Datasets:

max-lue

/

FW_EDU_SUBSET_500k_docs

like 0

Modular homes, as the title suggests, are always created in modules (2-4 or more) using traditional materials. After transporting to the place of installation, the parts are assembled together like a giant construction kit on a permanent foundation. They are built to local code as determined by the local jurisdiction, the same as site-built houses. Modular homes in general are treated as regular real estate and it shouldn’t be confused with manufactured homes. One of the main advantages with buying modular homes is that you can reduce construction time by more than one third in comparison to traditional methods. As a rule, it takes about a week to complete the installation of a modular home. The parts for modular homes look like box-shaped modules, which are then assembled with each other on the construction site. Modular homes can be multi-stories high and are attached to each other on-site. The sections are transported on flatbed trucks so they are usually up to 16 ft wide (about 4.9 meters). Modular homes can look identical to traditional frame site-built homes once fully assembled. Are modular homes safe? There are plenty of fears around buying prefabricated homes, and modular homes are no exception. One of the main questions that everyone should ask is: are they hurricane-proof? You might be surprised to find out that modular homes resist extreme conditions much better than traditional ones. Federal Emergency Management Agency has approved manufactured (here is a link) and modular homes for excellent quality. After Hurricane Andrew hit Florida in 1993, they reported that modular homes “performed much better than conventional residential framing.” Furthermore, all modules are transported on flatbed trucks with an average speed of up to 60 miles per hour, so all the parts are made with an additional safety margin. Building codes for modular homes Differences include the building codes that govern the construction, types of material used and how they are appraised by banks for lending purposes. The laws that govern the development of modular homes are exactly the same codes that govern the building of site-constructed dwellings. In the United States, all modular homes are constructed according to the International Building Code (IBC), IRC, BOCA, or the code that has been adopted by the local jurisdiction. Materials that are used in modular building The materials used in modular homes are typically the same as site constructed homes. Wood-frame floors, walls, and roofs are often used. Some modular homes include brick or stone exteriors, granite counters, and steeply pitched roofs. Modulars can be designed to sit on a perimeter foundation or basement and can be custom built to a client's specifications. Current designs include multi-story units, multi-family units, and entire apartment complexes. How much do modular homes cost? The price can vary from as low as $50k to millions of dollars. You can generally expect to spend anywhere from 10 to 20% less on your home if you choose to live in the modular house. These savings are found mostly in three major areas: bulk purchasing, labor costs, and building materials. The value can depend on many factors, like location and additional customization. Be aware that in the end, you’ll have to pay more than you calculated. According to the Definitive Guide to Building Modular, there are five different prices that may be used to quote the modular home's cost: - The base price (includes only the cost of manufacturing the modules without customizations and alterations) - The custom price (consists of the base price + appropriate finishes and chosen upgrades) - The delivered price (the amount of manufacturing the house + delivery and setting up with fastening the modules to each other and attaching roofs and dormers, but will not include any additional roofing work, connecting utilities) - The finished price (includes everything the previous prices do in addition to the estimated costs for site prep, pouring the foundation, buttoning up, and any site works like constructing porches). - The all-in price What are the pros and cons of modular homes? We summed up the most important advantages and disadvantages of modular homes. They can vary depending on its price and class. Advantages of modular houses - Modular homes, like traditional site-built homes, are financed with a mortgage - Modular homes typically cost 10-20% less than the traditionally-constructed equivalent - The speed of construction. It also reduces labor costs. - Indoor construction. Assembly is independent of weather, which can increase work efficiency and avoids damaging building material. - No problems with construction waste - Flexibility - one can continually add to a modular building. When the needs change, modular buildings can be disassembled, and the modules relocated or refurbished for their next use reducing the demand for raw materials and minimizing the amount of energy expended to create a building to meet the new need. - Quality - due to the need to transport modules to the final site, each module must be built to withstand travel and installation requirements independently. Thus, the final module-to-module assembly of alone durable components can yield a final product that is more durable than site-built structures. Disadvantages of modular houses - Cautious attitude of some realtors and buyers - Some financial institutions may be hesitant to offer a loan for a modular home. Photos by Team Massachusetts 4D Home Share with friends:

<urn:uuid:020e6211-5baa-4d78-ab77-c52b002ca0bf>

CC-MAIN-2018-43

https://www.treatstock.co.uk/blog/modular-home

s3://commoncrawl/crawl-data/CC-MAIN-2018-43/segments/1539583511872.19/warc/CC-MAIN-20181018130914-20181018152414-00477.warc.gz

en

DV is a format for storing digital video. It was launched in 1995 with joint efforts of leading .... video format that can be thought of as four DV codecs that work in parallel. ... Tape-based DV va... ... of DV, at the various DV formats on the market and at the reasons DV can do so ... There is also circuitry that works in reverse, for playback on your television. ... All consumer digital video formats (Mini DV, Digital8, DVCAM and DVCPro) ... Tape-based camcorders, like Mini DV and Digital8, offer a wide variety of features ... who simply want easy filming and for experts who need a cam that'll do it all. MiniDV: Photo courtesy Newstream.com Canon MiniDV Camcorder MiniDV ... feature is the ability to capture still pictures, just as a digital camera does. www.ask.com/youtube?q=How Does Mini DV Work&v=YibJ5wpBqwo Jul 20, 2012 ... if you bought a MD80 Mini DV, how to use it correctly? Very easy! See this video please. You can buy a high quality unit with cheap price at ... www.ask.com/youtube?q=How Does Mini DV Work&v=iovMrP0Vctk Sep 16, 2009 ... mini DV MD80 new from box. Show what are included in the box and all its accessories. It is suitable for Sport Use or Spy as it is very samll and ... www.ask.com/youtube?q=How Does Mini DV Work&v=0rmqxu-4dJs Feb 22, 2012 ... In this video i will attempt to explain how the Mini Cam MD80 works, and how to use different modes. When I recently purchased a mini DV camcorder at Microcenter, the ... cassette to hold the miniDV tape and do all the work needed to send a ... www.ask.com/youtube?q=How Does Mini DV Work&v=1vaCYQlVByc Mar 27, 2014 ... www.treasuredarchives.com Convert your MiniDV tapes to digital files to edit or save. Transfer those old memories to a DVD, media storage ... Mar 2, 2015 ... Do a google search for "import minidv tapes to mac" and you'll get a ... Pros: you don't have to do any work and you get DVDs and/or digital files ...

<urn:uuid:fb6911b8-45c8-4dbf-a8aa-94a6665c9a89>

CC-MAIN-2017-09

http://www.ask.com/web?qsrc=6&o=102140&oo=102140&l=dir&gc=1&q=How+Does+Mini+DV+Work

s3://commoncrawl/crawl-data/CC-MAIN-2017-09/segments/1487501169776.21/warc/CC-MAIN-20170219104609-00150-ip-10-171-10-108.ec2.internal.warc.gz

en

Over the last 20 years or so, there have been intermittent moves by the EU and the UK government to implement various levels of online surveillance — first by requiring ISPs to install equipment to facilitate wiretapping, and second by storing the masses of communications data created by all of us. But, argues Susan Landau, a former Distinguished Engineer at Sun Microsystems, now a fellow at Harvard's Radcliffe Institute for Advanced Study, you can't build surveillance into networks without also poking some very serious security holes in them. Unlike the telephone network, which was built for control, the internet was built with very different goals in mind: information sharing, bandwidth sharing and robustness in the event of generalised attacks. Or, as Landau quotes former NSA director Brian Snow as saying, the internet was designed "assuming random malice rather than targeted attacks". The trouble started in 1988. Before then, everyone who used the internet was able to trust each other: they were all researchers with common goals. Then came the 1988 Internet worm, which traversed the Net, replicating itself on each new machine. Overall, it paralysed perhaps a third of the internet that existed at the time. It was the first time the internet made headlines — and probably the first time the mainstream heard of its existence. The protocols written by Vint Cerf and Robert Kahn (building on work from a number of sources) have held up remarkably well through the internet's commercialisation and mass expansion. But security is still not part of its fundamental design. And yet security is a key issue with respect to long-distance communications: the risks of interception are as old as the written word and as new as Groupon's absurd IPO. Osama bin Laden knew this and avoided email and all other electronic media that might give away his location. Ironically, that turned out to be one of the pointers that led to his capture: intelligence reports noted the oddity of a $1 million house with no telephone or internet connections and began looking more closely at its occupants. The controlled structure of the telephone network made wiretapping a relatively easy thing to do, as Landau and public-key cryptography inventor Whitfield Diffie documented in their book Privacy on the Line: the History and Politics of Wiretapping. But the internet's decentralised, open nature makes it much harder. Give the masses a $40 internet connection and a PC with which they can create havoc, add in strong encryption — an important part of the solution for securing and authenticating internet traffic — and what's a government to do? Why, pass laws, of course. Block the use of encryption — a very real issue in the 1990s, when both the UK and the US governments tried to enforce key escrow and limit encryption's spread. Require every ISP to build wiretap capabilities into its system so that law enforcement can gain access to any individual's flow of data at the flick of a switch. In the US, that law was CALEA; in the UK such requirements have been considered as part of the Intercept Modernisation Programme. As Landau explains, this is technically a spectacularly bad idea if you are at all concerned about security. Since we are building an infrastructure that has to last for decades and the chance of misuse of surveillance is high (given its history), Landau recommends that all interception systems must have auditing that cannot be turned off, and that we must ensure that secure communications can take place. We must get it right, she writes. This book should be required reading for every policy maker who thinks that making wiretapping as easy as downloading an MP3 from iTunes is a good idea. Surveillance or Security? The Risks Posed by New Wiretapping Technologies By Susan Landau MIT Press 384pp ISBN: 978-0-262-01530-1 Price: £22.95

<urn:uuid:f3b5211d-8a68-4ad0-8887-16d32b44e6e6>

CC-MAIN-2014-10

http://www.zdnet.com/book-review-surveillance-or-security-4010022819/

s3://commoncrawl/crawl-data/CC-MAIN-2014-10/segments/1394021856395/warc/CC-MAIN-20140305121736-00043-ip-10-183-142-35.ec2.internal.warc.gz

en

*A guest post by HerePup – www.herepup.com Aren’t dogs one of the cutest creations on the planet? Who would imagine that such selfless and loving creatures can be abused? As shocking as it is, animal abuse is one of the ugly truths of society. According to the statistics gathered by pet abuse.com, dogs are the most abused animals. It isn’t restricted to directly inflicting violence. Neglecting a pet is also cruelty, one that can cause considerably higher damage and pain. Some owners either deliberately or unintentionally may not provide their dog food, water, or getting them treated for wounds or diseases which would prolong the suffering. All these incidents affect the animal’s well-being not only physically but also mentally. Such animals develop Post Traumatic Stress Order, and it alters their personality. Dogs that end up in shelters contain a large number of abused pets. If you are adopting an animal from a shelter (which is a great thing indeed), you may bring home a pet with a traumatic past. How to Identify Signs of Dog Trauma or Posttraumatic Stress Disorder? Our furry friends can’t narrate their painful experiences to us, so we have to identify the symptoms ourselves. The common indications include: - Fearfulness, an abused dog would run away if people would get too close - Whining or barking - Loss of appetite - They would display separation anxiety and wouldn’t want to be left alone - Disinterest in exercise or playing - Abused dogs don’t like to socialize with other pets How to Help an Abused Dog? A dog with a past full of traumatizing experiences will be scared when you bring him home, in a completely different environment. You need to assure your pup of safety and security. Prepare a room in the corner of the house which is quiet and peaceful. Don’t expect or force him to mingle and cuddle with everyone in the home. Don’t force your dog to act a certain way, all they need is a sense of control because unfortunately, that is what the abuse has taken away from them. Enforce positive dog behavior by using the correct training methods. Use your dog’s favorite food as treats and appreciate him for being a good boy. You can consult an animal behaviorist to assess your pup’s condition and devise training programs. After you bring your pup home, the first few days would be stressful for the animal. You can expect accidents during house-training, and so you would have to be patient. Don’t punish or use a loud tone with them, be very gentle and calm and correct their mistakes. Always smile at them to show affection and transmit love. Always approach your pooch slowly and be mindful of their personal space. Your dog might not be interested in exercise, but such activities are vital not only for their physical but also for psychological well-being. Begin by taking your pup for small walks so they can get comfortable with their surroundings. Some things may cause flashbacks resulting in panicking and fear. Some of these triggers may be difficult to identify at first. But if you notice your pup react with anxiety to any object, sensation or smell, make sure you keep them away from it. Lastly just keep in mind that persistence is the key. Don’t expect to see changes overnight, it will take time and effort, but gradually you will see positive behaviours in your pup. And when you witness their eyes brighten up with joy, you will realise that it was worth it.

<urn:uuid:68971186-1743-4d9b-a0b9-abf865a0da11>

CC-MAIN-2019-51

https://www.cpccares.com/blog/dog-trauma-help/

s3://commoncrawl/crawl-data/CC-MAIN-2019-51/segments/1575540490743.16/warc/CC-MAIN-20191206173152-20191206201152-00460.warc.gz

en

Noun(1) a vowel whose quality or length is changed to indicate linguistic distinctions (such as sing sang sung song (1) When ablaut is a regular feature of a language's grammar, it is often called vowel gradation.(2) It is the relationship between phonemic pitch and the nature of ablaut in standard Lithuanian which makes this clear.(3) There are various categories of this: rhyming, exact and ablaut (vowel substitution).(4) an ablaut series(5) The Proto-Indo-European phonetics was not stable at all: ablauts (vowel interchanges), assimilations, many different consonant processes at the end of the word.(6) You can't even distinguish between the preterite and participle Germanic ablauts of English. English to Kannada Dictionary: ablaut Meaning and definitions of ablaut, translation in Kannada language for ablaut with similar and opposite words. Also find spoken pronunciation of ablaut in Kannada and in English language. Tags for the entry "ablaut" What ablaut means in Kannada, ablaut meaning in Kannada, ablaut definition, examples and pronunciation of ablaut in Kannada language.

<urn:uuid:46e9cc38-7dc5-4e7b-ab7e-e80fb63130b1>

CC-MAIN-2020-10

https://www.english-kannada.com/?q=ablaut

s3://commoncrawl/crawl-data/CC-MAIN-2020-10/segments/1581875146123.78/warc/CC-MAIN-20200225141345-20200225171345-00280.warc.gz

en

Description from Flora of China Plants perennial, 0.4–1 m. Root cylindric, branched, rootlets many, succulent, strongly aromatic. Stem purplish green, ribbed, branched above. Basal and lower petioles 5–20 cm, sheaths purplish green, ovate, membranous-margined; blade ovate, 10–30 × 12–25 cm, 2–3-ternate-pinnate, pinnae 3–4 pairs, proximal and middle pinnae long-petiolulate; leaflets ovate or ovate-lanceolate, 2–3.5 × 0.8–2.5 cm, 2–3-lobed, margin irregularly coarse-cuspidate-serrate, sparse papillate-hairy along nerves and margin. Peduncles 8–20 cm, pubescent or subglabrous; bracts absent or 2, linear; rays 10–30, unequal, scabrous; bracteoles 2–4, linear, 3–5 mm; umbellules 13–36-flowered; pedicels slender, 1–3 cm in fruit. Calyx teeth obsolete, rarely minute, ovate. Petals white, rarely purplish red. Fruit ellipsoid or suborbicular, 4–6 × 3–4 mm; dorsal ribs filiform, prominent, lateral ribs broadly thin-winged, wings as wide as or wider than the body; vittae 1 in each furrow, 2 or absent on commissure. Fl. Jun–Jul, fr. Jul–Sep. The roots are frequently used in the important traditional Chinese medicine “dang gui.” Wild or cultivated in forests, shrubby thickets; 2500–3000 m. Gansu, Hubei, Shaanxi, Sichuan, Yunnan

<urn:uuid:586465ec-4ff1-4ea0-aa10-ba94d0f2a61c>

CC-MAIN-2020-05

http://www.efloras.org/florataxon.aspx?flora_id=3&taxon_id=200015389

s3://commoncrawl/crawl-data/CC-MAIN-2020-05/segments/1579250593295.11/warc/CC-MAIN-20200118164132-20200118192132-00409.warc.gz

en

Dermatitis / Eczema Dermatitis / Eczema simply means skin inflammation but is used to describe a wide range of skin conditions. The most common type of atopic dermatitis is commonly called eczema. The early stages of dermatitis and eczema are often red, dry, and itchy patches of skin. More advanced dermatitis may result in crusty scales, sensitive cracks, or blisters on the skin. The rash can often be preceded by itching and most often appears on the face, back of the knees, hands or feet but it can appear anywhere on the body.

<urn:uuid:19b7ccda-5047-44cd-915a-3d20be9b6ee5>

CC-MAIN-2021-39

https://anyaantiaging.com/medical-dermatology/skin-conditions/dermatitis-eczema/

s3://commoncrawl/crawl-data/CC-MAIN-2021-39/segments/1631780057225.57/warc/CC-MAIN-20210921161350-20210921191350-00669.warc.gz

en

We will talk about a common and painful situation: the violence of a husband over his wife. And in this regard, my first question is: what is the reason for domestic violence. Why husbands become wife beater. But before all these let us discuss what is domestic violence. Domestic violence is a purposeful emotional or violent coercion / action of one person over another, carried out for a specific purpose, contrary to the consent, will and interests of the victim. The main difference between domestic violence and other types of violence is that it occurs between people who are in close or family relationships. - 1 What is domestic violence? - 2 Who’s guilty when a husband beats a wife - 3 The most common myths and stereotypes associated with domestic violence - 4 A husband beats his wife – does it means he loves? - 5 What to do for a person who has experienced domestic violence What is domestic violence? Domestic violence is the deliberate use of various forms of physical, sexual, psychological and economic violence by one family member against another, the result of which is bodily harm, emotional trauma, developmental disabilities or various kinds of damage. Types of domestic violence Physical violence – direct or indirect impact on a victim for the purpose of causing physical harm, expressed in injury, severe bodily harm, beatings, kicks, slaps, shocks, slaps, throwing objects, etc. Sexual assault is violent acts in which a person is forced, threatened or deceived into any form of sexual relations against his will. Psychological – harm to the psychological health of a person, manifested in insults, intimidation, threats, blackmail, control, etc. Economic violence – material pressure, which can manifest itself in the prohibition to work or study, deprivation of financial support, full control over expenses. Medical violence – negligence and delay in the dispensing of drugs, deliberate overdose of a drug, or, conversely, deliberate refusal of a patient to receive the necessary medication. Neglect – irresponsibility or inability to provide a person with the necessary conditions for life: food, drink, clean clothes, safe and comfortable housing, personal hygiene products, medical care, and more. Signs of domestic violence - bump marks, scars, cuts on hands, face, legs and other parts of the body; - fractures or bruises; - burn marks; - sexual touching a person without his consent; - forcing a person to undress; - forcing a person to have sexual contact with him. - constant shouting and threats towards a person; - swearing and the use of indecent words; - humiliation of a person; - ignoring a person when he asks for something. - ordering services, making donations or unnecessary expenses; - unexpected financial problems or loss of money; - using a bank card when a person cannot walk; - loss of money in a bank account or cash. All forms of violence are closely related. If the abuser practices physical violence in the family, of course, this causes mental trauma, and not just physical pain. Economic violence is often based on manipulation and control. Physical trauma and consequences are usually behind sexual assault. As a rule, it is difficult to imagine a situation where the aggressor uses only one type of violence; victims often suffer from the simultaneous manifestation of various types of violence. 1. Increasing tension in relationships Discontent in relationships increases and communication between family members is disrupted. From the side of the aggressor planning and “preparation” takes place. He / she can visualize a picture of the next attack. He / she takes pleasure in power from the embodiment of his / her fantasy. In most cases, the abuser is not aware of this inner “preparation” for various reasons. One of them may be the learned “scenario” of relationships in the parental family. 2. Violent incident There is an outbreak of verbal, emotional or physical violence. Accompanied by rage, arguments, accusations, threats, intimidation. The abuser apologizes, explains the reason for the abuse, shifts the blame onto the victim, sometimes denies what happened, or convinces the victim of exaggerating the events. It is hard for the victim, and it is sometimes unbearable for the rapist to be in a state of tension associated with the fact of violence. Therefore, to get rid of the “heavy burden” of responsibility, he / she takes some action. The abuser makes excuses and blames the victim for the reason for his behavior. Typically, the victim is blamed for her behavior. For example, “If you had tidied up the house, I wouldn’t have to beat you” or “If you had cooked dinner on time, I wouldn’t have to beat you.” The abusive practitioner does not repent of hurting his victim. He can apologize, but to avoid possible punishment. The purpose of this stage is to ensure your impunity. This is a difficult stage. After being abused, the abuser can turn into the caring, loyal, charming and kind person that she, the victim, loved him. He / she can take to a restaurant, buy flowers, assure her / him that he / she will change. The goal is to keep the victim in the family and maintain a semblance of well-being. The violent incident is forgotten, the abuser is forgiven. Many women/ men return to their abusive partners for this period when “everything is so good!”, “As if at the beginning of our acquaintance!”, “How he/ she loves me!” … After the honeymoon, the relationship returns to the first stage, and the cycle repeats. Over time, each phase gets shorter, outbursts of violence become more frequent and cause more damage. Unfortunately, domestic violence is one of the most discussed topics all over the world. During the period of self-isolation, the number of victims’ requests for help from non-profit organizations increased 2.5 times. Who is to blame – the rapist or the victim, is it possible to beat children for educational purposes and is it necessary in principle to endure beatings in the hope of ephemeral changes – what is the solution. The most common victims of domestic violence are women. If we look at the hierarchy – who is weaker and who is stronger, then the ratio is clearly not in favor of women. And this applies to all aspects of life – both socially and economically in our state, a woman is poorly protected. She often depends on the man. A man is encouraged by society to defend his rights – to fight, to impudent and active courtship. He cannot become limp or cry, but he has the right to hit. If a man cries during a conflict, it will be strange for public consciousness. It would be more logical if he starts to fight. The requirements for women are opposite. On the contrary, she should soften rough edges, be polite and resolve all conflicts with words, and for physical proceedings between women there are offensive labels such as “cat fights”. A man’s fight is always a real fight. Violence does not correlate with intelligence or social well-being. There are many cases when educated and even brilliant people showed violence towards loved ones. A person can be anyone, a professional in his field, a high-ranking official, a doctor, an intellectual – his social status in itself is not a guarantee for those who are with him. Violence comes from the possession of power and the desire to hurt another. That is why it occurs in any environment, including a safe one. Who’s guilty when a husband beats a wife The injured party (usually a woman, but in a couple and a woman can be the author of the violence) is never to blame for being hit. She cannot be held responsible for the fist flying in her face. The one to whom this fist belongs is responsible for it. But society nevertheless often tries to find an excuse for the rapist and blame the victim for everything. This behaviour can be explained by the social phenomenon “just world”. We all know that we are fragile and mortal, and that anything can happen to us. But we prefer to “close” from this knowledge and live as if we are in control of the situation: if we behave well and correctly, the world will respond in kind. If I am kind to people, then they will be kind to me. If I love a person and care about him, then he should also reciprocate me. This is one of the basic human illusions. And when a person is faced with a difficult situation, for example, a woman sees her friend with a broken face, the first thing she will ask is: “Why is he doing this to you?” This is a defensive reaction. An attempt to preserve the idea of a “just world”, in which a friend allegedly did something wrong and was punished for this. It is difficult for us to come to terms with the irrational and unjust cruelty, with the cruel truth of our defenselessness and the danger of the world. We prefer to believe that we are immortal – we plan something for years to come and live as if we are in control. That is why the first feelings that the injured party experiences are shame and guilt. The concept of a “just world” is so strong that the victim herself starts looking for causal relationships and trying to find the situation in which she misbehaved… This is necessary in order not to make such “mistakes” in the future. After all, if you behave correctly, then everything will be fine. This is a strong cognitive bias. If the injured person remains in such a situation for a long time, his psyche is deformed. He believes: if he says differently, he dresses differently, otherwise he smiles, otherwise he does something, then the beatings will stop. This is a very strong psychological defense, and in order to “break” it, you need awareness and awareness. And we have a problem with that. After all, our society focuses on the victim herself – on what she is wearing, how she behaves. Women do not want to admit that this is possible, and men – that they are capable of this. In this situation, it is important that next to the victim there is a person who will support and tell the simple truth that violence is in principle unacceptable. The same concept of a “just world” says that if you are attacked by a stranger on the street, then you deserve the pity and support of society. Although in the case of sexual violence, there is no guarantee that the person will receive support. Nevertheless, it legitimizes the fact that you are the aggrieved party and have the right to complain. Domestic violence is getting tougher. A woman may think: like I chose him myself, he is a good father and at the very beginning he courted so beautifully. This makes her even more ashamed. And since no one is able to turn off feelings in one second, she can still continue to love her tormentor. In addition, it often happens like this: in the morning the husband hit his wife, and at lunchtime, as if nothing had happened, he talks to her and smiles. A woman does not understand how this is possible, she is lost, she ceases to believe her own perception. She must combine this image of him aggressive with his own romantic courtship, falling in love, children and family. It is difficult for her to realize that everything has collapsed. Only tens of hundreds of thousands of women are able to immediately pack up their things, pick up the children and leave. But such women, as a rule, have where to go – there are loved ones who will accept and support them. But if there is no support or escape routes, the situation becomes a vicious circle. A woman continues to live with her rapist, and the longer she lives with him, the more she is afraid and the less she understands herself. All the more, unfortunately, the society has reasons to say: “She didn’t leave.” There are many reasons for violence. There are organic reasons – a person is incapable of empathy, does not know how to feel other people. Violence is often reproduced by those who themselves were abused in childhood. A newborn child is a blank slate, and what behavioral patterns he will form depends on his environment. Violent people grew up in an environment in which there was no opportunity to develop empathy. When they are angry, they have no control tools and no impulses to stop them. Agree, every person at least once wanted to hit someone or even kill someone. Why don’t we do this? Not only because it is scary. We feel the suffering of the other person. We have mirror neurons working, and we try on ourselves the pain that we can potentially inflict on another. And it hurts us to imagine someone else’s pain. But if a person was raised with the idea that he is better than others, that strength is the main value and priority, or violence was used against him, then growing up he becomes a potential rapist. People who practice domestic violence were interviewed and tried to find out why they did it. So, they had a lot of excuses, reasons: they just wanted to teach or teach a lesson, they themselves were brought, argued with them, but there was nothing – this is all a text that shows the attitude towards the other not as equal. Your partner should be your equal. Can a child be taught through beatings? We are responsible for him and are obliged to teach him everything we know, but to beat him and say that it is for his own good means destroying his psyche. Subsequently, he will think that “love and beat” is the norm. That love is humiliation. The most common myths and stereotypes associated with domestic violence Violence is a parenting element Violence is not only bruising, bruising and scarring on the skin, it is also a blow to the person. Often, people who were systematically beaten, growing up, say: “They beat me, and nothing – I grew up as a man.” Nevertheless, studies show the opposite – such children behave worse in stressful situations and in adulthood have an increased risk of encountering various kinds of addictions, for example, becoming drug addicts or alcoholics. Violence against a child hits various aspects of his life and reflects badly on his future. The world is becoming unsafe for him. He has more problems in relationships – it is more difficult for him to believe that he can be loved just like that. Violence is a manifestation of love The phrase “beats means love” has nothing to do with love and can be interpreted as “you are my property, and I have the right to do whatever I want with you.” Even if a woman stays at home, and the family lives on the husband’s salary, this does not give him the right to beat anyone – neither his wife nor children. This is not love. Love implies equality – you are together voluntarily. From the moment of the first blow, you will never know whether a person is voluntarily with you or out of fear. In the family – between husband and wife – there can be no sexual violence If people live together for more than one year, then it is unlikely that sexual desire will be at the same level every day. People can be sick, tired, sleepy and just don’t want sex . And also not want him for a thousand more reasons. And forcing a person to have sex with you against their will means raping them. Women, often driven by the fear of being abandoned or the myth “since the husband, I have to”, force themselves to have sex at the request of their partner, but this is a destructive and harmful practice. Neither you nor your partner are required to have sex if you don’t want to.Sometimes men get angry and ask: “How is it, and why does she not want to? Why did you marry me?” Well, when I came out, I wanted to. It means that something has changed, and you need to look for reasons if the relationship is dear to you. Look for causes of cooling and eliminate them. But nothing gives you the right to rape your partner. Do you consider sex a vital necessity, “take it out and put it down”? You have the right to look for another partner. But don’t rape. Family is sacred, for the sake of a child you can tolerate The family is a single organism. And if the bruises can be hidden, then a bad mood, fear and tears cannot be hidden. Children instantly read such things and suffer greatly from them. Seeing that dad beats mom, and after that she covers up the bruises and smiles, the children are faced with a difficult question – firstly, they must somehow explain what is happening to themselves, and secondly, decide whether it is right or not. Most likely, even if a hand is not raised against them, they are insanely scared. Or insanely bitter. There should be only one reason why the victim may stay in the relationship and “try again”: the abuser really realizes his guilt and wants to change. Only in this case, it makes sense to stay and see what it will lead to. This is not about “another chance,” but about the idea of demanding mercy. You can help a person change, but only if he himself wants it and is actively doing something for this. In domestic violence, there is a cycle where they first beat, then apologize and arrange a “honeymoon”, and then beat again. Therefore, it is important not only the desire for change but also the action itself, the desire for a lasting result. A husband beats his wife – does it means he loves? We will talk about a common and painful situation: the violence of a husband over his wife. And in this regard, my first question is: what is the reason for domestic violence, why does the head become a tyrant? Everyone knows the dictum of the Apostle: “Let the wife of her husband be afraid,” and, not understanding the deep meaning of what was said, often this attitude is taken literally and the husband from the head of the family grows into a despot. There is another call in the Gospel, which is sometimes taken literally: the call to have the fear of God. And long ago the holy fathers explained that a person should not fear punishment coming from God, not His anger, but fear to sadden Him with his own behavior. But some people still believe that it is about the need to fear the despotism of the Creator. And this is also why many of our compatriots are still avoiding church life, that they do not want to limit their freedom and do not want to be afraid of their own fictional cruel god. The phrase that you said – “Let the wife of her husband be afraid” – as I understand it, has the same meaning: a wife should be afraid to upset her husband, be afraid of losing his trust and his love. But, of course, there is no question of being afraid of the presence of your spouse. What kind of husband is this if he has entered the house, and the wife is already beginning to shake like an aspen leaf? The animal fear of physical or moral violence is incompatible with love. Relationships that include constant fear are acceptable and normal only for spiritually sick people. For healthy people, they are unbearable and abnormal. How does the head of a family become a despot? This is a simple question. This is mainly because it is easier to be a despot in a family than to be its head. We know a lot of examples from the life of power structures, for example, army units, which demonstrate to us that it is always easier to command, if you have the power and the strength to keep it, than to think and act. It’s always easier to command than to be responsible for the decisions you make. And if a person gets used to command, without learning to think at the same time, not having learned to love the people he controls, and to bear responsibility for their fate, then this habit of his develops into a passion. He begins to enjoy the power, which becomes evidence of his superiority over subordinates, which is strengthened and increased as she grows. Hierarchy is necessary both in the family and in any collective. People are always needed who are able to quickly make the necessary decisions, determine the responsibilities of other people that they must fulfill in order to achieve goals. And not necessarily the father of the family or the commander of the ship should consult with someone, because managing a family or a military unit is his job, his duty. A father, boss or commander will not become despotic if he remembers his responsibility for the fate of family members or subordinates, remember the goals for the achievement of which he took power or was endowed with it. As long as this goal and responsibility are known and important to a person in power, he will never become a despot, if only because he will understand that people strive to escape from despotism at any cost, to run away. The effectiveness of despotism as an approach to government is extremely low. A person deprived of his dignity, devoid of the healthy initiative, constantly enduring bullying, will not want and will not be able to carry out the orders coming from the despot, qualitatively and conscientiously. But for a despot, this is no longer important, his motivation is already different: he does not want to competently manage what is entrusted to him, in our case the family, but just wants to satisfy his passion and rise above others, which is fundamentally opposed to the main task that is in front of him worth it. The people still often repeat the following proverb: “If he hits, then he loves,” and often a woman takes this statement for truth, and with its help she tries to come to terms with violence. How true is this in general? This statement is fundamentally wrong. Is it if we love someone, for example, at least our dog, then we beat it? Our indicator of love for a person, moreover, is determined not at all by how much we beat him. It is enough just to come to someone’s house and see how a person beats his child, and then confidently say: “If he beats him like that, then it means he DOES NOT love.” When people confess their love to each other, before marriage, they confess, excuse me, not after each other has been kicked out, otherwise not a single marriage could have taken place. First he says: “I love you, I want to give you the whole world, I want to do something for you,” and so on. And when a woman agrees to get married, a new interpretation of love suddenly appears, and the man declares: “I beat you, so I love you, because everyone says so”. Where did this interpretation come from? It is not just that one follows from the other, beats, loves, but is directly opposite to the other. On the contrary, when he loves, then he does not hit. And when he beats, it means that he just doesn’t like it. I think that this is a kind of justification for the harsh reality in a situation where a woman is forced to make a choice between her husband and freedom from violence, but does not dare. And, of course, this proverb itself appeared in traditional Russian society, in some village or village, three hundred years ago, when a woman really could not leave her husband anywhere, could not file for divorce, could not get rid of beatings. But it is natural for a person to somehow justify himself and his loved ones, it is peculiar to seek at least an illusory, but consolation. And this excuse flowed smoothly from antiquity to our time, because the problem of domestic violence in our world has survived, although absolutely nothing, I mean there is no wisdom behind this excuse. No one can ever clearly explain how this frank beatings can be associated with a pure feeling of love. Now we live in a different society, where a woman can almost always leave her husband if for some reason he does not suit her. But the question arises: if a woman has become a victim of violence from her husband, then how much should she endure, forgive his similar behavior, when, after all, should an end be put in the relationship? Maybe immediately after he first raised his hand against her, file for divorce? It’s not that simple here. In itself, violence against a weak person is far from a commendable phenomenon. But still, we must take into account that absolutely all of us are human, absolutely none of us is imperfect, and each of us makes mistakes. Sometimes the wife brings her husband to such a state that he will not be able to cope with himself at some point and will hit her. After all, there are people who are very impulsive, for whom it is objectively difficult to cope with an emotional tide, harder than others. It is necessary to understand each specific case, to find out the reasons for each manifestation of violence separately. Because if a man came home drunk and began to look for opportunities to get to someone because it became hard in his drunken soul, and now he needs to somehow establish himself at the expense of his household, and he hit his wife – this is one thing. But if the wife, before her husband hit her, systematically ignored the instructions and requests of her husband, and as a result the child suffered because of this, then this is a completely different situation. Therefore, it is hard for me to speak unequivocally about how many times a husband can hit his wife so that she can go and file for divorce. In each situation, there are always too many individual nuances to give some general advice “for everyone.” The only thing we can say for sure is that if violence was used, then not everything is in order in the family. And in order to find a way out of such a situation, it is necessary, firstly, to find out what caused what happened, secondly, to evaluate all the variety of nuances that I spoke about, and thirdly, to assess the damage itself caused to the victim. Because it is one thing to hit a person on the arm, and quite another to kick him. And if a person once allowed himself such a beating, which led one of his loved ones to the hospital with serious injuries, then this is a good reason to think very seriously about the need to live further in such a family. After all, the next time the result of a family scandal may already be death. Based on the above, it turns out that in a family such a situation is possible when you can still justify your husband, when is it permissible to raise your hand? No, such situations do not exist! There are no situations when it is permissible to violate the criminal code! But, nevertheless, the severity of crimes is different, and in the Criminal Code itself there are many possible types of punishment, and it is one thing to commit an especially grave crime, and quite another to go under the article “petty hooliganism”. In any case, violence is a crime. A crime against the family, the severity of which, however, like any other crime, can vary. I repeat: in what case, after a woman has become a victim of violence, should she put an end to her relationship with her husband and not tolerate him further? It is definitely worth putting an end to it if a person commits violence regularly, if he commits it in a state of alcoholic, drug intoxication, if he does not regret it at all, if he revels in his own strength. In this case, of course, the point must be put, because usually, unfortunately, such defects have a malignant course. You know, a person who commits violence is about the same as with fighting dogs, who become fighting dogs after they first feel the blood of another dog. That’s all, this is enough to change their program of behavior fundamentally, then they are already attracted to violence instinctively. Further, it already carries a person if he does not receive an adequate rebuff. Then it seems to him that he can continue to hurt others, over and over again, and with each precedent of unpunished violence it is harder and harder for him to stop and change. He is no longer looking for any other ways to resolve the conflict; he already has a completely clear path along which he is going, and this path is violence. Further, of course, you need to get divorced when the violence affects children, including when it traumatizes children psychologically. If a woman is beaten in front of a child, if the child suffers from this, or if the father beats the child, beats him severely, then in this situation the woman should first of all think about the child. And although it is hard for children to live without a father, violence and scenes of violence are a very terrible phenomenon for the child’s psyche, which cannot be tolerated. Which can then greatly affect the fate of the child, his formation, his development, his entire future life, his stereotypes of behavior, including his own future family? How can a woman fight back her husband when a dangerous situation only arises, when she is still in conception, and how to fight back if she has already flared up? And the second point: how, in principle, to neutralize a man’s aggression? Can a woman eradicate domestic violence? As for the opportunity to change a man, to make him give up violence, I can say with confidence that no woman will ever be able to fundamentally change her man. In general, none of us can change another person if that person does not want change. You can only change yourself, and this is what you should do. As for the means that would allow a woman to stop the aggression of her husband, there are, of course, no such universal means. Here, one should also take into account where the violence occurs, what are the psychological and physical characteristics of a man, whether he is drunk or sober, therefore, in each case, something of his own can actually stop him. In one case, it is enough to order him to stop, in another case, only a police outfit will help. But it is absolutely certain that when a person in a dangerous situation for him begins to panic, when he loses his composure, the consequences of this situation will be much more difficult for him than if he maintains composure, if he keeps the situation under relative control, makes attempts to achieve its peaceful rather than violent permission. After all, how often does it happen in our families? The husband, tired after work, comes home, a quarrel arises over a trifle. He is a word – she is two, he is further, she is even more, and as a result, this verbal skirmish can no longer end in anything good, there is the use of physical violence of the strong against the weak. Sometimes the husband gets a frying pan from his wife, as is also traditionally accepted in our country. If a woman in such a situation did not allow her emotions to get the better of herself, if she calculated how it could end, and broke her pride in the heat of passion, then there would be no further escalation of the conflict, and violence could have been avoided. After all, basically all wives know what their husbands are capable of, but they do not always apply this knowledge in practice. That is, somewhere you can and should be more flexible. For example, it is difficult to come to an agreement with drunk people about something, but you can not get on the rampage, try to calculate the development of the situation in advance, accordingly building your own defense. You can call someone in time, not delay calling the police, prepare some escape routes so that you can leave on time, or, conversely, close the door with a key in front of a potential rapist. All this must be calculated in advance, at the very beginning of the development of a dangerous situation, at the very beginning of the development of the conflict, and then violence, in principle, can still be avoided. Your statement that a woman can never change her husband, because you always want to believe in the best, sounds quite pessimistic. You said that a woman needs to work on herself, but it seems to me that this is still a joint work of both spouses. And above all, a woman needs to enter into a constructive dialogue with her husband in order to jointly change the situation in the family. Can’t spouses do anything together? No, together, of course, it is possible and even necessary. But often scandals and domestic violence are followed by a bunch of grievances, both from one side and the other. The husband usually considers himself right and undeserved that his violence is imputed to him. The wife considers herself an injured party, of course, she is also right, and there is no dialogue, the situation is not resolved. Each believes that he is right and that the other should apologize and change at his will. There is no equal dialogue. The spouses often do not agree on any rules of conduct in their family. Both husband and wife have been living on their own wave for years, each considers his own rules to be the only true for the whole family and does not consider it necessary to discuss them. Would it be nice to have such a commercial relationship between companies, where each of the parties itself established the rules and procedures for the execution of the transaction, without discussing them with other parties? Each participant in such a transaction would soon apply to arbitration, convincing the court that his partner has violated some of his obligations, of which he has no idea. It would be a senile business situation, but this is how it is in today’s family! In any other human community there are some firmly established rules, even in the metro, where everything is simple and clear, we follow specially developed and established rules for using the metro. But we don’t have that in our family. No one, never practically, I have not personally met such cases, when creating my family does not discuss with my spouse which of them should and what should not do, who is responsible for what, who does what. And so on to the nuances. Sometimes in group sessions, I ask people to write ten principles each, just ten laws for their family, that the husband and wife would discuss together. They write almost some kind of constitution, only the most general words about love, care, and respect for each other! This is not specific, this is all nonsense! We do not have any specific behavioral algorithms in our families. And if there are no specifically prescribed algorithms, and everyone stays on their own wavelength, then the conflict is in principle inevitable. For any question: taking out the trash, making breakfast, buying clothes, raising a child. We need to sit down, we need to understand the reasons for the disagreements, without unnecessary offense, without bias. You need to be prepared that you may be wrong. It’s another matter if one of the spouses refuses to discuss the problem. Then yes, we can conclude that he does not want to work on himself, he does not want to establish any rules. And naturally, the future of the family, unfortunately, cannot be insured against the recurrence of violence. If a husband who beats his wife constantly convinces her and others that only he is right, using violence in some situations, If a man and a woman have not yet become husband and wife and they have time to get to know each other and understand what their future spouse is like, are there any signs by which you can recognize a man who can use violence in his family? It is clear that in the premarital period, both men and women demonstrate to each other basically only their best qualities, and all significant shortcomings manifest themselves in full force only with the experience of living together. But still, what should a future wife pay attention to? In order to reliably determine the character and inclinations of the future spouse with a high degree of probability, it would be good for both man and woman to pass special tests, to work with a good psychologist. I can name several criteria, some character traits and features of a man’s life that his future wife should pay attention to, but I will say right away that their presence or absence does not give any guarantee. First of all, a low level of intelligence is potentially violent. People with poor mental development, as a rule, are inclined to solve problematic issues by purely physical methods, but again I will make a reservation, this is only a general tendency for this category, this cannot be said about all of them. A more accurate indicator is alcohol abuse, which certainly contributes to the manifestation of violence. You should also pay attention to the aggressive behavior of a man in a company or on the street or in a team. If a man is constantly prone to starting fights, clashes with other people, prone to quarrels and clarification of relations in a raised voice, then we can confidently expect that he will resolve issues in his family with the same methods. Tellingly, some men in the courtship stage like to demonstrate their fearlessness in the face of violence, if they have it. A man is the protector of the family, he should be brave, but when the future spouse immediately starts a fight because of some petty remark or joke heard on the street, in a traffic jam or in a restaurant, then the future wife should think about Further, people who have been in a certain social environment for a long time are often prone to violence, where your place in the hierarchy is associated with how you can work with fists. Unfortunately, these are not only places of deprivation of liberty, but also the current army, and orphanages, and other similar closed organizations. And, of course, the main indicator by which one can predict a man’s propensity to violence in the family is, in general, his attitude towards other people, including his parents. If he constantly condemns other people, if a person has high self-esteem, he considers himself superior to other people, if he is not used to thinking about solving a problem, but is used to solving it with daring methods … And also if a man already had relationships with other women who were interrupted due to his use of violence, this is very good reason to think about how happy your family life will be with him. What do you think, is it worth associating life with such a person, in the hope that in the future he will change, improve? If this question is in front of you, then you should not ask the psychologist, because by doing so he will have to take part of the responsibility for the consequences of your decision. Everyone must make this difficult choice and be responsible for it. And this choice must be approached very carefully and seriously. You cannot, as is often the case, trust your fantasies and dreams not confirmed by life about your “soul mate”, with whom you will always be happy, live to a ripe old age and die in one day. You need to adhere to realistic ideas, you need to look at things soberly, not to wear rose-colored glasses over your eyes, and then mistakes in choosing, whatever your partner may be, can usually be avoided. What to do for a person who has experienced domestic violence Domestic violence often leads to isolation. That is why it is important not to cut off social ties and not refuse to communicate with people. You need to try not to get addicted and look for help – go to crisis centers or psychologists. It’s like with children: a child is taught from childhood – if someone bothers you, you need to come up and tell the teacher about it. If he does not react in any way, then you need to go to another teacher or another adult. You need to seek help until there is someone who can solve the problem. The same is the case with violence: you need to find a support group. Just be careful on the Internet – there you will most likely get a stream of dirt with words of sympathy. Look for people who are absolutely supportive. As soon as a crisis comes, you have the right to divide everyone into two groups: after communicating with them I feel better / after communicating with them I feel worse, and communicate only with people from the first group. Moreover, even parents and close friends may end up in the second, then communication with them should be stopped for a while. But a support group is needed – it is difficult to get out of the cycle of domestic violence alone. There is no global conspiracy against women, but women are much more likely to be victims of domestic and domestic violence. Men are also victims of domestic violence, but much less often. We can say that these are two different sides of patriarchy. Men drink more, because they relieve stress with alcohol, get sick more often and die earlier, including from emotional stress that they cannot express. A “real” man is more likely to break apart than to share or ask for help. So everyone suffers from this value system.

<urn:uuid:49048f35-1d02-481b-b78a-0109275f7ebd>

CC-MAIN-2020-34

https://www.knowworldnow.com/domestic-violence-husband-beater/

s3://commoncrawl/crawl-data/CC-MAIN-2020-34/segments/1596439738366.27/warc/CC-MAIN-20200808224308-20200809014308-00449.warc.gz

en

THERE was a frightful drought. The rivers after a while dried tip and even the springs gave no water. The animals wandered around seeking drink, but to no avail. Nowhere was water to be found. A great gathering of animals was held: Lion, Tiger, Wolf, Jackal, Elephant, all of them came together. What was to be done? That was the question. One had this plan, and another had that; but no plan seemed of value. Finally one of them suggested: “Come, let all of us go to the dry river bed and dance; in that way we can tread out the water.” Good! Everyone was satisfied and ready to begin instantly, excepting Rabbit, who said, “I will not go and dance. All of you are mad to attempt to get water from the ground by dancing.” The other animals danced and danced, and ultimately danced the water to the surface. How glad they were. Everyone drank as much as he could, but Rabbit did not dance with them. So it was decided that Rabbit should have no water. He laughed at them: “I will nevertheless drink some of your water.” That evening he proceeded leisurely to the river bed where the dance had been, and drank as much as he wanted. The following morning the animals saw the footprints of Rabbit in the ground, and Rabbit shouted to them: “Aha! I did have some of the water, and it was most refreshing and tasted fine.” Continue reading “The Dance for Water or Rabbit’s Triumph”

<urn:uuid:b8bf503f-b809-4365-a810-eddc75f012e5>

CC-MAIN-2021-17

https://afrolegends.com/2015/02/17/

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038492417.61/warc/CC-MAIN-20210418133614-20210418163614-00225.warc.gz

en

Libel and Slander. Constitutional Law, Libel and slander, Freedom of speech and press. Judge. Malice. Damages, Libel. Evidence, State of mind. Discussion of the limits set by the First Amendment to the United States Constitution on the application of defamation law with respect to any factual statement published in the news media about a public official or public figure, even when that statement is shown to be false and defamatory. [48-50] In a defamation case brought by the plaintiff, a judge of the Superior Court, against the defendants, a newspaper and a reporter, there was overwhelming evidence (including the complete discrediting of a key witness and the affirmative testimony of percipient witnesses indicating that words spoken by the plaintiff were not as quoted by the reporter) from which to conclude, as the jury did, that the statements at issue were defamatory and false [50-57]; further, the evidence (which demonstrated the reporter's purposeful failure to investigate known witnesses and the questionable circumstances in which the reporter destroyed his notes) clearly and convincingly supported the jury's determination that the defendants published the statements with actual malice, that is, with knowledge of their falsity or with serious doubts as to their truth [57-64]; moreover, the evidence decisively demonstrated that the reporter, in commenting on a television show about the statements in question, possessed either a brazen disregard for the actual truth or a deliberate intent to give credence to a controversial story that he knew at the time to be false [64-65]. In a defamation case brought against a newspaper and a reporter concerning the newspaper's publication of defamatory articles written both by the defendant reporter and by other reporters at the newspaper, there was no merit to the defendants' argument that the plaintiff could not recover dam-ages for any libelous statements therein without proof of actual malice as to each reporter. [65-66] In assessing damages in a defamation action brought against media defendants, the judge properly permitted the jury to consider hate mail received by the plaintiff that explicitly referred to the articles in question ; further, the jury could properly consider (and the judge properly instructed them on their use of) certain testimony about the emotional impact on the plaintiff of being made the target of public disgrace by the defendants [66-67] and the emotional distress suffered by the plaintiff as a result of watching his daughter's acute emotional trauma in the wake of the publication of the articles [67-68]; moreover, the judge's decision to admit expert testimony concerning the nature of generally accepted journalistic standards was within his discretion [68-69]. In a defamation action brought against a newspaper and one of its reporters, there was no merit to the newspaper's argument that it could not be held liable for statements made by the reporter on a television show about the defamatory articles published in the newspaper, where the reporter was acting within the scope of his employment at all times relevant to the case and appeared on the television show with the approval, and encouragement, of his editors. In a defamation action brought by the plaintiff, a judge of the Superior Court, against the defendants, a newspaper and a reporter, any impropriety connected to two letters sent by the plaintiff to the newspaper after the verdict could not possibly have so tainted the trial as to require that the judgment be vacated and the complaint be dismissed. CIVIL ACTION commenced in the Superior Court Department on June 3, 2002. The case was tried before Charles R. Johnson, J., sitting under statutory authority. The Supreme Judicial Court granted an application for direct appellate review. Bruce W Sanford, of the District of Columbia (Bruce D. Brown, of the District of Columbia, & Jeffrey P. Hermes with him) for the defendants. Michael Avery (Howard M. Cooper with him) for the plaintiff. Jonathan M. Albano & Carol E. Head, for The Associated Press & others, amici curiae, submitted a brief. GREANEY, J. We have before us on direct appellate review the special verdict of a jury in the Superior Court in a defamation case brought by the plaintiff, a judge of the Superior Court, against the defendants, the Boston Herald, Inc., and its reporter, David Wedge. The jury found that the defendants published a series of false statements about the plaintiff that held him up to public disgrace and contempt, and, further, that they published the statements either with actual knowledge that the statements were false, or with a high degree of awareness of their probable falsity. We conclude that the verdict, as modified by the trial judge, holding the defendants liable for the calumnies published, is sound in fact and in law, and we now affirm the judgment entered on the jury's verdict. We summarize the undisputed facts necessary to set the general context of this appeal, reserving certain details essential to the disposition for discussion of the relevant issues. On February 13, 2002, the Herald published the first in a series of articles attacking the plaintiff's perceived "softness on crime." The front-page article, authored by the defendant David Wedge and another reporter, Jules Crittenden, ran under the headline "Murphy's law." The article was subtitled "Lenient judge frees dangerous criminals," and included a photograph of the plaintiff with a caption describing him as "Under fire." The article began as follows: "A wrist-slapping New Bedford Superior Court judge under fire for letting four accused rapists return to the streets in the past week has a pro-defendant stance and has heartlessly demeaned victims, according to records and sources. "According to several courthouse sources, Judge Ernest B. Murphy said of a teenage rape victim, `She can't go through life as a victim. She's [fourteen]. She got raped. Tell her to get over it.' "The exchange occurred in Murphy's New Bedford Superior Court chambers last week when prosecutors confronted Murphy over his lenient sentencing practices. He also belittled a [seventy-nine] year old robbery victim when prosecutors pushed for a tough jail term for her attackers, reportedly saying, `I don't care if she's [one hundred and nine],' sources said." The article characterized the plaintiff as a "career civil attorney now sitting as a judge on criminal cases, [who] has come under heavy scrutiny from prosecutors and police for doling out probation to violent offenders and allowing accused rapists to walk out of court on bail." Paul F. Walsh, Jr., district attorney for the Bristol district, was quoted as saying, "He sees the courts as a social service agency to help defendants. All his compassion goes to the defendants and not the victims and that's not justice." The article listed specific instances where the plaintiff allegedly favored violent criminals over victims, to the outrage of victims' families and law enforcement. Walsh was quoted as saying, "I rue the day when one of these people comes back and hurts someone again. It's going to happen." The next day the Herald ran a second article by Wedge about the plaintiff, this one entitled, "Rape victim's mom pleads . . . Dump the judge." The article began, "A criminal-coddling judge who has let four accused rapists walk out of court in the past week should be removed by acting Gov. Jane Swift, the enraged mother of one of the rape victims said yesterday." The article described how the young victim "took the stand and tearfully told the judge how the rape has affected her," and reported that the plaintiff sentenced the defendant to probation for eight years, "[d]espite the teen's heart-wrenching testimony." The article, which included a photograph of the "enraged mother," continued, "According to courthouse sources, Murphy made a heartless comment about [her] daughter to a prosecutor behind closed doors just days after the lenient sentence. `She can't go through life as a victim. She's [fourteen]. She got raped. Tell her to get over it,' sources quoted the judge as saying." The articles of February 13 and 14 were followed by other Herald articles sharply critical of the plaintiff, which contained sweeping allegations of his incompetence to sit on criminal cases, his bias toward defendants, and his open hostility to victims and prosecutors. The majority of articles repeated the statement first attributed to the plaintiff by Wedge on February 13, "She's [fourteen]. She got raped. Tell her to get over it," and those words drew national attention. On March 7, with the approval and encouragement of his editors, Wedge appeared as a guest on the televised talk show, "The O'Reilly Factor." When the show's host asked Wedge, "Are you absolutely one hundred per cent sure that Judge Murphy said that the rape victim should get over it?," Wedge responded, "Yes, he said this. He made this comment to three lawyers. He knows he said it, and everybody else that knows this judge knows that he said it. The Herald's publications devastated the plaintiff. Once a proud, gregarious man, he became diminished, scared, and sad. The plaintiff's physician described the plaintiff as psychologically "devastated and broken." Diagnosed with severe posttraumatic stress syndrome, the plaintiff suffered from duodenal ulcer disease and irritable bowel syndrome and was required to undergo multiple invasive endoscopic procedures. There was evidence that his reputation in the legal community and collegial relationships with colleagues deteriorated to the point where he felt "radioactive." The plaintiff filed a complaint in the Superior Court in June, 2002, alleging that the stories were false, that they had damaged his reputation and caused other injuries, and that they had been published with actual malice. [Note 2] The case was tried over a twenty-day period in January and February, 2005. The jury were given a twenty-two page special jury questionnaire, which properly defined the requirements of defamation involving a public official, and asked whether the plaintiff had proved all of the required elements of his claim on each of sixty-one statements appearing in seventeen exhibits. [Note 3] The questionnaire also asked the jury to determine the amount of damages (if any) to which the plaintiff was entitled, on each of the libelous statements, in accordance with the judge's instructions on damages. The jury found the defendants liable on twenty-two counts of defamation and awarded the plaintiff compensatory damages in the sum of $2.09 million. [Note 4] The defendants filed a motion for judgment notwithstanding the verdict, pursuant to Mass. R. Civ. P. 50 (b), as amended, 428 Mass. 1402 (1998), or, in the alternative, for a new trial, pursuant to Mass. R. Civ. P. 59 (a), 365 Mass. 827 (1974), and for remittitur. The judge [Note 5] upheld the bulk of the verdict, but concluded that three of the statements for which the jury found the defendants liable qualified as protected statements. The judge denied the defendants' motion in part, and allowed it in part, which had the effect of reducing the damages award to $2.01 million. The defendants challenge their liability with respect to the remaining nineteen statements, which may be grouped into five categories as follows. (a) The plaintiff stated "She can't go through life as a victim. She's [fourteen]. She got raped. Tell her to get over it." [Note 6] (b) "The exchange occurred in [the plaintiff's] New Bedford Superior Court chambers last week when prosecutors confronted [him] over his lenient sentencing practices." (c) The plaintiff "heartlessly demeaned victims." [Note 7] (d) "The victim [in the rape case] took the stand and tearfully told the judge how the rape has affected her." (e) "[The plaintiff] said this - he made this comment to three lawyers. He knows he said it, and everybody else that knows this judge knows that he said it." The defendants contend on appeal that the jury's verdict and award of damages are "incongruent with controlling authority under the First Amendment." Their arguments focus primarily on the sufficiency of evidence to support the jury's determinations that the above statements were false and meet the constitutional standard for a determination of "actual malice." They also challenge the judge's instructions on the doctrine of "republication" and assert errors in miscellaneous evidentiary rulings made by the judge with respect to damages. Finally, the defendants argue that two letters sent by the plaintiff to the Herald after the verdict, one on court stationery, were so inappropriate as to require that the judgment be vacated and the plaintiff's complaint be dismissed. We address each claim in turn. 1. a. The First Amendment to the United States Constitution sets clear limits on the application of defamation law with respect to any factual statement published in the news media about a public official or public figure, [Note 8] even when that statement is shown to be false and defamatory. In New York Times Co. v. Sullivan, 376 U.S. 254, 279-280 (1964), the United States Supreme Court held that, in such cases, the First Amendment requires that the plaintiff must prove, by clear and convincing evidence, that the defendant published the false and defamatory material with " `actual malice' - that is, with knowledge that it was false or with reckless disregard of whether it was false or not." See King v. Globe Newspaper Co., 400 Mass. 705 , 719 (1987), cert. denied, 485 U.S. 962 (1988); Stone v. Essex County Newspapers, Inc., 367 Mass. 849 , 867 (1975). Subsequent decisions by the Supreme Court have established that a finding of "reckless disregard" requires proof, not of mere negligence, but that the author "in fact entertained serious doubts as to the truth of his publication." St. Amant v. Thompson, 390 U.S. 727, 730-731 (1968). See Bose Corp. v. Consumers Union of U.S., Inc., 466 U.S. 485, 511 n.30 (1984), and cases cited. See also McAvoy v. Shufrin, 401 Mass. 593 , 598-599 (1988); King v. Globe Newspaper Co., supra at 720; Stone v. Essex County Newspapers, Inc., supra. Exactly how much evidence is sufficient, as matter of constitutional law, to establish actual malice is determined on a case-by-case basis. When two opposing versions of occurrences exist, the jury's conclusion to disbelieve the defendant's version is not enough to establish actual malice. See Harte-Hanks Communications, Inc. v. Connaughton, 491 U.S. 657, 692-693 (1989). Further, the fact that journalistic standards were not met, or that a reasonably prudent person would have investigated further, will not be sufficient to show actual malice. See St. Amant v. Thompson, supra at 731. "[A] public figure plaintiff must prove more than an extreme departure from professional standards." Harte-Hanks Communications, Inc. v. Connaughton, supra at 665. When a reporter is aware of an allegation's probable inaccuracy, however, a deliberate intent to avoid the truth may be adequate to establish actual malice. See id. at 692; St. Amant v. Thompson, supra at 731-732. When reporting allegations of a third party, "recklessness may be found where there are obvious reasons to doubt the veracity of the informant or the accuracy of his report." Id. at 732. A defendant cannot ensure a "favorable verdict by testifying that he published with a belief that the statements were true." Id. See Milgroom v. News Group Boston, Inc., 412 Mass. 9 , 11 (1992). As a baseline proposition, the reviewing court must examine the content of the statements, and the circumstances under which they were made, to see "whether they are of a character which the principles of the First Amendment . . . protect." New York Times Co. v. Sullivan, supra at 285. Because First Amendment values are at stake, Federal constitutional law also requires the reviewing court to conduct an independent examination of a jury verdict favorable to the plaintiff, to determine whether the evidence in the record is sufficient to support a determination of "actual malice." See Bose Corp. v. Consumers Union of U.S., Inc., supra at 499-501, 508-509 n.27; McAvoy v. Shufrin, supra at 596-597. The purpose of this examination is to ensure that the jury's finding of "actual malice" is not "predicated on a misunderstanding of the governing rule of law." Bose Corp. v. Consumers Union of U.S., Inc., supra at 501. A court must review those parts of the record which relate to the jury's finding of "actual malice," for each defamatory statement, to determine whether the record establishes actual malice with convincing clarity. See id. at 514 & n.31; King v. Globe Newspaper Co., supra. The question whether the evidence is sufficient to support a finding of actual malice is one of constitutional law. See Harte-Hanks Communications, Inc. v. Connaughton, supra at 685-686. It is clear, however, that a reviewing court cannot observe the demeanor of witnesses and, therefore, is not equipped to answer questions of credibility. The constitutionally required independent examination therefore takes place when, after compiling all of the facts implicitly established by the jury's verdict, the court considers whether that body of facts, clearly and convincingly, supports a determination of actual malice. See id. at 689-690; Mandel v. Boston Phoenix, Inc., 456 F.3d 198, 208 (1st Cir. 2006) ("Purely factual determinations [such as credibility calls] remain subject to the usual degree of deference"). Although the independent examination is not "de novo" in the literal sense, see Bose Corp. v. Consumers Union of U.S., Inc., supra at 514 n.31, core First Amendment values require a searching reassessment of the factual record in full, to ensure that all inferences underlying the jury's ultimate determinations are legitimate and provide clear and convincing evidence of actual malice. See Harte-Hanks Communications, Inc. v. Connaughton, supra; Newton v. National Broadcasting Co., 930 F.2d 662, 670-671 & nn. 12, 13 (9th Cir. 1990). Guided by these principles, we now turn to our analysis of the challenged statements. b. As an initial matter, we conclude that there is overwhelming evidence in the record from which to conclude, as the jury did, that the statements were defamatory [Note 9] and false. The question of falsity, or substantial falsity, remains one of tort law, and minor inaccuracies will not constitute falsity if the substance of the alleged libelous matter is true. See Milgroom v. News Group Boston, Inc., supra at 12-13; Thompson v. Boston Publ. Co., 285 Mass. 344 , 349 (1934); 1 R.D. Sack, Libel, Slander, and Related Problems s. 2.4.18 (3d ed. 2006). In cases, as here, involving matters of public concern published by a media defendant, the burden is on the plaintiff to prove falsity. See Philadelphia Newspapers, Inc. v. Hepps, 475 U.S. 767, 775 (1986); Friedman v. Boston Broadcasters, Inc., 402 Mass. 376 , 381 (1988). [Note 10] The defendants' challenge to the jury's determination on this issue is subject to our traditional standard of review of any jury's finding of fact, that is, whether the fording has a basis in the evidence and reasonable inferences that could be drawn therefrom. The defendants present no persuasive argument as to why the jury's clear determination in this regard, for each of the five categories of statements determined to be libelous, is not reasonable and amply supported by the evidence. Wedge, called as a witness for the plaintiff, testified as follows. One or two weeks before writing the February 13 article, he became aware of some controversy over the plaintiff's sentencing rulings, and, after discussing the matter with his editors at the Herald, was assigned to investigate growing public criticism of the plaintiff. In conversations with Gerald FitzGerald, assistant district attorney and chief trial counsel for the Bristol district, Wedge was informed that the plaintiff had made certain comments to prosecutors about two crime victims. The first was made concerning a seventy-nine year old robbery victim during a lobby conference in the case. According to FitzGerald, the plaintiff refused to sentence the defendants to jail time, and, to the prosecutor's insistence that the victim's age should be considered an aggravating factor, responded, "I don't care if she's [one hundred and nine]." [Note 11] The second, which FitzGerald indicated was made about a fourteen year old rape victim, was the "tell her to get over it" statement. Wedge wrote FitzGerald's words down in a notebook. Wedge then spoke to Paul Walsh, the district attorney, who repeated the statements to Wedge. Wedge understood that Walsh and FitzGerald had not been present when the statement regarding the rape victim was (allegedly) made, and asked Walsh for the name of the prosecutor who had reported hearing the plaintiff say the words. Walsh told Wedge that he preferred to keep the identity of the prosecutor, a young assistant district attorney, confidential. However, Walsh arranged a meeting between Wedge and the prosecutor, David Crowley, to whom FitzGerald said the statements had been made. According to Wedge, this meeting took place before February 13 in FitzGerald' s office, and, at the meeting, Crowley confirmed to Wedge that Walsh had correctly characterized the statements. Wedge read from his notebook the quotations that would appear in the Herald, and Crowley did not indicate that any of the information was inaccurate. Wedge next went to the New Bed-ford court house to interview the plaintiff, but there was turned away by a clerk, who told him that he would not be able to speak with the plaintiff. Wedge asked a court officer whether it would be possible for him to deliver a note to the plaintiff, but was told no. On the afternoon of the day the story ran, Wedge sought out the plaintiff at a restaurant near the court house, in order to provide him with an opportunity to respond to the "charges in the newspaper." The plaintiff declined to do so, however, telling Wedge that he was prohibited from discussing pending cases. [Note 12] Wedge discarded the notebook in which he had recorded the plaintiff's statements, as told him by Walsh, FitzGerald, and Crowley, sometime after the February 13 story ran. This then was Wedge's side of the case. Wedge, however, was thoroughly and convincingly impeached by his own deposition testimony, taken in July and August, 2002. At his deposition, Wedge contradicted his trial testimony in every material respect. For example, Wedge testified at his deposition that he did not meet with Crowley, and thus did not confirm the accuracy of the alleged statement with any percipient witness, until after the statement had been published in the February 13 article. Moreover, Wedge conceded that his sources for the statement (FitzGerald, Walsh, and Crowley) related the statement using slightly different words, and that, instead of "tell her to get over it," the words told him may have been, "she's got to get over it." At one point in his deposition, Wedge testified that all three of his sources had told him that the plaintiff had said, "She's a [fourteen year old] girl, she got raped, she's got to get on with her life and get over it." He admitted that FitzGerald originally had told him that the plaintiff had said the words after the sentencing hearing in the rape case. By the time the February 13 article appeared, Wedge testified at his deposition, his information as to when the words had been spoken had changed. Wedge also admitted, in his deposition testimony, that he had no source at all for the report that the words had been spoken when prosecutors had "confronted" the plaintiff over his lenient sentencing practices. According to Wedge, the confrontation context may have been a fabrication. When asked to describe the court officer at the court house who had (as Wedge testified) barred his access to the plaintiff on February 12, Wedge was unable to provide any details. Wedge admitted, in deposition testimony, that he did not know the location, in the court house, of the court room in which the plaintiff was sitting that day, and admitted, essentially, that there had been no note. In the end, Wedge also was unable to identify any source for his reported statements that the plaintiff "heartlessly demeaned victims." Finally, Wedge conceded that the statement in the February 14 article reporting that the rape victim "took the stand and tearfully told the [plaintiff] how the rape had affected her" was false. Indeed, in a different article appearing in the Herald on February 14, directly alongside Wedge's article, it was correctly reported that a prosecutor had read the victim's impact statement in court. Neither Wedge, nor any other Herald employee who testified at trial, could name one person at the Herald who either edited, or checked for ac-curacy of, the content of Wedge's articles. It is fair to say that, by the end of Wedge's testimony, his credibility on any material factual point at issue was in tatters. In direct contrast to Wedge's testimony, five of the six participants in the lobby conference for the robbery case (including the plaintiff) denied that anything had been said about the rape victim in that setting. Crowley, the only participant who at-tested otherwise, testified that the plaintiff had said words to the effect of "she needs to get on with her life and get over it." He testified forcefully that the plaintiff had not stated the words, "Tell her to get over it" and denied that he had ever told anyone that the plaintiff had done so. When Crowley saw the February 13 Herald article he was "surprised" and "concerned" because he did not know where the "tell her to get over it" quote originated. He testified that it was not accurate. Crowley agreed that he had testified, at his deposition, that if Wedge had asked him to confirm that the plaintiff had used the phrase "tell her to get over it" (as Wedge had claimed), he (Crowley) would have corrected him. He also testified that he had never told Wedge that he had heard the plaintiff had demeaned or belittled the young rape victim or heartlessly demean any victim. Crowley testified that, the day after reading the February 13 article, he went to see FitzGerald (who was his superior), and told him that he was not pleased with what had been said in the article. FitzGerald was the only witness at trial, besides Wedge, to testify that the actual words Crowley had told him, and that he and Walsh had repeated to Wedge, were "tell her to get over it." The jury's attention with respect to FitzGerald's testimony, however, was clearly focused on the probability of bias. The jury heard evidence that FitzGerald had known the editor-in-chief of the Herald, Andrew F. Costello, Jr., for over twenty years, both professionally and socially. FitzGerald testified that his daughter had worked for the Herald from 2001 until 2004 (first as an intern, later as a reporter), and that she had obtained her job, at least in part, because of his friendship with Costello. FitzGerald had once represented one of Costello's family members in a criminal matter. As conceded by defense counsel at oral argument, determinations of credibility under the Bose standard remain the province of the jury. While it is impossible to know for certain exactly what credibility determinations led to the jury's verdict, it is clear that the jury did not believe FitzGerald. Walsh testified that Crowley had come to him with a comment the plaintiff had made about a rape victim, and that he in turn had reported the comment to Wedge, but testified that he was unable to recall the exact words spoken. Walsh stated, at different times in his testimony, that the words could have been, " `She's fourteen. She's been raped - she needs to get over it. Tell her to get over it,' " or " `She's fourteen. She's got to get on with her life. She needs to get over it. She has to get over it,' or `get over it.' " On cross-examination, he was impeached by his deposition testimony in which he admitted to having "[n]o specific memory of his exact words," but testified that he had told Wedge, in substance, that the plaintiff had said, "She's got to get on with her life. She's got to get over it." Walsh also testified that he never told Wedge that the plaintiff had demeaned or belittled victims and that he characterized the interaction between Crowley and the plaintiff to Wedge, and others in the media, as a "good-faith dispute." Walsh agreed with the plaintiff's counsel that it "could be true" that the quote was something that he had heard was said at an earlier lobby conference for the rape case. None of the five participants in the earlier rape case lobby conference, however, had any recollection of any "tell her to get over it" remark being made in that setting. [Note 13] All (including the prosecutor, David Frank) testified that the plaintiff expressed concern for the impact of the crime on the young rape victim. The plaintiff specifically inquired whether probation could assist the victim pay for counselling services or whether the defendant had the resources to pay for such counselling. The clerk testified that the plaintiff indicated that the victim should be in counselling to help her cope with her situation and to help her "put the matter behind her and get on with her life." All participants denied emphatically that there had been any sort of confrontation between the prosecutor and the plaintiff. Voices were not raised and the atmosphere was cordial. [Note 14] Crowley was not present on that occasion. Throughout their brief, the defendants argue, essentially, that Wedge's February 13 article correctly captured the "gist" or "tone" of the statements made by the plaintiff. The jury, obviously, concluded otherwise and their conclusion is amply sup-ported by the evidence. This evidence included the complete discrediting of Wedge by his own statements and the affirmative testimony of percipient witnesses who indicated that the words spoken by the plaintiff were not as quoted by Wedge. The defendants assert in their brief that, "[h]aving noted that Crowley testified that the `gist' of the `get over it' statement was accurately reported in the Herald . . . the trial court needed to go no further." This assertion is a misstatement of the law. A statement is false, for purposes of libel, if there has been a "material change in the meaning conveyed by the statement." Masson v. New Yorker Magazine, Inc., 501 U.S. 496, 517 (1991). This determination is one for the jury, and not for a witness, to make. See, e.g., McAvoy v. Shufrin, 401 Mass. 593 , 597-598 n.4 (1988). The jury were warranted in finding that the portion of the story quoting the plaintiff as saying, "She is [fourteen]. She got raped. Tell her to get over it," would lead one to believe the judge was indifferent, and even callous, to crime victims who appeared before him, and especially demeaning to the rape victim. The difference between the statement attributed to the plaintiff in the Herald articles, and the statement that Crowley testified he told Wedge the plaintiff had made, cannot, as matter of law, be characterized as a minor discrepancy protected by the First Amendment. [Note 15] Moreover, the actual remarks made by the plaintiff in the lobby conference in the rape case (as undoubtedly found by the jury) are polar opposites to what Wedge reported and demonstrate that the plaintiff had acted with compassion and prudent regard to assist the victim in restoring her life. c. We now review, as charged under the Bose decision, those parts of the record that relate to the jury's finding of "actual malice" for each defamatory statement published by the Herald, to determine whether the evidence clearly and convincingly supports the jury's determination that the defendants published each statement either knowing that it was not true, or entertaining serious doubts that it was true. See Bose Corp. v. Consumers Union of U.S., Inc., 466 U.S. 485, 514 & n.31 (1984). In order to uphold the jury's verdict on each count of libel, this court must be satisfied that the evidence, clearly and convincingly, supports the jury's factual determination as to Wedge's subjective state of mind, either that he actually knew the statements were false or that he had serious, unresolved doubts as to their accuracy. This determination may be made on the basis of circumstantial evidence. See Harte-Hanks Communications, Inc. v. Connaughton, 491 U.S. 657, 668 (1989); Milgroom v. News Group Boston, Inc., 412 Mass. 9 , 12-13 (1992); McAvoy v. Shufrin, supra at 599; Stone v. Essex County Newspapers, Inc., 367 Mass. 849 , 868 (1975) ("it would perhaps be rare for a defendant in such a circumstance to admit to having had serious, unresolved doubts"). Wedge's lack of candor on the witness stand strongly supports the inference that he deliberately attempted to mislead the jury. Although disbelief in Wedge's testimony alone is not sufficient to sustain a verdict for the plaintiff, we are satisfied that the evidence we discuss below would warrant a jury's finding of actual malice by clear and convincing evidence. There is an abundance of evidence that, taken cumulatively, provides clear and convincing proof that the defendants either knew that the published statements found by the jury to be libelous were untrue, or that they published them in reckless disregard of their probable falsity. Wedge knew that Walsh and others in the district attorney's office had publicly declared their animosity toward the plaintiff. Walsh, in fact, recently had called members of the media to an office conference room and informed them that he was going to use the media to "fire a shot across the [plaintiff's] bow." Wedge had read an article that appeared in the New Bedford Standard-Times on February 9, 2002, in which Walter Shea, an assistant district attorney for the Bristol district, was quoted as calling the plaintiff the "worst person in a black robe [he had] ever seen" and Walsh was quoted as calling the plaintiff "gutless." [Note 16] FitzGerald was quoted in the article as saying, "If he knew that [the plaintiff] was sitting on the bench, it would be enough to bring Whitey [Bulger] back home." [Note 17] FitzGerald and Walsh both testified that they had informed the reporter who authored the New Bedford Standard-Times article about the statement the plaintiff had purportedly made about the rape victim. When the New Bedford Standard-Times did not print the statement, Walsh repeated it to Wedge. [Note 18] The evidence pointed to a distinct probability that Wedge did not speak with Crowley, the only person who reported hearing the statement, until after the February 13 article had appeared. Both Wedge (at deposition) and FitzGerald (at trial) gave testimony indicating that Wedge did not learn of Crowley's identity (and, thus, presumably, could not have spoken with him) until after the publication of the February 13 article. Walsh testified that he, at first, had not told Wedge the name of the prosecutor who reported hearing the remark and had stated to Wedge, "right now, it's between [the plaintiff] and me." Assuming, however, that the jury believed that Wedge had met with Crowley before the February 13 article was published, it is certain that the jury found (and our independent review of the evidence leads us to the same determination) that Crowley never told Wedge that he had heard the plaintiff say, "Tell her to get over it." This finding is supported by the jury's obvious disbelief of FitzGerald, whom they likely found to be a biased witness, and of Wedge, whose testimony was discredited at every turn. The conclusion follows, inescapably, that Wedge knew that he had no percipient source for his report of the words attributed to the plaintiff. The evidence also supports the conclusion, as we next explain, that Wedge knew that the words "tell her" had, in fact, never been said. Wedge admitted that he considered the plaintiff's words, as reported in his story and as, he insisted at trial, they were told him by FitzGerald, Walsh, and Crowley, to be "outrageous." See St. Amant v. Thompson, 390 U.S. 727, 732 (1968) ("recklessness may be found when there are obvious reasons to doubt the veracity of the informant or the accuracy of his reports"); Lyons v. New Mass Media, Inc., 390 Mass. 51 , 57 (1983) ("A major basis for inferring actual malice involves examination of the sources used by the reporter . . ."). Wedge also admitted that FitzGerald, on whom he had relied for information many times in the past, had never before withheld from him the name of a source. Despite obvious reasons to doubt the quotation's accuracy, however, and although Wedge knew that there were others -not connected to the district attorney's office - who had been present at the robbery case lobby conference at which the statements purportedly were made, Wedge failed to interview anyone other than Crowley. Wedge and FitzGerald both testified that Crowley gave Wedge the names of the two defense lawyers who purportedly were present at the time the statements were made, but Wedge, admittedly, did not speak with them at any time. Neither did he seek to speak with the probation officer or the clerk who had been present. When substantial doubts have been raised as to the veracity of a reporter's information, the purposeful failure to investigate known witnesses may be proof of actual malice. See Harte-Hanks Communications, Inc. v. Connaughton, supra at 692-693; St. Amant v. Thompson, supra at 731-732. The evidence, clearly and convincingly, supports the inference that Wedge included the "tell her" quotation, which not one percipient witness had confirmed, to convey the impression (false) of callousness. The evidence equally clearly and convincingly sup-ports the determination that Wedge purposely did not seek to interview any of the percipient witnesses who would have contradicted the alleged facts in his article. [Note 19] See King v. Globe Newspaper Co., 400 Mass. 705 , 721-722 (1987). Perhaps most damaging to his protestations of good faith are the circumstances in which Wedge discarded the notebook in which he claims to have written the information as it was told to him by FitzGerald and Walsh. Although he testified that he usually discarded notes for articles "within a matter of days or [a] week" after publication, it is highly improbable that he would do so, as a routine matter, in this instance. The jury heard testimony that, on February 15, 2002, two days after the first article appeared, the plaintiff's attorney, J. Owen Todd, had personally informed Wedge that "the statements that you have quoted [the plaintiff] as making, he didn't make those statements. You have misquoted him." [Note 20] When questioned, Wedge could not say when, or where, he discarded the notebook, just that it was sometime "after the story ran." The jury were entitled to draw the negative inference that Wedge discarded his notebook in a deliberate effort to conceal what he knew were inaccuracies in his reporting. This inference, in turn, provides a strong basis for a finding of actual malice. See Chang v. Michiana Telecasting Corp., 900 F.2d 1085, 1090 (7th Cir. 1990) ("destruction could imply that the notes would have revealed that the reporter did not believe what he wrote or said"); Torgerson v. Journal/Sentinel, Inc., 210 Wis. 2d 524, 548 (1997) ("destruction of notes is ordinarily sufficient evidence to sup-port a jury verdict of actual malice"). [Note 21] As has been stated, there was no "confrontation" between the plaintiff and prosecutors, and Wedge admitted, in his deposition testimony, that the confrontational setting described in his article might have been a fabrication. Based on all of the evidence in the record (as well as the jury's clear lack of belief in Wedge's trial testimony), the jury undoubtedly found that Wedge knowingly invented the existence of a confrontation between prosecutors and the plaintiff at the robbery case lobby conference, just as he altered the "tell her" quotation, as a means to heighten the dramatic impact of his story. With respect to the statements that the "victim tearfully took the stand" and that the plaintiff "heartlessly demeaned victims," neither Wedge, or any other Herald reporter, could name any source for these statements. It is more than reasonable to infer that he made them up out of whole cloth, in order to create a more compelling story. Falsely creating the context in which the plaintiff's remarks were supposedly made is also, in our view, persuasive evidence that Wedge was aware of the falsity of the remarks themselves. See St. Amant v. Thompson, 390 U.S. 727, 732 (1968) ("Professions of good faith will be unlikely to prove persuasive . . . where a story is fabricated by the defendant [or] is the product of his imagination . . ."). The jury found, and we agree, that there was, in fact, no legitimate basis for reporting in the Herald that the plaintiff stated of a young rape victim, "She's [fourteen]. She got raped. Tell her to get over it'; that the plaintiff made the statement when "confronted" by prosecutors; that the rape victim "took the stand and tearfully told the [plaintiff] how the rape had affected her"; or that the plaintiff "heartlessly demeaned" victims. Deposition testimony of Patrick J. Purcell, the owner and publisher of the Herald, who was an unavailable witness, was read into the record at trial without objection. In his testimony, Purcell admitted that he knew that attributing the "tell her to get over it" quotation to a judge in the Superior Court would cause a "media frenzy." The conclusion is inescapable that a "media frenzy" was, in fact, exactly what the defendants intended. We recognize that the "actual malice" standard is a formidable one that cannot be met merely with evidence of a desire to increase profits, or even ill will on the part of a publisher. See Harte-Hanks Communications, Inc. v. Connaughton, 491 U.S. 657, 666-667 & n.7 (1989). Our examination of the record as a whole, nevertheless, satisfies us that, apart from Purcell's testimony (which furnished context for the jury in evaluating the issues before them on correct instructions of law), the record contains sufficient evidence to permit the conclusion that the defendants published the quotation, and other defamatory statements concerning the plaintiff, with knowledge of their falsity or with serious doubts as to their truth. [Note 22] d. Finally, we address the remarks made by Wedge on "The O'Reilly Factor" on March 7, 2002: "Yes, he [the plaintiff] said this. He made this comment to three lawyers. He knows he said it, and everybody else that knows this judge knows that he said it." The statements were not true. The defendants in their brief characterize Wedge's comments as "classic protected hyperbole." We disagree. The question posed ("Are you absolutely one hundred per cent sure?") was a serious one and no reasonable viewer would interpret Wedge's response as anything other than a serious response based on his knowledge of actual facts. See Lyons v. Globe Newspaper Co., 415 Mass. 258 , 266-267 (1993). Cf. King v. Globe Newspaper Co., 400 Mass. 705 , 711 (1987). Wedge knew that three lawyers did not tell him that they heard the statement. Wedge also knew that the plaintiff, through his attorney, had categorically denied to Wedge that he had made the statement. In an interview with the Boston Globe published on March 6, 2002, the plaintiff denied publicly that he had made the remarks reported by Wedge. In the same article, a clerk in the Superior Court for Bristol County, Marcel Gautreau, who had been present at the robbery case lobby conference in which the statements were purportedly made, was quoted as stating that he had attended five dozen lobby conferences with the plaintiff, and nothing like the reported remarks "would ever come out of his mouth." Although Wedge initially claimed at trial that he could not recall reading the March 6 Boston Globe article before appearing on "The O'Reilly Factor," he was forced to admit he had read it when confronted with the fact that he had been asked about the article on the show. Despite having read about the plaintiff's public denial, Wedge made no attempt to contact Gautreau, or anyone else who had been present when the statements purportedly were made, before appearing on "The O'Reilly Factor," or after. Wedge testified at trial that nothing in the Boston Globe article changed his mind about what he had written. This testimony suggests, decisively, that Wedge possessed either a brazen disregard for the actual truth or a deliberate intent to give credence to a controversial story that he knew (at the time) to be false. We have no hesitation in agreeing with the jury that Wedge's comments on "The O'Reilly Factor" were made with actual malice. 2. The defendants point out that almost one-third of the jury's verdict, and assessment of damages, stem from articles written by Herald reporters other than Wedge, who picked up on, and repeated, portions of Wedge's articles (most notably, the "tell her to get over it" statement, see note 6, supra). The defendants contend that, under Sullivan and its progeny, the plaintiff may not recover damages for any libelous statements therein without proof of actual malice as to each reporter. We disagree. An original publisher of defamatory material is liable for subsequent republication where "the repetition was authorized or intended by the original defamer, or the repetition was reasonably to be expected." Restatement (Second) of Torts s. 576 (1977). Our own cases on point are, admittedly, of pre-Sullivan vintage. See Burt v. Advertiser Newspaper Co., 154 Mass. 238 , 247 (1891); Miller v. Butler, 6 Cush. 71 , 74 (1850). They are consistent with First Amendment jurisprudence that has since developed and, therefore, remain good law. Here, it is established, by clear and convincing evidence, that the defendants acted with actual malice in publishing defamatory and false statements about the plaintiff in Wedge's original article. Not only could Wedge and the Herald reasonably have foreseen that other reporters at the Herald would repeat the libelous, "She's [fourteen]. She got raped. Tell her to get over it" statement, there can be no real doubt that the reporters were authorized (and even encouraged) to do so. [Note 23] The Herald is responsible both for publishing the libelous statements in Wedge's original articles and for republishing the libelous statements in subsequent articles. The proposition, asserted by the defendants in their brief, that "[a] newspaper company, as a corporation, does not have a state of mind of its own that can be imputed from one reporter to the next, let alone from one article to the next," has no relevance here. 3. The defendants assert no direct claim that the damages awarded by the jury were excessive, but assert the following evidentiary errors as they relate to damages. a. In the days following the publication of the February 13 and 14 Herald articles, the plaintiff received boxes of angry letters from people he did not know, many of them explicitly referring to the "tell her to get over it" comment. Some of the letters contained death threats. The first death threat was slipped under the door of his chambers. It consisted of a portion of the February 13 Herald article, with a target drawn over the plaintiff's face. A bullet hole was drawn on the plaintiff's forehead, and the photograph was inscribed with the words, "YOU'RE DEAD! `GET OVER IT' YOU BASTARD!" The judge properly permitted the jury to consider the hate mail. The defendants' suggestion that there was no evidence linking the mail to the Herald articles has no basis. b. The plaintiff, his wife, and two of his five daughters presented credible and compelling testimony about the emotional impact on the plaintiff of being made the target of public disgrace by the Herald. The jury heard evidence that the plaintiff saw offensive statements concerning himself, and threats of violence against his daughters, in an Internet "chat room," established and maintained by the Herald, in which people were able to "chat" with Howie Carr, a Herald columnist and local radio talk show host, who had written a column published in the Herald on February 20, deriding the plaintiff and repeating the "tell her to get over it" statement. The defendants argue that it was error to al-low evidence of the comments in the chat room because the plaintiff demonstrated "no link between the postings and any allegedly defamatory statements" in the Herald, including Carr's column. There was no error. [Note 24] The judge properly instructed the jury: "The pain and suffering for which [the plaintiff] is entitled to recover in this action is the pain and suffering which the defamatory statement was, or were, a substantial factor in producing. Mental or physical pain and suffering produced by some other event, act, or omission, is not something from which [the plaintiff] may recover here." The defendants did not object to the instruction. c. The jury heard evidence that the plaintiff's teenage daughter suffered from acute emotional trauma in the wake of the Herald articles, due to her constant concern for her father and her family's safety. The jury properly could consider the emotional distress experienced by the plaintiff as a result of watching his daughter suffer. The defendants assert that a defamation plaintiff may only recover for emotional distress damages caused by injury to the plaintiff's reputation. This is an incorrect statement of the law. "A plaintiff in a successful defamation case is entitled . . . to fair compensation for actual damages, including emotional distress and harm to reputation (and any special damages that have been pleaded and proved)." Ayash v. Dana-Farber Cancer Inst., 443 Mass. 367 , 404-405, cert. denied sub nom. Globe Newspaper Co. v. Ayash, 126 S. Ct. 397 (2005). See Shafir v. Steele, 431 Mass. 365 , 373 (2000), quoting Markham v. Russell, 12 Allen 573 , 575 (1866) (dam-ages for libel limited to compensatory damages for actual injury, including harm to reputation and mental suffering, and with mental suffering plaintiff entitled to recover for "distress and anxiety which may have been the natural result of the legal wrong"); Mahoney v. Belford, 132 Mass. 393 , 394 (1882) (recovery for "mental feelings . . . which [are] the natural and necessary result of the [defamation]"). As stated above, the jury were properly charged, and the defendants lodged no objection to the charge. d. The jury heard expert testimony concerning the nature of journalistic standards generally considered acceptable in the field of journalism and within the media. Based on principles contained in various codes of journalistic ethics, such as the Code of Ethics for the Society for Professional Journalists, as well as on principles found in "every daily newspaper that expects itself to be taken seriously," the expert witness testified that it is never considered permissible to fabricate the context of a story or to alter words within a quotation. She opined, among other matters, that potentially explosive information should be verified by at least two independent primary sources before being published, and, when possible, the "best thing . . . is to get [a] quote directly from the person who [said] it." She noted that reporters should be cautious about the bias of sources who "have their own agenda." On cross-examination, the expert admitted that not every reporter or editor would agree about how journalistic standards should be applied in any one particular situation and that the diligence required of a reporter seeking to verify a quotation, in a particular instance, would depend on the context, and time line, of an article. She clarified, however, that "there is something that is so far below the standard that it counts as trying not to get the other side of the story." The defendants argue that the admission of the expert testimony was erroneous, because general standards in the profession are irrelevant to actual malice, which concerns the subjective state of mind of the defendant. It is true that the failure to abide by established journalistic standards is not, by itself, sufficient to demonstrate actual malice. "There must be sufficient evidence to permit the conclusion that the defendant in fact entertained serious doubts as to the truth of his publication." St. Amant v. Thompson, 390 U.S. 727, 731 (1968). See Twohig v. Boston Herald-Traveler Corp., 362 Mass. 807 , 810 (1973). A plaintiff is entitled to prove the defendants' subjective state of mind through circumstantial evidence, however, and evidence concerning a reporter's apparent reckless lack of care may be one factor in the actual malice inquiry. See Harte-Hanks Communications, Inc. v. Connaughton, 491 U.S. 657, 668 (1989) ("it cannot be said that evidence concerning . . . care never bears any relation to the actual malice inquiry"). The judge's decision to admit the expert testimony was within his discretion. e. The Herald suggests that it should not be held liable for statements made by Wedge on the "The O'Reilly Factor." We reject the suggestion. Wedge was acting within the scope of his employment at all times relevant to this case and appeared on the television show with the approval, and encouragement, of his editors. The Herald's attempt to escape liability for words spoken by its reporter, about articles published in its newspaper, is without merit. 4. The defendants contend that two letters sent privately by the plaintiff to the Herald's owner (one written on official court stationery) after the verdict, in which the plaintiff demanded the payment of money to "end the case," created an appearance of impropriety that warrants vacating the judgment and dismissing the complaint. The defendants filed a motion to vacate the judgment and dismiss the complaint under Mass. R. Civ. P. 60 (b), 365 Mass. 828 (1974). The judge properly denied the motion. Any appearance of impropriety connected to the two letters could not possibly have tainted the trial, because the letters were sent after the trial ended. Whether there has been a violation of applicable ethical rules is a matter for determination by the Commission on Judicial Conduct. 5. One final point is in order. We have other arguments, made in support of the defendants, which emphasize the importance of independent appellate review of actual malice findings to the continued ability of the press to report on criticism of the judicial branch of government (a long-standing tradition in the Commonwealth) and the importance of defending the freedom of the press to report on such matters. The proponents of the arguments refer to cases emphasizing the public's right to know what goes on in court rooms and direct our attention to the fact that news reports about the operation of the courts routinely depend on information provided by local and State law enforcement officials. No one would disagree with the importance of upholding the freedom of the press. Nor would anyone disagree about the media's right (and duty) to examine the affairs of the judicial branch of government and to criticize activities of judges and other court officials that do not meet the high standards expected of judges and the courts. The press, however, is not free to publish false information about anyone (even a judge whose sentencing decisions have incurred the wrath of the local district attorney), intending that it will cause a public furor, while knowing, or in reckless disregard of, its falsity. The jury's verdict in this case reflects their conclusion that Wedge and the Herald defamed the plaintiff, and that they did so with actual malice and an awareness that they were enabling a campaign by the district attorney for the Bristol district to discredit the plaintiff by attacking the core attributes a judge must possess - even temperament, lack of any bias, fairness at all times, and a particular sensitivity to the plight of victims of crimes. See note 9, supra. The statements in the Herald are not the type of "erroneous" statements recognized by the Supreme Court to be "inevitable in free debate, and that . . . must be protected if the freedoms of expression are to have the `breathing space' that they `need . . . to survive.' " New York Times Co. v. Sullivan, 376 U.S. 254, 271-272 (1964), quoting N.A.A.C.P. v. Button, 371 U.S. 415, 433 (1963). 6. The judgment, as modified by the judge, is affirmed. [Note 1] David Wedge, a reporter for the Boston Herald, Inc. [Note 2] In addition to the defendants, the plaintiff's complaint named Jules Crittenden, Margery Eagan, and David Weber. At the close of the evidence, the trial judge entered judgment in favor of Eagan and Weber pursuant to Mass. R. Civ. P. 50 (a), 365 Mass. 814 (1974). The jury returned their special verdict finding Crittenden not liable. None of the three is involved in this appeal. [Note 3] We note at this point the value of the special jury questionnaire. The questionnaire, which formed the basis for the jury's verdict, allows us to track the jury's reasoning process. If it became necessary, the questionnaire would also allow us to preserve the verdict if we concluded that some of the statements the jury found actionable were not in law libelous. (We do not make that conclusion here.) The questionnaire is an example of a well-managed trial, for which the judge deserves special acknowledgment, in view of the complexity of the issues involved. [Note 4] The special jury questionnaire presented the jury with sixty-one statements claimed by the plaintiff to be libelous. The jury found that the plaintiff had failed to meet his burden of proof on each of thirty-eight statements and were deadlocked on one. This discloses the careful attention paid to the evidence by the jury and demonstrates the jury's keen ability to discriminate between actionable and nonactionable statements. [Note 5] The Chief Justice of the Boston Municipal Court Department presided over the trial pursuant to a special assignment by the Chief Justice for Administration and Management of the Trial Court. [Note 6] The jury found the defendants liable for this statement as it appeared in the article authored by Wedge on February 13, 2002, as well as for nine repetitions of the statement (or variations thereof) published in the Herald thereafter. Eight of the articles repeating the original statement were authored by reporters other than Wedge. [Note 7] Similar statements published by the Herald, for which the jury found the defendants liable, asserted that the plaintiff "has a history of . . . vilifying victims"; that the plaintiff "made a heartless comment about [the victim] to a prosecutor behind closed doors just days after the lenient sentence"; and that the plaintiff "chastised the young girl for wanting a harsher sentence on her attacker." [Note 8] The plaintiff is, indisputably, a public official. [Note 9] The defamatory nature of each statement requires little discussion. In his writings, Joseph Story, Associate Justice of the Supreme Court of the United States from 1811 to 1845, and the first Dane Professor of Law at Harvard University, said the following: "To say, that, as a judge, he was wise, impartial, and honest, is but to attribute to him those qualifications, without which the honors of the bench are but the means of public disgrace, or contempt." Miscellaneous Writings of Joseph Story 809-810 (W.W. Story ed. 1852). Phrased differently, if less eloquently, to charge that a judge is biased or unfair, or otherwise cannot be trusted to administer justice according to the law, is to strip away the qualities for which the office is respected and held to be legitimate. [Note 10] The judge properly instructed the jury: "The mere fact that someone has made a defamatory statement about another does not render it legally wrong. No matter how defamatory a statement may be; no matter what the defendant's motive in writing it, if [the plaintiff] has failed to prove by a preponderance of the evidence that the statement is false; that is, that it's not substantially true, [the plaintiff] cannot prevail on his claim. [The plaintiff] must prove more than literal falsity; he must prove the falsity of the substance of the statement at issue, where the main charge or stem of the statement is true, minor errors that do not change the readers' understanding of its words, do not make the statement false. In other words, sliding accuracies do not make a statement false." [Note 11] The evidence at trial indicated that, during a discussion of what the sentence should be for the two defendants charged with armed robbery, the prosecutor mentioned the victim's age. According to testimony of a probation officer who was present at the lobby conference, the plaintiff commented that it "didn't matter if she was twenty-nine, seventy-nine, or one hundred and nine, it was a serious case and [the plaintiff] felt some jail time was - was indicated." One of the defense lawyers and the clerk characterized the remark in similar fashion, as did the plaintiff. The defendants each were sentenced to two and one-half years in a house of correction. Ultimately, the jury deadlocked and did not find this statement to be libelous. [Note 12] Wedge further testified that, as the plaintiff walked away, Wedge "shouted a couple other questions at him, one of them along the lines of, `Did he have anything to say to his victims, or to the victims?,' " but that the plaintiff did not respond. [Note 13] The position taken by the defendants was that the "tell her to get over it" was made about the fourteen year old rape victim at the lobby conference for the unrelated robbery case. As has been explained, the jury heard evidence that no such comment was made at the robbery case lobby conference, but that, at the lobby conference for the rape case, the judge had expressed his concern for the victim and the availability of counselling to help her. The defendants strenuously objected at trial, as they do now on appeal, to admission of all evidence regarding the lobby conference for the rape case. According to the defendants, the evidence creates an artificial sense of "falsity" and "actual malice" for the jury and, moreover, is irrelevant. We could not disagree more. It was Wedge himself who originally testified, at his deposition, that he might have been told that the plaintiff's comments were made shortly after the plaintiff left the bench after sentencing the defendant in the rape case. Walsh's deposition testimony, which was read at trial, indicated that the substance of the quote he gave to Wedge was, "She's got to get on with her life. She's got to get over it," and that the statement could have been made at a lobby conference in the rape case. In his opening statements, defense counsel made several references to presentencing discussions between the judge, the prosecutor, and defense counsel in the rape case. The testimony was plainly relevant, and there was no error. [Note 14] Indeed, there is no evidence in the record that the plaintiff's interactions, at any time, with those in his court room, be they court officials, prosecutors, defendants, victims, or the families of victims, could be characterized in any way but respectful and professional. [Note 15] If there ever was a case that demonstrates the need for lobby conferences, where cases or other court matters are discussed, to be recorded, this is the case. This litigation, with all its unfortunate consequences for those involved, might not have occurred if the critical lobby conference (that involving the robbery case) had been transcribed. We trust that the lesson learned here will be applied by trial judges to prevent unnecessary problems that often arise from unrecorded lobby conferences. See Commonwealth v. Serino, 436 Mass. 408 , 412 n.2 (2002); Commonwealth v. Fanelli, 412 Mass. 497 , 501 (1992). [Note 16] The record indicates that the "gutless" comment was not made by Walsh but by Shea. The New Bedford Standard-Times printed a correction on February 10, 2002. [Note 17] The above quoted statements were not published and form no part of the plaintiff's defamation claim. The statements were presented to the jury as evidence indicative of the highly critical attitude prevalent in the district attorney's office with respect to the plaintiff, and provided context by which the jury could assess Wedge's subjective awareness of this attitude. [Note 18] Although not instrumental to our analysis, we note that the jury reason-ably could have inferred that the first reporter's failure to incorporate the judge's alleged statement into the February 9 article in the New Bedford Standard-Times was due to an inability to verify its accuracy. [Note 19] The defendants in their brief argue that evidence, presented to the jury solely through Wedge's testimony, indicates that Wedge sought out the plaintiff at the New Bedford court house on the day before the publication of his February 13 article, but that he was turned away by a clerk and a court officer (neither one of whom Wedge could identify or even describe). Wedge recounted this incident in his article as follows: "[The plaintiff] declined comment yesterday at New Bedford Superior Court." The jury determined this report to be libelous, but the judge, ruling on the defendants' motion for judgment notwithstanding the verdict, concluded that the reported statement could not, as a matter of law, reasonably be understood to be defamatory. Although the judge vacated the jury's determination on this matter, it may conclusively be inferred that the jury either did not credit, or did not find meaningful, Wedge's professed attempts to ascertain the accuracy of the quotation in his article. [Note 20] Wedge's credibility was further damaged by his testimony that he remembered speaking with Attorney Todd, but could not recall Todd's informing him that the plaintiff had not made the statements. [Note 21] Three weeks after oral argument, counsel for the defendants filed with this court, pursuant to Mass. R. A. P. 22 (c), as amended, 418 Mass. 1601 (1994), a five-page letter in which he responds to a question concerning the record posed to him during oral argument, and then proceeds to expound on issues argued by the plaintiff in the case. The letter goes beyond the bounds of what is proper under rule 22 (c), which allows an appellant "on request . . . the opportunity to reply in writing to new matter in the arguments of his adversary." The letter reargues significant portions of the defendants' initial brief. Because the content of postargument letters is limited to new matters raised at oral argument, we disregard it. That being said, we cannot disregard one portion of the letter in which counsel for the defendants challenges the sufficiency of the evidence in the record to establish, for purposes of our independent review, a factual determination that Wedge discarded the notebook after being informed, by Attorney Todd, that he had misquoted the plaintiff. Counsel asserts to this court, "[n]either at deposition nor at trial was Wedge even asked whether he discarded his notes before or subsequent to contacting Todd." This assertion is a misrepresentation of the record, the relevant portion of which we now set forth. COUNSEL FOR THE PLAINTIFF: "And you don't know when you threw them out, do you, sir?" THE WITNESS: "That's correct. I do not know." COUNSEL FOR THE PLAINTIFF: "You don't know what day you threw them out, correct?" THE WITNESS: "Correct." COUNSEL FOR THE PLAINTIFF: "YOU don't know what month you threw them out, correct?" THE WITNESS: "That's correct." COUNSEL FOR THE PLAINTIFF: "You have no information at all about when you threw your notes out, correct?" THE WITNESS: "That's correct. I don't remember when I discarded [the] notebooks." COUNSEL FOR THE PLAINTIFF: "SO, you wrote a story on February 13 of 2002 about [the plaintiff] in which you attributed certain words to him in quotation marks, and that story was published on February 13, 2002, correct?" THE WITNESS: "Yes, that's correct." COUNSEL FOR THE PLAINTIFF: "And then you threw your notes out, right?" THE WITNESS: "I don't recall when I threw my notes out." COUNSEL FOR THE PLAINTIFF: "It was after you wrote your story, wasn't it?" THE WITNESS: "Yes. It would have been after the story ran." In sum, Wedge was asked repeatedly when he had thrown out his notes and, each time, Wedge responded that he did not remember. There is no chance that, had Wedge been asked specifically whether it had been before, or after, his conversation with Attorney Todd, he would have responded any differently. Wedge, on cross-examination, could not even confirm defense counsel's leading inquiry as to whether he had discarded his notebook according to his usual practice, within "a matter of days or [a] week" of a story's publication. We find it significant that defense counsel, apparently, made a tactical decision not to ask Wedge directly whether he had discarded his notebook before, or after, speaking with Attorney Todd. [Note 22] To the extent that there is any doubt that a corporate defendant, such as the Herald, is capable of possessing the subjective state of mind required for a determination of "actual malice," we put that doubt to rest. Where an article is written within the scope of a reporter's employment, his "state of mind" may be imputed to his employer for purposes of liability. Tosti v. Ayik, 394 Mass. 482 , 493 (1985), S.C., 400 Mass. 224 , cert. denied sub nom. United Auto Workers, Local 422 v. Tosti, 484 U.S. 964 (1987), citing Cantrell v. Forest City Publ. Co., 419 U.S. 245, 253-254 n.6 (1974). [Note 23] 0ne Herald reporter testified that she placed a reference to the plaintiff in an article published in the Herald on October 16, 2003, because her editors had instructed her to do so. [Note 24] The defendants also assert that s. 230 (c) of the Federal Communications Decency Act immunizes the Herald from liability. See 47 U.S.C. s. 230(c) (2000). This argument has no merit. The defendants are not disinterested Internet service providers, but the actual publishers of the original defamatory statements, as well as the owners and operators of the Howie Carr Internet site. Moreover, the evidence relating to the content of the chat room was introduced, not to support a claim of libel against the Herald, but as evidence of the emotional distress suffered by the plaintiff.

<urn:uuid:0c864a1d-150a-4b62-bc97-9d983c2a72e0>

CC-MAIN-2016-07

http://masscases.com/cases/sjc/449/449mass42.html

s3://commoncrawl/crawl-data/CC-MAIN-2016-07/segments/1454701146550.16/warc/CC-MAIN-20160205193906-00151-ip-10-236-182-209.ec2.internal.warc.gz

en

You know what they say about land – they’re not making any more of it. In fact, when it comes to agriculture, the amount of available farmland is shrinking. When you couple that with a world population of nearly 10 billion by 2050, it’s not unusual to ask if there will be enough food to eat. To answer that question, two Cornell University scientists are working with wheat in a way that may both improve crop yield and increase the amount of productive land farmers have to work with. USDA’s National Institute of Food and Agriculture is supporting this research with a $500,000 Agriculture and Food Research Initiative grant. Dr. Olena Vatamaniuk and Dr. Mark Sorrells are studying the physiological, molecular, and genetic mechanisms of how plants process the micronutrient copper. It’s known that a deficiency in copper compromises crop fertility and reduces grain/seed yield; what’s not well-known is how copper uptake and internal transport is achieved and regulated, or how copper impacts wheat fertility. Previous studies of Arabidopsis thaliana (thale cress), a plant commonly used in research, indicate that two proteins play a major role in copper uptake, delivery, and plant fertility. Vatamaniuk, an associate professor of soil and crop sciences, and Sorrells, a professor of plant breeding and genetics, are using their interdisciplinary approaches to understand these proteins and how they affect copper transport pathways in wheat. The team is using cutting-edge equipment: CRISPR/CAS9 technology to understand the function of SPL7 pathway in wheat; an advanced particle accelerator, called synchrotron X-ray fluorescence imaging, to visualize copper distribution; and RNA-sequencing and quantitative trait locus mapping to identify copper deficiency and SPL7-regulated genes and regions of the chromosome associated with improved copper movement to wheat reproductive organs and grain yield. While it’s too early for field trials, Vatamaniuk said that lab work with a wheat proxy, Brachypodium distachyon (stiff brome), increase in copper uptake has led up to a 7-fold increase in yield. Knowledge gained in this project will also be applicable to other cereal crops, including rice, barley, and oats. If successful, this research could improve grain yield on soils currently in cultivation and allow farmers to plant high-yield crops on marginal lands previously deemed unsuitable for farming. It may even help feed the world. NIFA invests in and advances agricultural research, education, and extension and seeks to make transformative discoveries that solve societal challenges.

<urn:uuid:8c5ca396-2f24-48c6-92da-804d396f6830>

CC-MAIN-2021-39

https://www.usda.gov/media/blog/2018/08/23/copper-may-be-key-growing-more-land-and-feeding-world

s3://commoncrawl/crawl-data/CC-MAIN-2021-39/segments/1631780057882.56/warc/CC-MAIN-20210926144658-20210926174658-00355.warc.gz

en

Tip 1: Starting routine Mark Ormerod demonstrates a great idea to start or end your class. Mark Ormerod, co-author of the Primary coursebook Tiger, shows a useful technique for starting or ending the class. Mark explains how you can use the same idea to prepare pupils for a change in activity or as an indicator that the class is about to start or finish. The Tiger tips demonstrate practical ideas to help with class management. Watch out for more!

<urn:uuid:b5fcc6df-4e13-4411-9a08-9d852ec6fff2>

CC-MAIN-2017-17

http://www.macmillanelt.es/teachers_corner/tip-1-starting-routine/

s3://commoncrawl/crawl-data/CC-MAIN-2017-17/segments/1492917121121.5/warc/CC-MAIN-20170423031201-00536-ip-10-145-167-34.ec2.internal.warc.gz

en

As pretty much everybody who lives in eastern North Carolina knows (unless they’ve been on an extended vacation in Cozumel), we had had a cold snap a few weeks ago that beat anything most of us have ever seen. For four continuous days the temperature didn’t get above freezing and, at night, it dipped down to single digits. The Neuse, Trent and many other coastal rivers froze over and life in the outdoors seemed to come to a standstill. Or so it seemed. A few days after Mother Nature loosened her icy grip a little, some hardy outdoorsmen suffering from bad cases of cabin fever ventured out. Two of them, both old friends of mine, came across something that shook their (and my) long-held otions of the world around us. One fellow and some others broke the ice along the shore of Catfish Lake in Jones County and ventured across to a small cabin on the other side. There they came across a large cottonmouth moccasin. The ominous pit viper was a little slow-moving but frisky enough to curl up when approached, display its namesake facial structure, and let the human interlopers know they had better keep their distance. On the same day, about fifty miles away on Harkers Island, another friend encountered another cottonmouth, also quite healthy and equally defensive. The man said he saw this one’s fangs extend from his upper jaw as they do when those snakes are preparing to strike. How the heck did those critters – reptiles whose body temperature is controlled by the environment – survive a record-breaking cold spell, much less recover enough to be out and about when it was still frigid enough to freeze a brass monkey’s ears off. According to Chris Kent, a biologist with the N.C. Wildlife Resources Commission, the answer to the first question may be “brumation.” That’s a process in which some reptiles respond to cold temperatures by burrowing under leaves, rocks, matted marsh grass or similar cover and hunkering down till things warm up a bit. During what is essentially a dormant period, their respiration and heart rate slow down drastically and they enter something akin to a comatose state. Still it would seem that the day the cottonmouths were seen was cold enough that most folks would not expect a reptile to be out. John Pollard, a trained and licensed herpetologist from Carteret County, said that may be because of some unique characteristics of the species involved. He explained that water moccasins – cottonmouths – have the ability to puff themselves up with air (which explains why they are able to float high in the water) and they also have a thicker layer of fat than most snakes. Those features act as insulators and may allow them to come out of brumation and seek a warm spot in the sun before their snakey and lizardly brethren. Some other reptiles aren’t so well-equipped. Iguanas that are common in south Florida don’t seem to have the instinct for brumation. They will remain in their normal haunts – in trees along waterways and in people’s yards – even when the thermometer suggests they would be better off somewhere else. When it dips into the low forties, cold for that tropical clime, their metabolism sometimes slows down and, unable to maintain their grip on things, they topple to the ground. Needless to say, that can be an exciting experience for a person walking under their tree at that moment. It can also be a thrill for anyone who picks one up and brings it inside. The iguanas are usually not dead, just stunned, and when they arm up they continue life as usual, which includes biting anyone messing with them. Other wild animals have different ways of dealing with extremely cold weather. They include hibernation, natural insulation, growing winter coats and feathers, conserving energy by moving very little, fattening up in the fall, huddling together and migration. All of us, of course, learned at an early age that bears hibernate in the winter. That may be true for those in the northern parts of the continent but not for black bears in this region. According to Chris Kent, bears in these parts will find thick cover when cold weather approaches and burrow into it to wait things out. They never truly hibernate, however, and may be seen out feeding any day in the winter. Being able to dine year around is one reason bears in this part of the country get very large. Whitetail deer also find thickets that will offer some protection from wind and precipitation when things get tough and ride it out. Kent described deer as “unbelievably hardy.” They are helped in that respect in that they begin in the fall to develop thicker coats which consist of coarse, dark, hollow hairs that shed water and keep heat in. Foxes, coyotes and some other mammals are also helped by winter coats. Nearly all mammals build up extra fat in preparation for winter weather. (Some of us humans also do that). Some semi-aquatic mammals such as beavers, otters and nutria don’t seem to be bothered by the cold much at all. That’s because they have dense fur close to the skin and slick, oily coats above that. Those animals seem to actually relish cold weather and can be seen romping in the snow or icy water any time. Waterfowl may have the best way of dealing with low temperatures. They simply pack up and migrate south, continuing until they find food and cover to their liking. If they misjudge how fast and far they need to go, they still have a little built-in insurance. It’s a layer of fine, thick down close to their bodies with oily feathers over that to keep moisture out. In addition, the legs of ducks and geese don’t freeze when they sit in cold water because they are equipped with what is called “counter current circulation.” Arteries carrying warm blood from the heart are interwoven with veins bringing cold blood from the feet. The result is that their legs stay warm enough to keep them working as they should. Many upland birds and song birds stay warm when the temperatures drop by fluffing their feathers out to form dead air space – insulation – and huddling together. Bobwhite quail will roost as a covey, in a circle facing outward, to share their body heat. We humans can learn a few things from our wild brethren. When things start getting chilly, we can’t grow a winter coat, but we can buy one or get it out of storage. And we can build up stores of fat to provide insulation, huddle together (with someone who doesn’t mind huddling), and perhaps migrate south. If we do the last, however, we do have to keep an eye out for falling iguanas. Ed Wall can be reached at firstname.lastname@example.org or 252-671- 3207. His web site is www.edwalloutdoors.com

<urn:uuid:3fdcb1e7-8349-4d7e-94b5-0e8be3ab7e06>

CC-MAIN-2018-30

http://www.jdnews.com/sports/20180124/ed-wall-how-do-wild-critters-handle-cold

s3://commoncrawl/crawl-data/CC-MAIN-2018-30/segments/1531676591296.46/warc/CC-MAIN-20180719203515-20180719223515-00377.warc.gz

en

Polycystic kidney disease (PKD) is the most common inherited renal disorder. Patients with PKD remain clinically asymptomatic for decades, while significant anatomic and physiologic systemic changes take place. Sequencing of the responsible genes and identification of their protein products have significantly expanded our understanding of the pathophysiology of PKD. The molecular basis for cystogenesis is being unraveled, leading to new targets for therapy and giving hope to millions of people suffering from PKD. This has direct implications for children with PKD with regard to screening for the disease and identification of high-risk individuals. In this article we provide a review of the clinical manifestations in children with autosomal dominant polycystic kidney disease (ADPKD), the genetic and molecular basis for the disease, and a concise review of potential therapies being evaluated. © IPNA 2007.

<urn:uuid:e7f3d24c-0a28-4671-b7fc-21d85c1d1964>

CC-MAIN-2023-06

http://dgivan.dental.uab.edu/display/pub2016668

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500255.78/warc/CC-MAIN-20230205130241-20230205160241-00050.warc.gz

en

By Mark Brown, Wired UK A team of geologists from Britain have pinpointed the exact quarry that Stonehenge’s innermost circle of rocks came from. It’s the first time that a precise source has been found for any of the stones at the prehistoric monument. Robert Ixer of the University of Leicester and Richard Bevins of the National Museum of Wales painstakingly identified samples from various rock outcrops in Pembrokeshire, Wales. For nine months the pair used petrography — the study of mineral content and textural relationships within rocks — to find the origins of Stonehenge‘s rhyolite debitage stones. These spotted dolerites or bluestones form the inner circle and inner horseshoe of the site. They found the culprit on a 65-metre-long outcropping called Craig Rhos-y-Felin, near Pont Saeson in north Pembrokeshire. It lies approximately 160 miles from the Stonehenge site. The question remains though, as to how neolithic people transported huge chunks of rock from Wales to Wiltshire, some 5,000 years ago. Some historians reckon that these stone age builders quarried the stones in Pembrokeshire and brought them over to England, while others argue that giant glacial shifts moved the stones, hundreds of thousands of years earlier. Ixer and Bevins hope that by finding the exact source for some of the monument’s stones, they will be able to discover new clues as to when and how they made their 160 mile journey. The more well-known and iconic stones, the huge sarsens, were incorporated into the monument several centuries later. They came from somewhere in the Marlborough Downs, 20 miles north of Stonehenge.

<urn:uuid:ad7629ce-e400-48ae-9599-c2c652d52dda>

CC-MAIN-2024-10

https://www.geologyin.com/2014/08/geologists-find-source-of-stonehenges.html

s3://commoncrawl/crawl-data/CC-MAIN-2024-10/segments/1707947474360.86/warc/CC-MAIN-20240223021632-20240223051632-00056.warc.gz

en

Definitions for cavendishˈkæv ən dɪʃ This page provides all possible meanings and translations of the word cavendish Cavendish, Henry Cavendish(noun) British chemist and physicist who established that water is a compound of hydrogen and oxygen and who calculated the density of the earth (1731-1810) leaf tobacco softened, sweetened, and pressed into plugs or cakes Cavendish is a town in Windsor County, Vermont, United States. The town was named after William Cavendish, 4th Duke of Devonshire. The population was 1,367 at the 2010 census. The town of Cavendish includes the unincorporated villages of Cavendish and Proctorsville. Chambers 20th Century Dictionary kav′en-dish, n. tobacco moistened and pressed into quadrangular cakes. [Possibly from the name of the original manufacturer.] The Nuttall Encyclopedia the surname of the Devonshire ducal family, traceable back to the 14th century. The numerical value of cavendish in Chaldean Numerology is: 6 The numerical value of cavendish in Pythagorean Numerology is: 4 Sample Sentences & Example Usage India had about 600 varieties, but over the past two decades the Cavendish has pushed out and replaced many of those. And when you replace a varied multiculture with a monoculture, if a disease happens, you're in trouble: nature comes back and bites you, monoculture to me is just as much a disease as TP4. Images & Illustrations of cavendish Translations for cavendish From our Multilingual Translation Dictionary Get even more translations for cavendish » Find a translation for the cavendish definition in other languages: Select another language:

<urn:uuid:765383ff-d1f6-4f3c-89fc-1e0b74486d19>

CC-MAIN-2016-22

http://www.definitions.net/definition/cavendish

s3://commoncrawl/crawl-data/CC-MAIN-2016-22/segments/1464049275835.98/warc/CC-MAIN-20160524002115-00180-ip-10-185-217-139.ec2.internal.warc.gz

en

Surgery has changed vastly since those first operations in the Stone Age and ancient China. Learn some of the latest updates and techniques that help general surgeons to provide surprisingly simple, less-invasive surgical procedures. Imagine that first shaky hand lifting a pointed object and performing the world’s first surgery. What you probably can’t imagine is that surgery likely originated in the late Stone Age, and definitely existed by 10,000 B.C. in China. Anthropologists there have found skulls with signs of trephining, the removal of a circle of bone from the skull, although they have no clue why. As civilizations evolved, their surgical and medical experience did, too. From China through India, Greece, Egypt and finally into Europe, surgery advanced with time as knowledge grew. The basic concept of surgery hasn’t changed a bit: The surgeon makes a decision, then an incision, remedies a situation and closes. But everything surrounding it has changed dramatically, especially during the past 100 years. Among other things, the role of the surgeon is much more specialized than it once was, although this isn’t always true. The General Surgeon It wasn’t all that long ago that the family doctor did everything, from delivering babies to performing surgeries ranging from simple tonsillectomies to repair of traumatic injuries, tumor removal and more. As medicine advanced and technology expanded, medical centers such as FHN Memorial Hospital in Freeport developed specialties with doctors trained and dedicated to treating patients for specific diseases and conditions. Today, FHN specialties range from acupuncture to wound care, with all kinds of disciplines in between. Despite the expansion of specialization, the general surgeon’s role remains strong. For FHN’s Dr. Katherine Liu, a board-certified general surgeon and a Fellow of the American College of Surgeons, the variety of operations she performs has narrowed, but there’s still plenty to do. “General surgery is a well-recognized specialty,” Liu explains. “While we may not do everything, like cardiac or neurosurgery, we most commonly do surgical procedures on the abdomen and gastrointestinal tract. This includes surgical treatment of hernias and diseases involving the gallbladder, liver, pancreas, esophagus, stomach, small bowel, colon and appendix.” Liu consults with patients prior to surgery, and follows up with them afterward in her office at FHN Specialty Care, across Stephenson Street from FHN Memorial Hospital. “I also work collaboratively with other disciplines including primary care, internal medicine, oncology, orthopedics, pulmonary, endocrinology, etc. My goal is to do whatever is necessary to treat the patient and speed the patient’s recovery.” For more than 20 years, Liu also has taught in medical schools, served in professional societies and carried out research for many publications in major peer-reviewed journals. In 1998, she was the first woman to achieve the rank of full Professor of Surgery at Rush University Medical Center. Liu enjoys being able to help her patients recover. She also enjoys the challenge of treating complicated conditions. The Surgical Specialist Just as medical knowledge has exploded in recent decades, so has surgical specialization. Heart surgery became the focus of practice for Dr. William Cox and his colleagues at SwedishAmerican Hospital in Rockford during the early 1970s. Cox practiced at SwedishAmerican from 1969 to 1998. “Dr. Sharp and I completed our residencies in Baltimore and Chicago,” Cox explains. “During the late 1960s, we needed to find a way to not only practice open-heart surgeries but also to train our support team. I had just arrived at Swedes. We began operating on pigs in the old tuberculosis sanitarium, which ironically is now the School of Medicine.” Cox recalls that local meat retailer Meryl Eickman provided pigs and blood from his slaughterhouse in Seward. The pigs were anesthetized and hooked up to the heart-lung machine. “We would go out to Eickman’s nearly every Saturday, then set up the heart-lung machine in the sanitarium’s garage,” Cox recalls. “This was before open-heart surgery was generally performed nationwide. Later, we moved the practice operations to an upper-floor storeroom at Saint Anthony Hospital. Another doctor occasionally provided us with calves from his farm, as well. We did these practice sessions about 10 to 15 times, gradually cutting back to once a month. This went on for about one year.” When SwedishAmerican’s heart surgery program opened, Cox opened a lab for training the heart team in the hospital’s basement, beneath the emergency room. In his book, It Began With a Dollar: The History of Swedish-American Health System: 1911-2011, author Paul Greenland quotes Cox saying that one of the reasons he chose Rockford over Chicago in 1969 is that he believed in the future of heart surgery. “I knew that if coronary bypass was going to be successful, which it looked like it was, there would be such a need for it that it couldn’t all be done in one hospital; it was going to have to be done in some hospitals in the smaller cities, too. So I came out here, and we started the open-heart program,” Cox stated. Today, the Heart Center provides the latest in techniques, technology and medicine to patients with heart disease. “Basically, the actual surgery isn’t a whole lot different than when we first started,” says Cox. “There have been many improvements over time in the use of supportive drugs, anesthesia, understanding of the physiology of the heart and the heart-lung machine, and, under some circumstances, less-invasive approaches.” Less is More As technology and methodology evolved, so did the concept that “less is best.” Dr. Michael Fumo, a board-certified urological surgeon with Rockford Urological Associates, leads Rockford Memorial Hospital’s Minimally Invasive Surgery department. He says surgeons have been pushing the boundaries of medicine using minimally invasive techniques for much longer than people imagine. “Physicians were placing cameras into patients’ bellies more than 100 years ago,” Fumo says. “Of course, the pictures were terrible, compared to now. But the concept of minimally invasive incisions really opened up in the early 1990s.” “Modern” procedures like laparoscopy were performed on human patients as early as 1902, Fumo says. The first documented minimally invasive technique was a rectal exam using a speculum by Hippocrates in the 4th century B.C. Techniques have been refined ever since, and equipment has been miniaturized to cause the least possible collateral harm. Minimally invasive techniques have nearly unlimited potential, Fumo says. “While procedures such as the three-incision gall bladder extraction have been around since the early 1990s, we’re finding more and more ways to apply the concepts every day,” Fumo says. “Now we’re exploring orifice-based surgeries in which we go up the nose, down the throat, through the belly button and through the side of the vagina, avoiding visible incisions almost completely.” Recently, robots have arrived on the surgical scene. Fumo notes that people have always been fascinated with their potential and they’ve already transformed industrial assembly lines and battlefield medicine. After several robotic surgical products were introduced, the da Vinci became the current standard, beginning with Fumo’s specialty. This extremely versatile surgical tool is used for a growing number of other applications as well. “I foresee its usefulness in vascular and cardiothoracic treatments, in gynecology, gastroenterology, ear-nose-and-throat and even general surgeries,” Fumo says. “For those who remain uncomfortable with the prospect of surgery in any form, I want to say that technology is neutral. It is neither good nor evil. It is up to us as surgeons to apply technology with empathy and compassion.” Fumo points out that people once believed surgery caused as much harm as good. For example, prior to advanced imaging techniques like CT, MRI and PET, when physicians had difficulty knowing what was happening within their cancer patients, they often performed “exploratory surgery.” When cancer was found throughout the body, a patient’s family sometimes blamed the surgery for the cancer’s spread, believing that internal exposure to light and air caused the disease to multiply. This was untrue, of course. Still, today’s minimally invasive techniques, keyhole surgeries and advanced imaging technology have helped to make the prospect of surgery more palatable. Virtually all surgery was performed in hospitals until roughly 40 years ago, according to the Ambulatory Surgery Center Association. It wasn’t unusual for patients to wait months for surgery, spend many days in the hospital and take several weeks to recover. A Changing Backdrop As surgical procedures were refined and expanded, another trend rippled across the country. The change began in 1970, when two Arizona physicians established the first out-of-hospital ambulatory clinic. By the 1990s, quite a few of the new clinics were in operation nationwide, says Dr. Steven Gunderson, CEO and medical director at Rockford Ambulatory Surgery Center, 1016 Featherstone Road, Rockford. “We looked at what was going on and decided Rockford was the perfect setting,” he says. “We thought, ‘Why don’t we try it?’ A group of local anesthesiologists decided to back Rockford Ambulatory as a community project and invited the city’s three major hospitals to partner with them.” At first, the hospitals were opposed to the concept, but when Rockford Ambulatory was awarded a state-issued Certificate of Need, one hospital came aboard as a limited partner. (Certificate of Need programs are aimed at restraining health care facility costs and allowing coordinated planning of new services and construction.) The advantages of offering patients and surgeons a cost-effective alternative site were more than enough to ensure the center’s success. Gunderson says the efficiencies inherent in the surgery center save surgeons valuable time, allowing them to spend more time in the office and less time bogged down in the hospital operating room environment. “We opened Rockford Ambulatory in 1994. Our first case was a cataract surgery,” he recalls. “Today, we’re equipped to handle much more complex procedures in many different specialty areas.” Rockford Ambulatory is located on Featherstone Drive between Perryville and Guilford. Gunderson says patients appreciate the smaller, patient-friendly environment and the center’s focus on individual needs and preferences. Additionally, the risk of infection is extremely low. Hospitals are challenged with preventing and containing highly resistant strains of bacteria such as methicillin-resistant staphylococcus aureus (MRSA) and carbapenem-resistant enterobacteriaceae (CRE). But an equally important factor for many patients is the ambulatory center’s cost-effectiveness. “A surgical procedure that might cost as much as $37,000 at a hospital can cost as little as $5,000 at Rockford Ambulatory,” says Gunderson. “That’s vital, when patients are looking at 80/20 insurance coverage. It’s a huge difference.” The downside is that Medicare and some insurance companies have not kept pace with the growing trend toward ambulatory surgery. Medicare reimbursement to surgery centers is about 50 percent of the amount paid to hospital outpatient departments. In many cases, hospital charges are three to eight times higher for insured patients, according to Gunderson. This means billions of federal tax dollars are wasted, and patients pay higher out-of-pocket costs, he adds. “We have the same strict medical certifications, the same infection control and quality control, and the same credentialing requirements for surgeons as hospitals do,” he says. Nationwide, hospitals have been purchasing or networking with ambulatory surgery centers and integrating them into their Accountable Care Organization (ACO) plans in an attempt to bring more efficient, low-cost, high-quality medical care to patient populations. “Ambulatory surgery centers remain one of the most cost-effective structures for delivering patient care going forward,” Gunderson says. Regardless of how or where surgeries are performed, patients today fear them less than at any time in history, for good reason. And there’s every indication that the surgical field will continue to improve until the day when it may no longer be necessary to cut into the human body at all.

<urn:uuid:2ae06737-498c-4fb2-ab4f-07133664bef6>

CC-MAIN-2021-10

http://oldnorthwestterritory.northwestquarterly.com/2013/07/01/surgerys-evolution-from-first-cut-to-cutting-edge/

s3://commoncrawl/crawl-data/CC-MAIN-2021-10/segments/1614178369054.89/warc/CC-MAIN-20210304113205-20210304143205-00605.warc.gz

en

Glenn Ligon, Untitled (I Am a Man), 1988 Glenn Ligon was born in the Bronx in 1960, attended the Walden School in New York on a scholarship, and graduated from Wesleyan University in 1982. He participated in the Whitney Museum's Independent Study Program in 1985, known at that time for its language-based approach. Ligon is best known for intertextual works that re-present American history and literature, in particular narratives of slavery and civil rights, for contemporary audiences. His work engages a powerful mix of racial and gender-oriented struggles for the self, leading viewers to reconsider problems inherent in representation. Untitled (I Am a Man) is just such a representation—a signifier—of the actual signs carried by 1,300 striking African American sanitation workers in Memphis, made famous in Ernest Withers' 1968 photographs. Prompted by the wrongful deaths of two coworkers from faulty equipment, the strikers marched to protest low wages and unsafe working conditions. They took up the slogan "I Am a Man" as a variant on the first line of Ralph Ellison's prologue to Invisible Man, "I am an invisible man." By deleting the word "invisible," the Memphis strikers asserted their presence, making themselves visible in standing up for their rights. Martin Luther King Jr. traveled to Memphis to address the striking workers; the next day, he was assassinated. This painting is Ligon's most important and iconic work. As the first object in which he used a selected text, Untitled (I Am a Man) is his breakthrough. He took pains to differentiate the painting from the original signs, avoiding a one-to-one relationship by reorganizing the line breaks. And while he preserved the original black-on-white of the sign, his choice to paint the black letters in eye-catching enamel calls attention to a black figure ("Man") as a text that replaces the human form in figurative painting. Throughout his career, Ligon has used "blackness" as a trope for both personal and collective experience. As Ligon has said (paraphrasing Muhammed Ali), "It's not about me. It's about we." The deliberately rough surface of the painting, which Ligon later documented by having a condition report made as an ancillary work of art, seems to index the scars and struggles of the work's great subject. Untitled (I Am a Man) is the Gallery's first painting by Ligon and complements a suite of etchings and a print portfolio. Glenn Ligon, Untitled (I Am a Man), 1988, oil and enamel on canvas, National Gallery of Art, Washington, 101.6 × 63.5 cm (40 × 25 in.), Patrons' Permanent Fund and Gift of the Artist, © Glenn Ligon Robert Adams, American, born 1937, Kerstin enjoying the wind. East of Keota, Colorado, 1969 For more than 40 years, the distinguished photographer Robert Adams has recorded the changing American landscape, revealing both its sublime beauty and its wanton destruction. Like his 19th-century predecessors, such as Timothy O'Sullivan, he has chronicled the ongoing settlement of the American West, especially Colorado, California, Oregon, and Washington. Yet unlike those earlier photographers, he has recorded the freeways, strip malls, parking lots, billboards, and tract houses that have utterly transformed the landscape in the last 50 years, as well as the abandoned orange groves of Southern California and the despoiled forests of the Northwest. In addition, he has turned his camera on the citizens of this New West, photographing young children who grew up in the shadow of nuclear weapons plants, as well as parents and grandparents who were often isolated from one another and nature itself by the very modern conveniences they coveted. Yet Adams' work is no diatribe and often records the beauty that remains—indeed, refuses to die—in the magnificent light of the high plains, for example, or the graceful form of the earth itself. He is convinced, as he wrote in 1974, that "all land, no matter what has happened to it, has over it a grace, an absolutely persistent beauty." Combining hope and despair, joy and grief, his lucid but passionate photographs are profound and provocative records of this time and place. Born in New Jersey, raised in Wisconsin and Colorado, Adams received a PhD in English literature and turned to photography in 1963, at the age of 26. With encouragement from the renowned curator John Szarkowski, Adams abandoned his career as an English professor in 1970 and devoted himself to photography. A gifted writer with a deep fascination for books of photographs, Adams first achieved acclaim in 1974 with the publication of The New West: Landscapes along the Colorado Front Range, one of the first books of photographs to present a more critical view of the American West. This book was soon followed by 15 more, most recently Questions for an Overcast Day (2009). In addition to numerous exhibitions at major museums around the world, Adams has been honored with many awards, including two Guggenheim Fellowships, the Hasselblad Award for Distinguished Photographer, and a MacArthur Foundation fellowship. Recently, the Gallery acquired 169 photographs by Adams. This collection is truly exceptional and unique, for the artist himself carefully selected it to complement the 25 works by him already in the Gallery's collection. Together they represent what he considers to be his most important accomplishments. The new acquisition includes key photographs from each of his 16 books, as well as 16 other photographs from throughout his career. A modest man with deeply held convictions, Adams believes "these photographs can tell Americans something they might want to know about their country." Robert Adams, American, born 1937, Kerstin enjoying the wind. East of Keota, Colorado, 1969, gelatin silver print, National Gallery of Art, Washington, Pepita Milmore Memorial Fund and Gift of Robert and Kerstin Adams The acquisition of three exquisite marble busts from the early 19th century, Three Daughters of Richard Bingham, Lord Lucan, brings the name of the renowned Danish sculptor Bertel Thorvaldsen, one of the handful of truly great neoclassical artists, into the Gallery's collection for the first time. The sculptures are portraits of daughters of one of Thorvaldsen's most important patrons, Richard Bingham, second Earl of Lucan. Thorvaldsen was the son of a woodcarver of Icelandic origin. He entered the Danish Academy of Fine Arts in Copenhagen at the precocious age of eleven. In 1797, he won a stipend to study in Rome, where the cultural landscape was then dominated by Antonio Canova (1757–1822), the most famous living artist in Europe. No sculptor at that time escaped Canova's influence, and Thorvaldsen's early concept for a gigantic, classicizing plaster statue of the mythical hero Jason showed that he could not resist Canova's magic either. Canova's partisans, who were largely French and Italian, promoted the misty sensuality of the Italian sculptor's art. Thorvaldsen's defenders, who were primarily German and Scandinavian, instead would praise the Danish artist's frankness and reticent naturalism. In 1803, Thomas Hope, the eminent British collector of classical antiquities, commissioned the colossal Jason in marble, enabling the otherwise penniless Thorvaldsen to remain in Rome. The Dane's subsequent success is demonstrated by numerous commissions for huge equestrian and funerary monuments, as well as the Lion of Lucerne for a Swiss mountainside and architectural reliefs for the Quirinal Palace in Rome, Christiansborg Palace in Copenhagen, and the Villa Carlotta near Lugano. Thorvaldsen established his own museum in his native Copenhagen—the first public museum in Denmark. Most of his plaster models, dozens of drawings, marble sculptures, his collection of antiquities and paintings, and his archive are preserved there. Lord Lucan commissioned the first marble examples of Thorvaldsen's reliefs Night and Day, which were replicated in more than a dozen examples during Thorvaldsen's lifetime. Lord Lucan also ordered the first marble example of Thorvaldsen's Triumphant Venus, and he bought the Standing Baptismal Angel, originally created for the Church of Our Lady in Copenhagen (now in the Nationalmuseum, Stockholm). Although Lord Lucan was said to have considered commissioning portraits of his wife and three of his four daughters, Thorvaldsen's account books list only the busts of the "older (la maggiore) Lady Lucan" and the "younger (la minore) Lady Lucan." A third bust, recorded as "Madame Vernot" and perhaps ordered separately, must portray Bingham's eldest daughter Elizabeth, whose married name was Vernon. The plaster model for it and for another bust that corresponds to the marble one identified here as Louisa Bingham Elcho are both in the collection in Thorvaldsens Museum. The busts apparently remained with the Bingham family for more than a century: when they appeared at auction in 1999, the seller attested that his father had bought them from Lord Lucan in the 1960s, which is when, coincidentally, the seventh earl succeeded to the title. Bertel Thorvaldsen, Danish, 1770–1844, Possibly Lady Louisa Bingham, model 1816 and/or 1817/1818, carved c. 1821/1824, marble overall (including integral socle): 58.42 x 28.89 x 22.23 cm (23 x 11 3/8 x 8 3/4 in.), Patrons' Permanent Fund, 2011.101.2 Born in Bia, Hungary, in 1922, Simon Hantaï settled in France in 1948 and joined the surrealist circle of André Breton. After experimenting with a variety of painting techniques in the 1950s, he saw Jackson Pollock's work, which offered a way to push beyond both surrealist automatism and European gesturalism. Inspired by Pollock's pouring of paint onto horizontal canvases—leaving behind self-conscious style for a physical engagement with the medium—in 1960 Hantaï invented a method of pliage (folding) that defined the rest of his career. With many variations over the course of five decades, Hantaï's pliage entailed applying paint to bunched or knotted canvas and then stretching the canvas to produce a traditional rectangular painting, but one marked by a lack of visual control verging on blindness. "Through folding I put my eyes out," he reflected in 1997, referring to a childhood episode of temporary blindness induced by diphtheria and also evoking Pollock's radical repositioning of the artist "in" the painting rather than at a comfortable distance from it. In Hantaï's first paintings using this method, he obsessively filled the canvas, following Pollock's all-over structure. Then, in the Meun series of 1967–1968, he allowed the white of the primed canvas to penetrate and define his monochromatic forms. With this step, inspired by the cut-outs of Henri Matisse, Hantaï achieved what he called "the unpainted made active," something he pursued ever further for the rest of his career. Étude is an early example from Hantaï's next and arguably most important series: the Études (1968–1972). Here the artist has combined the all-over structure of his first pliages with the use of reserved canvas in the Meun series. He has multiplied the number of knots and reduced their scale, producing a dense pattern that is at once fractured and sublimely decorative. The lyrical suggestion of birds or foliage is held in check by the aggressive red color and the violent intervention of the primed canvas, the "unpainted paint." Viewers are dazzled as they attempt to decide whether the white areas (which are deliberately given as much of the surface as the red) constitute figure or ground. Photograms come to mind, with their direct production of silhouetted images by blocking or admitting the passage of light onto sensitive paper. Through his experimentation, Hantaï developed a unique way of maintaining beauty while acknowledging the radical skepticism about authorship, control, and self-expression that has characterized painting after Pollock. Hantaï was a major figure in France, inspiring the Supports/Surfaces group in particular. The Gallery has three drawings by the artist from the Rosenwald Collection; this first painting by Hantaï greatly strengthens the collection of postwar European art. Simon Hantaï, French, born Hungary, 1922–2008, Étude, 1969, oil on canvas, overall: 275 x 238 cm (108 1/4 x 93 11/16 in.), Gift of the Collectors Committee, © 2012 Estate Simon Hantaï, 2012.20.1 African American artist Robert Seldon Duncanson (1821–1872) was widely recognized during his lifetime for pastoral landscapes of American, Canadian, and European scenery. Recent scholarship, however, has begun to focus on a small group of still-life paintings (fewer than a dozen are known) that Duncanson produced during the late 1840s. Spare, elegant, and meticulously painted, these works reflect the tradition of American still-life painting initiated by Charles Willson Peale and his gifted children—particularly Raphaelle and Rembrandt Peale. Still-life paintings by Duncanson are extremely rare and highly coveted. Signed and dated 1848, Still Life with Fruit and Nuts is a particularly fine example and the first work by Duncanson to enter the Gallery's collection. Classically composed with fruit arranged in a tabletop pyramid, the painting includes remarkable passages juxtaposing the smooth surfaces of beautifully rendered apples with the textured shells of scattered nuts. Self-taught and living in Cincinnati when he created his still-life paintings, Duncanson exhibited several of these works at the annual Michigan State Fair. During one such exhibition, a critic for the Detroit Free Press wrote, "the paintings of fruit, etc. by Duncanson are beautiful, and as they deserve, have elicited universal admiration." The artist's turn from still-life subjects to landscapes conveying religious and moral messages may have been inspired by the exhibition in Cincinnati of Thomas Cole's celebrated series The Voyage of Life. Cole's allegorical paintings were purchased by a private collector in Cincinnati and remained in that city until acquired by the National Gallery of Art in 1971. Exposure to Cole's paintings marked a turning point in Duncanson's career. Soon he began creating landscapes that incorporated signature elements from Cole and often carried moral messages. Following the outbreak of the Civil War, Duncanson traveled to Canada, where he remained until departing for Europe in 1865. Often described as the first African American artist to achieve an international reputation, Duncanson enjoyed considerable success exhibiting his landscapes abroad. His achievement as a still-life painter has only recently become apparent. The exceptional quality of Still Life with Fruit and Nuts suggests that much remains to be learned about this little-known aspect of his career. Thanks to the generosity of Ann and Mark Kington/The Kington Foundation and the Avalon Fund, Duncanson's masterful still-life painting hangs in the American galleries not far from Cole's Voyage of Life. Robert Seldon Duncanson, American, 1821–1872, Still Life with Fruit and Nuts, 1848, oil on board, overall: 30.48 x 40.64 cm (12 x 16 in.), Gift of Ann and Mark Kington/The Kington Foundation and the Avalon Fund, 2011.98.1 Christo, American, born Bulgaria, 1935, Over the River (Project for Arkansas River, State of Colorado), 2010, Gift of the artist. For a half-century, Christo and his late wife and collaborator Jeanne-Claude have created large-scale, temporary works of art in both urban and rural environments. These projects have challenged the traditional definitions of sculpture and artistic practice while creating a new discourse for issues concerning the environment and aesthetics. From early wrapped objects to monumental outdoor projects including Running Fence (1972–1976), Wrapped Reichstag, Berlin (1971–1995), and The Gates, Central Park, New York City (1979–2005), the artists have used fabric—wrapped, draped, and folded over, around, and through natural and constructed forms—to transcend the traditional bounds of painting, drawing, sculpture, and architecture. On November 8, 2011, Christo presented the National Gallery of Art with two original preparatory collages for Over The River, Project for the Arkansas River, Colorado, both dating from 2010, for the Gallery's permanent collection. The gifts were unveiled during a press conference with Secretary of the Interior Kenneth Salazar, a day after the Department of the Interior's Bureau of Land Management officially approved Over The River, a project that Christo developed with Jeanne-Claude. The gift, alongside the Gallery's existing collection of preparatory works on paper from various stages of this project—two early drawings from 1992 and two large collages from 2000—illustrates Christo and Jeanne-Claude's working process and brings to light the project's development as it has evolved over the past two decades. Over The River is a temporary art installation first proposed in 1992 by Christo and Jeanne-Claude. For this work, Christo will suspend 5.9 miles of silvery fabric panels high above the Arkansas River interstitially along a 42-mile stretch between Salida and Cañon City in Colorado. Fabric panels will be suspended at eight distinct areas of the river that were selected by the artists for their aesthetic merits and technical viability. The fabric, suspended ten to twenty-three feet above the river, will be translucent when seen from below, affording rafters and kayakers a view of the sky. However, when seen from above, from trails and the highway that parallel the Arkansas River, the panels will appear opaque. Through its intermittent installation, Over The River will seem to materialize and dematerialize, prefiguring the project's temporary nature. If the permit process moves forward as planned, Christo hopes to present Over The River for two consecutive weeks in August 2014. Information about the project is located at www.OverTheRiverInfo.com. Christo, American, born Bulgaria, 1935, Over the River (Project for Arkansas River, State of Colorado), 2010, collage, overall: 42.2 x 55.9 cm (17 x 22 in.), Gift of the artist © Christo 2010 A pioneering figure in the development of American modernist sculpture, John Storrs incorporated the lessons of cubism and futurism and the streamlined design elements of industrialism to create some of the first abstract sculptures in the United States. Storrs was born in Chicago in 1885 and studied art in Hamburg, Chicago, Boston, Philadelphia, and Paris, under such noted sculptors as Arthur Bock and Auguste Rodin. He traveled extensively through Europe, North Africa, Canada, and Mexico, and he was deeply affected by such disparate styles as the art of the Vienna Secession, ancient Greek and Egyptian art, and Southwest and Pacific Northwest Indian art. The son of an architect and real estate developer, Storrs also had a lifelong interest in the interrelationship of sculpture and architecture, and he maintained close friendships with such Chicago architects as Louis Sullivan, John Root, and Frank Lloyd Wright. In the early-to-mid-1920s, Storrs began to make architectonic "column-tower" sculptures, which were inspired by modern New York skyscrapers, as well as by classical art and American Indian designs. This gift, Auto Tower, Industrial Forms (part B), is one of a pair of large painted cast-concrete sculptures that Storrs may have been commissioned to produce for an estate in Gland, Switzerland, perhaps at the behest of the renowned art deco design firm, Maison Jansen. The pieces are related to a number of much smaller works: the bronze Auto Tower (Industrial Forms), c. 1922 (location unknown); a plaster model for the bronze, c. 1922 (location unknown); a painted plaster version of the sculpture, c. 1922 (Smith Collection); and a pen and ink drawing, Study for Auto Tower (Industrial Forms), 1920 (Collection of Mr. and Mrs. Alvin S. Lane). The plaster model for the bronze Auto Tower was shown in Storrs' 1923 one-artist exhibition at the Société Anonyme in New York, which established him as a member of the international avant-garde. The plaster for the bronze was also reproduced in the winter 1922 edition of The Little Review, along with an essay by Storrs titled "Museums or Artists," in which Storrs expressed his belief that modern sculpture should be created directly for architecture. Despite the cool abstraction of much of his work, there is a playful side to Storrs' sculpture. Auto Tower, Industrial Forms (parts A and B) reflect the Dada and surrealist humor of the "geste," or visual pun, that was current in avant-garde circles in the 1920s. When turned horizontally, the sculptures are transformed from skyscraper tower forms into sleek automobiles. The pieces also have distinctly anthropomorphic qualities—the related ink drawing of the bronze shows that Storrs intended the works to be viewed as the profile of totemic figures. Auto Tower, Industrial Form (parts (parts A and B) stand alone as an important example of Storrs' architectonic sculpture from the early 1920s. These gifts greatly strengthen our collection of American modernist sculptures by artists such as John Flannagan and Alexander Calder. Furthermore, the sculptures complement our holdings of European avant-garde sculpture by artists such as Constantin Brancusi, Jean Arp, and Jacques Lipchitz. They are the first sculptures by Storrs to enter the Gallery's collection. John Storrs, American, 1885–1956, Auto Tower, Industrial Forms (part B), c. 1922, cast and painted concrete, height: 152.4 cm (60 in.) maximum width: 25.4 cm (10 in.) depth: 30.48 cm (12 in.), Gift of Deborah and Ed Shein, 2011.1.1 Throughout her career, Nancy Graves mined the world of natural science for her imagery, from meticulously constructed camels to detailed cartographic studies. Her dual interest in science and art started with childhood visits to the Berkshire Museum in Pittsfield, Massachusetts, where her father worked and which housed a combined collection of art and natural history. In the late 1970s, Graves became interested in archaeology. She was awarded a residency at the American Academy in Rome in 1979 and used the opportunity to tour ancient sites throughout the Mediterranean. The excavations she visited illustrated for Graves how cultures become layered over time, each new civilization consuming the previous one. The complex layering and fragmenting of color, form, line, and technique in Agualine, painted in 1980 once she had returned to New York, speak to the palimpsest of history. Agualine builds on a lexicon of images that Graves developed through the 1970s but pushes those literal references to the very edge of abstraction. Compositionally, Agualine is reminiscent of her painting Scaux, 1977, and her print Paleolinea, 1982, but begun in 1979, two works that reproduce the linear patterns from an Upper Paleolithic cave drawing in Altamira, Spain. In Agualine, the brown and black lines dancing across the canvas borrow from the same source but lack the fidelity of transcription.The band of thickly applied orange brushstrokes across the lower right corner of the canvas recalls a type of carved bone or horn found at Upper Paleolithic sites, although again it is less faithfully rendered in Agualine than in Scaux or Paleolinea. Agualine is also distinct from the gray Scaux in its high-keyed palette, signaling the brightly colored patinas Graves would use in her sculpture of the 1980s, including the National Gallery's Spinner, 1985, gift of Lila Acheson Wallace. Despite these overt references to caves, the title Agualine has a distinctly nautical sound. A compound of the words "agua" (Spanish for water) and "line," this invented term may best be described as a poetic abstraction that calls to mind Roman aqueducts or perhaps the frenetic movement of underwater life. The fluidity of the paint handling and the variety of marks suggest the tracks of sea creatures moving across the ocean floor and recall her bathymetric paintings of the early 1970s. Agualine, with its gestural exuberance, loud color, and dispersed composition, can be seen as a contemporary successor to the National Gallery's great painting by Wassily Kandinsky, Improvisation 31 (Sea Battle), 1913, Ailsa Mellon Bruce Fund. Agualine was generously donated by Robert E. Meyerhoff. It is the first painting by Graves to enter the collection and joins five sculptures, eleven drawings, and one print by the artist. Nancy Graves, American, 1940–1995, Agualine, 1980, oil on canvas, overall: 111.8 x 167.6 cm (44 x 66 in.), Collection of Robert and Jane Meyerhoff, 2010.14.1 In 1995 two marine paintings, Dutch Warship Attacking a Spanish Galley and Spanish Galleon Firing its Cannons were bequeathed to the National Gallery of Art. Technical examinations determined that the two panels originally had formed a single painting that was subsequently cut in half to form two separate works. Dendrochronological analysis revealed that the two horizontally-joined oak panel boards from each segment came from the same two trees. This technical information coupled with compositional evidence, such as corresponding cloud and wave patterns on the two segments, demonstrated that the two panels had once formed a continuous larger composition with the Spanish Galleon Firing its Cannons panel on the left and the Dutch Warship Attacking a Spanish Galley panel on the right. Fortunately, the two panels had remained together throughout their history, and after they were conserved in 2009-2010 they were brought together to recreate the original appearance of Verbeeck's work. This reconstructed painting vividly depicts an intense naval engagement, characteristic of Dutch battles against Spain during the long Dutch Revolt. At right, a Dutch warship under full sail has attacked a small Spanish galley that is sinking in the stormy sea. The Dutch ship is alive with triumphant activity, from the commander and trumpeter standing on the poop deck beneath the red flag, to the sailors scurrying up the rigging and the soldiers reloading their muskets. At left, a Spanish galleon is firing its portside cannons towards the large Dutch warship while trying to hit another Dutch ship with its starboard cannons. The smaller Dutch vessel has already reduced a Spanish galley to a burning wreck. Verbeeck's painting, which the artist signed Cornelis VB on the red, white, and blue Dutch flag atop the main mast, does not appear to represent an actual battle scene but seems to be a nautical metaphor celebrating the victory of the Dutch people over their enemy. Verbeeck's Battle: Restoring War in the Conservation Lab At the time of their acquisition in 1995, Cornelis Verbeeck's paintings Dutch Warship Attacking a Spanish Galley and Spanish Galleon Firing Its Cannons were covered with layers of discolored varnish. Their sojourn in the conservation lab, however, revealed a complex story that transformed our understanding of these paintings. Arthur Wheelock, curator of northern baroque paintings, is joined by Michael Swicklik, senior conservator, and Richard Ford, frame conservator, as they discuss this exciting discovery, and the paintings' new appearance as two halves of a reunited battle scene. Watch | iTunes | Watch on ArtBabble | RSS (4:48 mins.) Cornelis Verbeeck, Dutch, c. 1590/1591–c. 1637, A Naval Encounter between Dutch and Spanish Warships, c. 1618/1620, oil on panel, Gift of Dorothea V. Hammond The first pictures of marshlands by Martin Johnson Heade featured the environs of Newbury and Newburyport, Massachusetts, near the mouth of the Merrimack River. Perhaps attracted by John Greenleaf Whittier's poetry that celebrated the local landscape or more likely drawn there by his acquaintance with Bishop Thomas March Clark of Newburyport, Heade discovered the area sometime around 1859. By the end of his career he had executed more than 100 marsh subjects, a body of work that accounts for almost one-fifth of his entire known oeuvre as a painter. Over the course of this series Heade captured the essential character of the wetlands environment. He depicted the tides, meteorological phenomena, and other natural forces that shaped the appearance of the swamp and showed how the land was used for hunting, fishing, and the harvesting of naturally occurring salt hay. No other artist of the era explored and analyzed the unique qualities of the marshes in such a sustained and detailed way. Sunlight and Shadow is a particularly masterful example of how Heade balanced many countervailing forces in his wetland compositions. The serpentine line of the tidal creek receding into the open plain on the right is offset by the visual weight of the haystack and apple tree on the left. The rhythm of the creek's movement is complemented by the undulating wave pattern that the treetops and clouds trace across the sky. The pink clouds are mirrored in the shallow pool of water at the lower center of the painting, and the form of the tree leaning left is echoed in the sweep of the high thin clouds placed in the upper right corner. Finally, the painting's primary motif, sunlight and shadow, seen, for instance, in its intricate cloud shadows and the subtle movement from light to dark across the body of the haystack, informs and unites all its visual elements. Sunlight and Shadow: The Newbury Marshes is the latest gift to the Gallery from the John Wilmerding Collection. It joins other masterworks by Heade from the Morris and Gwendolyn Cafritz Foundation, Cattleya Orchid and Three Hummingbirds, and The Circle, Giant Magnolias on a Blue Velvet Cloth. The Gallery's permanent collection now includes a remarkable example of each of the three distinctive subjects that defined Heade's singular career—hummingbirds, flowers, and marshes. Martin Johnson Heade, American, 1819–1904, Sunlight and Shadow: The Newbury Marshes, c. 1871/1875, oil on canvas, overall: 30.5 x 67.3 cm (12 x 26 1/2 in.), John Wilmerding Collection, 2010.74.1 Although often connected to minimalist sculptors such as Donald Judd, who also made simple painted wooden objects at roughly the same time, Anne Truitt had little in common with the anti-aesthetic and anti-compositional stance of that loosely defined movement. Rather, her epiphany came in 1961, when she first saw in person the paintings and sculptures of Barnett Newman and Ad Reinhardt. Like Newman, Truitt was committed to the expressive value of carefully chosen color and to the significance of compositional decisions regarding the division of the rectangle. Both qualities are evident in Knight's Heritage, an important transitional piece in which Truitt still employed a brushy texture to define the paint surface and actual grooves to mark the three divisions (elements she abandoned in her later, smoother work) but began to break out of the somber tones of her earliest work and embrace glowing color. The title has several possible references, including the popular 19th-century medieval fictions of Howard Pyle, which Truitt enjoyed, and the Kennedy administration ("Camelot"), which she admired and to which she had social connections. The simple frontal array of the work has a heraldic aspect that reinforces these associations. Born in Baltimore in 1921 and raised on the Eastern Shore of Maryland, Truitt settled in Washington, DC, in 1948 and remained in the region until her death in 2004. While the Gallery's collection includes two of her towering columnar works and one small horizontal piece from the 1970s, the addition of this major work from her breakthrough years establishes a more complete representation of this influential American sculptor's career. Anne Truitt, Knight's Heritage, 1963, acrylic on wood, 153.35 x 153.35 x 30.48 cm (60 3/8 x 60 3/8 x 12 in.), Gift of the Collectors Committee, 2011 Great America (1994) by Kerry James Marshall is the Gallery's first painting by this major midcareer artist. A devoted student of the human figure and the history of art, Marshall draws upon the experience of African Americans to create imposing, contemporary history paintings. Marshall's mature career can be dated to 1980, when, inspired by the opening lines of Ralph Ellison's Invisible Man, he developed his signature motif of a dark, near-silhouetted figure in A Portrait of the Artist as His Former Self. Refusing both negative and positive stereotypes of black people, Marshall's figures of "extreme blackness" operate, he explains, "right on the borderline," forcing the viewer to find nuance and articulation within only apparently black forms. This strategy has been influential for younger artists, including Kara Walker and Glenn Ligon. Great America is contemporaneous with Marshall's well-known Garden Project (1994–1995), a series of paintings based on housing projects with "gardens" in their names, such as Nickerson Gardens in Watts, where he grew up. In those works, Marshall sought to convey the dignity and complexity of lives set within difficult circumstances. In Great America he re-imagines a boat ride into the haunted tunnel of an amusement park as the Middle Passage of slaves from Africa to the New World. What might in other hands be a work of heavy irony becomes instead a delicate interweaving of the histories of painting and race. The painting, which is stretched directly onto the wall, creates a screen or backdrop onto which viewers project their own associations triggered by the diaphanous yet powerful imagery. Born in Birmingham, Alabama, in 1955, Marshall grew up in Los Angeles and graduated from Otis Art Institute. After spending time as a fellow at the Studio Museum in Harlem, he moved to Chicago in 1987, where he still lives and works. Kerry James Marshall, American, b. 1955, Great America, 1994, acrylic and collage on canvas, overall: 261.62 x 289.56 cm (103 x 114 in.), Gift of the Collectors Committee Throughout her career, Jenny Holzer has engaged the public consciousness through her text-based art. Beginning in 1977 with Truisms, a series of witty and salient aphorisms posted in public spaces, Holzer has never shied away from sensitive material. She has mined declassified U.S. government documents for the series Redaction Paintings meticulously silk-screened works that depict blacked-out handprints of American soldiers accused of committing crimes in Iraq. The idea for the Redaction Paintings came in 2004 when Wired magazine asked Holzer to imagine a new landing page for Google's search engine. "I wanted to see secrets," she remembered, "a different secret every time I logged on." She went looking and found a letter on thesmokinggun.com in which Enron founder Kenneth Lay thanked the then governor of Texas George W. Bush for a gift of art. Searching more widely, she trawled the websites of the National Security Archive, the American Civil Liberties Union (ACLU), and the Federal Bureau of Investigation. She focused on documents about the Middle East, and when she found something of interest, she painted it. The document featured in DODDOACID derives from a 205-page record of investigation into alleged detainee abuse by a soldier that had been captured on video. The investigation concluded that the actions depicted in the video were inappropriate but not criminal. Holzer found the image on the website of the ACLU, which obtains declassified documents through the Freedom of Information Act. Revealing more about the artful way in which the document was redacted than about the accused or his alleged crime, Holzer's painting calls attention to issues of transparency and privacy. Why the use of oil paint on linen, a more traditional medium in which she had not worked since her graduate-student days 30 years earlier? "People study and preserve paintings and take them seriously," she explained, "whereas the information wasn't always noticed or taken seriously." Her silk-screened paintings of readymade images recall Andy Warhol's works of the early 1960s, including the Gallery's Let Us Now Praise Famous Men (Rauschenberg Family), 1963. Holzer's crisp enlargements, however, stand in contrast to Warhol's messier technique.DODDOACID is part of a generous gift of six Redaction Paintings given by the artist to the Gallery in 2010. Jenny Holzer, American, born 1950, DODDOACID, 2007, oil on linen, overall: 147.32 x 111.76 cm (58 x 44 in.), Gift of the Artist © Jenny Holzer, 2010.78.6 In June 1871, Thomas Moran, a gifted young artist working in Philadelphia, boarded a train that would take him to the far reaches of the western frontier and change the course of his career. Just a few months earlier he had been asked to illustrate a magazine article describing a wondrous region in Wyoming called Yellowstone—rumored to contain steam-spewing geysers, boiling hot springs, and bubbling mud pots. Eager to be the first artist to record these astonishing natural wonders, Moran quickly made plans to travel west. Yellowstone was Moran's ultimate destination in the summer of 1871, but before he reached the land of geysers and hot springs, he stepped off the train in Green River, Wyoming, and discovered a landscape unlike any he had ever seen. Rising above the dusty railroad town were towering cliffs, reduced by nature to their geologic essence. Captivated by the bands of color that centuries of wind and water had revealed, Moran completed a small field study he later inscribed "First Sketch Made in the West." Moran went on to join F. V. Hayden's survey expedition to Yellowstone and complete the watercolors that would later play a key role in the Congressional decision to set the region aside as America's first national park. Over the years, however, the subject Moran returned to repeatedly was the western landscape he saw first—the magnificent cliffs of Green River. Green River, Wyoming, was a bustling railroad town when Moran arrived in 1871. Three years earlier, Union Pacific construction crews had arrived intent on bridging the river. Their tent camp quickly became a boomtown boasting a schoolhouse, hotel, and brewery. Yet none of these structures appear in Moran's Green River paintings. Even the railroad is missing. Instead, the dazzling colors of the sculpted cliffs and an equally colorful band of Indians are the focus. In a bravura display of artistic license, Moran erased the reality of advancing civilization, conjuring instead an imagined scene of a pre-industrial West that neither he nor anyone else could have seen in 1871. Ten years after his first trip west, Moran completed Green River Cliffs, Wyoming, the most stunning of all his Green River paintings. The National Gallery of Art is honored to announce the acquisition of Thomas Moran's Green River Cliffs, Wyoming, 1881, a gift of the Milligan and Thomson Families. Thomas Moran, American, 1837–1926, Green River Cliffs, Wyoming, 1881, oil on canvas, overall: 63.5 x 157.5 cm (25 x 62 in.) framed: 109.22 x 203.2 x 15.24 cm (43 x 80 x 6 in.), Gift of the Milligan and Thomson Families, 2011.2.1 The peripatetic Joaquín Torres-García (1874–1949) was already 55 years old with a long career behind him by the time he created this work in 1929. When he was a young painter in Barcelona, his imagination had been fired by art nouveau and the murals of Puvis de Chavannes. In the 1920s he had experimented with cubism and primitivism and had met many leading modernists. But it was not until 1928, two years into a new life in Paris, that he began, through the abstract paintings of Piet Mondrian and Theo van Doesburg and the movement known as De Stijl, to find his own way. This painting is one of a few in which Torres-García arrived at his mature style. His allegiance to De Stijl is evident in the vertical-horizontal grid and the restriction of his palette to the three primary colors, albeit muted. The delicate layering and subtle painterly touch, however, are all his own—as are the symbols filling the grid. They embody what Torres-García would call "universal constructivism," which proposed a harmony between the intellect (represented here by the triangle and clock), the emotions (the house), and nature (the fish and the elephant). When he returned to Montevideo, Uruguay, his birthplace, in 1934, Torres-García expanded this system to include pre-Columbian elements, but he remained faithful to its basic outlines for the rest of his career. In Uruguay, Torres-García shook up the academic establishment and became a leading teacher and proponent of modernism, laying the groundwork for the explosion of neoconstructivism in postwar Latin America. He was also influential in New York, where a posthumous exhibition at the Sidney Janis Gallery in 1950 was admired by Barnett Newman and may have influenced Adolph Gottlieb and Louise Nevelson. His fascination with the compartmentalization of signs has its legacy in works by Jasper Johns, Jean-Michel Basquiat, Keith Haring, and others. Untitled Composition, a gift of Vicki and Roger Sant, was originally bought from the artist by his good friend, the sculptor Jacques Lipchitz, soon after it was made, and it remained with the Lipchitz family. The work has rarely traveled, which explains its pristine condition. This gift brings the Gallery its first painting by the artist and lays the basis for further acquisitions of Latin American modernism, a major ambition in our collecting. Joaquín Torres-García (artist), Uruguayan, 1874–1949, Untitled Composition, 1929, oil on canvas, overall: 60.01 x 73.03 cm (23 5/8 x 28 3/4 in.), Gift of Victoria and Roger Sant, 2010.15.1 James Rosenquist gained recognition in the early 1960s for paintings in which he juxtaposed images culled from the commercial world but radically altered their size and context. As a leading pop artist alongside Andy Warhol and Roy Lichtenstein, he aimed to paint contemporary life, not the tired drips, smears, and splatters of his abstract expressionist predecessors. Spectator—Speed of Light, 2001, however, is the work of the mature Rosenquist, who had come to recognize pieces by the likes of Jackson Pollock and Willem de Kooning as fresh and stimulating. Rosenquist has always painted by hand, and close viewing of his canvases reveals a surprisingly brushy style. This is especially true of Spectator—Speed of Light. When viewed from a distance,the painting features a shiny, metallic ribbon, twisting and turning through the picture space. Seen at arm's length, however, the reflective surface dissolves into an abstraction of lines and blobs—completely unrecognizable as a real thing. This effect is something Rosenquist experienced as a young man painting billboards: he could never see the whole picture while working on one part. Spectator—Speed of Light plays with this dislocating encounter, blurring the distinction between abstraction and figuration as one moves backward and forward in front of the painting. For the Speed of Light series, Rosenquist drew on Albert Einstein's theory of relativity, which describes how someone traveling in space at or near the speed of light would have a very different experience of time and distance relative to a slower-moving observer on earth. Spectator—Speed of Light seems to materialize Einstein's theory in a vortex of bright colors and shapes, a rush of the artist's thoughts and gestures. Scale, size, and space are crucial here, as indeed they have always been for Rosenquist, both in the distorted relationships between elements within his compositions and in the sheer size of his canvases: his famous painting F-111, 1964–1965, measures 10 x 86 feet. "I want people who look at my paintings to be able to pass through the illusory surface of the canvas," he wrote in his 2009 memoir Painting Below Zero, "and enter a space where the ideas in my head collide with theirs." Spectator—Speed of Light was generously donated by Mr. Robert E. Meyerhoff. It is the second painting by the artist to enter the collection, joining White Bread, 1964, which was purchased in 2008. James Rosenquist, American, born 1933, Spectator—Speed of Light, 2001, oil on linen, overall: 182.9 x 182.9 cm (72 x 72 in.) Collection of Robert and Jane Meyerhoff 2010.14.2 Albert-Ernest Carrier-Belleuse (1824–1887) was one of the most talented and prolific French artists of the nineteenth century. After training in decorative metalwork in Paris, he oversaw the Minton china works beginning in 1850. He then became the director of the Sèvres porcelain manufactory, serving in that capacity from 1876 until his death. His unabashedly glamorous, decorative terracottas are archetypal products of the hothouse atmosphere of France's Second Empire; indeed, the idea that this recently acquired sculpture portrays the actress Marguerite Bellanger, who was briefly Napoleon III's mistress, stems directly from the character of the epoch. The vivaciousness and warmth of Carrier-Belleuse's terracottas supplanted the cold stiffness of earlier neoclassical and academic marble sculptures. Inspired by Clodion, Jean-Antoine Houdon, and other eighteenth-century masters, Carrier-Belleuse exercised his extraordinary facility in modeling to create a multitude of statuettes, decorative busts, and portraits whose beguiling verve contributed to the rococo revival and a renewed taste for terracotta. Responding to broad demand for his art, Carrier-Belleuse produced multiple examples of original models, but by reworking the clay or plaster of a cast sculpture as it came from the mold and was still malleable, he ensured a measure of variety and freshness in his astonishing production, which was unsurpassed by contemporaries. Fantasy Bust of a Veiled Woman is one of three known examples of the same composition. Previously unrecorded, it is the best version. The others are a painted plaster in the Museum of the Second Empire at the chateau of Compiègne, France, and a partially stripped and repainted terracotta in the Carnavalet Museum, Paris. All were mold-made, but in this sculpture a few mold lines, almost as fine as human hairs, have been preserved. They are evidence of the precision and technical quality of this bust, the style of which may ultimately have been inspired by late sixteenth-century French sculptures such as Germain Pilon's renowned Virgin of Sorrows (marble example in Saint-Paul-Saint-François, Paris; terracotta in the Louvre), with its heavy veil. At various junctures (1864 and 1870/1871 in Paris and Brussels; 1879 and 1882 at Sèvres) Carrier-Belleuse employed Auguste Rodin (1840–1917) as an assistant. It was in Carrier-Belleuse's well-organized studios that Rodin learned how to manage the large-scale workshops of his maturity. Rodin probably also gained his mastery of mold-made sculptures from Carrier-Belleuse. The similarity between the two artists was a significant consideration in the purchase of this terracotta. The similarity of the National Gallery's Bust of a Woman, 1875, by Rodin, and Fantasy Bust by Carrier-Belleuse is easy to recognize. Over the past decade, the Gallery has acquired three large, nineteenth-century academic marble sculptures: Nydia, the Blind Girl of Pompeii by Randolph Rogers; Reading Girl by Pietro Magni; and David Triumphant by Thomas Crawford. The Fantasy Bust balances these works and, more significantly, provides a welcome link between them and Rodin. By contributing to a much-needed stylistic and historical context for the Gallery's sculptures by Rodin, the Fantasy Bust of a Veiled Woman also strengthens the chronological coherence of the collection. Albert-Ernest Carrier-Belleuse, Fantasy Bust of a Veiled Woman (Marguerite Bellanger?), c. 1865/1870, New Century Fund, 2010.63.1 In 2005, the year before his death, Nam June Paik created Ommah ("mother" in Korean), his last work of video sculpture, a genre that he invented in the early 1960s. The work is a moving summary as well as a lighthearted look back at a long and winding career. In Ommah, a traditional robe that might have been worn by a well-off Korean boy some 100 years ago hangs nearest to the viewer. Through its lightweight silk, images on an LCD TV monitor can be seen, but not without the irritation of a moiré pattern caused by the interplay of the two "screens." The monitor plays a program lasting several minutes and looping continuously. Three Korean American girls in traditional costumes dance, play ball, beat a drum, and ride in a toy car, seemingly carefree but carefully choreographed by Paik. The back-ground imagery includes close-up views of early video games, footage from TV shows, and material from Global Groove, the video Paik made for WNET-TV in 1974, all manipulated using a high-tech version of the color video synthesizer Paik coinvented around 1970. The music includes ambient sounds of the studio, both straight and processed, and snippets from Paik's own experimental music tapes of the 1950s. As stable and iconic as this cruciform work appears, our physically moving before it is vital as we pass back and forth, trying to peer through or around the robe. Paik attacked the passivity that he felt television imposed on viewers. Through endless play with the medium, he reclaimed the "boob tube" as an expressive, democratic tool. A Fluxus-inspired trickster crossing high culture with low, Paik never lost the homemade, improvised quality of his earliest experiments. To complement this gift of the Collectors Committee, Paik's nephew Ken Hakuta has donated an early work. Untitled (Red Hand), 1967, also employs a found antique as a screen (in this case a 19th-century Japanese scroll painting) through which light (in this case a blinking bulb) is projected. The bulb illuminates a handprint, presumably the artist's own, made on the glass of the frame. The scroll's comical figure with bulging eyes combines with these other elements in a humorous meditation on authorship and scavenger hunting, technology and tradition. Together these two works constitute a landmark acquisition: they are the first sculptural objects by Paik to enter the collection, and Ommah is a key addition to our nascent collection of works in time-based media. Nam June Paik (artist), American, born South Korea, 1932 - 2006, Ommah, 2005, one-channel video installation on 19-inch LCD monitor, silk robe, Gift of the Collectors Committee, 2010.62.1 In the landscape of minimalism, John McCracken cuts a unique figure. He is often grouped with the "light and space" artists who formed the West Coast branch of the movement. Indeed, he shares interests in vivid color, new materials, and polished surfaces with fellow Californians enamored of the Kustom Kar culture. On the other hand, his signature works, the "planks" that he invented in 1966 and still makes today, have the tough simplicity and aggressive presence of New York minimalism. "They kind of screw up a space because they lean," McCracken has said of the planks. Their tilting, reflective surfaces activate the room, leaving the viewer uncertain of traditional boundaries. He notes that the planks bridge sculpture (identified with the floor) and painting (identified with the wall). If Donald Judd's "specific objects" aspired to be "neither painting nor sculpture," as he wrote, McCracken's planks aspire to be both. "I want to make sculpture out of, say, 'red' or 'blue,'" McCracken once noted in a sketchbook. To do so required great craft. The original planks were hollow plywood structures sprayed with paint, but the wood grain began to show through once the paint dried. He solved the problem by coating the plywood with a layer of fiberglass before painting and using power sanders afterward to remove any personal or organic texture from the final surface. Black Plank, an early and rare work in pristine condition, reflects the artist's love of "an ancient Egyptian portrait of Chephren, in black diorite." For McCracken, who admits to believing in UFOs and aliens, each plank has its own personality, indeed its own being. From these idiosyncratic ideas, or perhaps in spite of them, his arresting work emerges. His ultimate goal, as with all mystics, is unity—not just of painting and sculpture, but of substance and illusion, of matter and spirit, of art and life. Such ideas recall the utopian aspirations of early modernists like Piet Mondrian and Wassily Kandinsky. Thus McCracken's work not only engages with the Gallery's strong holdings of minimalism—including pieces by Judd, Carl Andre, Robert Morris, Fred Sandback, Anne Truitt, James Turrell, and Larry Bell—but also with our paintings by Barnett Newman, whose "zips" helped inspire the planks, and with our major works of early abstraction. Black Plank is a gift of the Collectors Committee and is the first work by this fascinating artist to enter the Gallery's collection. John McCracken, American, born 1934, Black Plank, 1967, polyester resin, fiberglass, and plywood, overall: 243.84 x 40.64 x 6.35 cm (96 x 16 x 2 1/2 in.), Gift of the Collectors Committee, 2010.18.1 David Reed has said that he sees his paintings titled consecutively #421(1), #421(2), #421(3), and #421(4) as completed color studies. This observation reinforces the significance of the transparent and opaque layers of color that he combines with fluid, plastic lines laid down on the smooth surfaces of polyvinyl polymer resin panels. Reed used tape to mark out areas before applying alkyd impastos to the panels, leaving some areas flat and others in thin relief. Alkyd, a material that artists began to accept in the 1970s, dries quickly compared with oil paint and yet retains, like oil paint, its brilliant, even color and the appearance of wetness even after it solidifies. Painting forms that seem to hang or float in space, Reed bends serpentine lines like ribbons, curled and redoubled, sometimes tightly framed and sometimes loosely contained within rectangular boundaries. Reed's drawings suggest that he plans out the overall composition of a painting, since they contain notes, diagrams, and swatches of color on quadrille paper, but this is not the case. "I do not want people to think that the paintings are preplanned," he said in an interview: "My decisions are made in the process of painting. My plan is always changing." Reed has said that his work is neither nostalgic nor separate from life, that the past is a place to revisit only insomuch as it has relevance to the present. His colors may bring to mind those of the Day-Glo 1960s pop or op screenprint, and indeed layering of vibrant flat color is a key formal component of his work. Yet colors like hot pink, turquoise, and purple could also be associated with the cartoons and popular culture of today. Similarly, his drips and strokes might recall Jackson Pollock or abstract expressionist gesturalism, except that they look as if they have displaced a kind of film on the surface of the panel, like writing in fog on a window. Atomized lines of color drawn with an airbrush suggest that the same tool might have been used to create that film. Reed also uses glazes which create effects which are more like what one might expect from ink on vellum rather than oil on canvas. Reed's forms appear to twist in space and yet at the same time are composed of one plane laid over another. As the artist adds layer upon layer, without any of the paint soaking in, since he lets each layer dry, what happens on each plane remains fundamentally isolated from what happens on the next. These four acquisitions compliment the one painting by Reed already in the Gallery's collection. A generous gift from Dorothy and Herbert Vogel, these paintings are now part of the Herbert and Dorothy Vogel Collection. David Reed, #421(1), #421(2), #421(3), #421(4), 1998, Dorothy and Herbert Vogel Collection, 2007.6.240 Winter is the most frequently represented season in Dutch seventeenth-century art. One of the finest artists to paint winter scenes was Hendrick Avercamp (1585–1634), whose depictions of young and old, rich and poor populating frozen waterways were recently featured in an exhibition at the National Gallery of Art. However, Avercamp was neither the first nor the only Dutch artist to paint this type of winter scene. While the exhibition of his paintings and drawings filled the walls of the Dutch Cabinet Galleries, the Gallery's permanent collection was enriched with a delightful winter scene by one of his contemporaries, Adam van Breen's Skating on the Frozen Amstel River (1611). Much like Avercamp, Van Breen depicted Dutch citizens enjoying a bright wintery day, capturing the excitement when the ice was finally strong enough to welcome skaters. In the foreground are elegant figures dressed in vibrantly colored clothes preparing to skate, while others happily glide into the distance, along the smooth surface of the frozen river. Characteristic of these paintings are the many anecdotes that are illustrated, for example a young boy who propels himself on his prikslee (a small push-sled); an ice boat under full sail; and an orphan from the Burgerweeshuis (City Orphanage) of Amsterdam, recognizable by his half-red, half-black costume, carrying a kolf-stick over his shoulder. Occasionally accidents occur, as in the middle distance where two figures are sprawled on the ice. This particular painting is unusual in the geographical accuracy of the buildings. Instead of an imaginary city, the artist staged the figures against the profile of Amsterdam. The view is along the river Amstel, just south of that city. The church spires punctuating the city's profile are those of the Nieuwe Kerk, the Oude Kerk, and the nearest, the Zuiderkerk. The Zuiderkerk was built between 1603 and 1611, and this painting is the first depiction of this newly constructed Protestant church. Little is known about Van Breen's origins or his artistic training. His small surviving oeuvre consists mostly of winter landscapes, similar to those painted by Avercamp. Both artists may have studied in Amsterdam with David Vinckboons (1576–1633). Van Breen later moved to The Hague, where he married before he returned to Amsterdam. Eventually, he immigrated to Norway where he worked for King Christian IV. This beautifully executed and topographically interesting painting is one of his earliest known works and the earliest Dutch seventeenth-century painting in the Gallery's collection. Adam van Breen (artist), Dutch, c. 1585 - 1640, Skating on the Frozen Amstel River, 1611, oil on panel, overall: 43 x 65 cm (16 15/16 x 25 9/16 in.) framed: 78.74 x 55.88 x 5.08 cm (31 x 22 x 2 in.), The Lee and Juliet Folger Fund, in honor of Arthur K. Wheelock, Jr., 2010.20.1 Since the mid-1970s, Sean Scully has painted stripes and variations thereof (blocks, bands, and so forth). He is, of course, not the only artist to do so: other notable examples include Frank Stella, Agnes Martin, and Gene Davis. Yet Scully's canvases are unmistakably his own, thanks to their distinctive architecture of horizontal and vertical elements, their soft but muscular paint handling, and their earthy colors. Scully uses this basic, abstract vocabulary—which he says relates to the "repetitive building techniques that populate the whole world"—to communicate with the broadest possible audience. As a modernist, Scully believes in artistic evolution and the constant struggle to improve; he also believes in the power of abstraction as a universal language, to say everything all at once. Figurative painters are limited by their particular content; an abstract painting, according to Scully, "should be, could be, possibly, a moment of revelation. It's a kind of thinking that takes you out of context." Scully begins each painting with a charcoal underdrawing in which he lays out the basic composition. He then paints wet on wet until he feels he has "got it." Sometimes he completes a picture in one round, and other times he must repeat this process over several days. The many layers of paint in ONEONEZERONINE RED, a 2009 work generously donated by Alan and Ellen Meckler, seem to break down the strict geometry of the four-part composition. There is a tension between the architecture of the composition and the looseness of the brushstroke. No visual hierarchy governs the picture space. Every block has its place, balancing or propping another block. Some colors come forward and others recede. ONEONEZERONINE RED has a luscious, glossy surface. This gives it a lightness that stands in stark contrast to Scully's very physical multipanel paintings of the 1980s, of which the National Gallery's All There Is, 1986 (Gift of William Zachs), is a prime example. Composed of four attached panels, the earlier painting has a raw surface texture reminiscent of burlap, an effect the artist likely achieved by dragging a large, stiff-bristled brush through tacky paint. ONEONEZERONINE RED is much more refined. The brushstrokes are more fluid, the touch more elegant. The title of ONEONEZERONINE RED comes from the date, 1.1.09, inscribed on the back of the painting above the artist's signature. It hints at the immediacy of Scully's process and marks a singular moment in this artist's gradual, deliberate evolution. Sean Scully (artist), American, born Ireland, 1945, ONEONEZERONINE RED, 2009, oil on linen, overall: 228.6 x 182.88 cm (90 x 72 in.), Gift of Alan and Ellen Meckler, 2009.125.1 At first glance, Thomas Chimes' 1989 painting Messenger might appear to be an abstract monochromatic canvas. Slowly, though, a hazy profile emerges from the white field. Tiny words dot the canvas and skim the bottom edge. This mysterious painting begs to be deciphered. Chimes' work has been described as hermetic. He was fascinated with mythology, alchemy, and the French poet and playwright Alfred Jarry (1873–1907). The head in Messenger comes from an 1897 photograph of Jarry on his new Clément Luxe 96 bicycle, which he was famous for riding. In the early 1980s, Chimes began inserting this image into landscape paintings. He replaced the bicycle, however, with two oars and transformed the writer into one of his characters, Dr. Faustroll, who traversed Paris in a skiff. In 1984, Chimes began a series of Faustroll paintings (Messenger, for one) in which the artist cropped away the body and drained his palette of color, using only titanium white and Mars black. The layers of white paint that veil the photo-based image also seem to blast it with light. That whiteness may suggest "emerging consciousness," as Chimes said, or perhaps inner illumination. Two quotations (one in French, one in Greek) are carved into the paint at the bottom edge of the canvas. The first, translated from Jarry's Exploits and Opinions of Doctor Faustroll, Pataphysician, reads, "God is the tangential point of zero and the infinite. Pataphysics is the science." The second, in translation, is a query, "Why speak of manifold matter, [when] one substance is nature, and one nature conquers all?" This line is attributed to the Greek alchemical writer Zosimus, active in the third century AD, possibly quoting the pre-Socratic philosopher Democritus. Scattered around the canvas are the Greek words for messenger, air, fire, night, and water, and the names Maia and Hermes. What does it all mean? The painting raises questions about truth and nonsense, appearance and disappearance, clarity and obscurity. Born in 1921 in Philadelphia to Greek immigrant parents, Chimes studied briefly at the Pennsylvania Academy of the Fine Arts, then left to serve in World War II. In 1946 he settled in New York, where he studied philosophy at Columbia University and painting and sculpture at the Art Students League. He also met the artists Barnett Newman, Theodoros Stamos, and William Baziotes. Chimes moved back to Philadelphia in 1953. A great admirer of Thomas Eakins and Edgar Allan Poe, two Philadelphians who came before him, Chimes enjoyed a long career out of the limelight and developed his own vocabulary. In his sixties, Chimes took to wearing a porkpie hat and began to strongly resemble Jarry. Messenger, then, can also be read as a self-portrait. Thomas Chimes (artist), American, 1921 - 2009, Messenger, 1989, oil on wood, overall: 76.2 x 83.5 cm (30 x 32 7/8 in.), Gift of Gene and Sueyun Locks, 2009.122.1 American sculptor George Segal (1924–2000) is known for his ghostly white figures created by casting directly from the human body using gauze strips impregnated with plaster. Wendy with Chin on Hand, 1982, is a partial bronze bust of Wendy Worth, his longtime model, for which Segal cast only her face, hand, and shoulder. Clearly related to his Fragments series, the white-painted sculpture echoes classical marbles that were often unearthed in pieces and lacked their original polychromy. Its surface is far less refined than any Roman or Greek antecedent, however, retaining as it does all the evidence of the messy casting process. In addition, the pose, which at first glance suggests a classical elegance and balance, is in fact a result of contortion or perhaps even piece-by-piece assemblage, for it is the model's right hand, not the left, that touches the right shoulder—a position no one would adopt naturally or even easily. In this way both pose and surface manifest the artificial, constructed nature of this beautiful illusion. Despite the literal nature of the body-casting process, this muse is very much the artist's creation. Segal's casting process evolved over the course of his career. In the 1960s he used a single-cast method, wrapping his model in plaster-soaked strips, letting them dry, and then cutting the strips off in pieces and reassembling them to create the finished work. Thus all the detail captured at the interface of plaster and body ended up on the inside of the hollow sculpture, while the outside retained the evidence of Segal's handling of the plaster. As a result, his figures appeared mummified and anonymous. In the early 1970s he began taking secondary casts, using the hollow primary casts as molds. This more traditional approach brought the once-hidden details from the interior to the surface of the sculpture. And in 1976, prompted by a commission for an outdoor sculpture, Segal began casting select plasters in bronze. After 1979, when a white patina for bronze was invented, he was finally able to give his bronze sculptures the look of plasters. Thanks to a generous gift of the Helen and George Segal Foundation, Wendy with Chin on Hand is the fifth sculpture by the artist to enter the National Gallery's collection. Among the holdings is, most notably, The Dancers, another 1982 bronze (a Collectors Committee purchase) that depicts four women awkwardly arranged in a circle, each intensely focused on her own deliberate pose. The Dancers is an impressive and large composition and is among the finest examples of Segal's newfound ability to duplicate the original plaster, which in this case was cast ten years earlier, in bronze. Wendy with Chin on Hand, by contrast, is the smallest Segal sculpture to enter the collection to date and offers a more intimate glimpse into the artist's practice. Wendy with Chin on Hand, George Segal (artist), American, 1924–2000, , 1982, bronze with white patina, overall: 36.2 x 25.72 x 21.59 cm (14 1/4 x 10 1/8 x 8 1/2 in.), Gift of The George and Helen Segal Foundation, 2009.105.1 Alex Katz was born in Brooklyn, New York, in 1927 and educated at Cooper Union. Although he fraternized in the 1950s with the abstract expressionists at the Cedar Bar, their hangout in Greenwich Village, Katz never embraced the gestural style popular in New York, clinging instead to some degree of observation. (In high school he had received traditional training that included drawing from antique casts.) And yet if Katz's work has always celebrated the realism of quotidian life and landscape, it also cunningly incorporates the scale and structure of the ambitious abstract painting of his time. Folding Chair, 1959, with its restrained elegance, is a stately example of this abstracted realism. Katz simplifies the image to its essentials. A pale folding chair meets the olive plane of the floor and gridded windows of that city in a tilted space that opens wide to the viewer and defies perspective. The mode was not well received at first. to Katz's 1959 solo show at the TanagerVisitors Gallery unfavorably compared his paintings to photographs. Although Katz did paint from snapshots in the early 1950s, by the end of the decade he had shifted to painting from life with all the spontaneity of Jackson Pollock, whom he knew and admired. What he retained from his early use of the snapshot as reference were the parameters of the camera aperture, which constrained the scene in question and the viewer's position. At the same time, his rather arbitrary color choices declared his independence from photographic realism. Abstract expressionist artist Willem de Kooning recognized Katz's painterliness in 1959 and, responding to remarks from his critics, told Katz, "They look like photos, but they are paintings, and don't let them knock you away from it." While the view of Folding Chair appears photographic from across the gallery, a closer look reveals that the spare shapes of the work—one rectangle stacked against another— bear loose brush marks and imprecise edges where one color bleeds into the next. The composition reflects Katz's use of collage throughout the 1950s to consider the relationships between flat planes of color. Inspired by Henri Matisse's deliberate use of collage in his Cut-Outs, Katz avoided the sometimes haphazard nature of a medium based on scrap material. He purchased beige sheets of paper, hand-painted them in flat washes, and cut them into precise shapes that he then arranged on a page. One can easily imagine the correspondence between collage and canvas in Folding Chair: painted images of a white windowpane or green wall may well have replaced tiles of paper. Folding Chair is a significant addition to the National Gallery's strong collection of postwar American painting and offers an opportunity to examine Katz's early blurring of the boundary between abstraction and realism. In its juxtaposed planes of color and flattened spaces, the work presages the stark compositions of Katz's later pictures, of which the Gallery's other Katz painting, Swamp Maple (4:30), 1968, is a major example. Folding Chair was a generous gift from the Alex Katz Foundation. Alex Katz, American, born 1927, Folding Chair, 1959, oil on canvas, overall: 121.3 x 123.8 cm (47 3/4 x 48 3/4 in.), Gift of The Alex Katz Foundation, 2009.104.1 Robert Morris is perhaps the single most important figure for understanding the shift from minimal to postminimal art. As a pioneer of minimal sculpture during the early 1960s, Morris was one of the first artists to take into account the spatial and physical relationship between a viewer's body and a work of art. In columns, cubes, boxes, and L-beams, Morris's early works explored the body's interaction with specific objects and forms. As he explained in an interview with the critic E. C. Goossen, "I'm very much involved with that relationship towards things that has to do with the body's response." By the late 1960s, Morris was already experimenting with what he termed "anti form." Turning away from the modular construction of his earlier sculptures, Morris began making works in materials such as felt, thread waste, and even steam in order to explore the unusual properties of these different media. In 1967 he began a series of works using industrial felt—seeing how it behaved when stacked, draped, folded, hung, cut into pieces, or dropped into a tangled heap. The following year Morris articulated the stakes of his new concerns in an Artforum essay titled "Anti Form," in which he stated: "Random piling, loose stacking, hanging, give passing form to the material. Chance is accepted and indeterminacy is implied since replacing will result in another configuration." What Morris was at pains to emphasize, in other words, is that a single "anti form" work holds the potential to take a different shape each time it is presented, based on the arbitrary behavior of the materials from which it is composed. Untitled, 1976, is from the seminal Felts series. Although hung on a wall like a painting, this stubbornly tactile work compels both through its unpredictable form and its assertive physical presence, putting it in dialogue with National Gallery works by Eva Hesse and Richard Serra among others. Robert Morris, American, born 1931, Untitled, 1976, felt overall: 183 x 365.8 x 1.6 cm (72 1/16 x 144 x 5/8 in.) Gift of the Collectors Committee 2007.36.1 In his 1941 book Space, Time, and Architecture, Sigfried Giedion argued that modernism was distinctive for its use of the void as a positive element. No artist exemplifies this better than Fred Sandback, who spent 35 years making sculptures virtually without mass or volume, but as lines in space. This work began in 1967, while Sandback was earning his M.F.A. in sculpture at Yale. The example of visiting artists Donald Judd and Robert Morris helped him reject the ideal constructivist forms of Naum Gabo (whom Sandback had also met) and articulate real space by stretching elastic cords across parts of rooms. Perhaps he was responding to Michael Fried's 1967 essay "Art and Objecthood," which criticized minimalist objects for seeming hollow despite their bulk; perhaps he was inspired by the openness of Morris' steel-mesh sculptures, which Fried had ignored. In any case, Sandback began using hollowness itself to create almost palpable shapes. Soon he moved from elastic cord to acrylic yarn, which allowed him to explore color and span greater distances, achieving a desired unboundedness through the use of boundaries alone. Untitled (Gray Corner Construction) is one of Sandback's earliest extant works and his first to enter the Gallery's collection. While many of his pieces have decayed—something he anticipated with detailed diagrams and instructions for refabrication and installation—this work did not, partly because it remained undisturbed for many years in the private home for which it was commissioned. The only installation requirement, apart from a specific height, is a right-angled corner, which may seem surprising given that the steel angles at top and bottom are obtuse. Thus the virtual solid made by the work is an irregular one, reflecting Sandback's desire to question spatial experience rather than affirm known geometries. Sandback not only steered a determined course between minimalism and conceptual art, but also extended the modern sculptural tradition of drawing in space that the Gallery's major works by Alexander Calder and David Smith exemplify. From a mere corner, this remarkable work has the power to transform an entire room. Fred Sandback, American, 1943–2003, Untitled (Gray Corner Construction), 1968, gray acrylic on steel and elastic cord, overall installed: 198.1 x 15.2 x 22.9 cm (78 x 6 x 9 in.), Richard S. Zeisler Fund, 2009.59.1 Gertrude Käsebier's Mother and Child is among thirty-five stellar works by photographers associated with Alfred Stieglitz's famed Photo-Secession recently acquired by the National Gallery of Art. In the early 1900s Stieglitz formed a group he called the Photo-Secession that brought together several photographers whose work he believed represented the finest examples of the art of photography. Members included Käsebier as well as such now-celebrated photographers as Alvin Langdon Coburn, Edward Steichen, Karl Struss, and Clarence H. White. A fierce promoter of photography's artistic merit, Stieglitz founded a Photo-Secession gallery in New York and reproduced the group's photographs in his lavish journal Camera Work. The Photo-Secession rebelled against the clear-eyed, often more pragmatic or topographic approach of many 19th-century photographers. Eager to prove that photography was capable of artistic expression, the Photo-Secessionists instead produced images that were more suggestive than explicit, more evocative of moods or feelings than bald descriptions of fact. Käsebier, the most successful American portrait photographer in the first decade of the 20th century, was a founding member of the Photo-Secession. In addition to her innovative portraiture, such as the Gallery's 1902 photograph of Alfred Stieglitz, she often used photography to convey her feelings about childhood and what she called "the tremendous import of motherhood." A staunch believer in recent educational theories that urged adults to foster children's intellectual growth and independence starting at infancy, Käsebier frequently depicted—as she does here—a mother in the delicate position of simultaneously protecting a child and encouraging his or her exploration of the world. Mother and Child also highlights Käsebier's extraordinary printing skills. The lush, soft-focus image has a painterly quality—at once velvety and ethereal—that derives from Käsebier's facility with manipulating the surface of her gum dichromate prints. By printing the negative successively on the same sheet, and varying the pigmented emulsions, she was able to produce an expressive, subtly colored image that seems to hover between painting and photography. The newly acquired works by Käsebier, Coburn, Steichen, Struss, and White complement the Gallery's unparalleled collection of Stieglitz photographs. Together these images showcase the birth of the movement dedicated to advancing photography as a fine art. Gertrude Käsebier, American, 1852–1934, Mother and Child, c. 1900, multiple gum dichromate print, overall: 27.94 x 17.78 cm (11 x 7 in.), Patrons' Permanent Fund, 2008.65.7 This painting approaches its subject obliquely. Although there is no official title on record, Lewis' widow reports that he called it Alabama. Its composition reflects and exaggerates the shape of that state, which is a tapering quadrilateral with a "handle" at Mobile, where the border reaches the Gulf. Consider its date, 1967, and the fact that the artist was African American, and a theme begins to emerge. The hood of a Klansman emerges from a welter of black and white strokes. The two large forms have a violence to them, both in the way they meet the edge of the picture and in the way they cut off the marks within them. Think of a meat cleaver or a guillotine. Lewis' "black paintings" (1946–1977) were shown in 1998 at the Studio Museum in Harlem. Untitled (Alabama) is the culmination of a subseries that includes American Totem (1960), Ku Klux (1963), and Processional (1964). In these works, compacted, flamelike strokes of white and black move and twist across the canvas, suggesting the ambulatory confrontations that punctuated the Civil Rights struggle. In Alabama in 1963, Martin Luther King was jailed, "Bull" Connor turned dogs and hoses on demonstrators, and four black girls were killed at a Baptist church. As the sixties wore on and the Civil Rights and antiwar movements became more militant, artists increasingly turned to politics, such as in Barnett Newman's sculpture Lace Curtain for Mayor Daley (1968), with its barbed wire, and in Philip Guston's painting Courtroom (1970), with its Klansman and accusing finger. Lewis rarely resorted to such literal images, yet he had been working at the intersection of politics and art for years. The wedgelike walls of Untitled (Alabama) reflect the geometric abstractions of the time—and the forms within them recall the gestural painting of the 1950s, particularly the work of Bradley Walker Tomlin and Mark Tobey—but they also foreshadow the work of Richard Serra and Maya Lin, two artists also concerned with the politics of human locomotion. Lewis is often described as the main African American member of the abstract expressionist circle. This designation fails to capture his desire to reconcile abstraction with an urgent subject. Lewis may have disclaimed political efficacy for his art, but Untitled (Alabama), one of his greatest works, is unique in its historical ambition. It is the first work by the artist to enter the collection. Norman Wilfred Lewis, American, 1909–1979, Untitled (Alabama), 1967, oil on canvas, overall: 114.9 x 186.7 cm (45 1/4 x 73 1/2 in.) Gift of the Collectors Committee, 2009.45.1 Synecdoche (1991–present), by Korean-American artist Byron Kim (b. 1961), is an ongoing project of portraiture that now comprises more than 400 panels, each a single hue ranging from light tan or pink to dark brown. Finding sitters among strangers, friends, family, neighbors, and fellow artists, Kim records each person's skin color in oil paint mixed with wax that he applies with a palette knife on a single 10 x 8-inch panel, a common size for portrait photography. When the work is installed, the accompanying subtitle consists of the full names of the sitters, arranged alphabetically by first name. Synecdoche was a watershed for the artist and has received much acclaim since its first showing in the 1993 Whitney Biennial. Subsequent iterations have been seen in installations and exhibitions around the world. The work can be installed in many ways, using some or all of the panels, in a grid of almost any size or shape. Kim's work explores the history of abstract painting, the problems of color and vision, and issues of human identity and existence. The title—referring to a figure of speech in which a part represents the whole or vice versa—makes clear that issues of representation, both visual and democratic, are in play. www.nga.gov/pdf/synedoche.pdf (reference key: sitter names) (PDF 1.13MB) Byron Kim, American, born 1961, Synecdoche, 1991–present, Richard S. Zeisler Fund, 2009.39.1.1-429 American beaux-arts sculpture gained new prominence with a gift from the Wolf family, a representation of an iconic figure from early American history, Nathan Hale. The Gallery's first work by Frederick William MacMonnies (1863–1937), a star pupil of Augustus Saint-Gaudens, is a moving bronze image of the young martyr of the American Revolution. It was given by Erving and Joyce Wolf in memory of their daughter, the Honorable Diane R.Wolf, who had kept it in her home in Washington. MacMonnies had won the commission for an eight-foot-tall statue of Hale (1755–1776) in a competition sponsored by the Sons of the Revolution in the state of New York. That group planned the monument that now stands in City Hall Park, New York, then believed to be the site of Hale's execution. The competition model, produced in Paris, won MacMonnies a medal at the Paris Salon of 1891, the first such award given to an American sculptor. Cast at the Gruet Foundry in Paris, this bronze is an exceptionally fine example of the sought-after reductions produced from the sculptor's model. Hale, a young schoolmaster, was hanged as a spy by the British on September 22, 1776, reportedly after declaring, "I regret that I have but one life to lose for my country." Without any portrait for guidance, instructions to the artists competing to create his image a hundred years later called for "a well-built young man of American type, dressed in simple costume of the end of the last Century—at the moment immediately preceding his execution by the British" (M. Smart, A Flight with Fame: The Life and Art of Frederick MacMonnies , 86). MacMonnies made effective use of eighteenth-century costume details such as the ruffled shirt, whose torn and displaced neckline underlines the figure's fragility. Bound by ropes around his ankles and arms, his Hale stands erect, turning his face to the side as he confronts death with pensive self-possession, his fingers probing the air. The image shows both kinship and contrast with another celebrated monument to patriotic sacrifice, represented by a bust and bronze statuette nearby in the Ground Floor Sculpture Galleries—Auguste Rodin's Burghers of Calais, modeled 1884–1889, just before MacMonnies began to design his Nathan Hale. Both sculptors explore their subjects' states of mind at the moment before expected execution. Hale was hanged, but Edward spared the lives of the citizens of Calais. Frederick William MacMonnies, Nathan Hale, model 1889/1890, cast 1890, Gift of Erving and Joyce Wolf in memory of Diane R. Wolf, 2008.101.1 American sculpture in the classical and beaux-arts traditions gained new importance in our West Building galleries with a splendid gift in 2008. Ian and Annette Cumming presented the Gallery with its earliest example of American sculpture, a unique work of marble and bronze, David Triumphant by Thomas Crawford (1814–1857). Crawford's most familiar work in Washington is the bronze statue of Freedom atop the Capitol dome, posthumously cast from his model. The artist, a pioneer of neoclassicism in this country, is the only known American pupil of Bertel Thorvaldsen, the Danish rival of the celebrated Italian neoclassical sculptor Antonio Canova. Crawford began to design this David around 1845, and the present version, carved for a "Miss Pickman" whose family kept it until the late twentieth century, was completed in Rome in 1848. In his image of the boy conqueror of Goliath, Crawford addressed the challenge of the Italian Renaissance; the subject was famous in versions by Donatello, Verrocchio, and Michelangelo. His young David, portrayed with neoclassical calm in a Grecian-style tunic, takes a pose that recalls not only Renaissance bronze statuettes but also an ancient statue, surviving at the Capitoline Museums in Rome, that later became central to Nathaniel Hawthorne's novel The Marble Faun. David's identity as a sweet singer and future psalmist, not explored in the Florentine Renaissance statues, is evoked here by the harp, for which the sculptor used an innovative combination of bronze and marble. He ingeniously encouraged alternative main viewpoints, setting both the oval shield on which David stands and the face of Goliath in a position diagonally crossing the square plinth that bears the signature inscription on its front. One writer asserts that four examples of Crawford's David were carved, a level of replication that was customary for nineteenth-century sculpture. So far, the 2008 gift to the National Gallery of Art is the only example that has come to light. Thomas Crawford, David Triumphant, model 1845/1846, carved 1848, Gift of Ian and Annette Cumming, 2008.93.1 In 1913, following his early experiments with cubism, Marcel Duchamp sought to expose and undermine some of the basic assumptions that informed traditional approaches to painting and sculpture. Fascinated by the mass production of commercial goods in America, Duchamp began to appropriate prosaic, manufactured objects for his "readymades." He often shocked viewers by showing commonplace utilitarian items, such as snow shovels and urinals, bought directly from stores and usually unaltered except for the addition of a signature, in public exhibitions. By challenging standard notions of what constitutes art, these revolutionary works heralded a more conceptual approach to art-making in the twentieth century. Duchamp produced Fresh Widow in the summer or late fall of 1920, after returning to New York City from Buenos Aires via Paris. The title, a pun formed by changing several letters in the words "French" and "Window," refers to the double windows common in Parisian apartments and to the recent widows of World War I. The sheathing of polished black Morocco leather in place of windowpanes may also allude to the dark veils worn by women in mourning. Fresh Widow is a variation on the idea of the readymade as a commercial object, selected with indifference and transformed into a work of art by the application of a signature. Duchamp did not simply purchase an actual French window, but instead arranged to have a small-scale version produced to his specifications by a carpenter in New York. Further complicating matters, Fresh Widow was the first work Duchamp signed as Rose Sélavy (later written Rrose Sélavy), the quick-witted, bawdy female alter ego he adopted in 1920. While working under this pseudonym, Duchamp produced numerous works with verbal and visual puns, such as Brawl at Austerlitz, 1921, another small-scale window whose title cleverly alludes to the Parisian train station Gare d'Austerlitz and the battle during the Napoleonic wars that the station commemorates. Clearly Duchamp saw every aspect of his work—materials, subject matter, name of the work, his own name—as a means to jolt the viewer into confronting the question "What constitutes a work of art?" Duchamp's original version of Fresh Widow is in the permanent collection of the Museum of Modern Art, New York. Under Duchamp's supervision, the Milanese dealer Arturo Schwarz made an edition of eight identical reproductions of Fresh Widow in 1964, using photographs and descriptions of the original. The Gallery's version is number 2 of this edition. In addition, there were two artist's proofs made: one inscribed ex. Arturo and dedicated to Schwarz, which was given to the dealer; the other inscribed ex. Rrose and reserved for the artist. Two further replicas, also outside the edition, were made for museum exhibition purposes. Because Duchamp hand-painted a copyright notice on the work in 1920, thus legally protecting it as a unique intellectual property, it is reasonable to assume that he always had in mind the possibility of such future copies and editions. This will be the second work by Duchamp to enter the Gallery's permanent collection. The first, Bôite-en-Valise, 1961, is a cloth-covered case containing miniature reproductions of works by Duchamp, including Fresh Widow. In addition to strengthening the Gallery's holdings of works by Duchamp and his brothers, Raymond Duchamp-Villon and Jacques Villon, Fresh Widow will complement other works by Dada and surrealist artists such as Francis Picabia, Man Ray, Salvador Dalí, Max Ernst, Joan Miró, Yves Tanguy, Joseph Cornell, Jean Arp, and Kurt Schwitters. Marcel Duchamp, Fresh Widow, original 1920, fabricated 1964, painted wood, glass, black leather, paper, and transparent tape, Gift of Deborah and Ed Shein, 2008.33.1 Throughout his six-decade-long career, Andrew Wyeth painted lonely rural landscapes, closely observed portraits, and crisp interior still lifes in a characteristically realistic and finely detailed style. His landscapes are almost entirely of locations in the Chadds Ford and Brandywine area of Pennsylvania and in coastal Maine, the places where he grew up and lived all his life. Wyeth's close friends and neighbors, and their homes, were frequently the subjects of his intensely personal paintings. The Olsons—Christina Olson in particular, shown in his most famous painting, Christina's World, 1948 (The Museum of Modern Art, New York)—and their farm were repeatedly depicted by the artist. Wyeth's interior scenes and architectural views often focus on windows and doorways, and Wind from the Sea is one of the artist's earliest paintings of a window. It is a scene from a room on the top floor of the Olson house in Maine, looking over the surrounding landscape. Wind from the Sea, painted a year before Christina's World, captures a moment on a hot summer day when Wyeth opened the seldom used window in an attic room. The picture is eerily alive with movement as the wind blows the curtains into the room. The tattered, transparent fabric is light and airy, with small embroidered birds along the edges that seem ready to dart into the house. In contrast, the sun-bleached wooden window sill looks sturdy and solid. The interior of the room is dim, while the landscape beyond the open window is stark and bright. The tree-lined view includes no figures, but as in so many other works by Wyeth, a strong sense of their presence is evident. Two well-worn tire tracks running across the dirt lead the viewer's eye toward the sea in the distance. The close vantage point and the tightly cropped window frame at the edge of the painting create the illusion that the viewer is actually looking out a window. Wind from the Sea is an iconic example of Wyeth's landscapes, as well as one of the earliest examples of his use of windows and his often unique choice of vantage point. Three preparatory studies for the painting accompanied the gift. All four works were bequeathed to the Gallery by Charles H. Morgan. Wind from the Sea is the second painting by Wyeth to enter the National Gallery's collection; Snow Flurries, a 1953 tempera painting, was given in 1977. Andrew Wyeth, Wind from the Sea, 1947, tempera on hardboard, Gift of Charles H. Morgan, 2009.13.1 Hendrick ter Brugghen (1588–1629), as no other Dutch artist, could capture the rhythms of music in the very way he composed his paintings. His musicians lean into their instruments, their bodies alive with the joy of the sounds they bring forth, whether coaxed from a violin, lute, recorder, or bagpipe. In this remarkable image a bagpipe player, seen in strict profile, squeezes the leather bag between his forearms as he blows through the instrument's pipe and fingers a tune on the chanter. Two large drones, composed of different wooden sections, rest on his bare shoulder. The interlocking rhythms of this ensemble—the round shapes of the musician's shoulder, beret, and brown bagpipe bag, the flowing patterns of folds in his creamy shirt and taupe robe, the pronounced diagonals of the drones and pipe, and the verticality of the chanter—parallel those of a musical score. One can almost imagine hearing the bagpipes' broad, fulsome notes, followed by quickly cadenced flourishes and strong beats that not only punctuate melodies with dynamic accents but also culminate in a well-defined and emphatic finale. Ter Brugghen's painting, while muted in tonality, is both bold and forceful in its scale and painting techniques. The musician is shown larger than life-size and his form fills the picture plane. The artist's sure brushstrokes flow across the canvas, reflecting in their energy the bagpipe player's passion for his music. The numerous adjustments the artist made in the folds of the shirt and robe, as well as in the shape of the bagpipes, indicate the freedom with which he approached his subject. Also astonishing is Ter Brugghen's control of light, which falls most strongly on the bagpipe player's shoulder, shirt, and fingers while leaving his face in shadow—evidence that the painting focuses primarily on the sensuality of music and not on a specific individual. The bagpipe player is a muscular, rough-hewn type, hardly an ideal of grace and refinement. His head is large, his nose round, and he sports a shepherd's mustache and beard. His hands and knuckles are thick, yet from the manner in which he fingers the chanter, leaving the vent hole uncovered, it is clear that he understands how to play the instrument. Bagpipes were traditionally viewed as folk instruments, played by herdsmen and shepherds whiling away their time or at country dances. However, Ter Brugghen does not depict a local peasant or a shepherd the artist may have encountered on a foray into the countryside: shepherds did not play bagpipes with drones resting on a bare shoulder. The bagpiper's loosely draped robes reflect a manner of dress based on antique fashions (all'antica). This mode of dress alluded to an arcadian ideal of country existence that was popular in aristocratic and court circles and among the urban elite, particularly in Utrecht and The Hague. Essential to this mythology were not only the purity and bounty of country existence, but also the romantic ideals of love and beauty that derived from Renaissance literary and pictorial traditions. The Bagpipe Player thus reflects the broad cultural interest in the pastoral during the early seventeenth century that evoked the idyllic pleasures of country living, particularly as experienced through music. Ter Brugghen fully embraced this theme in paintings of musicians and singers that capture both the joy and the sensuality of life. These remarkably engaging images invite us into a world where, through the artist's boldness of his brush and the rhythms of his forms, we feel the enduring power of music on the human spirit. The specific character of the Bagpipe Player—a single, over-life-size musician, depicted against a plain grayish-ocher background—owes much to the influence of Gerrit van Honthorst and Dirck van Baburen, Dutch Caravaggist painters who returned to Utrecht from Rome in 1620. They brought with them stylistic and thematic predilections appropriate for expressing the sensuous, idealized concepts of arcadian subject matter that they adapted from paintings by Caravaggio and his followers, particularly Bartolomeo Manfredi. Ter Brugghen himself had undertaken a trip to Italy around 1608 after a short apprenticeship in Utrecht, possibly with the mannerist artist Abraham Bloemaert. Little in Ter Brugghen's early work, or even in his work after he returned to Utrecht in the fall of 1614 and joined the painter's guild, suggests that he fully embraced Caravaggio's bold, light-filled style of painting. Once Honthorst and Baburen returned in 1620, however, he quickly responded to the stylistic and thematic innovations of his younger contemporaries, whether depicting biblical, mythological, or genre scenes of figures playing musical instruments, a subject he continued to paint until his death in 1629. He may even have formed a workshop with Baburen. In 1624, the date of the Bagpipe Player, Ter Brugghen fully turned his attention to the depiction of musicians. In that year he painted no fewer than five separate compositions devoted to music, featuring not only bagpipe players but also musicians—sometimes singing—who play the lute and the violin. He continued this interest in the years to follow. Just what prompted this change is not known, but the appeal of this subject was such that Ter Brugghen and/or his workshop made replicas of a number of these works, including the Bagpipe Player. This is the first work by one of the Utrecht Caravaggisti to enter the Gallery's collection. Hendrick ter Brugghen, Bagpipe Player, 1624, oil on canvas, Paul Mellon Fund and Greg and Candy Fazakerley Fund 2009.24.1 Alfred Thompson Bricher began his career as a painter of autumnal landscapes, but by the late 1860s he had become a specialist in seascapes. His favorite subjects were the beaches and headlands of the New England coast, and he excelled at depicting such scenes in calm weather and lit by serene, luminous skies. At his best, as in the radiant A Quiet Day near Manchester, he was capable of equaling the finest work of fellow marine painters John Frederick Kensett, Sanford Robinson Gifford, and Martin Johnson Heade. A Quiet Day near Manchester, 1873, depicts a scene on the Massachusetts coast north of Boston and seems to have been particularly inspired by Kensett, who had died unexpectedly the year before. The mass of meticulously delineated rocks at the left side of the composition and the expansive sweep of sea and sky bring to mind works such as Kensett's late Beach near Beverly, also in the Gallery's collection. Although Bricher painted many pictures over the course of his long career (he continued working until his death in 1908), the superb A Quiet Day near Manchester is unsurpassed. Alfred Thompson Bricher, A Quiet Day near Manchester, 1873, oil on canvas, Paul Mellon Fund, Avalon Fund, and Gift of Jo Ann and Julian Ganz, Jr. 2008.66.1 One of the leading artists of the post- Jasper Johns/Robert Rauschenberg generation, Terry Winters wields his brush with the kind of knowledge and conviction that make periodic talk of "the death of painting" seem empty. Bitumen, 1986, is a work from the first decade of his career, when Winters was exploring such basic natural processes as crystal formation, fungal growth, and (as in this canvas) cellular division—and when he was equally immersed in the natural history of painting itself. Winters' training at New York City's High School of Art and Design and later at Pratt Institute left him curious about his medium, and he began grinding and making his own paints. Attracted to bitumen, a dark-colored paint made from coal tar, but aware that its use was responsible for the poor condition of many nineteenth-century paintings that exhibit blistering surfaces over time, he obtained a stable, modified version from the French firm of Lefranc & Bourgeois for use in this painting. On full display here is what Winters calls the "transparency and viscosity" of bitumen, which he extended with umbers and other earth colors. Thick, juicy modeling alternates with passages of almost aqueous translucency. The material itself seems to partake of the painting's theme of organic growth, which is appropriate given the carbon base of the titular pigment. The tabular array of the composition, on the other hand, with its forms laid out like specimens on a table, references the rational ordering schemes employed by naturalists as well as the splayed compositions of Johns and the later works of Philip Guston. Thus the painting proposes a meeting of nature and culture that is at the heart of Winters' work. Since 1990 Winters has turned his gaze from organic motifs to the digital presentation of graphic information, appropriating and overlaying imagery to drive his interrelated practices of painting, drawing, and printmaking. In this respect he was one of the first painters to embrace cyberspace and postmodern information theory. Winters has held fast to traditional artistic media as the appropriate vehicle for these explorations, thus extending the viability and the possibilities of painting. Bitumen is the first work by this innovative artist to enter the Gallery's collection. Its acquisition was made possible by a generous gift from the Richard S. Zeisler Fund. The addition of this early, but classic, Winters work will help the National Gallery tell the story of painting in the 1980s, when artists such as Johns, Anselm Kiefer, Brice Marden, and others proved the continuing vitality of expressive abstract painting. Terry Winters, Bitumen, 1986, oil on linen, Richard S. Zeisler Fund, 2008.35.1 James Rosenquist, considered one of the leaders of the pop art movement of the 1960s, created White Bread, 1964, during a pivotal period in the early years of his long career. After studying art with Cameron Booth at the University of Minnesota, Rosenquist moved to New York City in 1955 on a scholarship from the Art Students League. His breakthrough came in 1960, when he quit his signpainting job and found a loft in Coenties Slip in Lower Manhattan, joining a group of young mavericks that included Ellsworth Kelly, Robert Indiana, Agnes Martin, and Jack Youngerman. Here Rosenquist gave up his previous abstract expressionist efforts and let his commercial experience invade his art. The result was a series of monumental paintings based on jagged collages of magazine images and views out his window. White Bread is one of Rosenquist's best-known works from this period, but it is not typical. The scale is relatively modest compared to other works he created at the time, and the composition is not interrupted by the sharp divisions and overlaid images that usually emerged from his collage process. Instead, the divisions and overlaps are elegantly found in the subject itself—four slices of store-bought white bread, the topmost of which is receiving a coat of the world's yellowest butter (or, more likely, margarine), courtesy of a very ordinary stainless steel knife. While commonly associated with pop art, Rosenquist never fit comfortably into the pop category, as this painting demonstrates. On the one hand, he generally eschewed brand names and logos, preferring more generalized commercial images. On the other, he dared to approach commercial illustration techniques even more closely than his pop cohorts, as can be seen in his efficient but careful rendering of the grooves in the knife and the gloss on the butter. At the same time, this work can be considered largely as an abstraction: the canvas is divided into simple shapes, and the use of the same yellow for both the spread and the background flattens the space, calling attention to the patterns formed by the bread crusts. In this regard, White Bread is similar to the radical simplicity, purity of shape, and sharp contours found in Ellsworth Kelly's color field paintings. Indeed, some commentators have detected Kelly's initials in the crusts. The possible influence of Roy Lichtenstein can also be seen in this work. In 1963, Lichtenstein painted Mustard on White, which shows a woman's hand delivering a bright yellow coating of mustard to a slice of white bread with a knife. In sum, White Bread is a painting about culture and consumption made at a high point of American consumerism, but it is also a painting about painting, about the application of color to a support and its stunning visual results. White Bread, 1964, oil on canvas, Richard S. Zeisler Fund, Although best known for his figure paintings, often set in and around Manhattan, Alex Katz is equally a painter of Maine, where he has summered for decades. Swamp Maple (4:30), painted in Lincolnville, Maine, in 1968, is one of his largest landscapes in every sense—at once monumental and unstable, fast and slow, flat and deep, hard and soft, general and particular, observed and abstract. Here Katz beautifully captures the glow of weak sun on leaf and water and the contrasting textures of soft grass and rough bark. A delicate craquelure on the tree trunk emerged during the course of painting, and Katz took advantage of it to convey the bark itself. His color choices, such as the tan sky and the white reflection of the black shore, are both memorable and puzzling, leaving the viewer to wonder whether it is 4:30 a.m. or p.m. The former is not out of the question: Katz has said that he wants to explore times that few people have seen, and in Lincolnville, the sun rises that early in the summer. In fact, Katz recalls that the painting was based on oil sketches he made in the afternoon, although the title leaves the time of day ambiguous. The absence of a viewpoint or standpoint in Swamp Maple (4:30) is aided by radical cropping, a Katz trademark: "A lot of these paintings don't have much of a floor," he remarks slyly, and indeed, the handling of the grass suggests a plane slipping away. Space is deepened by aerial perspective, as seen in the depiction of the pale blue hills, and then drained by the color of the sky, which seems to sit on the surface of the painting, refusing to recede properly into space. The tree is not in the landscape so much as in front of it, perhaps even serving as a stand-in for the artist or the beholder. Katz steered his own course throughout the 1960s, paying close attention to artists as diverse as Barnett Newman, James Rosenquist, Fairfield Porter, Roy Lichtenstein, and Al Held, a painter with whom he shared studio space in New York for much of the 1960s. Swamp Maple (4:30) rivals the scale of abstract expressionism, borrows the language of hard-edge abstraction, and navigates between the softness of plein-air painting and the slickness of pop art. This work, the most ambitious landscape that Katz had painted up to that point, beautifully realizes his goal of capturing an "overall light" in the "present tense." Although the Gallery's collection is rich with early works on paper by Katz, Swamp Maple (4:30) is the first of his paintings to enter the collection. Together with the new Rosenquist acquisition, it will help to represent American figurative art of the 1960s, which is often overlooked given the struggle at that time between late abstract expressionism and emerging pop and minimalism. Alex Katz, Swamp Maple (4:30), 1968, oil on linen, Gift of the Collectors Committee, 2008.34.1 This transcendent view down the Rhine River from the hillside vineyards near Oberwesel, Germany, is a masterpiece by one of the great icons of British art, J. M.W. Turner. Executed in Turner's signature medium of watercolor, it encapsulates all the most admired qualities of the artist's works in that demanding technique. With its dazzling combination of light, color, and atmosphere, this piece not only marks the pinnacle of Turner's career as an artist but also bears eloquent witness to his stature as a supremely gifted and innovative watercolorist. Turner traveled widely over the course of his career, both in England and abroad, filling sketchbooks with rapid pencil studies that later served as the inspiration for his watercolors. This view of Oberwesel, for example, was the direct result of a trip he made along the Rhine in 1839. Topographical accuracy was not his first concern here, for he repositioned such significant local monuments as the white Ochsturm (Ox Tower) at left and the Schönburg Castle in the middle distance at right to improve the composition, framing the sun-glazed view down the river in a manner intended to evoke the grand classical landscapes of Claude Lorrain (1604/1605–1682). Turner's transcription of nature is firmly rooted in reality, but his inimitable combination of radiant light and vaporous color imbues his vision of the river and the surrounding hills with an extraordinary sense of spirituality and cosmic grandeur. Enhancing that quality is the contrastingly more detailed and down-to-earth handling of the foreground, which is animated with figures and objects that could hardly be more ordinary. Even in those more mundane passages, however, Turner's handling is very fine; particularly beautiful is his deft use of scratching out to indicate the grapevines trailing down the hill at right. From his many journeys and his extensive reading, Turner was steeped in historical and literary knowledge about the places he visited and drew. He must have been well aware, for example, that in 1813 field marshal Blücher led his Prussian troops across the Rhine below Oberwesel—at the distant spot that lies exactly in the center of Turner's composition—to drive Napoleon's army out of the Rhineland. That is one reason the artist may have chosen to populate the foreground of his composition with laborers and their families resting in the midday sun, thus contrasting their present tranquil existence with the ravages of war in the past. Turner also undoubtedly knew Lord Byron's many verses in praise of the Rhine in Canto III of Childe Harold's Pilgrimage, and it has been suggested that he was specifically inspired by verse 46 to include nursing mothers and babes-in-arms among the foreground figures: "Maternal Nature! For who teems like thee, / Thus on the banks of thy majestic Rhine?" Joseph Mallord William Turner, Paul Mellon Fund, The city of Hull, an important British port for commercial and fishing fleets, was a center for whaling until the middle of the nineteenth century. During the eighteenth and nineteenth centuries, it attracted a number of accomplished marine painters. John Ward (1798–1849), one of the finest of these artists, enjoyed wide patronage from ship owners and merchants and produced numerous ship portraits and harbor views. His most original and striking works are whaling scenes he painted from the early 1820s to the early 1840s. He began exhibiting such works at the Royal Academy, the British Institution, and the Royal Society of British Artists in London in the 1830s, bringing him recognition beyond his hometown. The Northern Whale Fishery: The "Swan" and "Isabella" was unknown to modern scholarship on Ward until its appearance at auction in September 2006. Several other similar paintings of the Swan and the Isabella are extant, each with variations in the placement of the ships, the details of human activity, and the variety of marine animals shown. The Gallery's newly acquired picture is among the most beautifully painted of all of Ward's creations. The two principal ships are painstakingly rendered to capture exact details of rigging and overall form, while other vessels are depicted in the distance. Ice floes drift on the sea, and icebergs loom in the background. The scene is filled with activities associated with whaling: strips of whale flesh are loaded on the Swan at the left; a long boat tows a dead whale in the middle distance; and a boat pursues a sounding whale near the Isabella at the right. Most remarkable is the array of wildlife present, including three seals and pairs of polar bears, walruses, and narwhales; seagulls skim the water and ice, searching for, and in some cases finding, morsels of blubber. The Gallery's collection has only a few marine pictures by British artists and none depicting an Arctic scene. The Northern Whale Fishery: The "Swan" and "Isabella," with its charming and appealing subject and the exceptionally fine aesthetic level of its realization, is thus an important and welcome addition. John Ward of Hull, The Northern Whale Fishery: the "Swan" and "Isabella", c. 1840, The Lee and Juliet Folger Fund, 2007.114.1 The National Gallery of Art has recently acquired a private collection of forty-one important British photographs by several of the foremost photographers of the mid-nineteenth century, including the pathbreaking Scottish photographic team of David Octavius Hill and Robert Adamson, Julia Margaret Cameron, Roger Fenton, Oscar Gustav Rejlander, and William Henry Fox Talbot. Among the works by Hill and Adamson—fourteen calotypes from the medium's first decade—is the well-known portrait of David Octavius Hill at the gate of his Edinburgh home and studio, from about 1845. Twelve of the Hill and Adamson prints, including this one, are especially noteworthy because they were presented by Hill to the Royal Scottish Academy in 1852. The Cameron acquisition consists of five portraits, two allegorical subjects, and two group photographs, including Summer Days. Made at her home on the Isle of Wight in 1866, only two years into her career, Summer Days features a distinctive, intimate grouping, with Cameron's niece, one of Cameron's maids, and the children of neighbors. The photograph's soft focus, which Cameron manipulated for artistic effect, is strikingly juxtaposed with a background unusual in its unsettling, off-center geometry. David Octavius Hill and Robert Adamson, David Octavius Hill at the Gate of Rock House, Edinburgh, 1843–1847, salted paper print from a paper negative, Paul Mellon Fund 2007.29.27 Paul Guigou was the leading representative of the Provençal school of landscape painters in France before his contemporary Paul Cézanne overtook him in fame. Guigou's great promise was cut short by a fatal stroke in 1871, when he was only thirty-seven. Born near Apt in the Vaucluse region of southern France, Guigou trained in Marseille and Paris but remained devoted to his home region of Provence. He worked primarily along the river Durance (which runs about ten miles north of Aix-en-Provence), near the towns of L'Isle-sur-Sorgue and La Roque d'Anthéron, depicting the rough, rocky landscape of the area with its sunbleached crags and wide blue skies. He exhibited regularly at the Paris Salon. Washerwomen on the Banks of the Durance, painted in 1866, when the artist was at the height of his powers, is a work fully characteristic of Guigou. It shows a group of local washerwomen, wrapped against the heat of the sun, at work on the riverbank. But the true subjects are the harsh southern light and the Provençal landscape. In a noticeably austere composition, we see a broad sweep of the Durance as it rounds a bend, the arid alluvial plain, and the edge of the Lubéron mountain range at left, all spread out under a brilliant blue sky. Guigou was one of a generation of French landscape painters at midcentury who, reacting against the political centralization and cultural domination of Paris, asserted their provincial identity and autonomy by celebrating their local landscapes and ways of life. The example of Gustave Courbet's regionalist realism lies behind this movement, and indeed, Guigou was friendly with Courbet's greatest patron, Alfred Bruyas, whose collection he frequented in the nearby town of Montpellier. Guigou's manner of painting is strong and heavily impasted, a painterly equivalent for the typically rugged Provençal terrain that he favored. This rough and textured surface came to exemplify a "Provençal" style of painting, which was soon adapted and refined by Cézanne—as, for example, in the National Gallery's Houses in Provence: The Riaux Valley near L'Estaque, c. 1883. Guigou's spare composition and bold palette of ocher and blue influenced another young contemporary painter from Montpellier, Frédéric Bazille (1841–1870), as seen in the Gallery's The Ramparts at Aigues-Mortes, 1867. Washerwomen on the Banks of the Durance, 1866, oil on canvas, 66 x 115 cm (26 x 45 1/4 in.), Chester Dale Fund, William Merritt Chase (1849–1916), one of New York's most prominent artists in the 1880s, surpassed all others in the use of pastel. In his adept hands, pastel's chalky matter rivaled the authority of oil paint, though with greater receptivity to light and an unmatched velvety texture. Chase produced more than one hundred pastels in the 1880s, increasing the visibility of the medium in exhibitions and promoting the technique with forward-looking artists of the day. The pastel has borne more than one title since its making. The Gallery has reinstated Study of Flesh Color and Gold, which was used when the pastel was exhibited at the Art Institute of Chicago in 1897 and is reminiscent of titles favored by James McNeill Whistler. Consider, for example, Whistler's Nocturne in Black and Gold or his Arrangement in Flesh Colour and Black. Chase was an exuberant admirer of Whistler's work and sought out his acquaintance while on a trip to London in 1885. By all accounts the two men got along famously, but Chase eventually tired of the older artist's quarrelsome behavior. Nonetheless, he maintained respect for Whistler's work and continued to laud his accomplishments. In Study of Flesh Color and Gold, Chase applied the pastel relatively densely and with exceptional vigor, maneuvering the colored crayon as one would a brush loaded with oil paint. In keeping with the contemporary vogue for Japonisme, Chase (like Whistler) adopted Japanese props. He tilted the picture plane and cropped the composition, devices common to Japanese prints. Like Kitagawa Utamaro, whose eighteenth-century prints were coveted by avant-garde artists at the time, Chase focused on the figure's bare back. But he heightened the effect—to the point of its being somewhat startling—by placing the model in the extreme forefront of the composition, adding a modern sensibility to a traditional Japanese subject. Margaret and Raymond Horowitz began acquiring art in the mid-1960s, assembling one of the finest collections of American impressionist and realist works in private hands, a selection of which was the subject of an exhibition at the National Gallery of Art in 1999. In addition to this sumptuous pastel by Chase, the Gallery has been the beneficiary of other gifts from the Horowitz collection, including a superb painting from 1891 by Childe Hassam, Poppies, Isles of Shoals. William Merritt Chase Study of Flesh Color and Gold, 1888 pastel on paper, 45.72 x 33.02 cm (18 x 13 in.), Gift of Raymond J. and Margaret Horowitz, Mental Reactions—by general accounts the earliest example of visual poetry in America—is the original maquette for a printed version published in the avant-garde magazine 291. Both a drawing and a poem, the work is a collaboration between the Mexican-born caricaturist Marius de Zayas (1880–1961) and the American journalist and art patron Agnes Ernst Meyer (1887–1970). Its existence was apparently unknown until it was offered for sale last December. Coincidentally, the Gallery had acquired the printed version—the April 1915 issue of 291—a year earlier. De Zayas left Mexico for New York in 1907 and within two years was exhibiting at Alfred Stieglitz's Fifth Avenue gallery, known as 291. Defining himself as a "propagandist for modern art," de Zayas helped arrange Pablo Picasso's first United States exhibition—a show held at 291 in 1911—and a pioneering exhibition of African sculpture at the same gallery in 1914. On visits to Paris in 1910 and 1914 he met the most advanced artists and writers working in Europe, including Guillaume Apollinaire—French poet, critic, and editor of the review Les Soirées de Paris—whose calligrams, or visual poems, had a powerful influence on him. Writing to Stieglitz from Paris in July 1914, de Zayas enthused: "[Apollinaire] is doing in poetry what Picasso is doing in painting. He uses actual forms made up with letters. All these show a tendency towards the fusion of the so-called arts." Apollinaire published four of de Zayas' caricatures in Les Soirées de Paris in 1914, and the following year de Zayas published one of Apollinaire's calligrams in 291, introducing the newest synthesis of word and image to an American audience. Another member of the Stieglitz circle visiting Paris that July was Agnes Meyer, whom de Zayas took to see Picasso's latest works. Returning to New York after the war broke out, Meyer and de Zayas joined forces with Stieglitz and the French businessman and photographer Paul Haviland, another Stieglitz associate, to found the magazine 291. Its second issue featured a full-page printed version of Mental Reactions, in which Meyer's poem, cut into individually trimmed blocks of pasted-down text, is literally strewn across the page. De Zayas' bold, cubistlike composition lends structure to the whole, but for readers there is no single or prescribed direction. We begin at the upper left and confront, as the text descends, multiple pathways and multiple readings. The poem records the random musings and doubts of a woman torn between an illicit romance ("why cannot all the loves of all the world be mine?") and dutifulness ("Their bed-time. / They will want to say good-night. / I must go."). While 291 was hardly a feminist journal, it was sympathetic to women's causes and receptive to examining the female identity and condition. Mental Reactions represents an early chapter in the history of Dada. To reach a broader audience, de Zayas sent copies of 291 to vanguard artists in Europe, including Tristan Tzara, a leader in the emerging Dada movement. Tzara, in turn, sent publications to de Zayas, making him the conduit for Dada ideas in New York. De Zayas was never a member of the Dada group, and the scholar Francis M. Naumann has rightly pointed out that he would have rejected its nihilism. Nonetheless, innovative works such as Mental Reactions were known to the dadaists in Europe and are part of Dada's larger history. Agnes Ernst first met Alfred Stieglitz and the 291 circle in 1908, when she was an enterprising freelance reporter for the New York Sun. After marrying the wealthy financier Eugene Meyer two years later, she became an avid art collector and a generous patron. Eugene and Agnes Meyer donated important works to the National Gallery beginning in 1958, including paintings by Paul Cézanne and Edouard Manet, sculptures by Constantin Brancusi, and watercolors by John Marin. Agnes Meyer was the mother of Katharine Graham, publisher of the Washington Post and recipient of the Pulitzer Prize for her autobiography, Personal History. Marius de Zayas, Mexican, 1880–1961, Agnes Ernst Meyer, American, 1887–1970, Mental Reactions, 1915, brush and black ink with collage of cut-and-pasted texts over graphite on paperboard, 72.55 x 57.15 cm (28 9/16 x 22 1/2 in.), Gift of Helen Porter and James T. Dyke, 2007.37.1 A landmark of Dutch landscapes, Salomon van Ruysdael's River Landscape with Ferry, signed and dated 1649, is now on view in the West Building Dutch galleries. Imposing in scale and visually compelling, it depicts a ferryboat filled with travelers, including some seated in a horse-drawn carriage, crossing a broad river near a turreted castle. A large clump of trees silhouetted against the windswept blue sky provides a framework for the animals and humans activating the scene. Light floods into this harmonious composition, illuminating the leaves of the trees as well as the distant sailboats and village church. Salomon van Ruysdael (1603–1670), one of the leading landscape painters of his generation, was renowned for the atmospheric effects he created in his images of life along peaceful Dutch waterways. In the 1640s he helped lay the foundation for the classical period of Dutch landscape and influenced a generation of artists, including his nephew Jacob van Ruisdael, Meindert Hobbema, and Aelbert Cuyp, who are well-represented in the Gallery's collection. The acquisition marks the first painting by Salomon van Ruysdael to enter the Gallery's collection and was made possible with funds from the Patrons' Permanent Fund and The Lee and Juliet Folger Fund. This acquisition was made possible through the generosity of the family of Jacques Goudstikker, in his memory. Salomon van Ruysdael, Dutch, 1600/1603 - 1670, River Landscape with Ferry, 1649, oil on canvas, 101.5 x 134.8 cm (39 15/16 x 53 1/16 in.), 2007.116.1

<urn:uuid:f4f1d301-55e3-401c-88fc-458e0caae00e>

CC-MAIN-2016-30

http://www.nga.gov/collection/acquisitioninfo.shtm

s3://commoncrawl/crawl-data/CC-MAIN-2016-30/segments/1469257828322.57/warc/CC-MAIN-20160723071028-00015-ip-10-185-27-174.ec2.internal.warc.gz

en

A Library management system is a software that uses to maintain the record of the library. It contains work like the number of available books in the library, the number of books are issued or returning or renewing a book or late fine charge record, etc. Library Management Systems is software that helps to maintain a database that is useful to enter new books & record books borrowed by the members, with the respective submission dates. Moreover, It also reduces the manual record burden of the librarian. In other words, the library management system allows the librarian to manage library resources in a more effective manner that will help to save their time. It is also convenient for the librarian to manage the process of books issuing and making payment. LMS is also useful for students as well as a librarian to keep the constant track of the availability of all books in a store. Importance of library management system: - A library management system is the most proficient and easy to use to the system for managing all the processes involved in a Library in the most effective ways. - This system will reduce all the manual work and the whole process can be managed just through single clicks and edits. - There will be no headache and dubiousness of storing the data securely and searching the records of any individual afterward. - Any books seeker can rent a book just by signing in with their details, and the date of returning it. - The staff can also facilitate themselves with some extra permits and privileges. - Only, one person is required to take care of the whole system, without any chances of mistakes. Advantage of the library management system: - It reduces the manual paperwork through LMS proper information of books has been recorded electronically. - Admin can keep update the information of books and manage availability and arriver record of the book. - It saves human efforts and time. - With the help of library management software and well-organized books store, the user can easily search and find the books. - It improves library presentation and allows the librarian to arrange available books in the right manner. Who can use the library management system? The Library management system is nowadays important for schools, colleges, private libraries, and other organizations. They can use this software as the purpose of books issuing and returning for renewal. Moreover, LMS software helps the librarian to maintain information about book issuing and returning the book before the last date. - Library management system are useful for such organization: - School libraries - Collage libraries - Private libraries - Reference libraries - National libraries - Public libraries - Morden Public libraries - Public leading libraries Additional Features of the Library Management System - Catalogue Management: It helps to maintain proper records of the book like the name of author and publisher, Date and year of the book published, cost of the book, etc. - Search book facility: -Store books and classified with their subject wise - It is used to maintain how many books are issued to a particular student - Circulation Management: Automatic fine calculation for the defaulter. - Reserve Management System: Registered users can easily check the status of their books. - It Book reservation system - Bar code scanner:-Barcode contains information about books and magazines. - Easy Online Access: The feature can be accessed at any time of the day it provides 24×7 Facility. Features for librarian panel: - Catalog Management - Manage Contact Details - Books staff and Student record Management - Import and export full data related to books in the excel sheet manner - Database backup and restore System - Customizable fine setting - The Lost book recovery system - Full information about books is maintained about like track the details of books and magazine details like issued and return process. Features for library members: - Apply for membership - Manage profile of the member - Book payment and book history. example: – which member issued which book - Check fine balances - Registered user can view the order of books - Social Sharing Cost for The Library Management System: Depending on the high-level features mentioned above in the document, the estimated cost will be in a range of $15000-$25000. However, having said that, we must mention that the cost will vary according to the exact requirement of our esteemed clients. In short, Library Management system software which helps to manage all the work of the library electronically. This software helps to fulfill all requirements of the library and it is capable to effectively store the data related to the book information. At Tech Pathway, we can develop an app for library management to manage your library at your home. We are a leading mobile app development company and have developed more than 100+ apps for our worldwide clients. Hire our extremely talented developers to get developed your app with all your requirements. A seasoned Digital Marketer and a pro-blogger, Suprabhat loves writing about anything. He is working as a Digital Marketing Executive for Tech Pathway, a company that provide world-class social media and search marketing services and web & mobile app development.

<urn:uuid:0c66cefb-5ff0-4737-8587-e4e328ed77bb>

CC-MAIN-2019-26

https://blog.techpathway.com/library-management-system-app-cost-and-features/

s3://commoncrawl/crawl-data/CC-MAIN-2019-26/segments/1560627998943.53/warc/CC-MAIN-20190619083757-20190619105757-00530.warc.gz

en

Wooden building – A beauty with health benefits? Blog - Published 5.10.2020 Finns love their wild forests and blue lakes. Therefore, it is no wonder that they have always loved wood as a construction material. The most traditional example is a sauna building made of logs standing next to one of those 56 000 blue lakes. Sauna has achieved a mythical status in Finnish folklore with its healing and calming powers. Recently, wood construction has come strongly also to public buildings. Below are some examples: - Tuupala primary school in Kuhmo - Pudasjärvi Log Campus - Lapinmäki daycare centre in Helsinki - Mehtimäki stadium in Joensuu - “Lighthouse” apartment building in Joensuu Wood construction industry offers jobs for tens of thousands of Finns. Even more crucial is that it offers employment in Northern and Eastern Finland where there are only few other industrial jobs available. As the size of wooden buildings have grown and public sector has started to use wood, there have appeared companies manufacturing very sophisticated building elements from wood such as cross laminated timber. The wooden buildings are considered durable, indoor air quality good and appearance beautiful and pleasant. Quite many would accept the statement that living in a wooden building can have health benefits. Despite of that, there is surprisingly little research on how the wooden building environment affects tenants and whether the wooden buildings really have health effects. In a laboratory environment, untreated wood has been found to have strong antimicrobial properties, and wooden surfaces to have good acoustic properties. Wood material has also been found to moderate variations in both temperature and humidity. A wide variety of natural volatile organic compounds evaporate from wood, although only little from a building older than a year. Do those factors produce potential health effects? Or how could these be explained? Tuupala primary school Wood construction is studied in several Finnish universities and research institutes: Aalto University, Lappeenranta-Lahti University of Technology LUT, Natural Resources Institute Finland, Tampere University, University of Eastern Finland, University of Helsinki, University of Oulu and VTT Technical Research Centre of Finland. During 2020 Kajaani University Consortium (University of Oulu) is conducting a pioneering research project regarding health benefits at the Tuupala primary school in town of Kuhmo. The Tuupala primary school was completed as a demonstration of Northern expertise at the end of year 2017. It is Finland’s first school built with solid wood element technology and offers workspace for nearly 400 students and over 30 teachers. It was awarded the Best Construction Work in Northern Finland in 2017 and National Wood Award in 2018. The factors that have been suggested to be behind the health effects are investigated. For example, the amounts of volatile compounds and microbes will be analysed, as well as noise and stress, temperature, humidity, carbon dioxide and fine particles. The sick leaves of school children are monitored widely in the regional schools. There is also a non-wood reference school included in the study by the same architects than Tuupala. The sole purpose is not to compare schools, but to produce a comprehensive database of Tuupala primary school conditions using standard methods that can also be used in other studies to measure buildings. Similarly, the effect of season, day of the week, and weekly curriculum at school on stress will be evaluated in addition to potential effects of built environment. The final report of the research project is planned to be published in April 2021. We, as researchers, do not suggest that the study would solve and demonstrate conclusively what is behind the health benefits of wooden construction. Instead, we truly hope that we would be able to obtain indications and create practices that could be followed by other researchers. Then, who knows, maybe one day Finns sitting in their sacred sauna beside the lake, could explain to their foreign visitors that we have known the health benefits of sauna for centuries, however, it is not only soft heat and moisture but also the wooden building. Then the Finn would throw some clean water on the stones, enjoy the steam for a moment, and run to the blue lake basking in the golden midnight sun. This project contributes to UN Sustainable Development Goals 3 Health and Wellbeing and 13 Climate Action. Wood construction diminishes carbon footprint of construction industry. The presented study measures the well-being of schoolchildren in three different environments and seeks to tentatively identify the factors that influence it. The results of the research also disseminate information on wood construction internationally, increase its awareness and may also support the choice of wood in public construction as the choice of wood as a building material.

<urn:uuid:98db6ffe-30cc-47e0-b4bb-07471aacc86c>

CC-MAIN-2023-23

https://www.bioeconomy.fi/wooden-building-a-beauty-with-health-benefits/

s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224657169.98/warc/CC-MAIN-20230610095459-20230610125459-00097.warc.gz

en

NASA Earth Observatory image by Jesse Allen and Robert Simmon, using EO-1 ALI data from the NASA EO-1 team. Caption by Robert Simmon. (Thanks to Erik Klemetti of Eruptions Blog for help with interpreting the image.) Spring has arrived at Kizimen Volcano. The mountainous landscape is covered in a patchwork of snow, ash, volcanic debris, and still-dormant vegetation. Instead of being white, the snow is dark brown, covered by layers of ash that were trapped by a succession of winter storms. As the snow melts, layers of ash that were deposited individually start to combine, resulting in a thick blanket of ash on top of the remaining snow. Bare rock and volcanic debris are also brown, but lighter than the ash-covered snow. A plume of ash, steam, and other volcanic gases from Kizimen’s summit—as well as gases escaping from a fumarole on the northwestern slopes—indicate the volcano’s ongoing activity. This natural-color image was collected on May 25, 2013, by the Advanced Land Imager (ALI) on the Earth Observing-1 (EO-1) satellite. - Kamchatka Volcanic Eruption Response Team Note: Often times, due to the size, browsers have a difficult time opening and displaying images. If you experiece an error when clicking on an image link, please try directly downloading the image (using a right click, save as method) to view it locally. This image originally appeared on the Earth Observatory. Click here to view the full, original record.

<urn:uuid:5a45b8f8-8ea5-4375-ad6b-26a93e1676ae>

CC-MAIN-2015-22

http://visibleearth.nasa.gov/view.php?id=81235

s3://commoncrawl/crawl-data/CC-MAIN-2015-22/segments/1432207928350.51/warc/CC-MAIN-20150521113208-00036-ip-10-180-206-219.ec2.internal.warc.gz

en

The Theory of Interest IF we proceed from the consideration of two years to that of three, we may still represent our problem geometrically by using a model in three dimensions. Let us imagine three mutually perpendicular axes from an origin O called respectively OX', OX'', OX''', and represent the income combination or income stream for the particular individual by the point P, whose coördinates c', c'', and c''' are the three years' income installments with which the individual is initially endowed. Then through the point P draw, instead of the straight line in the previous representation, a plane ABC cutting the three axes in A, B, and C. This plane has a slope with reference to the two axes OX' and OX'' of equal to 1 + i' (unity or 100 per cent plus the rate of interest connecting the first and second years), and has a slope with reference to the axes OX'' and OX''' represented by equal to 1 + i'' (unity plus the rate of interest connecting the second and third years). Now suppose the space between the axes to be filled with willingness surfaces laminated like the coats of an onion, such that for all points on the same surface, the total desirability or wantability of the triple income combination or income position represented by each of those points will be the same. These surfaces will be such as to approach the three axes and the planes between them, and also such that the attached numbers representing their respective total wantabilities shall increase as they recede from the origin. The plane ABC drawn through P at the slope fixed by the rates of interest just indicated will now be tangent to some one of the willingness surfaces at a point Q, which is the point at which the individual will, under these conditions, fix his income situation, for every point on the plane ABC will have the same present value, and every point on this plane is available to him by borrowing and lending (or buying and selling) at the rates i' and i'', but not all of them will have the same desirability, or wantability. He will select that one which has the maximum wantability, and this will evidently be the point Q, at which the plane is tangent to one of the family of willingness surfaces. This point will be such that the rates of time preference will be equal to the rate of interest. So much for the individual. The market problem determining the rate of interest is here solved by finding such an orientation for the various planes through the given points called P's as will bring the center of gravity of the tangential points, the Q's, into coincidence with the fixed center of gravity of the P's. To proceed beyond three years would take us into the fourth dimension and beyond. Such a representation cannot be fully visualized, and therefore has little meaning except to mathematicians. Return to top

<urn:uuid:e1388e32-8021-48ca-b26c-74b53c1f4998>

CC-MAIN-2016-22

http://www.econlib.org/library/YPDBooks/Fisher/fshToI23.html

s3://commoncrawl/crawl-data/CC-MAIN-2016-22/segments/1464049282275.31/warc/CC-MAIN-20160524002122-00089-ip-10-185-217-139.ec2.internal.warc.gz

en

In a pendulum clock an escape wheel is allowed to rotate through the pitch of one tooth for each double swing of the pendulum and to transmit an impulse to the pendulum to keep it swinging. An ideal escapement would transmit the impulse without interfering with the free swing, and the impulse should be as uniform as possible. The double three-legged gravity escapement, which achieves the second of these but not the first, was invented by Edmund Beckett, afterward Lord Grimthorpe, and used by him for the great clock at Westminster, now generally known as Big Ben, which was installed in 1859. It became the standard for all really accurate tower clocks. Until advances in the late twentieth century, navigation depended on the ability to measure latitude and longitude. Latitude can be determined through celestial navigation; the measurement of longitude requires accurate knowledge of time. This need was a major motivation for the development of accurate mechanical clocks. John Harrison created the first highly accurate marine chronometer in the mid-18th century. The Noon gun in Cape Town still fires an accurate signal to allow ships to check their chronometers. Many buildings near major ports used to have (some still do) a large ball mounted on a tower or mast arranged to drop at a pre-determined time, for the same purpose. While satellite navigation systems such as the Global Positioning System (GPS) require unprecedentedly accurate knowledge of time, this is supplied by equipment on the satellites; vehicles no longer need timekeeping equipment. Here at the Strategist, we like to think of ourselves as crazy (in the good way) about the stuff we buy (like pillows), but as much as we’d like to, we can’t try everything. Which is why we have People’s Choice, in which we find the best-reviewed (that’s four-to-five-star reviews and lots of ‘em) products and single out the most convincing. While we’ve tried to find the nicest-sounding alarm clocks and ended up with picks for the best alarm clock and a voice-controlled alarm clock, we wanted to see what other ways to wake up were out there. So we found the best alarm clocks on Amazon, according to hyperenthusiastic reviewers. (Note that reviews have been edited for length and clarity.)

<urn:uuid:bf93dc6d-d4fa-461e-bb64-a6ab38f0fba1>

CC-MAIN-2019-39

http://classicwallclocks.com/wall-clock-warehouse-wall-clock-on-flipkart.html

s3://commoncrawl/crawl-data/CC-MAIN-2019-39/segments/1568514573570.6/warc/CC-MAIN-20190919183843-20190919205843-00136.warc.gz

en

Agathah Name Meaning & Origin Origin of the name Agatha: Derived from the Greek Agathē, which is from agathos (good, kind). The name was popularized by the fame of a 3rd-century saint and martyr. Looking for the perfect name? Try the Name MatchMaker to find the perfect baby name for you! Sister & Brother Names Know an Agathah? What are her siblings named? Name Lists Featuring Agathah Contribute your knowledge to the name Agathah - Comments and insights on the name Agathah - Personal experiences with the name Agathah - Nicknames for Agathah - Meanings and history of the name Agathah - Famous real-life people named Agathah Agatha Christie, was an English crime novelist, playwright, and short story writer - Agathah in song, story & screen

<urn:uuid:74a42ab7-95a3-4d6e-9211-9b37433ca873>

CC-MAIN-2020-45

https://www.babynamewizard.com/baby-name/girl/agathah

s3://commoncrawl/crawl-data/CC-MAIN-2020-45/segments/1603107905777.48/warc/CC-MAIN-20201029184716-20201029214716-00441.warc.gz

en

Influenza (flu) is a serious illness caused by flu viruses. It is a contagious respiratory illness that spreads worldwide and usually occurs between October and May in the United States. It can cause mild to severe illness. Symptoms can include fever/chills, sore throat, muscle aches, fatigue, cough, headache, and runny or stuffy nose. The flu can also cause vomiting, diarrhea, pneumonia, and blood infections in some people. Anyone can get the flu. Infants, young children, pregnant women, people 65 years or older and people with certain health conditions or a weakened immune system are at greatest risk. Preventing the Flu People who have the flu can spread the virus to others. When someone ill with the flu coughs, sneezes or talks, droplets are released. These droplets can land in the mouths or noses of those nearby. People can also get the flu by touching a surface or object, such as doorknobs or tables, that has flu virus on it and then touching their mouth or nose afterwards. The Centers for Disease Control and Prevention recommends a yearly flu vaccine as the first and most important step in preventing the flu. Please view a list of Orange County community sites offering free flu vaccinations. There are also everyday actions that can help prevent the spread of germs that cause respiratory illnesses like influenza. Take these everyday steps to protect your health and the health of others: - Cover your nose and mouth with a tissue when you cough or sneeze. Throw the tissue in the trash after you use it. - Wash your hands often with soap and water, especially after you cough or sneeze. If soap and water are not available, use an alcohol-based hand sanitizer. - Try to avoid close contact with people who may be at risk of becoming severely ill, such as pregnant women, children, and those with chronic illness (i.e., asthma). If You Are Sick With Flu-like Symptoms If you have an illness that could be the flu, stay home while you are ill and for at least 24 hours after your fever is gone. You should be fever-free (100⁰F) without using fever-reducing medications. Stay home from others as much as possible to avoid infecting them. Please contact your instructors as soon as possible to inform them of your absence. When to Seek Immediate Medical Care If you or someone you know is sick and shows any of the following symptoms, get IMMEDIATE medical care: - Fever over 101⁰F: - Especially in young children, the elderly and those with chronice medical conditions - Fever that lasts for more than 4 days - Fever over 100⁰F that begins after the third day of illness - Difficulty breathing or shortness of breath - Pain or pressure in the chest or abdomen - Lightheadedness or sudden dizziness - Excessive drowsiness - Soaking sweats - Shaking chills - Severe or persistent vomiting or diarrhea: - Severe vomiting or vomit that is black or bloody - Diarrhea that is bloody or more than 8 bowel movements per day - Not drinking enough fluids. Severe signs of dehydraion include extreme thirst, urinating less than normal, shriveled skin, dizziness and confusion. Children and older adults with signs or symptoms of dehydration require immediate referral to the doctor. - Symptoms worsening after 2-3 days. If you have fever or respiratory symptoms and need to seek medical attention, please wear a face mask when outside of the house and notify the receptionist immediately of your symptoms upon arrival at the facility. For More Information Please view the Centers for Disease Control and Prevention information on influenza.

<urn:uuid:55375212-bc9e-40fb-9ac9-de23f45d279e>

CC-MAIN-2018-51

http://www.orangecoastcollege.edu/student_services/student_health/Pages/Flu.aspx

s3://commoncrawl/crawl-data/CC-MAIN-2018-51/segments/1544376832330.93/warc/CC-MAIN-20181219130756-20181219152756-00150.warc.gz

en

https://t.co/qEDs3b1Zaw4 months ago Mustafa Al Hallaj’s print creates a continuum of fantastic and folkloric imagery that spans ancient and modern times. He juxtaposes a vast and often idiosyncratic menagerie of symbols –bulls, camel men, birds, lizard-like creatures and fish, with fantastic landscapes and episodes of ancient and modern Palestinian life. The animal hybrids of Hallaj are remniscient of Hieronymous Bosch. This was to be his masterwork, a fable casting himself as man, god and devil, an imaginary release from the boundaries of political regimes and from time itself. Sections of the original print were damaged and destroyed in the electrical fire that ended his life in December 2002. Sections of the print exhibited here were re-printed by The Palestinian Artist’s Union in Syria to pay homage to the artist. Mustafa Al Hallaj was born in Salame, near Jaffa, Palestine. He studied art in Egypt, exhibited his art extensively and spent his last years in Damascus, Syria. This exhibition is dedicated to his memory. Mustafa al Hallaj Born 1938 in Salame, Haifa district, Palestine. Education. College of Fine Arts, Cairo. Luxor Atelier for Postgraduate studies. Lived in Beirut, Lebanon and Damascus, Syria. Died December 2003 in Damascus, Syria. Mustafa Al Hallaj, “Self-Portrait as God, the Devil, and Man”, 1994-2002, masonite-cut print on paper, 14″ x ~300ft.

<urn:uuid:beb27f05-58c5-462b-8eff-3706e434c3ea>

CC-MAIN-2021-31

https://stationmuseum.com/past-exhibitions/made-in-palestine/2343-2/

s3://commoncrawl/crawl-data/CC-MAIN-2021-31/segments/1627046151672.96/warc/CC-MAIN-20210725111913-20210725141913-00320.warc.gz

en

A cantilever is a portion of a truss that extends over its bearing, allowing both bottom and top chords to function beyond the limits of the bearings. Typically special webbing conditions are designed into cantilever trusses to ensure loads throughout the truss transfer properly to the bearings. Cantilevers can be up to one-third of the overall span on the truss. A common application for a cantilever is a porch where a post and beam bearing may otherwise be used. Truss technicians that incorporate a cantilever into their truss designs can save the project considerable costs with minimal changes in the design of the truss. A cantilever can also be used in lieu of an overhang creating height within the truss over the bearing, similar to an energy heel. When this method is used for overhangs, considerations for sub-fascia should be taken into account and manufacturing tolerances are greatly reduced for variances in the truss and overhang.

<urn:uuid:8386eaf9-66ec-4a31-a3eb-0230d16e41cf>

CC-MAIN-2022-27

https://bestwaytoframe.com/cantilever?colorbox=1&width=1000&height=450&iframe=true

s3://commoncrawl/crawl-data/CC-MAIN-2022-27/segments/1656104364750.74/warc/CC-MAIN-20220704080332-20220704110332-00021.warc.gz

en

Founded in 840 and originally dedicated to Greek saint Demetrius, this church was rebuilt in 1170, became a parish church, and was rededicated to the apostle Bartholomew (the church is known as San Bortolomio in Venetian dialect). Several renovations since then, combined with the dense development of this central campo on the San Marco side of the Rialto Bridge, have resulted in today’s church which is engulfed by surrounding shops and is easy to miss. Look for the door (it’s all you can see of the church from the campo). It’s ironic that the church is so hidden because its campanile is one of the most visible in Venice and appears in zillions of photographs of the bridge. In the 13th century, this became the church for Venice’s thriving community of German and Eastern European merchants, whose warehouse and offices were in the nearby Fondaco dei Tedeschi (once the Venetian post office, now a Benetton store). During the Renaissance, the Germans decorated their church with some very fine art; they also hired Giorgione and Titian to fresco the outside of their warehouse (those frescoes are long gone except for some faded fragments in the Galleria Franchetti in Ca’ d’Oro). The best art from the church is gone too. The wealthy German confraternity commissioned a painting from their countryman, Albrecht Durer, who lived in Venice for several years and completed this painting while there in 1506. This work, The Feast of the Rosary (or Rose Garlands), is one of the great masterpieces of the Renaissance, and the inspiration of Bellini (who befriended Durer while he was living in Venice) can be seen in the jewel-like colors. The painting was an immediate sensation, so much so that it only remained in San Bartolomeo for 100 years and was sold to Hapsburg Emperor Rudolph II in 1606; the German merchants sold it for 900 gold ducats which was over ten times more than they paid Durer for it. It’s now in the National Gallery in Prague. The church’s organ shutters painted by Sebastiano del Piombo are still in Venice but now in the Gallerie dell'Accademia. In medieval and Renaissance times, organ doors were a prestigious commission for an artist – the ones del Piombo created for San Bartolomeo depict four larger-than-life saints. The artist was a native Venetian who studied with Bellini and Giorgione and then moved to Rome where he befriended Michelangelo and spent the rest of his life; there are only a few of his works in his hometown. Today there are some lavish but rather typical altars, several of which house paintings by Palma il Giovane, the late Renaissance artist who is so very well-represented in the churches of Venice. Probably the church’s greatest remaining treasure is its organ, built in 1775 by famed Venetian organ builder Gaetano Callido, who also built organs for the Basilica di San Marco and the Frari. Callido was so esteemed that the Republic honored him with a tax exemption (quite an accomplishment in Venice, I’d say). You can see the organ and the altars on this interactive map. There are some nice paintings in the Chapel of the Annunciation to the right of the high altar. I also like the painting of Archangel Michael in the third altar on the right. In November 2011, the church was a venue for an international conference, "The Church of San Bartolomeo and the German community in Venice," the first in a series of conferences about the churches of Venice. The ancient bell tower was damaged in an 1688 earthquake and rebuilt in 1754. Its Baroque onion dome is easy to recognize and is a helpful landmark when you’re learning your way around Venice. Walk past the doorway to the church and turn down a very narrow calle to find the door of the campanile, which is protected by the grotesque head of some kind of bearded creature with horns. Is his tongue sticking out or does he have a weird chin? San Bartolomeo was deconsecrated and closed in the 1980’s then later reopened as an exhibit and concert hall. Today it’s back in business as a church, though it's no longer a parish church, replaced by nearby San Salvador. To Visit this Church Sunday Mass 8:30 AM Opening times published on the San Salvador website. Tue/Thur./Sat. 10:00 - 12:00 AM Wed./Fri. 7:00 - 9:00 PM. (only for prayer and worship) Also open occasionally for organ recitals.

<urn:uuid:420a585d-817b-4c1b-a227-2eea7581a380>

CC-MAIN-2015-18

http://www.slowtrav.com/blog/annienc/2012/10/san_bartolomeo.html

s3://commoncrawl/crawl-data/CC-MAIN-2015-18/segments/1430455235303.29/warc/CC-MAIN-20150501044035-00034-ip-10-235-10-82.ec2.internal.warc.gz

en

Creating successful urban neighbourhoods to underpin sustainable communities requires the efficient use of land and sustainable densities to enable viable provision of the necessary range of facilities, services and good public transport connections – all of which should be within walking distance of residents and workers and of a high-quality urban design to create places where people will want to live. The city development plan must ensure that all significant developments can only take place where sufficient schools, public transport, employment opportunities, parks, community facilities and resources (garda, fire services and ambulance provision etc.) are either in place or proposed. These sustainable density levels for a good urban neighbourhood must also incorporate quality living spaces, amenity areas and green infrastructure, as well as fostering a distinctive sense of place and a safe environment. Public finance restrictions may potentially impact on the ability of state agencies to commit funds for additional health, educational and community services or facilities in an area and may prove the most challenging factor in the delivery of social infrastructure in the short-to-medium term. The provision of community facilities in tandem with large-scale developments will require careful calibration to ensure that residential schemes in particular remain viable, especially so in the context of the housing supply crisis and government guidance to promote and, where possible, to kick-start large residential projects. Furthermore, the co-ordinated provision of a range of facilities and services to cater for all, such as schools, care centres, cultural spaces and transport, typically involves a number of agencies and will require an inter-agency response to ensure the timely provision of such social infrastructure. It will also be essential to ensure the optimum use of community facilities and services between neighbourhoods and communities throughout the city. One of the challenges facing the city is to successfully accommodate people at different stages in their life-cycle, having regard to emerging demographic trends. For example, household size is decreasing and the number of older people is increasing. This indicates that there will be an increasing need for different types of residential accommodation, as an integrated part of a neighbourhood, rather than in spatially segregated areas. This challenge is addressed in greater detail in Chapter 5: Quality Housing. Dublin City Council strategies especially relevant to good neighbourhood-making include, inter alia, Towards Integration – A City Framework; Social Inclusion Strategy; Childcare Policy; the Play Plan; and the Sports and Recreation Strategy, Dublin Age Friendly City Strategy and the Children Services Policy Statement, as well as the Social Inclusion Activation Programme and Local Economic and Community Plan. The integrated delivery of these policies, together with the development plan’s policies, is a challenge for the future.

<urn:uuid:73bcf17d-7740-412b-89d8-4c33cadd4605>

CC-MAIN-2022-49

https://www.dublincity.ie/ga/node/5080

s3://commoncrawl/crawl-data/CC-MAIN-2022-49/segments/1669446710974.36/warc/CC-MAIN-20221204140455-20221204170455-00322.warc.gz

en

Join Jonathan Fernandes for an in-depth discussion in this video Using the Jupyter notebook, part of pandas Essential Training. - [Instructor] In this video,…we will get a better understanding…of using Jupyter notebooks.…Jupyter notebooks allow you to create…and share documents that have live code, explanatory text,…equations, and visualizations.…There are two ways of doing this.…If you use Windows 10, you can just look for…the Anaconda Navigator, and launch Jupyter notebook…from there.…Alternatively, you can go to the command prompt…by typing cmd, and then once within the command prompt,…type jupyter notebook and hit Enter,…and this will retrieve exactly the same thing.… This will open the Jupyter notebook application…in the web browser on the following address,…http localhost, and you can see you've got 8890/tree.…The Files tab gives you a list of all the files…in your current folder or directory.…The Running tab let's you track your running processes…and any open Jupyter notebooks,…and the Clusters tab is now provided by iPython parallel,…which is a Python package and collection of CLI scripts…for controlling clusters for Jupyter.… To start a notebook, select New under the File tab.… - Working with plots - Boolean indexing - String handling - Grouping data - Creating your own colormaps Skill Level Intermediate 1. Technical Setup 2. Series and DataFrames 3. Data Input and Validation 4. Basic Analysis 5. Basic Plotting 9. Data Visualizations Next steps1m 1s - Mark as unwatched - Mark all as unwatched Are you sure you want to mark all the videos in this course as unwatched? This will not affect your course history, your reports, or your certificates of completion for this course.Cancel Take notes with your new membership! Type in the entry box, then click Enter to save your note. 1:30Press on any video thumbnail to jump immediately to the timecode shown. Notes are saved with you account but can also be exported as plain text, MS Word, PDF, Google Doc, or Evernote.

<urn:uuid:47b78ecc-5e37-48d0-a5b2-2f7800dca74e>

CC-MAIN-2018-26

https://www.lynda.com/Data-Science-tutorials/Using-Jupyter-notebook/636129/666472-4.html

s3://commoncrawl/crawl-data/CC-MAIN-2018-26/segments/1529267863206.9/warc/CC-MAIN-20180619212507-20180619232507-00435.warc.gz

en

A copyright, under intellectual property law, protects works of authorship from being used by other parties other than the owner of the work. If an owner discovers that another party has used or sold his or her work without obtaining a proper license or permission, the owner has the right to file a lawsuit in court if: They have ownership of the copyrighted material; The actual copying took place by the defendant; The areas of the copyrighted material are protected by intellectual law. Once these are established, the author may secure a victory in the case. The Process of a Copyright Infringement Lawsuit When an owner of a creative work has discovered a copyright infringement upon their work, he or she should contact an experienced intellectual property attorney. That attorney will be experienced with handling copyright infringement claims and is likely to help reach a satisfying outcome in the case. With the help of the attorney, the copyright infringement lawsuit is set into motion by filing a claim at the local chapter of the Federal Bureau of Investigation specializing in intellectual property crimes. Cease and Desist Notice Following the initial claim, a cease and desist notice is sent to the violating party. The function of the cease and desist notice is to order or request the immediate stoppage of all activity which is involved with the infringement or face legal action. A cease and desist order will be issued by a judge or court, while a cease and desist letter can be sent by anyone, usually with the aid of a qualified attorney. In the case of copyright infringement, the illegal activity which prompted retaliatory action has already done damage to the owner of creative work. As a result, the cease and desist letter functions as a “damage control” option, in which illegal activity is halted so that no further damage can be done to the owner’s work pending the outcome of the copyright infringement lawsuit. In some copyright disputes, an owner of creative work may drop the civil lawsuit if the infringing party immediately complies with the cease and desist letter. Copyright Infringement Lawsuits As soon as the legal activity is halted by the infringing party, the owner of the creative work may go ahead with the civil lawsuit. The grounds for the lawsuit are sent to both parties and the amount of damages sought by the plaintiff is outlined. If the defendant believes that he or she did not infringe on copyrights held by the plaintiff because of “fair use” or due to a lack of awareness of the copyright due to the plaintiff’s negligence, he or she will fight to minimize or eradicate the possible damages of a verdict. If the defendant is successful in the case, the lawsuit may even be dismissed. During the copyright infringement trial, an injunction is usually placed on the violating party. An injunction is a court order which requires a party to do or refrain from doing a certain act. In the case of copyright infringement lawsuits, the defendant is ordered to stop actions which violate the copyright of the plaintiff. For example, if a defendant is producing and selling music that the plaintiff claims is a copyright violation, the defendant will be forced to cease production and the selling of that music. After the trial proceedings finish, the court comes to a verdict. A judge may find the claims of the plaintiff to be accurate and award monetary damages to the plaintiff from the defendant, often including additional money for payment of their legal fees. If the infringement is serious enough, the defendant may also face criminal charges. A judge may also agree that the defendant has violated copyright law and disagree with the monetary damage claims. In this case, the judge may alter the final monetary sum. The judge may also dismiss a case in favor of the defendant if the judge believes there was no infringement or if there is not enough evidence to support the plaintiff’s claim.

<urn:uuid:a5828143-9fbc-4113-8459-b4ac33d8ea4d>

CC-MAIN-2023-06

https://copyright.laws.com/copyright-infringement/copyright-infringement-lawsuits

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500035.14/warc/CC-MAIN-20230202165041-20230202195041-00518.warc.gz

en

The English phrasal verb TAKE IN has the following meanings: 1. Take in = to view your surroundings and absorb it (transitive) When you are amazed or in awe of something and want to take a moment to absorb it. Synonyms include to observe and digest. - I was so excited to be in Paris; I just sat down in a café to take it all in. - Everything about university was new and exciting; it took a few weeks to take it all in. - I want to sit here a minute and take in the view. 2. Take in = to give shelter (transitive) To give a person or an animal shelter. When you allow someone to stay in your home, often when they have no other place to go. Synonyms are house and board, to accommodate someone. - Canada has taken in 10,000 refugees this year. - I took in a stray dog last week. - Can you take in any more international students when they visit next month? 3. Take in = to deceive someone (transitive) To make someone believe something that is not true - Those con artists took in a lot of people. - He took me in completely with his sad story. - Don’t be taken in by his charms. He isn’t actually a nice person. 4. Take in = to reduce the size of a garment (transitive) To reduce the size of a piece of clothing so that it fits better. To make a garment narrower, tighter or shorter. - After her diet, her dress needed to be taken in. - These pants are a little loose, I think I might need to take them in. - The wedding dress needed to be taken in around the waist to make it look perfect. 5. Take in = to understand and absorb information (transitive) To understand and absorb the information that you see or read. - There was so much information that it was hard to take it all in. - I had been staring at the page for 5 minutes but hadn’t taken anything in. - I could hardly take in everything she said. - The news is a lot to take in right now. Take in – Summary Chart

<urn:uuid:d89a176f-9884-47b2-96e4-5712cab8b822>

CC-MAIN-2019-43

https://www.woodwardenglish.com/lesson/take-in-phrasal-verb-meanings-examples/

s3://commoncrawl/crawl-data/CC-MAIN-2019-43/segments/1570986668569.22/warc/CC-MAIN-20191016113040-20191016140540-00058.warc.gz

en

Lunch at a restaurant with friends reduces cognitive control more than lunch eaten alone at a desk does, according to research published July 31 in the open access journal PLOS ONE by Werner Sommer from the Humboldt University at Berlin, Germany, and colleagues from other institutions. Participants in the study either ate a solitary meal alone at their desk in a restricted amount of time, or took a short walk to a restaurant for an hour-long lunch with a friend. All meals were identical in the kind and amounts of food consumed. After the meal, people who had a restaurant lunch were calmer and less wakeful than those who ate at their desks. They also fared more poorly on performance tests of cognitive control, and neurophysiological measurements indicated decreased cognitive control of performance and error monitoring processes. Since the meals differed in many ways including the presence of a friend, environment and lack of time restrictions, the authors explain "It is impossible to specify at this point, which of the variables above are crucial for the effects observed in our study." They add, "Reduced cognitive control is a disadvantage when close self-monitoring of performance and detailed attention to errors is required, such as in numerical processing. In other situations, an attenuation of cognitive control may be advantageous, such as when social harmony or creativity is desired." Materials provided by Public Library of Science. Note: Content may be edited for style and length. Cite This Page:

<urn:uuid:a1de737c-0dd4-4a4c-9ee6-4074c2f88f18>

CC-MAIN-2016-44

https://www.sciencedaily.com/releases/2013/07/130731230120.htm

s3://commoncrawl/crawl-data/CC-MAIN-2016-44/segments/1476988718309.70/warc/CC-MAIN-20161020183838-00407-ip-10-171-6-4.ec2.internal.warc.gz

en

amulets were both symbolic and useful in ancient egypt, since they were thought to have apotropaic properties to shield or bestow strength on the wearer. amulets have been discovered within the wrappings of mummies, indicating that they were used to prepare the dead for the afterlife. Depending on the nature or shape of amulets, they had various meanings. the benevolent abilities of the Deity seem to have been caused by small amulets representing gods and goddesses. tiny depictions of anatomical features or beings, on the other hand, indicate that the wearer needed protection over a certain body part or enjoyed the abilities of a certain species. animal-themed amulets were prevalent in the old kingdom, while deity-themed amulets were more common in the middle kingdom. animals, to be precise cobra is a snake the uraeus cobra symbol is derived from the word ‘iaret,’ which means ‘risen one.’. the amulet may have been an symbol of royal and religious strength and legitimacy, as cobras growing up in defense were found on the front of the headdresses of gods and pharaohs. the meaning is unknown, but it is believed to be related to either combat perseverance or a desire for the fecundity of a fly. the origin is unclear, but they may have been associated with fertility due to their abundance in the egyptian desert. the bearer of this amulet will have been blessed with lion-like ferocity and courage, as well as the lion’s presumed regenerative abilities. scarab is a mythical creature scarab beetle amulets were common in the middle kingdom, and were believed to represent the sun god ra. the scarab beetle rolling its ball of dung through the desert, according to the ancient egyptians, replicated the sun’s path through the sky from day to night. the beetle became a sign of renewal and growth because it lay its eggs in the dung. vulture is a bird of prey vulture amulets reflected the danger to be avoided rather than the animal’s desired trait. it’s possible that the anxiety was of being devoured in this situation. sections of the body when a living person wore an amulet representing a body part, it shielded that part of the body from injury or sickness, and when a dead person wore one, it symbolized physical harmony and the mummy’s dignity. the heart, regarded as the most critical organ, was thought to be the seat of intellect and the source of emotion and motion. in the ritual of judgement with an and at, this was the organ that was weighed. single mummy’s chest has been discovered with heart amulets. flowers and foliage ancient egyptians used to grow flowers in their gardens. true flower heads were often strung together to be worn by mummies or the living, and although their exact meaning remains unclear, flower images and amulets were sometimes associated with new life. shell of a cowroid Based on the cowrie shell’s similarity to female genitalia, the cowroid was most likely meant as a pregnancy amulet. a longitudinal piercing may indicate that it was worn as part of a girdle over the pelvic region to ward off evil powers from the wearer, which may have been a pregnant woman. daisy is a flower daisies were used to help digestion and soothe the scalp. if this necklace was used by someone who was suffering from discomfort. lotus is a flowering plant the lotus symbolized life and rebirth. lotus flowers appear during the day and close at night, symbolizing the path of the god khepri, who created day and night by rolling the sun over the world. miscellaneous and resources. djed pillar is a pillar in djed the djed pillar, worn on the lower torso or upper chest, represented resilience and stamina. its significance transferred to the backbone of osiris after it was first used to describe a pole to which grain was bound. âĢĺraise yourself up, osiris!âĢĻ says a spell in the book of the dead you’ve regained your neck, o weary-hearted one; you’ve regained your vertebrae!’ a wadj sceptre was a rolled papyrus scroll named after the hieroglyph for “new.”. this indicates that the amulet was used to protect the body while also representing new life and rebirth. Books 159 and 160 of the Book of the Dead refer to a Wadj amulet being placed at the throat of the mummy.

<urn:uuid:1ef89774-f9bd-4b7c-90bf-af694b80da8e>

CC-MAIN-2021-31

https://astrologievoyance.org/egyptian-amulets-and-their-meanings/

s3://commoncrawl/crawl-data/CC-MAIN-2021-31/segments/1627046154304.34/warc/CC-MAIN-20210802043814-20210802073814-00045.warc.gz

en

In the Summer of 1969, while Europe was still in the turmoil of the student rebellion that had started in France the year before, the prestigious French journal Esprit published an exchange between two of the best-known Catholic intellectuals of the time. One was Jean-Marie Domenach, who in 1957 had succeeded Emmanuel Mounier as editor of Esprit and de facto flag-bearer of “progressive” French Catholicism. The other was Thomas Molnar, the distinguished Hungarian-American philosopher and historian (and a regular Commonweal contributor). Domenach regarded Molnar as a representative of the “intelligent right” and asked him to comment on the impasse de la gauche, the “dead end of the left,” at the end of the 1960s. The resulting article, together with a long reply by Domenach and a brief rejoinder by Molnar, appeared in the July-August 1969 issue of Esprit. It immediately attracted the attention of another important Catholic intellectual, the Italian philosopher Augusto Del Noce, who had the debate translated into Italian and published as a book, together with his own introductory essay. The Molnar-Domenach-Del Noce discussion, titled Il vicolo cieco della sinistra, is a unique document of the intra-Catholic debate at the end of the ’60s, but it is also relevant to today’s debates about the relationship between Catholicism and politics. In many ways, Western politics as we know it, and especially progressive politics, took shape at that time. That period saw the rise of the so-called New Left, a moniker that has been used to designate a broad array of political movements that privileged the advancement of individual “civil rights” (women’s rights, gay rights, minority rights) over more traditional concerns of the left such as the condition of laborers, economic inequality, and unionization. As a symbolic turning point in the transformation of the left, historians in the United States often cite the memorable Democratic convention of 1972, in which activists influenced by the New Left gained influence at the expense of organized labor and other traditional constituencies of the party. But similar transformations were taking place in Europe, albeit less visibly—on the surface, European leftist parties remained committed throughout the 1970s to their traditional political cultures (either orthodox Marxism or forms of social democracy). Nonetheless, perceptive intellectuals like Del Noce could see that old-fashioned leftist politics were in a crisis. Today, few outside of Italy—and not even many Italians—are familiar with Del Noce’s work. But his intellectual journey exemplifies the experience of many European Catholics of his generation. Born in 1910, Del Noce had come of age under Fascism. In the 1930s Italian Catholicism had sought and found a modus vivendi with Mussolini’s regime. While most Catholics were not Fascists, many thought that Fascism cold be “used” to defeat what they regarded as two great enemies of the church: bourgeois liberalism and revolutionary socialism. The young Del Noce disagreed because he believed that Fascism’s violence was incompatible with Christianity. He had been greatly influenced by the work of Jacques Maritain, and especially by the 1936 book Integral Humanism, in which Maritain had decisively criticized “medievalism”—the view that Catholics should just reject modernity entirely to pursue the restoration of an integrally Christian society, inspired by the medieval ideal of a “sacred empire.” Maritain rejected the idea of a Catholic-Fascist alliance and advocated a form of Christian humanism open to the positive contributions of modernity, including some aspects of Marxism. The question of Catholic-Marxist dialogue would become urgent a few years later, when Europe became engulfed by war and barbarism. Some young Catholics of Del Noce’s generation came to the conclusion that the fight against Fascism required an alliance between Christianity and Marxism. This was the guiding principle of the so-called Communist-Catholic movement, which Del Noce himself joined for a time. In that respect, his experience will feel foreign to American Catholics; in the United States, the church was vehemently anti-Communist and very few Catholics had Marxist sympathies. But the same moral uneasiness that had made Del Noce an anti-Fascist soon made him uncomfortable with the Marxist-Leninist idea that violence is justified for the sake of the revolution. To address this uneasiness he studied systematically the works of Karl Marx. This marked a turning point in his intellectual life. Contra the “Catholic Left,” which tended to regard Marx’s atheism as accidental, and tried to rescue his socio-political analysis from his religious views, Del Noce concluded that what Marx proposed was not just a new theory of history or a new program of political economy, but a new anthropology, one completely different from the Christian tradition. (Louis Dupré had made a similar argument in the pages of Commonweal; see “Marx and Religion: An Impossible Marriage,” April 26, 1968.) Marx viewed humans as “social beings” entirely determined by historical and material circumstances rather than by their relationship with God. He viewed human reason as purely instrumental—a tool of production and social organization rather than the capacity to contemplate the truth and participate in the divine wisdom. Finally, Marx viewed liberation as the fruit of political action, not as a personal process of conversion aided by grace. Marxist politics was not guided by fixed and absolute ethical principles, because ethics, along with philosophy, was absorbed into politics. Del Noce concluded that there was no way to rescue Marx’s politics from his atheism, which had as much to do with his view of man as with his view of God.

<urn:uuid:912fdc48-880a-4bb3-bc2d-f57d2d3af5bf>

CC-MAIN-2018-34

https://www.commonwealmagazine.org/dead-end-left?tid=44

s3://commoncrawl/crawl-data/CC-MAIN-2018-34/segments/1534221214702.96/warc/CC-MAIN-20180819051423-20180819071423-00693.warc.gz

en

New research suggests that changing the color of a person’s pills — by switching to a generic from a brand name drug, for example — sharply reduces the chances that the patient will continue to take it. Using a national database, researchers tracked prescriptions for eight anti-epileptic drugs, noted patients who stopped filling them, and checked to see if the medications’ colors had changed. In epilepsy patients, even short interruptions in medication can lead to a loss of control of seizures as well as serious medical, social and financial consequences. The study, published online Monday in The Archives of Internal Medicine, covered 11,472 patients who had failed to fill their prescriptions, matching them with 50,050 controls who continued to buy their pills. Compared with patients whose pills remained the same, those whose pills’ color was changed were 53 percent more likely to stop buying them. A change in shape also affected the patients’ use of medication, but that was not statistically significant. “I think we’ve identified another hurdle to medication adherence and a relatively easy way to fix it,” said the study’s lead author, Dr. Aaron S. Kesselheim of Brigham and Women’s Hospital in Boston. “Require that brand names and generics should look alike. The color of a pill does have clinical relevance.”

<urn:uuid:f37bc216-cd29-4519-8f7c-1e2246d7ed94>

CC-MAIN-2019-51

https://well.blogs.nytimes.com/2012/12/31/the-confusion-of-pill-coloring/

s3://commoncrawl/crawl-data/CC-MAIN-2019-51/segments/1575540547165.98/warc/CC-MAIN-20191212205036-20191212233036-00346.warc.gz

en

The beginning on the Amish and Mennonites. The Anabaptists, in 1536, separated from the state church (in Switzerland) because of their belief that a relationship with Christ was an adult choice and baptism is for adults who decide to follow Christ in every aspect of their life. Menno Simons was one of their leaders and eventually a group of Anabaptists were called after him, and known as Mennonites. Today there are over one million members world-wide. Mennonite beliefs and practices vary widely, but being peacemakers, following Jesus in daily life and giving through service are the foundations of their beliefs. Service to others is demonstrated in their many quilting bees and in the Amish quilts made for different relief causes. Most modern Mennonites today look just the same as any person you meet on the street, and they live in many countries around the world. Many Mennonite women work outside the home, and do not find as much time as their more conservative sisters do, to make quilts. It is generally the older women of the Mennonite Quilters who join in monthly Quilting Bees, where they make patchwork quilts to send to those in need. They believe in simple living, but express that simplicity in a spirit of service to their community and church and awareness of the needs of others rather than completely separating from society as the Amish continue to do. Copyright © 2017 by AmishQuilter - may not be published without our permission

<urn:uuid:dd045416-2cbc-4eb0-a571-16e7346b8baa>

CC-MAIN-2017-39

http://www.amishquilter.com/modern-mennonites/

s3://commoncrawl/crawl-data/CC-MAIN-2017-39/segments/1505818691476.47/warc/CC-MAIN-20170925111643-20170925131643-00013.warc.gz

en

Teenagers with bipolar disorder have an ongoing combination of extremely high (manic) and low (depressed) moods. Highs may alternate with lows, or the person may feel both extremes at close to the same time. Bipolar disorder usually starts in adult life, before the age of 35. Although rare in young children, it does occur in teenagers. This illness can affect anyone. However, if one or both parents have bipolar disorder, the chances are 5-10% greater that their children will develop the disorder. Bipolar disorder may begin either with manic or depressive symptoms. The manic symptoms may include: - severe changes in mood compared to others of the same age and backgroundùeither unusually happy or silly, or very irritable - unrealistic highs in self-esteem — for example, a teenager who feels specially connected to God - great energy increase and the ability to go with little or no sleep for days without feeling tired - increased talkingùthe adolescent talks too much, too fast, changes topics too quickly and cannot be interrupted - distractibility — the teen’s attention moves constantly from one thing to the next - high risk-taking behavior, such as jumping off a roof with the belief that this will not cause injury The depressive symptoms may include: - persistent sadness, frequent crying, depression - loss of enjoyment in favorite activities - frequent complaints of physical illnesses such as headaches or stomach aches - low energy level, poor concentration, complaints of boredom - major change in eating or sleeping patterns, such as oversleeping or overeating Some of these signs are similar to those that occur in teenagers with other problems such as drug abuse, delinquency, attention-deficit hyperactivity disorder, or even schizophrenia. The diagnosis can only be made with careful observation over an extended period of time. A thorough evaluation by a child and adolescent psychologist or psychiatrist can be helpful in identifying the problems, manic-depressive or other, and starting specific treatment. Teenagers with bipolar disorder can be effectively treated. Effective treatment for this disorder usually includes education of the patient and the family about the illness, medication such as lithium, and psychotherapy. Lithium often reduces the number and severity of manic episodes, and also helps to prevent depression. Psychotherapy helps the teenager understand himself or herself, adapt to stresses, rebuild self-esteem and improve relationships. Bressert, S. (2006). Teens and Bipolar Disorder. Psych Central. Retrieved on December 11, 2013, from http://psychcentral.com/lib/teens-and-bipolar-disorder/00051 Last reviewed: By John M. Grohol, Psy.D. on 30 Jan 2013 Published on PsychCentral.com. All rights reserved.

<urn:uuid:7c248bf9-c156-434c-8827-d9329f3f1b46>

CC-MAIN-2013-48

http://psychcentral.com/lib/teens-and-bipolar-disorder/00051

s3://commoncrawl/crawl-data/CC-MAIN-2013-48/segments/1386164033367/warc/CC-MAIN-20131204133353-00048-ip-10-33-133-15.ec2.internal.warc.gz

en

Excerpted from Nudge: Improving Decisions About Health, Wealth, and Happiness by Richard H. Thaler and Cass R. Sunstein (Yale University Press). Copyright © 2008 by Richard H. Thaler and Cass R. Sunstein. The workings of the human brain are more than a bit befuddling. How can we be so ingenious at some tasks and so clueless at others? Beethoven wrote his incredible ninth symphony while he was deaf, but we would not be at all surprised if we learned that he often misplaced his house keys. … Back to Article Join/Renew for Just $16 A Year - Discounts on travel and everyday savings - Subscription to AARP The Magazine - Free membership for your spouse or partner

<urn:uuid:21e3783f-d97e-49a3-a6e8-454478a9f7c1>

CC-MAIN-2014-10

http://www.aarp.org/entertainment/books/info-11-2008/book_excerptnudge_improving_decisions_about_health_wealth_and_happiness.comments.html

s3://commoncrawl/crawl-data/CC-MAIN-2014-10/segments/1394010623118/warc/CC-MAIN-20140305091023-00040-ip-10-183-142-35.ec2.internal.warc.gz

en

Strokes and mini-strokes, although tragic, are fairly common occurrences. Approximately 800,000 people suffer from a stroke every year. While many of those individuals are over the age of 65, people of all ages are susceptible to stroke. In fact, the UPMC Stroke Institute alone deals with more than 2000 documented stroke cases every year. Those statistics aside, residents of the Pittsburgh area may be particularly susceptible to strokes based on the region's above-average obesity rates. The American Heart Association identifies obesity as a risk factor for the leading cause of stroke - high blood pressure. Excess body weight alone is enough to put an individual at an increased risk for high blood pressure, but obesity may also lead to sleep apnea and diabetes, both conditions increase that risk. Most people are aware of the debilitating physical impairments that often occur after an individual suffers from a stroke, but new research from Columbia University Medical Center reveals that 23 percent of people who suffer from stroke or mini-stroke also end up with post-traumatic stress disorder (PTSD) symptoms within a year. While a stroke or mini-stroke may lead to a disabling physical impairment on its own, symptoms of PTSD provide another route for stroke survivors to qualify for social security disability insurance benefits if they are unable to return to work. Most people think of PTSD as an illness that veterans suffer through after returning home from battle, but the symptoms of PTSD may actually be more severe in stroke survivors. For the unfortunate individuals who experience stroke-related PTSD, the severe nature of the illness arises from the fact that one is unable to escape the complications within his own body; thus, an individual is in constant fear that physical exertion and stress will lead to another stroke. The illness can cause these individuals to avoid places or events that remind them of the traumatic experience and it can bring about strong feelings of depression and worry. An individual suffering from the symptoms of PTSD may satisfy the Social Security Administration's impairment listing for an anxiety-related disorder. Anxiety can take the form of many different symptoms. Individuals suffering from PTSD after a stroke will often experience recurring memories and nightmares of the event. In extreme cases, an individual may even suffer from flashbacks. A distressed individual may also be unable to interact with others without becoming excessively irritable or angry. Some individuals even find that symptoms such as sleeplessness, numbness, and panic attacks are so severe that they are unable to maintain focus for extended periods of time. An individual who is unable to concentrate long enough to perform simple tasks like reading a newspaper, cleaning, or cooking dinner may qualify for disability benefits from the SSA. However, in order to qualify for disability benefits on these grounds, the individual should be in treatment with a psychiatrist or other professional who deals with PTSD. Additionally, assistance from an experienced Social Security attorney is advised.

<urn:uuid:3bb6e8e1-6b94-43ce-b323-0686fbdd7037>

CC-MAIN-2014-42

http://www.cbmclaw.com/blog/2013/07/strokes-and-ptsd.shtml

s3://commoncrawl/crawl-data/CC-MAIN-2014-42/segments/1413507446525.24/warc/CC-MAIN-20141017005726-00027-ip-10-16-133-185.ec2.internal.warc.gz

en

The All Africa Peace Conference (AAPC) 4TH - 7TH NOVEMBER 1999 While the world is emerging from the bloody conflicts and violence that have marked the 20th century, Africa remains a theatre of war and a public health museum. These not withstanding conflicts have taken new, intricate and internecine dimensions that require new and innovative approaches if they have to be contained. Many African nations are facing severe tests and challenges of nationhood while at the same time having to contend with extra-national problems. We can no longer sit back and blame colonialism but come together, examine, prescribe and administer medication to the myriad problems that plague the continent today and threaten it the following day. We must develop frameworks for solving these problems. Africa has witnessed perhaps the worst genocide in recent human history. Examples abound from the Great Lakes where both Rwanda and Burundi are still struggling to cope with the effects of genocide. The Democratic Republic of Congo (DRC) is currently experiencing a grand civil war which has drawn many nation-states in direct combat. Sierra Leone is emerging from perhaps one of the most barbaric violence of unquantifiable proportions. The south Sudan question and the dynamics of their war of liberation has intolerable consequences. Ethiopia and Eritrea are currently locked in a territorial battle. Somali remains the oldest collapsed state system the world has ever witnessed in recent history. These massacres mark the apex of long drawn internal conflicts and violence in which efficient military hardware has been extensively used. The failure to address the political and social dynamics has led to far reaching effects on civilians who today suffer massively from stocks of war. The use of industrial weaponry has transformed the outcomes of internal conflicts in many dimensions. Whereas in the past traditional conflicts, which assumed violent dimensions, produced fairly acceptable results, which could be managed, today they tend towards mass extermination. In Africa we are confronted with the problem of landmines, child soldiers, light weapons, hunger and famine, refugees, epidemic disease outbreaks collapsed infrastructure and arms race (including trade and transfers). Worse still we are faced with economic problems - as direct results of war and breakdown of civil order. Most of Africa's problems are internal and have almost everything to do with the colonial legacy. Many of the neo-colonial states in Africa are less than 50 years old and it can be argued that they are still adjusting to the realities of nationhood. However extra-continental forces greatly impact on almost all of them. Only a few nations are not struggling to implement economic reform programs. Environmental degradation due to industrial and agricultural pressures threatens not only Africa but also the rest of the globe. Traditionally governments have largely dominated processes of preventing war and building peace but have failed disastrously especially in this role in Africa. The recent cease-fires negotiated in Sierra Leone and DRC seem largely as peace pantomimes. They do not solve the conflicts, which will remain latent within a process of recrudescent violence. They simply address the conflicts vertically without creating horizontal structures upon which to build peace. The governments' response to conflict prevention has been largely military oriented instead of developing early warning systems. NATO bullying has far overshadowed the United Nations and threatens to perpetuate negative neo-colonial influence in Africa. The traditional methods employed by governments to punish "errant" nations have ended up hurting the weak and vulnerable. For example sanctions have starved the poor rather than solve political differences among nations. Peace keeping efforts by the UN missions have produced negative results. In all but few cases, the world's governments have manifestly failed to fulfill their responsibility to prevent conflict, protect civilians, end war and create the conditions of permanent peace. These failures largely invite the civil society to play a crucial role in peace building and conflict prevention. The framework of "New Diplomacy" must be given impetus to take root for it provides the best alternative to achieving best desired results in solving problems of human security. Governments must be persuaded to accept and be party to the concept of "New Diplomacy" as vehicle through which human security can be ensured. The involvement of the civil society in peace negotiations will go a long way to operationalize peace at grassroots level. This is precisely what the HAP process aims to do globally yet this is more urgent in Africa than in any continent. Part of the HAP agenda for the 21st century states that "Skeptics will say that it cannot be done. The Hague Appeal challenges this assumption. This century has seen unimagined changes. Society now has the means to cure disease, reduce poverty and eliminate starvation. The twentieth century has also seen the creation of a set of universal norms, which, if implemented, will go a long way toward making war unnecessary and impossible. And this century has seen the replacement of authoritarian forms of government by democratic governance, a phenomenon that enables civil society to play a far greater role than heretofore in the affairs of humanity." As a result, the Hague Appeal proposes a citizens' Agenda for Peace Health and Justice for the 21st Century. This will entail a fundamentally new approach, building on the recent model of New Diplomacy in which citizen advocates, progressive governments and official agencies have worked together for common goals. We will embrace the moral imagination and courage necessary to create a 21st century culture of peace and to develop national and supranational institutions, which ultimately must be the guarantors of peace and justice in this world. It is within this realm that we are taking this bold initiative (AAPC) to welcome the new millennium with a renewed vigor and commitment to work towards peace. The AAPC is a conference with a difference. Other than exploring the intricate issues that affect peace in the continent, it will also provide an opportunity for participants to learn from each other as well acquire skills for negotiating and building peace. The goal of this conference is to de-legitimize armed conflicts and create a culture of peace for the 21st Century and to provide the participants with the necessary skills for implementing the "New Diplomacy". The AAPC aims at providing an opportunity to initiate a process of developing a framework to prioritizing peace in Africa in the next millennium. The overall aim is to discuss the various peace building initiatives with a view to defining a greater NGO entry point especially the drive towards influencing the parallel intergovernmental processes at grassroots level. It should also provide the platform for greater debate and discussion on the impediments to peace and development and highlight the various aspects, which need international visibility and cooperative efforts. Overall we seek to develop methodologies for implementing the concept of the "New Diplomacy". - To bring together representatives of civil societies to develop a frame work to prioritize peace in Africa in the next millennium. - To discuss the various peace-building initiatives with a view to defining a greater NGO entry point - especially the drive towards influencing the parallel governmental, intergovernmental and international processes. - To discuss impediments to peace and development and highlight the various aspects which need international visibility and co-operative efforts. - To provide an opportunity for civil society to define various initiatives for campaign and activism in peace issues in Africa. - To provide a framework for initiating the process of translating our peace and development ideals into plans of action. - To provide members of the civil society with skills for influencing inter-governmental (and even UN) processes through training. - To train members of the civil society on methodologies for conflict prevention and resolution. - To develop an African perspective and entry point in the global peace campaign. 1. Enhancing human security 2. Prevention, Resolution and Transformation of Violent Conflict: The All Africa Peace Conference will discuss the various issues that directly and indirectly affect Africa. This track will discuss issues related to demilitarization. Chief among them will be the developing campaigns aimed at re-directing substantial military spending to social and welfare programs in Africa. The track will also explore the possibilities of developing linkages with already existing campaigns as well as capacity building for indigenous campaigns. Campaign issues that have dominated global opinion will be discussed from an African perspective. These will include; Discussions will center on the proliferation of small (light) arms with a view to implementing grass-roots disarmament campaigns, for a drastic reduction in the trade in small arms. The conference will discuss proliferation of light arms in light of conflict in the Greater Horn of Africa (DRC, Rwanda, Burundi, Kenya, Uganda, Tanzania, Sudan, Ethiopia, Eritrea and Somali). Participants will examine various ways and means by which to monitor arms transfers and identify the major actors in the region. More importantly the participants will discuss capacity building for indigenous NGO's and civil society to actively campaign for arms reduction and related issues. It is envisaged that proceedings will build upon the efforts of IANSA with a view to localizing these efforts and making them operational. The AAPC recognizes the urgent need to demilitarize in Africa and channel resources to social spending. Africa is a continent in dire need for resources for development governments continue to spend enormous sums on military hardware. The AAPC recognizes that the easy availability of light weapons has created complex military arrangements in which politicians have developed personal militias in many countries in Africa. The participants will therefore discuss the impact of light arms from the socio-political, economic and health perspectives. It is envisaged that strategies for intensified campaign against light arms will be launched. Discussions will be centered on the current status of landmines situation in Africa. This will also include proliferation, demining, ethics and justice, mine victim assistance and implementation of the Mine Ban Treaty in Africa. The conference will define priorities for mine action as well as current initiatives to address the landmine mantra. The AAPC endorses the ideals of the International Campaign to Ban Landmines which puts a high priority on governments destroying their stockpiles of mines as a form of "preventive mine action." Transparency on stockpiles, and other mine-related matters. The AAPC recognizes that Africa remains the most heavily mined continent while lacking resources for demining. Despite the promises of the Mine Ban Treaty (MBT) the landmine mantra is likely to persist in Africa for probably many decades. The participants will review strategies for mine action in Africa with a view to making them more effective. This will build upon the recent meeting in May of State Parties to the MBT held in Maputo, Mozambique. Contrary to common belief that Africa is not predisposed to problems of nuclear armament (and nuclear energy) and that the consequences of a nuclear war may remain secondary rather than primary, participants will be enlightened how Africa will not escape these consequences in the event of a nuclear holocaust. Participants will discuss strategies for lobbying African governments to support the Model Nuclear Weapons Convention based on lessons learnt from the Ottawa process. In this case the AAPC endorses the global ideals of Abolition 2000 campaign to abolish Nuclear weapons. The AAPC also calls on the Nuclear weapons countries to respect Africa as a "Nuclear Weapons Free Zone". It is also envisaged that alternatives to nuclear technology will also be discussed and if possible an exhibition of these technologies will be held. Participants are expected to come up with recommendations on how to step up activism against nuclear weapons in the African region. Discussions will center on the child soldiers especially in the Great Lakes region and Sudan. The dynamics and implications of this rampant problem will enable a greater understanding and participants will be able to develop plans for both intervention and activism to stop the use of child soldiers. 3. International Humanitarian and Human Rights Law and Institutions: This strand will work towards designing effective early warning systems, highlighting and strengthening peace-building mechanisms by community-based organizations, national civil society groups as well as by regional networks. We will also explore ways of enhancing peaceful resolution of violent conflicts, and finding effective ways of sustaining post-conflict peace building initiatives. This track will also discuss the refugee problems and lay strategies for overcoming them. The AAPC recognizes the issue of refugees as an urgent issue that requires immediate attention. 4. Root Causes of War/Culture of Peace The AAPC recognises the need to strengthen humanitarian laws and human rights across borders as an essential step towards building a culture of peace. This track will examine the application of International Humanitarian laws in conflicts in the region. The inter-linkages between these laws and human rights abuses in the conflict areas, their impacts (both long and short-term consequences) will be discussed with a view to prescribing the relevant legal provisions. Participants will also discuss monitoring of human rights abuses. The International Criminal Court The main issues will revolve around ratification and operationalizing the ICC. Participants will be enlightened on the essence, implications and application of the ICC in Africa. Discussions will explore the impediments to implementing the ICC in Africa. Participants will explore the various methods of enhancing the rule of law in promoting co-existence of diverse interests in the Greater Horn of Africa - the main cause of conflicts in the region. We hope to consolidate research already accumulated on the root causes of war in Africa, develop this research further and design effective strategies towards a culture of peace in the 21st Century. Participants will define the various entry points for launching peace education including peace curriculum development. Lessons from on-going programs in the region will form the basis of deliberations. Cultural presentations and indigenous methods of peace building will complement this theme across the region. The AAPC recognizes the need for environmental protection as an essential component of peace. A workshop will be organized to discuss the effects of Persistent Organic Pollutants (POP's) and the current global efforts to eliminate them. A similar workshop will be held on "Health and Peace in the 21st Century". The workshops will give impetus for health activists to review and re-define campaign issues for the 21st Century. This implies that the AAPC recognizes health as a peace issue and this has been amply demonstrated by International Physicians for Prevention of Nuclear War - A Nobel Peace Prize Winner and the Pugwash Society among other physician groups. The conference will take place at the Kenyatta International Conference Center (KICC) right in the Center of Nairobi City. KICC has the capacity to cater for between 5,000 - 7,000 participants. It is equipped with modern conference facilities including translation equipment, slide and overhead projectors. There will be 10 separate meeting rooms for various concurrent workshops. All participants will have to register in order to gain access to the conference venue and facilities. The registration fees are as follows: Participants from Africa $ 100 Participants from outside Africa $ 200 For more information, please contact this email address: email@example.com menu | dDH

<urn:uuid:c2b37580-c6fa-4441-8f7c-d115621f87fc>

CC-MAIN-2018-47

http://vredessite.nl/nieuws/1999/aapc.html

s3://commoncrawl/crawl-data/CC-MAIN-2018-47/segments/1542039741192.34/warc/CC-MAIN-20181113020909-20181113042909-00211.warc.gz

en

Herb: Corn Buttercup Latin name: Ranunculus arvensis Family: Ranunculaceae (Buttercup Family) Medicinal use of Corn Buttercup:The plant is used is used in the treatment of intermittent fevers, gout and asthma. Description of the plant: Habitat of the herb:A weed of cornfields, especially on calcareous soils. Propagation of Corn Buttercup:Seed - sow spring in situ. You are very unlikely to need to encourage this plant. Cultivation of the herb:A weed of cornfields, especially on calcareous soils. Known hazards of Ranunculus arvensis:All parts of the plant are poisonous when fresh, the toxins are destroyed by heat or by drying. The plant also has a strongly acrid juice that can cause blistering to the skin. Plant information taken from the Plants For A Future.

<urn:uuid:2c8fd149-50ec-4abf-86a5-bf264e0c389e>

CC-MAIN-2019-09

http://www.naturalmedicinalherbs.net/herbs/r/ranunculus-arvensis=corn-buttercup.php

s3://commoncrawl/crawl-data/CC-MAIN-2019-09/segments/1550247496694.82/warc/CC-MAIN-20190220210649-20190220232649-00153.warc.gz

en

This guide will help make lesson planning faster and easier! This product includes all of the standards found in the week at a glances in each unit (including week 6!) and separated by each week (1.1, 1.2, etc.). It states each standard with description found in each category (Close Reading, Writing, Speaking & Listening, Language Development, and Foundational Skills). I saved this guide as a word document for the ability to copy the standard and paste it right into your lesson plans!

<urn:uuid:5b897e12-69d2-4ec9-89eb-cacb92c31ead>

CC-MAIN-2018-43

https://www.teacherspayteachers.com/Product/McGraw-Hill-Wonders-Weekly-Standards-Guide-3137174

s3://commoncrawl/crawl-data/CC-MAIN-2018-43/segments/1539583510932.57/warc/CC-MAIN-20181017002502-20181017024002-00030.warc.gz

en

Alexandrine Margaux October 15, 2021 worksheet This sounds like an awful lot, doesn‘t it! A good set of preschool worksheets should cover all of this, and more. In the preschool years, repetition is the key to learning, but you should look for worksheets that teach the same skills in a variety of ways. This not only prevents boredom setting in, but also reinforces the concepts by encouraging understanding as well. The importance of reading to your child cannot be emphasised enough, and you should encourage them to ‘read‘ as much as possible too. Quality worksheets for preschool can help you with a lot more than just academics. For example, once your child starts kindergarten, they will be expected to sit still and complete tasks for about 15 to 20 minutes at a time. If your child is used to doing a worksheet or two, they will be able to do this quite easily, and will understand that they need to complete the task before they can move on to the next activity. Worksheets also help your child to learn how to follow instructions, and teach them about following rules. With the new school year starting soon, many parents will be concerned about school readiness and looking for ways to help their children prepare for big school. While there are many preschool worksheets available, some are more useful than others in terms of versatility. There is a lot more to school readiness that just knowing the alphabet and counting to ten. Academically, parents can use preschool worksheets to help teach their children some of the basic skills they will need for kindergarten and school. If you cannot purchase a math work sheet because you think you may not have time to, then you can create on using your home computer and customize it for your kid. Doing this is easy. All you need is Microsoft word application in your computer to achieve this. Just open the word application in your computer and start a new document. Ensure that the new document you are about to create is based on a template. Then, ensure that your internet connection is on before you can search the term ”math worksheet” from the internet. You will get templates of all kinds for your worksheet. Choose the one you want and then download. Patterns and sequencing and basic addition and subtraction should follow on from counting and number recognition. By the time your child is starting kindergarten or school, they should be able to count to 20 with ease, write numbers, do simple addition sums, and have some understanding of patterns and sequences. Even if they are attending preschool, extra practice at home will help them improve their math. A systematic set of mathematics worksheets will help you teach your child the basic principles of math and help them prepare for school. Worksheets can be used as the basis for counting and adding games and other activities. Teaching your child with worksheets also makes them more comfortable with doing worksheets - which will help them when they get to kindergarten and school, where worksheets are used every day. There are many types of worksheets you can use as a teaching aid. First is coloring pages. This is good in teaching kids the different colors and their names, and the proper way to color. With First Crafts, kids learn how to make simple crafts and enjoy the fruits of their hard work. There are also worksheets that teach how to read. It includes the basic sounds each letter produce. Kids try to read the words displayed before them. In the First Alphabet worksheet, kids learn how to write the alphabet. And in the First Animals worksheet, kids try to recognize the animals in the picture and learn the names of these animals. Once downloaded, you can customize the math worksheet to suit your kid. The level of the child in school will determine the look and content of the worksheet. Use the school textbook that your child uses at school as a reference guide to help you in the creation of the math worksheet. This will ensure that the worksheet is totally relevant to the kid and will help the child improve his or her grades in school. The math worksheet is not only for the young children in kindergarten and early primary school; they are also used for tutoring high school and university students to keep the students’ math skills sharp. The sites that offer these worksheets have helped a lot and this resource is now a common thing to use for all kinds and levels of educators. The formats for the worksheets differ according to the level and content of the worksheets. For the young kids it is preferable to have the worksheet in large print, while the older students commonly use the small print ones that are simple and uncluttered. Tag Cloudgeometry math terms pre algebra practice sheets live math tutor addition for kinder grade 10 math practice questions high school tutors algebraic equations worksheets grade 7 addition for grade 4 best fraction games solving expressions worksheet easy but hard math problems math tutoring for middle school students triangle worksheet preschool grade 9 math activities a and an worksheets for grade 2 multiplying fractions by fractions high school math homework crossword puzzles for kids 1 minute drill 6th grade math worksheets cbse

<urn:uuid:ea0942c6-d880-42b1-84ca-6ceff4d07d5d>

CC-MAIN-2021-49

https://ristorodelcinghiale.com/23u9t8SQ8/

s3://commoncrawl/crawl-data/CC-MAIN-2021-49/segments/1637964358520.50/warc/CC-MAIN-20211128103924-20211128133924-00007.warc.gz

en

Train your first Autoencoder for reconstructing a noisy image The current demographics of datasets includes more unlabelled than labelled data. The acquisition of labeled data for a learning problem often requires a skilled human agent or a physical experiment. While analysis on labelled data is pretty straightforward and mostly boils down to figuring out the right approach and building & testing an appropriate model, unlabelled dataset poses many challenges depending on its size, type, depth etc. Unlabelled datasets (paired with some labelled data) are at the core of semi-supervised learning. Semi-supervised learning helps improve accuracy of a model by making it learn representations of unlabelled data by using labelled data as a ground truth. This is called Representation Learning (a set of techniques that allows a system to automatically discover the representations needed for feature detection or classification from raw data.) What are Autoencoders? Autoencoders are an unsupervised learning technique which we leverage for the task of representation learning which forces a compressed knowledge representation of the original input. The aim of an autoencoder is to learn a representation for a set of data, typically for dimensionality reduction, by training the network to ignore signal “noise”. Applications of Autoencoders - Dimensionality reduction - Image processing - Principal component analysis - Machine Translation - Information retrieval - Anomaly detection In this tutorial, we will build an Autoencoder that will retrieve clean images from a set of noised MNIST images. We will be using Keras to build the model, MNIST as our dataset and we will train the model on Kaggle with GPU acceleration enabled. Let's get into it! Step 1: Make helper functions to... - Display 8 images - Add random noise to MNIST images - Preprocess dataset by normalising the dataset def display(array1, array2): n = 8 indices = np.random.randint(len(array1), size=n) images1 = array1[indices, :] images2 = array2[indices, :] plt.figure(figsize=(20, 4)) for i, (image1, image2) in enumerate(zip(images1, images2)): ax = plt.subplot(2, n, i + 1) plt.imshow(image1.reshape(28, 28)) plt.gray() ax.get_xaxis().set_visible(False) ax.get_yaxis().set_visible(False) ax = plt.subplot(2, n, i + 1 + n) plt.imshow(image2.reshape(28, 28)) plt.gray() ax.get_xaxis().set_visible(False) ax.get_yaxis().set_visible(False) plt.show() def make_some_noise(array): noise_factor = 0.35 noisy_array = array + noise_factor * np.random.normal( loc=0.0, scale=1.0, size=array.shape ) return np.clip(noisy_array, 0.0, 1.0) def preprocess_dataset(array): array = array.astype("float32") / 255.0 array = np.reshape(array, (len(array), 28, 28, 1)) return array Step 2: Divide the dataset into Training and Test set # We only use images in this tutorial, so no need to load the labels (train_data, _), (test_data, _) = mnist.load_data() # Normalize and reshape the data train_data = preprocess_dataset(train_data) test_data = preprocess_dataset(test_data) # Create "noised" data noisy_train_data = make_some_noise(train_data) noisy_test_data = make_some_noise(test_data) # Display the train data and a version of it with added noise display(train_data, noisy_train_data) Make the model by adding the input to Encoder and Decoder Layers. Our Encoder layer consists of Conv2D & MaxPooling2D Layers and Decoder layers consists of Conv2DTranspose & Conv2D layers. input = layers.Input(shape=(28, 28, 1)) # Encoder model = layers.Conv2D(32, (3, 3), activation="relu", padding="same")(input) model = layers.MaxPooling2D((2, 2), padding="same")(model) model = layers.Conv2D(32, (3, 3), activation="relu", padding="same")(model) model = layers.MaxPooling2D((2, 2), padding="same")(model) # Decoder model = layers.Conv2DTranspose(32, (3, 3), strides=2, activation="relu", padding="same")(model) model = layers.Conv2DTranspose(32, (3, 3), strides=2, activation="relu", padding="same")(model) model = layers.Conv2D(1, (3, 3), activation="sigmoid", padding="same")(model) # Autoencoder ae = Model(input, model) ae.compile(optimizer="adam", loss="binary_crossentropy") ae.summary() Step 4: Train the model ae.fit( x=noisy_train_data, y=train_data, epochs=100, batch_size=128, shuffle=True, validation_data=(noisy_test_data, test_data), ) Step 5: Test model performance predictions = ae.predict(noisy_test_data) display(noisy_test_data, predictions) Post training the training and validation loss was 0.0797 and 0.0794 respectively. As we can see from above, the model prediction was pretty good with the test images. Checkout the public notebook: This post was inspired by Francois Chollet's blog post: You can checkout the below article from Jeremy Jordan on Autoencoders for a deep dive:

<urn:uuid:bc444ea5-e1f6-426a-93eb-4a40e3d7e4a9>

CC-MAIN-2023-23

https://blog.jaysinha.me/train-your-first-autoencoder-for-reconstructing-a-noisy-image/

s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224646652.16/warc/CC-MAIN-20230610233020-20230611023020-00396.warc.gz

en

This is the time of year that many things are done to achieve your garden goals for the following spring and summer Pruning , cutting back perennials and shrubs sets the garden for the coming growing season . Deciding on the sizes you want the elements in the garden to be is one way to look at pruning. It’s easier to access deciduous shrubs and trees when they are dormant,you can see the branching structure better. Look to where you cut them last year and how much growth they put on this year.Cut accordingly. Learning pruning is a lot about observation. Transplanting and planting plants at this time is good as well,especially deciduous plants,shrubs,trees, even large roses can be moved. Really look at your garden as a whole, maybe even blur your vision to decide if you like the sizes things have become. You have the choice to prune shrubs whatever shape you want and they can live at. When you are learning pruning look at other peoples plants, shrubs and trees. Look at mature specimens. What size do you want to keep it? What size does it want to grow ? Even large plants can be kept small,but they will try to get to their normal size.Plant accordingly. I’ve been doing a lot of research into apple and pear problems . Last year because it was so wet the apple scab really affected our trees, and others. This is a fungus which we are particularly susceptible to, living in a coastal environment. Fungus thrives in 50-80 degree weather, we typically rarely get higher or lower than these temps. Preventative measures to take are to really clean up last years debris under the trees, for this carries the spores from the old leaves to the new leaves. So you rake, but look to see how much more there is to do to get it really clean, leaves not dropped or small dead apples. Then the best method to me seems to be a spray to start the tree off clean in the coming year. The more I research the more I think I’ll do a copper based spray at my house , mostly because I know my trees were infected last year and I think something serious needs to be done to clean them up. I’m going to spray an organically approved copper/ lime spray. With neem oil, another organic fungicide, but it’s also a spreader sticker( usually an oil which helps hold the spray on the tree even with some moisture). The spray needs to be timed to when the leaf shoot starts to come out. Then ten days ( five if it rains then) , and another ten days hopefully finishing with the petals off the new fruit. I want my trees to start off clean so I’m going to do one spray before that, early on in the next few weeks. Usually the trees should be pruned first before spraying, so it’s easier to spray, less to spray. Because we are having such a warm, dry winter, we might have a very early bud break. Usually bud break is end of January for the earliest trees , early Feb. This will help keep the spores in check too, especially if it’s this dry ( I hope we get more rain soon though) Spraying needs to be done on a dry day with no possibility of rain for 24 hours . Then sprayed on a sunny , windless, morning that’s when the plants stomatas are open and they will take in the most.

<urn:uuid:4e57d0e9-7efa-4069-9a99-2b8e3a157e3f>

CC-MAIN-2018-09

http://rosemancreekranch.com/2012/02/apple-scab-winter-work-on-orchards/

s3://commoncrawl/crawl-data/CC-MAIN-2018-09/segments/1518891814801.45/warc/CC-MAIN-20180223154626-20180223174626-00351.warc.gz

en

Spotting a famous face in the crowd People can only recognize two faces in a crowd at a time – even if the faces belong to famous people. So says Volker Thoma of the University of East London in the UK in an article which sheds light on people's ability to process faces, published in Springer's journal Psychonomic Bulletin & Review. The findings have relevance to giving eye-witness testimony or for neuropsychological rehabilitation. Thoma set up two experiments in which participants were asked to identify a famous politician such as Tony Blair and Bill Clinton or pop stars such as Mick Jagger and Robbie Williams from among other unfamiliar faces. In both cases, a distractor face was placed to the side of the screen, but participants were asked to ignore it. In the first experiment, the famous face was shown at the vertical center of the computer screen, either on its own or among one or two unknown faces. Participants had to quickly respond to whether it was a famous politician or singer. Despite being asked to ignore the unknown face on the periphery, its presence still influenced participants' ability to recognize the famous face, showing that faces are hard to ignore. However, when more faces were shown in the center – making it harder to find Mick Jagger – participants did not notice the irrelevant face anymore. According to Thoma, this indicates that humans can only deal with and process a few faces at a time, whether they are well known or not. Interestingly, the same thing also happened in the second experiment when the additional faces surrounding the famous person's photograph were shown upside down. Thoma describes this result as "surprising," as upside-down faces are usually less recognizable and easier to ignore. In fact, it was previously thought that upside down faces are not perceived as individual faces, but more like objects. One would have therefore expected the famous face to stand out, which it didn't. So far it has been assumed that humans recognize faces as one whole object or image, and not by looking at different parts (such as lips, ears and eyes) or local features that together form a face. Thoma now says that face parts rather than whole faces interfere with our limited capacity to identify faces. "People recognize faces automatically as long as they have sufficient capacity to do so, but not when this ability is stretched by the presence of too many faces," explains Thoma further. "Face recognition seems to be limited to the amount of face-specific resources or parts, and even happens when other faces are shown upside down."

<urn:uuid:129a67cc-e292-4c58-ba0f-52cbf3e60ea5>

CC-MAIN-2021-04

https://medicalxpress.com/news/2014-05-famous-crowd.html

s3://commoncrawl/crawl-data/CC-MAIN-2021-04/segments/1610703557462.87/warc/CC-MAIN-20210124204052-20210124234052-00310.warc.gz

en

Green energy is becoming more and more popular today. Many people who have made the switch are saving a lot of money on their energy bills, and are taking an active role in saving the environment. Do you think that’s true? Read on for some great tips that will help you use green energy daily. Simply cutting back on the amount of electricity you use on a daily basis can save a lot of energy. When you are not using certain appliances, unplug them until you are ready to use them again. When you aren’t using your television, computer equipment or lights, don’t forget to turn them off. This may be a simple tip, but it does save you money. Simply cutting back on the amount of electricity you use on a daily basis can save a lot of energy. When a certain appliance is not in use, unplug it. Be diligent about switching off the television or lighting if you aren’t using them. This simple suggestion helps cut your electricity bills. If you plan to purchase lighting for your deck or patio, you should give solar-powered lamps a try. The solar lamps are relatively inexpensive and will not need any additional power other than direct sunlight. This, of course, will save you a lot of money. As an added benefit, you are spared the trouble of running an outdoor wiring system. There are grants that can help you invest in green energy. Check with the local government and see what programs are available to you. You might qualify for a solar or wind installation at no cost, or at least be able to deduct your expenses from your taxes. Shade your windows from excessive amounts of sunlight to improve the energy efficiency of your home. Adding some window coverings can also help. Since this will make your house cooler, you will use the air conditioner less. You will save energy, which will in turn save you substantial money. Window coverings should remain closed while you are away. This cools down your house and lowers energy use. Usually, the windows facing the south get more sun because of where they are in the house. Try using coverings on all of the windows, such as dark curtains, roman shades, or some roller shades. On hot, summer days, hang your clothes outside. The smell of clothes dried in the fresh air cannot be topped. They will smell fresher than if you used the dryer. As well, you save quite a bit on monthly utility costs. Use cold water in your washing machine. The majority of energy use from washing clothes is in the heating of the water. Just make sure you don’t harm your clothes in the process; check out the labels on your clothes and make a judgment for yourself. Don’t forget to wait until you have a full load of laundry to wash; that is the energy efficient way. Only using the dishwasher when it is full will save you money and energy. Try to refrain from putting small amounts in and running the dishwasher. With a little effort, you will be amazed by how much you can fit in one load. Make sure you take time to place the dishes in properly so as to maximize the space available. If you clean your dishes using a dishwasher, don’t run it until it’s completely full. The same amounts of water and energy are used every time. When you run the dishwasher, see to it that you are using its energy-saving setting; that will allow the dishes to dry using air. If you use fuel to heat your home, ask a professional about using biodiesel instead. Some systems do not need any modifications in order to use biodiesels. Biodiesel will burn cleaner than petroleum, which helps to protect the environment. If you’re installing a solar energy system, be sure to place the batteries in close proximity to the cells. Power is less likely to be lost in cables this way. It will also minimize the possibility of a cable shading out the cells and lowering their generation capability. One very easy way to save money on your heating bills is to dress more warmly around the house during the winter months. Wearing a sweater can make you feel two to four degrees warmer, depending on the thickness of the sweater. Wearing slightly heavier clothes is not any less comfortable and can save you significant money. Investigate all of the energy sources your community has to offer. Compare costs and look up regulations on green energy and tax incentives. For instance, you may save on energy costs by heating your home with gas instead of with electricity or by using well water instead of city water. Don’t turn the thermostat up higher than needed in your home. If you find the air a little chilly, put on a sweater or an extra pair of socks. When heat is turned very high, vast amounts of energy are wasted. Write reminders for energy-efficient goals and check your utility bills. You can reduce your energy use just by being aware of what you are spending. If you are specifically focusing on reducing your electricity and water consumption, then you are going to be more conscious of lights left on, or dripping taps. If you want to save money and energy, only run your dishwasher when it is completely full of dishes. Don’t run it with just a few dishes. Once you learn how to properly fill a dishwasher, you will be amazed at the number of dishes that can be washed in one load. Take care to line up your dishes, so you are able to put in as many as you can. If you are in the market for wooden items, try bamboo wood. Although bamboo is technically a grass, it has more strength than most commercial woods. It grows very fast and is being made into a variety of products from flooring to hard wood cutting boards for retail purchase. This can save energy for by way of recycling and less manufacturing of parts. Upgrade your home’s electronics and appliances to save yourself some cash in the future. While they are usually going to be more expensive, green technology products greatly reduce energy usage and, thereby, save money. These electronics will also be beneficial to the environment in the future. When doing any updates to your home, look for energy-efficient products. Use products such as double-glazed windows or eco-friendly doors to help reduce your energy usage without sacrificing your home’s needs. By installing these products, your home is sealed tighter, and you use less energy to heat and cool your home. Any appliances that have this guarantee will most likely have an Energy Star logo branded on them somewhere. Any products that have the ENERGY STAR logo are in compliance with the U.S. Department of Energy plus those of Environmental Protection Agency. Typically, these are the only appliances that one can get a tax rebate for. Desktop computers are very power hungry. Try using a laptop as an alternative. This can cut up to 75% of your electrical use, especially if you are frequently on the Internet or using word processing software. The other benefit to using laptop over a desktop is that it is portable, so it can be taken anywhere! What is your opinion of green energy now that you’ve read about it? Do you believe that green energy is best? Put a few of these tips to work and begin to discover some great improvements to your home, and your life. Implement the tips today and see how well green energy works for you.

<urn:uuid:5325ca0f-c37a-497b-942c-8b1af2811a82>

CC-MAIN-2018-22

https://searchjungle.com/what-does-it-mean-to-use-green-energy-sources/

s3://commoncrawl/crawl-data/CC-MAIN-2018-22/segments/1526794864544.25/warc/CC-MAIN-20180521200606-20180521220606-00338.warc.gz

en

design of the timing drive assembly can not only rotate the camshafts, but also required to control the opening and closing of the valves, and the movement of the pistons. For the international combustion engine, there are two main solutions: teethed belt and chain. The crucial function of the timing drive system is to provide drive to the engine’s camshaft(s) and a constant timing relationship to the crankshaft in order to provide the correct valve opening and closing timing required for the engine 's thermodynamic cycle. The timing relationship has to be maintained within tolerances over the engine lifetime. Failure… Advantages include smoothness, balance, bulky crankshaft, decreased length. Due to these characteristics the car length is considerably small than other engines giving more passenger room. This kind of engine gives high performance. In racing, lower ground clearance increases the car 's handling capacity. Strong engine with built in rigidity is an excellent choice for Motorsport applications. Torsional vibration avoidance, produces a smooth and refined drive in V… Compression of the crankshaft. 2 Transfer and Exhaust. 2 Compression of main cylinder. 3 Parts of the two stroke engine 3 Connecting rod 4 Non-return valve 5 Main housing 5 Differences between Two Stroke and Four Stroke Engines. 6 Maintenance of Two Stroke Engines 7 Engine life: 8 For this report, we as a group decided to base are report on the two stroke engine. torque and power at high engine speed. Superchargers improves power at lower speed. And variable geometry turbochargers improves the engine’s performance. So, the pistons of the diesel have to do more work than in order to compress more air than petrol engine. So the pistons stokes are longer in the diesel engine than in petrol engine. And longer piston stokes means diameter of crankshaft is large. Assuming that the force coming from both diesel and petrol engine is equal, then the diesel… A NASCAR car has 8 cylinders just like a normal car and in the each cylinder is a space where piston movement occurs. In an article written by Brian Rohrig he writes “The faster the pistons move up and down, the faster the crankshaft rotates. And the faster the crankshaft rotates, the faster your car goes.” The crankshaft allows the tires of the car to spin, so if the pistons are moving faster the crankshaft operates more effectively and so does the car. The piston movement is the most important… Types of reciprocating engines: In line engines: This type of engines have cylinder lined up in a row. Normally these engines have even number of cylinders. Its advantages include low frontal area which minimizes drag. Other advantages are improved visibility and lower center gravity. Main disadvantage is poor power to weight ratio. These engines have become… The Duke Axial Engine is a light weight, internal combustion, valve less engine. Suitable for Marine vehicles either inboard or outboard, Light Aircrafts, and or Generator/Utility and Military. The concept of this engine is fairly new. It began in New Zeeland’s Duke Engine’s, and is already on its way to being a more efficient engine. The information provided throughout will help gain a better concept of the engine and how it will be an asset to the automotive industry. The engine is a four… glow plugs is directed into the cylinders, and accommodates to warm the engine block immediately circumventing the cylinders. This avails in reducing the amount of thermal diffusion which will occur when the engine endeavors. Cylinder firing order The firing order is the sequence of potency distribution of each cylinder in a multi-cylinder reciprocating engine. This is achieved by sparking of the spark plugs in a gasoline engine in the correct order, or by the sequence of fuel injection in a… Gasoline engines work a little bit different than electric engines. The primary difference is that gasoline cars have “cylinders containing pistons (plungers) that can slide up and down inside them. At the top of each cylinder, there are two valves (essentially "gates" letting things in or out that can be opened and closed very quickly). The inlet valve allows fuel and air to enter the cylinder from a carburetor or electronic fuel-injector; the outlet valve lets the exhaust gases escape. At the…

<urn:uuid:f3a8c1c5-3b3d-4e4b-abe5-add68e8c7e0d>

CC-MAIN-2021-31

https://www.cram.com/subjects/crankshaft

s3://commoncrawl/crawl-data/CC-MAIN-2021-31/segments/1627046157039.99/warc/CC-MAIN-20210805193327-20210805223327-00489.warc.gz

en

Doctor Who is currently very popular within geek culture. But did you know that the character is not the first quirky doctor to adventure through time? The mysterious Dr. Moses Nebogipfel arrives in a small Welsh town in 1887. The apprehensions of the simple rural folk eventually cause them to storm the inventor's workshop in an effort to avenge perceived witchery. Nebogipfel escapes with one other person, the sympathetic Reverend Elijah Ulysses Cook, in what is later revealed to be a time machine. After having been missing for three weeks, Cook returns, aged many years older. He talks about a journey that took the duo to the days of mankind's last stand against an alien invasion in the 41st Century, and even further into the future to a time when humans are no longer the dominant life form on Earth. Originally written by a 22-year old H.G. Wells in 1888, "The Chronic Argonauts" is considered to be the first well-developed use of a 'time machine' in science fiction. It predates his more famous time traveling novel, 'The Time Machine', by seven years, yet has never been adapted for other media. While Wells' version ends with a cliff-hanger, New Baby Productions has expanded the story with an adventure that is influenced by the legendary writer's other works.

<urn:uuid:c9655256-8342-4bba-b97e-3446d64bdbb4>

CC-MAIN-2019-35

https://www.comixology.com/H-G-Wells-The-Chronic-Argonauts/comics-series/10928

s3://commoncrawl/crawl-data/CC-MAIN-2019-35/segments/1566027314752.21/warc/CC-MAIN-20190819134354-20190819160354-00351.warc.gz

en

This ad campaign uses the philosophical question, "If a trees falls in a forest, does it make a sound?" as a way to raise awareness about the billions of trees lost every year to illegal logging and deforestation. The resulting ads and 2-minute animation answer this question by showing the impact the loss of a tree has on those around it. Trees do make a sound whether we are in the forest to hear them fall or not. Their sound reverberates in the loss of biodiversity, indigenous culture, economic opportunity and global climatic balance. The goal of this campaign is to show that we can choose to listen by buying FSC-certified products and supporting responsible forestry.

<urn:uuid:a6657766-916a-4a55-a1fc-22ff116cc94b>

CC-MAIN-2015-06

http://www.design21sdn.com/competitions/14/entries/3722/gallery?show_all_entries=false

s3://commoncrawl/crawl-data/CC-MAIN-2015-06/segments/1422122022571.56/warc/CC-MAIN-20150124175342-00040-ip-10-180-212-252.ec2.internal.warc.gz

en

By: Katie Sokol The Industrial Revolution was built and carried by children. The children worked in horrible conditions with little pay and sickness was carried very easily. These working children started working at the age of three. The children worked so hard for so long that they grew up so fast that they didn't have a childhood. The kids would start at such a young age so they could support their families or help pay off debt. The kids worked in large dangerous factories.The machines were large and could cause serious damage, if someone’s hair got caught in a machine it was pulled out, they would lose a finger if their hand caught in the machine and if a working bobbin got loose and hit your arm, you would lose that limb. Sickness traveled quickly in the winter. In winter the windows and doors were closed the workers were stuck in a stuffy room and if someone got sick the disease traveled from child to child quickly because of the closed windows and the no sick days. There were some very good changes that came with the Industrial Revolution but the changes were made by back breaking work carried by children.

<urn:uuid:e9d3e7b4-37a0-4f8c-bf8a-af3442099b1e>

CC-MAIN-2017-13

https://tackk.com/j8s6ld

s3://commoncrawl/crawl-data/CC-MAIN-2017-13/segments/1490218188785.81/warc/CC-MAIN-20170322212948-00455-ip-10-233-31-227.ec2.internal.warc.gz

en

Walter Kondratko [Steinmetz HS, and Colors (Handout) Walter had several tubes filled with various gases (one gas per tube: hydrogen, helium, mercury, etc.). The tubes can be charged with an electric current, the energy from which will excite the atoms. When the atoms return to their ground state, they will release energy in the form of photons (colors). The energies (colors) in each case are characteristic of each element, and can be distinguished using a small diffraction grating. White light (the control lamp) gives a complete continuous visible spectrum: We then looked at the white light again, but through solutions of various chemicals (Potassium Permanganate-- KMn04, etc.) The absorption of characteristic wavelengths of light by each chemical will cause the (previously) continuous spectrum to be missing certain colors. Each solution resulted in a characteristic pattern of colors being absent from the spectrum. Walter received this equipment on loan because he participated in the ChemVan program at Chicago State University. This was a terrific activity, which everybody thoroughly enjoyed! Chris Etapa [Gunsaulus Mutations and Variation Chris distributed a handout obtained from the Museum of Science and Industry -- written by Melanie Wojtulewicz. We didn’t have time to do all the activities, all of which involve genetics and DNA, but did talk briefly about the Punnett square analysis with Sickle Cells, isolation of DNA from peas, cloning of Dolly the Sheep, and the activity illustrating the various types of mutations. What we did today was to make a model of DNA using pipe cleaners, longer continuous pieces for the “sides” of the “DNA ladder” (the “sugar-phosphate” backbone), shorter pieces for each “rung” (“base pair”) of the ladder and colored beads, strung two on each rung, for the bases (one color for each base). We made sure that for each base pair the appropriate colors (bases) were paired with each other: Another great learning activity! Mary Lucy Adetunji [Gale Elementary School] The Five Senses Sister Mary had us do activities that she uses with her kindergarten students. These activities were interesting to us; we learned how observational science can be taught to students at an early age. Notes prepared by Benjamin Stark.

<urn:uuid:98b2cf8c-b1c0-4abf-b4f5-706d9f637756>

CC-MAIN-2014-41

http://mypages.iit.edu/~smile/weekly/bc120704.html

s3://commoncrawl/crawl-data/CC-MAIN-2014-41/segments/1410657130067.43/warc/CC-MAIN-20140914011210-00175-ip-10-196-40-205.us-west-1.compute.internal.warc.gz

en

Creating a simple fruit cage Here's what the netting looks like up close. - Build your dome and position / orientate it as you want. - Get it on the base feet or posts to raise the bottom ring of sticks off the ground and protect them from damp. - Ball half of the netting and throw it over the middle of the dome. You should end up with a line of netting over the middle of the dome. - Feed the netting out in both directions to cover the dome. - Pull the netting down towards the base and gather the excess in as few places as possible. - Roll up the excess at the base and pin with the hoops. Here are a few pictures covering some of the steps: Ball the netting up and throw it over. Feed the netting out in both directions. Roll-up excess at base. 1. In under a triangle Remove a stick in the base ring and get in under one of the triangles. Our rule of thumb: - 2.5 up to 3.75m diameter, you'd need a base about 90cm tall. - 4m up to 4.5m, needs to be on a base about 40cm tall. - 4.8m - 5.2 you could have it on small base feet but you will need to duck a bit to get in. - 5.2m to 6m, again small base feet and it'll be easier to get in as the dome gets bigger. In all of the above you could dig out a section under the entrance triangle to give you more headroom. 2. Create a bigger entrance You could raise a 6-way hub to create a higher triangular entrance or take out one of the 6-way hubs and replace the hexagon with two verticals to create a large entrance. There'll be more on this when we add a page on doors! A few example fruit cages 4.8m broom handle dome painted with green outdoor wood paint. The entrance was dug out a little to aid access. 4m dome, raised on 40cm approx base posts sunk about a spade's depth into the ground, entrance under a 6-way hub. 5m dome raised on base posts with some nice raised beds inside, thanks to Matthew Macfadyen.

<urn:uuid:0f45aefa-0983-43f2-9f8e-cbc94eb20341>

CC-MAIN-2018-51

https://help.buildwithhubs.co.uk/guides/fruit-cage

s3://commoncrawl/crawl-data/CC-MAIN-2018-51/segments/1544376828507.84/warc/CC-MAIN-20181217135323-20181217161323-00317.warc.gz

en

KAMPALA — The lives of our children has lately been reshaped by the digital technologies which have resulted into new opportunities and at the same time posing risks to their well-being and rights. This paper reflects on the impact of digital technologies on children’s rights through the lens of the Computer Misuse Act (2011) and the Anti-Pornography Act, 2014. Up until now, not all rights have received the same level of attention in the digital context. Legal and policy discourse in the area of children and digital media predominantly should focus more on “protection” rights, albeit with a growing awareness of the tension between “protection” and “participation” rights. “Provision” rights are not often emphasized, other than in the important domain of education. However, all children’s rights should be supported, valued, and developed in both online and offline spheres of engagement in Uganda. Technological advancements and access to internet have shaped the overall development of global economies. In the last two decades, there have been growing concerns with regards to the interaction of technology with people within human rights discourse. This discourse acknowledges the positive contributions of technology, such as those that enhance certain protections and guarantees, as well as those that facilitate human rights violations in other respects. Since the outbreak of COVID-19 children are most of the time involved in online classes, conducting research online and submitting assignments. It is estimated that one in three internet users worldwide is a child and that one in three children have access to internet. Further and perhaps the most worrying statistic is that ‘the number of online activities in which children engage, the digital skills they develop and the online risks they encounter all increase as children get older’. This is contrary to the common logic within the child rights discourse which posits that the capacities of children to handle complex issues evolves, and therefore vulnerability to harm decreases with age. This reality raises concerns about the protection of children in the digital sphere and the measures that states should take to address key challenges posed by children’s access to ICT devices and the internet. The narrative regarding the protection of the privacy rights of children in the digital era naturally and in light of the risks involved has tended towards a protectionist and reactionary approach. Internet users, regardless of age, face pronounced privacy risks, but children are more susceptible. When children engage in online activities, their personal data is collected, either voluntarily or automatically, with little regard for the implications of sharing such personal information for their privacy in the short and long terms. Yet, these risks coexist with a need to promote children’s access to internet and technology as a necessity for their learning, development and general relevance in the 21st century and beyond. The need for an enabling regulatory legislative and policy framework for this purpose is therefore clearly evident. The notion to protect children online is new in Uganda and a few citizens are certainly not taking precautionary steps to provide safe online spaces for children. The legal and regulatory frameworks that exist are inadequate in addressing children online safety as illustrated below: Although the Computer Misuse Act (2011) proposes tough measures for anyone who indulges in child pornography. According to Section 23, A person who (a) produces child pornography for the purposes of its distribution through a computer; (b) offers or makes available child pornography through a computer; (c) distributes or transmits child pornography through a computer; (d) procures child pornography through a computer for himself or herself or another person; or (e) unlawfully possesses child pornography on a computer, commits an offence. The act defines a child as “a person under the age of eighteen years”. Other areas concerning child online safety like cyber stalking, cyber harassment and offensive communication are also addressed in the act but offences are generalized, which leaves perpetrators to prey on children both online and offline. Those found guilty of cyber harassment are liable on conviction to a fine not exceeding One Million Four Hundred and Forty Thousand Uganda Shillings. According to the Law, Cyber harassment is the use of a computer for any of the following purposes (a) making any request, suggestion or proposal which is obscene, lewd, lascivious or indecent; (b) threatening to inflict injury or physical harm to the person or property of any person; or (c) knowingly permits any electronic communications device to be used for any of the purposes mentioned in this section. The people who commit the offense of ‘Offensive communication’ are liable upon conviction to a fine not exceeding Four Hundred Eighty Thousand Uganda Shilling or imprisonment not exceeding one year or both. Offensive communication according to this act is the willingly and repeated used of electronic communication to disturb or attempts to disturb the peace, quiet or right of privacy of any person with no purpose of legitimate communication whether or not a conversation ensues. The Law also criminalizes the use of electronic communications to harass another person or make a threat with the intent to place that person in reasonable fear for his or her safety or to member of that person’s immediate family under Section 26. Those found guilty of this offence are liable conviction to a fine not exceeding Two Million and Four Hundred Thousand Uganda or imprisonment not exceeding five years or both. However, penalties are deemed lenient as evidenced in 2012 when a court case that saw a tourist charged for committing offences under the Computer Misuse Act (2011). Further, the Anti-Pornography Act, 2014 proposes even tougher penalties for perpetrators of child pornography. Section 14 (1) states that ‘A person who produces, participates in the production of, traffics in, publishes, broadcasts, procures, imports, exports or in any way abets pornography depicting images of children, commits an offence and is liable on conviction to a fine not exceeding seven hundred and fifty currency points (Fifteen Million Uganda Shillings)or imprisonment not exceeding fifteen years or both.’ In conclusion, Government, parents, educators, industry, civil society, and children’s rights activists should all take up their responsibility to enhance children’s rights in relation to digital technologies while actively listening and taking account of children’s views when developing laws, policies, programs, and other measures in this field. Children should be taught how to adopt healthy online practices. They should not post any personal information online like your address, email address, or mobile number, they should think carefully before posting pictures or videos of themselves, keep privacy settings as high as possible and never give out their passwords. This writer, Dr. Patricia Achan Okiria is a Commissioner at UHRC

<urn:uuid:c71c590a-5890-4b36-8cb2-4be66dd189b4>

CC-MAIN-2022-05

https://www.pmldaily.com/oped/2021/02/dr-patricia-achan-okiria-childrens-rights-and-the-digital-sphere-in-uganda.html

s3://commoncrawl/crawl-data/CC-MAIN-2022-05/segments/1642320303356.40/warc/CC-MAIN-20220121101528-20220121131528-00235.warc.gz

en

Hobby Master 1-200 Space Shuttle HL1408 Space Shuttle "Enterprise" Edward Air Base, 1977 The U.S. Space Shuttle program started with the awarding of the contract to Rockwell International's Space Transportation Systems Division. There were 6 shuttles built, Enterprise OV- 101 (Orbital Vehicle) for testing, Columbia OV-102, Challenger OV-099, Discovery OV-103, Atlantis OV-104 and Endeavour OV-105. The first of 135 Space Shuttle missions took place April 12, 1981 and lasted 2 days 6 hours when STS-1 (Space Transportation System) was launched using Space Shuttle Columbia. Of the 135 mission launches there were 2 tragedies when Columbia and Challenger plus their crews were lost. The first Space Shuttle was designated OV-101 and named Constitution making its public appearance on Constitution Day, September 17, 1976. After hundreds of thousands of letters from Star Trek fans the name was changed to Enterprise. On February 18, 1977 the craft completed its first captive flight followed on June 18, 1977 by the first crewed captive flight. On August 12, 1977 the Enterprise completed its first free flight and on October 26, 1977 astronauts Fred Haise and Gordon Fullerton completed approach and landing test flight at NASA’s Dryden Flight Research Center at Edwards AFB. Length - 122 ft 2.0 in (37.237 m) Wingspan – 78 ft 1 in (23.79 m) Height – 58 ft 7 in (17.86 m) Crew – 2 Service Date – September 1976 to November 1985 Missions – 5 Glide Atmospheric Glide Test

<urn:uuid:1bf2176d-8421-49f6-b25b-1876728e0551>

CC-MAIN-2022-21

https://hobbymastercollector.com/index.php/hl1408-2/

s3://commoncrawl/crawl-data/CC-MAIN-2022-21/segments/1652662636717.74/warc/CC-MAIN-20220527050925-20220527080925-00661.warc.gz

en

Architecture is the art and science of designing buildings. People who design buildings are architects. People have designed buildings in different styless. - Ancient Greeks and Romans made Classical architecture. Classical buildings have stone columns with designs on. They have beams laid across them. - People in the Middle Ages made Gothic architecture. Gothic buildings have big, pointed windows and arches. To see Gothic architecture, look at churches. - Modern architecture was a new type of architecture first created in about 1900. Modern buildings have little decoration and are often made of steel, glass and concrete.

<urn:uuid:f45d92ca-f630-4ae4-bd33-761489b5621f>

CC-MAIN-2015-18

http://july.fixedreference.org/simple/20040724/wikipedia/Architecture

s3://commoncrawl/crawl-data/CC-MAIN-2015-18/segments/1429246637445.19/warc/CC-MAIN-20150417045717-00213-ip-10-235-10-82.ec2.internal.warc.gz

en

The American Rose Society currently recognizes 37 classes of roses. Rose is divided into 3 main groups: Species (wild) roses & their hybrids, Old Garden Roses, and Modern roses. Species roses are typically large climbing or shrub-like roses with single, flat flowers that bloom in late spring or early summer, followed by hips (seeds) in autumn. They are the parents of the roses we have today. Old Garden Roses (roses in existence prior to 1867) include the following classes: Alba, Ayrshire, Bourbon, Boursault, Centifolia/Cabbage, China, Damask, Gallica, Hybrid Perpetual, Moss, Noisette, Portland, and Tea. Modern Roses (1867 and onward) are a broad mix, including the following types: Climbing, Floribunda, Grandiflora, Hybrid Musk, Hybrid Rugosa, Hybrid Tea, Landscape (including Groundcover) or Shrub, Miniature, Mini-flora, and Polyantha. The Hybrid Tea is the starter of the modern rose class. The first one, ‘La France’, came out in surprise, surprise, 1867. They have become one of the most popular rose groups, well known for their long stems and high centers. When you think of a rose, this is probably what you’re thinking of. Not to be confused with Tea or China tea roses, older Hybrid Teas are a cross between Hybrid Perpetuals and Tea roses. More recent Hybrid Teas (starting with the introduction of ‘Peace’ in 1946 by rose breeder Francis Meilland) generally cross of a Hybrid Tea with another Hybrid Tea. Their large, distinctive flowers with high centers, and usual repeat blooms through the year, make them a favorite of many rose and flower lovers. They are generally heat-hardy but winter-frail. Thankfully, living in SoCal, we don’t have to worry about that. Fragrance and disease resistance varies across the class. Some have no scent at all. Others have won awards for their perfume: see orange-blend ‘Fragrant Cloud’, red and white ‘Double Delight’, and deep red ‘Mister Lincoln’. Hybrid Teas are normally large plants, 3-4 feet diameter on average, and some can grow to be 7 feet tall, though they average between 3 and 6 feet of height. If you want longer canes for cut flowers, you just add extra fertilizer. Make sure to leave space between bushes for better airflow and for ease of pruning. This extra space is essential because these roses benefit from a hard prune in late winter/early spring, cutting back almost two-thirds of the plant. Hybrid Teas are some of the most varied roses in color: from the red and white stripes of ’Neil Diamond’ (also fragrant), ‘Dark Night’ a velvety red that looks black in the right light with a light cream reverse (underside of petal), to ‘Green Romantica’ that is well… green. Whatever color you want, chances are you can find a Hybrid Tea in that color. If disease resistance is what you’re looking for, then large, deep pink ‘Fiji’, red ‘Beloved’, yellow ‘Winter Sun’, or ‘Royal Welcome’ with its complex mixture of yellow, pink, and cream, might be the rose for you. Most Hybrid Teas are grafted and grown on rootstock, though there is a growing trend in the rose world to breed hardier roses that can thrive on their own root. My advice when buying a Hybrid Tea is to check when the cultivar came out and if it has a good disease resistance history. If they are an earlier rose or have a poor history, buy them on rootstock. If the rose is more modern or has a good record, then either option should be fine. By Jessica Lyle

<urn:uuid:4b0123bb-c15b-445c-8fa8-c8d73ad8d16a>

CC-MAIN-2022-40

https://fallbrookgardenclub.org/hybrid-tea/

s3://commoncrawl/crawl-data/CC-MAIN-2022-40/segments/1664030335396.92/warc/CC-MAIN-20220929225326-20220930015326-00082.warc.gz

en

Born Aug. 15, 1837, in Nyíregháza; died Dec. 3, 1928, in Selmec-És-Bélabánya, now Banská Stiavnica, Slovakia. Hungarian scientist and inventor. In 1858, Farbaky graduated from the mining academy in Selmec-És-Bélabánya, and in 1867 he became a professor at the academy. He was the editor of the first Hungarian technical journal, Bányászati es Kohászati Lapokat, from 1881 to 1892. With V. Soltzeli, he developed a device for the production of illuminating gas. In 1885, together with I. Schenek, Farbaky designed a lead storage battery with latticelike grids.

<urn:uuid:b17c95c2-6736-4364-9ae7-050bae670177>

CC-MAIN-2021-04

https://encyclopedia2.thefreedictionary.com/Istv%C3%A1n+Farbaky

s3://commoncrawl/crawl-data/CC-MAIN-2021-04/segments/1610703529331.99/warc/CC-MAIN-20210122113332-20210122143332-00742.warc.gz

en

Bill Davenhall gave a brief but enlightening presentation about the importance of geo-medicine at the most recent TEDMED conference. We know that your health can largely be predicted by looking at your genetics, lifestyle, and environment, but doctors almost completely ignore the last in favor of the first two. Davenhall is the head of ESRI, one of the leading producers of geographic information systems (GIS), and he believes that place history should be an important part of your electronic medical records. His talk was one of Alexandra Carmichael’s Top 10 for TEDMED 2009, and I was equally impressed with it. The presentation is now available to watch online. Check it out below. You should really watch all ten minutes of Davenhall’s talk, but if you’re pressed for time, here are the highlights: 0:30 – Talk begins and Davenhall discusses his 2001 heart attack. 1:48 – Personal physicians ask you for a lot of information, but never seem to inquire about where you’ve lived. 3:00 – Davenhall walks you through his geographic journey. His 19 years in Pennsylvania, 25 years in Kentucky, and 12 years in Los Angeles were exposing him to known environmental health risks. 5:00 – There are many maps available that show how medical conditions correlate to geography. Turns out that Davenhall’s place history was setting him up for a heart attack. 5:50 – Davenhall had a colleague use a mobile phone to track their location continuously over two years. That person’s love of skiing was exposing them to toxic release sites that were well mapped by the US Environmental Protection Agency. 6:40 – It it’s relatively easy to keep track of your ongoing place history on a smart phone. 7:20 – The presentation offers two prescriptions for improving our health using geography: 1) teach doctors about geo-medicine 2) include place history in electronic medical records. 8:17 – These prescriptions will allow us to make informed decisions about where to live based on our medical history. Davenhall’s talk highlights how improvements in health won’t just come from technology that heals our bodies, it will come from technology that allows us to better manage medical information. Geo-medicine is essentially a means to better access risk by keeping track of the environmental factors to which you’ve been exposed. We spend a lot of time focusing on genetics and lifestyle on the Hub, so it’s nice to have the reminder about the third leg of that risky stool. Take the cue and explore your place history on ESRI’s free geo-medicine information page. It’s very limited, but it’s a nice start. Turns out my heart and toxic release risks are a lot higher than I thought. Good to know. Screen capture and image credit: TEDMED

<urn:uuid:f1960692-f0bb-4fc1-b3c8-e61153988013>

CC-MAIN-2023-23

https://singularityhub.com/2010/02/09/geo-medicine-where-you-live-matters-to-your-health-video/

s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224647895.20/warc/CC-MAIN-20230601143134-20230601173134-00079.warc.gz

en

Chronic Obstructive Pulmonary Disease is a group of chronic and progressive respiratory disorders that are characterized by an airway obstruction with little or no reversibility. Damage to the lungs continues to make breathing gradually more difficult over time. Two clinical conditions often associated under the diagnosis of COPD are chronic bronchitis and emphysema, which obstruct or limit airflow into the lung fields. “Chronic bronchitis is the presence of chronic productive cough for three months in each of two consecutive years in a patient in whom other causes of chronic cough have been excluded. Emphysema is an abnormal permanent enlargement of the air spaces distal to the terminal bronchioles, accompanied by destruction of their walls and without obvious fibrosis” (Lewis, S., Heitkemper, M., Dirksen, S., O’Brien, P., & Bucher, L., 2007, p. 629). Most patients diagnosed with COPD suffer from both pathological conditions, but manifestations can vary significantly from patient to patient. According to Medline Plus (n.d.), “Your airways branch out inside your lungs like an upside-down tree. At the end of each branch are small, balloon-like air sacs. In healthy people, both the airways and air sacs are spring and elastic. When you breathe in, each air sac fills with air like a small balloon. The balloon deflates when you exhale. In COPD, your airways and air sacs lose their shape and become floppy, like a stretched-out rubber band” (Medline Plus, n.d., para.2). These disease processes affect the bronchi, bronchioles and lung parenchyma with predominance on distal airway. COPD is a growing health problem not only in the United States, but also worldwide. “In 2005, approximately one in 20 deaths in the United States had COPD as the underlying cause. Smoking is estimated to be responsible for at least 75% of COPD deaths” (Centers for Disease Control and Prevention, 2008, para.1). The Centers for Disease Control and Prevention (CDC) also estimates that there are “over 119,000 deaths, 726,000 hospitalizations, and 1.5 million hospital emergency department visits are caused by COPD annually”(Centers for Disease Control and Prevention, 2009, para. 2). Even more alarming are the statistics world-wide. The World Health Organization (WHO) (2007), revealed that “currently 210 million people have COPD and 3 million people died of COPD in 2005. WHO predicts that COPD will become the third leading cause of death worldwide by 2030” (World Health Organization, 2009, para.3). With statistics this rampant, what exactly are the manifestations that cause COPD? There are several causes of COPD. Of all potential inhaled pollutants, cigarette smoking is the primary risk factor thought to contribute to COPD. Patients with a history of smoking a pack per day, over forty years, are especially predictive of COPD development. Exposure to passive cigarette smoking, air pollution, occupational hazards such as dust or fine particles (coal or silica dust, asbestos) and childhood respiratory disorders such as severe viral pneumonia can also contribute to the development of COPD. The elderly, patients with a low body weight and clients with a history of alcohol abuse are also susceptible. Prognosis of COPD is highly dependent upon the degree to which the patients breathing is affected and the ability to manage dyspnea, the ability of the heart to oxygenate other body systems. It is also dependent upon how damaged the lungs are upon diagnosis and if they are able to continue to oxygenate the blood without difficulty. Early diagnosis of COPD can help identify predisposing factors; such as smoking, and help provide a better prognosis through smoking cessation and deep breathing exercises to help ensure that the disease does not progress. A late diagnosis, that has affected the patient’s ability to perfuse vital organs, can result in organ failure on multiple levels and prognosis can be very grim. Further evaluation may be needed to determine the full extent of damage from lack of tissue perfusion. Chronic Obstructive Pulmonary Disease can be a result of chronic bronchitis and emphysema. An enlargement and multitude of mucous glands are produced with chronic bronchitis, resulting in an increased mucous production and a characteristic cough. Apart from the amount of mucous produced; the quality of the mucous also becomes more viscous in nature, making it harder for the patient to expel. Accumulation of excess mucus causes airway obstruction in the peripheral airway and therefore an increase in airway resistance. Lymphocytes, neutrophils and macrophages also accumulate which can lead to fibrosis or a formation of excess fibrous connective tissue in the lung fields as an attempt to repair the area. Emphysema results in large part from an enlargement of airspaces distal to terminal bronchioles. The loss of elasticity of the lung tissue and the closure of small airways is due to the destruction of the alveolar walls. When the connective tissue is destroyed in the alveolar walls, protease is released, further destroying elastin and inhibiting the ability of the alveoli to recoil. Protease affects structural integrity of the alveolar wall. In a healthy individual, the ability of the alveoli to recoil helps to maintain the patency of the airway lumen, especially during expiration. With COPD, there is airflow limitation due to loss of alveolar attachments, inflammatory obstruction of airways and obstruction of the terminal branches with mucus. Airways begin to narrow due to the inflammation, resulting in a loss of elastic recoil and loss of alveolar attachments. Ciliary function in COPD is also abnormally impeded. Cilia in the airway wall normally acts as a force to help thrust mucus or other foreign bodies toward the trachea for expulsion from the body. This function is often impeded by the thick and firm mucus often seen with chronic bronchitis. Lack of ciliary function increases the risk of recurrent infections in the lungs due to accumulation of these foreign particles within the lung fields. Destruction of the alveoli and profuse mucous accumulation destroys the ability of the body to deliver oxygen, resulting in hypoxia. The patient suffering from COPD often struggles to breathe and hypoxic-related dyspnea systemically affects other areas of the body often leading to pulmonary hypertension and heart problems such as heart attacks and right-sided heart failure. Patients with COPD are more prone to respiratory infections, lung cancer and depression. Signs and symptoms of COPD usually do not occur until significant damage to the lungs and other body systems have occurred. Signs and Symptoms: Patients with COPD usually present with signs and symptoms of both emphysema and chronic bronchitis to include a continuous hacking-type cough that produces a thick mucus which is often hard to expectorate. Patient may also complain of significant shortness of breath that presents particularly with exercise or exertion. Clients may also complain of difficulty sleeping with constant fatigue and an abrupt, unplanned weight loss. Patients typically also present with rapid breathing, barrel-like distention to chest and will sit “often in a tripod position, leaning forward with arms braced against their knees, chair, or bed. This gives them leverage so that their rectus abdominus, intercostals, and accessory neck muscles all can aid in expiration” (Jarvis, C., 2008, p. 449). Due to lack of oxygen the patient might also present with cyanosis of the skin, wheezing and chest tightness, with possible signs and symptoms of respiratory infection. Patients with COPD can also experience exacerbations, which are periods or episodes where the patients COPD symptoms can suddenly worsen. Exacerbations can be caused by influenza, infections or exertion. Other contributing factors include a rapid change in humidity or temperature, exposure to smoke or other pollutants, allergens and dust. According to report from the Global Initiative for Chronic Obstructive Lung Disease (GOLD) (2009), COPD can be broken down into four various stages to include: “Stage I: mild COPD: Characterized by mild airflow limitation predicted. Symptoms of chronic cough and sputum production may be present, but not always. At this stage, the individual is usually unaware that his or her lung function is abnormal. Stage II: moderate COPD: Characterized by worsening airflow limitation with shortness of breath typically developing on exertion, with a productive cough. This is the stage at which patients typically seek medical attention because of chronic respiratory symptoms or an exacerbation of their disease. Stage III: severe COPD: Characterized by further worsening of airflow limitation, patient experiences an even greater degree of shortness of breath, reduced exercise capacity, fatigue, and repeated exacerbations that almost always have an impact on patients’ quality of life. Stage IV: very severe COPD: Characterized by severe airflow limitation with the presence of chronic respiratory failure. Respiratory failure may also lead to effects on the heart such as cor pulmonale (right heart failure). At this stage, quality of life is very appreciably impaired and exacerbations may be life threatening” (GOLD Report, 2009, p.4). With the varying manifestations in the progression of the disease, providers must take into account the assortment of challenges and medical interventions necessary in the treatment of COPD. COPD: Medical Interventions Diet Plan: Needs and Modifications: Individuals with COPD have overall muscular weakness, including the respiratory muscles, that relates to systemic inflammatory process in the lungs. Diet is an important factor to take into consideration, especially in the elderly because the risk for malnutrition increases. COPD and malnutrition go hand in hand, “malnutrition and a low BMI of <20kg/m may be found in up to 30% of patients with advanced COPD and represent an independent risk factor for increased mortality and hospitalization” (Nazir & Erbland, 2009, p. 823). Individuals who are underweight have an underlying problem that relates to an increased metabolism and the breakdown of essential nutrients for energy requirements. In these individuals it is best to modify their eating habits, with frequent breaks to decrease fatigue. It takes a lot of energy to metabolize food, “breathing and eating become harder, [the individual] may have to choose between taking a gasp of air or a bite of food” (O’Neill, 2004, para. 3). For those who are overweight, the problem as it relates to COPD is due to excess abdominal fat. Abdominal fat prevents the diaphragm from expanding completely, which causes a decrease in oxygen availability. This decrease in oxygen compromises the cardiovascular system due to the inadequate amount of oxygen being delivered to the heart and throughout the body. Both malnourished and obese individuals need to monitor weight, food and fluid intake daily. According to Peggy O’Neil (2004), “intake of fluids, calories, protein, calcium and potassium all play a role in protecting immunity and easing breathing” (O’Neil, 2004, para. 8). The American Lung Association states that the “metabolism of each [nutrient] requires a different amount of oxygen and produces a different amount of carbon dioxide. Metabolism of carbohydrates produces the most carbon dioxide for the amount of oxygen used; metabolism of fat produces the least” (American Lung Association, 2010, para. 3). Good sources of fat should come from unsaturated fats such as nuts, olive oil, soy and avocados. Protein is essential for muscle repair and assists in the healing process when an infection or injury occurs. O’Neil recommends that “generally two cups of milk plus six ounces of protein from other sources each day provide four servings of high-quality protein, good sources of protein, which is adequate for someone with COPD” (O’Neil, para. 12). Potassium is “found in fruits, vegetables, dairy products and meats [and are] key to control blood pressure, muscle contraction, and nerve impulses transmission. Normal serum potassium levels help with optimal muscle contraction to aid breathing” (O’Neill, para. 15). Excessive need for increased nutritional intake is imperative for the adequate daily functioning and maintenance in the COPD client. In order to facilitate sufficient digestion and proper absorption of food the patient should “remain upright after meals to prevent the stomach from pushing on his diaphragm…limit intake of carbonated beverages…[and to consume] soft, easy-to-chew foods to prevent him from becoming short of breathe while eating” (O’Neil, 2004, para. 16). Consumption of clear fluids should be encouraged to prevent dehydration and also to help thin mucous secretions. Appropriate Medications and Diagnosis: Although there is controversy over the amount of oxygen to give a patient with COPD, it is generally understood that the long term use of “oxygen therapy improves survival, exercise capacity, cognitive performance, and sleep” (Lewis et al., p. 640). There are various ways that oxygen therapy can be administered to a patient with COPD. In hospitals the most precise delivery of oxygen therapy is through the use of the venturi mask, however most patients prefer to use the nasal cannula. The structure of the nasal cannula allows the patient to perform daily activities such as eating and talking without interrupting oxygen delivery. When oxygen therapy is used in conjunction with smoking cessation it improves the patient’s quality of life by increasing the amount of available oxygen and increasing systemic perfusion. Depending on the severity of COPD, “bronchodilators such as beta2-antagonist, anticholinergic, and methylxanthine” (Lewis et al., 2007, p. 639) will be given to relax the smooth muscles of the airway, and to increase gas exchange. These medications can be administered as an inhalant or by the oral route. For those experiencing moderate-to-severe COPD, glucocorticoid therapy may be combined with a bronchodilator to decrease inflammation of the airways. Inhaled glucocorticoids are preferred over oral glucocorticoids for long term treatment, because oral treatments can lead to adrenal insufficiency and Cushing’s syndrome. (See Appendix A). Patient should expect to experience improved oxygen utilization. Diagnostic Tests and Lab Work: Pulmonary functions test measures the intake and output of air in the lungs and is used to confirm the diagnosis of COPD. There are “four components to pulmonary function testing, [which consist of]: spirometry, postbronchodilator spirometry, lung volumes, and diffusion capacity” (Chronic Obstructive Pulmonary Disease Diagnosis, 2010, para. 3). Also, there are many diagnostic studies that support the diagnosis of COPD, such as chest x-rays, arterial blood gases, echocardiogram and electrocardiogram (ECG)” (Lewis et al., p. 638). X-rays are not the preferred method of diagnosing COPD since it cannot pick up abnormalities until COPD is in the later stages. Arterial blood gases are performed to monitor the amount of oxygen and carbon dioxide in the blood. In individuals with COPD “typical findings are low PaCO2, elevated PaCO2, decreased or low-normal pH, and increased bicarbonate (HCO3) levels” (Lewis et al., 2007, p. 638). COPD can cause right sided heart failure related to pulmonary hypertension so patient should be monitored regularly by ECG and echocardiogram. As discussed earlier, changes in the lungs are related to smoking, toxins in the environment or occupation. In order to identify the causative effects of these toxin, clinical trials are being conducted to development new diagnostic tests that are aimed at identify early neoplastic changes in the lung. For example, advanced imaging techniques such as the PET scan is able to reveal “metabolically active nodule [that are] highly indicative of malignancy” (Petty & Miller, n.d. p. 7), that could not be found with prior diagnostic tests. Also, a tissue autofluorescence, which is an enhanced bronchoscopy technique, “can indicate a high likelihood of malignancy” (Petty & Miller, p. 7) in the lung tissue, that cannot be seen in a CT scan or chest X-ray. Hopefully, these clinical studies as they become available to the general population, will not only identify acute changes in the lung structure in advance, but also could potentially assist in finding a cure for lung diseases. Treatment and Treatment Options: Medications can make COPD patients more comfortable, but there is no overall curative treatment. The disease itself “extends beyond the airways and lungs to include other body systems,” (Barnett, 2008, p. 30). The goal in treatment is aimed at the controlling the symptoms involved in these various areas of the body and to reduce the inflammatory response in the lungs. To do this, the patient will need to modify their diet and lifestyle habit to prolong the quality of their life. As discussed earlier, emphysema and bronchitis constitute the disease known as COPD. The management and treatment of these two diseases is necessary for the patient to live a quality life. The medical treatments used to treat COPD was reviewed earlier, there are also non-pharmacological treatment options available that slow the progression of the disease and the symptoms of chronic obstructive pulmonary disease. One non-pharmacological treatment option is pulmonary rehabilitation. The goal of this treatment is to: “break the vicious cycle of increasing inactivity, breathlessness and physical de-condition, and improving exercise capacity and functional status as well as improving individual patient’s self-management skills…Pulmonary rehabilitation is conducted by physiotherapist and respiratory nurses. Each session is based on the patient exercise tolerance and consists of one to two sessions a week for about an hour, for 6-8 weeks… then followed by an educational component to enable to the patient to make lifestyle changes to help them cope better with living with COPD” (Barnett, p. 31). There are various energy conservation techniques that a patient can use to improve the quality of available oxygen. Often COPD patients struggle to breathe. The overall goal of the following energy conservation techniques is to help the patient breath better and to improve activities of daily living by relieving the distressing symptoms that accompany COPD. According to Barnett (2008), these techniques are: “Exhale during strenuous part of an activity and use pursed lips to reduce to work of breathing, alter strenuous activities with easier tasks, place items within easy reach, to reduce bending and stretching for items, If needed, use aids and equipment such as electronic wheel chairs and to sit down to perform many of the daily activities” (Barnett, 2008, p. 32). With a healthy individual, there is a low residual of air that remains in the lung. With the COPD patient, the volume of trapped air is increased and therefore decreases oxygen exchange within the lungs. Stress reducing techniques can help relax the patient. Therefore the patient can exhale the excess retained carbon dioxide and inhale even greater amounts of saturated oxygen with each new breathe. Hence, the efficiency of oxygen and carbon dioxide exchange is improved. Individuals should be updated on immunizations, even more so if a patient has COPD. According to the CDC (2010) adult immunization schedule, patients with chronic lung disease are required to have one annual influenza and one or two pneumococcal inoculations within the patients lifetime (CDC, 2010, p. 2). If the patient becomes infected with influenza or pneumonia, damage to the lung fields can be exacerbated if not treated quickly and can possibly lead to death. COPD: Holistic Assessment of Patient Mr. Johnson is a 73 year old male who has presented to the Emergency Department for the third time this week with dyspnea. Patient has been smoking a minimum of one pack per day for the past 46 years. Patient is currently on two liters of supplemental oxygen at home via nasal cannula and states that he cannot seem to catch his breath. Mr. Johnson is leaning over the side of the bed in tripod position, gasping with supraclavicular retractions noted on inhalation. As a nurse, what do you think could be wrong with your patient? Upon further evaluation, the nurse notices that Mr. Johnson also has a non-productive hacking-type cough that has persisted throughout the triage process. Mr. Johnson complains, “I just cannot seem to get this thick mucus up out of my throat and I feel like I am suffocating, like I cannot catch my breath!” Patient appears to be bracing himself over the side of the chair in a tripod position. The nurse is a waiting for the provider to place orders in the computer for the client’s chest x-ray. A venturi mask is placed on the patient and oxygen delivery is set to be administered at three liters of oxygen per minutes. This intervention successfully alleviates the patient’s rapid and shallow respirations, as well as the circumoralcyanosis. Upon auscultation the nurse notices diminished lung sounds over the left and right lower lung fields with auditory wheezing upon exhalation. The nurse also notices a barrel-like distention to the patient’s chest. The nurse begins to take the patient to radiology and abruptly stops as the patient begins to weep inconsolably. What could be the likely factor associated with the emotional reaction exhibited with the patient? To make an accurate assessment of the patient’s psychological reaction, the nurse casually begins to inquire about the patient’s daily activities. The patient divulges to the nurse that he has lost his job, is no longer able to care for himself and feels a sense of guilt that he has become burdensome on his family members. Patient states, “I have a loving family, but feel as though they would be better off without me. I know I shouldn’t feel this way, but I have been depressed and feeling lonely for some time now.” The nurse recognizes that the patient is displaying signs of depression, low self-esteem and lack of autonomy with loss of control over his personal life. The priority nursing interventions for this patient should include a referral to a mental health agency and community outreach programs that can assist the patient to meet the psychological strains produced by his current health situation. The patient then covers his face and whispers in a soft undertone, “I cannot even afford to pay for my groceries, much less this visit! How can I afford this referral?” With this statement in mind, what priority nursing assessment should the nurse consider? Mr. Johnson is one of many faces dealing with the strains and financial hardship associated with COPD. The overall costs of COPD are overwhelming. According to the Harvard University (2008), the “annual cost to the nation for COPD (emphysema and bronchitis) is approximately $32.1 billion, including healthcare expenditures of $18.0 billion and indirect costs of $14.1 billion” (Harvard University: Healthcare delivery- Deconstructing the costs, 2008, para 58). The global statistics are even more astounding. According to the American College of Chest Physicians (2003), “the global direct yearly costs of chronic bronchitis and COPD patient was $1876. The cost generated by the patients with COPD was $1,760.00 [per patient/year/costs], but the cost of severe cases ($2,911 per year) [per patient/year/costs] was almost double that of mild cases ($1484 per year) [per patient/year/costs]” (Miravitlles, Murio, Guerrero, & Gisbert, 2003, p.786). With these statistics in mind, what are some of the teaching points that a nurse can utilize to assist the COPD patient? Health Teaching and Community Resources: The nurse must take in various considerations when assisting the COPD patient. How well is the patient able to tolerate activity? Does the patient suffer from dyspnea related disturbance in their sleep pattern? What are the patient’s physical or financial resources? A patient that has a hard time meeting monthly utility bills is far less likely to be compliant with a medical regime. The nurse should focus on trying to coordinate social work service to help the patient to meet healthcare needs. If the patient has a family member, how does this affect his or her role if they are primary breed winner in the family? Interview should point out any psychological stressors that may be affecting the patient and should determine if therapy may be required. Primary education should focus on convincing the patient to quit smoking. Inform the patient to keep up to date on immunizations such as annual flu and pneumonia vaccines. Patient should compliantly take prescribed medications and avoid second-hand smoke or exposure to other irritants such as dust, smog, extreme heat or cold and high altitudes, pollutants that can exacerbate symptoms. COPD patients must increase fluid intake to decrease viscosity of mucous secretions in addition to maintaining an adequate nutritional status to facilitate extra nutritional requirements. Diets should be low in saturated fat and should include various fruits, vegetables and whole grains. Highly emphasize to the patient that use of oxygen therapy should be only used as directed and control of respirations with pursed lip technique. Direct the patient to take frequent breaks to minimize fatigue. Pacing of activities throughout the day will minimize undue stress on the lungs. It may be necessary to coordinate follow-up appointments for the patient; however signs and symptoms such as shortness of breath, wheezing or the desire to lean forward to aid in breathing will warrant an earlier visit. A trip to the emergency room will be necessary if the patient starts to have sudden, severe shortness of breath, or if they become lightheaded, weak, faint or experience chest pain with a rapid, irregular heart rate. Chronic Obstructive Pulmonary Disease is a progressive and debilitating disease process that wreaks havoc on the patients cardiovascular and respiratory systems. Management of COPD can be maintained and symptoms minimized through adequate diet interventions, medication regimens, completing diagnostic exams and lab tests. Though COPD is a preventable disease, the realistic nature of the disease process requires a nurse that is knowledgeable, caring and sympathetic to the patients overall needs. PLACE THIS ORDER OR A SIMILAR ORDER WITH NURSING TERM PAPERS TODAY AND GET AN AMAZING DISCOUNT

<urn:uuid:189c0ea0-5256-4a39-92ed-4e8258a7f0f1>

CC-MAIN-2022-27

https://nursingtermpapers.com/introduction-of-copd-health-and-social-care-essay/

s3://commoncrawl/crawl-data/CC-MAIN-2022-27/segments/1656103355949.26/warc/CC-MAIN-20220628050721-20220628080721-00682.warc.gz

en

We can be so mean to ourselves. You would never call your friends or family members stupid losers, right? You’d never tell them that they’re fat, lazy, worthless, dumb or any other of mean and degrading names. So why do we often talk to ourselves that way? Many of us are so unkind to ourselves in a way we never would be to another person. However, being kind to ourselves is so important. Here are some of the benefits of being kind to yourself. When you’re always hypercritical of yourself, you end up stressed that you’re not meeting your own expectations, which can lead to a lot of stress. By having compassion for yourself and being kind when you aren’t perfect will help reduce your stress levels. Being kind to yourself has a whole host of health benefits. First, many people respond to stress and sadness with unhealthy behaviors like overeating or binge drinking. Being kind to yourself will help you manage those behaviors. Since you’ll have less stress, you’re also less likely to have heart problems. Your immune system will get a boost, too. When high levels of stress ignite a “fight-or-flight” response, it lowers your immune system. By stressing less, your immune system will function better to keep you healthy. When you’re as kind to yourself as you are to others, you’ll get a big confidence boost. It turns out that self-compassion is the key to a better self-esteem. When you remind yourself that you are smart, capable, and worthwhile, you’ll eventually believe it. More confidence can help you succeed at work or school and make your social interactions better. Anyone would get sad if they constantly had someone telling them they sucked. When you’re constantly down on yourself, you will inevitably get sad. You may even get depressed or overly anxious. When you learn to be kind to yourself, you’ll feel better emotionally and are likely to be happier in your daily life. If you’re struggling with self-kindness, please come visit on of the counselors at heart centered counseling. We’ll help you learn the tools to reclaim your gentleness.

<urn:uuid:68d8d4d6-17de-4611-bbfb-e1df17e3f963>

CC-MAIN-2019-30

https://carlscounseling.com/why-being-kind-to-yourself-matters/

s3://commoncrawl/crawl-data/CC-MAIN-2019-30/segments/1563195526489.6/warc/CC-MAIN-20190720070937-20190720092937-00091.warc.gz

en

Welcome to the Lincolnshire Learning Lab! This is a research group set up to improve the learning of all children and the working environments for teachers within Lincolnshire. The research group is keen to work and involve anyone keen to carry out research in their schools or education settings. If you are a teacher from a primary, secondary, specialist provision or alternative education, an academic or professional involved / interested in the education system then please do get in touch! ASCENTS 1-2-1 support for science– Undergraduates mentoring Year 11 pupil premium students in UK secondary schools. Rachael Sharpe at the University of Lincoln was involved as a Co-Investigator with Abrahams, I, Inglis, M., Vaughan, H., Reiss, M. and Dunlop, L. This was funded for £615,000.00 by Educational Endowment Foundation (EEF) from 1st January 2019 to 31st July 2020 and evaluated by NatCen. More details can be found here. The aim of this project was to develop, trial, and disseminate a suite of diagnostic and formative assessment tools to be used by classroom teachers for the assessment of progress in pupils’ thinking. This innovative approach has developed new learning tools, learning and teaching methodologies, and pedagogical approaches that support pupils’ thinking. The aim is that these resources will improve the education of pupils and the training of pre-service and in-service teachers. More details can be found here Teachers’ views on recognising and using home languages in predominantly monolingual primary schools The use of home languages has previously been advocated in highly multilingual UK classrooms. However, drawing on the home languages and cultural insight of children who use English as an Additional Language (EAL) may also have important social and academic benefits in contexts where monolingualism is the norm. To view more, click here An investigation into the teaching of numeracy in subjects other than Mathematics across the curriculum. Ireland’s government placed a renewed focus on the teaching and learning of numeracy with the publication of a national strategy in 2011. Whole-school planning for numeracy was already a requirement for disadvantaged schools also known as Delivering Equality of Opportunity in Schools (DEIS) in Ireland. This single site case study explored how a disadvantaged school was teaching numeracy across the curriculum. It was discovered that teachers were unclear about the difference between numeracy and mathematics. Teachers’ life experiences of mathematics shaped their views towards numeracy. Leadership played a role in shaping teachers’ views of the importance of numeracy. Whilst all teachers could see the relevance of teaching numeracy in their subject area, the majority were unaware of what the school improvement plan for numeracy contained. The findings suggest the need for teachers to understand the concept of numeracy, the need for professional development to address this, in addition to developing teachers’ identities and pedagogical practices in this area. Schools need to consider how leadership can put support in place to enable teacher learning. Policymakers need to consider, and distinguish between mathematics and numeracy, and support schools’ engagement with cross disciplinary, interdisciplinary and transdisciplinary approaches to embedding numeracy across the curriculum. From the known to the unknown: the role of spontaneous and self-generated analogies in students’ predictions about novel situations The use of analogies as reasoning tools that play a key role in human cognition at all ages has been of interest to educators, scientists, and philosophers ever since Aristotle. Indeed, research has consistently found that analogies provided by teachers can, and do, play an important role in facilitating student understanding of scientific ideas. Despite the effectiveness of teacher provided analogies little research has been undertaken on the use, and effectiveness, of student self-generated analogies in helping them to understand novel situations. Research-2-Practice is a Wellcome Trust funded research project that is a collaboration between the University of Lincoln, Roehampton University, York St John University and Kyra Research School. The project works with, and is guided by, expert teachers to develop packages of evidence-informed science teaching materials for use with both primary and secondary school mentors and trainee teachers. Instead of imposing change on classroom practitioners, it capitalises on the existing teacher training mentor/trainee professional relationship and adopts a tried and tested model of instructional coaching that will support trainee teachers in becoming evidence-informed science teachers. The project is nearing completion (autumn 2021) and the resources will then be made freely available online. Please get in touch with us at https://learninglab.blogs.lincoln.ac.uk/contact-us/ if you are interested in receiving updates about the project. Lincolnshire Learning Lab Introduces: Active Online Reading On: Wednesday 6th April 2022 Time: 3:30pm to 5pm Learn more about how students read online, what they think about how we teach them to do so, and how their online reading habits relate to their transition to study at university. At all levels of education, reading is ubiquitous – it is relevant for all disciplines and all students.. Students’ reading practices have transformed over the past 20 years, with the increasing digitisation of resources, the emergence and then ubiquity of virtual learning environments, and the widespread use of mobile technologies. The pandemic has accelerated such developments, with the rapid roll-out of online and blended learning. Yet we know strikingly little about how students read online, how this relates to their overall learning, and which pedagogic strategies are effective. Since 2021, colleagues from the University of Lincoln, the University of Nottingham, UCL, and Talis Education have been running a project that explores ‘active online reading’. This project explored digital reading practices and pedagogies across institutions, addressing students' collaborative and independent reading activities. As part of the project, we ran surveys of staff and students that explored their digital reading practices and pedagogies in Higher Education, gaining over 700 responses. Online reading is fundamental to the transition to higher-level study (learning new ways of reading, ‘unlearning’ old habits) and to disciplinarily (reading in a particular subject). In this session, we will introduce the project, before outlining our findings in relation to the reading practices and experiences of first year students, with a particular focus on the issue of transition to disciplinary study in higher education. We will then move on to outline what our research suggests are particularly effective strategies for teaching students to read actively in online and offline contexts. - Introduction to the Active Online Reading project - Survey results: transition and disciplinarity - Pedagogy: what works (and what doesn't) Jamie Wood is Professor of History and Education in the School of History and Heritage at the University of Lincoln. He has been working on pedagogic development projects in HE History for over 15 years, with a particular focus on technology-enhanced and active learning. This work has been funded by the Higher Education Academy, the Quality Assurance Agency and others. In 2014, he a held visiting a visiting fellowship at the Johannes Gutenberg University Mainz, where he led a project on the use of technology to teach 'text-based' disciplines in HE. In 2021 he won the Royal Historical Society's Teaching Innovation prize for his ongoing work on online reading.

<urn:uuid:47c8b763-e857-4c03-8bed-e0be3c065471>

CC-MAIN-2023-40

https://learninglab.blogs.lincoln.ac.uk/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510697.51/warc/CC-MAIN-20230930145921-20230930175921-00252.warc.gz

en

Propolis is the protective substance gathered and used by bees to disinfect and protect their hives. Forever Bee Propolis is collected from pollution-free regions to assure purity. N.B. Contains soy, tree nuts and almond flavouring. When we think of bees – honey and pollen are our first thought. However another very important substance called propolis is a sticky resin collected by honeybees. The bees collect and metabolize the propolis and line their hives with it for protection. The interior of the bee hive has been found to be safer than most surgical operating rooms! Forever Bee Propolis The name Propolis is derived from the Greek meaning “before the city”. This demonstrates the effectiveness of propolis as a guard to defend the entire community. Propolis has a 5000-year history, Assyrians and the Greeks used propolis to help maintain good health. Fortified with royal jelly, Forever Living Bee Propolis is an excellent way to help support the body’s natural defenses and immunity. Forever Living Bee Propolis Order At Forever Shop Forever Living Products GB. ITEM # 027.

<urn:uuid:10737623-0b9a-488f-bf7f-ab3353d9690a>

CC-MAIN-2019-43

https://shopforeverproducts.com/forever-living/bee-products/forever-bee-propolis/

s3://commoncrawl/crawl-data/CC-MAIN-2019-43/segments/1570986684226.55/warc/CC-MAIN-20191018154409-20191018181909-00205.warc.gz

en

Respirable dust, including respirable crystalline silica (RCS), is a common risk to health for construction workers. Breathing in dust can cause a number of health conditions, including pneumoconioses (such as silicosis), lung cancer, asthma and chronic obstructive pulmonary disorder (COPD). Many controls exist to minimise the exposure to construction dusts in the workplace, including dust extraction, water suppression and personal protective equipment (PPE). This study reports the results of a survey of construction workers in Waikato, New Zealand (n=250). Construction workers were asked about their use of dust control practices and their consideration of the risks from construction dusts. The study had several key findings: - Low use of dust suppression and extraction was reported, particularly for demolition and woodwork - Low use of controls was reported for clean-up processes - High levels of respirator use were reported, but users were rarely clean shaven and had low levels of fit testing - The provision of health monitoring for workers was also very rare - Younger workers were also less likely to consider the risks to their health and less likely to use respiratory protection.

<urn:uuid:9c93df34-886a-4581-9cac-38298085b6f3>

CC-MAIN-2019-51

https://manufacturing.worksafe.govt.nz/research/dusty-work-and-use-of-controls-among-construction-workers/

s3://commoncrawl/crawl-data/CC-MAIN-2019-51/segments/1575540579703.26/warc/CC-MAIN-20191214014220-20191214042220-00411.warc.gz

en

According to the American Dental Association Survey of Dental Services Rendered, more than 15 million root canals are performed each year. And this number has steadily increased since 1999. Root canals are necessary to treat the nerve or pulp of a tooth. When nerves become infected and subsequently inflamed, endodontists or other teeth specialists will remove the nerve and seal the tooth. That way, future infections are less likely to occur. These procedures can be painful. But treating the issue now is vital if you don't want to lose the tooth. That's why we've created this guide to the most common symptoms to check for if you think you need a root canal. Ready to learn how to know if you need a root canal? Keep reading for the 7 most common signs that you need to see an endodontist. Knowing if and when you need to head in for a dental appointment is important for preventing some of the more severe, long-term symptoms. For example: Worse, if you let your infected nerve go untreated, you may start losing teeth. Don't let your infection get that far. Instead, be on the look for these symptoms. One of the earliest and most common symptoms of an infected tooth nerve is pain. The pain will be most severed at the surrounding gums. But you may also experience pain in your jaw or, as you'll see later, headaches. A moderate amount of sensitivity to hot and cold drinks or food is normal. If this happens to you often, however, it may be due to an infected tooth nerve. Similarly, if your tooth sensitivity lasts for 30 minutes or longer, it may be time to ask your dentist about a root canal. Gum inflammation is a common symptom of gingivitis, but it also indicates an underlying infection. If your gums are inflamed and red instead of pink, you likely have some form of periodontal disease. But if the inflammation accompanied by pain or swelling is more than often treated with a root canal. If the enamel color of a particular tooth changes at a faster rate than surrounding teeth, you may be dealing with an infection. Slight discoloration is normal, especially for those who drink a lot of coffee, tea, or other dark-colored beverages. But if your tooth turns black or, worse, grey, this is a sign that your nerve infection has advanced to a more severe problem. As mentioned above, headaches and migraines are commonly seen in people who need a root canal. Cavities have been known to cause minor headaches for some individuals. But if you're experiencing severe headaches or migraines, it may be a sign you need to visit an endodontist. Have you noticed a persistent or reoccurring pimple on your gums? Take special notice if this bump is located near a tooth that's causing you pain. A small, red bump may indicate the nerve infection is spreading and is yet another sign that you need a root canal. Jaw pain can also be a symptom of TMJ. With a tooth nerve infection, though, the pain may spread into your ear. Regardless of whether you think your jaw and/or ear pain are caused by an infected tooth, you should see a dental expert right away to determine the cause of your discomfort. If you're experiencing any of the above signs and symptoms, you need to head to your local dentist or endodontist. Depending on the severity of the infection, your dentist may require immediate or delayed treatment. With delayed treatment, the dentist will likely prescribe you something to deal with painful symptoms. That way, you won't have to deal with it while you're waiting for your root canal appointment. But if your dentist or endodontist suggests you get a root canal immediately, here's what to expect. After your tooth is cleaned of all the pulp and infection-causing bacteria, your endodontist will seal the tooth. Often, the filling occurs at a later date sometimes a few weeks after the initial procedure. Keep in mind that more severe infections might require a crown or implant. But if you catch the infection before it starts eroding the tooth, you'll save money by not needing a brand new replacement tooth. By now, you should be equipped to answer the question: how to know if you need a root canal? And maybe you've checked off a few too many of these symptoms. Now what? Think you might be dealing with a tooth that requires a root canal? Live in or around Roch Hill, South Carolina? Then book an appointment with A Healthy Smile today and fix that tooth infection before it gets worse.

<urn:uuid:0cc6deb7-c6d4-4bab-9fd5-0ab620fcb435>

CC-MAIN-2021-10

https://ahealthyhappysmile.com/how-to-know-if-you-need-a-root-canal/

s3://commoncrawl/crawl-data/CC-MAIN-2021-10/segments/1614178365186.46/warc/CC-MAIN-20210303012222-20210303042222-00453.warc.gz

en

Monograph of soil nematodes from coastal douglas-fir forests in British Columbia Panesar, Tochi S. Marshall, Valin G. MetadataShow full item record The history of nematodes dates back to ancient times. The intestinal roundworm, Ascaris lumbricoides, was apparently known to the Chinese about 5,000 years ago. This nematode, and the Guinea worm, Dracunculus medinensis, the dreaded nematode parasite of humans, seems to have been mentioned by the Egyptians about 3,500 years ago. Moses’ fiery serpent mentioned in the Bible may also have been the Guinea worm. A few hundred years BCE, Hippocrates and Aristotle mentioned the human pinworm, Enterobius vermicularis, and Aristotle is on record as being the first person to describe nematodes. However, serious study of nematodes began only in the 1850s, with the availability of the light microscope, and primarily among the Europeans. Landmarks in this process included major works from France, Germany and England. North Americans, notably N. A. Cobb in the USA, entered the field some 50 years later. In Canada, serious study of nematodes is even more recent, and was initially of interest primarily to entomologists and other biologists. Work on nematodes accelerated only after the 1940s with the establishment of a Nematology Laboratory in the Canada Department of Agriculture at Ottawa. Essentially all the work in that department was devoted to nematode parasites related to agriculture. Among eminent nematologists at Ottawa were Dr. R. H. Mulvey, Dr. R. V. Anderson and Dr. B. A. Ebsary. Unfortunately, the Ottawa nematology unit now appears to be an “endangered species.” In British Columbia, Dr. J. M. Webster at Simon Fraser University has published extensively on nematodes. Similarly, Dr. R. C. Anderson at the University of Guelph was pre-eminent in the study of nematode parasites of vertebrates. Despite the distinguished history of contributions to nematology in Canada, reference works on free-living nematodes do not exist for any of the Provinces. This Monograph is the first compendium on soil nematodes of British Columbia. It records information on 48 species in 27 families in nine orders of nematodes from coastal Douglas-fir ecosystems in the Province. Although many nematode species are of great economic importance as serious pests of plants and as parasites of animals, most free-living nematodes contribute substantially to nutrient cycling and are therefore vital for sustainable forestry and agriculture. Recent estimates suggest several million nematode species worldwide. With many years of experience in nematology and soil zoology research, the authors have recognized that the lack of taxonomic reference works is greatly hampering ecological studies in many areas of soil fauna research. The majority of these species are undescribed, and most biologists now agree that taxonomy is facing a crisis because of the dwindling number of systematists. The declining number of specialists increases the importance for creating regional faunal inventories. This Monograph is a reasonably comprehensive reference work, and it is hoped that it will be useful for future studies on biodiversity in soil ecosystems, and in using soil nematodes as bioindicators of soil ecological conditions. Tochi S. Panesar Valin G. Marshall Royal Roads University March 2003 Showing items related by title, author, creator and subject. Mousseau, Dennis (Electronic version published by Vancouver Island University, 2017-07)The purpose of this study was to investigate how a group of special education teachers in British Columbia provide remedial support to students identified as having a reading disability (RD). Considering the Moore v. British ... Mentre tu dormivi: Traghetti e pendolari in British Columbia [While you were asleep: Ferries and commuters in British Columbia] Vannini, Phillip (Lo Squaderno: Explorations in Space and Society, 2014)Cultural critics have made of the commuter a modern popular culture stereotypical figure, characterized by habitual and automatic behavior. Tied to a security belt, hidden behind a newspaper, stuck inside a train coach, ... Assessment of metals and organic contaminants in roadside soils and plants in Greater Victoria, British Columbia, Canada Ghimire, Chandra (2016-01-22)Soil and blackberry shoots and fruit samples were collected from 30 different locations along two major highways and residential areas in Greater Victoria and analyzed for various contaminants. The concentrations of metals ...

<urn:uuid:4572c267-00ea-4b69-a833-cb471566c3cd>

CC-MAIN-2021-04

https://viurrspace.ca/handle/10170/498

s3://commoncrawl/crawl-data/CC-MAIN-2021-04/segments/1610703565541.79/warc/CC-MAIN-20210125092143-20210125122143-00511.warc.gz

en

There are many similarities between the American revolution and the Syrian civil war. One of these similarities is dissatisfaction with the current ruling power. The people's opinion meant very little in the beginning of the American revolution; the same goes for the people of Syria. Another similarity between the two is the small fits of violence that took place before the main conflict began. The battles of Lexington and Concord sparked the American revolutions while the crackdowns by security forces triggered the civil war in Syria. Although the events may seem similar between the two conflicts there were also some big differences. One of the main differences is the reason why tension began between the people and the higher power. In the American revolution the people were outraged by high taxation; the Syrian people were dissatisfied with the limit of social liberties. Another huge difference is that the American revolution was considered an international war while the Syrian war is an internal conflict within just the country. In relation to that, America was fighting for freedom from Britain, but Syria is fighting for freedom from a leader.

<urn:uuid:be804b86-f2d1-402f-82e6-6b3418ef567e>

CC-MAIN-2018-39

https://spark.adobe.com/page/kzkhotwyV9Soz/

s3://commoncrawl/crawl-data/CC-MAIN-2018-39/segments/1537267156554.12/warc/CC-MAIN-20180920175529-20180920195929-00537.warc.gz

en

Early 20th-century German thought and African-American literature were rattling around Mark Christian Thompson's head when he reread Franz Kafka's Amerika. Also known as The Man Who Disappeared, or Der Verschollene in German, Amerika was published posthumously in 1927 as Kafka's first novel, albeit an unfinished one. It concerns a wandering 16-year-old, Karl Rossmann, who flees Europe for New York City to escape scandal. Once in America, young Rossmann endures a series of misadventures and unfortunate encounters. As Thompson read, he came upon the English word "Negro," in a novel written in German by a Czech writer in the early 1910s. He says, "That, to me, was like an explosion—I mean, there was a German word for being black, but he didn't use it. I thought, 'This can't be an isolated incident, there must be other, related things happening.' Then it was incumbent upon me to figure it out." The result is Kafka's Blues: Figurations of Racial Blackness in the Construction of an Aesthetic (Northwestern University Press, 2016), Thompson's most recent book. The Johns Hopkins English professor argues that blackness is fundamental to Kafka's conception of what it means to be an artist. The scholarly volume is a tightly reasoned, detailed examination of both Kafka's works and the cultural and intellectual climate in which he wrote. The prevailing idea regarding Kafka's use of "Negro" in Amerika has been that he was comparing the injustices experienced by African-Americans to those experienced by European Jews. In Kafka's Blues, Thompson argues that the comparison doesn't take into account how blackness figures into Kafka's entire oeuvre—a research dive that required Thompson to reread an author who hadn't done much for him when he first came across him in high school. "There's a sort of muted sensibility to Kafka, and I think I was looking—as do many high schoolers—for fireworks in my prose," Thompson says. "I didn't quite understand the fireworks were there, but they were, on mute. You could see them outside your window and then you have to add sound yourself, and that's the thrill." Now, when asked if there's any writer he'd like to have coffee with, only one comes to mind. "When I think of the giants of world literature, Kafka is one of the names that, for me, is standing shoulder to shoulder with them," Thompson says. "I have nothing but the utmost respect for him. To devote some years of one's life to Kafka is not a waste of time by any means, to me." Thompson spoke with Johns Hopkins Magazine recently about his work. Could you talk a bit about how Kafka's perspective of blackness was formed and shaped? The most common understanding would have come through music and popular culture. One automatically thinks of jazz, but the turn-of-the-century moment is too early for that. There may have been some reckoning of blackness via ragtime in the arts, and via aesthetic primitivism. And already, by the mid-19th century, there is exposure in Bohemia to spirituals and work songs and touring groups of African-Americans moving through Europe. That's part of the entire equation. Uncle Tom's Cabin was also a huge, huge novel in German-speaking lands. You can never underestimate the influence of Uncle Tom's Cabin. It was translated the year it was published, 1852. There was no lag time at all, and it's never been out of print in Germany since then. Also popular were Völkerschauen, which were shows in which Africans, and sometimes African-Americans, were displayed, as in human zoos. Kafka knew all of this, but he was also intimately familiar with cabarets and night clubs. He would also think in terms of the anti-Semitism of his day. And some of what may seem outlandish to us today, but nevertheless was for Kafka very real, were connections made between Jews and Africans, Jews as Africans, Africans as Jews, and so on, by way of a common origin theory which assumed some type of essential connection between blacks and Jews that went back to Africa. As you write, musicians as early as Antonín Dvořák were being exposed to African-American music and bringing it back to Bohemia. No Czech or German-speaking Czech or Czech-speaking German in Prague would have been unfamiliar with Dvořák at the turn of the century. The symphony From the New World is a product of that inspiration and that time in which Dvořák consciously scoured the United States for folk music, Native American music, and African-American music. He incorporated some allusions to African-American music within the symphony itself, which one magazine at the time, the Pall Mall Budget out of London, called Dvořák's "Negro Symphony" in 1894. So there was already a precedent being set for Czech culture and Czech nationalism, that type of concentration on folk productions that goes into nationalism, as well as looking to the United States and seeing minority groups and minority struggles and finding, or imagining, common cause with them. I wouldn't push that too far. I would just simply say that there is already a tradition of it in place. Once you had an idea of what you were looking for, how did your research of Kafka proceed? The use of that word, "Negro," specifically in English, and the subtle identification "I am Negro"—that to me was a bombshell. I know it wasn't one for traditional Kafka studies, but to me, when I read it, my immediate thought was that no one drops that and isn't somehow invested in appropriating that identity for some important, sustained purpose. So I started reading and I quickly realized that this was a constituent factor of Kafka's aesthetic. In fact, this became a lasting developmental aspect of his career, in which it kept transforming and evolving into something else. It reflected his overall aesthetic achievement at any given time. I tried to put it into context because I think it is erroneous to think that Kafka couldn't be concerned about these things because he's the writer of existential angst. He's a modernist, and modernism is thoroughly shot through with primitivism. Kafka spent some time in Paris, not as an expatriate, but he visited, he participated in the culture in a European climate that was very much invested in looking at African art and, after World War I, African-American expressive culture. Your thesis is that, for Kafka, blackness is associated with this state of becoming an artist, a transformative process. In the early novel Der Verschollene, it's done quite openly. This is a burlesque of a bildungsroman, about a protagonist who's moving into an aesthetic sphere, of becoming an artist, which is reflected in Kafka's own life, in his own struggles with an identity as a writer. That was easy enough to see, but when it came to other texts, especially the later texts, that element was mediated in some way. You had to wipe away the fog on the mirror in order to see what was going on behind you. So you tend to come at it thematically through other forms of representation, like the Bible, and how the Bible has been made to think about race or slavery. That was really what Kafka was interested in—enslavement and slavery and how that played out racially. For instance, in "In the Penal Colony," the colonial setting provides a venue for this type of reflection. When you start talking about specific works, such as The Metamorphosis and especially "A Hunger Artist," I find that having this element in mind offers a really compelling analysis of those stories. It's like, we thought we had known the many leitmotifs that appear throughout his work, but here's another aspect that he's using through the entire body of work as well. We thoroughly grant to Kafka a layeredness, a textured quality to his work that is almost infinite. We can't then simply draw a line and say "but not blackness," especially not when he invites us to think that thought. We need to start thinking about that. I'm not asking anyone to accept it 100 percent as it is written, but I am asking that one accept that Kafka thought about it and incorporated it into his work—because it's there. Once you do that, that actually does offer not simply just another interesting reading but a fact-based reading of a writer who lived in a certain place at a certain time in a particular environment, who thought about these things, indisputably, and incorporated them in his works. I wouldn't want it to become another interpretation alongside many others. I want one to have to think about blackness in Kafka, at least a little bit, before one can go on and do something else. In the book, you write that you don't want to excuse Kafka's appropriations, but he's doing them in a way that's novel—as opposed to the primitivism in visual arts or quoting motifs in music. What, for you, is the innovative aspect of Kafka's exploration of blackness in his own work? It's actually really fascinating because when one considers Picasso going into the Trocadéro, looking at the African masks, the Iberian works, and thinking, OK, now I'm going to appropriate this in some way and then produce something that will eventually lead to cubism, one can look at that in two ways if one wants to think of the question of racism, assuming one has a working definition of what that would mean in early 20th-century Paris. One could either say, Oh, yes—this appropriation is a type of unlawful, unwarranted, and unwanted appropriation, and therefore bad. Or one could say, Well, it's not great, but it's good. It's meant in some way that we really wouldn't associate with malevolence of any kind, or with a devaluing of ideas. Kafka's not interested in that at all. He's not there, and that's what makes him fairly unique at the time. You can't really talk about [Kafka's] types of appropriations even as appropriations. They're more, dare I say, philosophical reflections on what race means in general. Blackness in Kafka isn't merely a thought about Africanicity or what it means to be African-American. It's about what it means to be. What is the racial context of how we understand ourselves as human beings? I think the side he comes out on, if there's any side at all, is simply this: That these identities are in flux. That blackness only means something at a specific time in a specific place, and that it could mean something else somewhere else at some other time. This is a fluid identity for Kafka, one that can be commandeered and put into service for the purposes of aesthetic representation or whatever else he might need. After reading your book, his engagement with blackness feels unavoidable when I reread Kafka, a reminder that scholarship as conventionally shaped along nationalistic groupings—American literature, French literature, German literature, African-American literature—can create blind spots to noticing such things. Because of your own training, background, and research, you happened to see something in Kafka that might have been overlooked or not probed deeper if you weren't already working on early 20th-century African-American literature of a particular political bent and early 20th-century political philosophy at the same time. There are plenty of African-American scholars who are invested in areas of inquiry that aren't necessarily specific to African-American studies. That's fine. But German? No. I am sometimes directly asked, Why do you do that? Wouldn't you prefer to stick with African-American authors? Always implied in this is where you belong. My first thought is always, You would be hard-pressed to guess correctly where I belong, just from my appearance. My reply is simply that this type of intervention that one makes both culturally and quasi-politically is quite powerful in its own way. For an African-American scholar to intervene in Kafka studies? That's meaningful, and it is meaningful not simply for African-American studies but also for Kafka studies, and German studies more generally. It is, to use a contemporary colloquialism, getting another pair of eyes on something. It puts diversity in motion. This is why we need diverse populations in academia and in research consortia and so on, because there are elements to these works which are opaque, but not to everyone. One person will see one thing because he or she is coming from one place. Someone else will see something else—because the authors that we're interested in [like Kafka] were not confined to the ways in which we were institutionally trained. They didn't say, I'm a representative national writer and therefore I will only pull from this tradition. Well, there are a couple of authors who did say that, and that in itself is interesting. Kafka was not one of them. He was taking from everywhere and using anything that he could use. He looked for the material that best fit his aesthetic needs—and that could have been anything. That means that we just have to widen the field and open the door because if we're concerned with what's going on in books instead of what's going on in our own heads, then we're going to need to share these thoughts with people and with places and with ideas that we never really thought were compatible with our own. That's the power of diversity. It leads us to the truth, which is always beyond the field of vision of one person, group, or way of doing things. It's also a very practical example of the fact that African-American cultural and knowledge production of any time period didn't influence only African-Americans. Is there anything about this book or discussions of this book that, so far, you haven't been asked about or asked to comment on that surprised you at all? I'm actually not asked about those parts of the book that don't have to do with race. I'll give you the best example. One of the readings that I'm most proud of in this book isn't necessarily purely race-related. It's of "The Judgment" and shows that the bridge [that main character Georg Bendemann] jumps off is not Charles Bridge, but the Czech bridge [Svatopluk Čech Bridge]—which is meaningful for almost any reading of that story, because it means that [Bendemann's action] might not be a suicide, and it links up to Kafka's own life. As I show in the book, this bridge was very close to a swim school that Kafka went to with his family quite often. Knowing that he was dying, Kafka, in his last letter to his parents, referenced that swim school and the good times they had had there. What I don't include in the book, because it just didn't fit, is that at that very swim school, which in the story is right next to where the so-called suicide takes place [in "The Judgment"], on the day Kafka was born a 3-year-old child drowned. In that whole [fictional] scene, you connect the beginning of his life and the end of his life through some kind of deep emotional connection to this swim school and that bridge. It was a newer bridge that represented Czech nationalism in the early 20th century. It was not deep enough to drown from. You can jump in and survive. No one asks me about that. In a way, I tend to think that that reading is more threatening than the race one because it implies that you simply can't just read "The Judgment" and say whatever you want about it. Or rather, you can, but you ought to have actual geographical and cultural knowledge of where Kafka lived and worked. He lived right around the corner from that bridge when he wrote that. Important moments in his life are referenced in the story. You have to know something about the environment in which he lived, and the life that he lived. At this point in your life, you've lived long enough in Prague to know it pretty well. How important is having an understanding of Prague, its language and its geography—I mean, granted, many decades later—but its rhythms and urban life? There is no reading in this book that doesn't in some way decisively pivot around a place or a street or a sign that was in Prague that Kafka must have seen and somehow incorporated. In the Amerika section where I'm talking about the stoker, topič [the Czech translation of the German word for "stoker," der Heizer]—that's there. Topič was a bookstore that he and other German-language writers went to, it's something that was absolutely crucial to his life. It was also a publishing house, perhaps the most important publishing house for German authors in Prague at the time. He incorporated it, but you don't know that unless you sit in the café that he sat in, which hasn't changed much at all over the hundred years or so since he was last there. You look out the window and you can sort of see it because the name of it is still there on the building. I needed that. I needed to know the place. It's interesting to hear that because as an American reading Kafka in English we can think of Kafka being this person who's more about allegory and ideas. And yet the geography of where he lived appears in his writings. Critics understand the importance of Prague to Kafka, but I appreciate taking it even further, to that microcosmic material historical level where this street, right there, that sign, that's this in this story, and without that this story doesn't exist. As critics, we have to know not just the path that Kafka followed but also the events and the world that took shape around it. Part of this task is also linguistic, as a lot of Kafka's world is in Czech, so you have to do a sort of double or even triple translation in order to get to what you need. That's the type of work that Kafka was doing constantly while simply walking down the street. If we are to walk with him, we must do it as well.

<urn:uuid:01f4583a-cf50-4b08-99ad-1bd93a18337d>

CC-MAIN-2020-40

https://hub.jhu.edu/magazine/2017/summer/mark-christian-thompson-new-reading-of-kafka/

s3://commoncrawl/crawl-data/CC-MAIN-2020-40/segments/1600402101163.62/warc/CC-MAIN-20200930013009-20200930043009-00085.warc.gz

en

Forgive One Another A delicate matter/topic for many. There has been betrayal, trauma, stress, broken relationships, deep pain as a result of actions toward us, or ours toward others. Yet, one in which the bible could not be more clear on. (see Matthew 6:12-15) What is forgiveness? It is recognising when we need to forgive, we forgive. It is recognising when we have failed to forgive, we forgive. And if Jesus is our example, it is full and free forgiveness, not in part. Forgiveness therefore is not offering your forgiveness or receiving forgiveness then continuing to harbour feelings thoughts and actions as if we haven’t. What forgiveness is not? It is not feeling good about sin against us and the awful things others have done toward us. Because we realise that forgiveness does not always mean an absence of consequences. That there is pain, and grief and are often consequences are not to be mistaken however for FULL and FREE forgiveness. Forgiveness is the act, it is decisive, it is a conscious decision, even when consequences may mean rebuilding of trust. Why do I forgive? Because I appreciate the enormity of what Jesus has done for me. If I cannot forgive, I have mistaken what Christ has done for me: forgiven me and given me eternal life. Why we freely and unreservedly offer forgiveness to others comes down to one simple reason: Jesus has forgiven my sin. In fact, he died for my forgiveness. Or do we withhold the very forgiveness that has been offered us, the very grace that has been offered us? (Read Matthew 18) Jesus’ principle of forgiveness is that grace through forgiveness to another is without limit. The parable teaches, we are to forgive much because God has forgiven, us, much! We cannot harbour unforgiveness, bitterness, anger etc. toward others and expect things to be good with God. Being clean and clear in our hearts toward God requires clean and clear in our hearts toward others. What about forgiveness for the person who hasn’t repented – and yet has asked for forgiveness? The key here is doing everything we, individually, are responsibly obliged before God to do to reconcile a matter, to be clean and clear in our hearts before God. It is us being proactive, not waiting for the other person. We engage in the scriptural process (Matthew 18; James 5, etc.). We are to relate to the other person who has not repented, nor recognised any wrong being done, by not “returning evil for evil” but rather blessing them. (1 Peter 3:9) When do I know I have forgiven? When we seek reconciliation (Romans 12:8); when we can pray earnestly for them and bless them (Matthew 5:44; Luke 6:28); when we can grieve at their troubles and hard times (Proverbs 24:17); when we mean them no harm (Psalm 139:24; 1 Thessalonians 5:15); when we can resist any sense of revenge on them (Romans 12:19) What does forgiveness do? It honours God, it purifies us, it heals relationships and most importantly, it’s doing what Jesus has done for us.

<urn:uuid:ed74a2f5-9cb3-443a-adba-a87c0abaa067>

CC-MAIN-2022-33

https://fairfieldbaptist.co.nz/devotional-29-september-2019/

s3://commoncrawl/crawl-data/CC-MAIN-2022-33/segments/1659882573849.97/warc/CC-MAIN-20220819222115-20220820012115-00045.warc.gz

en

A new medical resource has sparked conversations around the globe about racial bias in medical eduction and training resources. Mind the Gap: A handbook of clinical signs in Black and Brown skin details the clinical presentations on skin of colour for more than 20 conditions. The book’s co-author, Malone Mukwende, a third year UK medical student, was inspired to create the resource after becoming acutely aware that students are taught to look for clinical signs of illness using images almost exclusively showing caucasian skin. It means many students will enter the profession not knowing how to identify certain conditions in people of colour – leading to compromised care from their first point of contact. He says Mind the Gap is more than a handbook – it’s a movement for change. In this episode Melbourne dermatologist and specialist in skin of colour, Dr Michelle Rodrigues, talks about the work being done in Australia to embrace a more inclusive medical curriculum – and what more needs to be done to improve standards of care for people of colour.

<urn:uuid:bdc34232-7513-464c-bee7-6ca40538ee69>

CC-MAIN-2023-40

https://staging.thelimbic.com/black-and-brown-skin-matters-how-the-lack-of-diversity-in-medical-teaching-leads-to-disparities-in-healthcare/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233511170.92/warc/CC-MAIN-20231003160453-20231003190453-00121.warc.gz

en

Salmonella Culture (Stool) Does this test have other names? What is this test? This test looks for salmonella bacteria in your stool. Having these bacteria in your stool means you have a salmonella infection. Salmonella infection takes many forms, but the most common in the U.S. is gastroenteritis, also called a "stomach bug." You can get it if you eat food contaminated by animal feces. Food is often contaminated during processing, such as when raw meat comes in contact with other foods. Undercooking meat, especially chicken, can also cause salmonella. Chicken eggs are a common carrier of salmonella. Typhoid fever is another type of salmonella that may affect people who travel outside the U.S. Salmonella can also cause an invasive disease like osteomyelitis, or bone infection. Why do I need this test? You may need this test if your healthcare provider suspects that you have a salmonella infection. Symptoms of salmonella may include: If you have a salmonella infection, your diarrhea typically will have a strong odor. Sometimes you may also have blood in the stool. The illness usually lasts for just a few days. Children younger than 3 months may have the infection for a longer period of time. In other children, the fever can last a few days, and diarrhea may last for about a week. Most cases of the disease go away without extensive treatment. If you have been diagnosed with salmonella and work with children or people with a weakened immune system, or in the food industry, your employer may need multiple negative tests to prove that you no longer have salmonella. What other tests might I have along with this test? Your healthcare provider may also order related stool cultures. These might be an ova and parasites exam (O&P) or a test for Clostridium difficile toxin. You may also have a blood test if your provider thinks it's possible that you have an advanced form of salmonella (bacteremia). This infection of the blood affects about 5% of people who get salmonella. What do my test results mean? Test results may vary depending on your age, gender, health history, the method used for the test, and other things. Your test results may not mean you have a problem. Ask your healthcare provider what your test results mean for you. Normal test results are negative, meaning you don't have a salmonella infection. A positive result means you have a salmonella infection. How is this test done? This test requires a stool sample. Your healthcare provider will tell you how to collect the sample and place it in a disposable specimen container with a lid. Don't collect fecal material from the toilet bowl or put toilet paper into the specimen container. Does this test pose any risks? This test poses no known risks. What might affect my test results? Other factors aren't likely to affect your test results. How do I get ready for this test? You don't need to prepare for this test. Be sure your healthcare provider knows about all medicines, herbs, vitamins, and supplements you are taking. This includes medicines that don't need a prescription and any illicit drugs you may use.

<urn:uuid:7d31d6d5-ba1d-4620-81bb-0036925f58ef>

CC-MAIN-2020-29

https://healthlibrary.vidanthealth.com/Library/DiseasesConditions/Adult/Travel/167,salmonella_culture_stool

s3://commoncrawl/crawl-data/CC-MAIN-2020-29/segments/1593655896905.46/warc/CC-MAIN-20200708062424-20200708092424-00294.warc.gz

en

Holland and America! Dutch history and the relation with pre English America A Brief Outline of Dutch History and the Province of New Netherland Although most Americans are familiar with the basic outline of the British colonization of America, and even know some information on the Spanish and French settlements, their is less familiarity with the history and geography of another new word settler, namely the Dutch. Not only did they settle the colony of New Netherland but coins from both the United Provinces of the Netherlands and the Flemish area held by Spain, which we now call Belgium, circulated in America. The following summaries are presented to clarify statements in the various sections of this site that mention events concerning the Dutch; below are capsule histories (a) on the formation of the states of Belgium and the Netherlands and (b) the development of the province of New Netherland in America. The Division of Belgium and the Netherlands For the most part the cities and provinces in the area known as the Low Countries developed independently from the Ninth through the mid Fourteenth centuries. From 1363-1472 the area was gradually assimilated by four generations of the Dukes of Burgundy from Philip the Bold to Charles the Bold. Eventually the lands passed by marriage to the Hapsburg Holy Roman Emperor, Charles V. Upon Charles's abdication in 1556 the lands reverted to his son Philip II of Spain. Philip then sent his sister Margaret of Parma to rule the area. The Calvinist Dutch in the northern provinces especially disliked the Spanish Catholics. They feared the Inquisition would be brought to the Netherlands, and that personal and economic as well as religious freedom would be lost, so they revolted. Philip then sent Ferdinand Alverez, the Duke of Alba to bring order to the area. On August 8, 1567 the Spanish Duke of Alba entered Brussels as military dictator with some 10,000 troops. Thousands of people from both the northern and the southern provinces fled the Low Countries, including the prominent noble William of Orange, Count of Nassau. Alba suppressed anyone who opposed him including William of Orange, whose lands he confiscated. The Calvinist northern provinces began allying themselves with Alba's enemies, namely William of Orange. On April 1, 1572 the Dutch struck back, a navel force under Captain van der Marck took the city of Brill. The revolt quickly spread throughout the north. On July 15, 1572 the northern provinces of Holland and Zeeland acknowledged William of Orange as their Stadtholder and a government was established in Delft. This was the beginning of a bloody civil war against the Spanish which continued until 1579. On January 5, 1579 the southern regions of Artois, Hainaut and the town of Douay joined together for mutual protection under the Spanish king in the League of Arras (Artois). Soon thereafter, on January 29, 1579 the northern provinces united in the Union of Utrecht. In 1582 the large provinces of Brabant and Flanders joined the southern alliance. This southern area, what is now know as Belgium, was predominantly Catholic, and included the provinces of Flanders, Antwerp, Hainaut, Brabant, Namur, Liege, Limburg, and Luxembourg (Limburg is now part of the Netherlands and Luxembourg is an independent state). The northern provinces, on the other hand, were collectively known as the United Provinces of the Netherlands or the Dutch Republic, and were often referred to by the name of their principle province, that is, Holland. This northern Calvinist area consisted of the seven provinces of Frisia, Groningen, Overijssel, Holland, Gelderland, Utrecht and Zeeland. From the formation of the Union of Utrecht these provinces were able to remain a separate republic but it was not until the Treaty of Westphalia, at the conclusion of the Thirty Years War in 1648, that the independence of the Republic of the United Provinces of the Netherlands was finally recognized. The southern provinces, which are now known as Belgium, continued under Spanish Hapsburg rule until the death of Charles II in 1700. The lands then reverted to the new Bourbon king of Spain, Philip Duke of Anjou. In 1701 the French king Louis XIV compelled Philip, who was his grandson, to turn the southern provinces over to France. However by the Treaty of Utrecht at the conclusion of the War of Spanish Succession the lands were given to the Austrian Hapsburg line which held the area until they were overthrown by the French Republic in 1794. Coin from both of the northern and southern regions circulated in the American colonies, including the Cross Dollar of Brabant and the Lion Dollars of the various provinces of the United Netherlands. The New Netherland Colony The Early Years, 1609-1621 In 1602 the States General of the United Provinces, known as the Netherlands, chartered the United East India Company (the Vereenigde Oostindische Compagnie, called the VOC) with the mission of exploring for a passage to the Indies and claiming any unchartered territories for the United Provinces. On September 3, 1609 the English explorer Henry Hudson, on behalf of the United East India Company, entered the area now known as New York in an attempt to find a northwest passage to the Indies. He searched every costal inlet and on the 12th took his ship, the Halve Maen (Half Moon), up the river which now bears his name, as far as Albany and claimed the land for his employer. Although no passage was discovered the area turned out to be one of the best fur trading regions in North America. As early as 1611 the Dutch merchant Arnout Vogels set sail in the ship St. Pietsser for what was probably the first Dutch trading expedition to the Hudson Bay. This secretive mission was so successful in 1612 Vogels chartered the ship Fortuyn which made two, back to back trips to the area. The initial trip of the Fortuyn was under the command of Captain Adriaen Block. Two months before the Fortuyn returned on her second trip, Adriaen Block landed in Hudson Bay in a different ship. Block did not try to keep his activities a secret, he traded liquor, cloth, firearms and trinkets for beaver and otter pelts; however, before he could leave the Hudson for an early spring crossing to Amsterdam he saw the arrival of another Dutch ship, the Jonge Tobias, under the command of Thijs Volckertsz Mossel. Competition to exploit the newly discovered land was underway. On October 11, 1614 merchants from the cities of Amsterdam and Hoorn formed The New Netherland Company receiving a three year monopoly for fur trading in the newly discovered region from the States General of the United Provinces. In 1615 the company erected Fort Orange on Castle Island near Albany and began trading with the Indians for furs. Although merchants came to New Netherland for business purposes, the area was not colonized and at the end of the three year period the company's monopoly was not renewed. At that point the land was opened to all Dutch traders. Eventually the States General decided to grant an monopoly to a company that would colonized the area. There was a need to have a permanent political presence in their colonies in New Netherland, Brazil and Africa against the possibility of an English, French or Spanish challenge. The Dutch West India Company and Colonization In 1621 the newly incorporated Dutch West India Company (the Westindische Compagnie or WIC) obtained a twenty four year trading monopoly in America and Africa and sought to have the New Netherland area formally recognized as a province. Once provincial status was granted in June of 1623 the company began organizing the first permanent Dutch settlement in New Netherland. On March 29, 1624 the ship, Nieu Nederlandt (New Netherland) departed with the first wave of settlers, consisting not of Dutch but rather of thirty Flemish Walloon families. The families were spread out over the entire territory claimed by the company. To the north a few families were left at the mouth of the Connecticut River, while to the south some families were settled at Burlington Island on the Delaware River. Others were left on Nut Island, now called Governor's Island, at the mouth of the Hudson) River, while the remaining families were taken up the Hudson to Fort Orange (Albany). Later in 1624 and through 1625 six additional ships sailed for New Netherland with colonists, livestock and supplies. It soon became clear the northern and southern outposts were untenable and so had to be abandoned. Also, due to a war between the Mohawk and Mahican tribes in 1625, the women and children at Fort Orange were forced to move to safety. At this point, in the spring of 1626, the Director General of the company, Peter Minuit, came to the province. Possibly motivated to erect a safe haven for the families forced to leave Fort Orange, at some point between May 4 and June 26, 1626 Minuit purchased the island of Manhattan from the Indians for some 60 guilders worth of trinkets. He immediately started the construction of Fort New Amsterdam under the direction of the company engineer Cryn Fredericksz. Because of the dangers and hardships of life in a new land some colonists decided to return to the homeland in 1628. By 1630 the total population of New Netherland was about 300, many being French speaking Walloons. It is estimated about 270 lived in the area surrounding Fort Amsterdam, primarily working as farmers, while about 30 were at Fort Orange, the center of the Hudson valley fur trade with the Mohawks. New Netherland was a company owned and operated business, run on a for profit basis by the directors of the West India Company. The intent of the firm was to make a profit for the investors who had purchased shares in the company. WIC paid skilled individuals, as doctors and craftsmen, to move to New Netherland and also sent over over and paid soldiers for military protection of the settlements; the company also built forts and continually sent over provisions for the settlers. All the New Netherland positions one would usually consider government or public service jobs, were in fact, company jobs held by WIC employees. Laws were made by the company appointed Director General in the province with the consent of the company directors in Amsterdam; even the New Netherland provincial treasury was actually the company treasury. All taxes, fines and trading profits went to the company and the company paid the bills. Basically the company profit was whatever was left after expenses had been paid (it should be noted expenses included ample salaries for the Amsterdam directors). WIC soon discovered the expenses associated with establishing and expanding a new colony were considerable. In order to increase their profit margin the company sought to find what might be thought of as subcontractors. The first attempt at partnerships was the Patroonship plan. The Patroonship plan was first conceived in 1628 as a way to attract more settlers without increasing company expenses. Under the plan a Patroon would be granted a large tract of land and given the rights to the land as well as legal rights to settle all non capital cases, quite similar to a manorial lord. In return the Patroon would agree to bring over settlers and colonize the land at their own expense. No one accepted a patroonship under these conditions because the lucrative fur and fishing trades were left as a monopoly of the company. One of the most prominent Amsterdam merchants and a principle shareholder in the Dutch West India Company, Kiliaen van Rensselear, had the plan modified. In the revised plan issued on June 7, 1629, the terms were much more favorable: colonization requirements were less stringent, the allocation of land to the patroon was larger and there were broad jurisdictional rights over the colonists. Additionally patroons were allowed to trade with New England and Virginia and, most importantly, they were allowed to engage in both the fur trade, subject to a company tax of one guilder per pelt, and could participate in the fish trade. Under this arrangement Kiliaen van Rensselear became Patroon to the largest and most lucrative fur trading area in New Netherland, that is, the area along the Hudson River out to Fort Orange, which he named the colony of Rensselaerswyck. Under the Patroonship arrangement New Netherland continued to expand with more colonists and settlements taking hold. The nerve center of New Netherland was along the Hudson River from New Amsterdam (New York City) northwest to Fort Orange (Albany). The colony of Rensselaerswyck, encompassing Fort Orange, was the center of the fur trade while New Amsterdam was the shipping hub for Dutch traders. The northern border was not well defined but was taken to be the Connecticut River, which they called the Fresh River. Based on this border the Dutch felt they had a claim to New Haven and southern Connecticut; this was clarified at a convention in Hartford in September of 1650 limiting the Dutch to the territory west of Greenwich Bay (similar to the present day border NY-CT border). To the south, New Netherland took all of New Jersey establishing Fort Nassau in 1626 near the southern end of New Jersey (at Gloucester, New Jersey) along the Delaware River, which they called the South River. They also established a whaling village on the southern shore of Delaware Bay called Swanendael (Valley of the Swans) near what is now Lewes, Delaware; although the village was soon destroyed in an Indian raid. The Dutch also constructed Fort Beversrede in 1648 on the Schuylkill River (at Philadelphia) and Fort Casimir in 1651 (at Newcastle, DE) to defend their territory against the Swedes and Finns of the Swedish West India Company in Delaware. In 1655 New Netherland defeated New Sweden and occupied the Swedish stronghold, Fort Christiana (Wilmington). In another attempt to increase revenue from the settlement, in 1638 the West India Company abandoned its trading monopoly. Again the company felt they could share the expenses and risks associated with trade by opening up the area to other merchants and collecting fees from them. With the passage of the Articles and Conditions in 1638 and the Freedoms and Exemptions in 1640 the company allowed merchants of all friendly nations trade in the area, subject to a 10% import duty, a 15% export duty and the restriction that all merchants had to hire West India Company ships to carry their merchandise. Of course the West India Company continued in the fur trade. Some of the first merchants to take advantage of this situation were WIC employees who left the company to act as agents for Dutch merchant firms and also trade on their own, such as Govert Loockermans and Augustine Heermans. Lookermans was a WIC employee from 1633-1639, when he left the company to become the local agent for both the powerful Verbrugge family and for himself. He was suspected of smuggling on several occassions and incurred several fines as well as the disapproval of the Verbrugge firm. Heermans first came to New Netherlands in 1633 as a company surveyor in the Delaware region. In 1643 he moved to New Amsterdam where he acted as an agent for the Dutch firm of Gabry and Company and also worked for himself in the fur and tobacco trade. Others WIC employees as Oloff Stevenson van Cortlandt, who had come over in 1637 as a WIC soldier, rose within the company. He was awarded the job of Commissary, supervising the arrival and storage of provisions. In this position he made numerous business contacts and joined in various trading ventures. He was able to acquire various properites within the city of New Amsterdam and by 1648 owned and operated a brewry. Another of these early independent merchants was Arnoldus van Hardenburg, from an Amsterdam merchant family, who came over to make his fortune. Some English colonists also took advantage of the new trading privileges. Isaac Allerton, an original Plymouth settler, who became a founder of Marblehead, Massachusetts went to New Amsterdam as did Thomas Willet of Plymouth. Allerton was knows as an uncrupulous individual who overcharged customers and manipulated his account books. Willet sometimes worked with Allerton and was of the same demeanor, he was once accused of bribing an an inspecion official to look the other way while he imported contraband items. Another Englishman, Thomas Hall, had independently moved into the Delaware valley where the Dutch discovered him in 1635 and took him to New Amsterdam as a prisoner. Hall he seems to have soon been released and in 1639 went in partnership with another Englishman, George Holmes, in the acquisition of a tobacco plantation, leading to a career as a tobacco grower and wholesaler (see, Maika, pp. 40-59). As these smaller scale merchants and traders became successful both for themselves and for their employeers some of the more prominent Amsterdam merchant establishments decided to follow the lead of the Rensselear family, hoping to increase their profits by expanding into the new market. The most important and earliest participants were Gillis and Seth Verbrugge who traded from the 1640's-mid 1650's and even attempted to establish a potash factory in New Amsterdam (used in the production of soap). In the 1650's and 1660's they were followed by two other major merchant firms who entered the fur trade, namely the Dirck and Abel de Wolff Company and the firm of Gillis van Hoonbeeck. From the mid 1640's through the mid 1660's these three firms along with the Rensselear family accounted for more than 50% of the New Netherland trade. Up to 1651 Dutch merchants could also trade with New England and Virginia as well as New Netherland. However once the British instituted the Navigation Act of 1651, non English ships were no longer allowed to transport goods from English ports. This forced the Verbrugge family to abandon their lucrative Virginia tobacco trade and eventually took them out of the new world market. The De Wolff family was more diversified that the Verbrugge, trading in Baltic grain, French wine and West African slaves as well as New Netherland furs. Also, rather than invest in ships this firm rented space on other ships and so remained competitive. Van Hoonbeeck entered the New Nwtherland market late, but was able to take advantage of the Verbrugge's Company fall. The result of this situation was that a few powerful Amsterdam merchants along with the West India Company controlled New Netherland trade. Oliver A. Rink has succinctly explained the situation as follows: Unlike New England, the individuals largely responsible for exploiting New Netherland's resources were merchants of the home Country. Secure in their Amsterdam Countinghouses, the merchants grasped control of the colony's lifeline to Holland and held fast. Profits from their enterprises flowed into coffers in Amsterdam, thus depriving New Netherland of capital and the opportunity to develop a viable, colony-based merchant community. (Rink, Holland on the Hudson, pp. 212-213) Another important element in the New Netherland province that differed from the British colonies was demographics. It has been estimated that probably one half of the population was not Dutch. The size of the province has been estimated at between 2,000 to 3,500 in 1655 growing to a total of about 9,000 by 1664. A significant number of the inhabitants were Germans, Swedes and Finns that emigrated in the period after 1639. This number was increased by 300 to 500 with the capture of New Sweden on September 24, 1655. The impact of these German and Scandinavian Lutheran immigrants is brought out in a controversy that arose because the Lutherans in Middleburg, Long Island were holding church services without an approved preacher. The New Amsterdam pastors brought this situation to the attention of the Director General, Pietsser Stuyvesant at the end of 1655, requesting the services be halted. The dispute dragged on for years until a resolution was formulated by the West India Company directors in Amsterdam. It was decided to permit the Lutherans the right to worship by slightly adjusting the catechism. In order not to offend the Lutherans, the Company bluntly stated the complaining New Amsterdam Calvinist pastors would be replaced by younger ministers who were more liberal, unless the dispute was put aside. There were also about 2,000 English inhabitants in the area of New Netherland, primarily from New England, living on Long Island or in communities along the Connecticut border. The English obtained the Eastern portion of Long Island, (as far as the western end of Oyster Bay) in the border agreement reached at the Hartford Convention of 1650. In fact, five of the ten villages in the vicinity of New Amsterdam were English (namely, Newtown, Gravesend, Hemptead, Flushing and Jamaica while Brooklyn, Flatlands, Flatbush, New Utrecht and Bushwick were Dutch). There were also a number of "half free" African slaves, who were required to make a fixed yearly payment to the company for their freedom. In September of 1654 a group of 23 Jews were brought to New Amsterdam from the colony in Brazil (which was called New Holland), where the Portuguese had just defeated the Dutch West India Company following an eight year rebellion. In 1655, the same year charges were made against the Lutherans, the New Amsterdam preachers requested the province get rid of the Jews. This matter was brough to the company directors in Amsterdam who recommended the Jews be segregated and allowed to practice their religion, but not be permitted to build a synagogue. In this case toleration was granted because some of the Dutch West India Company stockholders were Jewish merchants. In fact, in 1658 when one of these New Netherland Jews, named David de Ferrera, was given a overly harsh punishment for a minor offence, it took the intervention of an important Jewish stockholder in the company, Joseph d'Acosta, to have the punishment reduced. A French Jesuit priest named Father Isaac Jogues visited New Netherland in 1643-1644. After returning to Canada Father Jogues wrote a brief description of New Netherland, completed on August 3, 1646. In his work the ethnic diversity of the island of Manhattan was described as follows: On the island of Manhate, and in its environs, there may well be four or five hundred men of different sects and nations: the Director General told me that there were men of eighteen different languages; they are scattered here and there on the river, above and below, as the beauty and convenience of the spot has invited each to settle: some mechanics however, who ply their trade, are ranged under the fort; all the others are exposed to the incursions of the natives,..." (Narratives, pp. 259-260) British Claims and Conquest As New Netherland prospered the British set their sights on the province, stating they had a claim to the land as part of John Cabot's discoveries. In May of 1498 the Genoese born Cabot, working for Britain, had explored the coast of the new world from Newfoundland, Nova Scotia and New England down to Delaware. As this trip predated Hudson's voyage by over a century the British felt they had prior claim to the land. In the mid Seventeenth century the British and Dutch saw each other as a direct competitor, consequently several times during this period they were at war. During the first Anglo-Dutch war of 1652-1654 Oliver Cromwell planed to attack New Netherland with the help of the New England colonists but the plan was never carried out. Following that conflict the two nations continued to be trading rivals and were suspicious of each other. With the restoration of Charles II to the British throne in 1660 the United Netherlands feared an English attack, so in 1662 they made an alliance with the French against the English. In response to this alliance in March of 1664, Charles II formally annexed New Netherland as a British province and granted it to his brother James, Duke of York and Albany (later James II), as Lord Proprietssor. The Duke sent a fleet under the command of Sir Richard Nicolls to seize the colony. On September 8, 1664, the Director General Pietsser Stuyvesant surrendered Fort Amsterdam and on September 24, 1664, Fort Orange capitulated. Both the city of New Amsterdam and the entire colony were renamed New York, while Fort Amsterdam was renamed Fort James and Fort Orange became Fort Albany. The loss of the New Netherland province led to a second Anglo-Dutch war during 1665-1667. This conflict ended with the Treaty of Breda in August of 1667 in which the Dutch gave up their claim to New Amsterdam in exchange for Surinam (just north of Brazil). Amazingly, within six months, on January 23, 1668, the Dutch made an alliance with Britain and Sweden against the French king Louis XIV, who was trying to capture the Spanish held areas in the Netherlands. However, in May of 1670 Louis XIV made a secret alliance with Charles II (the Treaty of Dover) and in 1672 he made another separate treaty with Sweden. Then on March 17, 1673 Louis and Charles joined together in a war on the United Netherlands. During this war, on August 7, 1673, a force of 600 Dutch soldiers under Captain Anthony Colve entered the Hudson River. The next day they attacked Fort James and took the fort on the 9th, As the British governor, Francis Lovelace was absent, the surrender was made by Captain John Manning. When Lovelace returned on Saturday August 12th, he was siezed and put in jail. With the fall of the fort the Dutch had retaken New York, they then took control of Albany and New Jersey, changing the name of the area to New Orange in honor of William III of Orange. However these gains were temporary, as the lands were restored to the British at the end of the conflict by the Treaty of Westminster on February 9, 1674. The British governor, Major Edmund Andros, arrived in Manhattan on November 1st and gave the Dutch a week to leave. On November 10, the transfer was completed and Governor Colve and his soldiers marched out of the province. From that point the British controlled both the city and province of New York. Indeed, New York City remained the premier British military stronghold in America during the Revolutionary War and was not liberated until the British evacuation in 1783. Oliver A. Rink, Holland on the Hudson: An Economic and Social History of Dutch New York, Ithaca, NY: Cornell, 1986; Dennis J. Maika, Commerce and Community: Manhattan Merchants in the Seventeenth Century, Ph.D. Dissertation, New York University, 1995; John Franklin Jameson, Narratives of New Netherland, 1609-1664, New York: Scribner, 1909.

<urn:uuid:d98914e0-20a3-4963-8a66-2e2a5e383fe9>

CC-MAIN-2018-51

http://geerts.com/index.php/component/k2/itemlist/user/19-lcgeerts?start=130

s3://commoncrawl/crawl-data/CC-MAIN-2018-51/segments/1544376823674.34/warc/CC-MAIN-20181211172919-20181211194419-00562.warc.gz

en

Vicksburg National Military Park CW150 Events Congress established Vicksburg National Military Park in 1899 to commemorate the campaign, siege, and defense of Vicksburg, and to preserve the history of the battles and operations conducted on the ground where they were fought. In 1990, Congress expanded the park's interpretive mandate to include the campaign and siege of Vicksburg from April 1862 to July 4, 1863, and the history of Vicksburg under Union occupation during the Civil War and Reconstruction. The Vicksburg Heritage Fair (April 5-7, 2013) is an event that recalls the tent shows that traveled the South and Midwest in the 19th century, featuring 'hot topics' of the day, along with entertainment, music, dance, craft exhibitions, and theatre. The fair will spotlight downtown attractions such as Confederate General John C. Pemberton's Headquarters on Crawford Street, the Southern Cultural Heritage Foundation, and the Old Court House Museum. Crafts people, musicians, and dancers are being contacted to participate in the heritage fair. Part of the fair will involve a debate and discussion of Civil War topics by actors portraying significant persons involved in the war. Month of May & Memorial Day Weekend Siege and Commemoration (May 23-27, 2013) - Programs commemorating the Sesquicentennial of the Campaign and Siege of Vicksburg will be held throughout the month of May 2013, culminating in activities held over the Memorial Day weekend. Specific programming details are highlighted below. A series of open air concerts will take place in front of the Vicksburg National Military Park Visitor Center. The U.S. Navy Band will perform with a theme revolving around the Civil War on Friday evening, May 24, 2013. The performance on Saturday evening, May 25, 2013, will feature the Mississippi Symphony Orchestra with a guest appearance by Trace Adkins, and on Sunday evening, May 26, 2013, The Jackson Mass Community Choir will present a choral program. All of these concerts are free to the public. Soldiers Through the Ages will be presented near the USS Cairo and Vicksburg National Cemetery. A timeline of the military will be presented through static displays and programs on Saturday, May 25, 2013 and Sunday, May 26, 2013. On Monday, May 27, 2013, Vicksburg National Military Park will work closely with Veterans Groups and the Vicksburg community to assist with the Memorial Day parade as well as the Vicksburg National Cemetery wreath laying ceremony. The 41st US Army Band, Mississippi Army National Guard, has been contacted to participate in this event. The US Navy played an important role in the Vicksburg Campaign. River gunboats like the USS Cairo were critical to the success of the US Navy. Special Boat Unit 22, part of the Navy's modern river forces, has been invited to establish a static display of a modern gunboat near the USS Cairo and possibly demonstrate the capabilities of their gunboat on the water. On Saturday, May 4, 2013, and Sunday, May 5, 2013, Civil War reenactors will be stationed at numerous locations along the siege lines telling stories about the soldiers who fought and died for their respective causes. Also during the month of May, 2013, wreaths honoring the soldiers who fought and died during the Vicksburg Campaign will be placed on their respective state memorials. There were 28 Northern and Confederate states that were involved in the Vicksburg Campaign, and every day in May a wreath will be placed on a different state memorial and a proclamation will be read. Additional recognition of the casualties suffered by each state that participated in the Campaign for Vicksburg will be denoted by the placement of luminaries at each state memorial inside and outside the park over July 3-4, 2013. Along the Campaign Trail is a program that includes a dedicated team of interpreters to present outreach programs for communities, schools, and other interested organizations on the history of the campaign and siege. Beginning in January, 2013, five park rangers will travel along the campaign trail visiting schools, libraries, and civic organizations to present outreach activities and interpretative programs about the Vicksburg Campaign, as well as offering presentations at battlefield sites in Raymond, Champion Hill, Port Gibson and Milliken's Bend. These rangers will also get involved with the cultural and natural resources in the campaign area. Vicksburg National Military Park Youth Leadership Academy will provide an immersive experience for future leaders in both the mission and culture of the National Park Service and the 21st century relevancy of the Civil War. The academy will develop skills in a variety of disciplines related to historic preservation, natural resources management, education, and community leadership. Candidates will be young people, ages 16-20, who live or attend school in the Vicksburg-Warren County region. Students will work closely with park rangers who will mentor the students for the program. Did You Know? On hearing the news of Vicksburg's surrender, President Lincoln declared, "The Father of Waters again goes unvexed to the sea."

<urn:uuid:cd34a952-7d4b-4cf8-8112-77e12eaa2093>

CC-MAIN-2014-42

http://www.nps.gov/vick/planyourvisit/vicksburg-national-military-park-cw150-events.htm

s3://commoncrawl/crawl-data/CC-MAIN-2014-42/segments/1414637900397.29/warc/CC-MAIN-20141030025820-00062-ip-10-16-133-185.ec2.internal.warc.gz

en

Chasteberry is the fruit of the chaste tree, a small shrub-like tree native to Central Asia and the Mediterranean region. The name is thought to come from a belief that the plant promoted chastity—it is reported that monks in the Middle Ages used chasteberry to decrease sexual desire. Common Names—chasteberry, chaste-tree berry, vitex, monk's pepper Latin Name—Vitex agnus-castus What Chasteberry Is Used For Chasteberry has been used for thousands of years, mostly by women to ease menstrual problems and to stimulate the production of breast milk. Chasteberry is still used for menstrual problems, such as premenstrual syndrome, as well as for symptoms of menopause, some types of infertility, and acne. How Chasteberry Is Used The dried ripe chasteberry is used to prepare liquid extracts or solid extracts that are put into capsules and tablets. What the Science Says A few studies of chasteberry for premenstrual syndrome have found a benefit. However, most of these studies were not well designed, so firm conclusions about chasteberry for premenstrual syndrome cannot be drawn. Small studies suggest that chasteberry may help with breast pain and some types of infertility, but there is not enough reliable scientific evidence to determine whether chasteberry has any effect on these conditions. NCCAM has funded studies on chasteberry. Projects have explored how chasteberry works in the body and how it might affect symptoms of premenstrual syndrome. Side Effects and Cautions Chasteberry has not been associated with serious side effects. However, it can cause gastrointestinal problems, acne-like rashes, and dizziness. Chasteberry may affect certain hormone levels. Women who are pregnant, or taking birth control pills or who have a hormone-sensitive condition (such as breast cancer) should not use chasteberry. Because chasteberry may affect the dopamine system in the brain, people taking dopamine-related medications, such as certain antipsychotic drugs and Parkinson’s disease medications, should avoid using chasteberry.

<urn:uuid:23dc0a54-5018-41df-a6fe-2f6dd19d2d86>

CC-MAIN-2021-17

https://livingwellmagazine.net/vitamins-supplements-herbs/201009011625/health/vitamins-supplements-herbs/chasteberry/menu-id-283

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618039388763.75/warc/CC-MAIN-20210420091336-20210420121336-00310.warc.gz

en

of a Cotton Crop by Peter Proctor are a few ideas on the growing of Biodynamic Cotton that I have gained from my biodynamic work in Preparing the land for the cotton is most important. The structure, fertility and the availability of plant nutrients in the soil is essential. All the basic principles of organic soil management must be addressed. These include applying good quality compost, crop rotation, and the growing of soil sustaining green manure crops. Various liquid manures will be helpful. Compost made using the biodynamic preparation 502-507 should be applied at the rate of 5 tonnes per acre. This compost should have a cow dung component and if there is a need for phosphate in the soil, rock phosphate should be added to the compost. Up to 100kgs per 5m3 (5 tonnes) of phosphate rock can be added. The compost can be incorporated into the soil before sowing the green crop. Crop rotation is essential. Never grow cotton after cotton as this encourages problems with insects and fungus. Always grow another crop in between. Work out a suitable rotation. Always grow a green manure crop before growing cotton. Grow a legume such as dolichus lab lab, vetch, sunhemp or various pulses which do well in your district. Also incorporate a grain in the sowing mixture. Dig into the soil three weeks before sowing. Preparation BD500 and Soil Structure Apply biodynamic preparation 500 at least four times a year. Twice in Autumn and twice in Spring. Use 25gms of preparation BD500 in 13 litres of clean water per acre or 62.5gms in 30 litres of water per hectare and stirred for 1 hour, applied in the afternoon on a descending period of the moon. This will very quickly improve soil structure, increase humus levels, as well as water penetrability, water holding capacity and improve the tilth of the soil. CPP can be added to the stirring of the BD500 20 minutes before the end of stirring. Horn Silica BD501 The use of preparation horn silica BD501 will strengthen the plant to withstand insect attack and will also add quality to the cotton fibre. Always apply BD501 early in the morning at sunrise to avoid burning of the plants. One way to apply this silica, is using the sequence of BD500, CPP and BD501. In the evening before the Moon opposite Sature, apply preparation BD500 into which CPP has been added to the stirring (100gms per acre or 250gm CPP per hectare to BD500). Then the next morning early, apply the BD501 as a mist over the plants. BD501 is used at the rate of 1gm in 12.5 litres of water per acre or 2.5gm in 30 litres per hectare. Sow cotton seed when the Moon and Saturn are in opposition. This planetary configuration occurs every 28 days. Consult the BD Planting Calendar for these dates. It has been found that sowing at this time will give a very strong germination, and the subsequent plants are strong and will perform well. There will also be a tendency for the plants to be resistant to pest attack. Make CPP. When the plants are about 100mm high, apply CPP at the rate of 2kg in 40 litres of water per acre. This can be applied weekly or once a fortnight. Apply in thel ate afternoon. It will keep the plants growing strongly. Make seaweed liquid manure. Apply once a month. Stinging Nettle and Cow Urine Make up a stinging nettle liquid manure and ferment with BD preps 502-507. Add 5% cow urine to the liquid and apply 1 part to 10 parts to the foliage. This will do two things. Act as a foliar feed for the cotton and discourage the cotton boll worm. Apply every 14 days or when the boll worm is active. It can be combined with the CPP. Use the Nettle/Cow Urine mixture as above. A mixture of crushed garlic, chilli pepper powder and ginger powder. 100gms of each to 10 litres of water. Soak the crushed garlic overnight in some vegetable oil. Simmer chilli powder for 10 minutes. Simmer the ginger for 10 minutes. Add 50gms of soft soap to the garlic. Make up to 10 litres stir well, strain and spray. Use Neem oil. Made from compost where the biodynamic preparations 502-507 have been used. It has been sprayed on plants to reduce incidence of boll worm. Soak 1kg of matured compost in 40 litres clean water for 24 hours. Give frequent stirrings of this mixture to aerate this water to increase the spore forming antagonistic bacteria.

<urn:uuid:09f80c31-06c4-419c-88ac-dd23c306e321>

CC-MAIN-2017-09

http://biodynamics.in/Cotton_p.htm

s3://commoncrawl/crawl-data/CC-MAIN-2017-09/segments/1487501170940.45/warc/CC-MAIN-20170219104610-00442-ip-10-171-10-108.ec2.internal.warc.gz

en

Being a musician means always hitting the right notes to achieve the sound and tone that you want. Of course, it requires work to achieve your desired sound all of the time, and it also requires that your instrument be properly maintained and tuned. The strings on your guitar are a good place to start. When do you need to change your guitar strings? How do you know if a string needs changing? Are there guitar tutorials for changing your strings? How do you change the whole set of strings on your guitar before playing guitar? We’ll answer all of your questions and walk you through the steps you need to take in the article below. Once your strings are on the point of fraying, they’re all used up, or they constantly need re-tuning and tightening whenever you play guitar, it’s time to replace them. Different methods for changing guitar strings. But do you know what your guitar strings are really made of? What are the different types of guitar strings? Do you know how to choose the right kind of string for your guitar? Strings are characterized by their winding – that is, the way that the metal is actually wound around the string’s core. There are three kinds of winding: Each type of guitar has its own type of guitar string, and it’s important to make sure that you do not put nylon strings meant for a classical guitar on an electric guitar, or vice versa. Knowing your strings is essential for any budding guitarist, and something that should be covered in guitar classes or during your first couple of private lessons. All kinds of strings in order to play well on the guitar. Different materials bring different sounds to your guitar. If you want to know everything there is to know about guitar, you should know that there are different types of guitar strings which can be categorized according to their material and their use. The tension of a string should correspond to its gauge. String gauges are often described as extra light, medium, heavy, or as a decimal figure that represents the diameter of the strings (.014 or .059 for example). The lower the number, the finer the string. The tension of your strings will help define the sound and the kind of feel that you have. Traditional gauges range from extra light to heavy, and though the differences may seem bewildering to a beginner, choosing the right strings can transform your playing. The higher the gauge, the thicker the string, and the higher the tension will be when the string is tightened. Essentially, strings with high gauges could hurt your fingers and make it difficult to play, especially for beginners. Low gauges won’t hurt your fingers as much and will make it easier to play (perfect for students working on their finger vibrato), but they will make it more difficult to play certain techniques. Generally, beginners should start with lower-gauge strings as they develop their fingers and explore different musical styles. When do you need to change your guitar strings? How can you tell when they’re damaged or used up? Here are some of the different signs: As you can see, there are many different reasons that you may need to change your strings and each guitarist will need to do so with a different frequency. Don’t let worry about changing your strings stop you from playing. While some guitarists change their strings every month, others may go a whole year between sets. Changing your guitar strings isn’t very difficult, but it can seem like a challenge, especially for novice guitarists. It’s a basic skill that every guitarist must learn as soon as he picks up his first guitar and accessories. It’s a necessary skill for any regular guitarist! Various accessories to optimize your playing. Here is the complete equipment to change your guitar strings. Here are the basic steps to change your guitar strings. There are two different ways to do this, and they always cause debate – is it better to take your strings off one by one, or remove all of them at once and replace them all at the same time? Whichever way you choose to change your strings, neither will damage your guitar. You just need a bit of motivation with your guitar! If you do decide to change all of your strings at once, it’s a good opportunity to properly clean your guitar, especially the frets, where sweat and dust tend to accumulate. Begin by loosening your strings completely until they sag by turning your tuning nuts counterclockwise. Then you can cut the strings with a pair of pliers, or pull them out completely by totally loosening the tuning nuts and pulling the strings out from the holes of the bridge. The bridge of your guitar has little tips that look like black or white buttons and allow the strings to cling to the inside of the guitar. If possible, use a bridge remover to clean this area. This is your opportunity to really clean your guitar – make sure that you cover all of the bases including the neck, frets, and headstock. Don’t ever use shoe polish or a glass cleaner – they could damage your guitar. A simple cloth moistened with a bit of chamois or a microfiber cloth is all that you need. Some strings are color coded at the ends to tell you which note they should play and where they should go. The most common method is to start with the finest string, and then do the largest one, continuing to alternate from low to high gauges until they’re all on. This way, you can keep the tension consistent. How to adjust your guitar? The tension of the strings is also very important for the sound of your musical instrument. Start by putting your strings through the hole in the bridge, and then fix it immediately. It is important to keep some tension in the string while you perform this step. Next, tighten all of the strings on the guitar, and then pick the next string you want to add. Check the color on the tip, and put it in the corresponding hole. Make sure that you always wrap the string to the right – it should always go clockwise. Put your string through the hole and pull, but always make sure to leave a bit of slack to wind around the tension key. Don’t fully stretch your strings to the proper notes now; you need to finish restringing your guitar before you tune it. Repeat these steps for each string until your guitar is completely restrung.

<urn:uuid:80e3ff4e-46e8-42c3-b3cd-c8d4e204d056>

CC-MAIN-2018-34

https://www.superprof.co.uk/blog/guitar-restringing/

s3://commoncrawl/crawl-data/CC-MAIN-2018-34/segments/1534221213247.0/warc/CC-MAIN-20180818001437-20180818021437-00671.warc.gz

en

With a heart attack, time is of the essence. Whoever reaches the patient first must begin treatment — whether it’s the emergency medical team in the ambulance or the hospital staff in the emergency department. Either medical team must work quickly, because with every minute that goes by, more heart damage occurs. In fact, if the patient’s symptoms strongly suggest a heart attack, he may be treated even before test results confirm the diagnosis. When you're having a heart attack, your heart muscle is deprived of its normal blood flow. There's a blockage — due to build up of plaque or a blood clot — that's prevents blood flow to the heart, so it suffers from lack of blood and oxygen. So the highest priority when it comes to heart attack treatment is to get oxygen-carrying blood flowing back into the heart muscle and to take steps to reduce the work your heart has to do in the mean time. Heart Treatment: Stabilization Some of the first things that are done at the hospital or in the ambulance when someone has symptoms of a heart attack are done to buy time while medical professionals make their initial assessment of the situation. These include: - Performing CPR (cardiopulmonary resuscitation) if an individual has lost consciousness due to a cardiac arrest - Administering oxygen through nasal prongs or a face mask to help supply extra oxygen - Starting an intravenous line (IV) in the arm or other location - Providing medication to manage chest pain - Administering nitroglycerin, which reduces strain on the heart - Giving an aspirin tablet to prevent a blood clot in the blocked artery from forming or enlarging A doctor will also do a fast, very focused physical exam of your heart and lungs, looking for signs of heart disease or heart failure. While all of this is going on, a nurse or technician will begin doing some initial tests to help make the correct diagnosis of a heart attack. These tests will include: - Cardiac monitoring. By placing electronic leads connected to wires on the chest, a continuous tracing of the heart rhythm can be seen on a monitor screen. - An electrocardiogram (ECG or EKG). Using this test, the doctor can examine the electrical activity of your heart to look for evidence of a heart attack. - Blood tests. Blood will be drawn to test for substances in the blood which can indicate a heart attack is taking place. Clot-Busters and Other Medications Other medications, used alone or in combination, are often given quickly when a heart attack is suspected. The specific drugs given will vary from person to person depending on the individual circumstances, but often include: - Beta-blockers, which are used to slow the heart down to reduce the strain on it, alleviate pain in the chest, and treat an irregular heartbeat - Antiplatelet medications, such as clopidogrel (Plavix), which prevent blood clots - Heparin, a blood thinner - So-called "clot-busting" drugs, which if used within the first three hours after symptoms begin can help clots to disintegrate — and open up blockages - Pain and anxiety medication These heart treatments will help to stabilize the individual and reduce the risk of damage to the heart. Heart Attack Treatment Options Coronary angiography, which uses a tiny catheter directed from the groin to the heart, a contrast-dye, and an X-ray to look for blockages, may also be needed to diagnose a heart attack. This procedure is sometimes referred to as cardiac catheterization, and is available in most, but not all hospitals. It can pinpoint the specific area of blockage, and can allow doctors to determine the need for other types of treatments, such as balloon angioplasty or bypass surgery. Opening the Blocked Artery Diagnostic tests will tell doctors what they need to know about the heart attack and what caused it. Then, they can determine the appropriate course of treatment. Procedures that may be performed to treat a heart attack may include: - Coronary artery bypass surgery. In this surgery, the blood flow stopped by a badly blocked artery is allowed to flow again. Surgeons take a healthy artery or vein from somewhere else in the body and re-route it around the blocked artery, so that the blood flows around the blockage. This is major surgery. - Angioplasty and stenting. In an angioplasty, a tiny tube (catheter), with an inflatable balloon on its tip is inserted into a blocked artery. The balloon is inflated to open up the artery. A stent — a small tube made of mesh — may be inserted to ensure that the blockage stays clear. This procedure is now sometimes called percutaneous coronary intervention, or PCI. Recovery and Lifestyle Changes The immediate aftermath of the heart attack is only the beginning. While doctors can restore blood flow to the heart and maybe even minimize damage, the heart treatment is far from over. After your hospital stay, which may range from three days to a week or so, depending on the treatment you received, your new life after-heart attack begins. Treating a heart attack requires making permanent lifestyle changes to keep blood vessels clear and prevent another heart attack. Your doctor may recommend that you attend cardiac rehabilitation for gradual exercise to strengthen your heart and learn a new, healthy way of life. Managing heart disease with a healthy, low-fat and low-cholesterol diet, maintaining a healthy body weight, and getting regular exercise are all part of ongoing, post-heart attack treatment. It's also important to quit smoking and continue taking all medications as prescribed by your doctor — all necessary steps to avoid making a return trip to the emergency room. Learn more in the Everyday Health Heart Health Center.

<urn:uuid:eb94b64a-6433-4ea3-8ec4-9d0f3a56ca68>

CC-MAIN-2014-42

http://www.everydayhealth.com/heart-health/treating-heart-attack.aspx

s3://commoncrawl/crawl-data/CC-MAIN-2014-42/segments/1414119646554.36/warc/CC-MAIN-20141024030046-00164-ip-10-16-133-185.ec2.internal.warc.gz

en

Astronomers now believe there’s a supermassive black hole at the centre of almost every galaxy in the Universe. These black holes can have millions, or even hundreds of millions of times the mass of the Sun. Unlike stellar mass black holes, the supermassive versions might have formed differently, going from a cloud of gas directly to a black hole – skipping the star stage entirely. Since their discovery, astronomers still don’t really know how supermassive black holes got going. But there they are, inside most galaxies. In fact, quasar observations show that supermassive black holes were present in the early Universe. Quasars are some of the brightest objects in the Universe, blazing from the radiation emitted by supermassive black holes actively consuming material. One possibility is that these monsters had humble beginnings, starting out as a massive star, going supernova, and then becoming a black hole. It’s a process astronomers understand fairly well. The problem with this theory is that these early supermassive black holes must have been growing constantly right from the beginning, at the maximum rate predicted by physics. And as we see today, galaxies go through active and quiescent stages depending on when their black hole is consuming material. But a second possibility is that these black holes formed directly, pulling together so much material that they bypassed the stellar stage entirely. Dr. Mitchell C. Begelman, a professor in the Department of Astrophysical and Planetary Sciences at the University of Colorado, Boulder recently published a paper entitled Did supermassive black holes form by direct collapse? This paper sketches out this alternate theory of black hole formation in the early Universe. After the Big Bang, the Universe cooled enough for the first stars to form out of the original hydrogen and helium. This was pure material, unpolluted by previous generations of stars. Astronomers have calculated that these first stars, called Population III, would have a maximum rate that they could gather material together to form a star. But what if there was much more gas around? Way beyond the limits that could form a star. With a regular star, material comes in relatively slowly, creating a central mass. With enough mass, the star ignites, and this creates and outward pressure that stops further material from compacting too tightly. But Dr. Begelman has calculated that if the infall rate exceeds just a few tenths of a solar mass per year, the stellar core would be so tightly bound that the energy release of nuclear fusion wouldn’t be enough to stop the core from continuing to contract. You would never have a star, you would just go from a cloud of hydrogen to a tightly bound central mass. And then a black hole. The question is, would it be possible to have material come together so quickly? It can, if something’s pushing it… like dark matter. According to Dr. Begelman, there could be several situations where an external force, like the gravity from a large halo of dark matter which could work to force gas into a central area. In fact, material has been calculated falling into a black hole this quickly, because that’s the rate it takes to power quasars. But the question is, will this work if the black hole isn’t there, or really small. Once there are a few solar masses of accumulated gas, the core begins to shrink under the pull of its increasing mass. The object goes through a brief period of nuclear fusion when it reaches 100 solar masses, but it passes through this phase so rapidly that it doesn’t get a chance to expand again. Eventually the object reaches several thousand solar masses, and its temperature has climbed to several hundred million degrees. At this point, gravity finally takes over, collapsing the core, and turning the object into a 10-20 solar mass black hole which then starts consuming all the mass around it. From this point on, the black hole is able to draw in further material efficiently, growing at the maximum levels predicted by physics, eventually gathering up millions of times the mass of the Sun. If too much material falls in, the baby supermassive black hole might act like a mini-quasar – Dr. Begelman has dubbed this a “quasistar” – blazing with radiation as infalling material backs up in the black hole’s surroundings. And there’s the good news: these quasistars might be detectable by powerful telescopes. However, they would have very short lifetimes, only lasting 100,000 years. They might be marginally detectable by the upcoming James Webb Space Telescope. Original Source: Arxiv paper

<urn:uuid:470af4f3-5e87-401c-a0ce-4c1dc9158d49>

CC-MAIN-2016-30

http://www.universetoday.com/11734/never-a-star-did-supermassive-black-holes-form-directly/

s3://commoncrawl/crawl-data/CC-MAIN-2016-30/segments/1469257836392.83/warc/CC-MAIN-20160723071036-00295-ip-10-185-27-174.ec2.internal.warc.gz

en

Speciation is the process by which an interbreeding population becomes divided into reproductively isolated groups. The long-term research goal in our laboratory is to test the hypothesis that the first steps toward postzygotic reproductive isolation are due to the evolution of sex-ratio meiotic drive systems. Sex- ratio meiotic drive is a phenomenon of non-Mendelian segregation manifested by genetic conflicts between sex chromosomes and autosomes. In the proposed research, we shall characterize genes involved in meiotic drive and/or hybrid male sterility. First, we will study the Winter sex-ratio for the molecular mechanisms involved for this system through small RNA profiling and transgenics. Second, we will study the Durham sex-ratio to characterize the hybrid male sterility loci that are either member of or interacting with this sex-ratio system. In the end, we expect to determine the molecular and evolutionary link between meiotic drive and speciation. Speciation is the process by which an interbreeding population becomes divided into reproductively isolated groups. We propose to determine the molecular and evolutionary link between meiotic drive, a form of genetic conflicts within a genome, and speciation. |Branco, A T; Tao, Y; Hartl, D L et al. (2013) Natural variation of the Y chromosome suppresses sex ratio distortion and modulates testis-specific gene expression in Drosophila simulans. Heredity (Edinb) 111:8-15| |Meiklejohn, Colin D; Tao, Yun (2010) Genetic conflict and sex chromosome evolution. Trends Ecol Evol 25:215-23|

<urn:uuid:472c60f2-616a-4cfe-9f90-e1c9a3094640>

CC-MAIN-2017-09

http://grantome.com/grant/NIH/R01-HD060679-04

s3://commoncrawl/crawl-data/CC-MAIN-2017-09/segments/1487501171251.27/warc/CC-MAIN-20170219104611-00460-ip-10-171-10-108.ec2.internal.warc.gz

en

Wild radish, (Raphanus raphanistrum), also called jointed charlock, widespread annual plant of the mustard family (Brassicaceae), native to Eurasia. Wild radish has naturalized throughout much of the world and is a noxious agricultural weed in many places. The plant is believed by some authorities to be the ancestor of the domestic radish (Raphanus sativus), and the two species readily hybridize. Wild radish has a stout taproot, a rosette of unequally divided leaves, and very bristly flowering stalks about 60 cm (2 feet) tall. The four-petaled flowers may be yellow, lilac, white, or violet and have visible veins. The fruits, borne below the flower head, are narrowly oval, jointed siliques containing 4 to 10 seeds.

<urn:uuid:bd4ceea7-208e-428d-9ddd-10e7352386b0>

CC-MAIN-2018-34

https://www.britannica.com/plant/wild-radish

s3://commoncrawl/crawl-data/CC-MAIN-2018-34/segments/1534221214691.99/warc/CC-MAIN-20180819031801-20180819051801-00180.warc.gz

en

Rob Diaz de Villegas Producer/ Editor WFSU-TV When a lot of us think about science, we think about the laboratory. The lab: a sterile, controlled environment in which men and women in clean white lab coats toil with beakers and bunsen burners. The word science has a cleanliness to it. It sounds like tidy explanations, an orderly universe. But, much like the universe is not always a tidy place, scientific knowledge isn’t always gained in a tidy manner. The studies that we will feature in this blog are conducted mostly in wet, muddy places. Dr. Randall Hughes studies salt marshes located in and around St. Joseph Bay. Getting to some of these places requires walking through water, and mud that you can sink in up to your knee and possibly lose your shoe in. Some of her sites are only accessible by kayak. The oyster reefs being studied by Dr. David Kimbro are in similar locations, right alongside salt marshes. But whereas Randall is a year into her study, and knows her sites and how to get to them, David is just starting to identify his sites and their challenges. We were able to go out with David on the first day of his study. He was just getting to know this one site on Alligator Harbor. Getting to the reefs involved walking from salt marsh island to salt marsh island in waist high water and deep, soft mud. The reefs themselves are of course covered in sharp shells, so you don’t necessarily want to fall down there like I did in the mud. It was a slow approach to the sites, and when we saw lightning not too far off, we had to make a fast getaway. Back at the lab later on, David decided that perhaps that site was best approached by boat. We’ll have video of that first day with David up by next week. First we’ll have a video on Randall’s study. We’ll try to have at least one video a week, and the researchers will contribute posts. It will be a unique way to glimpse scientific study in action. And if what we’ve all been fearing happens, it will also serve as a record of how these habitats will survive crude oil washing up on to them. Both David and Randall have been collecting data on these healthy habitats in preparation for what may come. But while we’ll be keeping an eye on that blob in the Gulf, we don’t really know what will happen. Until then, I’ll just enjoy my time in the mud and the water and try to post some informative videos, and try not to ruin too many socks.

<urn:uuid:4587f548-9bbe-4e87-95ee-31c6985a1935>

CC-MAIN-2014-10

http://wfsu.org/blog-coastal-health/?p=47

s3://commoncrawl/crawl-data/CC-MAIN-2014-10/segments/1393999635916/warc/CC-MAIN-20140305060715-00092-ip-10-183-142-35.ec2.internal.warc.gz

en

Ribbon WormsJon L. Norenburg This tree diagram shows the relationships between several groups of organisms. The root of the current tree connects the organisms featured in this tree to their containing group and the rest of the Tree of Life. The basal branching point in the tree represents the ancestor of the other groups in the tree. This ancestor diversified over time into several descendent subgroups, which are represented as internal nodes and terminal taxa to the right. You can click on the root to travel down the Tree of Life all the way to the root of all Life, and you can click on the names of descendent subgroups to travel up the Tree of Life all the way to individual species.close box Envall, M. 1998. General problems in estimating nemertean relationships on ribosomal sequence data - an example using six monostiliferous species and mitochondrial 16S rDNA. Hydrobiologia 365:19-31. Gibson, R. 1994. Nemerteans. Synopses of the British Fauna [New Series] No. 24, 2nd edition. Field Studies Council, Shrewsbury, UK, 224 pp. Gibson, R. 1995. Nemertean genera and species of the world. An annotated checklist of original names and description citations, synonyms, current taxonomic status, habitats and recorded zoogeographic distribution. Journal of Natural History 29:271-562. Härlin, M. 1998. Tree-thinking and nemertean systematics, with a systematization of the Eureptantia. Hydrobiologia 365:33-46. Maslakova, S. A. and J. L. Norenburg. 2001. Phylogenetic study of pelagic nemerteans (Pelagica, Polystilifera). Hydrobiologia 456:111-132. Moore, J. and R. Gibson. 1985. The evolution and comparative physiology of terrestrial and freshwater nemerteans. Biological Reviews 60:257–312. Roe, P. and J. L. Norenburg. 2001. Morphology and taxonomic distribution of a newly discovered feature, postero-lateral glands, in pelagic nemerteans. Hydrobiologia 456:133-144. Schwartz, M. L. and J. L. Norenburg. 2001. Can we infer heteronemertean phylogeny from available morphological data? Hydrobiologia 456:165-174. Stricker, S. A., T. L. Smythe, L. Miller, and J. L. Norenburg. 2001. Comparative biology of oogenesis in nemertean worms. Acta Zoologica 82(3):213-230. Sundberg, P. and R. Hylbom. 1994. Phylogeny of the nemertean subclass Palaeonemertea (Anopla, Nemertea). Cladistics 10:347-402. Sundberg, P. and M. Svensson. 1994. Homoplasy, character function, and nemertean systematics. Journal of Zoology 234:253-263. Sundberg, P., J. M. Turbeville, and S. Lindh. 2001. Phylogenetic relationships among higher nemertean (Nemertea) taxa inferred from 18S rDNA sequences. Molecular Phylogenetics and Evolution 20:327-334. Thollesson, M. and J. L. Norenburg. 2003. Ribbon worm relationships: a phylogeny of the phylum Nemertea. Journal of the Royal Society of London B 270:407-415. Turbeville, J. M. 1991. Nemertea. Pages 285-328 in: Microscopic Anatomy of Invertebrates. F. W. Harrison and B. J. Bogitsch, eds. Wiley-Liss, New York. Turbeville, J. M., K. G. Field, and R. A. Raff. 1992. Phylogenetic position of phylum Nemertini, inferred from 18s rRNA sequences: Molecular data as a test of morphological character homology. Molecular Biology and Evolution 9:235-249. - Nemertes, your web resource for Nemertean research. Jon Norenburg and Frank Crandall. - Introduction to the Nemertini. Tied up in knots. . .. UCMP Berkeley. Jon L. Norenburg Smithsonian National Museum of Natural History, Washington, D. C., USA Correspondence regarding this page should be directed to Jon L. Norenburg at Page copyright © 2004 Jon L. Norenburg All Rights Reserved. - First online 23 March 2004 - Content changed 16 April 2004 Citing this page: Norenburg, Jon L. 2004. Nemertea. Ribbon Worms. Version 16 April 2004 (temporary). http://tolweb.org/Nemertea/2489/2004.04.16 in The Tree of Life Web Project, http://tolweb.org/

<urn:uuid:356d5ea8-0b54-43fd-bcbe-386613873f60>

CC-MAIN-2016-44

http://tolweb.org/Nemertea

s3://commoncrawl/crawl-data/CC-MAIN-2016-44/segments/1476988720737.84/warc/CC-MAIN-20161020183840-00397-ip-10-171-6-4.ec2.internal.warc.gz

en

In early 1882, Edison opened the world’s first steam-powered electricity generating station at Holborn Viaduct in London, where he had entered into an agreement with the City Corporation for a period of three months to provide street lighting. In time he had supplied a number of local consumers with electric light. The method of supply was direct current (DC). 3. Customer service: When the only utility available has lousy customer service, nobody is surprised. They don’t even pretend to care – they know they have you over a barrel. With all these new players in town, however, it’s a slap in the face to be treated like royalty until you’ve signed on the dotted line and now they won’t even return your calls or the person on the phone can’t string three English words together or if he does speak English, he’s brand new and panicking trying to pull up your account information. ElectricityPlans lets you easily compare electricity plans by displaying all-inclusive rates at all advertised usage levels in a simple easy-to-read format. You can easily estimate your actual all-in electric bill at any given usage level using our Plan Details and Pricing section for each plan. All energy charges, delivery fees, bill credits, and other fees for each plan are shown so you can accurately estimate your monthly electric bill. By showing all rates and fees, you’ll avoid the electric bill sticker shock and so-called “teaser rates” commonly used by electric suppliers to achieve better search results on sites such as powertochoose.org. The electric power industry covers the generation, transmission, distribution and sale of electric power to the general public and industry. The commercial distribution of electric power started in 1882 when electricity was produced for electric lighting. In the 1880s and 1890s, growing economic and safety concerns lead to the regulation of the industry. Once an expensive novelty limited to the most densely populated areas, reliable and economical electric power has become an essential aspect for normal operation of all elements of developed economies.

<urn:uuid:c00b4ffd-4336-4c32-a418-edef2e39de70>

CC-MAIN-2018-43

http://greenpowerenergysaving.com/compare-energy-comparison-sites-change-electricity.html

s3://commoncrawl/crawl-data/CC-MAIN-2018-43/segments/1539583516892.84/warc/CC-MAIN-20181023174507-20181023200007-00086.warc.gz

en

What Can You Do with an Idea? An Award-Winning PBL Program This post originally published on the Buck Institute for Education’s blog and is based on an interview conducted by Mary Ryerse, Director of Strategic Design at Getting Smart, with Kathy Lutes, a teacher at New Life Academy. We sat down with teacher Kathy Lutes, who features Project-Based Learning (PBL) in her classroom and recently received a statewide award for her work. Kathy, a teacher at New Life Academy in Woodbury, Minnesota, invited her students to come up with an idea for a project, and then act upon it. Students chose topics ranging from serving the homeless to building castles to inventing an attachment to a medical device that would make life better for a young patient who doesn’t have a functioning immune system. Kathy wanted her students to know that their ideas really can change the world. In true form, Kathy taught a mini-lesson during her acceptance speech at the award ceremony, reading from the book What Do You Do With an Idea? The punchline of the book – “What you do with an idea? You change the world!” – was also the focus of her students’ projects. What was the inspiration for you to begin implementing project-based learning? A quote from Roger Lewin encouraged the idea of these projects: “Too often we give children answers to remember rather than problems to solve.” These projects encouraged research and perseverance to help students create their final products. What are some examples of projects? Some projects were built upon more service-minded aspects than others; here are a few examples: Helping the Homeless. Two 5th graders wanted to find products for the homeless, so they began collecting coats, toiletries, and other necessary products that they donated to two shelters in the Twin Cities. With their grant, they were able to purchase additional products. Adding Natural Beauty to the School. A 5th grader received a grant to plant a tree next to a soccer field and playground. She planted a linden tree so that it would match the one next to it. Bringing Some “Play” to the St. Paul Children’s Hospital. One student spoke about wanting to make something that would help her sister who “goes to the hospital often” for intravenous treatments. Her sister, Milena, suffers from primary immunodeficiency. It is a genetic disease in which her body cannot produce healthy antibodies. She frequently needs to go to the hospital for IVIG (IV therapy for immunoglobulins). After hearing her mom talk about how hard it was to push the stroller and the IV pole at the same time, the student, Marie, used a dog harness and strap to create a puppy pole for her sister so she could ride around and walk around the halls while pulling her pole. This was done out of love for her sister. Hopefully, someday, something like this can be patented for other children in other hospitals. Other students chose projects such as creating a kids’ cookbook with nutritious snacks, some learned to code and some have done a STEAM project creating a miniature golf course. One student made a trash sculpture, others have written stories or created maps or designed buildings using toothpicks. One girl decided to memorize every country of the world. Watch this video about some of the projects. Were there partnerships to support this work? Some of these projects have, in turn, been rewarded with $250 grants from Thrivent Financial. Thrivent is a unique organization, simultaneously a Fortune 500 financial services organization and a not-for-profit membership organization. Thrivent is committed to enhancing service and education. Each student had to write up a proposal to send to Thrivent, and from there, Thrivent either approved, asked more questions, or disapproved the project for a grant. New Life Academy thanks Thrivent Financial for its generosity. What did students learn? As a teacher, I am proud not only of the beautiful ideas and work they have produced, but also of their perseverance. I’m excited about the lasting lessons they’ve learned from solving these problems. Perseverance was a major lesson that the students learned from these projects. Students are used to having a shorter amount of time to work on assignments like this, but this one lasted a little over a month, so they needed to revamp and get excited about asking new questions and finding new answers. Students have taken away many valuable lessons from these projects. One student’s take away was, “There are many ways to reach one goal.” Another said, “Without teamwork, there is no way to get everything done.” New Life Academy is part of the Minnesota Independent School Forum, an organization committed to strengthening Minnesota’s independent schools through advocacy and advancement. Thanks to Kathy and other teachers who change the world each day. What do you do with an idea? You change the world! For more, see: - SchoolsNEXT Puts Students at the Center of STEM Learning - Four Ways Students Learn from School Gardens - 13 Tips for Students Getting Started with Project-Based Learning Stay in-the-know with all things EdTech and innovations in learning by signing up to receive the weekly Smart Update. This post includes mentions of a Getting Smart partner. For a full list of partners, affiliate organizations and all other disclosures please see our Partner page. What a creative use of a good idea! Good article. Leave a Comment Your email address will not be published. All fields are required.

<urn:uuid:4f5459cc-a1c1-4f4a-af28-8c4bd54ff60f>

CC-MAIN-2023-23

https://www.gettingsmart.com/2016/10/19/what-can-you-do-with-an-idea-an-award-winning-pbl-program/

s3://commoncrawl/crawl-data/CC-MAIN-2023-23/segments/1685224649193.79/warc/CC-MAIN-20230603101032-20230603131032-00431.warc.gz

en

A Florida-based inventor Harry Schoell has recently resurrected the long forgotten external combustion (EC) engine. Schoell, who dubbed his system Cyclone Green Revolution Engine, claims it is a low-cost, clean burning drive solution, suitable for virtually any transport or power equipment. Unlike the internal combustion engines, EC powerplants rely on an external mechanism to burn liquid or gaseous fuel and set in motion mechanical engine parts. This facilitates high fuel flexibility, allowing the engine to run on anything from biodiesel and ethanol to anaerobically digested biomass. EC engines are also much simpler in design, requiring no transmission and dropping many costly subsystems like oil pumps, catalytic converters, radiators and mufflers. Of course, external combustion systems and "cyclone-type" motors aren't exactly new. John Ericsson built a number of successful versions of diesel cycle ECs in the mid 1800s. And although some believe that external combustion drives are environmentally friendlier, the success of the cyclone engine will depend on its measurable advantages against other green propulsion systems in terms of emissions, efficiency and performance as well as against internal combustion engines that have traditionally been more efficient but with issues of complexity and emissions.

<urn:uuid:c6b17995-0a9b-4877-9b74-367a20681a37>

CC-MAIN-2017-43

http://goodcleantech.pcmag.com/automotive/281663-new-cyclone-green-revolution-engine-gives-food-for-thought

s3://commoncrawl/crawl-data/CC-MAIN-2017-43/segments/1508187826114.69/warc/CC-MAIN-20171023145244-20171023165244-00789.warc.gz

en

عنوان مقاله [English] نویسندگان [English]چکیده [English] Electron microscopy studies (EPMA- WDS and SEM- EDS) provided detailed information about the morphology, source, transport, diffusion, properties, transformation reactions and environmental impacts of aerosol particles in digging tunnels of underground uranium mine in Saghand area. The size, aspect ratio and chemical composition of particles were studied by SEM-EDS but the mineralogical phase compositions of the particles were investigated by EPMA. EPMA analysis indicated that particulate matters (PM) were mainly composed of irregularly shaped mineral particles. Analysis of 46 individual particles showed that all particles were mineral aggregates and some of them contained sulfur. The X-ray diffraction (XRD) analysis showed that the main minerals were clay minerals, iron oxides, amorphous materials, quartz, calcite, pyrite and hornblende. Clay minerals were to the greatest illite/smectite mixed layers and kaolinite and chlorite as secondary elements. The particulate matters collected during the drilling episodes were characterized by high quartz/clay ratio and dominance of illite/smectite mixed layers in clay minerals. The concentration ofdusts in different parts of digging tunnels, in poorly ventilated parts of the mine was below the OSHA standard. The existence of aerosols of uranium minerals plus quartz indicated that the personnel of the mine were exposed to serious health hazards unless they were equipped with suitable environmental filters. W. Birch, H. Datson, Reducing the environmental effect of aggregate quarrying: Dust, Noise and Vibration. In Sustainable aggregates, University of Leeds and University of Nottingham (2008). P.H. McMurry, A review of atmospheric aerosol measurements, Atmospheric Environment, 34 (2000) 1959-1999. R. Godoi, D. Braga, Y. Makarovska, B. Alfoldy, M. Carvalho Filho, R. Grieken, A. Godoi, Inhable particle matter from lime industries: Chemical composition and deposition in human respiratory tract, Atmospheric Environment, 42 (2008) 7027-7033. A. Zanobetti, J. Schwartz, D.W. Dockery, Airborne particles are a risk factor for hospital admissions for heart and lung disease, Environ. Health Perspect, 108 (2000) 1071-1077. R.D. Brook, B. Franklin, W. Cascio, Y. Hong, G. Haward, M. Lipsett, R. Luepker, M. Mittleman, J. Samet, S.C. Smith, I. Tager, Air pollution and cardiovascular disease: A Statement for Healthcare Professionals From Expert Panel on Population and Prevention Science of the American Heart Association, Circula, 21 (2004) 109. M.L. Maiello, M.D. Hoover, Radioactive air sampling methods, CRC Press, New York, (2011). I. Salma, I. Balashazy, R. Winkler-Heil, W. Hofmann, G. Zaray, Effect of particle mass size distribution on the deposition of aerosols in the human respiratory system, Aerosol Science. J. 33 (2002) 119-132. J.H. Vincent, The fate of inhaled aerosols: a review of observed trends and some generalizations, Annals of Occupational Hygiene, 34 (1990) 623-637. P. Hinz, A. Trimborn, E. Weingartner, S. Henning, U. Baltensperger, B. Spengler, Aerosol single particle composition at the Jungfraujoch, Aerosol Science, 36 (2005) 123-145. S. Yadav, V. Rajamany, Geochemistry of aerosol of northwestern part of india adjoining the thar desert, Geochimica et Cosmochimica Acta, 68 (9) (2004) 1975-1988. B. Alfoldy, J. Trincavelly, S. Torok, G. Castellano, Characterization of atmospheric particles by electron probe X-ray, 24 (2002) 297-300. M. Ebert, J. Dahmen, P. Hoffmann, H.M. Ortner, Examination of clean room aerosol particle composition by total reflection X-ray analysis and electron probe microanalysis, Spectrochimica Acta., Part B, 52 (1997) 967-975. G.S. Casuccio, S.F. Schlaegle, T.L. Lersch, G.P. Huffman, Y. Chen, N. Shah, Measurement of fine particulate matter using electron microscopy techniques, Fuel Processing Technology, 85 (2004) 763-779. M. Murakami, F. Nakajima, H. Furumai, B. Tomiyasu, M. Owari, Identification of particles containing chromium and lead in road dust and soakaway sediment by electron probe microanalyser, Chemosphere 67 (2007) 2000-2010. P. Khaenamkaw, P. Iamraksa, S. Raksawang, K. Wongsorndham, S. Khuntong, SEM/EDS morphological and chemical composition identification of particulate matter emission from shipping activities around Si Racha Bay, Si Chang Island, Chonburi, Thailand. Journal of the Microscopy Society of Thailand, 24 (2010) 37-41. A. Zarasavandi, F. Moore, A. Nazarpour, Mineralogy composition and morphological constituent particle of phenomenon of dust in Khoozestan province based on XRD analysis and SEM images, J. Crystallography and Mineralogy, 19(3) (2011) 511-518. P.J. Walsh, Radiation dose to the respiratory tract of uranium miners, Environmental Research, 3 (1970) 14-36. C. Papastefanou, Radioactive nuclides as tracers of environmental processes, J. Radioanal. Nucl. Chem, 267 (2) (2006) 315-320. A. Naghizadeh, A.H. Mahvi, H. Jabbari, A. Dadpour, M. Karimi, Determine the level of dust and free silica in air of Khaf iron stone quarries, Iran. J. Health & Environ, 1 (1) (2008) 37-44. A. Choobineh, F. Amirzadeh, SH. Arghami, Overview of occupational health, Shiraz university publication of medical science, Third edition (2003) 297. A. Shakoori, The final report on the uranium mineral reserve estimates, mineral zones 1 and 2 of Saqand uranium deposit (1993).

<urn:uuid:65bb0e15-0575-4998-beec-91a88165751f>

CC-MAIN-2020-16

https://jonsat.aeoi.org.ir/article_57.html

s3://commoncrawl/crawl-data/CC-MAIN-2020-16/segments/1585370524604.46/warc/CC-MAIN-20200404165658-20200404195658-00241.warc.gz

en

A genetic trick used by viruses to replicate themselves has been adapted for laboratory use to build complex protein structures required by immune system cells, according to investigators at St. Jude Children’s Research Hospital. This approach could also be used to develop new gene therapy vectors in cases when cells must be modified to make high levels of different proteins. A vector is a DNA molecule used to ferry specific genes into cells in order to give those cells the ability to make particular proteins. A report on this work appears in the May 2004 issue of Nature Biotechnology. The achievement gives researchers a powerful tool for studying the roles of complex proteins in living cells. The study also showed that this technique can reliably produce therapeutically useful amounts of multiple proteins. Some cellular proteins must be present in many copies in order to work efficiently. Because it only borrows a genetic trick from viruses but does not cause a real infection, the technique may increase the usefulness of current gene therapy vectors. Specifically, the technique would permit scientists either to restore complex protein structures that are missing in certain cells or make multiple proteins that act together as potent drugs against cancer and other diseases. The technique is based on a genetic trick, called a self-cleaving 2A peptide, which is used by some viruses to produce multiple proteins from a single length of DNA; i.e., a single, long protein is produced that automatically breaks into multiple, distinct proteins. St. Jude researchers used genetically modified mouse immune system cells called T lymphocytes to test the efficiency of this technique in making the CD3 complex, which is part of the T cell receptor, a large protein lodged in the cell’s membrane. The receptor allows T cells to “sense” targets that the cells are programmed to destroy. Without the CD3 complex, the T cell receptor is incomplete and cannot perform its immune function. The St. Jude researchers used retroviral vectors as the delivery system into which they inserted cassettes (groups of genes) that contained genes for the four CD3 proteins, separated by the 2A peptides. These 2A peptides acted like cleavers to break apart the long protein into the four different, smaller CD3 proteins. The cell used these smaller proteins to build the large TCR:CD3 receptor. In order to replicate inside a cells, the retrovirus RNA must first be changed back into DNA. A retrovirus is a virus whose genetic material is RNA instead of DNA. The St. Jude team used these multicistronic retroviral vectors (vectors carrying several different genes) to deliver the 2A peptide-linked CD3 gene cassettes into hematopoietic stem cells from mice that lacked the CD3 proteins, and thus could not make T cells. These genetically modified stem cells subsequently developed and restored T cell development in the mice. Hematopoietic stem cells are “parent” cells that give rise to all the red and white cells found in blood. “These 2A peptides will allow us, and others, to generate single vectors that can efficiently and reliably express multiple proteins in the exact amounts needed to permit the cell to assemble complex structures,” said Dario A. A. Vignali, Ph.D., associate member of the St. Jude Department of Immunology and a faculty member at the University of Tennessee Medical Center. Vignali is senior author of the Nature Biotechnology report. “We expect that this technique will make it a lot easier for us to study the role of complex protein structures,” Vignali said. “These 2A peptides may also facilitate the development of more versatile gene therapy vectors for treatments that require replacement or expression of more than a single gene.”

<urn:uuid:ae7b18fd-bcdd-4f62-837f-82e187298323>

CC-MAIN-2021-04

https://www.news-medical.net/news/2004/04/07/346.aspx

s3://commoncrawl/crawl-data/CC-MAIN-2021-04/segments/1610703495901.0/warc/CC-MAIN-20210115134101-20210115164101-00515.warc.gz

en

Among focus on the Corona Virus Disease (COVID-19) outbreak originating in the city of Wuhan, Hubei province China, the neighboring province of Hunan is experiencing an outbreak of Avian Influenza among poultry [1-3]. On February 1, the Ministry of Agriculture and Rural Affairs reported that a poultry farm in Shaoyang City lost about half its flock to a highly pathogenic strain of H5N1 [1,2]. Of the 7,850 chickens in the flock, 4,500 died from H5N1 infection [1,2]. As a precautionary measure, 17,828 chicken were culled in a stated “special facility” [1,2,4]. The justification for the cull is the high pathogenicity of the H5N1 strain that was found in the Shaoyang flock . The World Health Organization (WHO) reported that since 2003, 455 people worldwide have died from H5N1 related disease [2,5]. No human cases of H5N1, related to this event or otherwise, have been reported. However, a human case of H9N2 Avian Influenza was reported on February 7 in Hong Kong . This case is a seven-year-old boy with underlying illness who presented with a cough, runny nose, and fever . The Center for Health Protection confirmed it was H9N2 Avian Influenza through a nasal swab and believe it is an isolated case . Contacts, including family and medical staff, have been put under medical observation . The boy had visited his grandparents, who have chickens, but is reported to have had no direct contact with the birds . The most recent H9N2 case in Hong Kong was in 2013, and in total, there have only been eight cases recorded . An additional outbreak of H5N6 was reported, on February 10, in southwestern Sichuan Province . This strain is also highly pathogenic and killed 1,840 birds in the affected flock . The remaining 657 birds on the poultry farm have been culled . Avian Influenza, commonly referred to as “bird flu” is a type of influenza that causes severe respiratory disease in birds . H5N1, the strain included in the Shaoyang City outbreak, has a mortality rate of 60% in humans . Zoonotic transfer from birds to humans is rare but occurs when humans have close contact with either alive or dead infected birds, or H5N1 contaminated environments . A common mechanism of zoonotic transfer in the past has been home slaughter and subsequent handling of the bird prior to cooking . Proper cooking temperatures are high enough to kill the virus, meaning consumption can be safe with correct preparation practices . Once a person is infected with H5N1, person-to-person transmission is uncommon, limited, and inefficient [5,8]. However, given the high mortality rate, and constant genetic changes of influenza virus, H5N1 still possess a large threat to humans . Early symptoms of illness in humans include abdominal pain, chest pain and diarrhea . Other symptoms include those similar to other influenza illness including fever, malaise, cough, sore throat, and muscle aches . Serious disease can also develop and presents with difficulty breathing or shortness of breath, pneumonia, Acute Respiratory Distress Syndrome, altered mental status, or seizures . For treatment, seeking intensive care is recommended and the antiviral oseltamivir can help prevent death and severe illness, and should be given in all cases . There is no widespread vaccination, but there are a few candidates that are accepted . Additionally, seasonal influenza vaccination has not been found to protect against H5N1 . Saudi Arabia and Vietnam are also currently experiencing outbreaks of Avian Influenza among poultry populations. In Saudi Arabia, a strain of H5N8 circulated among a poultry farm in central Sudair . 22,700 birds died of the H5N8 infection and the remaining 385,300 of the flock were slaughtered as a precaution [9,10]. The Saudi Agriculture Ministry reported the outbreak on January 30, and the World Organization for Animal Health (OIE) confirmed it on January 31 and reported it out in February 4 . The last report of H5N8 in Saudi Arabia was on July 22, 2018 [9,10]. On February 4, notification of H5N6 among poultry in Vietnam was reported by OIE . In the affected flock, there were 3000 susceptible birds, of which there were 2500 cases and 2200 deaths . The 300 that were infected but did not die were culled . Prior to these cases, the last reported case of H5N6 in Vietnam was on November 15 of 2019 . On February 17, two outbreaks of H5N1 were reported by OIE also in Vietnam . These two outbreaks consisted of 190 and 500 cases respectively, and the flocks were both culled . Prime Minister Nguyen Xuan Phuc has ordered cities and provinces to strengthen control and preventive measures against Avian Influenza on poultry farms, to mitigate potential transfer to humans . This is especially important now given the threat and increasing number of COVID-19 cases in the area . As COVID-19 continues to spread through China, Asian, and the world at large, it will be important to monitor each of these Avian Influenza strains and see if more local birds are infected, or if any human cases develop from the strains affecting these poultry farms. https://wkzo.com/news/articles/2020/feb/04/saudi-arabia-reports-h5n8-bird-flu-on-farm-oie/981531/?refer-section=health https://www.oie.int/wahis_2/public/wahid.php/Reviewreport/Review?page_refer=MapFullEventReport&reportid=33155

<urn:uuid:e71360b0-a322-4f89-8b01-8eb6e71ef9b3>

CC-MAIN-2020-45

http://www.diseasedaily.org/diseasedaily/article/avian-flu-outbreak-among-poultry-china-21920

s3://commoncrawl/crawl-data/CC-MAIN-2020-45/segments/1603107878879.33/warc/CC-MAIN-20201022024236-20201022054236-00334.warc.gz

en

Fracking uses a toxic chemical cocktail known as fracking fluid. Companies using fracking fluid have resisted disclosing the contents of fracking fluid, claiming the information is proprietary. However, samples from well sites indicate that the fluid contains: formaldehyde, acetic acids, citric acids, and boric acids, among hundreds of other contaminants. Fracking removes millions of gallons of precious freshwater from the water cycle. Each well uses between two and five million gallons of locally-sourced freshwater which will be permanently contaminated by ground contaminants and toxic chemicals contained in the fracking fluid. About half of this water returns to the surface, where it is stored in steel containers until it can be injected deep underground in oil and gas waste wells. No one is entirely sure what happens to the other half of the water used in the process. Our best guess is that the water remains underground, though there are indications that at least some of this toxic cocktail makes its way back into the water supply. Fracking causes a range of environmental problems. At least eight other states have reported surface, ground, and drinking water contamination due to fracking. In Pennsylvania, over 1,400 environmental violations have been attributed to deep gas wells utilizing fracking practices. Pollution from truck traffic, chemical contamination around storage tanks, and habitat fragmentation and damage from drilling to environmentally sensitive areas have are all related to fracking.

<urn:uuid:360dd04d-d46c-4776-bc00-b9628239e921>

CC-MAIN-2014-35

http://www.cleanwateraction.org/page/fracking-dangers

s3://commoncrawl/crawl-data/CC-MAIN-2014-35/segments/1408500824209.82/warc/CC-MAIN-20140820021344-00157-ip-10-180-136-8.ec2.internal.warc.gz

en

A cervical laminoplasty is an operative procedure that involves reshaping/repositioning the bone at the neck region (cervical spine) to relieve excess pressure on the spinal nerves. It can also be performed to relieve the symptoms of narrowed spinal canal known as spinal stenosis. Laminoplasty involves repositioning or reshaping of the lamina (roof), unlike laminectomy which involves removal of the lamina. Degeneration of the facet joints and intervertebral discs that connect vertebrae to one another results in narrowing of the spinal canal, known as spinal stenosis. In addition, the arthritic facet joints become bulkier and consume the space existing for the nerve roots. Besides, thickened ligaments and bony out growths also known as bone osteophytes or bone spurs can also narrow the spinal canal. The condition of spinal stenosis, narrowing of the spinal canal, puts pressure on the spinal nerves and spinal cord, causing symptoms such as neck pain, tingling sensation, numbness or weakness that extends to the shoulders, arms and/or hands and bowel or bladder impairment. The objective of cervical laminoplasty is to relieve pressure on the spinal nerves by removing the source of pressure without disturbing the stability of the posterior elements of the vertebrae. This procedure is also called an “open door laminoplasty” because it involves “hinging” one side of the vertebrae and cutting the other side forming a “door”, which is opened and placed with wedges made up of bone and instrumentation. Your surgeon recommends you for cervical laminoplasty after examining your spine, medical history, and imaging results of cervical vertebrae such as X-ray, CT (computed tomography) scan or MRI (magnetic resonance imaging). Surgery is recommended only after non-surgical treatment approaches fails to relieve symptoms after a reasonable period of time. The procedure is performed with you resting on your stomach and injected with sleep inducing medication (general anesthesia). Your surgeon makes a small incision near the center of your neck on the back side, and approaches the neck bones (cervical vertebrae) by moving the soft tissues and muscles apart. The spinal processes of the vertebra are removed. Then, a side of the cervical vertebra is cut making a “hinge” and later the other side is also cut allowing the bones to open like a “door”. The back of each vertebra is bent back to remove pressure on the spinal structures such as spinal cord and spinal nerves. Other compression sources such as bone spurs, excess ligaments and/or disc fragments (discectomy) are also removed. Small wedges are placed in the “open” space of the door and sealed with proper instrumentation. After the procedure, your surgeon brings back the soft tissues and muscles to their normal place and closes the incision. A specific post-operative recovery/exercise plan will be given by your physician to help you return to normal activity at the earliest possible. After surgery, your symptoms may improve immediately or gradually over the course of time. The duration of hospital stay depends on this treatment plan. In few instances, surgery may also be performed on an outpatient basis. You will be able to wake up and walk by the end of the first day after the surgery. Your return to work will depend on your body’s healing status and the type of work/activity that you plan to resume. Discuss with your spinal surgeon and follow their instructions for optimized healing and appropriate recovery after the procedure. Treatment results are different for each patient. All surgeries carry risk and it is important to understand the risks of the procedure in order to make an informed decision to go ahead with the surgery. In addition to the anesthetic complications, spinal surgery is associated with some potential risks such as infection, blood loss, blood clots, nerve damage, and bowel and bladder problems. Failure to fuse the vertebral bones with the bone graft (fusion failure) is an important complication of spinal fusion which requires an additional surgery. Please take your physician’s advice for a complete list of indications, clinical results, adverse effects, warnings and precautions, and other relevant medical information about cervical laminoplasty procedure.

<urn:uuid:bb863b7b-eaa0-455f-95cd-be75f34ed44c>

CC-MAIN-2018-26

http://www.ilspine.com/cervical-laminoplasty.html

s3://commoncrawl/crawl-data/CC-MAIN-2018-26/segments/1529267868237.89/warc/CC-MAIN-20180625170045-20180625190045-00598.warc.gz

en

Our Sun is our closest star to our Earth. It is at least 4.5 billion years old. Without the Sun, the Earth would not be able to support life. How does the Sun work? The Sun stays lit by converting hydrogen into helium like a big atomic furnace. As a result, tremendous amount of energy is released. The energy is so great that the Sun gives off 40,000 watts of light from every square inch of its surface! Why is it important? The Sun is important because it provides the Earth heat, it creates our daylight by emiting electromagnetic radiation, it allows plants to grow via photosynthesis which in turn absorb carbon dioxide and create oxygen. It is one of the prime ingredidents for most Earth life-forms. There are exeptions such as an lifeforms which have been found near ultra-hot underwater volcanic vents. Facts about Our Sun * The Sun’s temperature: 10,000 degrees Fahrenheit at the surface and 27,000,000 degrees Fahrenheit at the center. * Distance from Earth: 149 million Kms * The Sun’s composition (by weight): 70% hydrogen, 28% helium, 1.5% carbon, nitrogen, and oxygen and 0.5% all other elements. * Size: 870,000 miles in diameter, 109 times larger than the Earth’s. * Average Distance from the Earth: 93,000,000 miles. It takes light 8 and 1/2 minutes to travel from the Sun to the Earth. The Sun is about 4.5 billion year old star. It is in the middle phase of its existance. The Sun is consists of six parts: 1. The Core is the centre. This is where hydrogen is converted into helium. 2. The Radiation Zone is above the core. 3. The Convection Zone is the outer part of the Sun’s interior. 4. The photosphere is above the convection zone and is the part of the Sun that we see. What part of the Sun do we see from Earth? The part of the Sun that we see from Earth is called the photosphere. It is the Sun’s lower atmosphere. Although it is only a few hundred miles thick, it gives off most of its energy as visible light and heat. 5. The chromosphere is above the photosphere. During solar eclipses it can be seen when the much brighter photosphere is blocked out by the Moon. 6. The Corona is the outermost layer of the Sun. It is the hottest part of the surface of the Sun. It extends millions of kilometers into space and is a million times fainter than the photosphere. It has temperatures reaching millions of degrees. The corona can be seen only during solar eclipses because it is millions of times fainter than the photosphere. Specially designed scientific instruments called coronagraphs can also observe it. Life on Earth We rely on our Sun for our very existence. Without the sun, nothing can grow on our planet. Because our sun is our only natural resource for heat and light, our planet will go into a deep freeze, when our Sun dies. The surface of the sun is an inferno of helium and hydrogen gas reacting in a violent thermonuclear manner, flooding the solar system with light. Our Sun’s size is massive, about 3 million miles around its equator. The Sun travels about 700, 000 miles per hour, hurtling through space carrying all planets including us on Earth with it. Solar flares are huge explosions of energy that form in the Sun’s core, then sent into space. On Planet Earth they can sometimes be viewed, they are called aurorae. Sunspots are dark markings in the granulation of the solar photosphere. Sunspots are the centers of intense localized magnetic fields and represent the most obvious manifestations of solar activity. Scientists can’t study the Sun through X-ray telescopes on Earth since the Earth’s atmosphere absorbs X-rays, solar X-rays can only be studied from spacecraft above our atmosphere. What Will Happen to Our Sun? In a couple billion years from today, our Sun will run out of hydrogen and the star will begin to contract. This contraction will cause energy in the core to blaze even hotter then now. This new energy will force the outer layers away from the core and our Sun will become a Red Giant. Its size will grow about one hundred times it’s present size and it will burn 500 times brighter. Planet Earth will become a sea of hot, molten lava everywhere. The Sun will then begin to shrink into a white dwarf star. Questions – Test your knowledge How Does the Sun Stay lit? How long does it take light to travel from the Sun to Earth? Light from the Sun takes eight minutes to reach Earth. Is our sun a star? What is the name of the Sun? Our sun’s star name is Sol. Did you know? Warning! Do not look at the Sun directly or you may damage your eyes. This includes telescopes, certain cameras and binoculars. Our Sun Links: - Solarview’s Sun: - Solar Folklore: For centuries, humans have attempted to explain the Sun in terms of their own worldviews. The Sun can be a god, a demon, a mischievous spirit … Folklore relating to the sun from around the world. - Howstuffworks “How the Sun Works” - BBC Solar System – The Sun contains 99% of the Solar System’s mass: Sunrise Landing Motel & Resort: Picture of Sunrise Any comments or suggestions, then click on Contact Info. Aerospaceguide Update News and more. Keep in touch by joining the Free Emailed Newsletter.

<urn:uuid:407751d8-b015-4ba3-9057-137c8dfc6e0f>

CC-MAIN-2019-22

http://www.aerospaceguide.net/solar_system/sun.html

s3://commoncrawl/crawl-data/CC-MAIN-2019-22/segments/1558232257396.96/warc/CC-MAIN-20190523204120-20190523230120-00014.warc.gz

en

De Rham cohomology In mathematics, de Rham cohomology (after Georges de Rham) is a tool belonging both to algebraic topology and to differential topology, capable of expressing basic topological information about smooth manifolds in a form particularly adapted to computation and the concrete representation of cohomology classes. It is a cohomology theory based on the existence of differential forms with prescribed properties. where Ω0(M) is the space of smooth functions on M, Ω1(M) is the space of 1-forms, and so forth. Forms which are the image of other forms under the exterior derivative, plus the constant 0 function in Ω0(M) are called exact and forms whose exterior derivative is 0 are called closed (see closed and exact differential forms); the relationship d 2 = 0 then says that exact forms are closed. The converse, however, is not in general true; closed forms need not be exact. A simple but significant case is the 1-form of angle measure on the unit circle, written conventionally as dθ (described at closed and exact differential forms). There is no actual function θ defined on the whole circle of which dθ is the derivative; the increment of 2π in going once round the circle in the positive direction means that we can't take a single-valued θ. We can, however, change the topology by removing just one point. The idea of de Rham cohomology is to classify the different types of closed forms on a manifold. One performs this classification by saying that two closed forms α, β ∈ Ωk(M) are cohomologous if they differ by an exact form, that is, if α − β is exact. This classification induces an equivalence relation on the space of closed forms in Ωk(M). One then defines the k-th de Rham cohomology group to be the set of equivalence classes, that is, the set of closed forms in Ωk(M) modulo the exact forms. Note that, for any manifold M with n connected components This follows from the fact that any smooth function on M with zero derivative (i.e. locally constant) is constant on each of the connected components of M. De Rham cohomology computed One may often find the general de Rham cohomologies of a manifold using the above fact about the zero cohomology and a Mayer–Vietoris sequence. Another useful fact is that the de Rham cohomology is a homotopy invariant. While the computation is not given, the following are the computed de Rham cohomologies for some common topological objects: For the n-sphere, Sn, and also when taken together with a product of open intervals, we have the following. Let n > 0, m ≥ 0, and I an open real interval. Then Similarly, allowing n > 0 here, we obtain Punctured Euclidean space Punctured Euclidean space is simply Euclidean space with the origin removed. The Möbius strip De Rham's theorem Stokes' theorem is an expression of duality between de Rham cohomology and the homology of chains. It says that the pairing of differential forms and chains, via integration, gives a homomorphism from de Rham cohomology to singular cohomology groups H k(M; R). De Rham's theorem, proved by Georges de Rham in 1931, states that for a smooth manifold M, this map is in fact an isomorphism. More precisely, consider the map defined as follows: for any , let I(ω) be the element of that acts as follows: The theorem of de Rham asserts that this is an isomorphism between de Rham cohomology and singular cohomology. The wedge product endows the direct sum of these groups with a ring structure. A further result of the theorem is that the two cohomology rings are isomorphic (as graded rings), where the analogous product on singular cohomology is the cup product. Sheaf-theoretic de Rham isomorphism The de Rham cohomology is isomorphic to the Čech cohomology H ∗(U, F), where F is the sheaf of abelian groups determined by F(U) = R for all connected open sets U ⊂ M, and for open sets U, V such that U ⊂ V, the group morphism resV,U : F(V) → F(U) is given by the identity map on R, and where U is a good open cover of M (i.e. all the open sets in the open cover U are contractible to a point, and all finite intersections of sets in U are either empty or contractible to a point). Stated another way, if M is a compact C m+1 manifold of dimension m, then for each k ≤ m, there is an isomorphism where the left-hand side is the k-th de Rham cohomology group and the right-hand side is the Čech cohomology for the constant sheaf with fibre R. This sequence now breaks up into short exact sequences Each of these induces a long exact sequence in cohomology. Since the sheaf of C m+1 functions on a manifold admits partitions of unity, the sheaf-cohomology Hi(Ωk) vanishes for i > 0. So the long exact cohomology sequences themselves ultimately separate into a chain of isomorphisms. At one end of the chain is the Čech cohomology and at the other lies the de Rham cohomology. The de Rham cohomology has inspired many mathematical ideas, including Dolbeault cohomology, Hodge theory, and the Atiyah–Singer index theorem. However, even in more classical contexts, the theorem has inspired a number of developments. Firstly, the Hodge theory proves that there is an isomorphism between the cohomology consisting of harmonic forms and the de Rham cohomology consisting of closed forms modulo exact forms. This relies on an appropriate definition of harmonic forms and of the Hodge theorem. For further details see Hodge theory. where α is some form, and γ is harmonic: Δγ = 0. Any harmonic function on a compact connected Riemannian manifold is a constant. Thus, this particular representative element can be understood to be an extremum (a minimum) of all cohomologously equivalent forms on the manifold. For example, on a 2-torus, one may envision a constant 1-form as one where all of the "hair" is combed neatly in the same direction (and all of the "hair" having the same length). In this case, there are two cohomologically distinct combings; all of the others are linear combinations. In particular, this implies that the 1st Betti number of a 2-torus is two. More generally, on an n-dimensional torus Tn, one can consider the various combings of k-forms on the torus. There are n choose k such combings that can be used to form the basis vectors for ; the k-th Betti number for the de Rham cohomology group for the n-torus is thus n choose k. with d the exterior derivative and δ the codifferential. The Laplacian is a homogeneous (in grading) linear differential operator acting upon the exterior algebra of differential forms: we can look at its action on each component of degree k separately. If M is compact and oriented, the dimension of the kernel of the Laplacian acting upon the space of k-forms is then equal (by Hodge theory) to that of the de Rham cohomology group in degree k: the Laplacian picks out a unique harmonic form in each cohomology class of closed forms. In particular, the space of all harmonic k-forms on M is isomorphic to H k(M; R). The dimension of each such space is finite, and is given by the k-th Betti number. Letting δ be the codifferential, one says that a form ω is co-closed if δω = 0 and co-exact if ω = δα for some form α. The Hodge decomposition states that any k-form can be split into three L2 components: where γ is harmonic: Δγ = 0. This follows by noting that exact and co-exact forms are orthogonal; the orthogonal complement then consists of forms that are both closed and co-closed: that is, of harmonic forms. Here, orthogonality is defined with respect to the L2 inner product on Ωk(M): A precise definition and proof of the decomposition requires the problem to be formulated on Sobolev spaces. The idea here is that a Sobolev space provides the natural setting for both the idea of square-integrability and the idea of differentiation. This language helps overcome some of the limitations of requiring compact support. - Bott, Raoul; Tu, Loring W. (1982), Differential Forms in Algebraic Topology, Berlin, New York: Springer-Verlag, ISBN 978-0-387-90613-3 - Griffiths, Phillip; Harris, Joseph (1994), Principles of algebraic geometry, Wiley Classics Library, New York: John Wiley & Sons, ISBN 978-0-471-05059-9, MR 1288523 - Warner, Frank (1983), Foundations of Differentiable Manifolds and Lie Groups, Berlin, New York: Springer-Verlag, ISBN 978-0-387-90894-6

<urn:uuid:f76e75ad-473f-4813-8696-33e12a1d91ee>

CC-MAIN-2016-36

https://en.wikipedia.org/wiki/De_Rham_cohomology

s3://commoncrawl/crawl-data/CC-MAIN-2016-36/segments/1471983026851.98/warc/CC-MAIN-20160823201026-00247-ip-10-153-172-175.ec2.internal.warc.gz

en

As part of the education programme for Elizabeth Ogilvie’s ‘Out of Ice' exhibition in London, artist Jacob Bee and environmental writer and sound artist Rob St. John worked with teenagers in schools in Scotland and England, using sound to explore the role of water and ice in the natural world. Working with small groups equipped with field recorders, Bee and St. John encouraged listening, discussion and reflection on how sound informs us about the natural world, drawing together art, geography and the sciences. The teenagers became sonic ‘citizen scientists’ of their surroundings, documenting and teasing apart their relationships with the environment through sound. After an introduction to Elizabeth Ogilvie’s work, and a workshop on the themes behind Out of Ice, the students at three schools in Fife, Edinburgh and London led Jacob and Rob on a soundwalk around the environments close to home. Along the way the groups stopped to record their ideas about what sound tells them about the landscape, and the thoughts and feelings it inspires. The resulting radio programme was broadcast on Resonance FM on Friday 7th February at 1700. Listen to the programme here. Scottish environmental artist Elizabeth Ogilvie portrays the psychological, physical and poetic dimensions of ice and water in Out of Ice, a vast immersive installation specially created for the subterranean spaces of Ambika P3, London in January and February 2014. Fusing art, architecture and science in an experiential installation comprising ice, water, video projections and film, Ogilvie’s dramatic large-scale work is a portal to the hidden extremes of our planet.

<urn:uuid:b46909d0-74e3-4e1e-8cab-65c0cdbfb557>

CC-MAIN-2014-23

http://www.robstjohn.co.uk/

s3://commoncrawl/crawl-data/CC-MAIN-2014-23/segments/1406510271654.40/warc/CC-MAIN-20140728011751-00478-ip-10-146-231-18.ec2.internal.warc.gz

en

Your humble correspondent is a fan of the History Channel show, "Vikings." However, its historical accuracy leaves something to be desired to the extent that a week ago I posted a thread at IMDB, Things I Learned While Watching 'Vikings', which humorously mocked such inaccuracies as well as anachronisms on the show. Along with noticing that Rollo wore L.A. Ink type tattoos, I also took note of a completely unhistorical type of punishment meted out to the apostate monk Athelstan: "The Church punished apostate monks by crucifying them and doing their best to make them appear like Jesus including a crown of thorns and a lance in the side." As a history buff, I could recall of no instance in which the Church punished apostasy by crucifixion. Well, several websites researched that subject and found it not only to be completely unhistorical but also absurd. A.J. Delgado even contacted a well-known medieval history professor and got this response: “….I know of no instance in the history of Christianity in which any Christians crucified others, even apostates. Even a document that suggests a threat of crucifixion was made has to be interpreted with extreme caution ….I think the creator of the show may have read a document designed to show the dangers of apostasy too literally. Medieval documents are replete with this kind of thing, and they require a great deal of interpretive subtlety and healthy doubt. Aside from the historical unreliability of such a source, there is also the fact that Christians would have believed that crucifixion was a “special” kind of punishment, reserved for Jesus of Nazareth (by legend, too, for Peter, who, to distinguish him from Jesus, was legendarily crucified upside down!) alone. So I think the watchwords here are circumspection and deep skepticism.” So what is the motivation behind such an absurd historical inaccuracy? Mark Tapson at the Acculturated blog provides an answer: Initially repulsed by the bloodlust of the Northmen, Athelstan developed a sort of Stockholm Syndrome in the course of his captivity, apparently backsliding from his Christian faith and gradually assimilating into pagan culture. In the recent episode “An Eye for an Eye,” he is taken prisoner yet again, this time by the Christian, Anglo-Saxon enemy of Ragnar and his seafaring raiders. A bishop condemns Athelstan for his apostasy, and he is tortured and nailed to a cross. At this point, I did a mental double-take. Crucifixion? Certainly other cultures – most notably, of course, the ancient Romans – have carried out this monstrous punishment on Christians (and others). But, student of the Middle Ages that I once was, I never heard of Christians perpetrating it themselves, even in the heart of the aptly-named Dark Ages, a particularly savage time in European history (not that human savagery has abated that much). Considering that Christ’s torturous death on the cross is at the very heart of the religion, it doesn’t even make theological sense that believers would turn around and inflict it themselves. That’s not to say that the Church throughout history hasn’t been guilty of other cruelties. But crucifixion? ...So why choose crucifixion? And why hammer home the point (if you’ll pardon the pun) by depicting Athelstan as a Christ figure himself – flayed, crowned with thorns, and clad only in the familiar white cloth around his loins? Throw in a stereotypically fat, corrupt bishop, and it seems that Athelstan’s crucifixion was simply designed to paint Christians as cruel hypocrites, merciless crucifiers themselves. A.J. Delgado sums up the possible ulterior motive behind this obviously absurd and incorrect historical portrayal: This is key example of what I like to call: the (liberal) tail wagging the (historical) dog. In the entertainment industry, the politically-correct agenda/theme/message (e.g., Christians are evil; white men, especially Republicans, are always to be cast as villains, etc) is what dictates how history will be presented. In other words, they (deliberately) do it backwards. Rather than allowing history to dictate the messages of a historical show, it is the liberal theme that dictates how/what/when/what of history will be portrayed, including what will be misrepresented, omitted, added, or embellished. Since the pagan seers on the show are portrayed giving accurate predictions I now put on my seer robe to deliver this prognostication from Things I Learned While Watching 'Vikings': In Viking vs Viking battles, those wearing plain brown hoodies are doomed to die.

<urn:uuid:cfdd28b5-d86b-4574-bd0c-4a4ce89feeaa>

CC-MAIN-2020-40

https://www.newsbusters.org/blogs/nb/pj-gladnick/2014/04/04/vikings-portrays-crucifixion-normal-church-punishment-apostates

s3://commoncrawl/crawl-data/CC-MAIN-2020-40/segments/1600402131986.91/warc/CC-MAIN-20201001174918-20201001204918-00596.warc.gz

en

Individual differences | Methods | Statistics | Clinical | Educational | Industrial | Professional items | World psychology | The Black Power Movement reflects a number associated ideologies. It is used in the movement among people of Black African descent throughout the world, though primarily by African Americans in the United States. Most prominent in the late 1960s and early 1970s, the movement emphasized racial pride and the creation of black political and cultural institutions to nurture and promote black collective interests, advance black values, and secure black autonomy. "Black Power" expresses a range of political goals, from defense against racial oppression, to the establishment of separate social institutions and a self-sufficient economy (separatism). Not only did this "Black Power" movement encourage separatism, but it helped usher in black radical thought, and action against what was considered to be an elusive, yet visible higher power, also known as white supremacy. The earliest known usage of the term is found in a 1954 book by Richard Wright titled Black Power. The first use of the term in a political sense may have been by Robert F. Williams, an NAACP chapter president, writer, and publisher of the 1950s and 1960s. New York politician Adam Clayton Powell Jr. used the term on May 29, 1966 during a baccalaureate address at Howard University: "To demand these God-given rights is to seek black power." Origin as a political sloganEdit The first use of the term "Black Power" as a social and political slogan was by Stokely Carmichael (later known as Kwame Ture) and Willie Ricks (later known as Mukasa Dada), both organizers and spokespersons for the Student Nonviolent Coordinating Committee (SNCC). On June 16, 1966, after the shooting of James Meredith during the March Against Fear, Stokely Carmichael said: "This is the twenty-seventh time I have been arrested and I ain't going to jail no more! The only way we gonna stop them white men from whippin' us is to take over. What we gonna start sayin' now is Black Power!" Stokely Carmichael saw the concept of "Black Power" as a means of solidarity between individuals within the movement. With his conception and articulation of the word, he felt this movement was not just a movement for racial desegregation, but rather a movement to help combat America's crippling racism. He was quoted in saying: "For the last time, 'Black Power' means black people coming together to form a political force and either electing representatives or forcing their representatives to speak their needs." A range of ideologyEdit Some Black Power adherents believe in Black autonomy, with a variety of tendencies such as black nationalism, and black separatism. Often Black Power advocates are open to use violence as a means of achieving their aims, but this openness to violence was nearly always coupled with community organizing work. Such positions were for the most part in direct conflict with those of leaders of the mainstream Civil Rights Movement, and thus the two movements have often been viewed as inherently antagonistic. However, certain groups and individuals participated in both civil rights and black power activism. Not all Black Power advocates were in favor of black nationalism and black separatism. While Stokely Carmichael and SNCC were in favor of black nationalism, organizations such as the Black Panther Party for Self Defense were not. Though they considered themselves to be at war with a power structure that was indeed all white, they were not at war with all Whites, merely the individuals in the existing power structure, who happened to be all white. Bobby Seale, Chairman and Co-Founder of the Black Panther Party for Self Defense, was outspoken about this. His stand was that the oppression of black people was more of a result of economic exploitation than anything innately racist. In his book Seize the Time, he states that "In our view it is a class struggle between the massive proletarian working class and the small, minority ruling class. Working-class people of all colors must unite against the exploitative, oppressive ruling class. So let me emphasize again -- we believe our fight is a class struggle and not a race struggle." Bayard Rustin, an elder statesman of the Civil Rights Movement, was a harsh critic of Black Power in its earliest days. Writing in 1966, shortly after the March Against Fear, Rustin said that Black Power “not only lacks any real value for the civil rights movement, but [...] its propagation is positively harmful. It diverts the movement from a meaningful debate over strategy and tactics, it isolates the Negro community, and it encourages the growth of anti-Negro forces.” He particularly criticized the Congress of Racial Equality (CORE) and SNCC for their turn toward Black Power, arguing that these two organizations once “awakened the country, but now they emerge isolated and demoralized, shouting a slogan that may afford a momentary satisfaction but that is calculated to destroy them and their movement.” The movement for Black Power in the U.S. came during the Civil Rights Movement in the 1960s. Many members of SNCC, among them Stokely Carmichael (later Kwame Ture), were becoming critical of the nonviolent approach to confronting racism and inequality—articulated and practiced by Martin Luther King, Jr., the NAACP and other moderates—and rejected desegregation as a primary objective. SNCC's membership was generally younger than that of the other "Big Five" civil rights organizations and became increasingly more militant and outspoken over time. From SNCC's point of view, racist people had no qualms about the use of violence against black people in the U.S. who would not "stay in their place," and "accommodationist" civil rights strategies had failed to secure sufficient concessions for black people. As a result, as the Civil Rights Movement progressed, increasingly radical, more militant voices came to the fore to aggressively challenge white hegemony. Increasing numbers of black youth, particularly, rejected their elders' moderate path of cooperation, racial integration and assimilation. They rejected the notion of appealing to the public's conscience and religious creeds and took the tack articulated by another black activist more than a century before. Abolitionist Frederick Douglass wrote: Those who profess to favor freedom, and yet depreciate agitation, are men who want crops without plowing up the ground. They want rain without thunder and lightning. They want the ocean without the awful roar of its many waters. ...Power concedes nothing without demand. It never did and it never will. Civil Rights leaders also believed in agitation, but most did not believe in physically violent retaliation. During the March Against Fear, there was a division between those aligned with Martin Luther King, Jr. and those aligned with Carmichael, marked by their respective slogans, "Freedom Now" and "Black Power." While King never endorsed the slogan, his rhetoric sometimes came close to it. In his 1967 book Where Do We Go From Here?, King wrote that "power is not the white man's birthright; it will not be legislated for us and delivered in neat government packages." Although the concept remained imprecise and contested and the people who used the slogan ranged from businesspeople who used it to push black capitalism to revolutionaries who sought an end to capitalism, the idea of Black Power exerted a significant influence. It helped organize scores of community self-help groups and institutions that did not depend on Whites. It was used to force black studies programs at colleges, to mobilize black voters to elect black candidates, and to encourage greater racial pride and self-esteem. Impact on Black PoliticsEdit Though the Black Power movement did not immediately remedy the political problems faced by African Americans in the 1960s and '70s, the movement did contribute to the development of black politics both directly and indirectly. As a contemporary of and successor to the Civil Rights Movement, the Black Power movement created, what sociologist Herbert H. Haines refers to as a “positive radical flank effect” on political affairs of the 1960s. Though the nature of the relationship between the Civil Rights Movement and the Black Power movement is contested, Haines’ study of the relationship between black radicals and the mainstream civil rights movement indicates that Black Power generated a “crisis in American institutions which made the legislative agenda of ‘polite, realistic, and businesslike’ mainstream organizations” more appealing to politicians. In this way, it can be argued that the more strident and oppositional messages of the Black Power movement indirectly enhanced the bargaining position of more moderate activists.. Black Power activists approached politics with vitality, variety, wit, and creativity that shaped the way future generations approached dealing with America’s societal problems (McCartney 188). These activists capitalized on the nation’s recent awareness of the political nature of oppression, a primary focus of the Civil Rights Movement, developing numerous political action caucuses and grass roots community associations to remedy the situation The National Black Political Convention, held March 10-12, 1972, was a significant milestone in black politics of the Black Power era. Held in Gary, Indiana, a majority black city, the convention included a diverse group of black activists, although it completely excluded Whites. The convention was criticized for its racial exclusivity by Roy Wilkins of the NAACP, a group that supported integration. The delegates created a National Black Political Agenda with stated goals including the election of a proportionate number of black representatives to Congress, community control of schools, national health insurance, etc. Though the convention did not result in any direct policy, the convention advanced goals of the Black Power movement and left participants buoyed by a spirit of possibility and themes of unity and self-determination. A concluding note to the convention, addressing its supposed idealism, read: “At every critical moment of our struggle in America we have had to press relentlessly against the limits of the ‘realistic’ to create new realities for the life of our people. This is our challenge at Gary and beyond, for a new Black politics demands new vision, new hope and new definitions of the possible. Our time has come. These things are necessary. All things are possible.” Though such political activism may not have resulted in direct policy, they provided political models for later movements, advanced a pro-black political agenda, and brought sensitive issues to the forefront of American politics. In its confrontational and often oppositional nature, the Black Power movement, started a debate within the black community and America as a nation over issues of racial progress, citizenship, and democracy, namely “the nature of American society and the place of the African American in it.”. The continued intensity of debate over these same social and political issues is a tribute to the impact of the Black Power movement in arousing the political awareness and passions of citizens . Impact on Other MovementsEdit Though the aims of the Black Power movement were racially specific, much of the movement’s impact has been its influence on the development and strategies of later political and social movements. By igniting and sustaining debate on the nature of American society, the Black Power movement created what other multiracial and minority groups interpreted to be a viable template for the overall restructuring of society.. By opening up discussion on issues of democracy and equality, the Black Power movement paved the way for a diverse plurality of social justice movements, including black feminism, environmental movements, affirmative action, and gay and lesbian rights. Central to these movements were the issues of identity politics and political correctness, features emerging from the Black Power movement Because the Black Power movement emphasized and explored a black identity, movement activists were forced to confront issues of gender, class and sexuality as well. Many activists in the Black Power movement became active in related movements. This is seen in the case of the “second wave” of women’s right activism, a movement supported and orchestrated to a certain degree by women working from within the coalition ranks of the Black Power movement . The boundaries between social movements became increasingly unclear at the end of the 1960s and into the 1970s; where the Black Power movement ends and where these other social movements begin is often unclear. “It is pertinent to note that as the movement expanded the variables of gender, class, and sexuality only compounded issues of strategy and methodology in black protest thought.” Impact on African American IdentityEdit Due to the negative and militant reputation of such auxiliaries like that of the Black Panther Party, many people felt that this movement of "insurrection" would soon serve to cause discord, and disharmony through the entire U.S. Even Stokely Carmichael stated, "When you talk of Black Power, you talk of building a movement that will smash everything Western civilization has created." Though Black Power at the most basic level refers to a political movement, the psychological and cultural messages of the Black Power movement, though less tangible, have had perhaps a longer lasting impact on American society than concrete political changes. Indeed, “fixation on the ‘political’ hinders appreciation of the movement’s cultural manifestations and unnecessarily obscures black culture’s role in promoting the psychological well being of the Afro-American people.”. States William L. Van Deburg, author of A New Day in Babylon, “movement leaders never were as successful in winning power for the people as they were in convincing people that they had sufficient power within themselves to escape ‘the prison of self-deprecation’” Primarily, the liberation and empowerment experienced by African Americans occurred in the psychological realm. The movement uplifted the black community as a whole by cultivating feelings of racial solidarity, often in opposition to the world of white Americans, a world that had physically and psychologically oppressed Blacks for generations. Through the movement, Blacks came to understand themselves and their culture by exploring and debating the question, “who are we?” in order to establish a unified and viable identity. Throughout the Civil Rights Movement and black history a tension has existing between those wishing to minimize and maximize racial difference. W.E.B. Du Bois and Martin Luther King Jr. often attempted to deemphasize race in their quest for equality, while those advocating for separatism and colonization emphasized an extreme and irreconcilable difference between races. The Black Power movement largely achieved an equilibrium of “balanced and humane ethnocentrism.” The impact of the Black Power movement in generating valuable discussion about ethnic identity and black consciousness manifests itself in the relatively recent proliferation of academic fields such as American studies, Black Studies, and Africana studies in both national and international institutions. The respect and attention accorded to African Americans’ history and culture in both formal and informal settings today is largely a product of the movement for Black Power in the 1960s and '70s. Black is beautifulEdit - Main article: Black is beautiful The cultivation of pride in the African American race was often summarized in the phrase "Black is Beautiful". Although the phrase remains connected to a historical context, its message remains contemporary. “I don’t think it’s ‘Black is beautiful’ anymore. It’s ‘I am beautiful and I’m black.’ It’s not the symbolic thing, the afro, power sign… That phase is over and it succeeded. My children feel better about themselves and they know that they’re black,” stated a respondent in Bob Blauner’s longitudinal oral history of U.S. race relations in 1986. The outward manifestations of an appreciation and celebration of blackness abound: black dolls, natural hair, black Santas, models and celebrities that were once rare and symbolic have become commonplace. The "Black is beautiful" cultural movement aimed to dispel the notion that black people's natural features such as skin color, facial features and hair are inherently ugly. John Sweat Rock was the first to coin the phrase "Black is Beautiful", in the slavery era. The movement asked that men and women stop straightening their hair and attempting to lighten or bleach their skin. The prevailing idea in American culture was that black features are less attractive or desirable than white features. The movement is largely responsible for the popularity of the Afro. Most importantly, it gave a generation of African Americans the courage to feel good about who they are and how they look. Impact on Arts and CultureEdit The Black Power movement produced artistic and cultural products that both embodied and generated pride in “blackness” and further defined an African American identity that remains contemporary. Black Power is often seen as a cultural revolution as much as a political revolution, with the goal of celebrating and emphasizing the distinctive group culture of African Americans to an American society that had previously been dominated by white artistic and cultural expressions. Black power utilized all available forms of folk, literary, and dramatic expression based in a common ancestral past to promote a message of self-actualization and cultural self-definition. The emphasis on a distinctive black culture during the Black Power movement publicized and legitimized a culture gap between Blacks and Whites that had previously been ignored and denigrated. More generally, in recognizing the legitimacy of another culture and challenging the idea of white cultural superiority, the Black Power movement paved the way for the celebration of multiculturalism in America today. The cultural concept of “soul” was fundamental to the image of African American culture embodied by the Black Power movement. Soul, a type of “in-group cultural cachet,” was closely tied to black America’s need for individual and group self-identification. A central expression of the “soulfulness” of the Black Power generation was a cultivation of aloofness and detachment, the creation of an “aura or emotional invulnerability,” a persona that challenged their position of relative powerlessness in greater society. The nonverbal expressions of this attitude, including everything from posture to handshakes, were developed as a counterpoint to the rigid, “up-tight” mannerisms of white people. Though the iconic symbol of black power, the arms raised with biceps flexed and clenched fists, is temporally specific, variants of the multitude of handshakes, or “giving and getting skin,” in the 1960s and 70s as a mark of communal solidarity continue to exist as a part of black culture. Clothing style also became an expression of Black Power in the 1960s and '70s. Though many of the popular trends of the movement remained confined to the decade, the movement redefined standards of beauty that were historically influenced by Whites and instead celebrated a natural “blackness.” As Stokely Carmichael said in 1966, “We have to stop being ashamed of being black. A broad nose, thick lip and nappy hair is us and we are going to call that beautiful whether they like it or not.” “Natural” hair styles, such as the Afro, became a socially acceptable tribute to group unity and a highly visible celebration of black heritage. Though the same social messages may no longer consciously influence individual hair or clothing styles in today’s society, the Black Power movement was influential in diversifying standards of beauty and aesthetic choices. The Black Power movement raised the idea of a black aesthetic that revealed the worth and beauty of all black people . In developing a powerful identity from the most elemental aspects of African American folk life, the Black Power movement generated attention to the concept of “soul food,” a fresh, authentic, and natural style of cooking that originated in Africa. The flavor and solid nourishment of the food was credited with sustaining African Americans through centuries of oppression in America and became an important aid in nurturing contemporary racial pride. Black Power advocates used the concept of “soul food” to further distinguish between white and black culture; though the basic elements of soul food were not specific to African American food, Blacks believed in the distinctive quality, if not superiority, of foods prepared by Blacks. No longer racially specific, traditional “soul foods” such as yams, collard greens, and deep-fried chicken continue to hold a place in contemporary culinary life. Black Arts MovementEdit - Main article: Black Arts Movement The Black Arts Movement or BAM, founded in Harlem by writer and activist Amiri Baraka (born Everett LeRoy Jones) can be seen as the artistic branch of the Black Power movement. This movement inspired black people to establish ownership of publishing houses, magazines, journals and art institutions. What is surprising is that this article is not even protected. For whatever reason, the black power movement does not deserve as much protection as its counterparts. Other well-known writers who were involved with this movement included Nikki Giovanni; Don L. Lee, later known as Haki Madhubuti; Sonia Sanchez; Maya Angelou; Dudley Randall; Sterling Plumpp; Larry Neal; Ted Joans; Ahmos Zu-Bolton; and Etheridge Knight. Several black-owned publishing houses and publications sprang from the BAM, including Madhubuti's Third World Press, Broadside Press, Zu-Bolton's Energy Black South Press, and the periodicals Callaloo and Yardbird Reader. Although not strictly involved with the Movement, other notable African American writers such as novelists Ishmael Reed and Toni Morrison and poet Gwendolyn Brooks can be considered to share some of its artistic and thematic concerns. BAM sought “to link, in a highly conscious manner, art and politics in order to assist in the liberation of black people”, and produced an increase in the quantity and visibility of African American artistic production. Though many elements of the Black Arts movement are separate from the Black Power movement, many goals, themes, and activists overlapped. Literature, drama, and music of Blacks “served as an oppositional and defensive mechanism through which creative artists could confirm their identity while articulating their own unique impressions of social reality.” In addition to acting as highly visible and unifying representations of “blackness,” the artistic products of the Black Power movement also utilized themes of black empowerment and liberation. For instance, black recording artists not only transmitted messages of racial unity through their music, they also became significant role models for a younger generation of African Americans. Updated protest songs not only bemoaned oppression and societal wrongs, but utilized adversity as a reference point and tool to lead others to activism. Some Black Power era artists conducted brief mini-courses in the techniques of empowerment. In the tradition of cultural nationalists, these artists taught that in order to alter social conditions, Blacks first had to change the way they viewed themselves; they had to break free of white norms and strive to be more natural, a common theme of African American art and music. Musicians such as the Temptations sang lyrics such as “I have one single desire, just like you / So move over, son, ‘cause I’m comin’ through” in their song “Message From a Black Man,” they expressed the revolutionary sentiments of the Black Power movement. Ishmael Reed, who is considered neither a movement apologist nor advocate said "I wasn't invited to participate because I was considered an integrationist" but he went on to explain the positive aspects of the Black Arts Movement and the Black Power movement: I think what Black Arts did was inspire a whole lot of Black people to write. Moreover, there would be no multiculturalism movement without Black Arts. Latinos, Asian Americans, and others all say they began writing as a result of the example of the 1960s. Blacks gave the example that you don't have to assimilate. You could do your own thing, get into your own background, your own history, your own tradition and your own culture. I think the challenge is for cultural sovereignty and Black Arts struck a blow for that. By breaking into a field typically reserved for white Americans, artists of the Black Power era expanded opportunities for current African Americans. “Today’s writers and performers,” writes William L. Van Deburg, “recognize that they owe a great deal to Black Power’s explosion of cultural orthodoxy” . - ↑ This is advanced by three groups: nihilists, integrationists, and separatists. For more see, Scott, J. W. (1976). The black revolts: racial stratification in the U.S.A. : the politics of estate, caste, and class in the American society. Cambridge, Mass: Schenkman Pub. - ↑ Ogbar, J. O. G. (2005). Black power: radical politics and African American identity. Reconfiguring American political history. Baltimore, Maryland: Johns Hopkins University Press. Page 2. - ↑ Appiah, A., & Gates, H. L. (1999). Africana: the encyclopedia of the African and African American experience. New York: Basic Civitas Books. Page 262. - ↑ Scott, J. W. (1976). The black revolts: racial stratification in the U.S.A.: the politics of estate, caste, and class in the American society. Cambridge, Mass: Schenkman Pub. Page 131-132 - ↑ Yale Book of Quotations (2006) Yale University Press, edited by Fred R. Shapiro - ↑ Yale Book of Quotations (2006), edited by Fred R. Shapiro - ↑ "Stokely Carmichael", King Encyclopedia, The Martin Luther King, Jr. Research and Education Institute, Stanford University. Accessed 20 November 2006. - ↑ Seale, Bobby. Seize the Time: The Story of the Black Panther Party and Huey P. Newton. New York: Black Classic P, 1996, p. 72. - ↑ Rustin, Bayard (1965). "Black Power" and Coalition Politics. Commentary. PBS. - ↑ In addition to SNCC, the other "Big Five" organizations of the civil rights movement were the National Association for the Advancement of Colored People, the Urban League, the Southern Christian Leadership Conference, and the Congress on Racial Equality. - ↑ Douglass, Frederick. Letter to an abolitionist associate (1857). In Organizing for Social Change: A Mandate For Activity In The 1990s. Bobo, K.; Randall, J.; and Max, S., eds. Cabin John, Maryland: Seven Locks Press (1991). - ↑ Scott Saul, "On the Lower Frequencies: Rethinking the Black Power Movement" p.92-98 in Harper's, December 2006. p. 94 - ↑ Cited in Scott Saul, "On the Lower Frequencies", p.95 - ↑ 14.0 14.1 Van DeBurg, William L. New Day in Babylon: The Black Power Movement and American Culture, 1965-1975. Chicago: The University of Chicago P, 1992. p. 306. - ↑ "American Experience | Eyes on the Prize | Milestones |." PBS. 05 Apr. 2009 <http://www.pbs.org/wgbh/amex/eyesontheprize/milestones/m13_nbpc.html>. - ↑ McCartney, John T. Black Power Ideologies: An Essay in African-American Political Thought. Philadelphia: Temple University Press, 1992. - ↑ McCartney, John T. Black, Power Ideologies: An Essay in African-American Political Thought. Philadelphia: Temple University Press, 1992. - ↑ Joseph, Peniel E. Waiting 'til the Midnight Hour: A Narrative History of Black Power in America. New York: Henry Holt and Company, 2006.p.xiv. - ↑ Joseph, Peniel E. Waiting 'til the Midnight Hour: A Narrative History of Black Power in America. New York: Henry Holt and Company, 2006. p.294 - ↑ Williams, Hettie V. We Shall Overcome to We Shall Overrun: The Collapse of the Civil Rights Movement and the Black Power Revolt (1962-1968). Lanham, MA: University Press of America, 2009. p. 92 - ↑ Joseph, Peniel E. Waiting 'til the Midnight Hour: A Narrative History of Black Power in America. New York: Henry Holt and Company, 2006. p.92 - ↑ Stephen, Curtis. "Life of A Party." Crisis; Sep/Oct2006, Vol. 113 Issue 5, p. 30-37, 8p - ↑ Van DeBurg, William L. New Day in Babylon: The Black Power Movement and American Culture, 1965-1975. Chicago: The University of Chicago P, 1992. p.304 - ↑ Van DeBurg, William L. New Day in Babylon: The Black Power Movement and American Culture, 1965-1975. Chicago: The University of Chicago Press, 1992. p.306 - ↑ 25.0 25.1 McCormack, Donald J. Black Power: Political Ideology? Diss. University of New York at Albany, 1970. Ann Arbor, MI: University Microfilms International, 1984. p.394 - ↑ Williams, Hettie V. We Shall Overcome to We Shall Overrun: The Collapse of the Civil Rights Movement and the Black Power Revolt (1962-1968). Lanham, MA: University Press of America, 2009. p.92 - ↑ Van DeBurg, William L. New Day in Babylon: The Black Power Movement and American Culture, 1965-1975. Chicago: The University of Chicago P, 1992. p.307 - ↑ Some notes on the BLACK CULTURAL MOVEMENT - ↑ Jamaica Says Black Is Beautiful - ↑ Van DeBurg, William L. New Day in Babylon: The Black Power Movement and American Culture, 1965-1975. Chicago: The University of Chicago Press, 1992. p.192. - ↑ Van DeBurg, William L. New Day in Babylon: The Black Power Movement and American Culture, 1965-1975. Chicago: The University of Chicago Press, 1992. p.195. - ↑ Van DeBurg, William L. New Day in Babylon: The Black Power Movement and American Culture, 1965-1975. Chicago: The University of Chicago Press, 1992. p.197. - ↑ Van DeBurg, William L. New Day in Babylon: The Black Power Movement and American Culture, 1965-1975. Chicago: The University of Chicago Press, 1992. p.201. - ↑ Van DeBurg, William L. New Day in Babylon: The Black Power Movement and American Culture, 1965-1975. Chicago: The University of Chicago Press, 1992. p.194. - ↑ Van DeBurg, William L. New Day in Babylon: The Black Power Movement and American Culture, 1965-1975. Chicago: The University of Chicago P, 1992. p.204. - ↑ The Black Arts Repertory Theatre/School - ↑ Joseph, Peniel E. Waiting 'til the Midnight Hour: A Narrative History of Black Power in America. New York: Henry Holt and Company, 2006. p.256. - ↑ Van DeBurg, William L. New Day in Babylon: The Black Power Movement and American Culture, 1965-1975. Chicago: The University of Chicago Press, 1992.p.249. - ↑ Van DeBurg, William L. New Day in Babylon: The Black Power Movement and American Culture, 1965-1975. Chicago: The University of Chicago Press, 1992. p. 280. - ↑ Van DeBurg, William L. New Day in Babylon: The Black Power Movement and American Culture, 1965-1975. Chicago: The University of Chicago Press, 1992.p.208. - ↑ Van DeBurg, William L. New Day in Babylon: The Black Power Movement and American Culture, 1965-1975. Chicago: The University of Chicago Press, 1992. p.213. - ↑ Van DeBurg, William L. New Day in Babylon: The Black Power Movement and American Culture, 1965-1975. Chicago: The University of Chicago Press, 1992. p.212. - ↑ Black Arts Movement - ↑ Van DeBurg, William L. New Day in Babylon: The Black Power Movement and American Culture, 1965-1975. Chicago: The University of Chicago Press, 1992.p.308. - Carmichael, Stokely/ Hamilton, Charles V.: Black Power. The Politics of Liberation in America, Vintage, New York, 1967. - Breitman, George. In Defense of Black Power. International Socialist Review Jan-Feb 1967, from Tamiment Library microfilm archives. Transcribed & marked up by Andrew Pollack for the Encyclopaedia of Trotskyism On-Line. Retrieved May 2, 2005. - Salas, Mario Marcel. Masters Thesis: Patterns of Persistence: Paternal Colonialist Structures and the Radical Opposition in the African American Community in San Antonio, 1937-2001, University of Texas at San Antonio. - Brown, Scot, Fighting for US: Maulana Karenga, the US Organization, and Black Cultural Nationalism, NYU Press, New York, 2003. - Ogbar, Jeffrey O. G. Black Power: Radical Politics and African American Identity, The Johns Hopkins University Press, Baltimore, 2004. - Website of Dr. Christian Davenport, Director of the Radical Information Project and Professor of Government and Politics, University of Maryland - Website of Dr. Peniel E. Joseph, Professor of African-American Studies - Scholar of African American history and frequent commentator on civil rights, race and democracy issues |This page uses Creative Commons Licensed content from Wikipedia (view authors).|

<urn:uuid:b76cf8cd-c10a-4ba9-b322-0aabc883ecbd>

CC-MAIN-2016-26

http://psychology.wikia.com/wiki/Black_power_movement

s3://commoncrawl/crawl-data/CC-MAIN-2016-26/segments/1466783393093.59/warc/CC-MAIN-20160624154953-00031-ip-10-164-35-72.ec2.internal.warc.gz

en

What is an LCD Display? LCD is short for liquid crystal display, and while LCD technology has been around for quite some time, it has been only in the last decade or so that the technology became suitable for the high quality flat panel television and computer monitor displays we see today. The most notable feature of displays using LCD technology, of course, is the thinness of the unit, but the power behind that thin design is actually quite extensive. The display on an LCD panel is comprised of picture elements, or pixels as they are known to computer geeks everywhere. The resolution the flat panel display is capable of is determined partially by how many pixels are contained in the display. A typical LCD panel display can range from hundreds of thousands of pixels to millions of pixels, and the higher the number of pixels the better the resolution will be. LCD televisions come in a number of different shapes and sizes, but they are typically designed to accommodate a 16 to 9 display ratio. This ratio makes them perfect for watching widescreen displays like DVDs, as well as traditional television shows. What are the Differences between LCD and Traditional TVs? LCD televisions, flat panel computer monitors and other devices have a number of built in advantages, and it is these advantages that have made them such a hit with technology buyers everywhere. Some of the many advantages of LCD technology include: Brighter display – the displays on LCD televisions are brighter than those on a traditional CRT television, due to the special way these displays work. While a traditional CRT television or monitor uses a tube to create the display, the LCT TV uses pixels, providing for a brighter display. Flicker free performance – the display of the LCD television or computer monitor will also be free of flicker, since the LCD display will have a constant source of light throughout the entire screen. Once the pixel is turned on it remains on. Contrast this to the design of the CRT television or monitor, which must refresh the screen periodically with a ray of light moving down the monitor or TV. Low power consumption – another big advantage of the LCD TV is its superior energy efficiency. LCD televisions will be up to 65% more energy efficient than traditional televisions, helping to protect the environment while saving you money. Ultra slim design – it is of course the thin and sleek design that turns heads and gets the attention of buyers. LCD displays can be as thin as 49mm (just over 19 inches), meaning that these TVs can be placed virtually anywhere. Wall mountable designs – Many LCD TVs are so thin that they can be hung on the wall as you would hang a picture. It is important of course to purchase a wall mounting bracket that is suitable for holding the weight of the unit. A Guide to Some LCD TV Terms If you are in the market for an LCD TV, you will likely hear a number of new, and sometimes confusing, terms bandied about. It is important to understand what these words mean to you, the television technology shopper. Aspect Ratio – the aspect ratio of the TV helps to determine its suitability for watching movies and television programming in true widescreen format. While the traditional television has always used a aspect ratio of 4:3, i.e. 4” wide, 3” high, the typical LCD television uses an aspect ratio of 16:9, providing a truer widescreen picture perfect for watching DVD and VHS movies, as well as traditional television programming. Candela – one of those words you may hear from time to time is candela. Put simply, the candela is a standard unit of brightness, and it is equivalent to the number of candles that would be required to produce the same intensity of light. Therefore a rating such as 450 cd/m2 means that it would take a concentration of 450 candles in a square meter area to produce the same amount of light. Contrast Ratio – the contrast ratio is simply the difference in intensity of light between the darkest black and the brightest white on the display. The higher the contrast ratio the sharper and cleaner the picture will be. HDTV – high definition television, or HDTV for short, is quickly becoming the standard for television signal technology, and it is important to look for an LCD TV that is HDTV ready. Inputs – the TV inputs are important if you plant to connect a DVD player, VCR, game console, computer or other device to the LCD display panel. There are many different types of inputs, and it is important that the TV you choose provide a number of different options for getting signals to the device. A TV with a great many inputs will allow you to connect a number of different devices to the TV, greatly enhancing its versatility and its value. It is also important to make sure that LCD TV you choose has the proper tuner for playing the TV signal you have coming in to the house. Many plasma screen and LCD TVs will lack a built in tuner, meaning that they will need to pick up that television signal from a cable box, satellite TV box, DirectTV signal or other similar device. It is important to make sure you understand the type of tuner that comes with the TV you are considering, and it is important to purchase all the accessories you will need when buying the TV. Speaking of accessories, it is important to buy only the highest quality component cabling to connect that LCD display to your DVD player, VCR, Laser Disk player, computer or other device. The highest quality cables will provide the best picture and sound quality, which will further enhance the display of the LCD TV you have chosen. It is also important, of course, to get the very best price you can on the LCD TV you want. The suggested retail price of the typical LCD TV will vary according to a number of factors, such as the size of the display, the thinness of the display and the quality of the manufacturer. It is important to shop around as much as possible, and to read the reviews of all the models you are considering.

<urn:uuid:0c76547f-48a4-4e12-a093-146a0d2c8d91>

CC-MAIN-2021-17

http://forsalespain.ga/2017/08

s3://commoncrawl/crawl-data/CC-MAIN-2021-17/segments/1618038057476.6/warc/CC-MAIN-20210410181215-20210410211215-00546.warc.gz

en

November 12, 2012 The following is a slightly edited version of Bob Lunsford’s excellent weekly summary of meteor activity. The original version can be found at the American Meteor Society’s site. As seen from the northern hemisphere, meteor rates continue to be strong in November. While no major activity is expected this month, the two Taurid radiants plus the Leonids keep the skies active. The addition of strong sporadic rates make November one of the better months to view meteor activity from north of the equator. Skies are fairly quiet as seen from the southern hemisphere this month. Activity from the three showers mentioned above may be seen from south of the equator, but the sporadic rates are much lower than those seen in the northern hemisphere. During this period the moon reaches its new phase on Tuesday November 13th. At this time the moon is located near the sun and cannot be seen at night. This weekend the waning crescent moon will rise during the late morning hours, but it will rise so late and be so thin that it will not interfere with meteor observing. As the week progresses the moon will enter the evening sky but will set shortly after dusk, not causing any problems for watching meteor activity. The estimated total hourly meteor rates for evening observers this week is near five for observers located at mid-northern latitudes and three for observers in mid-southern latitudes. For morning observers the estimated total hourly rates should be near twenty from the mid-northern hemisphere and twelve from the mid-southern hemisphere. The actual rates will also depend on factors such as personal light and motion perception, local weather conditions, alertness and experience in watching meteor activity. The radiant (the area of the sky where meteors appear to shoot from) positions and rates listed below are exact for Saturday night/Sunday morning November 10/11. These positions do not change greatly day to day so the listed coordinates may be used during this entire period. The following radiants are expected to be active this week: Remnants from the famous Andromedid (AND) shower, noted for intense storms during the 19th century, may still be seen throughout November. The current position of this large radiant is 01:32 (023) +31 . This position lies on the Pisces/Triangulum border, very close to the large, but faint spiral galaxy known as M33. If you are not familiar with M33, then the nearest bright star is second magnitude Mirach (Beta Andromedae), which lies five degrees to the northwest. The radiant is so diffuse that Andromedid meteors may be seen coming from southern Andromeda, Triangulum, and northwestern Aries as well as eastern Pisces. Visual activity is expected to be low, but detectable. An inconspicuous maximum occurs on November 9, when this source is the 5th most active radiant in the sky. The Andromedid meteors are best seen near 2200 (10pm) local standard time (LST), when the radiant lies on the meridian and lies highest in the sky. At 19km/sec., the average Andromedid will appear as a v ery slow moving meteor. The Northern Taurid (NTA) radiant is the most active source of meteor activity this week, producing 3-4 shower members per hour, depending on your location. The radiant is centered at 03:52 (058) +22. This area of the sky lies in western Taurus just one degree south of the famous naked eye open cluster known as the Pleiades or the Seven Sisters. The radiant is best placed near 0100 LST, when it lies highest above the horizon. Meteors from the Northern Taurids strike the atmosphere at 29km/sec., which would produce meteors of slow velocity. You must face in the general direction of the north and south Taurid radiants in order to tell them apart. The Southern Taurid (STA) radiant is currently located at 04:00 (060) +15. This position lies in western Taurus, eight degrees southeast of the famous naked eye open cluster known as the Pleiades or the Seven Sisters. This radiant is also best placed near 0100 LST, when it lies on the meridian and is located highest in the sky. Maximum occurred on October 9th, so rates would now be near two per hour , no matter your location. With an entry velocity of 29 km/sec., the average Southern Taurid meteor would be of slow velocity. The November Orionids (NOO) may be seen in small numbers beginning this week. The peak for this radiant is not until November 30th, so rates would be less than than one shower member per hour, no matter your location. The radiant is located at 05:08 (077) +16. This area of the sky is located on the Orion/Taurus border, seven degrees east of the first magnitude orange star Aldebaran (Alpha Tauri). This location is close to the Taurid complex, but far enough east to be distinguishable. The faster velocity of the November should help distinguish these meteors from the slower, but more numerous Taurids. The radiant is best placed for viewing near 0200 LST when it lies on the meridian and is highest above the horizon. With an entry velocity of 44 km/sec., the November Orionids would be of medium speed. The Orionids (ORI) are still active but rates are slowing falling with each passing night. The radiant located at 07:28 (112) +16. This area of the sky is located in southern Gemini, twelve degrees east of the second magnitude star Alhena (Gamma Geminorum). The radiant is best placed for viewing near 0400 LST when it lies on the meridian and is highest above the horizon. Orionid meteors are equally well seen either side of the equator. With an entry velocity of 67 km/sec., most activity from this radiant would be swift. Studies of the IMO video database by Sirko Molau and Juergen Rendtel has revealed a radiant active in the constellation of Cancer this time of year. Rates are weak but detectable under moonless skies. The Zeta Cancrids (ZCN) are active throughout November but activity dates and radiant positions are poorly determined. During this period the radiant lies near 08:24 (126) +08. This area of the sky is located in southern Cancer, one degree southeast of the third magnitude star Al Tarf (Beta Cancri). This area of the sky may be more easier found using the “head” of Hydra as a guide, as it lies only five degrees to the southeast. The radiant is best placed for viewing near 0500 LST when it lies on the meridian and is highest above the horizon. With an entry velocity of 70 km/sec., most activity from this radiant would be swift. These meteors can be seen equally well from either side of the equator. The Leonids (LEO) are now the second most active radiant in the sky, producing 1-2 shower members per hour during the last couple of hours before dawn. The radiant is currently located at 10:00 (150) +24. This position lies in northwestern Leo, within the “sickle” of Leo, three degrees west of the third magnitude star Adhafera (Zeta Leonis). The Leonid radiant is best placed during the last hour before morning twilight when the radiant lies highest in a dark sky. Leonids may be seen from the southern hemisphere but the viewing conditions are not quite as favorable as those north of the equator. As seen from the mid-northern hemisphere (45N) one would expect to see approximately eleven sporadic meteors per hour during the last hour before dawn as seen from rural observing sites. Evening rates would be near four per hour. As seen from the mid-southern hemisphere (45S), morning rates would be near five per hour as seen from rural observing sites and two per hour during the evening hours. Locations between these two extremes would see activity between the listed figures. The list below presents a summary of the expected activity this week. Rates and positions are exact for Saturday night/Sunday morning, but may be used all week. Andromedids (AND) – 01:32 (023) +31 Velocity 19km/sec Northern Hemisphere – 1 per hr Southern Hemisphere – <1 per hour Northern Taurids (NTA) – 03:52 (058) +22 Velocity 29km/sec Northern Hemisphere – 4 per hr Southern Hemisphere – 3 per hour Southern Taurids (STA) -04:00 (060) +15 Velocity 29km/sec Northern Hemisphere – 2 per hr Southern Hemisphere – 2 per hour November Orionids (NOO) 05:08 (077) +16 Velocity 44km/sec Northern Hemisphere – <1 per hr Southern Hemisphere – <1 per hour Orionids (ORI) 07:28 (112) +16 Velocity 67km/sec Northern Hemisphere – 1 per hr Southern Hemisphere – 1 per hour Zeta Cancrids (ZCN) 08:24 (126) +08 Velocity 70km/sec Northern Hemisphere – <1 per hr Southern Hemisphere – <1 per hour Leonids (LEO) 10:00 (150) +24 Velocity 71km/sec Northern Hemisphere – 2 per hr Southern Hemisphere – 1 per hour American Meteor Society

<urn:uuid:0449e25e-cac6-41ce-9d10-87a6f90e55e2>

CC-MAIN-2015-22

https://transientsky.wordpress.com/tag/orionids/

s3://commoncrawl/crawl-data/CC-MAIN-2015-22/segments/1432207930259.97/warc/CC-MAIN-20150521113210-00253-ip-10-180-206-219.ec2.internal.warc.gz

en

‘Kamada-nishiki’ bears double, reddish mauve flowers. The tree peony, or Mouton peony, is a deciduous shrub that bears large, showy, cup or bowl-shaped flowers from late spring to early summer. Leaves are dark green with blue-green undersides and are deeply lobed. Originating in China, the tree peony is long lived and may reach a height and width of 7 feet. Soil should be deep, rich and well-prepared. Remember to plant the grafted union of the tree about 5 or 6 inches below the suface of the soil. Peonies thrive on sun (part sun in warmer climates) and plenty of water. Plant where they will be protected from wind. The best time to prune is in late winter or early spring while the plant is still dormant.Important Info : Also known as 'Kamada Brocade'. Google Plant Images: click here! Size:Height: 0 ft. to 7 ft. Width: 0 ft. to 7 ft. Flower Characteristics:double, showy, Bloomtime Range: Late Spring to Early Summer USDA Hardiness Zone:5 to 8 AHS Heat Zone:Not defined for this plant Light Range:Part Sun to Full Sun pH Range:5.5 to 7.5 Soil Range:Sandy Loam to Clay Loam Water Range:Normal to Moist FertilizingHow-to : Fertilization for Young Plants Young plants need extra phosphorus to encourage good root development. Look for a fertilizer that has phosphorus, P, in it(the second number on the bag.) Apply recommended amount for plant per label directions in the soil at time of planting or at least during the first growing season. How-to : Fertilization for Established Plants Established plants can benefit from fertilization. Take a visual inventory of your landscape. Trees need to be fertilized every few years. Shrubs and other plants in the landscape can be fertilized yearly. A soil test can determine existing nutrient levels in the soil. If one or more nutrients is low, a specific instead of an all-purpose fertilizer may be required. Fertilizers that are high in N, nitrogen, will promote green leafy growth. Excess nitrogen in the soil can cause excessive vegetative growth on plants at the expense of flower bud development. It is best to avoid fertilizing late in the growing season. Applications made at that time can force lush, vegetative growth that will not have a chance to harden off before the onset of cold weather. LightConditions : Light Conditions Unless a site is completely exposed, light conditions will change during the day and even during the year. The northern and eastern sides of a house receive the least amount of light, with the northern exposure being the shadiest. The western and southern sides of a house receive the most light and are considered the hottest exposures due to intense afternoon sun. You will notice that sun and shade patterns change during the day. The western side of a house may even be shady due to shadows cast by large trees or a structure from an adjacent property. If you have just bought a new home or just beginning to garden in your older home, take time to map sun and shade throughout the day. You will get a more accurate feel for your site's true light conditions. Conditions : Full to Partial Sun Full sunlight is needed for many plants to assume their full potential. Many of these plants will do fine with a little less sunlight, although they may not flower as heavily or their foliage as vibrant. Areas on the southern and western sides of buildings usually are the sunniest. The only exception is when houses or buildings are so close together, shadows are cast from neighboring properties. Full sun usually means 6 or more hours of direct unobstructed sunlight on a sunny day. Partial sun receives less than 6 hours of sun, but more than 3 hours. Plants able to take full sun in some climates may only be able to tolerate part sun in other climates. Know the culture of the plant before you buy and plant it! Conditions : Light and Plant Selection For best plant performance, it is desirable to match the correct plant with the available light conditions. Right plant, right place! Plants which do not receive sufficient light may become pale in color, have fewer leaves and a "leggy" stretched-out appearance. Also expect plants to grow slower and have fewer blooms when light is less than desirable. It is possible to provide supplemental lighting for indoor plants with lamps. Plants can also receive too much light. If a shade loving plant is exposed to direct sun, it may wilt and/or cause leaves to be sunburned or otherwise damaged. WateringProblems : Creating a Water Ring A water ring, sometimes called a water well, is a mound of compacted soil that is built around the circumference of a planting hole once a plant has been installed. The water ring helps to direct water to the outer edges of a planting hole, encouraging new roots to grow outward, in search of moisture. The height of the mound of soil will vary from a couple of inches for 3 gallon shrubs, to almost a foot for balled and burlapped trees, especially those planted on a slope. Mulch over the ring will help to further conserve moisture and prevent deterioration of the ring itself. Once a plant is established, the water ring may be leveled, but you should continue to mulch beneath the plant. Conditions : Moist and Well Drained Moist and well drained means exactly what it sounds like. Soil is moist without being soggy because the texture of the soil allows excess moisture to drain away. Most plants like about 1 inch of water per week. Amending your soil with compost will help improve texture and water holding or draining capacity. A 3 inch layer of mulch will help to maintain soil moisture and studies have shown that mulched plants grow faster than non-mulched plants. Conditions : Normal Watering for Outdoor Plants Normal watering means that soil should be kept evenly moist and watered regularly, as conditions require. Most plants like 1 inch of water a week during the growing season, but take care not to over water. The first two years after a plant is installed, regular watering is important for establishment. The first year is critical. It is better to water once a week and water deeply, than to water frequently for a few minutes. PlantingHow-to : Preparing Garden Beds Use a soil testing kit to determine the acidity or alkalinity of the soil before beginning any garden bed preparation. This will help you determine which plants are best suited for your site. Check soil drainage and correct drainage where standing water remains. Clear weeds and debris from planting areas and continue to remove weeds as soon as they come up. A week to 10 days before planting, add 2 to 4 inches of aged manure or compost and work into the planting site to improve fertility and increase water retention and drainage. If soil composition is weak, a layer of topsoil should be considered as well. No matter if your soil is sand or clay, it can be improved by adding the same thing: organic matter. The more, the better; work deep into the soil. Prepare beds to an 18 inch deep for perennials. This will seem like a tremendous amount of work now, but will greatly pay off later. Besides, this is not something that is easily done later, once plants have been established. How-to : Pruning Flowering Shrubs It is necessary to prune your deciduous flowering shrub for two reasons: 1. By removing old, damaged or dead wood, you increase air flow, yielding in less disease. 2. You rejuvenate new growth which increases flower production. Pruning deciduous shrubs can be divided into 4 groups: Those that require minimal pruning (take out only dead, diseased, damaged, or crossed branches, can be done in early spring.); spring pruning (encourages vigorous, new growth which produces summer flowers - in other words, flowers appear on new wood); summer pruning after flower (after flowering, cut back shoots, and take out some of the old growth, down to the ground); suckering habit pruning (flowers appear on wood from previous year. Cut back flowered stems by 1/2, to strong growing new shoots and remove 1/2 of the flowered stems a couple of inches from the ground) Always remove dead, damaged or diseased wood first, no matter what type of pruning you are doing. Examples: Minimal: Amelanchier, Aronia, Chimonanthus, Clethra, Cornus alternifolia, Daphne, Fothergilla, Hamamelis, Poncirus, Viburnum. Spring: Abelia, Buddleia, Datura, Fuchsia, Hibiscus, Hypericum, Perovskia, Spirea douglasii/japonica, Tamarix. Summer after flower: Buddleia alternifolia, Calycanthus, Chaenomeles, Corylus, Cotoneaster, Deutzia, Forsythia, Magnolia x soulangeana/stellata, Philadelphus, Rhododendron sp., Ribes, Spirea x arguta/prunifolia/thunbergii, Syringa, Weigela. Suckering: Kerria How-to : Planting Perennials Determine appropriate perennials for your garden by considering sun and shade through the day, exposure, water requirements, climate, soil makeup, seasonal color desired, and position of other garden plants and trees. The best times to plant are spring and fall, when soil is workable and out of danger of frost. Fall plantings have the advantage that roots can develop and not have to compete with developing top growth as in the spring. Spring is more desirable for perennials that dislike wet conditions or for colder areas, allowing full establishment before first winter. Planting in summer or winter is not advisable for most plants, unless planting a more established sized plant. To plant container-grown plants: Prepare planting holes with appropriate depth and space between. Water the plant thoroughly and let the excess water drain before carefully removing from the container. Carefully loosen the root ball and place the plant in the hole, working soil around the roots as you fill. If the plant is extremely root bound, separate roots with fingers. A few slits made with a pocket knife are okay, but should be kept to a minimum. Continue filling in soil and water thoroughly, protecting from direct sun until stable. To plant bare-root plants: Plant as soon as possible after purchase. Prepare suitable planting holes, spread roots and work soil among roots as you fill in. Water well and protect from direct sun until stable. To plant seedlings: A number of perennials produce self-sown seedlings that can be transplanted. You may also start your own seedling bed for transplanting. Prepare suitable planting holes, spacing appropriately for plant development. Gently lift the seedling and as much surrounding soil as possible with your garden trowel, and replant it immediately, firming soil with fingertips and water well. Shade from direct sun and water regularly until stable. ProblemsDiseases : Verticillium or Fusarium Wilt Wilts may be contracted through infected seed, plant debris, or soil. This fungus begins and multiplies during the cool, moist season, becoming obvious when weather turns warm and dry. Plants wilt because the fungus damages their water conducting mechanisms. Overfertilization can worsen this problem. Able to overwinter in soil for many years, it is also carried and harbored in common weeds. Prevention and Control: If possible, select resistant varieties. Keep nitrogen-heavy fertilizers to a minimum as well as over-irrigating as they encourage lush growth. Practice crop rotation and prune out or better yet remove infected plants. Pest : Aphids Aphids are small, soft-bodied, slow-moving insects that suck fluids from plants. Aphids come in many colors, ranging from green to brown to black, and they may have wings. They attack a wide range of plant species causing stunting, deformed leaves and buds. They can transmit harmful plant viruses with their piercing/sucking mouthparts. Aphids, generally, are merely a nuisance, since it takes many of them to cause serious plant damage. However aphids do produce a sweet substance called honeydew (coveted by ants) which can lead to an unattractive black surface growth called sooty mold. Aphids can increase quickly in numbers and each female can produce up to 250 live nymphs in the course of a month without mating. Aphids often appear when the environment changes - spring & fall. They're often massed at the tips of branches feeding on succulent tissue. Aphids are attracted to the color yellow and will often hitchhike on yellow clothing. Prevention and Control: Keep weeds to an absolute minimum, especially around desirable plants. On edibles, wash off infected area of plant. Lady bugs and lacewings will feed on aphids in the garden. There are various products - organic and inorganic - that can be used to control aphids. Seek the recommendation of a professional and follow all label procedures to a tee. Fungi : Leaf Spots Leaf spots are caused by fungi or bacteria. Brown or black spots and patches may be either ragged or circular, with a water soaked or yellow-edged appearance. Insects, rain, dirty garden tools, or even people can help its spread. Prevention and Control: Remove infected leaves when the plant is dry. Leaves that collect around the base of the plant should be raked up and disposed of. Avoid overhead irrigation if possible; water should be directed at soil level. For fungal leaf spots, use a recommended fungicide according to label directions. Diseases : Blight Blights are cause by fungi or bacteria that kill plant tissue. Symptoms often show up as the rapid spotting or wilting of foliage. There are many different blights, specific to various plants, each requiring a varied method of control. MiscellaneousGlossary : Border Plant A border plant is one which looks especially nice when used next to other plants in a border. Borders are different from hedges in that they are not clipped. Borders are loose and billowy, often dotted with deciduous flowering shrubs. For best effect, mass smaller plants in groups of 3, 5, 7, or 9. Larger plants may stand alone, or if room permits, group several layers of plants for a dramatic impact. Borders are nice because they define property lines and can screen out bad views and offer seasonal color. Many gardeners use the border to add year round color and interest to the garden. Glossary : Specimen A specimen can be a tree, shrub, ground cover, annual, or perennial that is unique in comparison to the surrounding plants. Uniqueness may be in color, form, texture, or size. By using only one specimen plant in a visual area, it can be showcased. Specimen plants are accents in the landscape, just as statues, water features, or arbors. Glossary : Deciduous Deciduous refers to those plants that lose their leaves or needles at the end of the growing season. Glossary : Herbaceous Herbaceous refers to a non-woody plant that dies back at the end of its growing season, generally after frost or during the fall of the year. The rootstock of perennials will overwinter, providing the plant is hardy in that area, and resume growth in the spring. Glossary : Perennial Perennial: traditionally a non-woody plant that lives for two or more growing seasons. Glossary : pH pH, means the potential of Hydrogen, is the measure of alkalinity or acidity. In horticulture, pH refers to the pH of soil. The scale measures from 0, most acid, to 14, most alkaline. Seven is neutral. Most plants prefer a range between 5.5 and about 6.7, an acid range, but there are plenty of other plants that like soil more alkaline, or above 7. A pH of 7 is where the plant can most easily absorb the most nutrients in the soil. Some plants prefer more or less of certain nutrients, and therefore do better at a certain pH.

<urn:uuid:44cdddfe-f0d3-4330-9247-bbd17c4c865c>

CC-MAIN-2018-26

https://www.backyardgardener.com/plantname/paeonia-suffruticosa-kamada-nishiki-peony/

s3://commoncrawl/crawl-data/CC-MAIN-2018-26/segments/1529267864546.30/warc/CC-MAIN-20180622143142-20180622163142-00602.warc.gz

en

Exercise Training and High Carbohydrate Diet Proper nutrition is critical for optimal physical performance. Carbohydrate is the most important nutrient in an athletes diet because it is the only fuel that can power intense exercise over prolonged periods, yet its stores within the body are relatively small (Coyle, 1991). However, the systematic use of large amounts of carbohydrate provokes hyperglycamia and creates the conditions for the development of non-enzymatic glycation of proteins. Over the last few years a relationship between hyperglycamia and an increase in content of glycated proteins of tissues leading to the development of diabetes and the acceleration of aging has been discovered (Brownlee et al., 1984; VanBoekal, 1991; Brownlee, 1994). A high content of blood glycated proteins in athletes practisicing winter and summer sports is to be found (Rogozkin et al., 1991). This is comparable to data obtained from those who suffer from diabetes and therefore, shows some disturbance of the regulation of carbohydrate metabolism in this group of athletes. Subsequent experiments using animal models showed that with an abundant administration of carbohydrate food together with aerobic exercise created a higher concentration of glucose which is not only used as a source of energy, but can also lead to the modification of many proteins in the reaction of non-enzymatic glycation (Karpus,1993; Karpus et al., 1993, 1994; Rogozkin et al., 1993). This encouraged us to the search for the substance which competed with glucose for binding to protein amino groups. In the present paper we investigated the content of glycated proteins in blood under standard conditions and with different kinds of physical exercise, as well as with various concentrations of carbohydrates and vitamin C and B6 in normal diets. KeywordsExercise Training Physical Exercise Carbohydrate Metabolism Aerobic Exercise Standard Diet Unable to display preview. Download preview PDF. - Brownlee, M., 1994, Glycation and diabetic complications, Diabetes 43:836–841.Google Scholar - Brownlee, M., Vlassara, H., Cerami, A., 1984, Nonenzymatic glycosylation and the pathogenesis of diabetic complications, Ann. Int. Med. 101:527–537.Google Scholar - Karpus, O. V., 1993, Influence of systematic physical exercise and dietary carbohydrate intake on levels of glycated proteins in blood or liver of rats, Int. J. Sports Med. 14(5):296.Google Scholar - Karpus, O., Rogozkin, V., Feldkoren, B., 1994, Exercise, blood glycated proteins and carbohydrate supplementation, Clin. Sci. 87(supplement):67.Google Scholar - Karpus, O., Rogozkin, V., Melgunova, E., Feldkoren, B., 1993, Effect of different metabolic type of physical training and carbohydrate diet on levels of glycated proteins in blood of rats, Physiol. J. 79(12):39–43.Google Scholar - Pyatniska, I. N., Gvozdova, L. G., 1987, Vitamin B6, Scien. papers of Nutrition Research Institute :109–120.Google Scholar - Rogozkin, V. A., 1993, Physical exercise and carbohydrates, Physical exercise performance and nutrition, St.Petersburg :12–26.Google Scholar - Rogozkin, V., Karpus, O., Melgunova, E., Feldkoren, B., 1993, Effect of food carbohydrates, anaerobic and aerobic training on metabolism in rats, XV International Congress of Nutrition, Adelaide, Abstract 1:369.Google Scholar - Rogozkin, V., Osipova, E., Feldkoren, B., 1991, Bloodglycated proteins as an index of carbohydrates metabolism in athletes, Second IOG World Congress on Sport’ Sciences, Barcelone:238Google Scholar - Stolba, P., Hatle, K., Krnakova, V., et al. 1987, Effects of ascorbic acid on non-enzymatic glycation of serum proteins in vitro and in vivo, Diabetologia 30:585A.Google Scholar

<urn:uuid:9833c1b7-7946-4f34-a934-4798bdf3c8e0>

CC-MAIN-2018-13

https://link.springer.com/chapter/10.1007/978-1-4757-2510-0_48

s3://commoncrawl/crawl-data/CC-MAIN-2018-13/segments/1521257645550.13/warc/CC-MAIN-20180318071715-20180318091715-00255.warc.gz

en