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Mez has been writing mezangelle / code poetry / netwurks on mail lists and the web since the 1990s. Trauma Wien Art Club has released a new book of Mez' mezangelles from 2003-2011 called "human readable messages - mezangelle 2003-2011" The book will be available at the Trauma Wien site, and also be on amazon in January 2012 (technically December 31st, but with the time difference in Australia, check in January) For those who can't wait (like me), it's also available from Lulu. There's a preview of the book on the Lulu page, including the table of contents. There are mezangelles with titles such as, "_Sub.Mission[s]_", "_Squashed Tele.biology_", "_Dream Fullscreen_" and many more.
Florian Cramer has described mezangelle as (from netwurker.de) :
[quote]As florian cramer says: "The beauty of "mezangelle" is that it uses elements of programming language syntax as material, i.e. reflecting formal programming language without being one. For the reader of mez's "netwurks", it remains all the more an open question whether the "mezangelle" para-code of parentheses and wildcard characters only mimics programming languages or is, at least partially, the product of programmed text filtering.". Jim Andrews asserts that: "The term 'code poetry' has been used in connection with Mez's writing…as in using the devices often found in computer languages (like deep bracketing) and applying them meaningfully to natural language. These devices, in computer languages, are often used to represent data structures in code (like trees or other 'graphs') and also manage processes on these data structures (like insertion/deletion/tree balancing). Mez takes these ways of representing often non-linear structures and introducing/managing process in these structures and applies/deranges them in natural language--there is little computer language in her work. Like the text contains its own neath text." les schaffer's take on mezangelle is "mez's style is just the most delightful play on coding. I think of her as a cross between James Joyce and... Larry Wall – author of the Perl programming language and a linguist by training.....". [/quote]
Videoctober is a collection of experimental audiovisual art. The aim of the program is to give an accurate sample of contemporary videoculture while stressing the all-time significance and power of imagination.
With video's from
1. Sinan Bkbas
2. Theo Tagholm
3. Candas Sisman
4. Reza Dolatabadi
5. Dylan Blythin
Watch this program from 1 to 31 October on:http://www.streamingfestival.com/program/videoctober.php
Aesthetica is looking for entries to the 2009 International Aesthetica Creative Works Competition. The 2008 Competition was a successful springboard for artists' careers around the globe.
The Aesthetica Creative Works Competition: Artwork, Photography & Sculpture, Fiction and Poetry
Three winners will be awarded £500 each
All finalists will be published in the Aesthetica Creative Works Annual, in stores December 2009
Entry to the 2009 Aesthetica Creative Works Competition is £10
This allows you to submit up to 5 images, 5 poems or 2 short stClosing date to receive Creative Works is 31 August 2009
The winners and finalists from last year, went on to secure further exhibitions, commissions and publications. The winners and finalists were published in the Aesthetica Annual. It's a great opportunity to bring your work to a wider audience.
Streaming Festival and Geborgen Kamers present:
15 - 17 April 2009
Fragments brings together video work that in some way address the idea of fragmentation, whether through visual technique or concept. Several films in this selection focus on the object of the photograph -a reminiscent of a fraction of time and memory. Others are based on the structural elements of film making such as the close up shot and abstraction as the basis.
The Ventura Film Festival, which was started in 2004 by Jordan Older and his father, has recently concluded its first event of 2009 at the Majestic Ventura Theater in Ventura, California with the Ventura Film Festival "Fun Day" on February 16, 2009 at 2pm. The Ventura Film Festival is a combination online and traditional film festival requiring all submissions to be uploaded online and submitted via traditional means. The Ventura Film Festival has maintained that one of it's main goals is to give a large part of any proceeds to forest and ocean preservation efforts.
there was a question on the Acoustic Ecology mail list about permanent outdoor sound installations. some of these were mentioned by people on the list :
:::Derek Holzer mentioned Max Neuhaus & his talk at the Tuned City seminar :
"check the sound installation work of Max Neuhaus, particularly his Times Square piece:"http://www.max-neuhaus.info/soundworks/
"... His work is quite subtle and very strong conceptually. One piece in particular I remember him presenting at Tuned City in Berlin http://www.tunedcity.de was a piece for a public park, where the speakers were hidden under the ground and the sound emerged from what appeared to be drainage grills. Actually, the sound didn't seem to emerge from ANYWHERE, which was the beauty of it. Max said he spent quite a bit of time developing the (weather and vandal-proof) sound systems for these kinds of installations." -- Derek Holzer
In October Esotouric, the eclectic bus adventure company whose tours reveal L.A.'s secret history, will reprise VISIONARY HOLLYWOOD, a new hosted by San Francisco-based writer Erik Davis and inspired by his acclaimed 2006 book "The Visionary State". On this journey of exploration through the mystic realms of Los Angeles,passengers will join Erik on a guided tour of five extraordinary religious sites, meet followers of their respective faiths and explore the fascinating history of alternative religious practice in Southern California.
The tour departs from the Bodhi Tree in West Hollywood, where a booksigning with Erik and other LA mystical authors will be held after the tour. The tour includes visits to five extraordinary destinations:
GPS Film is new media artwork from filmmaker Scott Hessels that invents a new way of watching movies based on the viewer's location and movement. Using a GPS-enabled PDA or mobile phone, the audience creates a new type of film experience that reveals the story through their journey. Released as a free, open-source application, the project will premiere on 4 September 2008 along with the first film made specifically for the system, Singaporean filmmaker Kenny Tan's chase comedy "Nine Lives".
just saw this amazing video graffiti on youtube - how long would it have taken to paint / animate!
the artist is called Blu
his blog shows works in progress and other projects he's worked on. well worth a look!
The new short film by Blu: an ambiguous animation painted on public walls.
Made in Buenos Aires and in Baden (fantoche)
music by Andrea Martignoni
produced by Mercurio Film
assistant: Sibe
more videos at:
SOUND/ Jerome Noetinger (Rives, France)
VISUALS/ Liz Racz (Melbourne)
It's 3.14 a.m. In darkness, the audience armed with torches gather to experience the outcome of residency collaboration between visual artist Liz Racz and Jerome Noetinger, an internationally recognised improviser using electroacoustic devices.
The artists' work is connected across distance by the idea of erasure; sounds being erased from tape by magnets and images rendered by being erased from the blackened walls.
Noetinger was a guest of the Melbourne International Biennale of Exploratory Music and the Liquid Architecture Festival. The collaboration with Racz being conducted by email, letters and photographs of sketches will extend her practice of 'memorable large dark works' (Penny Webb, The Age, 17 August, 2007).
LUPA/ art: A new space in Northcote hosting collaborative residencies with happy cross-disciplinary outcomes.
Sound Unbound
Sampling Digital Music and Culture
Edited by Paul D. Miller aka Dj Spooky that Subliminal Kid
MIT Press, 2008
Contributors include Pierre Boulez, Chuck D, Cory Doctorow, Brian Eno,
Jonathan Lethem, Moby, Hans Ulrich Obrist, Steve Reich, Saul Williams,
and more.
Buy the book @ Amazonhttp://tinyurl.com/63phj2
Women in Games Conference: Call for Papers and Participation
Date: 31 May 2008
Venue: University of Warwick, UK
Website: www.womeningames.com
The Women In Games conference encourages research and seeks to promote careers for women within the games industry. If games are to become a true sibling medium to music and cinema, the industry needs greater balance in its audience and its workforce. The Women In Games conference takes place from 10-12th September 2008 and welcomes participants from both industry and academia, providing a forum for presentation and discussion of issues relating to all aspects of women's involvement in games, including game development, game playing and women as portrayed within games.
Although this conference is concerned with women and games please note that men are also very welcome to participate! The industry needs a meaningful dialogue between the sexes as it moves forward.
POPVOX - The People's Choice Awards for Digital Media @ The 5th Annual Vancouver International Digital Festival
Submission Deadline - April 30th 5pm PST
Voting Occurs - May 1 -12th
Winners Announced at Gala Awards - May 23rd
Best Digital VFX - Best Animated Short - Best Digital/Viral Campaign - Best User Generated / Crowdsourced Content Site - Best Score - Best Game for Console / PC - Best Casual Game - Best Mobile Application - Best Mobile Game - The Do-Gooder Award for Best Venture Dedicated to Social Change - The Homegrown Award for Best BC Based Venture!
The PopVox Peoples Choice Awards for Digital Media have returned for the 2008 season and we invite the digital media community at large to participate in this annual celebration of international talent.
** NEW THURSDAY CLUBS: CHANGES and UPDATES **
Supported by the Goldsmiths DIGITAL STUDIOS and the Goldsmiths GRADUATE
6pm until 8pm, Seminar Rooms at Ben Pimlott Building (Ground Floor,
right), Goldsmiths, University of London, New Cross, SE14 6NW
CHANGED FROM THE 28th of FEBRUARY TO THE 6th of MARCH **
*28 FEBRUARY with RAYMOND HARMON
Painting in Light: Experimental Film and the Advent of Improvisational
The traditional model for cinematic expression is as a controlled
environment moving forward in a linear direction. From its inception the
art of filmmaking has been dominated by a single form of chronological
development. Each film exists as a series of frames that are static at the
start of the film.
Improvisation, a language largely defined within the practice of music, is
a collection of audio recordings, field recordings and sound walks I've done over the years. most of these are on minidiscs or files not uploaded yet, so this is a work in progress as it's probably about time I sorted them out and uploaded some. not sure if they're of interest to anyone else, but they help recall memories for me.


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|Mega Man 7
|Game Grumps
|18 + 8
|Jontron and Egoraptor play Mega Man 7!
|July 18, 2012 - August 15, 2012
January 23rd, 2018 - January 30th, 2018
Mega Man 7 is a SNES game played by Jon and Arin on Game Grumps in 2012, as well as the second game completed. The game was revisited later by Arin and Danny in 2018 through the Mega Man Legacy Collection 2.
Game information[edit | edit source]
Mega Man 7, known as Rockman 7 Shukumei no Taiketsu! (ロックマン7 宿命の対決! Rokkuman Sebun Shukumei no Taiketsu!, lit. "Rockman 7: Showdown of Destiny!") in Japan, is a video game developed by Capcom for the Super Nintendo Entertainment System. It is the seventh game in the original Mega Man series and the first and only title in the main series to be featured on the 16-bit console. The video game was first released in Japan on March 24, 1995 and was localized later in the year in North America and Europe. The game is also available for the PlayStation 2, Nintendo GameCube, and Xbox as part of the Mega Man Anniversary Collection. It is also known for the information that is given to the player in the Shade Man stage.
Picking up directly after the events of Mega Man 6, the plot involves the protagonist Mega Man once again attempting to stop the evil Dr. Wily, who uses a new set of Robot Masters to free himself from captivity and begin wreaking havoc on the world. Along with some help from his old friends, Mega Man finds potential allies in the mysterious robot pair Bass and Treble, who are later revealed to be in league with Wily. In terms of gameplay, Mega Man 7 follows that same classic action and platforming introduced in the 8-bit Nintendo Entertainment System (NES) titles, but updates the graphics and sound of the series for the more powerful SNES.
According to its creators, Mega Man 7 was only in development for a short time before its release. Keiji Inafune, a noted character designer and illustrator for the franchise, handed off his duties to Hayato Kaji for this installment. Mega Man 7 has received an overall average critical reception. Although many considered it a competent game by itself, a majority of reviewers either called it a simple rehash of previous entries in the Mega Man saga, or considered it inferior to the inventive spin-off Mega Man X, released on the SNES over a year earlier.
|This page uses Creative Commons Licensed content from Wikipedia (view authors).
Episodes[edit | edit source]
With Jon[edit | edit source]
- This Game Rocks... Man
- Shifty Fish
- Higgs Boson
- Junkman Smells
- Four More Robits
- Mind F*ck Truck
- I Don't Think I Can Do This
- Seven Asses.
- You Have to Beat The Whole Thing
- Sleazy Salesman
- DinoBrow
- Dirty Laundry
- Beat!! What the heck!!
- The Forever Sick
- Ragtime
- Oprah Winfrey Fan Club
- We Both Vomit
- Why Does He HOP?!
With Dan[edit | edit source]
- Doctor! Doctor!
- Don't Diss Dan
- Junk Man
- Fun Sports Outfits
- Diggin' Rush
- Rude Cartoons
- Something Real Special
- Big Boy
Playthrough[edit | edit source]
Jon and Arin take turns playing through levels. They also went back to collect extras.
Recurring discussions[edit | edit source]
Jon and Arin notice how Bass tends to Jump and Shoot all the time, which makes them compare him to the name Arin gives Megaman in an episode of Sequelitis: Jump'N'Shoot Man
Trivia[edit | edit source]
- At its time, this was the series with the highest episode count from August 9, 2012 (when it surpassed Goof Troop's 12 episode count) to October 2, 2012 (when it was surpassed by Pokémon Emerald Version, ending with 20 episodes). Many other series would later pass it in episode count.

subset: commoncrawl


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Parkside Veterinary Hospital is seeking a friendly and dedicated Veterinary Assistant to join our hospital team. Our hospital is a high quality, busy multi-doctor, full-service animal hospital. The position plays an integral role in providing excellent care to our patients as well as providing outstanding customer service to our clients. This is a full-time position with a flexible schedule – though rotating Saturday shifts will be required.
Responsibilities include taking phone calls, booking appointments, greeting clients, processing payments, assisting the veterinarians, pharmacy duties, and handling medical records.
Top priority will be given to applicants with experience working in a veterinary hospital however we are willing to train the right applicant. Candidates must have experience in a customer service environment. This position requires someone that is excellent at handling difficult situations with tact and diplomacy. A caring and compassionate attitude is required of all members of our team.
We reward our employees with a great hourly rate, career growth potential, health insurance, 401(k), vacation, training and more.
If you are interested in joining our team please contact Denise Hartmann, Hospital Manager at firstname.lastname@example.com.


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The Rundown
Dye sublimation involves the use of a heat press to transfer custom graphics into the table runner fabric. The fabric starts out white then is infused with dye, creating a high-quality, durable table runner. Recommended for logos with complex designs, especially designs featuring drop shadows or gradients. Production time is 3 business days.
The "economy" size is 30" wide x 62.75" long. The "standard" size is 30" wide x 84" long.
Our dye-sublimated table runners are manufactured from a flame-resistant, poly twill fabric. These table runners meet NFPA 701 small-scale safety standards. Volume discounts are available.
A Little More Info.
Machine wash with cold water. Select the gentle cycle and use a mild detergent, such as Woolite™. Do not use bleach.
Tumble dry on lowest setting to prevent fabric from shrinking. Dryer temperature should not exceed 120°F. Remove immediately to prevent wrinkling.
Wrinkles can be removed from the fabric using an iron (low setting) or a fabric steamer.
Artwork Templates
Download graphic templates below:
62.75" Long - File should be 30"w x 62.75"l.
Front Visual Area is 26"w x 23.5"h
84" Long - File should be 30"w x 84"l.
Front Visual Area is 26"w x 23.5"h
General Artwork Guidelines:
Artwork should be built at full-scale at 100 dpi minimum in CMYK mode. All fonts should be outlined and linked images provided. Provide any critical PMS colors to Displayit. For more information, see our artwork requirements.
Final art can be uploaded here before or after you place your order.
Trade Show Displays
Tracking Tag: https://www.displayit.com/BVModules/Themes/Displayit-2017/ProductTemplates/Volume%20Pricing/Product.aspx?productid=68947158-b278-4655-b3b3-0dfa4e727e98


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Most of this is pretty much standard info, right? Ball back slightly in stance, hands slightly ahead, etc. However, he says something here that's good advice for any shot you want to play, but it's crucial for short game shots like this (and I quote):
You always want to put the club in the position you plan to hit the shot from, and then take your grip. Put your club in the position you want it, and then take your grip.It's very easy to end up taking a slightly different stance than you originally intended. If you wait until you've taken your stance before you finalize your grip, there's a better chance you'll get the club face aimed where you want the ball to go.
We'll see if Jim can follow his own advice and put the ball where he wants it today. The way Davis is playing, he isn't gonna make this easy for Jim.


text: Abstract_12___4K_res by hypecreativepartners | Feb 10, 2018 | 0 comments https://www.hypecreativepartners.com/wp-content/uploads/2018/02/Abstract_12___4K_res.mp4 Submit a Comment Cancel replyYour email address will not be published. Required fields are marked *Comment Name * Email * Website Notify me of new posts by email. This site uses Akismet to reduce spam. Learn how your comment data is processed.


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Roads that will be salted and when
View gritting routes for:
About 30% of the borough's roads are salted (often known as gritting) when snow or ice are predicted, or when there is sudden and unforecast snow.
These roads cover about 240km, and they have been chosen because they are the most important ones to keep traffic moving.
The typical criteria for selecting these roads are:
- A or B roads
- main bus routes
- approaches to rail stations
- approaches to fire, police or ambulance centres
- steep gradients
During times when temperatures remain below freezing for an extended period, or when there is heavy snowfall, we give priority to the roads on the primary gritting routes. Of these roads there are 4 priority routes (about 70km worth) that are treated first, and only once the council is happy that these are clear will the remaining 9 routes be covered.
When salt is put down
Salt is spread on to road surfaces before the road becomes icy or snow starts to fall. This is known as precautionary salting. Depending on traffic, it takes our gritters about 2 hours to spread salt on the priority routes. We aim to treat the network before sub zero or snowy weather is forecast to arrive.
Except in the case of sudden changes in the weather, when an immediate response may be called for, salting will normally start at either 5am or 7pm.
If the time of salt spreading coincides with peak rush-hour traffic periods, gritters may become delayed in traffic and can get stuck along with other road users they are there to help.
How much salt is put down
Salt is spread at 10 grams per square metre for a frost warning. Salt can be spread at up to 40 grams per square metre for a forecast snow warning.
We have electronic tracking devices on our salting vehicles, as well as technology that allows us to see just how much salt has been put down at any location. If your road is on one of the priority lists and you do not believe it has been treated, contact us using the details below and we will check on the situation.
Effective of salting roads
Salt lowers the freezing point of water but is not as effective on top of ice or snow. To be most effective it needs traffic moving over it. Prolonged and heavy downfalls of snow will naturally affect the effectiveness of grit salt. As it dissolves it becomes less effective because it is diluted.
Salt supplies
We have 3,549 tonnes of salt in stock ready for the winter ahead. With careful planning this should see us through to the spring, but if we do experience severe weather across the UK then there will of course be the danger of stocks running low and difficulties with getting new supplies delivered.
If the forecast indicates prolonged bad weather then street cleansing and grounds maintenance staff from parks will be called upon to help with manual snow clearance and salting of the pavements.
This will be done on a preventative basis for priority areas such as town centres and around stations.
Salt bins
The council has 577 salt bins that are all repaired and filled at the start of each winter.
These bins have been placed at locations where drivers or pedestrians may need to put down salt in an emergency. For this reason residents are not to take salt away for use on their private driveways as this could be extremely dangerous for other people if the bins are empty when they are genuinely needed.
If you are aware of an empty salt bin, contact us using the details below.
A list of salt bin locations can be downloaded below.
Extreme cold
Motorists should take great care when temperatures drop below minus 6 degrees Celsius, as there is a risk that salt will become less effective because the melted snow and ice may refreeze.
Highways maintenance
Floor 6, Zone C
Bernard Weatherill House
8 Mint Walk,
Croydon CR0 1EA
Transport for London: A22, A23, A232 (Red Route)
Enterprise Mouchel
97-99 Beddington Lane
- Salt bin locations A-K [132.3KB]
- Salt bin locations L-Z [125.2KB]
- Addiscombe ward [714.6KB]
- Bensham Manor ward [1.3MB]
- Broad Green ward [467.4KB]
- Coulsdon East ward [341.2KB]
- Coulsdon West ward [359.2KB]
- Croham ward [789.2KB]
- Fairfield ward [647.3KB]
- Fieldway ward [357.3KB]
- Heathfield ward [462.4KB]
- Kenley ward [476.3KB]
- New Addington ward [293.9KB]
- Norbury ward [531.2KB]
- Purley ward [386.4KB]
- Sanderstead ward [551.0KB]
- Selhurst ward [798.6KB]
- Selsdon and Ballards ward [440.7KB]
- Shirley ward [452.0KB]
- Thornton Heath ward [576.4KB]
- Upper Norwood ward [365.1KB]
- Waddon ward [546.6KB]
- Woodside ward [909.8KB]


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With your support, the Foundation for End of Life Care can continue to:
- Give financial assistance to families whose needs fall outside the realm of hospice care
- Increase awareness of the benefits and availability of hospice care
- On occasion, sponsor conferences, scholarships and grants to improve pain management, family counseling, and other aspects of end-of-life care
Memorial Gifts:
Friends and family members of a hospice patient remember a loved one in various ways: sometimes with flowers, a card, and sometimes it is with a more lasting tribute in the form of a memorial gift. Through memorial gift-giving you remember your loved one in a very meaningful way and at the same time you help other hospice patients in need. Your donation to the Foundation is tax deductible.
Donate Online by filling out the form below. Please be sure to send us a separate email at email@example.com and let us know in whose memory the donation is made and the family and/or friends to send a letter advising of your donation.
The Foundation for End-of-Life Care is qualified under section 501(c)(3) of the Internal Revenue Code. All donations to the Foundation for End-of-Life Care Charitable Fund are tax deductible to the full extent allowed by law.
A copy of the official registration and financial information may be obtained from the Division of Consumer Services by calling toll free within Florida: 1-800-435-7352. Registration does not imply endorsement, approval or recommendation by the state. FL Reg. #SC-10971.


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The Ashes – The Highs and the Lows
Last updated: November 23, 2017 by Leon Marshal
The last time England played in the Ashes series in Australia they were humiliated 5-0. A big dirty stain on the copybook of the national team. Will this series be sweet revenge for the humiliation or more of the same? To get you in the mood let's look at a couple of classic tests between the two great cricketing nations.
A Bowling Masterclass by Australia – Ashes 2013 Australia
Let's get it over with and start with the downer! In 2013, we had no reason to believe that the Ashes series wouldn't be won. Whilst of course not a formality, due to amendments to the cricket calendar the series came only three months after the previous Ashes series in England. In that series, the English Lions swept aside Australia 3-0.
The match started well enough for England. By the tea break, England had reduced Australia to 153 for 6 and there was confidence that the Australians would be bowled out by close of play.
However, the seventh wicket would prove to be an elusive and costly one when a partnership of Brad Haddin and Mitchell Johnson added 114 before the wicket was lost. In hindsight, this was a taste of what was to come as Australia went on to score ten centuries in the test which still stands as an Australian record.
It wasn't just the batting either. The bowlers produced a masterclass and achieved their best strike rate since 1896 in the process of taking 100 wickets.
What makes this defeat so painful for English cricket fans is that the Australian openers in each of these matches were woeful by international standards. In the five tests, Australia's score at the five-wicket stage was 100,257,143,112 and 97. The openers were struggling but England couldn't take advantage.
Ian Botham – England's finest all-rounder Ashes 1981 England
For pure entertainment, you will struggle to find a better Ashes series than the 1981 one.
Ian Botham had been made England captain for the previous 12 games and it was a disaster with no wins in that time. Not only were England not winning, Botham's normally excellent form had evaporated. So, for this series, after the second test, he was replaced by Mike Brearley as England captain.
By the third test England were already a test down having lost the first by 4 wickets and drawing the second. The defeat in the first test was Australia's first win at Trent Bridge since 1948.
Whether this was by design or by accident it doesn't matter. Releasing Botham from the shackles of responsibility enabled Botham to shine in what is now referred to as the Botham's Ashes.
In Australia's first innings Botham took 6 wickets for only 95 runs. But despite these great figures, Australia managed to amass 401 runs with a wicket remaining. They declared and put England into bat, Botham scored a credible 50 but the team looked to be heading to a humiliating defeat when Australia put them back into Bat after bowling England all-out for 174.
England had a deficit of 227 runs even to match Australia's first innings total.
Some great batting left England with a target of 130 to win. Something that looked very likely when the Australians raced to 56 for the fall of just one wicket. Bob Willis was the hero that day when he took 8 wickets at the expense of 43 runs. England managed to get Australia all out for 111. This result was only the second time in test history that a team forced to follow on had gone on to win the match.
The fourth test was the stuff of dreams for England. They were trailing Australia by 69 runs from the first innings and with the bat they only set Australia a target of 151 for the win. With Australia on 105-4, it would take something remarkable to clinch victory.
That something remarkable was Mr Ian Botham. Beefy took five wickets for just 11 runs. Not only that, at one stage he had taken five wickets at the cost of only one. Botham was the hero as Australia were all out for 121 and England had won by 29 runs.
Botham let his bat do the talking in the fifth test, which would ultimately be the deciding match (the sixth test ended as a draw, Botham again starred with his bowling by taking 10 wickets over the two innings). Botham scored 118 in just 102 balls. His tally included 6 sixes which was a record until 2005. England had won by 103 runs.


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Martha Campbell
Martha Campbell was from Punxsutawney, PA. She's among the graduating class from Clarion State Normal School (later called Clarion State Teachers College) in 1923. She is not listed on a later list of Class of 1923 alumni.
The Sequelle, 1923, Clarion State Normal School Yearbook had this to say about Martha:
"Marty is our little 'class beauty'. Always bright and cheerful, she loves to sing, dance, and play. She casts a spell upon all she meets, spreading joy and gladness."


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Seven Types of Ambiguity
Quick Reference
A critical work by W. Empson, published 1930, rev. 1947, 1953; one of the most enjoyable and influential offshoots from I. A. Richards's experiments with practical criticism.
Empson uses the term ambiguity 'in an extended sense', to refer to 'any verbal nuance, however slight, which gives room for alternative reactions to the same piece of language'. The first, or simplest, type of ambiguity he defines as simple metaphor, 'a word or a grammatical construction effective in several ways at once'. The second occurs 'when two or more meanings are resolved into one' (as by 'Double Grammar' in Shakespeare); the third consists of two apparently disconnected meanings given simultaneously, as in a pun, or, by extension, in allegory or pastoral, where reference is made to more than one 'universe of discourse'; the fourth occurs when 'alternative meanings combine to make clear a complicated state of mind in the author' (with examples from Shakespeare, Donne, and G. M. Hopkins); the fifth consists of what Empson calls 'fortunate confusion', with examples from Shelley and Swinburne, suggesting the possibility that 19th‐cent. technique is 'in part the metaphysical tradition dug up when rotten'; the sixth occurs when a statement in itself meaningless or contradictory forces the reader to supply interpretations; and an account of the seventh, which 'marks a division in the author's mind', is accompanied by quotations from Freud and illustrations from Crashaw, Keats, and Hopkins.
Subjects: Literature
Related content in Oxford Reference
Reference entries
William Empson (1906—1984) poet and literary critic


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Ross Lake is near the Continental Divide in Yoho National Park, BC, Canada.
The trail-head for Ross Lake is accessed via the entrance to Lake O'Hara parking in Kicking Horse Pass about 3 KM (1⅞ miles) west of the Alberta - British Columbia border in British Columbia, Canada.
This short section of historic two-lane highway is the stuff of legends and a precursor to the present TransCanada Highway.
The hike along the old Great Divide Road begins just inside the entrance to Lake O'Hara. A quick left turn crosses the railway tracks and leads to parking at roadside near a closed and locked gate.
Blocking the gate could be very expensive in the event of an emergency. Parking in the larger and formal Lake O'Hara parking area is further along a sweep right on the road and will add about a kilometer to the overall hiking distance.
This old, two-lane, paved Banff to Yoho highway crossing over the Continental Divide was very popular between the 1920s and the 1970s. The infamous old road was decommissioned in 2000 and is allocated for recreational use to hikers and bikers in the summer and cross country skiers during winter.
The easy hike to Ross Lake consumes 3.2 KM (2.0 miles) one way from the gate. Elevation gain is a modest and gradually apportioned 100 m (328 ft). Access along the old highway is easy walking and offers a number of interesting features.
Over many years, natural growth continues to slowly and relentlessly consume the surface of the road.
Cracks in the surface support the growth of wildflowers and occasionally trees. Ground cover and border brush reaches out across the surface to create artistic mosaics of flowing plant life along undisciplined road edges.
Within the first kilometer beautiful Sink Lake on the left is backed by gigantic 2,771 m (9,091 ft) Mount Bosworth looming over the opposite side of the railway tracks and the TransCanada Highway.
A large 'Ross Lake' roadside sign provides more than adequate notice at hiking speed prior to arrival at the conspicuous trail head with barriers to prevent bicycle access from damaging potentially damp ground.
The picturesque trail to Ross Lake provides a variety of relaxing wilderness features along the next 1.3 KM (⅞ mile) one way.
Wilderness features include a babbling brook, dense aromatic forest and moss ground cover canopies with massive mountain monuments soaring above the treetops.
Sturdy plank bridges cross active streams which feed the babbling brook. Wildflowers and a diverse variety of plant life carpet the forest floor in a broad mosaic of natural color.
The short forest access trail approaches Ross Lake directly beneath the headwall of Narao Peak.
The lake access is preceded by a trail junction to Lake O'Hara Road and a long wooden platform across wetland to allow fisher people safe and dry access to the end of the lake. Sheer cliffs and scree slopes occupy the far shoreline. The quiet beauty here is palpable and relaxing.
Signs announce bicycle traffic here is prohibited to prevent damage to the damp and soft terrain. There are bicycle tracks in the muddy areas surrounding the lake shore. Pristine terrain is damaged by the higher pressure per square inch presence of bicycle tires.
Following a short, quiet visit and the opportunity for photographs, the return hike begins via the same route used for access.
If time permits, the historic and infamous wooden Great Divide arch with accompanying picnic area is about a kilometer further along the old, closed highway.
Standing at the crest of the Continental Divide provides a unique photo opportunity enjoyed by millions of past visitors over many decades.
The return hike is easy and swift. Like every return hike, the different perspective adds detail and quality to the overall experience. Forest aroma is magic.
Back at the old, closed highway, a light, refreshing and rejuvenating, misty kind of rain begins to accompany the return hike. This refreshing rain is short-lived and never strong enough to appreciably subdue surrounding mountain images.
Halfway down the road, the sun returns. Rising steam temporarily confuses the surface of the old asphalt highway. The imagery of sun in mist is mesmerizing. Sink Lake is even more beautiful on the way back and fog rolls up the side of Mount Bosworth.
Nature is providing a refreshing multi-media display for the end of this short and worthwhile hike.
The short hike completes in sun and the return drive home to Calgary begins.
Photographs for this hike to Ross Lake in Yoho National Park were taken on Thursday, July 13, 2017 following partial day hikes to Paget Lookout and Sherbrooke Lake.
Spectacular Yoho National Park is located in British Columbia on the west side of the Alberta / British Columbia border in western Canada.


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Wheel Bearings Repair & Maintenance
Wheel Bearings Repair & Maintenance in Frederick Maryland
40 West Auto Care & Towing offers wheel bearings repair and maintenance to customers in Frederick, Maryland. Wheel bearings are what enable your wheels to spin freely, and are an important part of your vehicle. Although wheel bearings can last well over 100,000 miles, they do eventually wear out and must eventually be replaced. Our highly skilled technicians can quickly tell if your bearings are bad by raising the vehicle and wiggling the wheel.
Many vehicles these days have wheel bearing assemblies that cannot be serviced, and need to be replaced completely when they go bad. For those vehicles with wheel bearings that can be accessed, 40 West Auto Care in Frederick, MD can provide some preventive maintenance. Check your owner's manual or stop in to 40 West Auto Care & Towing to see if your bearings can be serviced, and if so, when should it be done. Maintaining the wheel bearings in your vehicle is extremely important since bad bearings will generate a lot of heat. This can potentially lock up your vehicle's wheels, and cause a wheel to fall off, which is obviously a very dangerous situation that should be avoided.
So schedule an appointment today with the experts at 40 West Auto Care to have your wheel bearings inspected, and replaced if needed.


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Evgeny ZubitskiyPresident
Evgeny Zubitskiy is the President of Industrial Metallurgical Holding Management Company. Member of Compensation and Nominating, Strategy and Investments Committees.
Born in Kemerovo in 1968.
Graduated from the Moscow State University of Trade and Commerce.
Started his carreer at the Kemerovo coking plant as a gasman in 1989 upon completion of the military service.
From 1998 to 1999, he was Deputy General Director of JSC RK-Metall.
From 1999 to 2000, he was appointed Deputy General Director and then General Director of JSC Tulachermet.
From 2001 to 2007, he was Chairman of the Board of Director of JSC Tulachermet.
Since 2003, he has been appointed President of IMH Management Company, LLC.
Awarded the Order "For Merit to the Fatherland" of the II degree in 2014, the Order "For Valorous Mining Labor"of the III degree in 2009, the Medal "For Special Contribution to the Development of Kuzbass" of the III degree in 2004, the medal "For serving Kuzbass" in 2005.
In 2019, he has been awarded the title of Honored Metallurgist of the Russian Federation.
Vyacheslav MorozovFirst Vice President
Born in 1969 in the City of Kemerovo. Graduated from Distance Learning Institute for Textile and Consumer Goods Manufacturing of Russia with a degree in economy and management.
Started his labor activity in 1988 at Khimvolokno Production Assotiation, where he was called up for military service (service period from 1988 to 1990).
Mr. Morozov started working for JSC Koks in 1992 where he occupied various positions. In 1997 he became Deputy Head of Sales Department and in the next year he took a position of Head of Sales Department.
In 2000–2011 he worked as Director for Commerce at JSC KOKS and from February 2011 Mr. Morozov became Executive Director of the plant.
In June 2012 Mr. Morozov took a position of Director for Commerce of the Industrial Metallurgical Holding (IMH) Management Company; and since October 2012, he is a member of the Management Board.
Since December 2013, Mr. Morozov is the First Vice President of IMH Management Company. Working in his new position, he continues to oversee formation and implementation of the company's commercial strategy. He was awarded diplomas of the Kemerovo city administration, as well as the medal of the Kemerovo region administration "For special contribution to the development of Kuzbass", 3rd degree. He has the Gratitude of the Ministry of Industry and Trade of the Russian Federation for his great personal contribution to development of the industry.
Sergey SolodyankinSenior Vice President
Born in 1978.
He received degrees from three higher education institutions: Kuzbass State Technical University, specialty «Underground development of mineral deposits», qualification — mining engineer; Kemerovo State University, specialty «Economics and management of an enterprise», qualification — economist; T. F. Gorbachev Kuzbass State Technical University, master's program in «Chemical techology» with the specialisation «Chemical technology of natural energy carriers and carbon materials», qualification — Master.
Professional life: Salair ore processing plant, underground shaftman of lead and zinc mine. From 2000 to July 2015, he worked at KOKS, having passed the way from a doorman of coke shop to executive director.
From 2015 to August 2020, he worked as Managing Director at Kombinat KMAruda.
In September 2020, Mr.Solodyankin is appointed Senior Vice President of IMH Management Company.
Larisa ArinchevaChief Accountant
Born in 1961 in the city of Kemerovo. In 1980 she graduated from Kuznetsky Industrial College and the Moscow State University of Commerce with a degree in Economics in 1999.
She started her career in 1981 as an economist, then as an accountant at Kemerovo Coking plant.
In 2001, she was transferred to the position of chief accountant at Trading House
Since 2004, she worked as the Chief Accountant of Tulachermet. In 2012, Ms. Arincheva took the position of chief accountant in Industrial Metallurgical Holding.
Ms. Arincheva was awarded the diploma of the Ministry of Industry and Trade of the Russian Federation.
Dmitry BochkarevSenior Vice President
Born in 1974. In 1995 he graduated from the Faculty of Economics of the Lomonosov Moscow State University. In 1999 gained a Ph. D. degree in economics.
He started his career in 1993 as an economist at joint stock company Morskoy bank.
Since 1999, Mr.Bochkarev has held managerial positions in several companies and banks, including Tulachermet and Stoilensky Mining and Beneficiation Plant.
Between 2005 to 2009 he worked as a Financial director at IMH Management company.
From 2010 to 2017, he was a Managing director of the Directorate for Projects in Investment Company of Vnesheconombank (»VEB Capital«) LLC.
In May 2017 he was elected Vice President of the Slovenian Steel Group and until March 2018 worked as CEO of the company.
In April 2018, Mr.Bochkarev is appointed Senior Vice President of IMH Management Company.
Mikhail ZubrilinVice President of legal and corporate policy
Born in 1982 in Kemerovo, Russia. Graduated from the Kemerovo State University majoring in Law in 2004.
Started his carreer in JSC Koks in 2002 and took the position of Deputy Head of the legal department for juridical protection.
In 2011, he was promoted to the position of Director of legal and corporate policy at JSC Koks.
In April 2015, he was appointed Vice President of legal and corporate policy at IMH Management Company.
In 2016, Mr. Zubrilin has received a EMBA's diploma of Higher School of Economics under the Government of the Russian Federation with director of legal services qualification.
He is a member of the directors' board of Koks, Polema and Berezovskaya washing plant.
Konstantin PityulVice President for perspective technical development
Born in 1955. Graduated from the Moscow Institute of Steel and Alloys with a degree of metallurgical engineer in Ferrous metallurgy.
He started his carrier in 1977 as a carpenter of the second grade in Construction Department No.4 of the trust »Surgutneftepromstroy«. From 1980 to 1985 he mastered the worker occupations at all stages of manufacturing process at the Volgograd metallurgical plant »Krasny Oktyabr«, having worked his way from a steel pourer to the senior process engineer.
Since 1985, Mr.Pityul held the managerial positions at several metallurgical enterprises, including the Sulin metallurgical works, Frolovsk electric steel plant, in United Metallurgical company. He supervised the construction of a casting and rolling complex plant in Vyksa.
In 2013-2014 he worked in IMH Management Company as a Strategic development chief officer of the steelmaking complex.
In 2014-2015 he was CEO of Tulachermet Steel (IMH subsidiary), headed the construction of the first stage of casting and rolling complex plant.
In October 2015, he was appointed the Vice President for the perspective technical development of IMH Management Company, LLC.
In 2016 Konstantin Pityul was awarded with the honorary title «Honored metallurgist of the Russian Federation».
Galina RatnikovaVice President for government relations and corporate social responsibility
Born in 1988 in Tula.
Graduated from Kutafin Moscow State Academy of Law. In 2018, she graduated from the Financial University under the Government of the Russian Federation, qualified as Master of business administration (MBA) with a specializatio in Strategic Management.
From 2010 to 2013 she headed the orphans' care initiative group in Public Chamber of the Russian Federation.
Since 2013, Galina Ratnikova is the Chairman of the Board of the Tula Kremlin charity foundation.
Since 2013, she worked as a social adviser to the Governor of the Tula region.
In 2014, she was appointed Deputy General Director of the Tula Region Development corporation for work with foreign and domestic investors.
Since 2014, Galina Ratnikova has held the position of Vice President of Industrial Metallurgical Holding.
Yulia SolodyankinaVice President for HR policy
Born in 1976. Has two higher educations:
- Kuzbass State Technical University, specialty Mineral processing, qualification Mining engineer;
- Kuzbass State Technical University, specialty Finance and Credit, qualification Economist.
Yulia Solodyankina started her career in 1999 at Koks JSC, where she worked her way up from a silo and coal tower operator in a coal preparation shop to the head of HR Department.
From 2015 to August 2020, she worked as the HR Director of Kombinat KMAruda JSC.
Since September 2020, she has been appointed Vice President for HR policy of IMH Management Company LLC.
Dmitry StarikovVice President for sales
Born in 1967. In 1990 he graduated from the Magnitogorsk Institute of Mining and Metallurgy named after G.I. Nosov with a degree of metallurgical engineer in pressure metal forming. He was educated at the Academy of National Economy under the Government of the Russian Federation and completed a high-ranking executive in the field of study "Manager in market conditions".
Dmitry Starikov started his career in 1988 at the Magnitogorsk Iron and Steel works, where he worked his way from an apprentice roller to the head of commercial operations.
Since 1992, he held managerial positions in several large steel groups, including the Trading house "Magnitogorsk iron and steel works" (MMK), ArcelorMittal, Novolipetsk Steel.
In November 2016, he was appointed Sales director at Industrial Metallurgical Holding Management Company and since November 2017, he is the Vice President for sales of IMH Management Company, LLC.
Sergey FrolovVice President for strategy and communications
Born in 1980 in Moscow.
In 2002, graduated from State University of Management with honors with a degree in management, specialization — Global Metal Commodity Markets. In 2005 gained a Ph. D. degree of management in metals and mining.
In 2001–2002 worked as an analyst in JSC Chermetinfromatsiya and in 2002–2006 — as an
In 2006 joined Industrial Metallurgical Holding Management Company as a market analyst and then worked as a head of marketing department there. In June 2010 he was appointed as an Investor Relations Officer and since December 2013 — Vice President for strategy and communications.
Sergey CherkaevVice President, CFO
Born in 1981 in Moscow. In 2004, graduated from the Kosygin Moscow State Textile University with the specialty «Economics and Management» and
In 2006 he received a degree in International Financial Reporting Standards ACCA (DipIFR). In 2009 he passed Ph.D.defense in economics, specialty «Economics and management of national economy».
Currently he is studying in Charted Institute of Management Accountants program CIMA Dip MA.
He started his career in 2004 at the Shchelkovo Steel Works («Schelmet») as an economist. During the same year he moved to the Industrial Metallurgical Holding Management Company as a chief financial manager.
Since 2006, he worked as a senior economist of International Financial Reporting Standards, and in 2007 was appointed head of the department of budgeting and financial control. In April 2013, Sergey took up the post of IMH Management Company Financial Director, and in December 2013 —
Andrey ShelyagovichVice President for production and technical development
Andrey Shelyagovich was born in 1980 in the city of Tula.
Graduated from the Tula State University in 2001 with a degree in Metallurgy.
In 2003 received a Master's degree in Engineering and Technology. In 2005 he has been awarded the Candidate of technical sciences degree.
He started his work in 2003 as a specialist at NPMP Intermet-Service, LLC.
In 2006, he was appointed the Deputy General Director - Technical Director of NPMP Intermet-Service, LLC.
From 2007 to 2012 he was the Chief Engineer at Vanadium-Tula, JSC.
Since 2012, he worked at Gubakhinskiy koks, JSC as Deputy General Director for production. In 2013 he was transferred to the position of Chief Engineer.
From 2014 to 2015, he worked as Deputy Chief Production Engineer at Tulachermet, PJSC. In 2015, he was appointed the Chief Engineer of the company.
From 2017 to 2019 he worked as Technical Director at IMH Management Company, LLC.
Since January 2019, he is Vice President for production and technical development.
First Vice PresidentMore
Senior Vice PresidentMore
Chief AccountantMore
Senior Vice PresidentMore
Vice President of legal and corporate policyMore
Vice President for perspective technical developmentMore
Vice President for government relations and corporate social responsibilityMore
Vice President for HR policyMore
Vice President for salesMore
Vice President for strategy and communicationsMore
Vice President, CFOMore
Vice President for production and technical developmentMore
Christoph SchaererIndependent Chairman of the Board, Chairman of the Audit committee
Christoph Schaerer is currently Independent Chairman of the Board, Chairman of the Audit committee.
Executive Vice Chairman of Rothschild Bank AG, Zurich. Prior to joining Rothschild Bank in 2007, he held various positions at Credit Suisse Group in Zurich, Los Angeles, Tokyo and London.
From 2000–2006, he was a Member of the Executive Board of Bank Hofmann AG, Zurich, and served as Chairman of Hofmann Investment Management (UK) Ltd.
Prior positions at Credit Suisse including Managing Director of Credit Suisse First Boston in charge of Regional Oversight in Europe, Middle East and Africa (1997), and of Regional Head of Northern Europe and Branch Manager of Credit Suisse London (1996).
Mr. Schaerer graduated from the University of Berne with a Masters degree in Economics and Social Sciences. He was born in 1951 in Basel, Switzerland.
Andrey ZubitskiyMember of the Board of Directors
Mr Zubitskiy has been the Senior
Since 2007 he has also been the Chairman of the Board of the Slovenian Steel Group.
He graduated from Kuzbass Polytechnical Institute in 1998 and has since gained a PhD in Economics.
Mr Zubitskiy was born in 1975.
Richard Frederic WittIndependent Director, Chairman of the Nomination and Remuneration Committee
Mr Witt has been the Corporate Director — Russia for Cameron since 2009. In 2004 he was appointed Senior Vice President, Russia for Anglo American plc.
Before joining BHP (now BHP Billiton) as Head of Representation in Russia in 1995 Mr Witt held CIS management roles with Halliburton and Sulzer. In 1991, he arrived in Moscow to establish Baker Hughes in the Soviet, and soon
Mr Witt began his career with Baker Hughes in 1978 and progressed through sales engineering, business development and management assignments in West Africa, the United Arab Emirates and Southeast Asia.
Graduated with High Honors from the University of Texas at Austin in 1977.
Mr Witt was born in 1952 in the Lima, Peru, and grew up in Miami, Florida.
Independent Chairman of the Board, Chairman of the Audit committeeMore
Member of the Board of DirectorsMore
Independent Director, Chairman of the Nomination and Remuneration CommitteeMore


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Mom's been putting on the extra power to my leg stretches and strengthening since I got those stellar lab results – not sure if that was the yellow, black or chocolate lab who reported those pawsitively awesome results. One of the things we are hoping to do is find some kind of apparatus that mom can use on her own. What I need is to balance my front end with something that supports me while I balance on my rear legs - as much on my own as possible them switch it up so that I can work the front end. I don't know if there is something out there that's already made up but if anyone knows of such a thang, please send mom the info firstname.lastname@example.com . She says I need more ab work too if I want that six pak look. I told her, as cute as I am, a 3 pak would be fine – though I do want to look buff for the other pups if I'm going to be out shopping!
Well, at the end of my shopping day apparently I proved that I too can shop till I drop. I was dusted! Guess I'll need lots of practice, Rhu- Hoo! Can't wait.
BTW, I got some Valentine's Day toys and I got dad the biggest Valentine's Day card.... EVER! He loved it and I was pretty proud. I can sure tell that I am their only Valentine and they are pawsitively mine. Be back soon!


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+44 (0)7970 153048
24x24 inches 1.34 inches deep
Original Painting Acrylic on Canvas
Varnished & Finished around the Sides
Ready to Hang in your home
Created in photo realistic popart style using a limited tonal pallet for this striking work. I worked from one of my photographic images of London for this painting.
Daily life in London usually involves using the tube and these iconic signs are part of the fabric of the City. This one is outside of Liverpool Street Station in the City
A striking piece bringing the urban cityscape to your living space and a little piece of iconic London for those that love this great city. Especially relevant if you commute into or out of the Ciity of London.
includes international delivery


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Children are our park's next generation of stewards. And our kids' books, toys, games, puzzles and more are designed to teach and engage. Take your kids' on a scavenger hike, introduce them to bugs that glow in the dark, teach them all about black bears. You'll be glad you did when they grow up and do their part to protect our public lands.
Items 1-12 of 78


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Seafood Market Tawau — Semporna Island Hoping
Chance to visit:
- Seafood Market, Tawau
- Dry Market, Tawau
- Bohey Dulang Island, Semporna
- Mantabuan Island, Semporna
- Mabul Island, Semporna
…and many more
Get a Question?
Do not hesitate to give us a call. We are happy to talk to you.
Tel: +60 6-790 7747 / 013-381 5700
E-mail: email@example.com


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Could I be self-employed? Yoga teacher Jenny considered this for a long time. Doubting, calculating, hesitating. We always feel anxious before making big decisions we're afraid to regret later. And so it was with her. Today, Jenny is her own boss. Her story is inspirational and her joy is simply contagious—so much so that you even feel like starting your own project. Jenny beams,"I thought to myself: Show the world what you can do". What are we waiting for?
Jenny is happy. Very much so—and speaks all the more openly about difficult times. "I was more afraid of the fear," she says, sipping tea. "Many people know the feeling: You don't want to take the wrong steps, so you don't change anything." Her job was her job. For many years she had an office job, which gave her security, but she wasn't fulfilled.
Wasted years? "No," Jenny says assuredly. "I needed time to find out what I wanted to do," she says, leaning against the cozy corner bench in the café. The trained yoga- and reiki teacher has just opened her own studio and radiates happiness. "I just love to do something for my money that makes me happy." Sounds super easy—but the path wasn't so simple. "It was a process, not a question," she finds important to point out. "But also a nice experience!"
Doubt, Stress and an Aha-Moment
The dream of living off her hobby had been simmering in Jenny for some time. "I wanted to pass on my knowledge, at first for just a few hours a week." She negotiated with her boss, reduced her working hours in the office and began to give yoga classes at various studios in Hamburg. In addition, she created an online presence with her Jimdo website. "I tried a lot of colors, different fonts, and photos. It's awesome that I can create my own website. So I can convey exactly what I stand for: Spirituality without being too esoteric."
The yoga and reiki courses alongside her profession was incredibly fun. But the 33-year-old also felt a great deal of uncertainty: "How do I do this with less of a fixed salary, in an expensive city like Hamburg?" She pushed her doubts aside, but the stress increased. Finally, workdays started at 8am in the office and ended at 11pm in her home office with the last reply to an appointment request via e-mail.
More and more Jenny began to feel the office work was a strenuous duty—alongside the free-spirited yoga and reiki with her clients. "It was always important for me to be balanced with yoga, reiki, and shiatsu. I couldn't do everything simultaneously and still practice what I preached in a credible way" says Jenny.
To relax, she flew with her boyfriend Markus to Bali: Sun, sea and quality time. This made something click. It was a key moment for Jenny—though a painful one.
"I came back from vacation with a mosquito bite that was infected, " says Jenny with a smile on her face. Back in Hamburg, the doctor wanted her to call in sick immediately. "At that moment I realized that I was afraid to miss work because of a mosquito bite. That was my 'aha' moment." It couldn't go on. The next day, she went to the office and handed in her resignation.
Considering self-employment? "You can do it!"
You really don't worry about the decision. "I already had experience with my courses, my own website, great client, and friends, whom I could count on." And what else? "It's not so wild," says Jenny. "I already had a small business." And for questions about legal formalities she turns to acquaintances, reads books or goes online. "The knowledge that you need, everyone can find". The exception: "You may prefer to consult a tax adviser about your tax returns…"
Jenny was much more worried about what her parents would say. "My parents prefer something safe, too safe rather than not safe enough." Inwardly prepared for opposition, she finally tells them about her decision. "And my parents said, 'Jenny, we see how happy you are with your idea. Do it, we'll be there for you!" She didn't expect that. She also listened without exception to friends and relatives. "I can't count the amount of times I heard: 'You can do it, Jenny, do it!' It almost surprised me—but it was incredibly powerful," says Jenny, sipping her tea.
When your hobby becomes your profession
Fast forward to now: Jenny shares a studio with three friends in the heart of Hamburg. The days before the opening were exhausting with getting the renovation and preparation sorted—not to mention the last working days at her old job. "But the anticipation was bigger than the actual effort," says Jenny.
So what happens when a personal passion becomes a profession—do you lose something? "No, it's totally cool," says Jenny, radiating enthusiasm. It is important to keep the joy of the activity with a little self-discipline. "For example, I take for granted certain working times. I can answer an email that comes in after 6 o'clock the next day." In addition, she intends to plan two days off her schedule during the week.
Self-employed people know a lot about sleepless nights, thoughts about switching profession spinning around in their head, doubts, worries about responsibility, uncertain finances. Jenny has overcome this "fear of fear" step by step. Today, she is convinced of herself, of her own project. Because it just makes her happy!
5 tips to becoming self-employed from Jenny:
- Find yourself: What do you do well? And what makes you happy?
- Start gradually: Begin your project next to work or from home (e.g. with an online shop)
- Financial buffer: Prepare a safety net for the transitional phase.
- Get support: Ask friends and acquaintances with specialized knowledge about registering a business, for example.
- Create a website: Present yourself and what you have to offer online—preferably with a stylish logo! See how easy it is to make a yoga trainer website or any other field you are into.
Have you ever thought about turning your project into a profession? Or have you already taken the step into self-employment? Tell us about your experiences in the comments!


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Roberto Merhi looks set to hang onto his Manor seat at least for another race.
While his F1 rivals take the weekend off, 24-year-old Merhi is currently in his native Spain, preparing for the opening race of the Formula Renault 3.5 series.
But EFE news agency quoted the Spaniard as indicating he is also expecting to return to the wheel of his Manor car and keep "improving gradually".
Merhi also said he hopes Manor "gives me a good car as soon as possible".
He has struggled against his full-time Manor teammate Will Stevens so far in 2015, admitting that it has been difficult to cope with the "huge" differences between his car and those he is competing against.
"It almost seems a little unfair that all the different cars compete together," he added, explaining that Formula Renault races are "more of a sprint" compared to F1, and that much of the racing at the pinnacle of motor sport is about "saving the tyres".
And Formula Renault 3.5, Merhi continued, can also be more fun, "because with my Formula 1 car I am always observing the blue flags".
After Formula Renault 3.5's opening Spanish round, the next race falls on the same weekend as the Monaco Grand Prix.
Both take place on the streets of the Principality.


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Astronomy Archive
Village Sky At Night with Brian Watkiss
Dark nights perfect for planet-spotting
Posted on October 03 2016 at 10:35:05 0 comments
Amateur astronomer Brian Watkiss peers into the Village night sky.
October and the dark nights are with us again, making observing possible early in the evening and even earlier after the clocks go back on the 30th.
In fact, I will set down an observing challenge.
Right from the start of the month, it will be possible to see the brightest of all the planets, Venus. You will have to be looking out as soon as the Sun has set, which is around twenty to seven at the beginning of October.
Find somewhere with a good view of the south-west horizon – you don't need a compass, it's just to the left of the glow of the sunset.
Being so bright, Venus should be easy to spot, very low indeed, and on the third of the month a very thin crescent Moon will be close by, not only helping to locate the planet but creating an interesting spectacle to boot (what does that mean?).
Day by day, Venus will become easier to find as the nights draw in and it travels further away from the Sun.
Towards the end of the month, you will be able to start looking from about a quarter past six and on the 28th, Venus gets close to another planet, Saturn, although it will be nowhere near as bright.
Anyway, try looking out for Venus every day and watch as it moves against the background sky.
As the sky darkens, you can look out for Saturn in the same part of the sky until it sets around eight thirty. The Moon is close by on the 6th, so that should help with identification.
Mars is still with us all month too, further to the left than Saturn and slightly higher, although its distinctive pink hue makes it easier to identify.
The Moon muscles in on the eighth, getting bigger and brighter as it heads towards full on the 16th. This is a bit inconvenient as it means the Moon is still very bright indeed on the 21st, when we have a meteor shower known as the Orionids.
This is a very interesting shower as it is the result of Earth passing through the debris trail left by perhaps the most famous comet, Halley's, although we won't see that again for about another fifty years.
Despite the lack of a dark sky, I think it is still worth looking out for meteors around this date because some can be very impressive.
If you are one of those lucky(?) people who have to be up and about early in the morning (God bless our postmen), then you have the opportunity to complete the full set of bright planets.
From around six thirty, Mercury and then Jupiter precede the Sun, rising in the East and day by day they get closer to each other, being in conjunction on the 11th.
Mercury then starts to head back around the Sun and we lose it by about the 20th. So, get out there and become a planet spotter.
Above: The Moon and Venus.
What Villagers have been saying about this story . . . most recent comments first
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Q:We live in a highrise condominium and have new neighbours. They blast music so loud that our walls vibrate. Our bylaws state that no unreasonable noise is permitted. However, the neighbour insists they can play music until 11 p.m. and there's nothing we can do about it. We cannot even enjoy the peace and quiet of our own condo. What can be done?
One of the most common complaints in a highrise condo is excessive noise from adjacent units. There are in fact municipal bylaws on noise that the new resident is probably counting on when they say they can play their music loudly until 11 p.m.
Unfortunately, this new owner hasn't read his documents and doesn't realize that in a condo community the board of directors can pass its own rules and bylaws that govern their particular property.
Your bylaws state no unreasonable noise is permitted. Therefore, contact your board of directors and inform them of the problem. It would be wise to have one of the board members come into your unit when the music is actually blasting.
He/she could confirm how loud it really is prior to issuing a complaint notice. People who live in a vertical village should have a little more consideration for each other.
For instance, some people work nights and require a peaceful sleep during the day. Others may be putting children to bed. It's only common sense that neighbours should keep their music to an acceptable level in consideration of others.
If your neighbour refuses to turn down the music after receiving reasonable notice from the board, then a written warning from the corporation lawyer that a compliance order will be sought usually ends the misconduct.
In this particular case, mediation and arbitration would not be necessary because the neighbour does not deny making unreasonable noise, but in fact maintains they have the right to do so until 11 p.m.
It could be argued that there is a clear breach of the condominium declaration regarding unreasonable noise interferences and therefore the board may make an application to the Ontario Superior Court of Justice for an order to enforce the owner to comply with your condo bylaws or rules.
Marilyn Lincoln is a condo owner, director and author of The Condominium Self Management Guide, 2nd ed. Send questions to email@example.com To order the guide, send $39.95 plus $4.98 shipping and handling to: The Condo Guide, 163 Thaler Ave. Suite #302, Kitchener, Ont., N2A, 1R4
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Ok, so I've been thinking about the way leads and follows relate to timing and tempo. I'm not entirely sure what I know, and what's accurate, because I'm still working my way through this stuff.
I have big problems with the insistence in some quarters that leading and following are interchangeable. They're not; they're very different. Not just because one of you leads and one of you follows. At first I thought it was because the lead had to 'be more confident' and initiate stuff (which we tend to associate with hegemonic masculinity). But now I don't think that's quite it. I have found that the biggest difference between leading and following, for me, is about my relationship to the beat. And this is why I am finding it harder and harder to switch between leading and following these days: I have to consciously change my relationship to the beat. I'm getting better at this (especially since starting tap), but I'm definitely not there yet.
I think that leads are closer to the beat, and follows swing a little more. They're further behind the beat. Not just because of physics (ie leads 'go first' so they are closer to the beat, and follows physically a moment behind). But because of the way this makes us feel when we dance to swinging jazz.
I can't remember the reference, but I'm pretty sure I read in Gunther Schuller's book The Swing Era, about the different parts of a big band having different relationships to the beat. I think that we also addressed it in a session with a band a couple of years ago. The rhythm section (piano, bass, drums, guitar) all have slightly different relationships to the beat, and it's the way each of them work together that then makes for this lovely complicated network that makes dancing so much fun. And so interesting. It's not just that everyone is sitting way deep in the pocket. It's that some people in the band are a little deeper than others, and this relationship – an almost-tension – is what makes the music feel so good.
Anyhoo, a drummer friend Andrew Dickeson linked up Ethan Iverson's blog post The Drum Thing, or, A Brief History of Whiplash, or, "I'm Generalizing Here" on facebook recently, and it caught my attention. I don't think it's the most coherent or awesome of pieces, but it did ping my radar a little. So I wrote a long comment there, which I'm going to copy here:
I've been thinking about this article a bit.
Tuesday night in tap with Ryan we did this exercise where we tapped a rhythm straight, then swung it. The straight version was very stressful, because it feels like you're rushing and there's less time to move your body.
On Sunday at the Unity Hall Jazz Band gig, I danced to a nice swinging, yet faster, song with a lead who was rushing the beat, and it made the dance stressy because we didn't have time to get through movements. I was following, and follows typically lag a little more than the lead. I found that the lead was cutting me off before I could finish my rhythms or movements, and this was stressy, and difficult, because I never quite had enough time to move from point A to point B, because he was starting the new move before I'd finished the last one.
Last night in class, Alice and I were looking at how slight changes in our posture, and covering less ground affected our timing and ability to dance faster. If covering more distance = using more time*, then it's harder to dance fast if you try to cover more ground (ie move too far away from each other). So we were working on staying closer together, but with a free-er, less controlling lead**. So the follow had more time to complete her movements. If the lead (that was me) swings more – ie doesn't rush the beat – then the follow, who sits naturally a bit further behind again has more time to finish things, and the whole dance looks and feels really relaxed. Hence the 'swing' in lindy hop. Or, in african dance terms, you get a 'cool' body with 'hot' legs (ie chilled, relaxed upper body, and energised legs and feet).
Anyhoo, we were testing stuff out with different songs. Because I'm still crushing on that Lester Young Mosaic set and listening to lots of Basie, we started with 'Feedin the Bean' (Basie 1941, 180bpm). It feels really relaxed, and felt super easy to dance to. As a DJ, I often use this song when I want to build energy for a faster, more exciting follow up song.
Then we moved to 'Pound Cake' (Basie 1939, 186bpm). It feels similarly chillaxed and not fast at all. Then we tried 'Lopin" (Basie 1947, 190bpm). It has a more exciting, energetic feel, so it feels faster.
The point is, these are only incremental changes in tempo, but when you dance fast, you need to relax your upper body so you can move faster. If the rhythm section is pushing pushing pushing the beat, you feel as though you have less time to move, so it's stressier, and you tense up. If the lead is too close to the beat, and stressing, pushing the beat, the follow doesn't have time to get shit done, and complete their rhythms nicely. The syncopated triple steps that are central to lindy hop just get flattened out. And that just makes a mess of the whole thing. It feels yuck.***
Anyhoo, we noticed that the chillaxed drumming was really important. The base gives you the tempo, but a chillaxed drummer takes the edge off, so you can make it swing.
When I DJ, I find this 'feel' or energy in the room is what I'm manipulating with song choices. I might move the tempos up and down, but I want to move the energy up and down too: I think of it as working the 'feels', and it's about the way everyone in the room is sharing feelings. I don't know why humans do this, but when I read the quote from Ellington in this article, it just articulated what it's like when the room is 'warmed up' (that's how I think of it – when I DJ or lead a class, I need to 'warm up' the room before we start going hard):
Sonny Greer and I were real tight buddies and, naturally, night creatures. Our first night out in New York we got all dressed up and went down to the Capitol Palace…
My first impression of The Lion – even before I saw him – was the thing I felt as I walked down those steps. A strange thing. A square-type fellow might say, "This joint is jumping," but to those who become acclimatized – the tempo was the lope – actually everything and everybody seemed to be doing whatever they were doing in the tempo The Lion's group was laying down. The walls and furniture seemed to lean understandingly – one of the strangest and greatest sensations I ever had. The waiters served in that tempo; everybody who had to walk in, out, or around the place walked with a beat.
Anyhoo, thanks for linking up this article, Andrew. It's been rolling around in my head since I read it, and really joining up some dots for me.
*This is why the lead taking a huge rock step on 1-2 of a swing out is an issue. It extends the first 2 counts of that move, and changes the emphasis of the rhythm. There's nothing inherently wrong with that, we change rhythms all the time. But if you do it on every rock step of every move, you change the entire rhythm of the dance. It also means you take up lots of room on the floor, and you feel you like have to RUN to get to the end of the movement, as you've 'used up' a lot of time at the beginning. For the follow, it means that you have to take an enormous first step which throws off your balance and timing. If you want to dance fast, you're really going to struggle, because there's less time for each step, and the follow has to cover more ground in less time. It also means you won't be emphasising the rotational part of a swing out (the 3-and-4), which means you won't be getting that centrifugal force that you need to then sling shot back out again into open.
In dancing, distance = time. So you have to take that into account when you're dancing to a specific tempo. It's especially interesting when you're looking at air steps, where gravity is a constant (ie it always takes the same amount of time to fall), and you have to take that into account when you're timing a landing. This really struck me watching this video about the physics of Simone Biles' turns. She adjusts her rotation and timing just by moving one hand against her body!
**By 'freer, less controlling lead', I mean a few things. First, that the lead doesn't 'steer' the follow out of closed using their left hand. They just step back and out of the way, dropping that hand immediately so the follow can ping out of closed position, choosing their own speed, direction, and rhythm.
Secondly, the lead lets go on 5 of a swing out, so the follow can come out sideways rather than always coming out backwards. Follows who are always let go later and always asked to come out backwards tend to habitually turn themselves to come out backwards. Ain't nothing wrong with coming out backwards. But if a follow always turns themselves to come out backwards, rather than having variations in directions, we have an issue. Even more importantly, taking time to turn your body 90* takes time and energy away from booming out of closed like a gun, or rocking out like a rhythmic jazz superstar.
But more important than the direction a follow comes out of closed, is the fact that by letting go earlier, the lead gives the follow more physical freedom, earlier. The longer I touch the follow, and keep that back connection, the longer she has to pay attention and respond to me and that connection. Well, she doesn't have to. But by letting go, I'm making it super clear that she can do as she likes, and is 100% responsible for direction, timing, angle, etc. Experimenting as a follow, I also found that letting go earlier means that the follow needn't go as far away from the lead. They can choose to reach the 'end' of the swing out earlier, and turn and be ready to come back in again earlier. They don't have to end earlier, but they can.
I hope I'm making it clear, here, that there's nothing inherently wrong with any of these things. But if we always do things one way, then there's an issue. We… well, I aim for flexibility and mindfulness. I want to make conscious choices about the way my body moves, so that I am mindfully responding to the music and absolutely present with each partner, rather than just dancing by rote. Because dancing by rote is boring and limited. And dancing mindfully with each partner makes dancing with everyone much more interesting.
I am suspecting that insisting a follow goes really far away into open (ie covering a lot of distance) + the larger rock step by the lead on 1-2 = changing the rhythmic emphases of the swing out. Instead of being a constant state of motion, the swing out becomes two extreme stretches in long, straight lines, with a tiny bit of rushed rotation in closed in the middle. I'd prefer my swing outs to have constant energy throughout, so that I'm not dividing the music up into blocks of 8 counts so aggressively. I want my swing outs (or moves) to just be different shapes put on top of rhythmic movement across the floor, where the emphasis can vary, and the rhythms are functional as well as fun. ie the triple step, with its added step, is not just rhythmically interesting, it also gives you an extra step to travel further, or to turn or to ground yourself as you rotate at speed.
And, to sum up this digression, if you give the follow more time in open, or with a less demanding, less intense connection, you give them more independence. This means that they a) bring their rhythmic wonderment, and b) pay more attention to you, because they don't feel like they're waiting for the rare chance to bring their shit; they know you'll give them plenty of time, and that you'll be working together, with their hot shit integrated into the dance, rather than slotted in as a separate 'gap' in the lead's predetermined pattern.
***Or you change your basic steps, replacing the triple step with a kick. If you check out very early lindy hop, you see more kicking than triple steps, because the music had that more vertical feel. It feels super exciting, because it does push a little bit more, but it doesn't make you triple step or swing out the same way. It's not about tempo (ie speed), but about the relationship to the beat each musician holds.


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Jul 31, 2018
My father held a deep passion for any activity that a gun was involved. Naturally, from a very young age I shared these very same interests and began shooting along-side my father whenever we had free time on the farm. My father realized that I held some natural talent in the clay shooting sports and began to look for a way to further my shooting.
He contacted Wendell Cherry to inquire about shooting lessons for myself. I began taking lessons from Wendell when I was 8 years old and molded a very special relationship that has lasted to this day. This friendship Wendell and I shared has helped me tremendously over the years along with his continual desire to enhance my shooting. However, throughout this time in my shooting career of taking lessons from Wendell, I would shoot just about every day at the practice field with my father as we both worked on our shooting game. Often during this period of time I would travel around to local tournaments with my father and shoot just about every weekend. This lasted about 5 or 6 years until 2013 when I began to travel to the regional tournaments with my father and compete all over the country.
I was very fortunate and had much success early on in my career. I have been fortunate enough to earn positions on Team USA and win several events throughout these past years. I continue to travel all over the country with my father and compete in tournaments all over the world. I would have to give a lot of the credit to Wendell, and most certainly my father and mother for being in the position I am in my shooting career. I hope this provides some interesting information about myself that allows you to better understand who I am as a shooter and person.


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Hot 97 Listener Countdown–Vote for Top 97 Songs of 2012
Hot 97/WQHT will ring in 2013 with a countdown of the best songs of year gone by. The selections are entirely up to you. From now until December 31, listeners are encouraged to visit the Hot 97 site and choose their favorite Hip Hop and R&B tracks. Then wait for New Year's Day when Hot 97 counts down the Top 97 starting at noon.
While voting online, check out the Top 97 videos of 2012.
Hot 97 is also planning some special radio for Christmas weekend. Starting Friday at noon, the station will spin mixes of today's best artists alongside throwbacks from Hip Hop greats. The mixing runs until Christmas Day at 11:59 p.m.


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4 Equal payments. Every two weeks. Take Home Today.
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Emmanuel Macron was warned!
To be more specific, the newly elected president of France was told to be prepared for the sometimes awkward and always aggressive handshakes of President Trump. And it happened after Gérard Araud hosted a salon dinner Monday at the spectacular Washington, D.C., home he lives in as the French ambassador to the United States.
I was among the journalists, politicians, philanthropists and think tankers who gathered to participate in a conversation co-hosted by The Atlantic on the rise of populism in Western liberal democracies. A friend and I were talking during the pre-dinner cocktail hour about our summer plans when the affable and impish Araud approached.
As with all conversations in this town for the last 120-something days, ours turned to Trump. The ambassador, whose previous post was as France's ambassador to the United Nations, allowed that he had just sent a memo to Macron advising him on how to handle the American president during their first meeting at the NATO summit in Brussels on Thursday. When I asked him what he told the new boss, Araud diplomatically told me to buzz off with a roll of the eye. But the fact that he sent guidance back to Paris was not surprising, since there have been reports about how European leaders were gearing up for meeting The Donald.
"Did you warn him about Trump's handshakes?" my philanthropist friend asked. A look of surprise popped on Araud's face as he inquired what exactly did that mean. Both of us told him about Trump's affinity for the alpha male, grab-and-pull power pump that always seemed to reduce the other person to a rag doll. Forewarned, Araud said he would alert Macron.
The Washington Post's Philip Rucker captured the intensity of that first handshake.
As Trump met Macron for the first time, welcoming him to lunch Thursday at the residence of the U.S. ambassador to Belgium, the two men shook hands for six long seconds. Their knuckles turned white, their jaws clenched and their faces tightened. Trump reached in first, but then he tried to release, twice, but Macron kept his grip until letting go.
There was even more arm wrestling upon Macron's arrival at the festivities at the NATO headquarters.
Macron strides along the blue carpet to the wall of world leaders walking toward him. As the president of the United States stretches out his arms in a "hey, buddy!" greeting of the newest member of the elite club, Macron veers to the right like a decoy Marine One from the South Lawn of the White House. Trump looks on as his French counterpart double kisses German Chancellor Angela Merkel and shakes hands with other leaders. When Macron does get around to greeting Trump, Trump goes for the grab-and-pull. But Macron immediately yanks back and employs his left hand to try to hold down The Donald's rising right arm as the insecure alpha tries to assert his dominance as cameras clicked.
Araud will retire from the French foreign service in a month or two. A masquerade reception at his residence Thursday evening was his chance to say thank you and farewell to a city he enlivened with his elan and good cheer. As my husband and I said our goodbyes to the career diplomat, I asked him if he'd seen the videos of the handshakes and if he indeed had a chance to warn Macron.
"Yes!" he said, eyes sparkling behind his black mask as he smiled and enthusiastically pantomimed the grab-and-pull.
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