text:
On Inspiration for The Caulfield Suite, by Audrey Wu, NEC Prep...
On Inspiration for The Caulfield Suite, by Audrey Wu, NEC Prep student composer. Check out her works and many others this weekend at the NEC Prep Contemporary Festival! http://necmusic.edu/event/16765
As some may be able to guess from the title, much of my inspiration for this piano suite came from J.D. Salinger's widely-known novel The Catcher in the Rye, which I read in English class this fall. Although conversations about the book within the classroom as well as world-wide have been and most likely will continue to be controversial, I find discussion around the story compelling and influential to my music. My intention of the piece was to depict certain moments in the book that struck me, and to illustrate a sort of "backwards" demonstration of Holden's struggle with childhood and adulthood. As for the formatting, specifically adding memorable quotes to introduce each movement, I was inspired by The Orphée Suite by Philip Glass, which I highly recommend taking some time to listen to. #studentcomposersforthewin #todaysyouthperformtodaysmusic #2017contemporaryfestival (at New England Conservatory Preparatory School)
NEC Prep is very excited for our upcoming Contemporary Festival...
NEC Prep is very excited for our upcoming Contemporary Festival this weekend Feb 3-5, 2017! Composer Judd Greenstein will be in residence, and many student compositions will also be featured! Today we would like to introduce another of our student composers, Bram Fisher, who tells us about his experiences and standout moments as a young composer. Check out one of Bram's latest works, "Concert Music," this Saturday Feb 4th at 12pm in NEC's Jordan Hall! The work will be performed by NEC Prep Youth Symphony Orchestra directed by Steven Karidoyanes.
Bram Fisher, 16, has been composing and improvising since he was six years old. He currently studies composition with Rodney Lister in the NEC Preparatory School, where he also studies viola and clarinet and plays viola in the Youth Philharmonic Orchestra. He is a four-time finalist of the ASCAP Morton Gould Young Composers Competition (2012-2015) and in 2016 was designated an Emerging Composer in the Tribeca New Music Competition and a finalist in the National Young Composers Challenge. He has spent many summers playing chamber music at the Greenwood Music Camp and lives in the Berkshire Hills of western Massachusetts! #necprep #2017contemporaryfestival #juddgreenstein #todaysyouthperformtodaysmusic #studentcomposers
#studentcomposersforthewin #necprepyouthsymphony #jordanhall (at New England Conservatory Preparatory School)
NEC Prep is very excited for our upcoming Contemporary Festival...
NEC Prep is very excited for our upcoming Contemporary Festival this weekend Feb 3-5, 2017! Composer Judd Greenstein will be in residence, and many student compositions will also be featured! Today we would like to introduce another of our student composers, Bram Fisher, who tells us about his experiences and standout moments as a young composer. Check out one of Bram's latest works, "Concert Music," this Saturday Feb 4th at 12pm in NEC's Jordan Hall! The work will be performed by NEC Prep Youth Symphony Orchestra directed by Steven Karidoyanes.
Bram Fisher, 16, has been composing and improvising since he was six years old. He currently studies composition with Rodney Lister in the NEC Preparatory School, where he also studies viola and clarinet and plays viola in the Youth Philharmonic Orchestra. He is a four-time finalist of the ASCAP Morton Gould Young Composers Competition (2012-2015) and in 2016 was designated an Emerging Composer in the Tribeca New Music Competition and a finalist in the National Young Composers Challenge. He has spent many summers playing chamber music at the Greenwood Music Camp and lives in the Berkshire Hills of western Massachusetts! #necprep #2017contemporaryfestival #juddgreenstein #todaysyouthperformtodaysmusic #studentcomposers
#studentcomposersforthewin #necprepyouthsymphony #jordanhall (at New England Conservatory Preparatory School)
We hope you'll join us for this very special recital dedicated...
We hope you'll join us for this very special recital dedicated to Midori Tanabe, former teacher of prep piano faculty member Mana Tokuno. Here Mana describes the impact Ms. Tanabe has had on her life and musical growth:
People say that music reflects oneself. But, I also think that music forms who we are. What she taught me years ago through each piano lesson has shaped the last couple decades of my life, and I am certain that her teaching will continue to grow and mature through the rest of my life. And, I wish that I could pass on her legacy to my audience and students. I thank you for joining me to share these moments to pay tribute to her.
The concert is this Sunday February 5th at 8pm in Jordan Hall.
http://necmusic.edu/event/16626. #necfreeconcerts #inspirationalteachers (at New England Conservatory Preparatory School)
We hope you'll join us for this very special recital dedicated...
We hope you'll join us for this very special recital dedicated to Midori Tanabe, former teacher of prep piano faculty member Mana Tokuno. Here Mana describes the impact Ms. Tanabe has had on her life and musical growth:
People say that music reflects oneself. But, I also think that music forms who we are. What she taught me years ago through each piano lesson has shaped the last couple decades of my life, and I am certain that her teaching will continue to grow and mature through the rest of my life. And, I wish that I could pass on her legacy to my audience and students. I thank you for joining me to share these moments to pay tribute to her.
The concert is this Sunday February 5th at 8pm in Jordan Hall.
http://necmusic.edu/event/16626. #necfreeconcerts #inspirationalteachers (at New England Conservatory Preparatory School)
Come hear students from the Intermediate Piano Seminar perform...
Come hear students from the Intermediate Piano Seminar perform works by Seymour Bernstein and Diane Goolkasian Rahbee's dynamic Toccata in Pierce Hall this Saturday, February 4th at 2pm. Be inspired by Bernstein's beautiful melodies and accurate portrayals of an array of birds, insects, and animals.
Pictured is Mr. Rivera coaching Anna Milevskaya on Bernstein's "The Seagull," which uses the fist to imitate the seagull's scream! #2017contemporaryfestival #todaysyouthperformtodaysmusic #necprep #mrriveraspianoseminarsrock (at New England Conservatory Preparatory School)
Come hear students from the Intermediate Piano Seminar perform...
Come hear students from the Intermediate Piano Seminar perform works by Seymour Bernstein and Diane Goolkasian Rahbee's dynamic Toccata in Pierce Hall this Saturday, February 4th at 2pm. Be inspired by Bernstein's beautiful melodies and accurate portrayals of an array of birds, insects, and animals.
Pictured is Mr. Rivera coaching Anna Milevskaya on Bernstein's "The Seagull," which uses the fist to imitate the seagull's scream! #2017contemporaryfestival #todaysyouthperformtodaysmusic #necprep #mrriveraspianoseminarsrock (at New England Conservatory Preparatory School)
The Highlight of My Musical Year by Forrest Eimold: The NEC Prep...
The Highlight of My Musical Year by Forrest Eimold:
The NEC Prep Contemporary Festival is without a doubt one of my favorite things about NEC. I'm as excited as ever for it this year, and most of my work for this 27th year of the festival will be done with the piano quintet in which I play. We'll be playing three pieces of new music:
• Michael Finnissy's Grieg-Quintettsatz. This half-hour piece is an amazing tour-de-force of compositional technique, where the composer takes his own completion of an unfinished Grieg piano quintet and gradually melts it into his own "modern," florid musical language. There are two sections where no rhythm is discernible (there are glissandos in the strings and grace notes in the piano), which have required quite a bit of rehearsal to bring up to speed. As our coach Rodney tells us, "count out loud in your head."
• Bram Fisher's Music Box. Bram is the violist in my piano quintet, and it is such a privilege to be able to play his own piece with him. The piece is magical: arpeggiated figures and throbbing beats are structural bookends for stalactitic lines in the middle. My favorite part of the work is the surreal ending, where the music molts into something decidedly different; the effect is unsettling, haunting.
• My own piece, Madonna. The work is based almost entirely off of works by other composers and poets, e.g. Dickinson, Fauré, Gershwin, Hildegard of Bingen, Mahler, Mallarmé, and Obrecht. My intention in writing the piece was to create something which sounded like my other compositions while writing almost none of the same notes.
Today's youth do perform today's music, thanks to the amazing work of NEC.
Thank you,
Forrest Eimold
#necprep #2017contemporaryfestival #juddgreenstein #todaysyouthperformtodaysmusic #studentcomposers
#studentcomposersforthewin (at New England Conservatory Preparatory School)
The NEC Prep Contemporary Festival is only a few days away, and...
The NEC Prep Contemporary Festival is only a few days away, and we are getting ready to showcase all the incredible work our Resident Composer Judd Greenstein, as well as what many student composers have done! One student composer whose work will be featured in concert during the Festival is Forrest Eimold, who shares his vast experience composing , performing, and working with incredible artists:
Forrest Eimold, 17, has gained acclaim for his performances of the works of Olivier Messiaen; last January marked the completion of his multi-year project of learning and performing the nearly 5-hours' worth of the composer's post-war organ works. He has worked with such living composers as Michael Finnissy, John Harbison, Julian Wachner, and Judith Weir. He has been featured on NPR's From the Top with Christopher O'Riley in Atlanta, Georgia. Forrest studies composition, piano, and chamber music at NEC Prep with Larry Bell, Marc Ryser, and Rodney Lister, respectively; he attends the school's Saturday music program on a scholarship from the Max Reger Foundation of America, having received their Ambassador Award. He plays in Duo 404 with violinist Sasha Yakub, which recently performed Feldman's concert length work For John Cage. He is Organ Scholar at St. Paul's Parish in Harvard Square. As a composer, Forrest has written multiple concert-length works, including his 70-minute chamber Requiem, premiered in July 2016. For composition, he has twice been a National YoungArts Honorable Mention winner and has been a finalist twice in the ASCAP Morton Gould Young Composer Awards competition! (at New England Conservatory Preparatory School)
J. B. Clancy The NEC Prep Contemporary Festival is coming up...
J. B. Clancy
The NEC Prep Contemporary Festival is coming up next week, Feb. 3-5, 2017! Composer Judd Greenstein will be in residence and also many student compositions will be featured! Our next featured student composer is John Barron Clancy, who shares his experiences composing and performing his own compositions:
Barron Clancy has been taking violin lessons with NEC Prep faculty Susan Jarvis for six years. He is currently playing with Peter Jarvis' 8 am String Training Orchestra (STO) and with Milton's Pierce Middle School orchestra and chamber orchestra, led by Debra Thoresen. Barron has been studying Composition at NEC with Rodney Lister for the past year.
In addition to writing music for class, Barron arranged Concerning Hobbits (by Howard Shore, from Lord of the Rings) for string orchestra last year, with input from his teachers along the way. The Milton High School chamber orchestra, conducted by Ms. Thoresen, played his arrangement at their spring concert and invited Barron to play the piece with them.
Barron spends much of his free time composing. He adapted a Rondo from his composition class as a wedding gift for family friends who play oboe and cello. They learned it and played it for him - which was much better than hearing it on Finale playback.
One of Barron's favorite memories include meeting Boston Pops conductor, Keith Lockhart, at a Joslin Diabetes fundraiser reception at the Pops – he was coming from a composition lesson and Maestro Lockhart took some time to look at Barron's work with him. Check out some of Barron's works this upcoming weekend Feb 3-5, 2017!! #necprep #2017contemporaryfestival #juddgreenstein #todaysyouthperformtodaysmusic #studentcomposers #studentcomposersforthewin (at New England Conservatory Preparatory School)
Essay: Opening the Paradox of Conversations
Thank you for welcoming me at the Philips Theological Seminary today to lecture on the subject of Conversations. My presentation today is titled "Opening the Paradox of Conversations." This class couldn't have been more appropriate at this time—a time of growing political anxieties, virtual realities, and spiritual decay. I don't mean to paint a crisis out of our times, because we are not living in an impossible crisis. You are an optimistic group of people. Yet, I do want to point you to these fragile states of awareness—to urge you—in your role as seekers of truth and conveyors of purpose, to examine the role of conversation for hope. And today, I would like to focus on hope. But first let me tell you how we will approach our time together.
I've been tasked today with exploring metaphors that would help us understand the idea of conversation. Conversation or the experiment of "living together" is a matter of great complexity. I've set myself a lofty goal—to use music as a metaphor to understand the dynamics, tensions, and resolutions of such an experiment. This essay is also a result of my observations of contemporary life. Some of the issues (musical and beyond) will resonate with you in particular ways. I invite you to challenge my own thinking as well. Overall, my goal is to encourage you to pursue relevant connections to your field of work and ask you to offer plausible applications. For our purposes, and in addition to music, we will visit the fields of, education, theology, politics, and philosophy. Let's make this a multidisciplinary exploration!Let's talk about conversations. What is a good conversation and where does this idea come from? By definition conversations are dialogues. I also think they are more than that--they can be pinnacles of purpose. In the mid-fourteenth century, the etymological definition of the word conversation denoted the act of living with or "having dealings with others." The Latin roots of the word imply "being with" (com-) and "often" (-versare).
My art form including both the performative and appreciative aspects of it has everything to do with conversation. A conversation with the art form, the art work (or composition in this case), and the performer/interpreter are all part of the equation. In speaking of the art form we take into account its place in history—we realize that Mozart couldn't have been possible without Bach and Dylan wouldn't have been possible without Guthrie. You get the idea. The art work itself is a matter of great complexity because it couples the continuum of history together with the contemporary intentions or vision of its creator. Intention is where the creative process begins, but ironically creativity is not all free since some of it is still constrained by the evolution of the art form. Let me illustrate further.
The history of music is divided in periods like the renaissance, baroque, classical, romantic, etc. Changes or innovations came very slowly and gradually throughout time. We did not ever have major shifts of thought from one year to another. Yes, there were pivotal events but these were happening as a result of the bubble being more than ready to burst. (You might have heard about the famous riot following the first performance of the "Rite of Spring" by Stravinsky. This was certainly one of those pivotal moments in the history of music; and yet it was met by skepticism and disdain.) The performer is a messenger, one who has to take the history, the artwork, and give it to us in real time and space. The performer is also constrained by her technical vocabulary or skill. The greatest musicians have worked on their technical abilities so much that this is not an issue, but for the majority of us, it is a work in progress. You might be beginning to draw the parallel with your own discipline. Who are you? Are you the performer, the historian, or the purveyor of new ideas? Each role is of significant importance. And each role requires a specialized skill.
These three roles all converge in the artistic elements of music. Let's take the conductor of an orchestra for example, she will need to have a knowledge of the time period where the work lives to discern any particular historical performance practices or intent regarding context (or at least to inform the orchestra of what the work represents). She will also need to study the actual work of art and look at the score for the notes and the rhythms. Finally she will have to form an interpretation of the work. This is where the creative process becomes manifest again. And this is also where we learn that the creative process is not exclusive to the composition process but can also be found in the process of interpretation. That is a conversation in itself, a very meaningful one. And the test of a true masterwork a well, since it invites us to a continuous exploration of meaning.
Musicians in the orchestra don't have the entire score or layers of instrumentation available to them while they play. They only see their own part. Now, I want to show you an orchestra score. There are more than 16 parts stacked on top of each other here. How do you begin to listen to all of this at once! This where the conductor or moderator of the musical experience comes in to try to make sense of all of these parts and make sure that they are in sync and in tune. I promise you that conductors do a lot more than wave their hands. But here is the challenge—they can also get in the way! And more often than not, they do because they might want to micro-manage the experience or worst of all bring all the attention to themselves. The traditional practice itself makes it very difficult to separate the conductor from the ensemble and to make it a more democratic experience for all. This begs the question, do we need conductors? The answer for now is yes. There have been some experiments with smaller chamber orchestras like the Orpheus Chamber Orchestra that are conductor-less but even then, individuals or groups of musicians will still take the helm. Influencing is a natural human response.
Next time you are in your classroom notice who the influencer is and why? Is it because they are officially in charge of the class like I am now? Or is it because they are prepared to share ideas or because they are just too irresistible? Does gender play a role? You can formulate your questions and criteria. In this political cycle there has been a whole lot of influencing going on. The surrogates on television, rally-goers, church-goers, your grandmother, you name it. You will always listen to some more than others because your moral or political affiliations are already in tune, and you might dismiss others because it makes you feel uncomfortable. Now, let me pose to you the idea that good conversations are supposed to be uncomfortable. Is that an ironic statement?
This class is a bit uncomfortable for me. I have never taught to a group of theologians and certainly nothing I have done has prepared me for this experience. I still accepted this opportunity with the hopes that it would be an experience where I could learn from others and hopefully grow in my own thinking abilities. So I am taking this time to stretch my abilities and make my brain hurt a little bit.
The work of a good conversationalist is not to impose a point of view but in the words of the modern French philosopher Michel Foucalt, to analyze his own thinking and to continually examine evidence and assumptions so that he can then shake up routine ways of working and thinking. This is a very tedious process but when it is done right you can truly make a difference. The early Methodist church thinkers, specifically John Wesley expressed the idea of thinking and letting think at the same time. Do you notice there is an implicit tension in this argument? The formation of political, social, or spiritual will is a matter of self-determination. It cannot be imposed, although we might want to think we can. This was the belief of the Spanish Catholic church when they conquered Mexico and tried to bury all native expressions of the Divine. Granted, the people later experienced a revival focused on syncretic practices that honor the local history and theology of the colonizing church. I think this example falls well into your study of practical and systematic theology, which was explained so eloquently to me by your professor Dr. McGarrah Sharp.
Speaking of will, the perpetual debate of nature vs. nurture comes into play here. In my own experience as a teacher, I can tell you that you can nurture all you can and want, but in the end the decision to act accordingly rests solely on the student and according to his will. So, let us not be discouraged when the outcomes don't materialize exactly as we envisioned them. As theologians and practitioners of faith you have the Holy Spirit on your side; and that conversation with the Divine is of particular importance.
There are some established techniques which connect the individual to the Spirit. I know that meditating on Scripture is one of them. Reading the verses slowly, pausing between in each word, and letting the ebb and flow of each cadence surround you with its presence. I remember that as part of my education growing up in a Christian school we were asked to memorize verses, sometimes complete passages with up to ten or twenty verses! To this day, I remember many of these passages and they live deep within my soul.
As I share this, I am also drawing parallels with the experience of music and the kinds of conversations performers or interpreters might have with the scores. When you practice a passage of music of great technical difficulty you begin with deciphering the inner workings of the notes—the shapes of the notes, their duration, and the physical effort required to actually make them come alive. Practicing on the keyboard for example, you might start very slowly and consciously playing each note in sequence with the right fingering to minimize mistakes. Doing this slow, consistent, and deep practice activates a part of the brain that triggers the secretion of myelin, a protein that helps develop muscle memory so that the passage then becomes automatic and flawless in performance.
Once the technical hurdles are solved the interpreter can invoke the powers of creativity and make her interpretation transcend the notes or the score. This is why music performance is such an enigma to many. It is easy to believe that many great performers are somehow touched by the muses to exert power over their listeners, but this is not at all how it goes. There are layers upon layers of preparation, meditation, and practice over time to achieve any kind of meaningful conversation the score itself or with an audience in the room. For the artist, instant gratification is not part of this experience.
I am told that as young Pastors you will be entering in a territory that will be quite challenging with multiple and opposing views are being discussed regarding the future of the church. Passionate arguments are being made for one issue or the other. I won't go into them today, but you know exactly what I am speaking of. There are deep divides and tensions stemming from issues like marriage and inclusion for example. Again, to echo Foucalt, if one arrives at the table with the intention of moulding the will of the other, that same conversation will falter! Abrahm Lincoln said the same of our own country, if we falter and lose our freedoms, it will be because we destroyed ourselves.
Some modern thinkers have referred to orchestras not just as groups of individuals making music but as examples of social life. One such thinker is Jose Antonio Abreu who said that orchestras are groups of people that decide to come together to agree with themselves. First and foremost, they agree with the goals of music. That is melody, harmony, and rhythm. They might not agree with the repertoire all the time or with the conductor but they agree that to make good music they must focus on these elements. So already, there is a point of convergence in the experience. Can you think of ways in which you can find points of intersection among your adversaries? In the orchestra, each musician depends on each other and their fate as performers are bound up in each other. So they must let the score guide that process (remember the music with all the parts written in it). If the score is guiding force, where do we leave the conductor and the aspirations of the musicians themselves? This is still an interesting conundrum which brings me to the forces of truth.
I recently read a piece by a young theologian named Michael Stark on the Huffington Post, he was exploring the why of our tense political climate and he drew the work of Father Thomas Merton, a 20th Century monk. He said that:
"The basic falsehood is the lie that we are totally dedicated to truth, and that we can remain dedicated to truth in a manner that is at the same time honest and exclusive: that we have the monopoly of all truth, just as our adversary of the moment has the monopoly of all error." When we enter into these extreme bias says Stark, our "ability to listen and learn from those with whom we disagree disintegrates. As a result, we fight and convince ourselves that those with whom we disagree are full of ignorance, and hold views that we might deem unfairly as dangerous."
Now, let me give you an example of this by way of Amy Schumer, the very well-known comedian. It was recently reported in the NY Times that during she singled out a Donald Trump supporter and invited her to the stage to justify her support before her 8,000 plus audience. She referred to the political candidate as an "orange, sexual-assaulting, fake-college-starting monster." I am not here to defend or support any candidate and whoever you vote for is your decision alone based on your own will which is also sacrosanct. What I do want to point out is the process and modus-operandi of this conversation. Do you think this was the best way for Ms. Schumer to show support to her cause? Does this episode help mend the fractures of our Union? This election cycle is very interesting because in part, it is about influencing the supremacy of impassioned truths. Our human capacities do not and can never reach the absolute. Yet we try and try and we become more and more frustrated with the outcomes. I want you to be attuned to these challenges. I am also trying to be more attentive to this phenomenon.
Assumptions fuel the rise of polarized societies. These come in different shapes and forms. Some are well meaning—when a person in a wheelchair gets overwhelmed with helping hands to the point that they also want to press the elevator button for him. Others which might be rooted in racial stereotypes can occur—when a Black man (who was to become US President, but no one knew about it yet) is mistakenly handed keys to a car at the valet section of a prominent social club; or when a White high school student gets treated unfairly because someone assumes that affirmative action somehow doesn't apply to him. When we assume right or wrong we enter into a realm of misunderstanding.
A few days ago, I spoke to a group of executives here in Tulsa and I made a blunder of painting progressives as people that celebrate diversity and are invested in building strong communities as a result. Someone came up to me at the end and asked, "What about conservatives? We also believe that we can achieve the same objectives," he said. After this conversation, it was clear to me that as citizens there is more than can brings us together rather than divide us. Yet, these common denominators are not often found in strictly binary approaches to political ideology. It is worth taking a look at the Pew Research study on "political typology." You'll find that many of your views can co-exist with that of a person from a rival political party. It is an eye (and mind) opening experience.Obviously achieving meaningful conversations is a real challenge. How can we move towards places of encounter or resolution? I can draw lessons from the orchestra as metaphors for this. Did you know that the etymological meaning of the word orchestra as expressed by the Greeks is the "dancing place"? Let's start there with examining the beat and how musicians can either react or respond to the beat in music. You might already be aware that part of the function of a conductor is to keep a steady beat by way of the baton, which by the way, could also be seen as a symbol of influence. Let me show you how this works. I brought the baton with me today. I begin by drawing up a pattern that musicians in the orchestra can read. These patterns are generally very consistent among conductors, with some slight aesthetic variation to show your personality. Four pulses per measure looks like this. And this is how 6 pulses per measure look like. Conductors aren't the only people that use symbols of influence like the baton. Pastors use stoles and robes. I've seen some wear their doctoral robes with three bands to signify their attained academic degrees. (From a layman's perspective, I think this is unnecessary).
Let's go back to the idea of reacting vs. responding. I want you to try to react to my pulse by clapping each time you see each beat in my 4/4 pattern. Ready? Now I would like for you to try to respond to my pulse. In order to do this you will have to anticipate the next pulse in such a way that you can meet me at the inflection point. Do you notice the difference? Which exercise yielded the best ensemble?
I think it is obvious that the second try was the best. Rather than reacting to the pulse you engaged in a conversation with me. You read my gestures in such a way that could predict the right timing of each clapping sound. Now let's make this exercise a bit more sophisticated by adding nuance. This time I will give you a melody in 4/4, "Joyful, joyful we adore Thee." Your job will be to read my gesture in such a way that can anticipate where I am going with cadences and dynamics of the melody line. Let's try.
I want you to be aware that I am aware that this might an exercise of manipulation. This is where the role of a conductor becomes challenging. But to dissipate any conflict of interest, one can always refer to the score and try to follow it as faithfully as possible. Now, saying that the conductor plays a manipulative role is a rather cynical approach. Each conductor loves the music so much that she is willing to take these risks.
Something that was very interesting today is that I did not instruct you to listen to each other as you clapped beats or sang the melody, but you did it anyways. You took the risk of succeeding (and failing) together and you emoted a sentiment of trust at the same time. And this is something very important that we can learn from the orchestra because ultimately the roots of good conversations in the orchestra or elsewhere stem from trust.
The paradox of conversations lies in the idea that successful experiments, especially those that can move us forward into the realm of understanding, come with varying degrees of uncertainty and fear. This fear is natural because we protect what is most dear to us. And to a great degree our own truths are our most guarded and relished patrimony. And to cherish the act of living with others and for others, we must also go to great lengths to protect the truths of all.
Jose Luis Hernandez - October 2016
Executives of Tulsa Speech 10/14/16
Executives of Tulsa Club Speech - 10/14/16
by Jose Luis Hernandez
It is an honor to be able to speak at the Executives of Tulsa Club. I am grateful to Tom Campbell for inviting me. Exactly two years ago I arrived here as a new Tulsan. Now I can proudly say that I have embraced this city as my own. And what a wonderful city it is! We have some much: parks and trails, our annual fair, ballet, and the touring Broadway shows. And of course, we have the Philbrook, one of the most beautiful museums in the world.
I really enjoy the many options for recreation that the city gives us—every week I get to visit at Lafortune Park to play tennis and then I do a few runs on the Riverside trail, just between 41st and 71st. That distance over and back covers about a 5K. I will be participating in the Tulsa Run this year, my first race ever! (I've really come to enjoy running, especially because you can easily gauge progress and with the new technology available you can also track your pace and distance, all in real time.)
In Tulsa, a lot of people care about education and philanthropy. I've gotten to meet so many leaders in the field through my work as director of Sistema Tulsa. Interestingly enough I am part of a new wave of educational, religious, and artistic leaders who have also recently arrived or started new leadership roles in the city. People like educator and Superintendent of Schools Dr. Gist, Signature Symphony conductor Andres Franco, Philbrook Director Scott Tullen, or my own colleague David Wiggs, the Senior Pastor at Boston Avenue. Many institutions are celebrating major anniversaries (30 and 40 year anniversaries). So it is time to learn from their accomplishments and move them forward into the future.
I am glad that some very traditional institutions are now looking to millennials like me for leadership. And that is good, but even better when we can strike a compromise with colleagues who can remind us of the culture and traditions of the institutions where we serve. I am proud to work at the Boston Avenue church, a community that is open to all who would want to experience God's love. We are lot of more than iconic building and we want to continue to play a role in the progress of our city. Come visit us, we think deeply and let think for yourself as well. (I think David Wiggs would be proud of me for putting in this plug here this morning).
Now that I've touched on the subject of millennials I should say (and quoting data from the Pew Research Group), that this group represents the most diverse population in the history of our country. So obviously this same group will bring about a long lasting change to the American way.
We are very optimistic in spite of the tragic events that have shaped our generation—9-11, Columbine, Katrina. We are more tolerant of races and other groups different from our own. Unfortunately, as a whole, we have become less and less engaged in the political process. I noticed one of your members today brought in signs regarding one of the questions on the next local ballot. That's good. Regardless of where you stand on the issues it is good to engage in conversations about our future.
Millennials also long for more and deeper human relations, but at the same time, in the Age Facebook and virtual realities this has actually become harder to achieve.
I was born in a small Texas town very close to Mexico. I learned English when I attended a US school for the first time in the 4th grade. I am proud to be a first generation American. My parents grew up in Mexico and met in college. My dad was the book worm, my mom the social butterfly. Opposites attract, right? Here is an explanation by way of physicist David Bohm—when we see seeming polarities, look for the larger truth that contains them both. And so my parent's larger truth fell into the realm of fear of God, hard work, respect for others, and the belief that strong families are pillars of successful communities.
My early experiences as a volunteer at church and at the local Lion's Club led me to discern the responsibility to care for others less fortunate than I. At the same time my journey as a student musician taught me how to harness my own imagination. I remember fondly the eye-care crusades that we led for very poor families through the Lion's Club. I also remember my first piano recitals, how I felt so special because people cared about my work.
I don't mean to make this autobiographical speech, but I think it is important that I share at least a little bit of my own story because ultimately our stories and experiences clamor to become intertwined. By invoking our shared stories as a metaphor for community, we honor the ultimate goal of our citizenry. The Founding Fathers called this building a "more perfect union." And yet in spite of our progress, this public "union" is still both the greatest virtue and challenge of our times.
Our personal stories also shed light on why we do what we do. Eric Booth, a teaching artist active at Lincoln Center and a mentor of mine, often quotes an idea that affirms that 80% percent of what we teach is who we are. You can substitute what we teach, with what we think or what we care about. As leaders it is important for us to be mindful of how we conduct ourselves, what we feed our mind, body, and soul. It all makes an impact in how others perceive our influence. Hopefully this 80% analogy is a golden nugget for you to take home.
About 5 years ago, I took a sabbatical and moved to Boston to take part in a special training program for young musicians who are passionate about social justice. (Taking a sabbatical makes me sound like a professor on the verge of retirement, but I was only 27!) I would call this training program a music educator's version of AmeriCorps. For a year I studied methods to nurture human development through the practice of music alongside fellows from across the US. Together, we became missionaries of the social mission of art, as our sponsor Dr. Abreu would call us.
Dr. Jose Antonio Abreu has been a boundless source of inspiration and energy for me. His educational philosophy, which was first applied in Venezuela is known as El Sistema (or the system). It is thriving in 25 countries around the world and now in Tulsa. There is a new book called "Playing for their Lives" that chronicles the expansion of this important thinker's ideas. I would say that El Sistema works as a living and breathing experiment of how the learning of music can nurture the individual and how the individual can transform his community and lead a fruitful life. And because it is an experiment, there is room for leaders to model each chapter after the needs of the community they serve, and as a natural consequence, after their own aspirations for shaping the common good. This is something that is very appealing to me.
In Tulsa, I am now working with close to 100 students and families who attend the program as members of orchestras and choirs. Each orchestra and choir is a public space that brings students from across the school district to form a diverse community. We do not charge tuition or require an audition. Everyone is free to attend the program if they make a commitment to put in the work (and it is hard work!).
An orchestra is a community that comes together for the sole purpose of agreeing with itself, says Abreu. And what is it that they need to agree upon? They agree to make music together. And what does that imply? That is a question that I constantly ask myself.
Let's elaborate on a few ideas—in practice, making music together in an orchestra makes you accountable to the group. You are responsible for the success of the overall music and you cannot let your peers down. This is a quality that is important to succeed in the workforce. Robert Putnam, an academic who has studied the demise and revival of American communities wrote that trust is the dominant predictor of success in any community. If one is reliable; you can surely trust him or her. And if we can trust each other we can make progress.
There are also the physical and metaphysical properties of music. Music is sound but what is sound and what is there? As a musician I have observed several things. First, that sound can move you emotionally—it can lead you to experiences that are sometimes difficult to explain. The fact that you can't see the sound makes it almost mystical.
I also heard Dr. Abreu refer to the phenomenon of sound as an invisible language. What makes sound so powerful in the context of building community through music is that one does not have talk about the need to work together because integration is already explicit in the goals of music. Voices and instruments in tune and playing in unison or harmony are perfect examples of this same integration. What music does is that it provides a platform where these voices and instruments can meet, without empty rhetoric getting in the way.
When I think of orchestras, I think of the virtues of public spaces. Let's take parks for example. I am amazed at the new local project called the Gathering Place led by banker and philanthropist George Kaiser. Of course, this will be more than a public park; it is also going to be a platform to bring people together and to interact with each other. When you visit our public parks, whether it is Riverside or Lafortune parks, you can feel the pulse of and celebrate the diversity of our city. These spaces are vibrant and colorful where many languages are spoken and people can experiment with the idea of togetherness. We often hear progressive politicians talk about how we are stronger together; but these promises fall short of ideas for the actual practice of becoming stronger together. Why? (There are no cut and paste formulas that will work for every single city or community.)
Because of this same challenge, leaders must develop opportunities to help people enter into the stories of others. In my case, let me give you an example from a teaching moment at a symphonic rehearsal. There is now a growing anxiety regarding immigration to our country. Our Community Youth Orchestra at Sistema Tulsa was rehearsing a work by Dvorak. Every time I introduce a new work, I like to give a short lecture about its origins, why the piece is important, and what it can teach us. The New World Symphony was composed by a Czech immigrant who in the late 1800's landed in a small rural town in Iowa. While in America he discovered African-American spirituals and other Native American musical expressions. One of his new friends, a man named Harry Burleigh, sang spirituals to him and he internalized the style and weaved it into a very sophisticated creation that transcends borders and has stood the test of time. "These beautiful and varied themes are the product of the soil," Dvorak said. As they play this work, our students are entering into the chronicles of history, negotiating their own identities through the stories and ideas of others. And that is the beginning of a process to discern the potential that we have as a "union," or at least to begin useful conversations about who we are and what we can become.
What I see as a way to bring us closer together is to learn from experiments like the Gathering Place or Sistema Tulsa. Our orchestra is a microcosm of the entire Tulsa community. We are African, Native, Hispanic, Asian, and White Americans working towards one goal, one ideal. We are also converging or meeting in a church with a membership that has been historically homogeneous but is now slowly establishing a new identity. Of course, these shifts of purpose happen very slowly and gradually, and they can come with certain amount of tension and anxiety.
To alleviate the burden of change, one has to think very strategically and lead by example. One can also apply the rules of public policy. During a professional development course at the Harvard Graduate School of Education, I learned that people will not only support most what they help create but also what they can clearly understand. I also learned a useful technique that perhaps you could also apply when trying to enact change in your companies or work areas. It brings visioning and public-policy thinking together to bring people into the core of your idea and then invite them to develop and model it after the place or community where it will be implanted. It is called the "Eight-Fold Path" by Eugene Bardach.
The "path" includes several steps: a definition of the problem to solve, collection of evidence pertaining to the problem, identification of alternatives that can solve the problem, criteria by which to weigh the best course of action, a projection of outcomes, examination of costs vs. benefits, and documentation through storytelling.
This is speech is an example of storytelling.
Not everyone knows this but before we started Sistema Tulsa we worked for an entire year to define our mission. We sought out key leaders in the community who could teach us about how to best position our program as a change agent. (Looking for moral support is important.) We looked at resources that were already available in the community, we set up a timeline, and looked years ahead. We asked many questions like – How would we know that the program was actually working? Or how would we know our investment and energy was being put to good use?
After our first year of operation and through early independent research done by OSU-Tulsa we affirmed our program's ideals—Sistema Tulsa is inclusive of all races and socio-economic groups, it is giving children a better love of music and broadening their horizons, it is teaching lessons in discipline and community.
Also, 100% of parents would recommend the program to other parents. 93% of parents believe that the program has taught their child to work hard to reach his/her goals. And my favorite stat – 97% of students want to get better at playing their musical instrument and 87% of them believe they have made their families proud.
Most importantly, we are learning how to work together and how to build a community that is constantly aspiring to better itself. One of our students said it best: "We learn important things here, and we have the opportunity to do something very special."
So my friends, all it takes for steady and systematic change is that we bring the best of ourselves to each opportunity and to make sure that those opportunities can also motivate, inspire, and nurture others at the same time. Also, most ideas for innovation can already be found right in front of you. Take what you know, take what you love, and make something out of it. Ideas abound, our job is to experiment and practice connecting the dots to come up with something entirely fresh and new (They call this simple formula genius).
I hope that my message this morning spoke to you in some way. I hope that you can begin to think of music as a metaphor for community building and most importantly, that we can continue to aspire to be good friends, colleagues and neighbors as our communities grow and evolve over time.
If you or people that you know can help me take my work to the next level please let me know. I would be happy to continue the conversation. More about Sistema Tulsa (its mode of operation, funding, and goals) can be learned from our annual report which is found our website
Thank you all. I am so glad to meet you.
- « first
- ‹ previous
- 1
- 2
- 3
- 4


text: Christmas Apllications for Food and Toy Baskets are now being accepted at the Salvation Army in North Street in Geneva. Please stop in to fill out an application,m we will be open 10-2pm Oct 22-27th and Oct 29-Nov 3. Please bring Photo ID, social security cards for all family members, Proof of Income. If you are unable to get to the Salvation Army please call 315-789-1055.

subset: commoncrawl


text: Sherlock: Lara Pulver and the show's female stars confess all From landlady Mrs Hudson and lab mouse Molly Hooper to dominatrix Irene Adler, meet the women who love Sherlock Holmes Comments Written By 10:50 AM, 10 January 2012 Speaking about Benedict Cumberbatch's good looks, Martin Freeman's sense of humour and how it really feels to bare all for the cameras, actresses Lara Pulver, Louise Brealey and Una Stubbs gather to give us an insight into what it's like to be a Baker Street babe. Lara Pulver, who plays Irene Adler, tells Radio Times that she performed that scene in A Scandal in Belgravia genuinely naked: "They give you a self-adhesive bra that sticks to you... [Director] Paul McGuigan very sweetly said to me, 'OK, the choice is we spend hours shooting it to avoid seeing straps or we take all that off and shoot it quickly.' "I thought I couldn't put myself through being there all day, practically naked anyway, so I might as well get completely naked and get it done in a few hours." Louise Brealey, who plays lab technician Molly Hooper, muses on Sherlock's appeal to women: "I remember saying to Benedict when we were doing the pilot three years ago, 'You do realise you're not going to be able to walk down the street if this becomes a series?' He couldn't imagine himself as a sex symbol. "He was like, 'Well. Maybe among the emo girls.' He just couldn't see it." "There's nothing more unattractive than a man who thinks he is attractive," adds Una Stubbs, who plays Mrs Hudson. "I think the fact that Benedict doesn't think he's attractive is so attractive to women." And when asked if there are any funny stories from the set, Una comments: "None clean enough to tell! [Martin tries to] shock me all the time. I remember seeing Paul McGuigan doubled over laughing, thinking, 'But she's a granny!' Like I shouldn't be allowed to hear these things." Find out more in the new issue of Radio Times magazine Like this? Share it. Facebook Twitter Google Tumblr Pinterest Blogger Reddit VKontakt Print Email


text:
The Chicago Bears and Chase are partnering to help the Greater Chicago Food Depository during the month of November.
According to the Greater Chicago Food Depository, there are 807,000 residents of Cook County who are not sure where their next meal will come from, including 1 in 5 Cook County children. In the past 12 months, the Food Depository distributed more than 64 million pounds of nutritious food and the Bears and Chase want to help grow this number. The goal of the Chase holiday food drive is 20,000 pounds (10 tons) of food, or enough meals to feed approximately 26,000 people this holiday season. Every donation makes a difference: each dollar donated provides 3 meals!
Fans attending the November 25th game against the Vikings - be sure to grab your grocery bag on your way out of the game and fill it with donated items. Bags can be dropped off at participating Chase locations.
Support us in the fight against hunger by donating here.


text:
Dunwoody, GA, USA < change city >
Ceremony Sites (191)
Reception Sites (141)
Photographers (68)
Cakes (43)
DJs (43)
Caterers (40)
Bands (39)
Florists (32)
Coordinators (21)
Wedding Day Beauty (19)
Limos (18)
Wedding Fashion (17)
Videographers (16)
Decorations (15)
Rentals (13)
Invitations (12)
Tuxedos (8)
Dance Instruction (5)
See All Vendors >
Saip and Sheena's Wedding
Ceremony at Villa Christina
Reception at Villa Christina
Bianca and Travis' Wedding
Ceremony at Zion Missionary Baptist Church
Reception at Primrose Cottage
"Our August wedding was a dream come true. Decorations were fabulous and I was happy with most of my vendors. They m..."
Our Wedding
"Our wedding and reception were wonderful1 We were married at The Arbors..."
Amber and Tim's Wedding
Ceremony at Trinity Presbyterian
Reception at Ritz-Carlton Buckhead
Jamie and Elizabeth's Wedding
Ceremony at Dunwoody United Methodist Church
Reception at Dunwoody Country Club
"Wonderful! Amazing! Beautiful! Everything was better than I ever thought it would be. Bette is amazing to work with. ..."
Kelly and Greg's Wedding
Ceremony at Cathedral of Christ the King
Reception at Ravinia Club
"I was happy with our wedding day because nothing went tragically wrong! A couple issues were nothing big compared to..."
Julie and Adam's Wedding
Atlanta Wedding In August
Ceremony at Cathedral of Christ the King
Reception at The Biltmore
Atlanta Wedding In August
Ceremony at Villa Christina
Reception at Villa Christina
Shannon and Kevin's Wedding
Ceremony at Peachtree Road United Methodist Church
Reception at Maggiano's Little Italy®


text:
Am I missing something? I am having a frustrating time finding a stock, low mileage, clean, paperwork, one-two owner wrx! This one is completely stock which is a start. Is it a no brainer to get a compression test done before buying?
Fwd: 2002 Subaru WRX Wagon - $8500
2002 Subaru WRX Wagon


text:
SHE Outdoor Falconn Waterproof Hunting Boots for Ladies
Sale price: Clearance price: Starting at: Sale starting at: Clearance starting at: Reg. price:
Made to look great and last long, the SHE® Outdoor Falcon Waterproof Hunting Boots feature waterproof full-grain leather uppers with 900 denier nylon panels, 100% waterproof with waterproof/breathable membranes, brushed Nylex lining, removable Orthotic insoles, and rubber outsoles. Non-Insulated. Average height: 8". Average weight per pair: 2 lbs. 15 oz. Imported.
Manufacturer style #: SS61007.
- 100% waterproof with waterproof/breathable membranes
- Waterproof full-grain leather uppers with 900 denier nylon panels
- Brushed Nylex lining
- Removable Orthotic insoles
- Rubber outsoles
Footwear designed for HER adventure!
Introducing the exciting line of SHE Outdoor premium hunting boots, designed by professional women hunters for women. SHE Outdoor takes great pride in its attention to detail, creating footwear that is perfectly designed to fit women, using only the best materials available. Waterproof construction, insulation, and comfort orthotic insoles are all key ingredients that make up this exceptional line of ladies' hunting boots.
Need Help? 7 days a week: 7am to 10pm CT or call 1.800.227.7776 anytime


text:
From Exalted - Unofficial Wiki
War March
The aim of this campaign is to focus on war. What if everyone started attacking everyone else at the same time?
Idly brushing sand from the carpet, the Betrayer of Ideals and Expectations waited impatiently. Looking around the dull bastion of Creation he had been shown to, was not improving his mood.
He stopped waiting and stormed past the guards into the inner recesses of the temple. He left them impaled on the claws of his minions. A maze of tunnels and corpses unworthy of his attenion later he found the one he sought. The demon looked down at him, annoyed. "All is in readiness, I demand my payment." his whisper echoed through the room. The demon unimpressed, pointed silently toward a chamber. Blood Apes floated out and formed up behind the Betrayer as he departed. It was a large chamber, the apes had not stopped exiting it by the time he finally stepped into his own world.
His majesty King Augustus, Lord of the Eastern Reaches, Grand Watchkeeper over the Seven Keys, Warlord and Ruler of the Kingdom of ... massaged his head. As subtly as he could he attempted to adjust his crown, the weight of it was most bothersome of late. Further darkening his mood were the emissaries of peace arrayed before him, so recently arrived from the Realm. "For what do we owe the pleasure of a personal visitation from the Realm's fine diplomats?"
Pausing here for now. - Talion


text:
UNC-UCLA Postgame Notes
• The Tar Heels are now 17-21 all-time in the CWS and 15-13 since 2006.
• With its one run Friday, Carolina established a new school record for runs in a season with 542. The previous record was 541 in 2002.
• 1B Cody Stubbs went 3 for 3 with a run scored on the night and became the eighth player in Carolina history to record at least 100 hits in a season. His senior year total of 101 hits is the 10th-most for a Tar Heel and the most since Dustin Ackley (111) and Kyle Seager (103) in 2009.
• DH Landon Lassiter went 3 for 5 against UCLA and finished his freshman season with 92 hits in 257 ABs (.358). His 92 hits are the fourth-most by a Tar Heel freshman, trailing only Ackley (119 in 2007), Brian Roberts (102 in 1997) and Adam Greenberg (98 in 2000).
• Lassiter reached base safely in 62 of his 69 appearances this season and finished the year with an on-base percentage of .491. He recorded multiple hits in seven of 11 postseason games and hit .400 (20 for 50) in the NCAA tournament. For the season, Lassiter had 29 multi-hit games.


text:
In a statewide needs assessment survey conducted by Iowa State University Extension and Outreach at the end of 2013, Iowans identified priority community needs that ISU Extension and Outreach should address with educational efforts.
With a little planning, homeowners who enjoy picking ripe, juicy fruit from their own trees can successfully grow fruit trees, such as apples, pears, plums and cherries – even homeowners with only small yard space.
Iowa State University is anticipating an increase in demand for its food safety training course as new state regulations take effect in Iowa this year. To meet the expected demand, specialists with Human Sciences Extension and Outreach will offer more than 100 ServSafe courses across the state.
For nearly 50 years, the swine teaching farm at Iowa State University has been helping students learn about pork production. The primary goal of the farm is to educate students about current pork production operations, and this includes student workers at the farm.
Finding the Iowa State University swine expert you need is easier with the online listing provided by Iowa Pork Industry Center. The 21-page booklet features names, photos and contact information for more than 80 faculty and staff members with swine- and/or pork-related work responsibilities.
In a single motion pruning demonstrates both the art and science of horticulture. Understanding how plants grow, why pruning is necessary and which tools to use can remove the mystery surrounding this routine practice.
Emerald Ash Borer has been positively identified in a residential tree in Eddyville in Wapello County, and trees in the public right-of-way in Waverly in Bremer County. EAB kills all ash tree species and is considered to be one of the most destructive tree pests ever seen in North America.
A special value added agriculture Annie's Project course is coming to Ames in March. The course covers five areas of agricultural risk: financial, human resources, legal, marketing and production.
Annie's Project helped Nicole Jonas write a business plan and add value to her farm business. The classes "made me realize things I needed to be doing or be doing better on Red Granite Farm and helped me focus on it as a real business," Jonas said.
A one-day swine production seminar sponsored by Iowa State University Extension and Outreach, University of Minnesota Extension, Hubbard Feeds and Elanco will be Thursday, March 13 in Okoboji.
News Archive
News prior to 2011
News Articles by Category
Iowa State University Extension and Outreach, (800) 262-3804, 2150 Beardshear Hall, Ames, IA 50011-2031
Copyright © 2017 Iowa State University | Contact Us |
Policies | State & National Extension Partners |
For Staff |
Website Log In


text:
u‑blox (Thalwil, Switzerland), a positioning and wireless chip and module company, announced on Monday the acquisition of Fusion Wireless (San Diego, Calif., U.S.A.), a provider of CDMA wireless modules for consumer and M2M applications in North America.
The acquisition price includes $0.9 million fully paid in cash, as well as $2.1 million in existing debt, plus earn-out.
"The acquisition of Fusion Wireless immediately gives u-blox new, cutting-edge wireless module products plus access to the huge embedded CDMA market in North America for both consumer and M2M applications. It also expands our wireless module technology roadmap to cover all popular standards used in the Americas based on a layout-consistent form factor," says Thomas Seiler, u‑blox CEO.
Key terms of the transaction include:
- Technology and modules in the area of CDMA wireless technology in several form factors
- Integration of the Fusion Wireless business into u-blox' existing activities to leverage and further strengthen the mutual commercial activities as well as capitalize on technological synergies
CDMA is a mobile telephone standard deployed extensively in the US, and has the highest number of subscribers, according to u-blox. It includes high-speed data channels that are used for consumer devices such as notebooks and tablet computers, as well as lower data transmission rates for machine-to-machine applications such as remote metering, remote monitoring and control, fleet management, point-of-sales terminals and remote patient monitoring systems. U-blox estimates that 6 million CDMA modules will be sold in 2011 in the M2M market.
Related Articles
Ericsson closes acquisition of M2M tech from Telenor Connexion [2]
ECI acquires Wireless Logic for $50 million [3]
Telit Communications acquires GlobalConect for $2.9 million [4]


text:
The American Spirituality of Loren Eiseley
by Richard E. Wentz
Dr. Wentz is professor of religious studies at Arizona State University in Tempe, and the author of The Contemplation of Otherness: The Critical Vision of Religion, to be published soon by Mercer University Press. This article appeared in the Christian Century, April 25, 1984, p. 430. Copyright by the Christian Century Foundation and used by permission. Current articles and subscription information can be found at www.christiancentury.org. This material was prepared for Religion Online by Ted & Winnie Brock.
I am treading deeper and deeper into leaves and silence. I see more faces watching, non-human faces. Ironically, I who profess no religion find the whole of my life a religious pilgrimage.
The religious forms of the present leave me unmoved. My eye is round, open, and undomesticated as an owl's in a primeval forest -- a world that for me has never truly departed.
I have come to believe that in the world there is nothing to explain the world.
Like the toad in my shirt we were in the hands of God, but we could not feel him; he was beyond us. totally and terribly beyond our limited- senses.
Man is not as other creatures and. . . without the sense of the holy, without compassion, his brain can become a gray stalking horror -- the deviser of Belsen [from All the Strange Hours and The Star Thrower, by Loren Eiseley].
It seems to me that that is precisely what Loren Eiseley had in mind when, in his autobiography, he stated: "I who profess no religion find the whole of my life a religious pilgrimage." In fact, I find the primary thrust of Eiseley's literary and personal essays to be religious. He was indeed a scientist -- a bone hunter, he called himself. Archaeologist, anthropologist and naturalist, he devoted a great deal of time and reflection to the detective work of scientific observation. However, if we are to take seriously his essays, we cannot ignore the evidence of his constant meditation on matters of ultimate order and meaning.
Such reflection seems to have been part of his every scientific observation, although he was careful not to permit it to ruffle the protective feathers of his fellow academics. "I have had the vague word 'mystic' applies to me," he writes, "because I have not been able to shut out wonder occasionally, when I have looked at the world. I have been lectured by at least one member of my profession who advised me to explain myself -- words which sound for all the world like a humorless request for the self-accusations so popular in Communist lands" (The Night Country [Scribner's, 1971], p. 214). His earliest thought of a career, when he was still in high school, was that he might be a nature writer. He remained prophetically loyal to that vocation. As a scientist, he was a lover of wisdom, a contemplative and a literary artist of considerable power. Elseley's editor, Kenneth Heuer, puts it all in tender prose when he writes: "He wrote always about the nature and animals he loved. With the passing years, his poems became more personal and philosophical" (All the Night Wings [Times, 1979], p. xi). Like the poems, his essays are also personal and philosophical -- and profoundly religious.
There are several reasons why Loren Eiseley's work has not been examined from the perspective of religious thought. First, many scholars and other intellectuals who appreciate Eiseley's writings have little understanding of what religious thought is and prefer to treat such matters by the use of safer language. Second, there is Eiseley's own desire to protect his scholarly credibility. He sought to avoid, and rightly so, any facile or sentimental deference to religion. He also found it difficult to identify himself with any tradition because he had learned from the great spirits of religious history and was dissatisfied with religion's institutionalized form. Having discerned the secret, the power at the depth of the religious quest, he found the churches and their leaders wanting. Finally, Eiseley's ideas are not the spidered webs of abstract systems. His thought takes the form of contemplative involvement in the stuff of existence; it is best understood as a type of American spirituality.
Loren Eiseley thought that much of the modern scientific enterprise had removed humanity ever farther from its sense of responsibility to the natural world it had left in order to create an artificial world to satisfy its own insatiable appetites. Appetites, our spiritual geniuses have taught us, must be disciplined if we are to understand ourselves and to be open to insight into ultimate reality. "The one great hieroglyph, nature," wrote Eiseley, "is as unreadable as it ever was and so is her equally wild and unpredictable offspring, man. Like Thoreau, the examiner of lost and fragile surfaces of flint, we are only by indirection students of man. We are, in actuality, students of that greater order known as nature. It is into nature that man vanishes" (The Star Thrower [Harcourt Brace Jovanovich, 1978], p. 237). Eiseley understood Thoreau as a "spiritual wanderer through the deserts of the modern world," as one who "rejected the beginning wave of industrialism." However, Thoreau had left the seclusion of Walden Pond in order to pace the fields of history, sorting out the artifacts that people had dropped along the way. It was those "fossil thoughts" and "mindprints" that Eiseley himself explored in his wanderings. These explorations gave depth, a tragic dimension and catharsis to what he called the "one great drama that concerns us most, the supreme mystery, man"
Just as Thoreau sought a proper way to see the world as it really is. so Eiseley learned that the only remedy for life's displaced blundering is to be found "somewhere in the incredible dimensions of the universal Eye." In essay after essay, he writes as a magus, a spiritual master or a shaman who has seen into the very heart of the universe and shares his healing vision with those who live in a world of feeble sight. We must learn to see again, he tells us; we must rediscover the true center of the self in the otherness of nature.
As the works of any naturalist might, Eiseley's essays and poems deal with the flora and fauna of North America. They probe the concept of evolution, which consumed so much of his scholarly attention, examining the bones and shards, the arrowpoints and buried treasures. Every scientific observation leads to reflection. To observe flowers is to become aware of our relationship to them -- that all of life from the beginning has depended on their existence.
While discussing a peculiar species of giant wasp, he tells us that in the world there is nothing below a certain depth that can truly be explained. "Nothing to explain the necessity of life, nothing to explain the hunger of the elements to become life . . . ." And as an evolutionist he tells us that "the human version of evolutionary events [is] perhaps too simplistic for belief."
The speculation today is that an evolutionary plateau may have been reached, on which humanity must either associate itself intimately with machines or give way to "exosomatic evolution" -- transferring self and personality to machines. To this Eiseley replies: ''Cyborgs and exosomatic evolution, however far they are carried, partake of the planet virus. They will never bring peace to man, but they will harry him onward through the circle of the worlds.'' It would be well, he tells us, to heed the message of the Buddha, who knew that "one cannot proceed upon the path of human transcendence until one has made interiorly in one's soul a road into the future." Spaces within stretch as far as those without.
Using narrative, parable and exposition, Eiseley has the uncanny ability to make us feel that we are accompanying him on a journey into the very heart of the universe. Whether he is explicating history or commenting on the ideas of a philosopher, a scientist or a theologian, he takes us with him on a personal visit. In The Invisible Pyramid (Scribner's 1972) his analysis of the differences in evolutionary development on continents like Australia, South America and Africa leads to speculation about races of human beings on other planets. Without jargon or the pretense of system, he leads readers through a course of thought wherein conclusions reach them at a level of knowing not unlike that attained after meditation on a koan. "There is no trend demanding mans constant reappearance, either on the separate 'worlds' of this earth or elsewhere. . . . Nature gambles but she gambles with constantly new and altering dice." Suddenly we find the rationality of our ordinary understanding of evolution shattered.
There is a melancholy climate to much of Eiseley's meditation. When he confronts the end of humanity in its beginnings, there is a deathliness in his images. But it is not a death that is unaware of resurrection. He knows that something new is born of every ending. While telling of the giant wasps which fill him with wonderment, he writes:
Beneath the midsummer sunlight of another year a molecular alarm will sound in the coffin at rest in that silent chamber; the sarcophagus will split. In the depth of the tomb a great yellow and black Sphex will appear. The clock in its body will tell it to hasten up the passage to the surface.
On that brief journey the wasp may well trip over the body of its own mother -- if this was her last burrow -- a tomb for life and a tomb for death. Here the generations do not recognize each other; it remains only to tear open the doorway and rush upward into the sun. The dead past, its husks. its withered wings are cast aside, scrambled over, in the frantic moment of resurrection [All the Strange Hours (Scribners, 1975), p. 243].
Eiseley is at his best when he narrates an event or describes a poignant revelatory moment. In an early essay, 'The Judgment of the Birds," he tells of awakening at night in a room on the 20th floor of a hotel in midtown Manhattan. As he gazes at the cupolas and lofts outlined in the darkness below, he makes out he silent wings of pigeons, floating outward through the city. He is overcome by a sense of the world's transformation that bids him launch out across the windowsill and join the birds who know that humanity is asleep and that the barely perceptible light is theirs alone. Only a little courage is necessary, "a little shove from the window ledge to enter that city of light." Then, carefully, he brings us back into the room where we re-enter the human city. The account is a record of revelation: ''I had seen, just once, man's greatest creation from a strange inverted angle, and it was not really his at all. I will never forget how those wings went round and round, and how, by the merest pressure of the fingers and a feeling for air, one might go away over the roofs. It is a knowledge: however, that is better kept to oneself."
Eiseley is more than a recording scholar. The latter reports on what he or she has discovered, sharing the observations made and the conclusions reached in the course of discovery. His or her ideas are clearly developed in advance; the writing is a matter of giving record. For the writer, on the other hand, the process is itself part of the result. Writers do not completely see and understand until they are engaged in writing. Images and metaphors are fundamental to the process of observation and understanding that writing makes possible. For thinkers like Eiseley, there is a kind of metaphorical imperative at work.
"Primitives of our own species, even today," he writes, "are historically shallow in their knowledge of the past. Only the poet who writes speaks his message across the millennia to other hearts. Only in writing can the cry from the great cross on Golgotha still be heard in the minds of men." Written words unlock the private brain and link it with generations of humanity. Words have a way of bringing into consciousness the beginnings and the endings of being itself. Scrivening makes that consciousness impressionable and communicable. The poet, the literary stylist, is intensely aware of the significance of his or her creative actions. Such a person knows that the form, the images and the metaphors that emerge from the marriage of mind and pen are impressions that no other human activity can duplicate. When we read Eiseley's essays and poems we realize that this scientist knows something of the order and meaning of being that the recording scholar gives little evidence of knowing. Images and metaphors are indispensable to the contemplation in which the latter is engaged. The result is a form of religious thought that is in itself a means of contemplation.
Although Eiseley may not have considered his writing as an expression of American spiritually, one feels that he was quite mindful of its religious character. As an heir of Emerson and Thoreau, he is at home among the poets and philosophers and among those scientists whose observations also were a form of contemplation of the universe.
Loren Eiseley had been a drifter in his youth. From the plains of Nebraska he had wandered across the American West. Sometimes sickly, at other times testing his strength with that curious band of roving exiles who searched the land above the rippling railroad ties, he explored his soul as he sought to touch the distant past. He became a naturalist and a bone hunter because something about the landscape had linked his mind to the birth and death of life itself. As he delivered a lecture in Texas late in his career, he pondered the coming of European settlers to America:
We had starved helplessly in our first winters; Indians had fed us. Generation by generation we had had to relearn the arts of a vanished era. In order to survive we had had to master what our paleolithic forebears had taken for granted. The farther we pressed into the forest the more rank, prestige, and fine garments would dissolve into rags and buckskin. We would be reduced to elemental man [All the Strange Hours (Scribner's. 1975), p. 5].
It was in that same America that humanity had refused to remain elemental. It had purged itself more and more of the green plants and the waters that washed in its blood. It had sought to take itself out of nature and to envelop itself in a sheath of its own technical fashioning. It is perhaps in America that we most misjudge the evolutionary journey. We insist on progress and impose it upon reluctant evidence. "The creation falls and falls again. In mortal time . . . it must ever fall. Yet the falling brings not only strange, dark and unexpected ends to innocent creatures but also death to tyrannous monsters (Darwin and the Mysterious Mr. X [Dutton, 1979], p. 228). Eiseley's writings hold no great optimism for humanity's time on earth: that time is running short and its end is inevitable.
Yet the man who dug for bones in the Badlands and lowered himself into caves and crevices to find the evidences of changing life was an American. Like the Emerson he admired, he perceived the "weary slipping, the sensed entrophy, the ebbing away of the human spirit into fox and weasel as it struggled upward while all its past tugged upon it from below." But he was also, as Whitman said of Emerson, "transcendental of limits. a pure American for daring." And in this American daring, there is the hope that we can learn to contemplate, rather than to subdue, the nature from which we can never separate ourselves absolutely, try as we may. Nature is the otherness which we observe as distinct, but which we must rediscover as part of ourselves.
Long ago, says Eiseley, people learned to contemplate and we have not improved upon that contemplation, though we have tried to relegate it to the refuse heap of lesser attributes of reason. Long ago our ancestors painted on the walls of caverns and buried the revered dead because they sensed a discrepancy in existence. Then, as Americans, we somehow knew we were more than we understood ourselves to be. There was in us the "strong optimism of the Early Republic." Our untouched forests confronted us with a silence that penetrated the soul with mysterium tremendum. It has been unfortunate that we have thrust aside this religious terror, refusing to contemplate it. For it is contemplation that teaches us that we, and, indeed, all of nature, are more than we observe. In that contemplation is our hope:
Great minds have always seen it. That is why man has survived his journey this long. When we fail to wish any longer to be otherwise than what we are, we will have ceased to evolve. Evolution has to be lived forward. 1 say this as one who has stood above the bones of much that has vanished, and at midnight has examined his own face. [Darwin and the Mysterious Mr. X (Dutton, 1979), pp. 233-34].


text:
As many of us was expecting, the Miami Heat's LeBron James will be opting-out of the remaining two years of his contract and will enter free agency. Even though most of fans expected James to do so, it is still a big story based on who it is. James is regarded among most as being the best ball player in the NBA. Teams will be salivating at the chance to not only hold meetings with James, but to sign the superstar to their team and instantly become a contender to win it all. We know that the Miami Heat & the Cleveland Cavaliers are his top two choices in many peoples eyes, but now teams like the Houston Rockets, Chicago Bulls, Los Angeles Lakers & the Los Angeles Clippers are now maybe in the mix as well for the 29 year old star. However, Dwyane Wade & Chris Bosh's decision on what they're going to with their contracts may give the answer to what James plans on doing.
Like James, Wade & Bosh also have the opportunity to opt-out of the remaining two years of their contracts and become free agents. Many expect Wade & Bosh to follow and opt-out as well. If this happens, it's almost a guarantee to most that they will re-sign with the Heat and take less money to bring in key pieces to help them on their quest to create a dynasty. However, what if this doesn't happen? It could be a case where Wade doesn't want to opt-out of his contract and wants to stay with his current deal and then call it a career. Wade will be 34 years old when the two years remaining on his contract expires. It is not crazy to believe that Wade will see the writing on the wall with his health and decide to just play his current contract out and leave. So many possibilities and that's just for Wade.
It's not impossible that Bosh will leave due to how undervalued he is on the team at times. One game Bosh would get 20-25 touches, then it would drop to 10 touches. Maybe it'll cross his mind that he should be the number one option, similar to what he was playing for the Toronto Raptors. Bosh could go to his hometown of Dallas and play for the Dallas Mavericks. It is sort of a similar situation that James is in with how many teams could possibly want Bosh.
Pat Riley will be meeting with all three at some point during the free agency period, that is a given. James is to meet not only with Riley, but with Wade and Bosh as well. There are a litany of options that this offseason can go for the Miami Heat. James entering free agency today is just the tip of the iceberg in the entertaining television show that is the Miami Heat.
Tags: Basketball, Chicago Bulls, Chris Bosh, Dwyane Wade, Houston Rockets, Los Angeles Clippers, Los Angeles Lakers, Miami, Miami Heat, NBA


text:
I like getting stung, especially in the nose. Nothing like that to give you the warm fuzzies. :-D...JP
I think the bees have mind control. They take over our lives...
I had garden failure last year because of no bees. I am totally fascinated by their actions. I don't have enough time to watch them enough. Wife isn't ready for an obs hive yet.
it must be love. Had a guy call me from 40 miles away with a swarm he nuc'd. Five freshly drawn frame with three of them with brood. I jumped on them, sight unseen and said I was interested. while I still have traps hanging. my wife's gonna shoot me, no tell her. It's a siren's buzz, it calls to you.


text:
This account was researched and written by Duncan Hamman (firstname.lastname@example.com). It has appeared in the Partington & Carrington Transmitter Community Newspaper.
On Tuesday April 14th 1970 Partington and Irlam hit the headlines with a disaster that resulted in the death of five local men.
On that spring day, early morning workers were making their way over Bobs Ferry to start their days work at Cadishead and Irlam. The ferry had been carrying workers over the Manchester Ship Canal for almost a hundred years, on a short trip that took only a few minutes, from Lock Lane, near Our Lady of Lourdes School, to Bobs Lane, Cadishead. Taking ten passengers at a time it was estimated that the 20-foot open boat carried 35,000 passengers, at ten pence each year.
The Ferryman's day started early at 5.30am, in order to get the early shift workers over the water, and continued until 11.00pm with trips every 15 minutes.
Strange Smell
This particular morning Ferryman Bernard Carroll, aged 27 of Lock Lane, was worried for, during the first couple of crossings, he had noticed an unpleasant and unusual smell. Several of his passengers had complained of feeling unwell during the short trip, so Bernard decided to suspend the service until he had sought further advice. As he was phoning the police, several passengers, waiting on the jetty, were worried that they would be late for work and decided to row themselves over the canal. On his return Bernard could see the boat in the middle of the canal with the passengers obviously affected by the 4-foot high mist on the water. He jumped into another boat and started to row towards the drifting boat.
Eyewitnesses later told police that when Bernard was about 20 yards from the other boat the canal exploded into a sea of flames and both boats were engulfed in fire, this was followed by a series of explosions which shook houses a quarter of a mile away. About a one mile length of the canal became a river of fire 60 feet high and nearby houses in Lock Lane had to be evacuated. Nothing could be done until the flames had died down, then both boats were brought to the bank.
The Ferryman had died and five people in the other boat were badly burned.
The injured were taken to Hope Hospital and some were later moved to the Burns Unit at Withington Hospital. Some time later it was discovered that three other passengers from the boat were missing, having either jumped or fallen into the canal. The canal was too polluted for police frogmen to be used and too deep to be dragged and it wasn't until two weeks later that the bodies of the three missing passengers were found. The whole of Partington was stunned by the disaster, which had devastated the lives of nine local families.
The Northwest Forensic Laboratory tested samples from the water and teams of men patrolled the canal banks in an effort to discover the cause of the fire. The inquest would be delayed until the mystery had been solved. Due to the closure of the ferry service local workers were faced with an eight-mile detour, over the High Level Bridge, to reach Cadishead.
On April 30th one of the injured passengers died in Withington Hospital and a fund was set up to help dependants to which Bucklow Council, the Manchester Ship Canal Company and local people donated a total of 2,300. Residents were nervous and the Fire Brigade was called out several times when mysterious smells came from the canal.
On May 21st Shell Chemicals announced they had carried out an internal enquiry as a result of which two workers had been suspended from duty.
On June 26th the inquest took place at Eccles where coroner, Mr. Leonard Gorodkin, heard the evidence. It was revealed that several hours before the disaster the Dutch-owned vessel 'Tacoma' was being loaded with 1800 tons of petrol at Partington Coaling Basin. It was normal practice to have two men observing the operation as a safety precaution to ensure that petrol did not overflow into the canal. The two men admitted that instead of being on the quayside, they had gone to the canteen and had been there from 2.00am until almost 6.00am drinking coffee and talking. During this period it was estimated that about 14,000 gallons of petrol had flowed into the canal. The Coroner stated: "We will never know just what caused the petrol to ignite and this is a most horrifying story." He continued: "As a result of this inquest I hope people will realise that safety regulations are not just bits of paper." There was a suggestion that the fire started when one of the ferry passengers lit a cigarette, but this was never proved.
A verdict of death by misadventure was recorded on the five who died in the accident, Albert Wimbleton aged 56 of Yew Walk, Brian Hillier aged 18 of Wood Lane, Roy Platt 29 of Daniel Adamson Avenue, Alan Cliff aged 17 of Birch Road and the Ferryman Bernard Carroll aged 27 of Lock Lane, all of Partington. The following were injured: Daniel MacAlister of Wood Lane, George Morrell of Lime Walk, Robert Kilgour of Camomile Walk and Stephen Hunter of Wood Lane.
The ferry re-opened some time after the fire but business declined, as many passengers were afraid of another disaster taking place. Jim and Dorothy Fogarty ran the service, for a time, but passenger numbers continued to fall and eventually the service was closed.
Now the scene of the Partington Disaster is deserted and covered in high weeds.
A memory shared byon Oct 24th, 2009.
You must be signed-in to your Frith account to post a comment.
Not sure what to write? It's easy - just think of an important place in your life and ask yourself:
Some of the places you've shared memories of this week:
...and hundreds more! Enjoy browsing more recent contributions now.


text:
Here is a video that I made on how to rebuild a got-cha lure.
URL: http://www.youtube.com/watch?v=Arn97ZkP_Tg
Tim C
Here is a video that I made on how to rebuild a got-cha lure.
URL: http://www.youtube.com/watch?v=Arn97ZkP_Tg
Tim C
B.A.S.S. Life Member (Since 1976) and a Red X Angler
Good deal TimC. I have never seen that before.
I hope this is a problem I will need to solve myself in May or June.
I still have some old Gotchas from years past that I could bring up to date.
I also have some old Jerk Jiggers, and even some old Sea Hawks.
Tim if you keep telling people how to rebuild them I will no longer be able to find them in the trashcans and laying around the pier.
I have a surplus built up from rebuilding the ones I find
B.A.S.S. Life Member (Since 1976) and a Red X Angler
I remember one pier, think it was Iron Steamer had an old piling sticking up about 3/4 of a cast length off the end of the pier, that thing was covered in gotcha plugs.
Take a Bass Boating!!!
Life Jackets and Kill Switches save lives.
Tim, the Jerk Jiggers go back to the mid 60s I think. They were heavier than the Gotchas, and were made out of metal instead of plastic. H2ohhh should remember them well if he wasn't too old back then.
Caught my 1st ever Spanish Mack on that lure, using a 9 foot surf rod. I caught the spanish on my first cast, as soon as it hit the water. I kept on plugging all day with that surf rod in hopes of catching another, but never did that day. You can best believe I had a much lighter rod when I went back.
Thanks for the video Tim. I must have 40 Gotchas that need to be rehabbed. I took my grandpa fishing on the Triple S several years ago and once he saw the cost of Gotchas, he spent the entire time with a big treble hook on twine collecting the Gotchas that had found their way onto the pier pilings. He must have reclaimed 25 of them - ten of them were in a giant rat nest of line, rigs and gotchas that took him about an hour to get up. Most of them were rusted up pretty bad and so they've been sitting in a bag in my garage ever since as I never had the heart to toss them out. He'll be 91 this year and his fishing days are unfortunately behind him, but he'll be completely psyched to hear I will be able to use those gotchas after a little TLC.


text: PRINCETON, N.J., April 11, 2013 /PRNewswire/ -- Omthera Pharmaceuticals, Inc., an emerging specialty pharmaceutical company focused on the development and commercialization of new therapies for abnormalities in blood lipids, referred to as dyslipidemia, today announced the pricing of its initial public offering of 8,000,000 shares of its common stock at $8.00 per share. In addition, the underwriters have been granted a 30-day option to purchase up to an additional 1,200,000 shares of common stock. The shares of Omthera's common stock will trade on the NASDAQ Global Market under the symbol "OMTH" beginning on April 11, 2013. All shares of common stock were offered by Omthera Pharmaceuticals, Inc. BofA Merrill Lynch, Barclays and Leerink Swann acted as joint book-running managers for the offering; Stifel and Piper Jaffray served as co-managers. A registration statement relating to these securities was declared effective by the Securities and Exchange Commission on April 11, 2013. The offering will be made only by means of a prospectus, copies of which may be obtained from: BofA Merrill Lynch, 222 Broadway, New York, NY 10038, Attn: Prospectus Department, or via email, at email@example.com, from Barclays, c/o Broadridge Financial Solutions, 1155 Long Island Avenue, Edgewood, New York 11717, by calling (888) 603-5847, or by emailing firstname.lastname@example.com, or from Leerink Swann, Attention: Syndicate Department, One Federal Street, 37th Floor, Boston, MA 02110, or by calling (800) 808-7525 ext. 4814. This press release shall not constitute an offer to sell or the solicitation of an offer to buy, nor shall there be any sale of these securities in any state or other jurisdiction in which such an offer, solicitation or sale would be unlawful prior to registration or qualification under the securities laws of any such state or other jurisdiction.


text:
GA Quackhead wrote:Lost my Iphone today at Fishing Creek WMA. Could care less about the phone but really don't want to lose the pix of my kids first hunting season. Any help appreciated! Find my Iphone says it's at an address in Evans, but I don't think the old lady I spoke to at the address spends much time in the blind.
Return to Georgia Duck Hunting
Users browsing this forum: No registered users and 2 guests


text:
NFL Draft > 2007 Prospects > DT > Amobi Okoye
Amobi Okoye Scouting Report
|Louisville Cardinals
|Jersey Number:
|Height & Weight:
|6'1 - 317 lbs.
2007 NFL Draft Prospect Scouting Report:
Amobi Okoye, DT, Louisville
Amobi Okoye signed to play at Louisville at just 15 years of age and played his first collegiate game at 16 years old. Imagine, at 16 playing Division I football against athletes 3-6 years older, yet Okoye managed to hold his own. He is extremely strong and takes up plenty of space in the middle against the run. Okoye is still learning the game, but has progressed throughout his college career (though occasionally his inexperience is noticeable). His natural strength allows him to shed blockers easily, in addition to getting good penetration as a pass rusher. He plays smart and rarely makes key mistakes; however he is also not the playmaker type to dominate a game on a consistent basis. Okoye may be asked to play nose tackle in a 3-4 scheme, but most likely will be a better fit at defensive tackle. His young age and raw talent represent tremendous potential for his new team in the NFL. Okoye will be mentioned in plenty of conversations amongst NFL scouts leading up to the draft. Look for Okoye to be a mid-to-late first round selection.
Last Updated Jan-24-2007 by Dave Thompson
0 Comments | Add Yours
There are no comments on this prospect yet.


text:
Custom Designed Toroidal Power Transformers
When our family of standard design transformers does not suit your application, we are happy to design a custom toroidal transformer to your exact specifications. From 15 VA up to 75 kVA single phase or 225 kVA three-phase for 60 Hz frequency. For 50/60Hz, we can design custom toroidal transformers up to 60 kVA single phase or 180 kVA for three-phase configuration.To design a transformer with optimum performance and the lowest possible price, we should know your application and the duty cycle of the transformer. The most cost effective design uses a core with a diameter to height ratio of 2:1.
See our Design Guide for more details.
In addition to our regular toroidal cores, you can also specify the low profile O-Cores (up to 2,000VA). The O-core has a round cross section that offers an even lower profile than our regular toroidal core with a square cross section.
Standard Mounting Methods
Safety Standard
UL Files E140446, E178316, OBJY2 Intertek File: 3051384
For medical applications our custom transformers comply with IEC60601-1, Third Edition, and equivalent UL 60601-1, CSA C22.2 No. 601.1-M90, EN60601.1.
CE Mark, RoHS, REACH
All of our transformers carry the CE mark and comply with current RoHS directive and REACH regulation.
Our transformers are also designed to the applicable sections of other standards, such as UL950, IEC950, UL813, UL1236, EN742, VDE0750, VDE0551, CSA C22.2#125, and many more.
Home | Product Search | Advantages | Design Guide | Design Help
Product Quality | News | Trade Shows | Contact Us | About Us | Terms | FAQ | Site Map
Copyright © 2012 - Bridgeport Magnetics Group, Inc. All rights reserved.
No part of this site may be copied or reproduced without expressed written consent.


text:
"I love these cards they are exactly what I was looking for and the process was easy with wonderful customer service and prompt processing and shipping!"
"This site is easy to use and offers a wide variety of quality designs from which to create your own "spin". The combination of rich colors, high grade paper and flawless printing result in a product that truly stands out above the rest!"
"This was a great find. It's unique and sets your card apart from others. The photo and print quality is awesome. Colors are vibrant! Text is a bit small on the inside but they still look great. Not too much, not too little. And their customer service and delivery is awesome too."
"These cards are AMAZING! Everybody I give my cards to are amazed, by how nice they look. I had one person say they`ve never seen a card quite like this one. A few more people said they look like matches, which is cool too. I also got the pearl embellishments which is a great touch! All in all these cards are great!! I will definitely be buying more!!"
"The stock paper used on this card, provides a sharp, professional business card. I am very pleased with this product. Above all else, the free design service is unprecedented and results in a superior product that meets every expectation."
Copyright © 2004-2017 Shutterfly, Inc | Tiny Prints | Terms of Use. Designated trademarks and brands are the property of their respective owners.


text:
From Our Editors
Among the hair stylists, nail technicians, and aestheticians that brighten Clydon Salon's interior, a common philosophy permeates—one founded in a genuine interest in each client's well-being and translated into services precision tailored to meet personal needs. Through continued training, the staff learns the many manners of pampering, as hair stylists massage away thought bubbles trapped within scalps and aestheticians dissolve anxiety by revealing glowing skin worthy of HDTV close-ups. Great Lengths' 100% human hair strands extend natural locks with laudable discretion, and Biolage haircare products celebrate the discoveries of scientists diligently surveying the flowers and botanicals flourishing in the field of beauty.


text:
Youngest Signing Newspaper
From £9.99
- Description
- Specifications
- Delivery
Our personalised Youngest Signing newspaper from The Sun is sure to make the recipient smile. We incorporate the recipient's details throughout the headline, sub headline, article and secondary article. A unique gift with the personal touch that is sure to impress on the day. There is also the option to upload a photo.
- Full Colour Design
- Authentic Newspaper Style Paper
- Range of Presentation Options
|Contemporary Frame
|33.1 x 40.7cm
|Presentation Folder
|30.6 x 38cm
|Single Page
|29.1 x 36.7cm
Items are dispatched Monday – Friday only (excluding UK/England bank holidays).


text:
Podcast: Play in new window | Download (0.0KB)
Subscribe: iTunes | Android | RSS
Episode 389 brings a great rock metal band to your ears, Downslide!
Thanks for installing the Bottom of every post plugin by Corey Salzano. Contact me if you need custom WordPress plugins or website design.Sphere: Related Content