6:30 p.m. Monday - Classics Book Discussion Group. The group will discuss the book, "The Stranger," by Albert Camus.
11 a.m. Wednesday - "Math 4 U" program for 4-year-olds and 5-year-olds who have not yet entered kindergarten. The program, conducted by retired teachers from the Ellwood City area, will focus on fun with numbers. Pre-registration is required and those interested are asked to call the library at (724) 758-6458 for information or to register.
Area residents are reminded that the annual Storytelling Festival in Ewing Park is scheduled for Sept. 22, beginning at 3:30 p.m. This year's event will feature non-stop entertainment, children's activities and food. The children's events get under way at 3:30 p.m. with hands-on crafts directed by The Hoyt Institute, balloon animals and visits from costumed characters. The Storytellers will begin their programs at 4 p.m. The fun finishes at 7 p.m. with family-friendly ghost stories around a bonfire. The event is sponsored by the Ellwood City Area Public Library, the Community Enrichment Division of the Chamber of Commerce and the Ellwood City Historical Society.
Donations are still being accepted for the library's annual book sale. The sale, scheduled for Oct. 4, 5 and 6, features used fiction and non-fiction titles for adults and children, videos (on both DVD and cassette format) audio books (on both CD and cassette format), puzzles and more. The library is asking that NO textbooks, encyclopedias, Readers' Digest Condensed Books or magazines of any type be donated, since these items are not sold at the annual fundraiser. All other books are welcome.
Donations may be taken to the library during normal business hours.
Anyone wishing more information may call the library.
The following is a partial list of the memorials and "in honor of" contributions the library has received in August. All memorial contributions received by the library will appear in this weekly column, and will be printed throughout the month.
In memory of Walter Dombeck from the Kildoo Agency and from the Samuel Teolis Funeral Home Inc.
In memory of Sylvia P. Ferrante from Ginny and Jack Brest.
In memory of Raymond L. Foley from Vera and Bob D'Angelo; the Hungarian Home; the Fred Konyak family; Stephanie, Dan, Jessica, Lexie and Rachel Loccisano; John and Blanche Novak; Nick and Tona Reece; Frank and JoAnne Ritorto; Greg and Lisa Ritorto; Vickie Scialdone; Ann Tammaro; Robert, Judy and Kevin Tammaro; the Samuel Teolis Funeral Home Inc.; and Gene and Ann Tillia.
In memory of Thomas V. Franus from Rose and Denny D'Angelo and from John and Blanche Novak and Jeff, Jan and Luke Supan.
In memory of W. Ruth Garbett from Helen and Max Greenberg and from Dorothy Tincani.
In memory of Jennie Greenberg from Lois and Irv Mazer.
In memory of John Gurgacz from Kitty Bell; Liz Pratt; Al and Rose Sberna; and the Samuel Teolis Funeral Home Inc.
In memory of Leroy S. Hart from Liz Gillespie.
In memory of John L. Hawkins Sr. from Ginny and Jack Brest.
In memory of Beula Jones from Dr. and Mrs. John DeCaro.
In Honor of Mother Abbess Alexandra Ileana on the 40th anniversary of her founding of the Monastery of the Transfiguration from Mr. and Mrs. Samuel Teolis.


During my time at Concordia, I participated in an online newscast that was recorded live and simulated a professional radio newsroom. Over the course of these broadcasts, I had the opportunity to research, report and interview key individuals that were making the news that day.
I have also created this piece from an interview I conducted with a local band. The structure and style of the piece are loosely based on that of the podcast "Radiolab."


text:
Q: Why does the Riesz Representation Theorem establish an antilinear correspondence between bras and kets? I am reading Ballentine's Quantum Mechanics and, in the mathematical preqrequisites, he asserts that, by construction, the Riesz Representation Theorem establishes an antilinear correspondence between bras and kets in the sense that, if $\left|F \right\rangle$ has as its dual $\langle F |$, then $c_1 \left|F_1 \right\rangle+ c_2 \left|F_2 \right\rangle$ is dual to $c_1^* \langle F_1 | + c_2^* \langle F_2 |.$
In previous QM courses, this has been laid down as an axiom, so I am hoping someone can elucidate for me how it follows by construction from the Riesz Representation Theorem, as given by Ballentine:

It must have something to do with the line below "Now construct the following vector:, but I can't quite put my finger on it.
EDIT: It seems to me that it follows from our choice to make the first slot of the inner product antilinear. I guess hazy terms like "correspondence" just confuse me though.

A: I'm not totally sure what the question is.  If you hand me a vector $f$ I can hand you a continuous linear functional $F : \phi \mapsto \langle f,\phi\rangle$.  If you hand me a continuous linear functional $F$, then I can hand you a vector $f = \sum_i \underbrace{\overline{F(\varphi_i)} }_{\in \mathbb C}\ \varphi_i$, where $\{\varphi_i\}$ is any orthonormal basis of the Hilbert space and the line denotes complex conjugation.
Note that the fact that this indeed a vector in the Hilbert space is trivial for finite-dimensional spaces, and follows from the fact that all continuous linear functionals are bounded for infinite-dimensional spaces.
One can show without too much difficulty that this correspondence amounts to an isomorphism - a one-to-one pairing between vectors and continuous linear functionals.  This pairing is antilinear in the following sense: if $f$ and $g$ are vectors, $F$ and $G$ the corresponding continuous linear functionals, and $\alpha\in \mathbb C$ then
$$f + g \iff F + G \qquad \text{and} \qquad \alpha f \iff \overline\alpha F$$
Both statements can be proven straightforwardly from the pairing defined above.

It seems to me that it follows from our choice to make the first slot of the inner product antilinear.

Yes, that's right. Indeed, we can go the other way: given a vector $f$ we can produce a continuous, antilinear functional $\widetilde F:\phi \mapsto \langle \phi,f\rangle$, and given a continuous antilinear functional $\widetilde F$ we can produce a vector $f = \sum_i \widetilde F(\varphi_i) \varphi_i$.  This correspondence is then linear in the sense that
$$f + g \iff \widetilde F + \widetilde G\qquad \text{and}\qquad \alpha f \iff \alpha \widetilde F$$
Having built up all this structure, given a vector $f$ we use the shorthand $F \equiv \langle f|$ for its linear functional partner, and $\widetilde F \equiv |f\rangle$ for its antilinear functional partner, while defining $\langle f|g\rangle := \langle f,g\rangle$.  This provides the rigorous underpinning of the bra-ket notation which is in universal use among working physicists.

redpajama_set_name: RedPajamaStackExchange


text:
Shit House Poet (Sometimes referred to as "The Shit House Poet Stories") is the creation of writer and comic book artist Sandy Jimenez. Featured in World War 3 Illustrated consistently throughout the 1990s, these stories chronicle the lives of a nameless narrator and his friends in New York city.

Storylines and themes
The stories range from the Geo-political (often following the theme of a particular World War 3 Illustrated issue in which they appear), to the intensely personal in scope. The very first episode debuted in issue #14 of World War 3 Illustrated, a special issue of comic book stories devoted to the first Iraq war in 1991. The episodes are marked by a "testimonial" style, and are always narrated in first person as if they were actual recollections of events. In 2010 Shit House Poet will mark its 20th year of publication in World War 3 Illustrated.

Art & Style
The Shit House Poet stories are distinguished by their visual influences: late 1970s graffiti and street art aesthetics, particularly the aerosol murals on New York City's subway trains in the period. Exclusively in black and white since its 1991 debut, the comic strip utilizes graffiti-inspired splash pages for its episode titles and covers as well as "graf-style" lettering.
The stories take place across the life of a nameless Hispanic/Latino-American narrator in the South Bronx. The narratives stretch across the lives of the individual characters and throughout different time periods. Some stories take place in their early childhood, (e.g. "Skips," "Partners Four") some take place contemporaneously ("Partner's 5ive,") and still others move in and out of time ("Robert Is Superman.")

In Other Media
In 2005, filmmaker Steve Curley adapted the Shit House Poet story "Skips" into a live action motion picture that was an official selection at the Tribeca Film Festival in New York City and screened as part of the Beyond Manhattan exposition at the festival's end.

Public Exhibitions
The Shit House Poet story entitled "The HereAfter" about the events and political climate surrounding the 9/11 attacks, ran in issue # 32 and was also presented in its entirety in the Exit Art show Reactions. Material from "The Shit House Poet" episodes "Skips", "Partners 5ive" and "The HereAfter" were exhibited as part of the University of Wisconsin at Milwaukee Library sponsored Zine Fest from July 18–20, 2008 as part of their selection for the Special Collections archive at UWM's Golda Meir Library.

References

Comics publications
Child characters in comics

redpajama_set_name: RedPajamaWikipedia


text:
Data Center US
Data Center UK
Data Center AU
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AAAA Records - discover more details about them and when will you need to use one.
AAAA is a domain record, that is essentially the IPv6 address of the server where the domain is hosted. The IPv6 system was designed to replace the existing IPv4 system in which each IP consists of four sets of decimal numbers between 1 to 255 e.g. 5.168.208.143. In contrast, an IPv6 address has eight sets of 4 hexadecimal numbers - from 0 to 9 and from A to F. The reason for this modification is the substantially smaller range of unique IPs the current system supports and also the speedy increase of products which are connected to the Internet. An example of an IPv6 address is 2101:1f34:32e2:2415:1365:4f2b:2553:1345. If you'd like to forward a domain address to a web server that uses such an address, you need to create an AAAA record for it, not the widespread A record, which is an IPv4 address. The two records provide the exact same function, but different notations are used, to distinguish the two types of addresses.
AAAA Records in Cloud Hosting
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AAAA Records in Semi-dedicated Servers
As our advanced cloud hosting platform supports AAAA records, you're going to be able to create one with no trouble for every domain address or subdomain that you host inside a semi-dedicated server account from our company and the new record will propagate within the hour, to enable you to start using the services of any other provider you forward the domain/subdomain to in no time. You could create the record from the DNS Records section of your Hepsia hosting Control Panel where you will also find all the other records that were set up automatically or you have set up manually before. The creation of the new AAAA record is as simple as picking the needed domain or subdomain and the AAAA type via simple drop-down menus, inputting the IPv6 address inside a text box and saving the modification. You will be able to edit the record at any time if needed. Assuming the other service provider needs a certain TTL value for the new record, you'll be able to modify this setting too. The Time To Live option determines how long an existing record will continue working after you edit it or remove it and the time is in seconds.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How do I read from cin until it is empty? I am trying to read pairs of lines from a file passed in through the cin.
I need to read until the file is empty.
If one line of the pair is empty, I need to save that line as "".
If both lines are empty, then both need to be saved and processed as "".
I am using the getline to read the lines in, with a while-loop that keeps going until both lines are empty.
However, I need it to continue until the file is empty, as it is possible that 2 empty lines are followed by a number of filled lines.
This is how I have it at the moment:
getline(cin, str1); getline(cin, str2);
while (str1 == "" | str1 != "") {
  ....
  str1 = ""; str2 = "";
  getline(cin, str1); getline(cin, str2);
}

A: If the file contains two line feeds in a row this would not work.  You can use cin.eof() to check when you've reached the end of the file.  If it returns 1 then you've attempted to read beyond the end of the file.

A: If you take input from a file and pass it to your c++ compiled program
cat input_file.txt | cpp_binary_executable

then the cin in a while loop will read each line till the end of the file
    string temp;
    while (cin >> temp) //read each line till the end of file
    {
        cout << temp << endl;
    }

A: The idiomatic way would be:
while (getline(cin, str1) && getline(cin, str2)) {
    // ...
}

Or even:
while (getline(getline(cin, str1), str2)) {
    // ...
}


The company has not stated that this is an example of a product that it will launch, but instead has indicated that the device will allow people to experience 5G speeds. The company's CEO has already said it wants to offer 5G on a handset that'll cost less than £1,000 - something the big boys likely won't do.
OnePlus has confirmed that it will be bringing a 5G smartphone to Mobile World Congress 2019, though don't expect it to go up for sale. OnePlus encourages attendees to experience a 5G smartphone prototype at a booth run by Qualcomm at MWC 2019. The invitation curiously emphasises "5G gaming" as an example of what it will show off, which could indicate that the actual 5G phone that launches later this year might be aimed at gamers.
Naturally, the device will be equipped with the Qualcomm Snapdragon 855 mobile platform and X50 modem, since 5G connection requires both.
OnePlus recently announced its "Connect with the OnePlus Community over 5G" event at the mobile tech show.


text:
Asia Pacific NewsCameras and LightingProduction
ASC President Sees Big Future for ARRI Large Format Cameras in ANZ
(L-R) Takao Hasuike and Aquiles Sande (directors of rental house Cinoptix), Kees van Oostrum ASC (president of the ASC) Stefan Duscio ACS and Brett Smith, GM of ARRI Australia.
Recently Kees van Oostrum ASC, acclaimed DoP and President of the American SOciety of CInematographers (ASC), came to Australia and New Zealand to share his experience of using the latest large format camera systems in a series of masterclasses. He was also the guest of honour at the official ANZ launches of the new ARRI ALEXA Mini LF camera.
As van Oostrum explained, "ARRI flew in one of the first ALEXA Mini LF cameras in the world along with their new ARRI Signature Prime lenses for the masterclasses and launch events. My job was to explain the benefits of shooting with large format cameras and how these amazing new Signature Prime lenses can truly find a look to suit all tastes."
The masterclasses and launches kicked off in Sydney before moving to Melbourne, Wellington and Auckland.
van Oostrum continued, "We got straight into the advantages of large format and in particular 2.40 spherical extraction which presents us with a new way to show a widescreen image as opposed to the traditional anamorphic way. We then explored the quality of the new Signature Primes and how to match them with classic lenses to create the look, feel, tones and softness that people want. This includes the adding of lens elements to the back of the Signature Primes which enables you to truly customise the look of the lenses."
During each masterclass van Oostrum used a variety of old and classic lenses some of which were nearly 100 years-old and many of which were uncoated.
He added, "Part of the masterclass was to help the cinematographers understand how much more control you have with modern lenses. The most extreme example we demonstrated was with an uncoated lens from 1920 which had lots of unique characteristics. That said, we were able to not only recreate its look with the new Signature Primes but we also had the added advantage of now being able to change the new modern lenses at a moment's notice."
As a highly-acclaimed cinematographer van Oostrum has worked with his fair share of cameras. So, the praise he had for the ARRI family and its newest addition the ALEXA Mini LF, was praise indeed.
He said, "The Mini LF is a large format camera that can shoot full frame 2.40 spherical extraction and is reminiscent of a regular ALEXA or ALEXA Mini shooting with anamorphic without any distortion but a similar depth of field. This is what has helped create, in fact, a new look that's never been seen before. There's also much less noise in the image in large format cameras which means you can afford to shoot at much higher ISOs. You also get far better results in highlights and lowlights as the sensor simply holds the image in a better way. This, in turn, also means you can get away with blowing the image up more in post without losing much quality."
van Oostrum was also complimentary about the Mini LF's form factor and functionality in a world where doing more with less in becoming increasingly common.
He added, "The Mini LF is a wonderful, small camera that feels like half the size of an ALEXA LF but with a substantial amount of its features. The improved finder on the Mini LF is excellent and gives a much better representation of the image than the previous ALEXA Mini finder. This camera has a great future ahead of it as it's ideal for commercials and high-end long-form features. Its sensor has the identical characteristics of those ALEXA and an ALEXA LF found in a regular so now you can also shoot a hybrid format production that might, for instance, be predominantly Super 35, but with the Mini LF used for extreme wide or VFX shots."
ARRI Australia GM, Brett Smith, confirmed that participation by the region's top cinematographers (if not busy shooting) made all three masterclasses memorable. A free-flow of ideas, particularly over lens 'looks', replaced the traditional teacher/student structure, while Steadicam operator Pat van Weeren's demo of large format on ARRI's Trinity added a much needed dimension to the format discussions, and ARRI lens guru Thorsten Meywald chipped in to keep the discussions 'telecentric'.
"Kees knows exactly what he wants in a look, but that doesn't stop the constant exchange of ideas that makes his masterclasses so inspirational."
Smith said the bonus of Kees' ANZ visit was the reconnections and new friendships he made with dozens of ACS and NZCS committee and accredited members including presidents Ron Johanson ACS and Simon Raby NZCS. "Kees also had the pleasure of handing over one of the first pre-release Mini LFs in the world to Stefan Duscio ACS for use on The Invisible Man, currently shooting in Australia with the Mini LF and a Cinoptix ALEXA LF camera."
"Kees squeezes in his belief in mentoring, peer support and celebration of the craft of cinematography amongst a hectic schedule that sees him return home to briefly enjoy family time in LA and ASC housekeeping before traveling to China to shoot a feature. The ARRI support team of seven staff from Australia and Hong Kong were left in awe at his passion – and his workload!"
All in all, according to Kees van Oostrum the ARRI large format masterclasses and ALEXA Mini LF launches were a great success and as such he sees a bright future for cinematographers using this technology in Australia and New Zealand.
He concluded, "We showed in the masterclasses that when you start pushing the ISO of a super 35 camera sensor you have to stop around 1600 ASA but with the Mini LF you can easily push it as far as 3200 ASA without any apparent loss of image quality. I saw how far these Australian and New Zealand cinematographers, who are some of the best in the world, are prepared to push these cameras and lenses and all I can say is, watch this space!"
Visit www.arri.com
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text:
Q: Private non-virtual Base class function is called instead of the one in Derived class class Base{
public:
    void callF(){ F(); }
private:
    void F(){}
};
class Derived: public Base{
public:
    void F(){}
};
int main(){
    Derived d;
    d.callF();
}

Surprisingly for me,the Base F() is called. I don't understand why. F() was declared and defined in Base class as private,so the Derived object doesn't even know about the existence of such a function in Base. Derived class has its own F(), yet that function is ignored. The question is "Why is the Base class F() called? ".

A: It goes like this.

*

*The Base::callF function is called. It is public so there's no problem in calling it forom main.

*The Base::callF function wants to call a function named F. The only F visible to Base::callF is Base::F. It is private, but callF is a member of Base so it gets to see and use all other members, including the private ones.

*The Derived::F function has nothing to do with any of this. It's just another function, unrelated to Base::F, which happens to have a similar name.

A: I'm not sure if that answers your question

The question is "Why is the Base class F() called? ".

That's because only virtual functions can be overridden in derived classes (Dynamic Polymorphism1), unless you use a CRTP (Static Polymorphism1):
template<class Derived>
class Base{
public:
    void callF(){ static_cast<Derived*>(this)->F(); }
private:
    void F(){}
};
class Derived: public Base<Derived>{
public:
    void F(){}
};

Otherwise
    void callF(){ F(); }

is equivalent to
    void callF(){ Base::F(); }

1)See also What is the difference between compile time polymorphism and static binding?


A US investment group has completed the takeover of Danish second-tier club FC Helsingor, with the aim of using it as a place to develop the next generation of American talent.
The group is led by Jordan Gardner, a minority investor in Swansea City and Irish club Dundalk FC. The consortium also includes four other businessmen who have ties with football in the United States and overseas.
FC Helsingor is currently second from bottom of the First Division, having been relegated from the Superliga last year, but Gardner believes it has huge potential.
With the help of relaxed foreign player restrictions in Denmark, the club plans to place rising US prospects into the academy before moving them up to the first team. Gardner believes FC Helsingor will represent a good pathway for American players to get meaningful first-team action, in part due to the rising number of foreign players in Major League Soccer squads. Ultimately the plan is to sell these players to bigger European clubs.
He told Forbes in February: "The club has very, very good infrastructure. We looked at clubs in the Superliga and all across the map in Scandinavia, and some of them had no full-time employees. Some of them had very poor stadium infrastructure; some of them had no academy.
"Helsingor has a brand-new stadium opening up this summer, it has good academy infrastructure for a club of that size, and it has good infrastructure on the commercial side.


Esta entrada fue publicada en Sin categoría el 26 noviembre, 2018 por Castell Hotels.
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text:
Brown v Board of Education
Writing for Readers
Struggles v Progress
Writing v Reporting
Writer v His Characters
Start as a Writer
Characters as Mouthpieces
The Writer's Demon
Choosing Titles
The Nun in Requiem
Sound and Fury's Title
Being Understood
Universal v Regional
Writer as Creator
Cutting Out
Compsons v Snopeses
Learning Grammar
Formal Education
Sutpen's Aspiration
Local and UVA Communities, tape 2
OCCASION: Local Public and University Community
TAPE: T-136
Play the full recording:
William Faulkner: [...] change the Negro's condition, that the Negro's condition was gradually being changed by the—by the white man. He was being given more and more of liberty, more and more of equality. That Supreme Court decision, in Mississippi anyway, has—has set things back, for the reason you say, that you cannot legislate against—against the mores and against a social condition. You can only state that the social condition is bad and must be changed, but you can't change it overnight by passing laws.
Unidentified participant: Well, I'd say that in Mississippi the May 17,1954, decision was not implemented, but it did move Mississippi to try and implement Plessy vs. Fergusson. [...] [the schools] separate but equal.
William Faulkner: Well, they had been moving in that direction for some time. They had not moved fast enough. And if there had been no Supreme Court decision, the white people in Mississippi would've been content with the infinitesimal progress they were making. The Supreme Court decision only warned them that—that they must move faster or something must be done, but it still has not changed the—the situation in Mississippi. It has speeded up a gradual evolution, but it hasn't changed overnight any situation there.
Unidentified participant: Well, my point is if it did accelerate even in Mississippi, then it is laws that make effects.
William Faulkner: Well, yes. It was a—a statement which had effect. That was a decision. That wasn't a law. It was simply a decision on—on the law which the Supreme Court made. It hadn't changed the law in Mississippi.
Unidentified participant: Mr. Faulkner.
William Faulkner: Yes, sir.
Unidentified participant: Going back to your symbolism, you said that the symbol when you're writing would mean one thing to one reader and perhaps another to another reader. When you write, are you ever conscious of writing for a certain group of readers? Do you ever write and then decide, "Well, this won't be [as] good, and I'll change it"?
William Faulkner: No, no. I think the writer writes for himself. In fact, I wrote for years before it occurred to me that strangers might read what I was writing, that the writer writes for himself. He's trying to make something perfect which wasn't here before. When he begins to—to temper what he writes to—to who will read it, then I think the writing itself suffers, but he has got to observe certain rules of—of coherence, but he is writing primarily to depict the world—man struggling in his condition as he himself saw it, that he has seen man in his condition struggle against it in his aspirations, his—his follies, his hopes, his tragedy, which to that writer was so moving that he himself has got to put that down on paper, to—to capture what to him was magic. It may be, though he is not writing for glory, it may be that he knows all the time that—that some day, after his allotted span, he will pass through the last wall of oblivion, and maybe what he's actually doing is simply writing on that wall, "Kilroy was here." [audience laughter]
Unidentified participant: Mr. Faulkner—
William Faulkner: Yes, ma'am.
Unidentified participant: [What do you think of] exaggeration as a literary device?
William Faulkner: I think it's—it's valid, just like fantasy, just like comedy, just like tragedy, just like inversion. They are—are valid in the sense that—that the carpenter's tools are valid. Whatever the carpenter wants to use, which in his opinion will build the best chicken coop, is valid. He may decide to use his hammer backward or to saw with—with a kitchen knife, but anything that to him is the best tool he can use to make the chickenhouse as near perfect as he can make it is valid. I think that no one should—should write just to be funny or just to be fantastic. I—I'll take that back. He—he is perfectly at liberty to write just to be funny or just to be fantastic, but I think the one—the man that's doing that is like the man that writes primarily to be a stylist, that he hasn't got a whole lot to say, that what he has to say is not valid and urgent in the sense of depicting man in his struggle with himself, with his fellows, with his environment.
Unidentified participant: [...]
William Faulkner: I think they're restatements. Actually, there're only three subjects to write about: love, money and death. People—writers write about men and women in the—the tragedy of the human condition, and the—the verities which man struggles with are—are eternal. They haven't changed much, and his problems are new only in that they are new and novel to that individual, just like to the young man and young woman, there never was love before like ours, like the one I feel now at 17 and 18 and 19. There never was grief or tragedy like that which I feel now. In—in that sense only is the material new. Actually, it's—it's very old, but it's—the very fact that it can be that old is—is an indication of man's immortality, I think, that he does endure. He has—has lasted so long that there's nothing new in his—his aspiration and hope, save to himself, that there's nothing new in his tragedy, save to himself, that he still can want to be better than he is. He can still believe that injustice shall not endure; it must be changed; it must be corrected. His progress is very slow, almost infinitesimal, but there is progress. Little children, for instance, don't have to work in sweatshops. Your grocer can't sell you poisoned food. Some progress. People are concerned enough to—to try to do away with war, to do away with poverty. That's some advancement. Man should've advanced much faster, I grant you. That's some advancement, and—and if it were not for that capacity to advance, that desire to advance, very likely he would've been effaced from the earth long before this, along with the dinosaur and the other big lizards.
Unidentified participant: [...] something that you wouldn't expect. [...]
William Faulkner: Sometimes the characters in my books surprise me, yes. They don't surprise me in doing something that I never heard of or never imagined human beings doing before, but I hadn't expected them to do it at that moment. [audience laughter] That's—that's because, as I said, my chore as a writer is to run along behind these people and put down what they say and do, but if they do things which to me seem completely outside the realm of human behavior, then I know that's wrong and that's false and—and must be thrown away.
Unidentified participant: [Sir, do you constantly add to these characters] [...]
William Faulkner: Well, I don't add. The—the stories I'm working on do, suddenly it turns up with—with some bloke I've never heard of before. [audience laughter] It doesn't mean—
Unidentified participant: Sir, [could you] make the distinction between the description of a character, having run behind them [...] [and a news clip in the daily newspaper]?
William Faulkner: Well, there's—it seems to me this difference, the—the piece in the daily newspaper is a—a correlation, a gathering of facts after the fact. That is, no reporter can follow along behind the people who are approaching a crisis or a climax or a crime, say. The writer can do that. He can start when they get up that morning and follow the characters up to the moment when they pull the trigger or rob the bank or—or jump in the water and save the baby, but the reporter has got to go around and—and ask people what happened, what did you see. There's that difference. It's—you might say the same thing but—but one is approached from behind it, the other from in front of it.
Unidentified participant: [Is that enough to warrant an approach to the subject—I mean do we find in this] [...] [position of the observer—is that sufficient to give a title to a newspaper or to a novel]?
William Faulkner: Well, it's sufficient. Only the—the man that is writing the same circumstances for the novel is compelled to do a little more research, that is, the reporter can—can ask, inquire, seek out and get the simple facts, and since it's—it's printed in the—in the newspaper, the reader will accept that. In the book, the—the writer is not too sure that his readers will accept that, so he's got to take the fact, if that's where he starts, then he's got to go backward to—to follow these people up to the point, to explain why they—they perform that action. They are quite alike, the two crafts, but they must be approached, as I said, one from—from behind the fact, one from in front of the fact. We might say that if it's in the newspaper, you believe it; if it's in the book, you've got to prove it. [audience laughter] Since one is, on its face, fiction, and the other is supposed to be fact.
Unidentified participant: Sir, in your writings, do you have a particular character or situation or do you find that you like to have a specific character do a certain thing so that certain characteristics [...] ring true? Or do you have that situation come up a lot? I mean, in that you liked the sound of the bell, you like to hear it, you like to put it down on paper regardless of the characters?
William Faulkner: No, I don't.
Unidentified participant: [...] [Some authors] keep on doing that.
William Faulkner: No, no, it's that character that rings that bell, not me. [audience laughter] By that time, the character has taken charge of—of his own tale, and no matter what I want him to do, he may do it, and he may not do it, but he's going to decide what he does next. He's going to decide if he wants to ring that bell. I just report the fact that he rang that bell.
William Faulkner: Yes, ma'am. I believe you had a question.
Unidentified participant: I would like to know how you started writing?
William Faulkner: How did I start writing?
Unidentified participant: Yes, [...]
William Faulkner: Well, I'd always liked to scribble, probably, just like the—the would-be lawyer likes to argue maybe and the—the would-be doctor or biologist likes to cut up flies, [audience laughter] but I think I became a professional writer—I was living in New Orleans, and I met Sherwood Anderson, and I liked him at once. We would meet in the afternoon and walk around New Orleans, and he would talk, and I would listen. We would meet again in the evening, and we would go to a pleasant courtyard and sit over a bottle of whiskey, and he would talk, and I would listen until 12 and 1 and 2 o'clock. The next morning he'd be in seclusion working. We'd meet again in the afternoon, again in the evening, and the next morning he's in seclusion working, and I thought to myself, if that's all it took to be a writer, then [audience laughter] [...]. And so I—I started a book, and right away I found that writing was fun. And I hadn't seen Mr. Anderson in—in weeks. I met Ms. Anderson on the street one day. She said, "What the matter? Are you mad at us?" I said, "No, ma'am. I'm writing a book." She said, "Good God." [audience laughter] I saw her again, and she asked me how the book was getting on. I told her, "Just fine." She said, "Do you want Sherwood to read it?" I hadn't thought of anybody reading it. I said, "Well'm, if he wants to, it's all right with me." She said, "Well, he says he'll make a trade with you. If he don't have to read that book, he'll tell his publisher to take it." So I said, "Done," [audience laughter] And I finished the book, and he told his publisher, Mr. Liveright, to take it, and that's how I got printed. [audience laughter] But up to that time, I'd never thought of being a professional writer because it was still fun. That's the first time I'd ever really connected money with—with writing a book. But the—I think the—the pleasure in scribbling must have been there all the time. I imagine that as soon as I learned to spell, I must have been trying to write something, [...]. I don't remember what it could've been, but that's—that's a curse that we're probably born with [...].
Unidentified participant: When you are writing a book, Mr. Faulkner, are you ever conscious of trying to put up a philosophy of your own through [a reading of] your characters?
William Faulkner: No, sir, I'm not. I think that's—that's one thing that should be on the front page of every book: the author is not responsible for the opinion of these people inside. [audience laughter] That's—that's their notion. Of course, when they agree with me, I'm happy to—to put down what they say. When they don't agree with me, I still put it down, but their opinions are theirs. I think that if the writer is going to write simply to express his own opinions, then he is not primarily a fiction writer, he's a—a propagandist or a polemicist, that the writer is engaged primarily in writing about people engaged in the amazing, eternally interesting follies and tragedies and heroism which people are engaged. That the symbolism, the style, the philosophy, the ideas are only coincidental and probably to the writer not too important.
Unidentified participant: Mr. Faulkner?
Unidentified participant: In some of the statements published about you in the news stories that you have made the distinction between yourself and the demon who makes you write. Who or what is that demon?
William Faulkner: Well, sir, I—I don't know myself. Probably he harasses me too much for me to have a good chance to turn and look at him. It could be, as I say, a desire to leave some mark on—on the world so that—that people after you will know that for a little while that Smith was here. He made this scratch. It—well, I don't think it's—it's—it's for glory. It's certainly not for profit, because there are many more—more profitable things than being a writer. It—it's—it's certainly not to—to change man's condition. If anything, I would say that's what it is, it's simply to leave a scratch on—on the earth that showed that you were here for a little while.
Unidentified participant: When or how do you decide on the titles?
William Faulkner: Titles, I think the—well, in my case, the good titles are like gentle lightning strokes. I don't know where they come from. Suddenly there is just exactly the right title. The only time I ever hunt for—ever had to hunt for a title it was a bad one. It never did please me. The others I don't know where they came from. Suddenly the situation, the character, the book or something about it brings the title out of—out of the mysterious unknown or out of the background or experience. I don't know where it comes from.
Unidentified participant: Not always at the beginning [...]?
William Faulkner: Sometimes the title is the first thing, the title invents the story. Sometimes the title appears in the middle of the story. I've never had one that finished without a title, that I had to hunt around and invent one.
Frederick Gwynn: Yes, sir.
Unidentified participant: In the title of Requiem for a Nun, does the Nun have to refer to [either] Temple Drake Stevens or to Nancy?
William Faulkner: The nun was Nancy.
Frederick Gwynn: [That] she was very separated from the world as a nun is?
William Faulkner: Well, it was in the—the—that tragic life of a prostitute which she had had to follow simply because she was compelled by her environment, her circumstance, to be it. Not for profit nor any pleasure. She was just doomed and damned by circumstances to that life. And despite that, she was capable of within her—her poor dim lights and reasons—of an act, which whether it was right or wrong, was a—was a complete, almost religious abnegation of the world for—for the sake of—of an—of an innocent child. That was—it was paradoxical, the use of the word "nun" for her, but I—but to me that—that added something to her tragedy.
Unidentified participant: Mr. Faulkner, did your title The Sound and the Fury come from Shakespeare's Macbeth?
William Faulkner: Yes. Yes, there must have been a dozen books titled from that speech. I think that I had the best one. [audience laughter] But I can think of six or seven books all from that same speech.
Unidentified participant: Do you feel any compulsion to be understood? Does it make any difference to you that a great many of [us are] confused by what you are driving at?
William Faulkner: Well, it's not a compulsion. It's a regret that I'm not, but there's the demon. It's—the writer has got to write so fast because he knows that, anyway, he'll never live long enough to write all he wants to, and he wishes that he could be more coherent and could write simpler and plainer, but there's that—that need to get the whole history of man's heart onto the head of that pin during his threescore and ten years, and he hasn't got time to go back and rewrite it, which he—he wishes he did have time. If he could call time out and rewrite the book and make it clear and simple, but he don't have time because that one was wrong, and he's got to write another one, to still try to put the history of man's hope and aspiration and passion and tragedy and folly and comedy on the head of a pin before he has to go through the last ultimate bottomless wall.
Unidentified participant: Do you feel that your characters are universal [...]? [I know that you are a regional writer] and I just wondered, or do you care? [...]
William Faulkner: I feel that the verities which these people suffer are universal verities. That is, that man, whether he's black or white or red or yellow, still suffers the same anguishes, he has the same aspirations, his follies are the same follies, his—his triumphs are the same triumphs. That is, his—his struggle is against his own heart, against—with the hearts of his fellows, and with his background. And, in that sense, there's no such thing as a regional writer. The writer simply uses the terms he is familiar with best because that saves him having to do research. That he write—might write the—the book about Chinese, but if he does that, he's got to do some research or somebody'll say, "Ah! You're wrong there. That ain't the way Chinese behave." But if he uses his own region, which he's familiar with, it saves him that trouble.
Unidentified participant: To what degree [...] the characters [...]?
William Faulkner: None. There was never a writer that—that wasn't convinced that he could create much better people than God can. [audience laughter] That's why no writer can ever write his own biography. He can't tell the truth that long. [audience laughter] Because a fiction writer is—is a congenital liar to begin with, you see. That's what makes him a fiction writer. That's what the word fiction means. And so he not only couldn't tell the truth, he's—he's convinced that he could create much better truth than circumstance can.
Unidentified participant: Mr. Faulkner, do you ever have a character [that you are so enthused with] and had to [in a word] cut him out?
William Faulkner: Yes, in the sense that—yes, that you get too fond of a character, too amused at him or too interested, and—and he—he will say and do things which—for which there's—there's no place in the story you're telling, that you have to throw away, yes. That's just a matter of using the—having enough ruthlessness to use the blue pencil. That what he—he does is still true enough, still human enough, but there's simply no place for that in the—the pattern of the story which you're trying to tell, so you've got to cut it out. Yes, that happened once or twice.
Unidentified participant: Mr. Faulkner, why are you so fond of the Compsons and the Snopses? [audience laughter]
William Faulkner: Well, I feel sorry for the Compsons. That was—was blood which was good and brave once, but has—has thinned and faded all the way out. Of the Snopes, I'm terrified. [audience laughter]
William Faulkner: That was—was tour de force, of course. I took these people of—of the kind which I know, and simply subjected them to—to the two fiercest natural cataclysms, which are flood and fire. That was a certain amount of deliberate symbolism. But to me, the very fact that these people endured for a reason that on the face of it was foolish, that is, to carry their mother that far just to bury her, but it was noble in that they had promised her to do that, and so they were—they had dropped their own baseness, their own pettiness, to follow out this simple wish of the mother, which was—was noble, even though it was foolish, and that to me is another indication that man is immortal, that he will endure because even in his folly, he's capable of doing something not for his profit at all but simply because his conscience or something, call it God if you like, says do this, and so even in his folly, without believing that he is that brave and that compassionate, he does brave and noble things.
Unidentified participant: Have you been influenced by The Divine Comedy [in any way]?
William Faulkner: I have, like every writer, been influenced by every word I ever read from the telephone book up and down. [audience laughter] I think that—that that's true of anyone that writes, that he is completely amoral. He steals right and left without even knowing he's doing that. He stows that away and then if he ever needs it, he reaches in his mind, and he digs it up and uses it. Yes, sir, I've been influenced by that, by everything I've read. Not deliberately. You just can't help it. That's a part of the—of the experience which makes man—the man or the child want to be a writer.
Unidentified participant: You said you only liked to scribble, did you like [to parse sentences] [audience laughter]
William Faulkner: No, sir, I didn't. I had to—to learn something about that in order to—to follow my craft, but I never did like to go to school, and I stopped going to school as soon as I got big enough to—to play hooky and not be caught at it. That was about the sixth grade, but I had to learn the—to use the tools of my craft just as—as the woodchopper's got to learn to use an ax in order not to chop his own feet off.
Unidentified participant: Mr. Faulkner, these characters that you follow along, do they come to a natural conclusion, or do you have to cut them off, or do they tell the story and that's the end of it, or what?
William Faulkner: No, no, they exist. They are—they are still in motion in my mind. I can laugh at things they're doing that I haven't got around to writing yet. No, that's where the—the rules of the craft come in, that someone, some editor, has got to give the whole thing unity, coherence, and emphasis, to start at a decent starting place and then stop it somewhere at a logical, reasonable place. But the characters themselves, they walk on out of that book still in motion, still talking, and still acting.
Unidentified participant: [Mr. Faulkner, because of your interrupted education, it makes me wonder if formal education [...]]
William Faulkner: I think that nobody can know too much, can learn too much. I think that one can be a writer without the formal education. I think the formal education will not do the writer any more harm than anybody else, [audience laughter] but I'm convinced that nobody can be taught anything, that you must learn it. And the value of formal education is that all the—the knowledge, the wisdom, the opinions on the wisdom, on the knowledge which makes wisdom, is there convenient for you to get. Otherwise, you've got to run from pillar to post to find what is right there offered to you. But nobody can teach anybody anything, I'm convinced of that. You've got to want to know it. You've got to want to learn it.
Frederick Gwynn: Sir, you mentioned love and money and death as the three subjects of fiction. Isn't there something else, above that, such as represented in your novel about Thomas Sutpen. He was motivated by something other than those three things, involved in something higher than they?
William Faulkner: I meant that love and money and death are the—the—the skeletons on which the story is laid. They have nothing to do with the—with the aspirations and the conflicts of the human heart involved. But—but the story has—has got to have some skeleton, and the skeletons are—are love or money or death. In Sutpen's case, there was—he—he needed the money in order to satisfy his—his aspiration. And it was his foreknowledge of death which compelled—impelled in him the—the haste to be completely ruthless, to do it while he still could. The—love was a—a part of—of his—his conflict, too. He wanted—wanted that son for—for vanity, of course. But you've—vanity is not really enough. You've got—got to love the thing that—that you can be vain because of, or proud because of. It had to be his son, not just—he could've adopted a child, you see, and—and carved out a plantation [...]
[end of recording]
Faulkner at Virginia, © Rector and Visitors of the University of Virginia; Author Stephen Railton.
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Q. How to defeat this impersonalist theory or impersonalism. How to make them feel bad about their theories? How to preach them Krishna conciousness?
A. If we scrutinizingly study Srila Prabhupada's books which present the Vedic knowledge without any adulteration, we can easily defend against any kind of theories - impersonalism, mayavada etc.
2. Instead of making them feel bad about their theories, we have a choice to present to them higher philosophy through Srila Prabhupada's books and better examples of human beings through ourselves who strive to live by these books. We may learn to hate the disease and not the diseased. And then, we may also help and uplift the diseased. That will help them.
3. If people see a genuine change in ourselves, they will automatically be enthused to take to Krishna consciousness. For this to happen, we have to authentically take to devotional service and follow Srila Prabhupada's instructions with faith. This will transform us and through us the people who come in contact with us. A happy face will be a great preaching tool.


Black versus white iPhone 6S Plus - what's better?
Discussion in 'iPhone' started by Liquinn, Oct 21, 2015.
Blue or red cars, which are better?
Photography, vseera, ultravisitor and 2 others like this.
Some people prefer black faces because they feel it's less distracting.
I prefer white faces because I love white phones.
I think black works better with the design of the 6. It's the same reason the watch has a black bezel and screen. The white ones look pretty when the screen is on, but look goofy when the screen is off. And for the Plus, the white ones look very toy-like.
I love black... hmmmmmm... tough choice to make.
While it's all about personal preference, I prefer the black.
Go with what you like. You're going to use the device for a while....do what makes you happy.
I prefer the look of the black, but all of my newest devices are white because they don't show fingerprints as much and look cleaner.
Do you mean black or white fronts? Because Apple has not offered black as a color for the iPhone since the iPhone 5.
Which color is better? This is an extraordinarily stupid thread.
Photography, NightFox, ChinaRye and 1 other person like this.
Really? You took the time to write that?
skiltrip and WILLAW84 like this.
I waited months for the white iPhone 4. Then I got the white iPhone 5.
However, I bought a space grey iPhone 6S. Simply because of the plastic lines on its back. On the space grey, it is not too obvious because they are grey also. However on the silver/gold/rose gold, the white lines are too obvious and, I hate to say it, ugly! Especially on the gold/rose gold, the white lines just made the iPhone look ugly to me. Apple should've at least color match them or something.
1. Black looks more 'business-like'. It's more professional, in my opinion.
2. The bezels blend in nicely with the black colour. The white one still has a black square all around the screen that doesn't 'fit in' with the phone.
3. It's easier to focus on the content (especially when it's dark) when using a black phone. Less distraction.
1. Black is more prone to finger prints. Although I've used the 6 for a year, this hasn't been any problem to me. Maybe my fingers just aren't that sticky, I don't know.
3. Probably a higher resale value because I think more people will go with the black one. General economics: when more parties offer the same product the price tends to drop. Scarcity of a white version creates a higher demand and thus ups the prices.
Black IS my favourite colour. I miss the black bezel on my MBA. I know I'll be happier with a black 6S Plus. But the white would make a change.
If you know what'll make you happier then you just gave an answer to your own thread.
No offense here. But if black is your favorite color then why do you seemingly refer to Space Gray as black?
Or again, are you talking about the bezels?
If you mean the bezels I totally get it. But if I line my Black/Slate iPhone 5 up next to my Space Gray/Black iPhone 6s+ there is a VERY serious difference between the two colors. There is no way I would ever call Space Gray black - especially not when right next to a color that actually IS black.
Yes, you are right when you say that there is a stark difference between black/slate and space gray, but that's not the point. When OP refers to 'black', I assume he indeed referred to the space gray version. The marketing terms Apple uses to refer to black are currently not in question.
Another in a long line of think piece threads by the OP.
I prefer black bezel as most of my applications carry a black background. The bezel will fade into the back drop.
Also, white distracts me as it prioritizes the attention of my eyes over what I'm meaning to look at. So it annoys me immensely.
Everyone has their own opinion on this.
I do wish Apple would do another color with black bezel, like a product red or darker slate... Wishful thinking.
Pathfinder3 and braddick like this.
I've heard this argument many, many, many times before (since the 5s came out). And I still highly disagree with it.
If we applied this argument to real life then there should be zero problems ordering a gray car, or a gray suite, or anything else that is supposed to be gray and receiving solid black for it - or ordering black and getting light gray!
I understand that this is the "commonly accepted" interpretation but it's a BS one.
Having black tires on my car does not make my car black.
Oh. And Apple refers to the phone as Space Gray/Black. Not Black/Black.
I agree. I love my Rose gold and I love the gold iPhones. But why oh why couldn't they have dyed the antenna lines to blend better? I want to find whoever was responsible for that decision and give them my best grumpy mom scolding!
Kudos to your English tutor, ipadpro!


YoYoFactory gets some love from Russia with this video from new talent Nikita Moguchev. Great style and some nice flow in here…solid work!
Yoyo used is the H.O.T. by YoYoFactory.
Lots of #yoyodrops happening soon with so many huge contests coming up…here are a few that caught our eye.
YoYoRecreation has beautiful new colors of their offstring yoyo, the Aeronaut, coming out at the Asia Pacific Challenge.
Monkeyfinger has announced a new signature model for Mike Montgomery, the Forte. No price or specs yet.
YoYoFactory has new colorways of the ONEstar, Loop 1080, and new super limited splash versions of the H.O.T., Proton, and Genesis+. Each of these splash colorways are limited to less than 50 pieces each, and will hit stores soon.


Our range of Digital LED Timers and Totalisers offer many bespoke and standard options. All Timers have a Time base in Hrs Mins, Secs and combinations of these but we can also offer Long Range Timers such as Year – Week – Days – Hrs – Mins – Secs. Typical functions are UP or DOWN timing, Totalising or Batch timing, TAKT timing, Repeat Cycle, One Shot output. Alarm trips and re-transmission or direct Serial Input. Remote programmers for Time settings and Start / Stop / Reset functions. The Timers can be used Indoor or Outdoor with the appropriate Case rating protection.


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Madwblog talks to Steve Wade – a man who likes to take action. An 'action-man' if you like! Cllr Wade was elected as representative for Brownhills and Clayhanger in 2012.
There are several things that strike you about Cllr Steve Wade when you first meet him. He has an easy, reassuring nature, he listens to you carefully and he's a Scouser.
Steve explains how he came to live in Brownhills.
"I'd been living and working in Solihull and I met my wife-to-be in Walsall. We chose Brownhills because it was the best area we looked at. It was a great choice. That was 9 years ago. I love living in Brownhills; great people, great community, just a great place to live. I now have a young son who is a Brownhills lad, so this is his home, this is my home, and this is my community!!"
So, why become a Councillor?
"I have a degree in politics but I was a bit of a wanderer for a while after leaving university. I decided that when I settled, I would use my degree and get involved in local politics. I was a Trade Union member and joined the Labour Party. I went to a few meetings and my name was put forward by a colleague in the Party. I was approached and asked if I would like to stand for election. I went for an interview and stood as a candidate in Pelsall in 2011," Steve answers. He continues:
"I gained a lot of experience in Pelsall. I knocked doors, talked to people, helped them with issues they raised. I really earned my stripes there."
One year on, Steve put his name forward for the 2012 election in Brownhills and Clayhanger. Steve had great support from Barbara Cassidy, who was a Labour councillor in Brownhills since 2004. Steve began canvassing in the ward and stood as a candidate. In May 2012, Steve was elected as Councillor and admits it was quite a victory.
"The position had for sometime been occupied by a Conservative member and was regarded as 'safe'. To win was a great achievement."
There's no denying that Steve gets out and about in the ward and helps residents with problems they may have. Both his Facebook page and blog are full of updates on ongoing issues with litter, fly-tipping, landlords and campaigns such as the one to bring back the much-loved market to Brownhills.
In Clayhanger, Steve is trying to secure much-needed funding for the work of the community centre and has been successful in securing more frequent buses to the village. He was also instrumental in beginning discussions with Laura Terry 12 months ago when issues of loitering and fly-tipping were first raised on Northfields Way.
Steve very much enjoys being a Councillor and has received a lot of positive feedback from those people he helps. On May 5th, Steve's four-year tenure ends and he is standing for re-election. Politics can be a dirty game, however, and Steve is philosophical about this:
"If people know what I'm doing, then I don't need to get into all of that… [back biting]."
Steve has already been busy in Clayhanger delivering leaflets for the upcoming election. He is often in the village and came to the litter pick on the park last Saturday (9th April). He has also said he will come along to the Clayhanger Summer Tidy Up on 25th June.


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Marie-Isabelle GIRAUD dite GIROUX
(b. abt. 1641 , France d. 23 February 1713 , Sainte-Famille-de-l'île-d'Orléans, Canada, New France )
GIRAUD dit GIROUX Family Genealogy
Marie-Isabelle GIRAUD dite GIROUX was born abt. 1641 in France. Marie-Isabelle GIRAUD dite GIROUX was the child of ? and ?
Marie-Isabelle was a Fille à Marier , arriving in New France by 1662.
Marie-Isabelle married Abel TURCOT (TURCOTTE) 27 November 1662 in Château-Richer, Canada, New France . The couple had (at least) 8 children. Abel TURCOT (TURCOTTE) was born abt. 1631 in France. Abel died 16 September 1687 in Sainte-Famille-de-l'île-d'Orléans, Québec, Canada.
Marie-Isabelle GIRAUD dite GIROUX died 23 February 1713 in Sainte-Famille-de-l'île-d'Orléans, Canada, New France.
Details of the family tree of Marie-Isabelle appear below.
Québec Généalogie - Did you know? A common belief in old Quebec was that lutins [spirits] had the power to do many things for people. ...Read MORE...
The Journal of American Folklore, Vol. 5, No. 19, Oct. - Dec., 1892, Lutins in the Province of Quebec
Inventions from 1641-1713
Marie-Isabelle GIRAUD dite GIROUX and Abel TURCOT (TURCOTTE) 27 November 1662, Château-Richer, Québec, Canada (La Visitation-de-Notre-Dame de Chateau-Richer)
François TURCOT (TURCOTTE) was born 6 September 1663, Château-Richer, Québec, Canada (La Visitation-de-Notre-Dame de Chateau-Richer)
Marie TURCOT (TURCOTTE) was born 12 December 1664, Château-Richer, Québec, Canada (La Visitation-de-Notre-Dame de Chateau-Richer)
Françoise TURCOT (TURCOTTE) was born 16 April 1668, Sainte-Famille-de-l'île-d'Orléans, Québec, Canada
Anne TURCOT (TURCOTTE) was born 16 March 1670, Sainte-Famille-de-l'île-d'Orléans, Québec, Canada
Renee TURCOT (TURCOTTE) was born 29 April 1672, Sainte-Famille-de-l'île-d'Orléans, Québec, Canada
Marie-Madeleine TURCOT (TURCOTTE) was born 4 March 1676, Sainte-Famille-de-l'île-d'Orléans, Québec, Canada
Louis TURCOT (TURCOTTE) was born 17 August 1678, Sainte-Famille-de-l'île-d'Orléans, Québec, Canada
Spouse(s) / Partner(s) and Child(ren) of Marie-Isabelle GIRAUD dite GIROUX
Marie-Isabelle GIRAUD dite GIROUX married Abel TURCOT (TURCOTTE)-- Date: 27 November 1662 Place: Château-Richer, Canada, New France
groom's name: Abel Tureault
groom's birth date:
groom's birthplace:
groom's age:
bride's name: Marie Girou
bride's birth date:
bride's birthplace:
bride's age:
marriage date: 27 Nov 1662
marriage place: Chateau Richer, Montmorency I, Quebec
groom's father's name:
groom's mother's name:
bride's father's name:
bride's mother's name:
groom's race: White
groom's marital status: Unknown
groom's previous wife's name:
bride's race: White
bride's marital status: Unknown
bride's previous husband's name:
indexing project (batch) number: M01734-5
system origin: Canada-EASy
source film number: 1018161
reference number: P 125
"Canada, Marriages, 1661-1949," index, FamilySearch (familysearch.org/ pal:/ MM9.1.1/ F2KL-GM4 : accessed 04 Jan 2013), Abel Tureault and Marie Girou, 27 Nov 1662; citing reference P 125, FHL microfilm 1018161.
Children of Abel TURCOT (TURCOTTE) and Marie-Isabelle GIRAUD dite GIROUX:
François TURCOT (TURCOTTE) (b.6 September 1663, Château-Richer, Canada, New France d. 19 January 1718, Sainte-Famille-de-l'île-d'Orléans, Canada, New France)
m. Marguerite OUIMET 16 November 1688 in Sainte-Famille-de-l'île-d'Orléans, Québec, Canada
Marie TURCOT (TURCOTTE) (b.12 December 1664, Château-Richer, Canada, New France d. 15 April 1701, Saint-Jean-de-l'Île-d'Orléans, Canada, New France )
m. Noel-Joseph CHARLAND 29 October 1682 in Sainte-Famille-de-l'île-d'Orléans, Québec, Canada
Geneviève TURCOT (TURCOTTE) (b.abt. 1666, Saint-Jean-de-l'Île-d'Orléans, Canada, New France d. 6 December 1724, Saint-François-de-l'Île-d'Orléans, Canada, New France)
m. Antoine BILODEAU 13 November 1685 in Sainte-Famille-de-l'île-d'Orléans, Québec, Canada
Françoise TURCOT (TURCOTTE) (b.16 April 1668, Sainte-Famille-de-l'île-d'Orléans, Canada, New France d. abt. 1696, , Québec Province, Canada )
m. Jacques PLANTE 15 November 1686 in Sainte-Famille-de-l'île-d'Orléans, Québec, Canada
Anne TURCOT (TURCOTTE) (b.16 March 1670, Sainte-Famille-de-l'île-d'Orléans, Canada, New France d. 21 January 1716, Saint-François-de-l'Île-d'Orléans, Canada, New France)
m. Simon BILODEAU 6 June 1689 in Sainte-Famille-de-l'île-d'Orléans, Québec, Canada
Renee TURCOT (TURCOTTE) (b.29 April 1672, Sainte-Famille-de-l'île-d'Orléans, Canada, New France d. 22 November 1749, , Québec Province, Canada )
m. Nicolas ANCELIN (ASSELIN) 27 August 1703 in Sainte-Famille-de-l'île-d'Orléans, Québec, Canada
Marie-Madeleine TURCOT (TURCOTTE) (b.4 March 1676, Sainte-Famille-de-l'île-d'Orléans, Canada, New France d. 1 February 1731, Saint-François-de-l'Île-d'Orléans, Canada, New France)
m. Pierre LEPAGE 3 May 1700 in Sainte-Famille-de-l'île-d'Orléans, Québec, Canada
Louis TURCOT (TURCOTTE) (b.17 August 1678, Sainte-Famille-de-l'île-d'Orléans, Canada, New France d. 29 February 1748, Sainte-Famille-de-l'île-d'Orléans, Canada, New France)
m. Marguerite LEPAGE 15 March 1706 in Saint-François-de-l'Île-d'Orléans, Québec, Canada
m. Marie-Angélique PLANTE 20 January 1721 in Sainte-Famille-de-l'île-d'Orléans, Québec, Canada
Add History, Life Events, News, Stories about Marie-Isabelle GIRAUD dite GIROUX
Events, Pictures and Documents Related to the Genealogy of Marie-Isabelle GIRAUD dite GIROUX
1687 Death of Spouse/Partner
Abel TURCOT (TURCOTTE) died 16 September 1687, Sainte-Famille-de-l'île-d'Orléans, Québec, Canada
1701 Death of Child
Marie TURCOT (TURCOTTE) died 15 April 1701, Saint-Jean-de-l'Île-d'Orléans, Québec, Canada (Saint-Jean)
1713 Death
Sainte-Famille-de-l'île-d'Orléans, Québec, Canada
Added: 1/3/2013 7:04:53 PM - Updated: 6/15/2015 8:32:50 AM
Genealogy research for Marie-Isabelle Giraud Dit Giroux (on other sites)
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text:
Your Child's Visit
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Seth Nelson
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Seth Nelson is an active and kind-hearted 14-year-old. He loves playing sports and is known for helping others, including his elderly neighbors and kids at school who struggle with their class work.
What Seth and his parents, Mike and Ann Nelson, didn't realize was that he had been living with health struggles of his own for years.
Growing up, Seth felt intense headaches.
"Back then, my headaches were like my heartbeat—you could hear the bouncing and the beat of it," says Seth.
In October 2013, a football injury brought to light the reason for Seth's pain.
"I was the center and their middle linebacker rushed early. Right when I stood up, he lowered his head and we had head-to-head contact," says Seth. "I might have blacked out, I don't really remember, but Coach came up to me and put me on the sidelines."
Despite following the proper concussion protocol, Seth was still experiencing numbness, tingling, and severe headaches weeks later. His parents took him to his local doctor, where an MRI revealed Chiari malformation—a structural defect in the part of the brain that controls balance. The condition occurs when part of the skull is small or misshapen, which presses on the brain and forces brain tissue into the spinal canal.
"Once we found out what the symptoms were and the diagnosis, it was very scary because of the type of surgery that needed to be done," says Michael. "When you start messing with the brain, skull, and spine, you don't know what could happen."
Seth and his family were referred to University of Iowa Stead Family Children's Hospital. In July 2014, a team of pediatric neurologists and surgeons determined that Seth needed surgery to remove a portion of his skull. This would make more space for his brain and relieve his blocked spinal column of fluid buildup.
"I don't think we can ask for a better care team," says Ann. "I can't say it enough about them and their expertise. You take your son's brain and his spinal cord and you put that—his life—in the hands of a neurosurgeon. You have to have the utmost faith that they know what they're doing."
One nurse in particular was a comfort to the Nelsons when they needed it most.
"When he was going off to surgery, I played the 'Mom' role—'Everything will be fine, Seth. We'll see you when you're done,'" says Ann. "That moment I turned around and wasn't looking at him anymore, tears kicked in. This nurse—I'm not even sure she was involved directly in his care—put her hand on my shoulder and said, 'It's OK, Mom. We have him. He'll be just fine.' That meant the world to me."
Seth's surgery was a success, and today he is feeling better and has few limitations. While he can't play football anymore, he is the team's manager and remains active in baseball, basketball, and golf.
"Seth's care team gave him back things we didn't even realize were missing," says Ann. "He's back to being happy and healthy, enjoying life, and laughing again and not feeling like he's in pain all the time."
Providers in this article
Arnold H.
Hometown: Remsen, IA
Every patient's story is personal and can inspire others. If you would like to share how University of Iowa Health Care has improved your child's life, consider sharing their story with us.
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text:
Metformin and the promise of geroprotection
Sanjay Kalra1, Ambika Gopalakrishnan Unnikrishnan2, Rakesh Sahay3
1 Department of Endocrinology, Bharti Hospital and BRIDE, Karnal, India
2 Department of Endocrinology, Amrita Institute of Medical Sciences, Kochi, India
3 Department of Endocrinology, Osmania Medical College, Hyderabad, India
Department of Endocrinology, Bharti Hospital and BRIDE, Karnal, Haryana
Kalra S, Unnikrishnan AG, Sahay R. Metformin and the promise of geroprotection. Indian J Endocr Metab 2012;16:496-8
Kalra S, Unnikrishnan AG, Sahay R. Metformin and the promise of geroprotection. Indian J Endocr Metab [serial online] 2012 [cited 2019 Jul 15];16:496-8. Available from: http://www.ijem.in/text.asp?2012/16/4/496/97991
Much has been written about the multifaceted effects of metformin in medical literature. [1] The glycemic and metabolic effects of metformin have been known to us for over half-a-century. In the past decade, however, attention has been focused on the extraglycemic effects of this molecule, including the cardioprotective, hepatoprotective, and anti-malignant effects. The anti-malignant effects of metformin have been discussed in great detail in recent publications. [2]
Cancer is a disease of aging. In general, the factors that initiate and promote tumorigenesis are associated with age-related damage. It stands to reason, therefore, that metformin may hold a potential not only as an anti-tumour drug, but also as a geroprotective agent. This editorial focuses upon this relatively less highlighted aspect of metformin: its anti-aging effect. [3]
Since time immemorial, medical science has searched for an antidote to aging, for a drug to defeat death. References to panaceas for longevity exist in ancient Indian literature, as well as medieval European writings.
Modern medicine has utilized various means of prolonging life. The most promising lead has been that of calorie restriction. Calorie restriction (CR) has been shown to prolong life span in various animal models, from nematodes to rodents to mammals. CR increases resistance to stress and toxicity, while maintaining function and vitality in laboratory mammals. It increases life-span, and reduces or delays age-related disease such as diabetes and cancer. [4]
Calorie restriction works by reducing insulin and the insulin-like growth factor-1, as well as, increasing insulin sensitivity. The genes responsible for the signal transduction from insulin receptor to transcription factors daf-16 are associated with longevity. These genes interact with the daf- 2 / age-1 insulin-like signaling pathways, and regulate downstream targets. [5] Even as CR may be an effective means of geroprotection, it may not be accepted by a vast majority of human beings. To create a pharmacological alternative to CR, one needs CR mimetics, that is, drugs that mimic the effects of CR, without the recipient having to limit her or his calorie intake.
These drugs act at various levels of the IGF-1 pathway. They may simulate dwarf mutations, thus reducing the growth hormone production, prevent IGF-1 release from the liver or decrease IGF-1 signalling. [6] One of the most frequently used CR mimetics (CRMs) in endocrine practice is metformin. Metformin acts to reduce hyperglycemia in diabetes by multiple mechanisms, many of which are still being explored. In simple words, it mimics CR by inhibiting processes that consume energy (gluconeogenesis), and stimulating reactions that store or preserve energy (glucose uptake). Metformin achieves these effects by activating AMP kinase (AMPK), which is a cellular energy sensor, and a 'caloristat'. Activation of this kinase is regulated by the tumor suppressor gene LKB1, which stimulates threonine 172 phosphorylation; AMPK in turns inhibits a kinase known as the mammalian target of rapamycin (mTOR), thus reducing protein synthesis. [1]
Even as metformin is the only drug of its class in current clinical use, other biguanides such as buformin and phenformin have been used extensively in the past. Senior physicians speak of the safety and tolerability of these drugs when used as anti-diabetic medication. [7] However, the utility of these drugs extends far beyond diabetology. Over 40 years ago, biguanides were suggested to be potential geroprotective agents. These drugs were demonstrated to improve the life span in round worms (C. elegans), mice, and rats. It was felt that the mechanism of action operated independent of the insulin signaling pathway, but through AMPK and the AMPK activating kinase LKB-1. Metformin, specifically, was found to increase the mean life span in C. elegans, when given in a 50 mM dose, but not when given in a 10 mM dose. [8],[9]
In mice and rats, multiple workers have seen a reduction in food intake, slowing of age-related decline in metabolic parameters, delay in age-related switch off of estrous function, and prolongation of life span, with metformin supplementation (100 mg/kg in drinking water). [9] However, certain laboratories have reported neutral results as well. [3] However, it must be noted that the metformin concentration utilized in these studies is 10 times greater than the doses used in human beings. [10]
Although the above-mentioned data has not found widespread popularity among the Indian endocrine community, we are certainly aware of the clinical data related to the geroprotective effects of metformin. Metformin has been shown to improve clinical outcomes and reduce all-cause mortality in people with type 2 diabetes. In the United Kingdom Prospective Diabetes Study (UKPDS), the metformin group had a lower risk of diabetes-related death (42%) and all-cause mortality (36%) than the diet group. All-cause mortality was also lower with metformin as compared to sulfonylurea and insulin. [11] An increase in life expectancy was also seen in overweight patients prescribed metformin. [12] This implies that metformin may have a geroprotective effect in diabetic humans as well.
The geroprotective effects of metformin can be seen in a different field of medicine as well, unrelated to diabetes. The drug has been shown to improve life expectancy in patients with malignancy. This benefit has been noted in pancreatic cancer, [13] breast cancer, [14] and colorectal polyps (a premalignant condition), [15] In a Japanese study done on colorectal polyps, a very low dose of metformin (250 mg / day) was used for the successful prevention of an age-related disease. These findings lend support to the hypothesis that metformin may be used as a geroprotective agent, not only in people with diabetes, but in euglycemic people as well.
Another, and yet again, completely different field of medicine where metformin exerts 'youthful' effects, is female reproduction.
The molecule is accepted as a drug of choice in the polycystic ovarian syndrome. [16] A study using phenformin has shown that it decreases the sensitivity of the hypothalamus to feedback inhibition by estrogen, and thus postpones the age-related decline in productive function. [17] This may be a potential mechanism of action of the geroprotective effects of biguanides. Among the other putative sites of actions for this effect are the brain and immune system. [18],[19]
The current clinical evidence supports the use of metformin in conditions where it was hitherto considered contraindicated. [20] In parallel with this, the clinical data has emerged, which shows that metformin has renoprotective, cardioprotective, and hepatoprotective effects. [21],[22],[23] Thus, the drug acts upon multiple sites in the human body to prevent organ damage, and may potentially increase the lifespan.
The use of metformin in the elderly is not without certain limitations. Weight loss can be a problem in elderly subjects, who may already have aging-related sarcopenia. Moreover, elderly subjects, who are already at a higher risk of dyspepsia owing to polypharmacy, may not tolerate metformin-related dyspepsia. Finally, the side effects of metformin, like anemia and lactic acidosis, do certainly pose a higher risk to the elderly who may already have multiple comorbidities. Despite all these probable flaws, metformin is a drug that has constantly silenced critics, overcoming the lactic acidosis panic, to emerge as the safest, cheapest, and most popular drug for the management of diabetes, with spin-off effects against polycystic ovaries, fatty liver disease, obesity, and even cancer! This makes it perhaps the best, and most long-lived, example of exaptation in endocrine pharmacology. [24]
The promise of metformin as a geroprotective agent is certainly real, given the likelihood of multiple benefits in this age group. Further studies need to be done to pursue this hypothesis further. For the time being, metformin continues to wait in the wings, awaiting a call from scientists and researchers, who may eventually uncover new bottles to place this old wine. And that is because metformin, a molecule that has constantly reinvented itself over the years, is like the best of wines - aging so gracefully that it might go on to be researched as an antidote to aging itself!
1. Andiyar-Plata P, Pi-Sunyer X, Laferrere B, Metformin effects revisited. Diabetes Res Clin Pract 2012;95:1-9.
2. Del Barco S, Vazquez-Martin A, Cufi S, Oliveras-Ferraros C, Bosch- Barrera J, Joven J, et al. Metformin multifaceted protection against cancer. Oncotarget 2011;2:896-917.
3. Anismov VN. Metformin for ageing and cancer prevention. Ageing 2010;2:760-74.
4. Spindler SR. Caloric restriction: From soup to nuts. Ageing Res Rev 2010;9:324-53.
[PUBMED] [FULLTEXT]
5. Lund J, Tedesco P, Duke K, Wang J, Kim SK, Johnson TE. Transcriptional profile of ageing in C. elegane. Curr Biol 2022;12:1566-73.
6. Longo VD, Finch CE. Evolutionary medicine, from dwarf model system to healthy centenarians? Science 2003;299:1342-6.
7. Kalra S, Sahay BK, Rao M. Fixed dose combination in diabetes: Indian innovation, Indian pride. Indian J Endocrinol Metab 2012;16:4-5.
8. Onken B, Driscoll M. Metformin induces dietary restriction-Like state and the oxidative stress response to extend C. elegans health span via AMPK, LKB-1 and SKN-1. PLoS One 2010;5:e8758.
9. Dilman VM. Age-associated elevations of hypothalamic threshold to feedback control and its role in development, ageing and disease. Lancet 1971;1:1211-9.
10. Smith DL, Elam CF, Mattison JA, Lane MA, Roth GS, Ingram DK, et al. Metformin supplementation and life span in Fischer-344 rats. J Gerontol A Biol Sci Med Sci 2010;65A:468-74.
11. UK Prospective Diabetes Study (UKPDS) Group. Effect of intensive blood-glucose control with metformin on complications in overweight patients with type 2 diabetes (UKPDS 34). Lancet 1998;352;854-65.
12. Clarke P, Gray A, Adler A, Stevens R, Raikou M, Cull C, et al. Cost-effectiveness analysis of intensive blood-glucose control with metformin in overweight patients with type II diabetes (UKPDS No 51). Diabetologia 2001;44:298-304.
13. Sadeghi N, Abbruzzese JL, Yeung SC, Hassan M, Li D. Metformin use is associated with better survival of diabetic patients with pancreatic cancer. Clin Cancer Res 2012;18:2905-12.
14. Jiralerspong S, Palla SL, Giordano SH, Meric-Bernstam F, Liedtke C, Barnett CM, et al. Metformin and pathologic complete respone to neoadjivant chemotherapy in diabetic patients with breast cancer. J Clin Oncol 2009;27:3297-302.
15. Hosono K, Endo H, Takahashi H, Sugiyama M, Sakai E, Vchiyama T, et al. Metformin suppresses colorectal aberrant crypt foci in a short term clinical trial. Cancer Prev Res (Phila) 2010;3:1077-83.
16. Lord JM, Flight IH, Norman RJ. Metformin in polycystic ovary syndrome: Systematic review and meta-analysis. Br Med J 2003;327:951-3.
17. Dilman VM, Anisimov VN. Hypothalamic mechanisms of ageing and of specific age pathology-1. Sensitivity threshold of hypothalamo- pituitary complex to homeostatic stimuli in the reproductive system. Exp Gerontol 1979;14:161-74.
18. Mattson MP, Duan W, Maswood N. How does the brain control lifespan. Ageing Res Rev 2002;1:155-65.
19. Dilman VM. Ageing, metabolic immunodepression and carcinogenesis. Mech Ageing Dev 1978;8:153-73.
20. McCormack J, Johns K, Tildesley H. Metformin's contraindications should be contraindicated. CMAJ 2005;173:502-4.
21. El Messaoudi S, Rongen GA, de Boer RA, Riksen NP. The cardioprotective effects of metformin. Curr Opin Lipidol 2011;22:445- 53.
22. Pilmore HL. Review: Metformin: Potential benefits and use in chronic kidney disease. Nephrology 2010;15:412-8.
23. Mazza A, Fruci B, Garinis GA, Giuliano S, Malaguarnera R, Belfiore A. The role of metformin in the management of NAFLD. Exp Diabetes Res 2012;2012:716404.
24. Kalra S, Bantwal G, John M. Exaptation in endocrine pharmacology. Indian J Endocrinol Metab 2012;16:329-30
1 The Insulin:Glucagon Ratio and the Choice of Glucose-Lowering Drugs
Sanjay Kalra,Yashdeep Gupta
Diabetes Therapy. 2016;
2 Metformin Decreases Reactive Oxygen Species, Enhances Osteogenic Properties of Adipose-Derived Multipotent Mesenchymal Stem CellsIn Vitro, and Increases Bone DensityIn Vivo
Krzysztof Marycz,Krzysztof A. Tomaszewski,Katarzyna Kornicka,Brandon Michael Henry,Sebastian Wronski,Jacek Tarasiuk,Monika Maredziak
Oxidative Medicine and Cellular Longevity. 2016; 2016: 1
Kalra S
Unnikrishnan AG
Sahay R


Your brief, should you choose to accept it - PS. It's Fun!
Well, if you don't happen to live in one of the most remote cities on the planet. Perth isn't exactly on the world stage for its architectural qualities or mind-bending skyscrapers. Largely because, well, it doesn't really have any.
Your goal is to create an image that stops thumbs mid-scroll.
You have a workflow/editing system that is repeatable, and you would be able to recreate the look on multiple images.
A copy of the final image will be featured in a financial magazine over a double page spread.
If you had to process the image to meet this brief, how would you do it? What would it look like?
When I was processing this image, I must have created 20 different versions. I was all over the place – aimlessly adjusting sliders and layers until, after a certain point, they all started to look the same. Whenever this happens I reach into my workflow to steady the ship and work out what to do next.
Yes – It looks like my 2-year-old nephew went to town with his favourite marker pen. And no – it probably doesn't make sense to anyone but me.
But believe it or not, creating this simplistic doodle made the process so much easier. There are thousands of ways to edit an image which is why post-processing is both art and science. But if you don't start with a clear idea of how you want your image to look, it's impossible to know what to do first. You'll get caught up creating 20 different versions and forget where you're headed.
Give it your best shot and then send me a copy of your edit. I'll get back to you with my comments and feature 3 that we can all learn from.
How did you find it? What did you notice in your workflow?
PS. If you know anyone who'd like to take part, please feel free to include them by sharing this post.


text:
Amazon Is Offering To Keep 125,000 Workers It Hired For The Pandemic
By Avie Schneider
Amazon is offering permanent jobs for 125,000 workers it hired to deal with a sharp rise in online shopping during the coronavirus pandemic.
Tens of millions of people are out of work because of the coronavirus pandemic, but Amazon says it's willing to keep 125,000 people it hired to deal with the online shopping spike as permanent workers.
The company hired 175,000 temporary workers as people stuck at home because of the pandemic switched to shopping online. Now Amazon says it's offering most of those workers permanent full-time jobs.
"Like other companies, we hired these individuals for seasonal roles to meet a surge in demand and, for many, there was the hope of returning back to their previous companies once states began to re-open," Amazon said in a blog post. "As the long-term picture becomes more clear," the company said it's allowing 125,000 of those workers to stay and shift into "a regular, full-time role beginning in June."
Some could return to their previous jobs, the company said, and "others may choose to stay at Amazon in seasonal or part-time roles."
Walmart, one of its chief competitors, has also been on a hiring spree, adding 235,000 staffers in its warehouses and stores as its online sales jumped.
Amazon's announcement came as the Labor Department reported that an additional 2.1 million people filed for unemployment benefits around the country last week. More than 40 million people have filed claims since March, when stay-at-home orders began. That's a staggering number that equals 26% of the civilian labor force.
Editor's note: Amazon and Walmart are among NPR's financial supporters.
Avie Schneider
See stories by Avie Schneider