guess, we can know exactly which workers are most likely to be harmed at work.
Which workers are most at risk of an injury?
To put this in even clearer terms, the BLS reports that truck drivers and material movers have more instances of injuries than police officers, sheriff's officers, correctional officers and firefighters – combined.
This number stands out, as many people would not assume that these jobs put workers in these industries at such great risk. While this will not come as a shock to those who are driving big rigs and putting their bodies through the rigorous work as a transportation worker or material mover, others should take note.
While all workers should be cautious at work, truckers, freight movers and other transportation professionals should exercise extra care while on the job. And, no matter what industry you work in, you should remember that if you've been hurt while working or due to a work-related situation, you should see if you qualify for workers' comp benefits.