Peripatetic. Moving, movies move me. I like the desert and I like dessert. My art travels when I cannot. I studied painting at UC Santa Barbara. I taught myself to use computers, edit video, build websites and retouch digital images in 6 months when I was broke and 27. The prior year friends taught me creative technology with Amigas, Fairlights, tube cameras, digital cameras. I did a brief stint at DCTV (socialist documentary making studio in Tribeca, NYC) where the director ran around in rollerblades and a Mao t-shirt. I learned linear and non-linear editing and received free classes at the New Media Department at NYU in its first years in 1996.
I started working in media in 1994, one year after I arrived in New York City from San Francisco. I participated in my first live video performance at The Kitchen (first experimental video venue in NYC) with a video collective/band called 77Hertz. My job was to manipulate miniature sets in front of video cameras. I was responsible for dumping a carton of live giant ants on top of a plastic toy village. Instead of taking over the village as intended, the ants decided to disperse, run off their set and escape into the real world. The video mixers, camera people and musicians improvised as I frantically gathered the bugs back to plastic toy land. This was my entrance into media art and the beginning of a passion for live experimental video.
Since I have been making video for installation, performance and screenings, the content and/or technique involves demystifying the process of video making. With this window I could take advantage of dreaming inside the familiar. Common object is combined with the exotic. I often use nomadicism as a reoccurring metaphor for the state of existence today. (Parascape, is warm, Lost Guides, Zero Travels, Transhumance, Empty Velocity, Memobile, Life Still) An overview of an African market becomes a surreal dance between people and rocks moving slowly across the screen. This extreme contrast in scale combined with inanimate object coming to life adds to a poetic movement through time and space. Here, one does not feel lost. One is taken on a journey- travels through surfaces that allow us to see from behind, above, beyond and through. The arrival points become quick moments to depart to the next scene. False narratives are built up and dissolved. Landscapes become characters, and objects stake claim on its context.
I never start with a conventional film score, but with a set of rules. Within the rules, is the rule that the rules change. When I first started video in 1996 (with the Poool) we applied rules such as, everything we shot had to be the color white or every prop/subject had to be made out of tin foil. Sometimes we would confine ourselves with a set of 3 digital effects. Similar to the '5 Obstructions' (Lars Von Trier on Jorgen Leth) In one piece, 'is warm' (co-directed with The Poool) we made a rule that all video had to be shot and processed live and we were not allowed to use pre-recorded footage. For Transhumance, I directed new media theorists and digital artists. In the span of 24 hours they were to give me at least 20 URLs they had 'arrived' to without intention or a goal to achieve. Therefore, like the Situationists on a derive; they wandered the digital landscape taking note of what direction they went. I followed their URLs, used both text/image for object and a layer of video animation.
For Life, Still no. 1, 2, 3 the rules I applied were: a shoebox of objects (souvenirs, memorabilia or any object that one kept) would be collected and lent to me. I select 1-3 objects to shoot until all the objects have been used. No re-shoots were allowed. All of the footage would need to be used and edited. Afterwards, the video would be given to a musician to write music to the video. The split-screen was an element I added afterwards to recontextualize the false narratives created by the interaction of the objects. In some cases, the reverse occurred where I selected the music first. (Life, Still no. 2/ David Weinstein) This piece is a 'game piece' where I will continue to make these video vignettes until I reach 20 game pieces.
My initial training in cinema was with experimental video artists. They were influenced by electronic music and experimental performance artists of the 60's. Hence, I was taught to approach moving images with a tight marriage between sight and sound. I use music models to build a video. The initial process begins with a jam session with music. Video is rehearsed with music. Afterwards, the arrangements and a score are written as visual/audio cues for the artists to recreate the work within a structure. Rather than accompaniment, I go for dialogue.
I use PowerBooks, midi controllers, teleconferencing cameras, digital cameras, Vidox Grid Pro live video software, digital video mixers, Final Cut Pro. I would like to use mobile video cams when the technology is enhanced.
If we define video as moving images, then new media or more specifically, the Internet is already cinematic. Even when a video frame is 'stilled' it remains video. If a 3-frame animation is considered a moving image, then a 3 frames/sec, 15 frames/sec or 30-frames/sec objects can be regarded as cinema. Our resources and lifestyle will gradually adapt to how many frames we will accept. How we build the images depends upon the tools we use whether it is with mobile phones, digital cameras, film cameras, photographs, 3-D software etc. It is only a matter of our standards merging with the advance with technology and our ability to accept the frequency and duration of film/video made for broadcast television or cinema on-line. I can watch a 5-minute short video 320X240. However, a 2-hour film conversion (with subtitles made for a room size projection and surround sound) to 15frames/sec 320 X240 is a painful translation. Therefore, video on the web thrives as long as it is video for the web.
I receive funding for my video art from grants, commissions and working part-time teaching video workshops in alternative high schools. I have yet to sell the rights to a video. All my works have been self-produced. The artist fee/royalty is almost non-existent with new technology. This remains a challenge for the individual artist.
I normally work with teams of people with myself as the director. I collaborate with musicians, video artists, architects, and software programmers. I have made some video installations as a solo artists, however I do prefer collaborations as my ideas are realized more effectively with specialists in each field.
My influences are changing and being discovered all the time. Joan Jonas, Stan Brakage, Dan Graham, Jorgen Leth, David Lynch, Nam June Paik, John Cage, Paul Virilio, Haruki Murakami.
In 2005 there were many major exhibits in the US addressing the dialogue between sound/moving images. (Hirschorn 'Visual Music', Eyebeam 'What sound does a color make?', SVA 'Visual Music') However, much of the outcome of this work was pure abstraction with aesthetics of/or reminiscent of the psychedelic 60's light shows. The 'story' is dismissed and reduced to the formalism of the media. Even though I associate with a similar process, I see expanding the narrative. If video gave cinema makers the spontaneity and intimacy that the giant expensive film crew could not, then I am waiting for the next push in technology both in new media and in the camera that will shape the instantaneousness of how we recreate and respond to life on the spot. 'Life, Still' is toward this direction. I give a glance over at strange objects and create a narrative on the fly by listening, feeling, scrutinizing, playing and processing music and images as I go. Chance, mistake, improvisation allows for magic to occur in the moments where everything comes together and then falls apart again.


The Mr. Food Test Kitchen was once again inspired by the dairy case as we came up with this decadent chocolate mousse. The secret ingredient that adds richness is the cream cheese. When you add a touch of our freshly made raspberry sauce get ready for lots of oohs and aahs.
In a saucepan, melt the chocolate over low heat until smooth, stirring constantly. Spoon into a large bowl and stir in cream cheese until thoroughly mixed.
In another large bowl, using an electric mixer, beat heavy cream and confectioners' sugar until soft peaks form. Spoon the whipped cream into the chocolate mixture and beat on low, just until thoroughly combined.
Spoon into individual dessert dishes, cover and refrigerate 2 to 3 hours or until firm.
In a small saucepan combine raspberries and sugar. Cook over medium heat 8 to 10 minutes, or until fruit breaks down and sauce has thickened, stirring occasionally.
Let cool and refrigerate until chilled. When ready to serve, spoon raspberry sauce on top of chocolate mousse.
Note: For that extra special touch, garnish with whipped cream and chocolate curls.


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Q: Excel: string vs integer comparison equals TRUE, but why? In my Excel file I have some data that contains either a dash - or an integer. The data looks as follows:

Following, I wish to check whether these values are higher than some particular reference integer. I use the following (cleaned) INDEX statement to get the individual values:
INDEX($E6:$DL6;<Row>;<Column>)
which I then compare to the reference value (located in DO$4 in this case), and return 1 if True, 0 if False, and with an error a dash is again printed.
=IFERROR(IF(<Indexed value>=DO$4;1;0);"-")
I would assume that the comparison "-">=DO$4 would throw that error. However, for some reason, the if statement produces a 1, meaning that the comparison is True.
How is it possible that such a comparison does not produces an error? The function written out is as follows:
=IFERROR(IF(INDEX($E6:$DL6;1;<Column-indexer>)>=DO$4;1;0);"-")

A: A comparison of a string with a number doesn't product an error - the string (in this case a dash with an apostrophe in front of it) is always bigger.

You could put a VALUE function round the index so it would throw an error if it tried to convert a string
=IFERROR(IF(VALUE(INDEX($E6:$DL6;1;<Column-indexer>))>=DO$4;1;0);"-")

Or alternatively use ISNUMBER
=IF(ISNUMBER(INDEX($E6:$DL6;1;<Column-indexer>)),if(INDEX($E6:$DL6;1;<Column-indexer>)>=DO$4;1;0);"-")

There is a slight difference - if the first formula encounters a number formatted as text, it will convert it to a number, but the second one will treat it as text.

redpajama_set_name: RedPajamaStackExchange


text:
JAMES LAFAYETTE (ca. 1760–1830)
Very little is known about the early life of an enslaved man named James from New Kent County, Virginia. He is believed to have been born between 1748 and 1760, and was owned by William Armistead. In 1781, General George Washington, commander in chief of the Continental army, sent the twenty-four-year-old French general, the Marquis de Lafayette, to Virginia in an effort to stop the British forces headed by General Charles Cornwallis, earl Cornwallis. Shortly after Lafayette arrived in New Kent, his activities caught the attention of James, who asked his owner, William Armistead, to allow him to serve Lafayette in his efforts against the British. His master agreed and James began what would become an important and lengthy relationship with the general that would change the course of his life forever.
In his attempt to learn as much as he could about Cornwallis's activities and movements, Lafayette had sent an enslaved man, James, who successfully infiltrated the camp of Benedict Arnold, providing information that nearly resulted in Arnold's capture. After Arnold and his men left the area, James focused his efforts on infiltrating the camp of General Cornwallis. He gained access to the camp of General Cornwallis by July 7, 1781, and within a short while, entered Cornwallis's service as a waiter. In that capacity James was constantly in the general's presence, serving food and drinks to Cornwallis and his officers, and listening to their conversations about military strategy. Through the months of July and August, James provided the American forces with critical information on the number of British gunboats and the amount of supplies. In a letter to George Washington dated August 25, 1781, Lafayette credited James with finding out that British forces were fortifying at Yorktown and that they had sixty vessels sailing on the York River. By early in September American and French forces positioned the French navy on the Chesapeake Bay, bottling up the York River. Meanwhile Washington and his troops had marched south to Williamsburg to join Lafayette, preparing to rout the British by land and sea. With large French siege cannons in position by early in October, the combined American and French forces began shelling the British position. After ten days of the barrage, Cornwallis surrendered on October 19, 1781. Their strategy was successful in ultimately forcing the British to surrender, thus ending the Revolutionary War and winning recognition of the new nation's independence.
After being awarded his freedom by the Virginia General Assembly in 1786 for his service during the American Revolution, James, now using the surname Lafayette, returned to New Kent County, Virginia. In 1816 Lafayette was living with his wife, son, and three slaves on forty acres of land. Just two years later, however, Lafayette appealed again to the Virginia General Assembly, this time requesting financial relief. In response to his claim of being now "poor and unable to help himself," the body granted him $60 and placed Lafayette on the Commonwealth's regular pension list, guaranteeing the veteran an additional $40 each year for the rest of his life.
Some years later, in 1824, the Marquis de Lafayette and James Lafayette met once more. In that year, the Marquis returned to the United States for a celebratory tour. In Richmond, the Marquis was to be feted in grand style. While riding through the streets of Richmond, the Marquis de Lafayette recognized James Lafayette, halted the procession, and warmly greeted his former comrade, embracing him on the street. The danger and honor they had shared at Yorktown years before had not been tarnished by the passage of time, nor as it turns out, by American racial etiquette. James Lafayette died a few years later in August 1830.
Wolf, Eva Sheppard. Race and Liberty in the New Nation: Emancipation in Virginia from the Revolution to Nat Turner's Rebellion. Baton Rouge: Louisiana State University Press, 2006.
Video: Billy and James: Choices Facing African Americans during the Revolutionary War

redpajama_set_name: RedPajamaCommonCrawl


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Jason David Lee (born 21 May 1970)) is an English field hockey coach and former international player. Lee was born at Hayes in Greater London and played hockey at Old Bordenians Hockey Club in Sittingbourne in Kent.

International career
As a player, he won 82 caps for England and 35 for Great Britain, scoring 35 goals. He played in the 1992 and 1996 Summer Olympics, but retired after the 1998 World Cup to take up coaching.

Coaching career
Lee started coaching for England men from 2003 and Great Britain men from 2004. His squads competed at three successive Olympic Games (2004, 2008 and 2012), and took England to their first ever European title, at the 2009 EuroHockey Nations Championship. He stood down after the 2012 Summer Olympics in order to start coaching the England women's squad.

Lee led the England men's team from 11th to 4th in the FIH World Rankings and also took the England women's team to a World Ranking high of 3rd, after achieving a silver medal with them in the 2013 European Nations, losing to Germany on penalties in the final. He stood down from coaching England and Great Britain in 2014. He was a Head Coach for England and GB for eleven years, GB's longest ever serving international head coach.

Lee has played club hockey for Loughborough and East Grinstead. He was named in Loughborough University's Sporting Hall of Fame in 2010 alongside greats such as Lord Sebastian Coe. He is also a member of UKSport's Elite Coach alumni.

Lee works in human performance for business and sport and is known as an experienced and knowledgeable person in leadership, teams and organizational performance.

References

External links

1970 births
Living people
English male field hockey players
English field hockey coaches
Field hockey players at the 1992 Summer Olympics
Field hockey players at the 1996 Summer Olympics
1998 Men's Hockey World Cup players
Olympic field hockey players of Great Britain
British male field hockey players
Alumni of Loughborough University
Loughborough Students field hockey players
East Grinstead Hockey Club players
British Olympic coaches

redpajama_set_name: RedPajamaWikipedia


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text:
राष्ट्रपिता महात्मा गांधी यांच्या पुण्यतिथीनिमित्त विधानभवनात आदरांजली
भरडधान्य उत्पादनाला प्रोत्साहन देऊन ब्रँडिंग करणे गरजेचे – उच्च व तंत्र शिक्षण मंत्री चंद्रकांत पाटील
विभागीय आयुक्त कार्यालयात हुताम्यांना आदरांजली
जी-20 अंतर्राष्ट्रीय वित्तीय संरचना कार्य समूह की बैठक का केंद्रीय मंत्री तोमर व पारस ने किया उद्घाटन
राष्ट्रपति आज राष्ट्रीय महिला आयोग के 31वें स्थापना दिवस कार्यक्रम को सम्बोधित करेंगी
Union Ministers Tomar and Paras inaugurate the meeting of G-20 International Financial Architecture Working Group
English NewsLatest NewsTop News
PRESIDENT OF INDIA ADDRESSES STUDENTS AND FACULTY MEMBERS OF KESHAV MEMORIAL EDUCATIONAL SOCIETY, HYDERABAD
READ MORE IN ORDER TO IMPROVE UNDERSTANDING AND WIDEN YOUR PERSPECTIVE : PRESIDENT MURMU TO STUDENTS
NEW DELHI:-The President of India, Droupadi Murmu addressed the students and faculty members of the Keshav Memorial Educational Society at a function organized as part of Azadi ka Amrit Mahotsav in Hyderabad today (December 27, 2022). She also inaugurated a photo exhibition on 'Hyderabad Liberation Movement' showcasing contributions of regional freedom fighters.
Speaking on the occasion, the President said that education is the foundation upon which a nation is built. It is the key to unlocking the full potential of every individual. She was happy to note that the activities of Keshav Memorial Educational Society have grown manifold —from a small school in 1940 to a premier educational centre with nine different colleges, enrolling over 11,000 students. She said that this growth is a tribute to the ideals of Justice Keshav Rao Koratkar in whose memory the society has been established.
Noting that celebrations of the 75th anniversary of the Liberation of Hyderabad are being held as part of the 'Azadi ka Amrit Mahotsav, the President said that this holds great significance for the people of this region and for the nation as a whole. She paid tributes to the brave leaders who fought for the liberation of Hyderabad, including Ramji Gond, Turrebaz Khan, Komaram Bheem, Suravaram Prathap Reddy and Shoyabulla Khan. She said that their valour and sacrifice would always be remembered and honoured.
The President said that as we celebrate the historic milestone of Azadi ka Amrit Mahotsav, it is important for us to remember that our independence is not just about the liberation from oppressive rulers of the past. It is also about ensuring a bright future through well conceived steps taken today. As we move into the future, it is upto the young people of India to ensure that we build upon the foundations laid by our forefathers and take our nation to new heights. This means working hard and striving for excellence in all that we do. It means being responsible and committed citizens, who are willing to contribute to the betterment of our society. It means upholding the values and ideals of our Constitution and working towards a more inclusive and equitable society. It means fighting climate change and preserving the planet for future generations.
Emphasizing on the importance of reading, the President said that the habit of reading is one of the most effective means for self-development. It is a skill that would serve students well throughout their life. She said that this is an age of internet and social media when attention span is getting shorter and communication is limited in characters. She urged students to read more in order to improve their understanding and widen their perspective.
लोकप्रतिनिधी अवमान प्रकरणी पोलिसांना पाठिशी घालणार नाही - उपमुख्यमंत्री देवेंद्र फडणवीस
Union Health Minister Dr. Mansukh Mandaviya visits Safdarjung Hospital, reviews mock drill for ensuring readiness of hospital infrastructure for COVID19 management
January 31, 2023 " रन फॉर लेप्रसी मॅरेथॉन " उत्साहात संपन्न , ८० युवक युवतींचा सहभाग
January 31, 2023जोगेंद्रनाथ मंडल जयंती साजरी
January 31, 2023मेट्रो 3 के तहत कोर्ट के खर्च की जानकारी देने से इनकार
January 31, 2023Budget….. Start broad gauge metro soon
January 31, 2023स्थानिक स्वराज्य संस्थांच्या निवडणुका तत्काळ जाहीर करा – हेमंत पाटील
January 31, 2023Glimpses of Beating the Retreat ceremony at Vijay Chowk, New Delhi on January 29, 2023.


Mahanas Villas 2 Bedroom Villa is set in Avatiu and features a private pool, a kitchen and mountain views. This villa has a garden. The villa is fitted with 2 bedrooms and a living room with a satellite flat-screen TV and Blu-ray player. Mahanas Villas 2 Bedroom Villa offers an outdoor pool. Rarotonga is 4.3 km from the accommodation, while Muri is 10 km away.


Country house with 1 hectare of land in Carunchio.
This ancient stone house has been plastered but underneath the plaster there are huge stones that can be sandblasted to get a marvellous and imposing stone house. The house is located in a very peaceful and unspoilt countryside location. At just 4 km from Carunchio, a lovely village at 35 km from the Adriatic coast. The land surrounding the house misures 10.000 sq m, is flat and the view from the property is breathtaking.
The house stands on two floors that are not internally linked. On the ground floor we find a kitchen with fireplace and a living room. There are also an adjacent cellar and a garage. On the first floor the house has three double bedrooms and a bathroom. The house needs renovations although roof and basement are in good conditions. Utilities: water and electricity.
Total living area: 81 sq. m. plus garage and cellar.


text:
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David Sanders
Specimen Days
1649 – Manuel de Faria e Sousa, Portuguese historian and poet (b. 1590), dies.
1764 – Hans A Brorson, Danish poet/bishop of Ribe, dies at 69.
1840 – Eugeen van Oye, Flemish writer/poet (Morning Twilight), is born.
1844 – Detlev [Freiherr Friedrich A von] Liliencron, German poet, is born.
1900 – Gerard den Brabander, [Jan G Jofriet], poet (Nothing New, is born.
1913 – Pedro Mir, Dominican Poet Laureate (d. 2000), is born.
1926 – Allen Ginsberg, Newark, New Jersey, American beat poet (Howl), is born.
1963 – Nazim Hikmet, Turkish poet (b. 1902), dies.
1995 – Alastair Webster Mackie, poet/teacher, dies at 69.
Fourth Floor, Dawn, Up All Night Writing Letters
Pigeons shake their wings on the copper church roof
out my window across the street, a bird perched on the cross
surveys the city's blue-grey clouds. Larry Rivers
'll come at 10 AM and take my picture. I'm taking
your picture, pigeons. I'm writing you down, Dawn.
I'm immortalizing your exhaust, Avenue A bus.
O Thought, now you'll have to think the same thing forever!
—Allen Ginsberg (1926–1997)
Clive James 'Saying Goodbye' through His Poetry
Terminally ill author and critic Clive James says he has "started saying goodbye" through his poetry. The 74-year-old, who has leukaemia and emphysema, has written of having "lungs of dust" in his most recent work, Sentenced To Life. "Inevitably, you start saying goodbye," he told BBC Radio 4's Today programme. "I like to think that I hit a sort of plangent tone. A sort of last post, a recessional tone. But the trick is not to overdo it." Read more at the BBC.
For Lovers of Verse…iPoems! Former Poet Laureate Sir Andrew Motion Launches New App that Features Celebrities Reading Their Favourites
Sir Andrew Motion, the former Poet Laureate, has launched an iTunes-style website for poetry featuring a host of famous names reading their favourite verse. More than 1,600 different recordings of work by hundreds of writers can be listened to for free or downloaded to keep for a fee from the Poetry Archive. Recordings include Sir Spike Milligan reading "The Land Of The Bumbly Boo" and war poet Siegfried Sassoon's "The Dug Out" as well as contemporary figures including Carol Ann Duffy who succeeded Sir Andrew as Poet Laureate. Read more at the Daily Mail.
Sing the Bruised Heart
by Zachary Kluckman
When Picasso declared that his iconic anti-war painting "Guernica" would never be delivered to Spain until that country was restored to peace, he demanded that we consider the experience of the individual in a sometimes frightening world. With a title inspired by Picasso's depiction of the suffering inflicted by the Spanish Civil War, Richard Vargas' new poetry collection, Guernica, revisited, tackles similar themes. Cultural identity, enduring violence and struggle, love and stubborn hope for growth resonate from every page. Read more at Alibi.
Bright Travellers Review – Fiona Benson's First Collection of Poetry
by Ben Wilkinson
Never mind movements, schools and styles: fundamentally, there are two types of poet – those who see spirits, and those who just drink them. As Sean O'Brien noted when reviewing her Faber New Poets pamphlet in these pages in 2009, Fiona Benson is a sober, contemplative sort. But as her first full collection Bright Travellers reveals, she is as much drawn to the metaphysical as to the mystical, treating the poem as a kind of secular prayer. Read more at The Guardian.
Master Of Apostrophe
by Sudeep Sen
The book's title, Central Time, is both an allusion to Ranjit Hoskote's mid-life output, as much as how the idea of time is so obliquely central to his work. This volume contains a hundred poems written between 2006 and 2014, and it serves a perfect sequel to his Vanishing Acts: New & Selected Poems 1985-2005. Read more at Outlook India.
Book Review: 'Music at Midnight: The Life and Poetry of George Herbert,' by John Drury
by Michael Dirda,
I once took a college course titled "Seventeenth-Century Metaphysical Poetry" and, like most young people, was bowled over by the poems of John Donne (1572-1631). They possess a fire and theatrical immediacy that leap from the page: "For God's sake hold your tongue, and let me love. . . . License my roving hands. . . . Death be not proud." It took a while for me to come round to the quieter, more God-obsessed poetry of George Herbert (1593-1633). Read more at the Washington Post.
Adrift in the Blue Yonder: Peter Gizzi's Selected Poems
by Alan Gilbert
After steadily increasing for much of the twentieth century, and especially after World War II, real wages for the average worker in the United States have remained stagnant since around 1978, if in fact they haven't slightly declined. At the time of this economic shift, Peter Gizzi was somewhere between high school and college. His poetry ranges across the terrain of post-Reagan America, not as witness or document, but as a register of its heartbreaking and contradictory mixture of abundance and scarcity. Read more at Hyperallergic.
"Here where she shouldn't be": On Conceptual Reading
by Lindsay Turner
As it is described in an interview published last year in Jacket2, poet Steven Zultanski's version of conceptual poetry has less to do with rules and concepts than it does with transgression and creativity: It's not so much about blending as about testing what counts as poetry […] The worst thing that could happen is that "Conceptualism" just becomes the name for anything weird, or un-poetic in certain ways, or unconcerned with the preciousness (or allusiveness) of the individual line or sentence. The best thing that could happen is that it functions as a spring-board for things we can't imagine yet. Read more at the Boston Review.
Frank O'Hara's Lunch Poems: 21st-Century Poetry Written in 1964
by Micah Mattix
Some poets shape how we speak. Others use an idiom that, through some combination of chance and insight, anticipates changes in a language. Frank O'Hara is in the second group: When O'Hara's Lunch Poems was published 50 years ago, novelist Gilbert Sorrentino wrote that it had a "strictly New York joie de vivre: slightly down at heels and rumpled, but with the kind of style always a step above current 'style'." With its references to Park Avenue, Times Square, Pennsylvania Station, liver sausage sandwiches, the Five Spot, the Seagram Building, the opening of the American Folk Art Museum, and much more, it is a very New York book. Read more at The Atlantic.
Rosemary Tonks – A Mystery Solved
by Jonathan Law
Last year we ran a post by Jonathan Law about the mysterious disappearance in the 1970s of the strange and brilliant poet Rosemary Tonks. Last month, new information about her vanishing act came to light. Here is Jonathan's original post, with an update… If you've ever come across the work of Rosemary Tonks, then I think I might hazard a guess where: probably, you're one of that vast horde of readers – at last count, some quarter million strong – who have armed themselves with copies of the Bloodaxe Books anthology Staying Alive: Real Poetry for Unreal Times (2002). While this militantly eclectic volume has become far-and-away the country's best-selling anthology of contemporary verse, Tonks's own books have been impossible to obtain for some 40 years; there is no Collected or Selected Poems. The reasons for this – and very strange reasons they are too – will emerge by the end of this post. Read more at The Dabbler.
Drafts & Framents
Poet Richard Wilbur at Amherst College
by Mary Serreze
Two-time Pulitzer Prize winning poet Richard Wilbur, 93, reads his poem "Seed Leaves" at Amherst College's 193rd commencement Sunday. The 1964 poem was originally dedicated to Robert Frost. Wilbur rededicated the poem to the Class of 2014, wishing them "every good thing." Read more at Mass Live.
Oh What a Lovely War: Larkin Poem Inspires Comic Play An August Bank Holiday Lark Coming to Rose
by Jon Sharman
The First World War might strike you as an unlikely topic for a comic play – but the Northern Broadsides theatre company have made it work in An August Bank Holiday Lark. Inspired by a Philip Larkin poem, the story is set in Greenmill, a Lancashire village preparing for an annual harvest festival. A rogue cockerel features alongside clog-dancing and a blossoming romance in a tale that takes an alternative view of the war's effect on Britain. Read more at Your Local Guardian.
Poetry In The News
The Dark Room Collective: Where Black Poetry Took Wing
Late in 1987, two young poets made the trek to New York to attend the funeral of James Baldwin at the Cathedral Church of St. John the Divine. Deeply moved by the ceremony, yet distressed that they had never met an African-American literary lion of Mr. Baldwin's stature, the poets, Thomas Sayers Ellis and Sharan Strange, hatched a plan: They would bring young black writers and artists together to read their work aloud, to bond with mentors and to foster the sort of comradeship that had nurtured many a cultural movement. They called the group the Dark Room Collective. Read more at the New York Times.
$5 Million to Endow Yale Poetry Chair
Yale University has received a $5 million gift from Frederick Iseman, the founder and chief executive of CI Capital Partners, a private equity firm, to be used partly to endow the school's first chair in poetry and partly to extend a program that gives Yale students free access to the Metropolitan Opera's HD broadcasts as well its Met on Demand archives, the university announced. Mr. Iseman, a 1974 graduate from the school, began underwriting the Metropolitan Opera program in 2010 and renewed his support in 2013. From his current gift, $2 million will be used to support that program, which is administered by Yale's School of Music. The remaining $3 million is earmarked for the Frederick Iseman Professor of Poetry Fund, which will support a recognized poet or poetry scholar. Read more at the New York Times.
Abramson Publisher "Distressed" by His Elliot Rodger "Remix"
Fearing silence would be seen as approval, the editors of Omnidawn have issued a statement clarifying that they are "dismayed, disheartened, distressed" by a Seth Abramson poem published in Huffington Post a day after the Isla Vista massacre last Friday. In "Last Words for Elliot Rodger," Abramson, who edits Omnidawn's annual Best American Experimental Writing anthology, "remixes" language used in Rodger's final YouTube video into what he calls a "metamodernist" poem. Readers expressed their rage on Facebook and Twitter, suggesting that Abramson's post was tasteless and exploitative. Read more at Coldfront.
Motherland Fatherland Homelandsexuals by Patricia Lockwood
[Paperback] Penguin, 80 pp., $20.00
Colloquial and incantatory, the poems in Patricia Lockwood's second collection address the most urgent questions of our time, like: what if a deer did porn? Is America going down on Canada? What happens when Niagara Falls gets drunk at a wedding? Is it legal to marry a stuffed owl exhibit? What would Walt Whitman's tit-pics look like? Why isn't anyone named Gary anymore? Did the Hatfield and McCoy babies ever fall in love? The steep tilt of Lockwood's lines sends the reader snowballing downhill, accumulating pieces of the scenery with every turn.
Its Day Being Gone by Rose McLarney
[Paperback] Penguin,112 pp., $20.00
Rose McLarney has won acclaim for image-rich poems that explore her native southern Appalachia and those who love and live and lose on it. Her second collection broadens these investigations in poems that examine the shape-shifting quality of memory, as seen in folktales that have traveled across oceans and through centuries, and in how we form recollections of our own lives.
Glitter Bomb: Poems by Aaron Belz
[Paperback] Persea, 96 pp., $15.95
From the author of Lovely, Raspberry (Persea 2010) comes a collection of new poems which alternate between deadpan and slapstick in their madcap depictions of human foibles. "The poems in Glitter Bomb pull no punches: irreverent, devastating, even nasty at times, they capture the present moment in all its absurdity and hyper-reality. 'Lampwise by altarlight' (pace Dylan Thomas), Aaron Belz keeps his eye on the object: often hilarious, he is also wise." —Marjorie Perloff
The World Shared by Dariusz Sosnicki
[Paperback] BOA Editions Ltd., 112 pp.,$16.00
Dariusz Sosnicki's poems open our eyes to the sublime just beneath the surface of the mundane: a train carrying children away from their parents for summer vacation turns into a ravenous monster; a meal at a Chinese restaurant inspires a surreal journey through the zodiac; a malfunctioning printer is a reminder of the ghosts that haunt us no matter where we find ourselves.
Backup Singers by Sommer Browning
[Paperback] Birds, 88 pp., $18.00
Browning follows up her sold out debut, Either Way I'm Celebrating, with an even rawer and starker, and again darkly humorous navigation of friendship, marriage, and motherhood. The result is a more overtly political assessment of the absurd deficit between what we're confronted with and what we're equipped with to deal with those confrontations: "It's a girl, / and the wires she needs // open her hands / before they're fists." Browning combats this deficit with relentless anaphora and repetition, reducing seemingly impossible relationships to their most basic element—a love that begets an unconditional loyalty: "I'm here! I didn't run!"
Terror by Toby Martinez de las Rivas
[Paperback] Faber & Faber, 80 pp., $12.75
In Terror, Toby Martinez de las Rivas leads us on a high-wire act of verbal dexterity and inventive syntax in pursuit of a new kind of communication. Set against landscapes fallen just short of paradise, but which retain the possibility of redemption, these poems work intimately with the reader, interrogating us and encouraging us never to settle for inadequate answers. Formally adventurous and wide-ranging, Terror examines ideas of conflict, betrayal, sexual and divine love, history and hope, and holds each up to the light of our own fate and frailty, in search of a language which might console us, a language with which we might commune in our most private and fearful moments. Terror is a thrilling and powerful debut.
The Smutty-Metaphor Queen of Lawrence, Kansas
by Jesse Lichtenstein
Just before she took the microphone one soggy night in Portland, Ore., the poet Patricia Lockwood downed a shot of cheap bourbon. She had never had a drink right before a reading, but she often enacts some private joke when she speaks in public. It might be slurping her water loudly into the microphone, or rolling (instead of stepping) onto a stage, or, in this case, ingesting something that tasted to her like a puddle in a forest — anything to erase what she calls the "anxiety kegels" leading up to a performance. Read more at the New York Times.
The Poets in the Distance
Two poets, Russell Edson (1935–2014) and Bill Knott (1940–2014), both of whom I was friendly with and whose poetry was very important to me, died this spring, each one leaving behind many original and memorable poems and many devoted readers, despite keeping their distance from our literary scene. Anyone who was fortunate enough to hear them read their poems over the last forty-five years is not likely to have forgotten the experience. Read more at the New York Review of Books.
Dan Chiasson and His Poetry Time Machine
by Victoria Fleischer
Poet Dan Chiasson started working on his book "Bicentennial" after the death of his father, who left when Chiasson was 7 months old. While the two never really knew each other, that event prompted Chiasson to revisit his childhood in a series of poems that play with memory and a sense of time. "I feel like, almost in an H. G. Wells way, poems are like a time machine. You can go back and bring the past to life again. So that's what I did, what I tried to do … I'm looking back at myself as a child looking forward in time." Read more at the NewsHour.
I Revolve a Skull that Knows: On José García Villa
Robert Nery
In my teenage years, the poet José García Villa had withdrawn into legend and silence in New York, an absent god from whom only the occasional witticism was relayed to Manila. In 1973, when my adolescence was coming to an end, he was 65 and teaching at the New School for Social Research. I would have been surprised had I been told he was still working. From his first American volume, Have Come, Am Here, that made his reputation in 1942, his poems mentioned nothing specific to the Philippine milieu.They continued to fascinate Filipinos who came across them, but his celebrity preceded his poems. Read more at Cordite.
A Quick Interview with Dara Weir
by Corey Zeller
Corey Zeller: First of all, you are a poetic institution in Massachusetts. You work at University of Massachusetts Amherst, run the Juniper Workshops, and edit at the awesome Factory Hollow Press. How did you end up at Amherst? Do you still like it there? How does it feel to see many of your students go on to acclaim and success? Is there a student you feel most proud of? Was there a student you ever feel you failed? Also, you are married to the poet James Tate. I am really interested in hearing how you two met. What was that courtship like? Read more at Ampersand Review.
Envoi: Editor's Notes
It makes me feel good to begin a post with a poem by Allan Ginsberg and end it with one by Philip Larkin. So here's the Larkin poem referred to in the story above:
MCMXIV
Those long uneven lines
Standing as patiently
As if they were stretched outside
The Oval or Villa Park,
The crowns of hats, the sun
On moustached archaic faces
Grinning as if it were all
An August Bank Holiday lark;
And the shut shops, the bleached
Established names on the sunblinds,
The farthings and sovereigns,
And dark-clothed children at play
Called after kings and queens,
The tin advertisements
For cocoa and twist, and the pubs
Wide open all day;
And the countryside not caring:
The place-names all hazed over
With flowering grasses, and fields
Shadowing Domesday lines
Under wheat's restless silence;
The differently-dressed servants
With tiny rooms in huge houses,
The dust behind limousines;
Never such innocence,
Never before or since,
As changed itself to past
Without a word - the men
Leaving the gardens tidy,
The thousands of marriages
Lasting a little while longer:
Never such innocence again.


text:
Q: Assign variable in while loop condition in Python? I just came across this piece of code
while 1:
    line = data.readline()
    if not line:
        break
    #...

and thought, there must be a better way to do this, than using an infinite loop with break.
So I tried:
while line = data.readline():
    #...

and, obviously, got an error.
Is there any way to avoid using a break in that situation?
Edit:
Ideally, you'd want to avoid saying readline twice... IMHO, repeating is even worse than just a break, especially if the statement is complex.

A: Like,
for line in data:
    # ...

? It large depends on the semantics of the data object's readline semantics. If data is a file object, that'll work.

A: for line in data:
    ... process line somehow....

Will iterate over each line in the file, rather than using a while. It is a much more common idiom for the task of reading a file in my experience (in Python).
In fact, data does not have to be a file but merely provide an iterator.

A: As of python 3.8 (which implements PEP-572) this code is now valid:
while line := data.readline():
   # do something with line

A: Try this one, works for files opened with open('filename')
for line in iter(data.readline, b''):

A: If you aren't doing anything fancier with data, like reading more lines later on, there's always:
for line in data:
    ... do stuff ...

A: If data is a file, as stated in other answers, using for line in file will work fine. If data is not a file, and a random data reading object, then you should implement it as an iterator, implementing __iter__ and next methods.
The next method should to the reading, check if there is more data, and if not, raise StopIteration. If you do this, you can continue using the for line in data idiom.

A: According to the FAQ from Python's documentation, iterating over the input with for construct or running an infinite while True loop and using break statement to terminate it, are preferred and idiomatic ways of iteration.

A: This isn't much better, but this is the way I usually do it.  Python doesn't return the value upon variable assignment like other languages (e.g., Java).
line = data.readline()
while line:
    # ... do stuff ...
    line = data.readline()

A: You could do:
line = 1
while line:
    line = data.readline()

A: If data has a function that returns an iterator instead of readline (say data.iterate), you could simply do:
for line in data.iterate():
    #...

A: Starting Python 3.8, and the introduction of assignment expressions (PEP 572) (:= operator), it's now possible to capture the condition value (data.readline()) of the while loop as a variable (line) in order to re-use it within the body of the loop:
while line := data.readline():
  do_smthg(line)


Want to learn something and then quickly make that mastery stick? A new Brown University study in which people learned visual perception tasks suggests that you should keep practicing for a little while even after you think you can't get any better. Such "overlearning" locked in performance gains, according to the Nature Neuroscience paper that describes the effect and its underlying neurophysiology.
Everybody from actors learning lines, to musicians learning new songs, to teachers trying to impart key facts to students has observed that learning has to "sink in" in the brain. Prior studies and also the new one, for example, show that when people learn a new task and then learn a similar one soon afterward, the second instance of learning often interferes with and undermines the mastery achieved on the first one.
The new study shows that overlearning prevents against such interference, cementing learning so well and quickly, in fact, that the opposite kind of interference happens instead. For a time, overlearning the first task prevents effective learning of the second task -- as if learning becomes locked down for the sake of preserving master of the first task. The underlying mechanism, the researchers discovered, appears to be a temporary shift in the balance of two neurotransmitters that control neural flexibility, or "plasticity," in the part of the brain where the learning occurred.
"These results suggest that just a short period of overlearning drastically changes a post-training plastic and unstable [learning state] to a hyperstabilized state that is resilient against, and even disrupts, new learning," wrote the team led by corresponding author Takeo Watanabe, the Fred M. Seed Professor of Cognitive Linguistic and Psychological Sciences at Brown.
The findings arose from several experiments in which Watanabe, lead author Kazuhisa Shibata and their co-authors asked a total of 183 volunteers to engage in the task of learning to detect which one of the two successively presented images had a patterned orientation and which depicted just unstructured noise. After eight rounds, or "blocks," of training, which lasted about 20 minutes total, the initial 60 volunteers seemed to master the task.
On the next day's tests, the first group performed quite poorly on the first task compared to the pre-test but showed substantial progress on the second task. Meanwhile the overlearning group showed strong performance on the first task, but no significant improvement on the second. Regular learning subjects were vulnerable to interference by the second task (as expected) but overlearners were not.
In the second experiment, again with new volunteers, the researchers lengthened the break between task training from 30 minutes to 3.5 hours. This time on the next day's tests, each group -- those who overlearned and those who didn't -- showed similar performance patterns in that they both demonstrated significant improvement on both tasks. Given enough time between learning tasks, people successfully learned both and neither kind of interference was evident.
What was going on? The researchers sought answers in a third experiment by using the technology of magnetic resonance spectroscopy to track the balance of two neurotransmitters in volunteers as they learned. Focusing on the "early visual" region in each subject's brain, the researchers tracked the ratio of glutamate, which promotes plasticity, and GABA, which inhibits it. One group of volunteers trained on a task for eight blocks while the other group trained on it for 16. Meanwhile they all underwent MRS scans before training, 30 minutes after, and 3.5 hours after, and took the usual pre-training and post-training performance tests.
Though the study focused on a visual learning task, Watanabe said he is confident the effect will likely translate to other kinds of learning, such as motor tasks, where phenomena such as interference work similarly.
To cement training quickly, overlearning should help, but beware it might interfere with similar learning it that follow immediately.
Without overlearning, don't try to learn something similar in rapid succession because there is a risk that the second bout of learning will undermine the first.
"If you want to learn something very important, maybe overlearning is a good way," Watanabe said. "If you do overlearning, you may be able to increase the chance that what you learn will not be gone."


text:
Spectre Collie
The Journal of Poorly-Explained Phenomena
One Thing I Like
The Penal Zone
For the first time today, the world gets exposed to The Penal Zone, the first episode in the new Sam & Max series!
The first episode of Sam & Max: The Devil's Playhouse is out today for PC, Mac, and the PlayStation Network for PS3. Of course, if you were my real friend you would've already bought it by now, but as a special bonus offer, Telltale is still allowing you to buy it.
Plus there's crazy cool extra stuff, like special stuff for your characters in Team Fortress 2 if you buy it from Steam, thanks to Jake and Robert and the fine folks at Valve Software. (You need to buy it from Telltale to get the collector's disc at the end of the season, though). And also a Flaming Max Head shot glass and a Max Imp T-Shirt which I didn't know the store was selling and I totally want now. It's a madhouse! A madhouse of savings!
The first episode in the series is called The Penal Zone, and it's about OH MY GOD I JUST GOT THAT JOKE. I wish somebody had warned me that it sounded kind of like a dirty word when we were coming up with the ideas for the episodes. As it is I had to find out from people who write blog comments.
Anyway, The Penal Zone is the most deeply personal game I've worked on. As you can imagine, growing up in the South in the late 70s and 80s, I saw first-hand the effects of hyper-intelligent alien gorilla invasions, and I recognized that this is a story that needs to be told. But the media always presents a one-sided picture, to let complacent middle Americans point the finger of blame at someone and then pat themselves on the back saying "We've solved the space gorilla problem." It was important to me that The Penal Zone be not just a lecture, but a forum for open discourse and, yes, healing. I believe that videogames can make a difference — I have to believe that — and this game is my own humble way of showing all other game developers what's possible with the medium.
PROTIP: My favorite gag in the game is when you look at the antenna on top of Bosco-Tech Labs.
Author ChuckPosted on April 15, 2010 Categories Videogames
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could ever want to satisfy my musical needs and desires. And I am sure it will serve me for many years to come, and I still will not have figured out all the intricacies it has to offer! So, I read the announcement with mixed emotions, but not total despair. I will keep my eyes peeled for what comes next! What worries me more than the fact that there will be no more Technics keyboards is the thought that perhaps this Forum may dry up as a result. I, for one, certainly hope not!!!! I think we all still have a great deal to share in the future, and I hope my friends here on the Forum aren't so discouraged as to decide that they should terminate sending messages to his great place. The news puts a bit of a damper on my Happy New Year greetings, but, being an eternal optimist, I see a good year ahead, and view this as a new beginning, not as an end!
So let's salute the music still to be played and shared because after all it's what I like most about my keyboard and the forum, listening you all of you play!
Perhaps it is not a good idea to alienate the what somebody referred to as GUROS in a not so polite manner in an earlier thread.
I've only been a member of the forum for just over a year now, and I have no idea how long the Technic's forum has been in existance. I joined just before or after ( can't remember which) getting my kn7.
The one thing I did notice though, was that the majority of posts seemed to revolve around the kn7.
albeit, they were happy with what they already had, or didn't want to / or couldn't aford to go to the expense of upgrading.
They must have really felt like they were being left out in the cold, when most of the posts seemed to involve something to do with the KN7.
The same thing would have happened later on this year, had there been a KN8000.
Hopefully we'll see more posts from earlier model keyboard owners & our Technic Piano & Organ friends.
Lets keep this wonderful community alive.
Rikki, I have a KN6000 and have never felt left out at this forum. As Alec said so well, when the KN6000 was the latest, we had our day in the sun so to speak. The reason I do not feel left out is because most of the discussion surrounding the technical aspects of the KN7000 still apply to the 5000/6000/6500. When someone raises a question concerning a particular problem they are having with their KN7000 and they receive an answer, I go to my keyboard and check it out. That is one of the many ways I learn.
I have invested heavily in keyboard accessories for my KN6000 because I wanted to learn to play well and be able to use all of the capability of my keyboard to make music. I have Alec's book, all of the Tony Pegler videos, about 40 MDC disks, the midi bass pedals, all of the foot switches and the expression pedal. So I have a wonderful setup and enjoy it immensely. Because of my investment in accessories I decided to keep my KN6000 when the KN7000 was introduced. I am happy with that decision.
This forum has been a real home for me. I check in several times each day. It brings me a lot of pleasure. Bebop's mailings bring pleasure as do all the music that has been shared by all of you. So it is my hope that it will continue without diminishing one iota. We all agree that we are a family and families stick together and help each other. I'm sure I will have questions from time to time and would want to be able to post them here and get accurate answers.
I'm sure this forum will carry on. I, for one, will remain here and contribute what I can to help others.
I don't doubt kn6 owners were just as well supported with their questions on their keyboards etc, it's just that during the time I've been here most of the songs & stuff that is shared has been done for the kn7.
Admittedly Cee, to his credit, did also give kn6 owners the opportunity to contribute songs to the site, not sure how many did, though.
Sorry guys, i think I'm feeling a bit meloncohly this morning, reality has finally hit.
This forum like any other will survive if it has the contributors. I feel most of us will still have our 5/6/7 keyboards for a long time. If we continue to support these owners in our own way I do not think the forum will die. It is up to the contributors.
Before purchasing my 6000 I had a Technics Organ and belonged to a Technics Organ group on the Internet using e-mail. I sold my organ but the Organ Buddies International (OBI) has doubled since the demise of Tehnics Organs. They have included a newsletter that keeps all members informed and their exchange of information continues. Our fellow forum member, Frank Bez, is still a member of the OBI. I also keep in touch.
instrument knowledge but a host of wonderful friends around the world that we would not want to lose.
Ps. Nigel, Bebop, I am sure you have no thoughts of ending your great forum?
I think we have this going on for a loooooooooong time.
Nice to see you're having your say. Yes, your're quite right; there are still a number of 6K members on the forum (myself included). For most of us when the chance came to upgrade to the 7K we decided not to because either it was too expensive (999GBp for the 6K and something in the region of 2000GBp for the 7K) or we were happy to stay with something we were happy with and were getting used to. For my part (and I think Lucy agrees), we have got so much music we want to try and play, the 6K could last us anything upto the next 10 years. As an interesting fact I pulled over a DeLoreon (c/r Back To The Future) yesterday. Now those cars haven't been made since the 80s; but, obviously, somebody still loves them.
Being so new to Technics I didn't really feel my comments about their closure would be appropriate considering the experience and dedication of the members here, but reading these posts it just struck me - if any Technics people read this board they must be heartened by the feeling they have created and that will continue into the forseeable future.
I know, it doesn't get jobs back, nor does it give Technics players a next new version or make it up to those that bought 'dear' etc, but knowing that Technics keyboards will be cherished to get the very best and longest out of them must mean a lot to all connected to Technics and I think that is mentionable.


As with a lot of Young Adult fiction of this diary-like form, the writing style is very chatty and relies on a lot of clichéd language and phrases. It's not a writing style that I really get on with when reading fiction, so this was something I had to push through in order to enjoy the book.
Holly Bourne makes an admirable effort to confront the stigma surrounding OCD, both through Evie directly calling out false stereotypes, as well as using her counselling documentation as a structural device. Generally, Bourne does really well to convey Evie's inner struggles and effectively explain the 'compulsion' part of the disorder, however there were a few cases when rather flippant comments and incongruities on Evie's behalf inevitably raised questions. But I think it's also important to remember that this is supposed to be a teenager's account of her struggles. A teenager who is surrounded by the stigma herself and wants nothing more than to be 'normal' and to fit in.
Not only does Bourne take on the ambitious task of tackling the mental health stigma, she also introduces feminist concepts and theories, largely through issues that commonly arise in the day-to-day lives of teenage girls. It's very basic level stuff, and Evie, like most girls of her age, only begins to see the parts of sexism that affect her life directly, but it's still comforting to find a Young Adult book that attempts to highlight these issues for young readers.
What made me, to my surprise, become very involved in this book, was the array of lovable characters. In spite of my initial uncertainties about the style of writing, I found myself willing Evie to help herself get better and hoping that she would fix things with her charismatic younger sister and find the courage to reach out to her amazingly charismatic and insightful friends.
If Young Adult fiction and a chatty, clichéd writing style is your thing then Am I Normal Yet? is definitely one you should read. If you're like me and usually struggle to enjoy this style of reading, then it's probably not a book you should rush out to buy. However, it does offer a really valuable insight into the over-stereotyped and largely misunderstood effects of OCD.


SHOPPES AT PARKER COMMONS: 100 PERCENT LEASED!
Matthew Watson with DePaul Real Estate Advisors represented the landlord, VP Investments, LLC, with securing a new lease with Sunshine Sweepstakes, Inc. d/b/a Fun City at the Shoppes at Parker Commons Shopping Center located at the southwest corner of South Parker Road and Yale Avenue in Aurora, Colorado. Shoppes at Parker Commons is a busy and highly visible retail center located on the border between southeast Aurora, Centennial and Denver. The subject property benefits from a strong daytime employment population with over 1,200 businesses and 1.7 million square feet of office space within walking distance.
Fun City, an internet café, will occupy approximately 2,489 square feet. With the new lease, this brings the shopping center to 100 percent occupancy. This will be the tenant's second retail location.
Other tenants at the center include H-Mart Grocery Store, Farmers Insurance, Face Shop, H&M Dental, Bangla Bazaar, Impressive Dry Cleaning, Pho-Yo, Asiana Gifts, Ariana Kabob, P&Y Café, O'Hair, Inc., All Star Taekwondo, The Break Room, IGA Japanese Restaurant, and Top Ten Nails.
For additional information, please contact Matthew Watson at 303-333-9799.


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text:
A few days ago I was curled up in bed ugly crying to this movie. Goddamn THIS MOVIE! A Secret Love is a tender look at a lesbian couple who kept their relationship under wraps for almost 70 years. While TIME calls the documentary "a heartfelt triumph" (which it mostly is), it's not without its flaws. Ultimately, it begs the question: Who should be telling queer stories? Terry Donahue and Pat Henschel met in 1947 at a hockey rink in Saskatchewan, Canada. Terry was a profession
The Half of It is basically Sierra Burgess Is a Loser, except not, like, problematic. Inspired by writer and director Alice Wu's experiences with sexual and racial identity, it is a thoughtful look at growing up and falling in love. Ellie Chu (Leah Lewis) is a Chinese-American, straight-A student who has been making extra cash by doing other kids' homework. By night, she's performing her father's duties as a station master and switchman at the town train station. One day the


Author/s : Michael Czarick 1 and Brian Fairchild 2. / 1 Extension Engineer, University of Georgia; 2 Extension Poultry Scientist, University of Georgia.
It is fairly common practice to operate evaporative cooling pads off both house temperature and an interval timer. For instance, the evaporative cooling pad pump would be set to turn on once house temperature reaches 82°F, at which time an interval timer would allow the circulation pump to operate a minute or two out of ten. Once the house temperature drops below 81°F, the circulation pump would turn off. The question is whether there is an advantage to operating an evaporative cooling system in this manner as opposed to simply operating the circulation pump solely based on house temperature.
Recently a study was conducted on a commercial broiler farm to compare environmental conditions in side-by-side houses to help answer this question. Three high-accuracy temperature/humidity data loggers were placed inside each of two broiler houses, approximately ten feet from the evaporative cooling pads, near the tunnel fan end of the tunnel curtain opening, on the north side of each house. An outside temperature/humidity data logger was placed 10' from the evaporative cooling pads on north side of each house. A time-lapse camera was placed eight feet from each pad system to provide a record of the level of pad surface wetting. The data loggers were set to record every 10 seconds, 24 hours a day, over the course of the two-day study. The houses were empty and the tunnel fans in both houses were set to operate continuously.
In one house the environmental controller was programmed to turn on the evaporative cooling pad circulation pumps when house temperature reached 82°F and turn off at 81°F. In the second house, the circulation pumps operated off a combination of both house temperature (82°F on / 81°F off) and an interval timer (2 minutes on/8 minutes off). On the first day of the study, both pad systems were activated shortly just before noon when the outside temperature was approximately 86°F and were allowed to operate for the remainder of the study if the house temperature exceeded 82°F.
On the first day of the study, the pad systems in both houses produced a similar level of air cooling (Figure 1). Over the course of the day (1 pm - 7 pm), the incoming air temperature averaged 80.7°F in the house where the pads were controlled solely based on house temperature, compared to 81.6°F in the house where the pads were controlled by a combination of house temperature and interval timer (Table 1). The slightly higher level of cooling resulted in a slightly higher relative humidity, 75.4% vs 72.3%. On the second day of the study, there was less of a difference in incoming air temperature between the two houses, 79.9°F vs. 80.3°F (Figure 6 & Table 1) as well as humidity 83.6% vs 81.6%. The slightly lower temperatures and higher relative humidity in the house where the pads operated based solely on house air temperature indicate that the pads were slightly wetter on average than in the house where a combination of house temperature and an interval timer were used to control pad operation.
The reason that there was so little of difference in the cooling between the two methods of pad control is due to the simple fact that the use of ten-minute timers generally doesn't result in any significant level of pad drying. When wet, the typical evaporative cooling pad is capable of holding approximately 0.6 gallons of water. This means that under hot, humid conditions (95%, 50%) it can easily take over 30 minutes for a pad to fully dry. More importantly, wetted pads will generally tend to produce the same level of air cooling for roughly 10 minutes before a sufficient amount of moisture is evaporated from the pad to start affecting the cooling ability of a pad.
It is important to realize that just because the leading edge of a pad appears dry it doesn't necessarily mean that the pad is producing significantly less air cooling or humidity. Interestingly you could reduce the thickness of a six-inch pad by an entire inch and the cooling produced would only be reduced by less than one degree during hot, humid weather. The fact that the leading edge of a pad can appear dry and cooling would be minimally affected can be seen in Figures 2 and 3 taken at 2:05 pm on the first day of the study. Though the surfaces of the pads on the house controlled by both house temperature and interval timer appear wet, they are producing essentially the same amount of cooling/humidity as the pads that appear dry on the house where pad operation was based only on house temperature (Figure 1). A similar occurrence can be seen at 5:48 on second day of the study (Figure 6), except the surfaces of the pads operating based solely on house temperature appear drier (Figures 7 and 8) but again, the difference in air cooling/humidity is minimal. This, of course, is not always the case. Figures 4 and 5 show the condition of the pads on the two houses at 5:10 pm on the first day of the study. The pads on the house being controlled by a combination of house temperature and an interval timer are drier, and are in fact producing a little less cooling and as a result less humidity. But, again over the course of the day, there is not a large difference in the temperature and humidity between the two different methods of pad operation.
It is true that had the circulation pump been set to operated less than a minute out of ten, chances are that there would be a greater difference in the incoming air temperature. A shorter circulation pump run time would have tended to result in drier pads, which would in turn would have produced less air cooling and humidity. But, it is important to realize that regardless of how you operate an evaporative cooling pad, you don't get less humidity without producing less cooling. The relationship between cooling and humidity is essentially constant. For every degree of cooling produced by an evaporative cooling pad, the humidity of the incoming air will increase by approximately 2.5%.
Figures 1 and 6 clearly illustrate the relationship between cooling and humidity. On the first day of the study the pad systems were producing approximately 10°F cooling during the hottest portion of the day (92°F - 93°F (outside) vs. 82°F - 83°F (inside)) and the relative humidity was approximate 25% higher inside (2.5% X 10°F) than it was outside. Furthermore, the pad operating off only house temperature was on average approximately 1o F (0.9°F) cooler and as expected the humidity was approximately 2.5% higher (3%). On the second day of the study, the pad system operating off temperature only was on average 0.4°F cooler and the humidity was 1.9% higher, which is within 1% of what is expected.
1) Very little actual pad drying typically occurs during the off time of a ten-minute interval timer. During typical hot, humid weather, a wetted pad system will tend to produce the same level of air cooling for around ten minutes after the water circulation pump is turned off. As a result, operating a pad off a ten-minute timer tends to produce minimum pad drying and minimal changes in the temperature and humidity of the incoming air. To significantly change the temperature and humidity of the incoming air with an interval timer, the pump typically needs to operate less than one minute and/or the pump needs to stay off roughly 20 minutes or more. In either case the pad will tend to produce less cooling of the incoming air because the entire pad will tend to be drier and the humidity of the incoming air will be lower. Interval timers are generally best suited for use when the goal is to limit the amount of cooling produced by a pad system (with younger birds, for example).
2) Just because the surface of the pad appears dry does not necessarily mean the pad is producing significantly less cooling and humidification of the incoming air than a pad with water flowing over it. As noted previously, reducing the thickness of a 6" pad by an inch will only reduce the cooling efficiency of pad by roughly 5%. Most of the cooling produced by a pad occurs deep within the pad, not at the surface. As a result, it is best to manage a pad based not on what it looks like, but rather by what it is actually doing.
3) Operating a pad using an interval timer from a bird cooling standpoint isn't necessarily problematic. In most instances, it doesn't dramatically change the temperature and/or humidity of the incoming air versus operating a pad based solely on air temperature. But, it is important to keep in mind that the water flowing over the surface of the pad not only serves to wet the pad but helps keep the surface of the pad clean. By limiting the amount of time water circulates over the pad surface, the rate at which minerals and dirt builds-up on a pad tends to increase.
4) The best method of controlling evaporative cooling systems is to base their operation on house air temperature. It is generally preferable to wait until house temperature reaches the low-to-mid-eighties, thereby giving a chance for the outside humidity to drop into the seventies or lower. This is because during hot weather outside temperature and relative humidity tend to cross-over at 80°F and 80% humidity. Specifically, when the outside temperature is below 80°F, the relative humidity tends to be over 80% (Figures 1 and 6). Using a pad system when house temperature is in the low eighties, or worse yet, seventies, will tend to produce little cooling of the incoming air and increase the humidity to near saturation regardless of how the system is being controlled. Though waiting until house temperature reaches the mideighties before using evaporative cooling pads will tend to result in slightly higher house temperatures, it is important to keep in mind that the humidity will be lower, which will make it easier for the birds to lose heat through respiration. Furthermore, with the increased heat removal associated with today's air speeds of 600 to 800 ft/min, birds are better able to cope with slightly higher house temperatures, especially when combined with a lower relative humidity. It is important to keep in mind that out goal during hot weather is not necessarily to cool the air more, but rather cooling to the birds more, which may require a slightly warmer, drier house.
This article was originally published in Poultry Housing Tips, Volume 30, Number 9, 2018. University of Georgia, College of Agricultural and Environmental Sciences Cooperative Extension.
Dr. Mike Czarick, Senior Public Service Associate and UGA extension specialist. His areas of responsability are: Poultry house environmental control and energy conservation, Poultry house emissions, Poultry house construction, Poultry house data collection systems and Poultry processing plant holding sheds.


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This Is the First Sign That You Have Coronavirus, Study Says
New research from USC reveals the order in which symptoms tend to appear in COVID patients.
By Colby Hall
Now that we're five months into the pandemic, the most common coronavirus symptoms are pretty widely known. But we also know that they vary greatly from patient to patient, which can make the virus difficult to diagnose. Now, new research from a team of scientists at the University of Southern California (USC) is shedding some light on the tell-tale signs that you could have the coronavirus. Their research pinpoints the specific order of symptoms in which the virus tends to present itself, including the most common first COVID symptom.
The researchers looked at 56,000 confirmed coronavirus cases in China, as well as 2,470 flu cases in North America, Europe, and the Southern Hemisphere, to compare COVID-19 symptoms to influenza and to determine the most common order.
Recognizing the order of COVID-19 symptoms can help doctors diagnose the illness, plan treatment, and in some cases, lead to early intervention. "This order is especially important to know when we have overlapping cycles of illnesses like the flu that coincide with infections of COVID-19," Peter Kuhn, MD, a USC professor of medicine, biomedical engineering, and aerospace and mechanical engineering who worked on the study, said in a statement. "Doctors can determine what steps to take to care for the patient, and they may prevent the patient's condition from worsening."
It is worth noting, however, that many COVID-19 patients show zero symptoms, so even if you don't demonstrate the tell-tale signs, you could still be positive for the virus.
So, even though the findings may not be true for all coronavirus patients, recognizing reliable COVID-19 patterns can be an enormous help. "Given that there are now better approaches to treatments for COVID-19, identifying patients earlier could reduce hospitalization time," doctoral candidate Joseph Larsen, the lead author of the study, said in a statement. The following is the most common specific order of COVID symptoms, as determined by the USC researchers. And for more unique COVID-related effects that should be on your radar, check out 5 Strange New COVID Symptoms That Doctors Are Reporting.
The researchers found that the first symptom of the coronavirus is most often a fever. Not every high temperature means the patient has COVID-19, but this study found that the virus is most likely to first show up in that manner. This is consistent with previous studies, namely April research published by the Journal of the American Medical Association (JAMA), which listed fever as a reliable symptom of the onset of the coronavirus. And for more on the odds that you're sick, check out If You Have These 4 Symptoms, Chances Are High You Have COVID.
The coronavirus is a respiratory illness, and following the onset of a fever, a cough is your likely second symptom, the researchers concluded. The specific sort of cough associated with COVID-19 is often described as "dry" and can also lead to shortness of breath. And for more on what that experience is like, check out Is Your Shortness of Breath a Coronavirus Symptom? Here's How to Know.
Not unlike influenza, the coronavirus brings muscular pain. The USC study found that aches often come as the third symptom, following fever and cough. The Centers for Disease Control and Prevention (CDC) also added muscle aches and pains to their initial list of coronavirus symptoms in late April. And for the worst-case scenario with COVID, check out 4 Coronavirus Symptoms Most Likely to Be Deadly.
Shutterstock/Kleber Cordeiro
The fourth symptom of COVID-19 to show up is often stomach related, in the form of nausea and/or vomiting. Unlikely many respiratory illnesses, it's been discovered that the novel coronavirus can wreak havoc on your stomach too. "The upper GI tract (i.e., nausea/vomiting) seems to be affected before the lower GI tract (i.e., diarrhea) in COVID-19, which is the opposite from MERS and SARS," the scientists note.
The last symptom researchers determined is the logical conclusion of the gastrointestinal problems presented by the prior symptom: diarrhea. A March study published in the American Journal of Gastroenterology that looked at the earliest COVID-19 cases during the initial outbreak in Wuhan, China was one of the first to identify diarrhea as a COVID symptom. And for more common signs you could have COVID, check out The 13 Most Common Coronavirus Symptoms.
Coronavirus • News
This Strange New COVID Symptom Is Easy to Miss
It often appears alongside another odd sign of coronavirus infection, expert says.
This New COVID Symptom Appears Weeks Later
Experts say this symptom may even take months to show up in coronavirus patients.
The "Key Symptom" of COVID You're Ignoring
This common COVID symptom could be right in front of your eyes.
This Temperature Can Kill COVID in Minutes
A new study finds heat can be effective against it.
This Is the Worst Gym in America
This fitness chain fails to get results.
We can expect this in the coming weeks.
Stop Doing This Now to Avoid the New COVID Strain
Doctors warn to drop this activity immediately.
This Clothing Chain Just Filed For Bankruptcy
And it may close all of its retail locations.
This Could Make Your COVID Vaccine Less Effective
Both can alter your immune response in the long run.


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HC at UCD
Our Reads
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Why Call Me by Your Name Is a Masterpiece
Eesha Bandaru
Call Me by Your Name is a 2017 coming-of-age movie. Taking place in Italy and directed by Luca Guadagnino, it follows the love story of 17-year-old Elio and Oliver, who is in his mid-twenties. The two meet when Oliver moves into Elio's house as a research assistant to Elio's father. The relationship between Elio and Oliver begins as a friendship, starting with a very simple conversation. However, as the story progresses, Elio's attraction toward Oliver grows and he confesses his feelings to Oliver. Although Oliver initially rejects the idea of Elio having feelings for him, he realizes that he too is into Elio, and they begin their secret relationship.
Photo by Valentin Antonucci from Unsplash
The film explores the relationship between Elio and Oliver, which starts out confusing but evolves into the purest form of love. Now, let me tell you why I'm even talking about this movie. This movie left me with an intense, indescribable feeling that still stuck with me after watching it years ago. The portrayal of their relationship and the love between them is one of the most beautiful and simplistic things I've ever seen in cinema. The film captures the most honest display of passion and love between the two men, which is so intense that I could feel their attraction through the screen. One thing that caught my attention was that the director uses very little dialogue to convey the relationship. He shows moments where the characters slightly touch, glance at each other, or brush past each other to show their growing attraction while keeping it all a secret. I think using actions rather than words is what made this movie more impactful. Watching the characters blush and smile while merely glancing at each other really made me fall in love with the love between them.
Felicity Warner / HCM
The director also portrays the love between Elio and Oliver as forbidden. These two characters cannot be together no matter how much they try, and you know that the love story is destined for doom from the start. I knew the relationship wouldn't work out from the movie's beginning. The director leaves multiple breadcrumbs for the audience to pick up on which tells us the fate of their relationship. Knowing that their relationship wouldn't work left me with a feeling of hopelessness and sorrow amidst the beauty of it all. The ending scene of Elio silently crying when Oliver announces that he is getting married is one of the movie's saddest yet most touching scenes. Elio realizes that he can never be with the person he loves, yet he reminisces over the good times he had with him. Elio crying and thinking about Oliver impacted me in a way that I cannot put into words. The scene made me shed a lot of tears and sob my heart out, but later smile because you can see that this relationship enabled Elio to grow and mature as a person and that he will always have a love for Oliver. This scene taught me that not everyone that comes into my life is meant to stay; they are only meant to teach you a lesson or show you experiences that you would never experience.
Photo by Kelly Sikkema from Unsplash
The emotion I felt during this was bittersweet. The initial interactions between Elio and Oliver were so pure and gentle that I had to fall in love with them. However, as the movie progressed and I realized that the characters couldn't be together, an overwhelming feeling of heartache emerged and I saw things differently. The balance between heartbreak and love is painted so gracefully through the use of visuals, body language, and silence, which added to the overall impact of this movie. Every single scene is perfectly calibrated and every emotion felt by the characters is felt by the audience.
After the movie, everyone is left with a lingering, indescribable feeling that makes you wonder about what happens next. Call Me by Your Name is a masterpiece; each scene, each dialogue, and each movement is perfectly calculated, and I can never forget how it made me feel, making it an unexpected masterpiece.
I am second year student majoring in Cognitive Science and minoring in Computer Science at UC Davis. In my free time, I like to watch movies, try new coffee shops and go on walks.


Protecting your sandblasting machine is an important step in ensuring the durability and productivity of your machine, which is why we recommend always covering your blast machine when not in use. Our Clemco blast machine screens and covers help keep contaminants from entering the blast machine. Moisture interferes with most blast media and can cause blockages in the blast machine valves and plumbing. Clemco's heavy poly bag cover fits over the entire blast machine to protect the vessel from the weather.
The recessed steel screen fits into the concave head of the blast machine. Abrasive is poured onto the screen, which keep out particles larger than ¼-inch diameter to prevent debris from entering the machine. The steel cover is optional but highly recommended to keep rain out of the blast machine. Steel covers fit on top of the blast machine with or without the use of the recessed screen.
Clemco's steel screens and covers range in sizes from 10" to 24" diameter, depending on the size of your blast machine.


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Rudolf Nureyev and Margot Fonteyn, the perfect partnership
"At the end of Swan Lake, when she left the stage
in her great white tutu
I would have followed her to the end of the world."
In 1961, Nureyev was invited to make his London debut at the annual gala organised by Margot Fonteyn for the Royal Academy of Dancing. He asked to dance Spectre de la Rose with her but she was already committed to do this with John Gilpin, and anyway was not sure how well she and "this young Russian" would suit each other. Nureyev therefore danced Black Swan with Hightower and a solo, Poème tragique, made for him by Frederick Ashton.
The gala led the Royal Ballet to invite him to dance Giselle with Fonteyn the next season, also Swan Lake, the Don Quixote pas de deux, Les Sylphides and Sleeping Beauty with guest ballerinas Sonia Arova and Yvette Chauviré. Between whiles, Nureyev also danced with Bruhn, Arova and Hightower in Cannes and Paris, performing pieces created or staged by the two men, and he made his New York debut on television (substituting for the injured Bruhn in Bournonville's Flower Festival at Genzano duet with Tallchief), then on stage with Ruth Page's Chicago Opera Ballet.
Thus was laid the groundwork for his subsequent career: a lasting link with the Royal Ballet, frequent appearances with other companies, the beginning of his activities as producer and choreographer, and perhaps above all his partnership with Fonteyn. Both of them danced with many other partners who almost always looked better in consequence, but they were most proud of what they achieved together. He at 23 gave her at 42 a new burst of energy and understanding; she inspired him and helped him settle down.
Each learned a lot from the other and danced at their very best together. He greatly wanted to dance with her in Leningrad and show what they achieved (unfortunately by the time he was allowed to dance there she had retired and he was far past his best). His explanation of their extraordinary success was "It's not her, it's not me, it's the sameness of the goal".
People were so eager to see them together that their agent charged far more for them as a pair than the sum of their already high individual fees. They remained lifelong close friends too.
Rudolf Nureyev's biography
Rudolf Nureyev's short biography
Rudolf Nureyev's childhood in Russia
Nureyev dancing at the Kirov Theatre
1961 – Rudolf Nureyev defects to the West
Rudolf Nureyev at the Royal Opera House
Rudolf Nureyev in the West
Nureyev choreographer and Marius Petipa
Rudolf Nureyev's last years
Rudolf Nureyev and the Paris national Opera House
Choreographers invited by Rudolf Nureyev
Etoiles nominated by Rudolf Nureyev
Nureyev director of the Paris Opera Ballet
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This weekend we have a massive event ahead of us; it's almost as big as the trucks we drive around in! We're off to the biggest event in trucking history, THE Expo.
Come along to Mystery Creek and check out all our truckers displaying their fancy beasts. And since we like to fuel up our Kiwis, we're going to be serving coffees to you all to enjoy for the big day, to give you the same great energy we give your vehicles. So make sure you come and stop by!


Don't blink! Tucked between Black Friday and Cyber Monday, is one of our favorites–Small Business Saturday! We intend to make this day special, not just for us as a small business (that you love…) but for YOU.
Best Hair Salon in DC? Michael Anthony Salon With Your Vote!
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