Blesok no. 39, November-December, 2004

The Phylosophical Aspects of the Chinese Landscape Painting

Sonja Dimoska

    The Chinese art, as any other art, is understood via itself. To understand the spirit of the Chinese means to understand the spirit of the eastern man. This means to understand the Chinese culture, philosophy, that is, the Chinese thought, expressed in this very art. This is maybe, much more than the west, as the art here is a complementary part of the wholeness of life, at all level of its living.
    The Chinese painting had its boom and blossom in the time of Tang (618-907) and Song (969-1279) dynasties, which were renaissance periods of the culture and civilization in general, and this paper refers to them. More specifically, the philosophical foundations and implications of the landscape painting are presented here.

1. Philosophical Foundations

    What essentially determines the art of the east, being its immanent part and at the same time its expression, is the philosophical thought. Thus, one should start from the philosophy, especially the Taoist one, as the expression of the Chinese spirit and way of thinking. The Buddhist thought, on the other side, although Indian in its origin, is significantly changed when it enters China, it is shaped and even naturally incorporated in the Chinese thought, becoming equally necessary for the understanding of the Chinese painting. The esthetic of the east “… has evolved in the unique fusion of Buddhist and Taoist principles of experience.” (Inada, 1997)
    The instable times that followed the fall of the Han dynasty (211 a.d.) weakened the Chinese empire, both politically and economically, which was reflected on the philosophical spirit as well. The intellectual exhaustion and resignation, both with the Taoists and Confucians, was favorable for the Buddhist thought, where the philosophers found the possibility of spiritual and intellectual realization. The attempt to make the Buddhism understandable by translating the sutras, resulted in a connection of the Taoism and Buddhism in a new stream, which would at the same time have the features of both – Chinese Buddhism. This connection will be expressed in a best and most authentic way in the Chan of Zen Buddhism.
    The eastern thinkers understood the insufficiency of the being to express the complete fullness of the existence. This spiritual researches, first of all, both with the Taoists and the Buddhists, resulted in strives to another aspect, which will give more complete knowledge, explain the existing and possible problems – the nonbeing. Inada replies the question on where the two streams meet: “For the Buddhist, it is the ‘discovery’ of emptiness (sunyata) in the becomingness of things or emptiness in the beings-in-becoming. For the Taoist, it is the ‘discovery’ of nothing (wu) in the Tao of things.” (Inada, 1997)
    Tao has no name, nor can it be determined. Still, it is a cosmic force, the mystic process of the world, the inner nature of everything that exists, nature which is not discovered, but revealed. It is the ruling force of the eternal change that inspires all, acts by non-acting (wu-wei), creates, not by making, but rather by growing, it creates from within. The Taoism is an affirmation of the unconventional knowing by developing of the so called peripheral or non-self-aware seeing, unintelligible penetration into everything, into the nature of things. Both Taoism and Buddhism are philosophies of the experience. Tao is not discussed generally, outside the practice, and therefore it is best understood via man, Man of Tao:

    “Therefore the sage manages affairs without action (wu-wei)
     And spreads doctrines without words.
          .  .  .  .  .  .  .  .  .
     He accomplishes his task, but does not claim credit for it.
     It is precisely because he does not claim credit
     that his accomplishment remains with him.”
               (Lao Tzu, Ch.2 transl. by Wing-Tsit Chan)
    In Zen Buddhism this is related to wu-shin, or non-mind, which is a state when the mind functions freely, non-self-consciously, a spiritual state of peace and direct insight. Mind is not a component of the cognitive process, it is the process. To break the appearance of the world and to experience it in its “it-ness” (tathata). It is seeing through, seeing the things as they are. “Tathata indicates the world as it is, unhidden and un-separated by symbols and definitions of thoughts. It indicates something specific and current, not abstract and conceptual.” (Watts, 1982, p.67)
    Both Taoism and Buddhism are holistic schools. In the Taoism everything is in The One, everything that is real, everything that is existing and potential, everything that is and can be is in the eternal creating process of Tao. Yin and Yang are only the energetic models of its occurrence. There is no dichotomy in Buddhism as well, although it can be thought at first view. Thus, the nirvana and samsara, shunya and maya are not opposite things. To “escape” the samsara, and strive towards nirvana, means to confirm and continue the karmic process of return. Because: “The search for nirvana implies the existence of the problem of samsara.” (Watts, 1982, p.64) Things are not opposite, they are One. The emptiness is revealed in the new viewing of the reality. Seeing it is its “it-ness”. It covers all, all the shapes dissolve in it, and at the same time it is every existing form. Therefore, the negation in Buddhism does not refer to the reality, but to our idea of it. “The shape is no different than the emptiness; emptiness is no different than shape, Shape is really emptiness; emptiness is shape.” (Watts, 1982, p.65)

2. The Painting

    The art is a result of the supreme spirit, who has understood the occurrence, because he sees the essence. The world is not a whole of opposites, nor is the appearance an antipode of the essence. That is why the wise man is not upset before the visible, measurable, empirical; in his perception of the Whole, there are no parts. And to come to this spot, means to be in a state of wu-nien or non-thinking. Then the subject and the object are equal. That is why the Buddhism has no dislike towards the natural shapes. On the contrary, the Nature is a medium via which the awaken intuition is identified with the tatha. The Taoist closeness with, and the non-separateness from the nature is well known. The Creator is the nature itself, in harmony with itself and the universe, it is the expression of its creative force.
    The Chinese painting seems simple at first. This characteristic of the painting is due to the Chinese philosophical point of view, which implies a perception of the things in their wholeness and eternal movement, as integral parts of a functional whole of the existence, and not as separate fragments. And everything that is in unity and harmony can only be simple. K.K. Inada points at the eastern “enlightening” revelation, the awareness “… of the limitations of the divisiveness or fragmentation within the ambience of the fullness of existence.” (Inada, 1997). Life is lived and thought at the same time, one not excluding the other. The Chinese painting can thus be understood as a visible realization of what is thought. “The Eastern view of things prevented any dichotomous treatment of anything from the outset and in turn fostered exploration into the fullness of the becoming process.” (Inada, 1997) This holistic understanding of the world, very understandable, puts its stamp on the painting as well. The painting can thus be treated as an esthetic expression, but much more, as a philosophical view of the world that came to live. In this way, the author becomes marginalized, the work of art is deprived of itself, and it he becomes just a prolonged hand of the Universal Principle that manifests itself in the work. Finally, it would confirm the affirmation of the individual, temporary, before the Ultimate Reality. This is confirmed by the impression of absence of the motive for self-confirmation with the painting masters. The absence of the passion for self-affirmation and proving oneself is a reflection of the wisdom of the one who has already reached the top. In Buddhism we find the same thins with one of the basic principles – negation of being. Being is but one of the ways of maya, false construction, sum of changeable states, inconsistency in continuity. The Vajracchedika says: “No Bodhisattva, is he really is Bodhisattva, sticks to the idea of some ego, personality, creature or separate entity.” (given with Watts, 1982, p.62). And the Taoism says:
    “Therefore the sage places himself in the background,
          but finds himself in the foreground.
          He puts himself away, and yet he always remains.
     Is it not because he has no personal interest?
     This is the reason why his personal interests are fulfilled.”
                 (Lao Tzu, Ch.7 transl. by Wing-Tsit Chan)
    The painting techniques that refer to paint brush movements are especially important in the Chinese painting, as well as in the calligraphy. The painting standards were not strictly given before; they were more of established techniques of drawing. The painters were never “just” painters. This opens a new dimension of the Chinese culture. To become an artist is much more than to know the paintbrush movements, To be an artist means to know the literature – the classics, philosophy, history, tradition, and to be a poet. The spiritual level is not only significant, it is crucial. To know the literature means to read philosophy, which is one and the same, to know the tradition means to know one’s own history, to write poetry means to be skillful in calligraphy. The expert in nay field has achieved a skill with perception and inner balance, which enables him to express himself creatively. Thus, the wise man is involved in an art as a rule, and at least in ancient China, the top artist is knowledgeable in wise teachings as a rule. The one who knows his origin knows the laws of the Nature, the natural courses of the World, the Reason of everything that exists, knows that he is part of the Universe, and it is Nothing. It is a spontaneous result of the Nature, its work, same as itself.
    Each segment of the world, and therefore the art is represents, is an expression not so much of itself, but of the changes and transformations, some of which are visible from the “outside”, some from the “inside”. And what is a precondition of all changes is the eternally unchangeable, everything happens in it, more specifically with it.
Tao is unchangeable, but what is the reason are the two basic polarizing principles Yin and Yang, they make the living nature of everything that exists. “This immense web consisting of rolling change does not itself change. It is the ‘un-carved block’ devoid of definable shape, the ‘mother’, matrix of time, including both ‘being’ and ‘not being’, the present, future and vanished past – the Great Whole of continuous duration, infinite space and infinite change.” (Legeza, 1975, p.11)
    Therefore the portrayal of harmony is not only a bare reconstruction, it means creation of harmony, in a new dimension. It must not be fixed in the two dimensionality of the drawing, the eternal dynamic game of Yin and Yang also continues here. K.K. Inada, defining the Chinese painting as asymmetric, behind the duality of the appearance, symmetric, says: “We are able to conclude that perception is not merely a one– or two– or even three-dimensional phenomenon but has deep grounding in the being-nonbeing dynamics, thus revealing its natural fullness and completeness at all time, however unconscious we may be to the elements of the process.” (Inada, 1997)
    The spirit of Zen and the spontaneity of the wu-wei is reflected in the painting technique as well. The stressed intuition and spontaneity in the philosophical teachings is also dominant in the painting. This painting technique is practically self-limiting, because it implies a minimum form and minimum color, and maximum intensity of expression (Michael, 1994, p.131). As little action and acting as possible is the basic principle. This is especially representative in the Zen Buddhist painting, where the scarceness in the moves is brought to extreme. The brush is left to paint itself. Every touch of the brush on the paper is the moment of concentration of the spirit. The impression of the artist is expressed immediately and directly, without thinking. The sharpened spirit acts with each single move of the brush, without mistakes, because the corrections are not only allowed, they are impossible, the missed moment of inspiration can not be “corrected”.
    The “goal” of the landscape painting is not to show the reality in details, but to reproduce the image of the reality, because the painting is not a representation of the nature, it is the nature itself. The painting is an esthetic expression of the one who has matched his own spirit with the course of the universe. Therefore, the Chinese painting shows, it does not explain, just as philosophy, it is “sketching of ideas.” “They (masters) show us the life of nature – mountains, waters, fog, stones, and birds – just as the Taoism and Zen experience them. It is a world where man belongs, but the one that he does not dominate; it is enough to itself. Because it is not ‘made’ for anybody and has no purpose.” (Watts, 1982, p.159) The painting is a creation of the freedom of spirit, it is the meaning of the teachings themselves, both Taoism and Buddhism. “Landscape painting, in Chinese, “mountains and water” painting, became much more than a matter of skillful representation of physical reality, rather a matter of sensing and representing the spirit believed to be manifested in nature.” (Michael, 1994, p.92)
    The human figure, small, barely noticeable is obligatory in the landscapes. These are representations of wise men, fishermen, wonderers through mountain ridges, friends drinking tea in the pagoda in the middle of bristling pine trees. The presence of man in the middle of all natural wealth is not an accident. There are two explanations about it. One is to present “… to confine the figures to insignificance in relation to the overwhelming power of nature (typical of the Song period).” (van Briessen, 1998, p.104) The other interpretation will be found again in the philosophy of Taoism and Zen Buddhism, whose relation to nature is already known. The nature is not opposed to man, nor is man the one who should conquer the nature. They are in unity and harmony, so that the problem of nature is the problem of man. As D.T. Suzuki says: “Man came from Nature in order to see Nature in himself; that is, Nature came to itself in order to see itself in Man.” (Suzuki, 1956, p. 236) The picture is not an expression of the personal thrill, it is not a representation of the author, it is the experience of everyone looking at it. This is best explained by indicating some techniques typical of Chinese painting, such as the three-dimensional space and central perspective. The painting does not have a focus point, and the different segments of one same work are seen from different points of view (because of the usage of many perspectives), which practically draws the observer to wonder around the landscape. This creates the strange feeling of going against the “logic” of the eye. The central perspective is always someone’s. In Chinese painting there are no shadows used, because it is again someone’s point of view The work of art does not belong to the one who painted it, it is a window for everyone who can see through it, who understood the “law” of the course of nature.
    The Chinese landscape painting is monochromatic, the black ink is the basic means of expression, But the black is not a color, or, it is, so to say a color without prejudice, a represent of every other possible color. That is why Inada qualifies the Chinese painting as non-chromatic or achromatic. (Inada, 1997)
    Another dominant segment of the Chinese painting is the empty space, the so called corner painting. The emptiness is understood as the manifestation of the Tao, or, it is the thing that encompasses all, with the Buddhists. The canvas is an endless space with countless possibilities to visually represent Tao, that is, its occurrence. The empty space can represent the sky, fog, water, but also not to have a specific function at all; however, it can give the necessary balance in the art work seen as a whole with the steeply high mountains and strong water cascades that cut the landscape. As Alan Watts says, it creates the feeling of “marvelous Emptiness” from which the event suddenly occurs (Watts, 1982, p.161). The painting is a perfect balance of shape and emptiness, knowing to say enough, and not go on.
    The successful art work is also a positive magic to the world and those who observe it. It is not only a question of esthetic experience. Every segment of the painting is a pure, non-verbal meaning that indicates to the environment, surrounding, and leads to the inner, which is eventually the same. The encouragement and development of the awareness for the one’s own relation and participation in the universe is a spiritual elixir that expands the perception and uplifts the spirit.

* * *

    What makes the Chinese painting especially provocative from philosophical aspect is its immanent conditionality by the philosophy. Both basic philosophical teachings that the Chinese art is related to are the Taoism and Buddhism. Both of them are the philosophies of experience, and this is precisely why the Chinese are the people of practice, in direct contact with nature, which means life. The esthetic is not a separate segment of life, just as the man is not an antipode of nature. All the wealth of expression is only a torn part of the spiritual unity of the life manifestations.
    The Chinese philosophy is read is every shape of life and in every way of expression. In this case, the painting that has the most authentic philosophical mark has been selected. Thus, the painting becomes a sole means of understanding Taoism and Chinese Buddhism, in the attempt to understand it. Still, this does not exhaust nor neglect its esthetic value. Moreover, it obtains the real treatment of legitimate philosophical discipline. The painting becomes an indicator towards the higher intellectual levels and a medium of spiritual education. It seems that the art and philosophy have had such a strong sublimation in no other culture; thus philosophy has an artistic expression, and art becomes a visual philosophy.
(The theme is explained in more details in my diploma work published in the Филозофија magazine, no.9, March, 2004)

van Briessen, Fritz, The Way of the Brush, Tuttle Publishing, Boston, 1998
Chan, Wing-Tsit, A Source Book in Chinese Philosophy, Princeton University Press, New Jersey, 1973
Дамјановиħ, Милан, Историја културе, Градина, 1977
Inada, Kenneth K. “A theory of oriental aestetics: a prolegomenon”, Philosophy East & West, Aug.97, Vol.47, Issue 2, p.117, 15p.
Кернс, Грејс, Филозофии на историјата, Култура, Скопје, 1993
Колер, Џон, Ориентални филозофии, Зумпрес, Скопје, 1996
Michael, Franz, China Through the Ages, Westview Press, 1994
Suzuki, D.T. (ed.William Barrett) Zen Buddhism, Doubleday & company inc. Garden City, New York, 1956
Legeza, Laszlo, Tao Magic, Thames and Hudson Ltd. London, 1975
Watts, Alan W. Put zena, Književne novine, Beograd, 1982
Watts, Alan W. The Spirit of Zen, Grove Press inc. New York, 1958
Yang Xin, Nie Chongzheng, Lang Shaojun, Richard M. Barnhart, James Cahill, Wu Hung, Three Thousand Years of Chinese Painting, Yale University Press and Foreign Languages Press, 1997

Translated by: Elizabeta Bakovska

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CIACC: Community Liaisons

Liaison Project
What is the CIACC Liaison Project?

An initiative designed to assist school personnel, professionals and all community stakeholders navigate both the local mental health system of care and school system. The focus of the project is to increase youths’ access to care as soon as the need arises without delay to needed services.

Who is a Liaison?

A Liaison is a school or agency staff member who is designated to help staff, youth and their families identify local resources to resolve challenges and solve problems.

How Does the Liaison Project Work?

The Project provides on-going training and up to date information on services to Liaisons across the county. The Project works by providing the Liaisons with the tools they need to:
  • Serve as the bridge between the mental health and school systems and coordinate access to programs across systems
  • Increase access to care to help youth thrive and succeed
  • Promote the emotional wellness of students in Pre-K through high school
  • Solve problems, answer questions and identify needed services in timely manner

road mapWhere Can a Liaison Be Found?

Liaisons work in schools, mental health agencies and other community based organizations. Liaisons often serve other vital roles as well, such as Social Workers, Guidance Counselors or Therapists.

When Should You Access a Liaison ?

You should seek the guidance of a Liaison anytime you have a question about a youth’s emotional well-being. The Liaison can help you determine if the youth needs services and identify the resources that can best address the situation.

Why Should You Participate in the Liaison Project?

All of us— families, schools and communities - do better when we work together! No one person can know the answers to all questions but Liaisons can provide you with the information you are seeking. They know where to find resources and how to access services for youth.

Liaisons aim to:
  • Navigate the mental health and school systems for families, staff and the community
  • Reduce staff time spent in searching for resources and making connections
  • Compliment staff competencies by staying current on system changes and updates

get involved
How Can You Get Involved in the Liaison Project ?

To join or support the initiative contact:

Janice Hubbard Region V Phone: 201-599-0585 Fax: 201-599-0310

» Download this information as a brochure (.pdf)


a hypothetical office

About the Pavilions

The Abwab pavilions are bound together through the surface, an intermediate space that weaves between exhibits, extending the dialogue within the exhibitions to the surrounding enclosures. A temporary space for a temporary event. Neither inside nor out. Both enclosed and permeable.

The surface is formed by re-appropriating a greenhouse structure. Wrapped in woven plastic, enclosed between a fields of columns, and delimited by reclaimed rubber flooring. Paths of filtered light convene into pockets for gatherings.

Marking Abwab through colour, form and light, the spaces between the pavilions become environments to gather and converse.

a hypothetical office is a collaborative body of 3 architects that enables environments through analytical research and built conditions.

Fortuné Penniman is a Dubai-based architect. His interest lies in the role of architecture as mediator between people, places and things. He was awarded Diploma with honours from the Architectural Association in 2015

Hatem Hatem is an architect that investigates the potential of design through the use of digital and material systemic processes.

Meitha Al Mazrooei is the editor of WTD Magazine, an architecture publication that documents the existing landscapes of the region through visual essays and critical narratives.

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Flooring by - Beeah

Lighting by - acdc


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In systems consisting of many particles, be they solid bodies, fluids or gases, the constitutents are in constant, chaotic motion: the atoms in a solid crystal oscillate a bit, the molecules of a gas are in rapid, disordered motion, and so on. The average energy with which each constitutent contributes to every part of the disorderly motion is the same, and it is called the temperature of the system. High average energy corresponds to high temperature - atoms vibrating wildly, gas molecules zipping around very fast -, low average energy to low temperature.

In a slightly different context, certain mixtures of electromagnetic radiation can be assigned a temperature ("radiation temperature"), a single parameter that completely defines the basic properties of the radiation (more precisely, its spectrum). It corresponds to the thermal radiation emitted by a hot body with precisely that temperature.

In physics, temperature is measured in Kelvin, in everyday life, depending on the country, in Fahrenheit or Celsius.

 test particles

In the context of gravity: body whose mass is so small that it can be used to probe the gravitational influences of ther bodies, as its own gravitational field is too small to affect or change the situation in any significant way.

Analogously, in electromagnetism: small, charged body with so little charge that it can be used to explore the electromagnetic influence of other bodies without its presence affecting or changing the situation in any significant way.

 tests of general relativity, classical

The first two tests of general relativity were the comparison between prediction and observation for the perihelion advance of the planet Mercury and for the deflection of light near the Sun. In 1959, measurements of the gravitational redshift provided an additional test. All three effects in questions were predicted by Einstein, and these and subsequent measurements are known as the classical tests of general relativity. Measurements of the Shapiro time delay are sometimes called the "fourth test of general relativity".

More information about the deflection of light can be found in the spotlight text The gravitational deflection of light, while the connection of this effect with one of the fundamental principles of general relativity is explored in The equivalence principle and the deflection of light.

See electron volt
 theory of relativity
See relativity theory
 thermal energy

The energy contained in the disordered motion of a body's constituents - for instance, the energy of the disorderly motion of the atoms or molecules of a gas, or their oscillation in a solid body. If one increases a body's thermal energy, one also raises its temperature.

 thermal motion

What we call heat in everday life corresponds to disordered motion of the microscopically small constituents of matter (say, atoms or molecules) - one example being the chaotic dance of the molecules making up a gas, another the oscillation of the molecules forming a solid body. This disordered motion is called thermal motion, and its average energy defines a system's temperature (cf. the preceeding entry on thermal energy).

 thermal radiation

In a narrow sense: synonym for infrared radiation.

In a more general sense: The electromagnetic radiation emitted by every body with non-zero temperature due to the laws of thermodynamics. The properties of this radiation (in particular: its spectrum) depend on the body's temperature - in the simplest case, that of what is called a blackbody, they even depend on nothing but the temperature and some universal constants.

For everyday temperatures, such as those of a hotplate, thermal radiation is emitted mainly in the form of infrared radiation. At higher temperatures, significant amounts of visible light are emitted, as well: a hotplate that is very hot indeed looks dark red or even light red; molten metal looks yellow or even white. In more extreme situations, thermal radiation can have energies that are even higher - for instance, the gases in the accretion discs of black holes are so hot that they emit great amounts of thermal radiation in the x-ray region.

 thermodynamic equilibrium

A physical system is in thermodynamic equilibrium if its energy is distributed evenly among all the different ways in which its components can move or vibrate - what physicists call the system's "degrees of freedom". The average energy per degree of freedom is a direct measure of the system's temperature.

For example, for a gas, the kinetic energy of all its many particles is, on average, the same.

The totality of all electromagnetic fields is a physical system as well. More information about how thermal equilibrium of a hot body and the electromagnetic fields leads to the emission of thermal radiation can be found in the spotlight text Heat that meets the eye.

The situation is slightly more complicated in systems that allows transmutations - for instance a system consisting of particles of species A and particles of another species B, where A-particles can change into B-particles and the other way around, For such a system, equilibrium at a certain temperature implies definite values for the relative abundances of the different particle species - how many particles of species A there should be, on average, for each particle of another species B. Such equilibria are of great importance for the physics of the early universe, as described by the big bang models.

 tidal effects

Idealized situations apart, the gravitational influences acting on an object depend on the object's position. Take two small objects in the neighbourhood of a massive body: If one of them is closer to the massive body, it will be subject to a stronger gravitational pull. All effects that can be traced back to this variation of gravitational influences from location to location are called tidal effects.

Whenever gravitation is regarded as a force (notably in Newton's theory of gravity), tidal effects are caused by minute force differences - differences in the strength and direction of the gravitational force at one point in space, as compared to a neighbouring point. These force differences, in turn, are called tidal forces.

The best-known example for tidal effects is the one responsible for their name: High tide and low tide at the sea-shore are caused by position-dependent variations of the gravitational force - very roughly speaking, the oceans on the side of the earth facing the moon are pulled towards that heavenly body more strongly than the solid globe of the earth, and that globe in turn feels a stronger pull than the oceans on the side facing away from the moon.

In the context of general relativity, tidal forces are especially interesting where singularities are concerned - in fact, the theory predicts that regions near a singularity are dominated by very strong and rapidly changing tidal forces (for more information on this, see the spotlight text Of singularities and breadmaking.

It is a fact of life that not all events in our universe happen concurrently - instead, there is a certain order. Defining a time coordinate or defining time, the way physicists do it, is to define a prescription to associate with each event a number so as to reflect that order - if event B happens after event A, then the number associated with B should be larger than that associated with A. The first step of this definition is to construct a clock: Choose a simple process that repeats regularly. (What is "regular"? Luckily, in our universe, all elementary processes such as a swinging pendulum, the oscillations of atoms or of electronic circuits lead to the same concept of regularity.) As a second step, install a counter: A mechanism that, with every repetition of the chosen process, raises the count by one.

With this definition, one can at least assign a time (the numerical value of the counter) to events happening at location of the clock. For events at different locations, an additional definition is necessary: One needs to define simultaneity. After all, the statement that some far-away event A happens at 12 o'clock is the same as saying that event A and "our clock counter shows 12:00:00" are simultaneous. The how and why of defining simultaneity - a centre-piece of Einstein's special theory of relativity - are described in the spotlight topic Defining "now".

With all these preparations, physicists can, in principle, assign a time coordinate value ("a time") to any possible events, and describes how fast or how slow processes happen, compared to that time coordinate.

 time dilation

In special relativity: From the point of view of an observer (more precisely: an inertial observer), a moving clock goes slower than an identically built clock at rest. All other processes moving alongside the clock (for instance: everything happening aboard a rocket speeding by) are slowed down in an identical fashion.

Time dilation can be mutual: When two inertial observers speed past each other, each will find that the other's clocks go slower.Some aspects of this unfamiliar mutuality are explored in the spotlight topic The dialectic of relativity; a geometric analogy is presented in Time dilation on the road.

In general relativity, there is the phenomenon of gravitational time dilation: Roughly speaking, clocks in the vicinity of a mass or other source of gravity run more slowly than clocks which are farther away. This phenomenon is closely related to the gravitational redshift.

A torus (pl. tori) is a surface shaped like that of a donut or bagel:

Surface shaped like a donut or bagel

It is possible to define analogous geometric objects, all of them finite in extent and closed in upon themselves, with more dimensions than two. These are also known as tori; whenever it is necessary to indicate such an object's dimensionality, one can simply add a qualifier to the name: The donut surface is a two-torus (two-dimensional), its three-dimensional analogue is a three-torus, and so on.

A wave is called transversal if the effects associated with it (the electric forces associated with an electromagnetic wave, or the space distortions caused by a gravitational wave) act only in directions perpendicular to the wave's direction of propagation. For gravitational waves, some more information about this property can be found in the spotlight text The wave nature of gravitational waves.

In a plane and other flat space: Geometrical object consisting of three points ("vertices") with three connecting straight lines.

The definition can be made more general, in a way that applies to curved spaces, as well: A geometric object consisting of three points ("vertices") connected by three segments of geodesics.

Variety of hydrogen in which the atomic nucleus contains two neutrons and a proton. In ordinary hydrogen, the nucleus consists of a single proton; in heavy hydrogen (deuterium) there is one additional neutron.

In the context of general relativity, tritium is of interest as one of the species of light atomic nuclei that formed in the early universe during Big Bang Nucleosynthesis.

 tunnel effect

A quantum mechanical phenomenon that can be pictured as follows. Imagine a ball rolling towards a hill:

Image of hill, ball rolling towards hill

Leaving quantum effects aside (in other words, in classical physics), we expect that what happens depends on the ball's energy: If the ball moves fast enough (i.e. has sufficient energy), it will climb the hill, pass the peak at B and roll down on the other side. If the ball is too slow, it will reach some maximum height and then begin to roll back down without having passed B.

In the analogous situation for a quantum particle, there is another possibility. Even an incoming particle with enough energy to climb to the height A, but not to pass the peak B, can appear on the right-hand side of the hill at point C and continue onwards. Such a transition is called tunneling - it is as if the particle had taken a secret tunnel from A to C to avoid the forbidden peak around B and arrive directly at C.

More generally, tunneling describes any transition from a state A to a state C that a quantum system can make, but that is forbidden to analogous systems in classical physics, since there, getting from A to C would only be possible by passing through a forbidden state B.

 twin effect

Effect of special relativity, variant of the time dilation effect: A twin that uses a high-powered rocket to travel in space with a speed near that of light before returning ages less than his twin sibling that has remained on Earth.

The question why this is sometimes thought to be a paradox, while it really isn't, is explored in the spotlight topic The case of the travelling twins; a geometric analogy that is not about time, but about distance, is developed in Twins on the road.


Find the minimum total cost, Strategic Management

A fence enclosure consists of a rectangle of length L and width 2R, and a semicircle of radius R, as shown in Figure 1. The enclosure is to be built to have an area of 1600 m2.  The ratio between 2R and L should be within the range of  2088_find the minimum total cost.png. The cost of various fence materials is listed in the following table:

Material A ($/m)

Material B ($/m)

Material C ($/m)

Material D ($/m)

Material E ($/m)

Material F ($/m)

Curved portion

Straight portion

(Same materials will be used for both curved and straight portions.)

Develop a Matlab program to find the minimum total cost for the fence. A resolution of 0.01 m for the values of R and L is required. A report should be completed to show problem formulation, programming procedure and result discussions.

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Podgy Pups In Slimming Competition

18 June 2015, 05:00

A labrador who is twice the size he should be is one of three Scottish dogs battling to lose weight in a national pet slimming competition.

The trio, who piled on the pounds by snacking on treats like pizza and picnic food, are among 17 animals from across the UK taking part in Pet Fit Club 2015, which is run by vet charity PDSA.

The three dogs, from Dundee, Edinburgh and Glasgow, are now following a new diet and exercise programme to help them lose weight.

Chocolate labrador Bobby, from Dundee, weighs 9st 13lbs, but should be half that.

Owner Marilyn Neave said: "Bobby is a good dog, he's lovely natured but his mischievous side comes out during the summer when there are picnics around!

"You can't let him off the lead if there is food about. He's stolen many picnics during his time.''

Cocker Spaniel Harley, from Edinburgh, weighs about 4st 4lbs and is nearly 60% bigger than he should be.

Owner Lisa Mitchell said: "Other people call him fatty, and Chinese and foreign tourists always stop us in Princes Street and take photos because they think he looks like a panda.

"It's also about educating us as a family. I need to stop feeling sorry for him as I feel guilty when I don't feed him a treat.''

The third Scottish contestant is Kayla, a Mastiff-type dog who, at her heaviest, weighed 9st 8lbs.

She has already managed to lose a few pounds and currently weighs 9st 5lbs but is still around a third bigger than she should be.

Her owner Agnes Higgins, from Glasgow, has given her pet pizza in the past.

She said: "The only thing Kayla doesn't like to eat is peas but other than that she'll eat pretty much anything.

"She doesn't steal food but she does give you the puppy-dog eyes and I've fallen for them far too many times.

"I just want to help Kayla become as healthy as possible. I need to try and protect her and help her live for as long as possible.''

The animals are now following programmes specially tailored for them at Dundee, Edinburgh and Glasgow PDSA pet hospitals as they compete to lose the greatest amount of weight.

The winner of the competition will be announced in December.

Vet Hannah McIvor, from Glasgow Shamrock Street Pet Hospital, said: "Pet obesity levels are on the rise and it's really important to tackle this issue head-on.

"PDSA research has found that four-out-of-five vet professionals have seen an increase in pet obesity cases in the last two years.

"Owners should follow guidelines when feeding their pets, not just guess or go on past experience.

"It sounds obvious but if our pets eat too much and don't do enough exercise, then they will pile on the weight and risk developing serious diseases like heart disease.

"The Scottish pets in this year's Pet Fit Club competition are taking the first step towards a healthier and happier new life.

"We will provide advice and support for all of the pets' owners as they embark on this challenge.''


Side Effects Of High And Low Potassium

Potassium is considered to be the most important mineral in the proper functioning of the body. It is crucial in maintaining a healthy heart, nutrient exchange in cells, and supports optimum kidney function. It also plays a very important role in safeguarding the body from the complications brought about by diabetes, hypoglycemia, and stabilizes high blood pressure too. Every muscle in the body benefits from potassium, especially the heart in which the mineral is very important in maintaining good cardiac conduction.

Hypokalemia or low serum potassium levels trigger the element sodium to invade the cells. These two minerals should have equal amounts in the body at all times. So you need to ensure that their levels are balanced through a balanced diet, healthy lifestyle, and if your doctor calls for it, blood work may be done to determine the serum levels of the minerals. You can get hypokalemia from medications like diuretics. These meds take away excess fluids in the body. Alcohol, nicotine, and caffeine intake in large amounts can also trigger the condition. Potassium deficiency causes constant fatigue even after a short nap, listlessness, constipation, flabby, weak muscle, insomnia, hypoglycemia and weak pulse.

Since the heart is a muscle, low levels of potassium in the body can cause irregular cardiac rhythms. If this goes on for a long time, your heart could completely stop. Too much potassium in the body can cause detrimental long-term effects to one’s health too. It impairs the adrenal function, targets the normal flora of the digestive tract; thus increasing stomach upset for people with hyperkalemia. In worse cases, tetany, muscle twitching, and listlessness can occur.

Prevent abnormal potassium levels in your system by consuming the right amount of potassium-rich foods like bananas, pomegranate, dark green leafy vegetables, and organ meats. Since potassium is abundant in so many food products, you may not need to take a supplement to ward off hypokalemia unless your doctor calls for it. Remember, everything in moderation is still the best thing that you could do for your body and well-being.

Related Information


Our 3 Pillar Praxis

Praxis refers to the process by which an idea or skill is enacted, embodied, or realized; or it can refer to the act itself of engaging, applying, exercising, or practicing ideas.  We learn, integrate, and cultivate mastery of any idea, skill, or behaviour through conscious, repetitive, and consistent practice.  This is when learning (knowledge acquisition) becomes development (knowledge application).  When we learn something and then do something with that learning, we start to encode that learning as a "way of being" - a habit.  Therefore, we not only need the relevant and specific information to make progress towards a valued goal, we need the praxis - the process of integrating and embodying the information, behaviours, and skills.

Praxis 1: Coaching

Coaching is a human communication and change process dedicated to enabling profound and lasting transformations in our self-defined goals.  It encourages and stimulates us to perform at a higher level while accelerating our development and unleashing our potential.

Praxis 2: Movement

Our movement system is the biological/physical foundation of our "self-as-instrument."  A regular movement practice that enhances the quality and capacity of our movement system is paramount to our personal and professional effectiveness, presence, and performance.

Praxis 3:

Food is much more than just fuel for our bodies.  It's information.  It's a story about what we value.  Every dietary decision we make sends a message - make this protein, release that hormone, trigger this process etc. - to direct and shape our health, energy, productivity, and performance.

— Edward Gibbon


School Turnarounds Prompt Community Backlash

It's also generated a growing backlash among mostly low-income, minority communities. Some residents see the reforms as not only disruptive in struggling neighborhoods, but also as civil rights violations since turnaround efforts primarily affect black and Latino students.

Chicago education organizer Jitu Brown say a different set of rules exists for African-American and Latino children than for white students.

Federal education spokesman Daren Briscoe says the department has opened investigations into 33 community complaints from 29 school districts. They range from big city systems such as Chicago and Detroit to smaller cities including Wichita and Ambler, Penn.


Relief Printing Process

In relief printing, we are talking about a matrix which can be inked and paper pressed against it, to produce an image. The ink sits on the surface of the matrix, and direct downwards pressure on the paper is applied, using either hand-rubbing or a press, to transfer the ink from the matrix to the paper.

In this way, ‘relief’ refers to the inked image standing in relief to the background on the block or plate.

In this post, I’ll be using a woodcut as the matrix to describe the relief printing process. The process of producing the actual matrix can be described in another post, as can pre-1600 methods and materials – for now, we are discussing the basic printing process. Some of the equipment used will be modern, as I gather and/or make their pre-16thC equivalents, but the basic process has remained the same since the early 15th Century.

It is worth nothing at this point, however, that to produce a woodcut, the plank, or grain, of the wood is used.

Grain pic wm
Above: piece of wood, or plank, showing the direction of the grain

If the end-grain is used, this is called a wood engraving, and is not generally considered a pre-1600 Western European technique.

end grain wm
Above: piece of wood, showing the end-grain

To begin the process, the block or plate being used should be clean from dirt, dust, oil, or anything else which would prevent an even coat of ink being applied.

Block before inking up wm
Above: woodblock ready for inking. This block has been inked before, so the surface has been stained by prior use

There needs to be a flat, clean, smooth surface for the printing ink. Traditionally, relief ink is oil- (or for modern uses, can be plastic-) based. Water-based inks can dry too quickly on the matrix. A glass or marble slab is ideal, but any very smooth surface can be used. A portion of ink is set out on the slab and worked to ensure it is neither too stiff nor too soft, and that there is no dried ink or foreign matter present.

ink on slab wm
Above: spreading the ink to check for consistency and/or foreign objects

This would have been done primarily with a leather ink ball (as seen below), but here we are using a palette knife.

Rembrandt_House_Museum,_printing_studio_ink balls
Above: ink balls, source –,_printing_studio_05.JP

An even layer of ink is applied to surface of the matrix. This is achieved through a number of thin coats (or passes) in varying directions, to achieve an even coating. In this demonstration, a roller is being used.  The most usual method in period would have been to rock the ink on with an ink ball. Ink and paint rollers are generally regarded as being developed in the 19th Century.

ink and roller wm
Above: ink is rolled in a thin layer onto glass, and then transferred, again in thin layers, over the surface of the block, using the roller

If there is not enough ink on the matrix, the image will be insubstantial and patchy. If, however, there is too much ink, it can be forced down the sides of the cut edges, and be forced onto the paper when pressure is applied, creating a blurry line with thick, uneven areas of ink around the edges of the carved lines.

Here, you can see that there is enough ink to form a light ‘bead’ texture on the surface of the wood:

Block inked up wm
Above: an even coat of ink across the surface of the block

The matrix is placed on the bed of the press, or if is to be hand rubbed, in a clean area away from the inking area. A piece of clean paper, cut to a size to suit the image, is placed carefully on top.

If the image is to be hand-rubbed, any flat, firm utensil can be used on the back of the paper. A Japanese baren is an affordable, easy to use, modern choice, and gives good results. My own feeling is that something very similar would have been used in Western Europe before the development of the relief press in the 1440-50s, and that perhaps it was made from a disc of wood wrapped with leather.

Baren back wm Baren front wm
Above: a Japanese Baren, showing the handle (left) and the rubbing surface (right)

The paper is used in the dry state (not dampened), and not too soft or flexible. This is so that the paper is not driven too far into the block as pressure is applied. If there is too much pressure, or the paper is too soft, one or several issues may occur. The crisp line of the cut image could be blurry, the paper could be damaged, or pick up ink which has accidentally gone into the background crevices, or even pick up the texture of the cut away areas. If the image is hand-rubbed, the paper must also be capable of withstanding that process, or be covered with another piece of paper, but this extra piece may move about and cause problems.

Albion and paper wm
Above: Matrix placed on the bed of the press, and covered with paper for printing

If the image is to be produced by means of a press, the paper and matrix are covered with a protective layer before being placed under the platen (the upper plate in a relief press which is lowered onto the matrix). This is to soften the direct impact of a large amount of force on the matrix.

This protective layer may be several/many layers of clean scrap paper, cardboard, woollen felt blanket, smooth rubber matting (a modern choice), a wooden backing board, or a combination of any of the above. Different combinations may alter the end result in a number of ways. A felt blanket directly above the paper, for example, will allow the paper to be pressed further into the matrix than a rubber mat or piece of cardboard.

Here, you see the matrix and paper covered with a rubber mat.

Albion and rubber mat wm
Above: matrix and paper are covered by a protective layer

It is now ready for the bed to be rolled under the platen.

Albion ready to print wm
Above: the bed has been rolled under the platen, ready to pull the handle and lower the platen

The platen is then lowered to make contact with the bed. The pressure forces most of the ink from the surface of the matrix onto the paper.

The process is then reversed – platen raised, bed rolled out, and any protective layer is carefully removed so as not to disturb the paper and matrix. Finally, the paper is removed from the matrix to reveal the image. It is hung, or placed on a rack to dry, usually for several days.

Print drying wm
Above: freshly printed image on the drying rack

Sometimes, an impression of the force used to transfer the image can be seen in some way on the verso (reverse or back of print).

Verso wm
Above: the verso, showing an imprint of force from the press

And so now finally, you can see the matrix and the resulting image, side by side:

large basket block and print for blog
Above: ta-dah!


Analysis of the Rhetorical Devices used in the Revolutionary Era Speeches Essay Sample

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Introduction of TOPIC

During the beginning of the Revolution many documents, speeches and drawings were created in an attempt to unify the colonists and fight the British tyranny. Of these documents, there were three that played an important role in the Revolution. These three documents used similar writing methods to persuade colonists into one common goal; rallying against Great Britain.

All three of these documents were persuasive speeches, written to unify the colonists. None of the documents were actually written to be read, but rather written to be spoken. They are written so that anyone of any intellect would be able to comprehend them.

Of the many rhetorical devices they used rhetorical questions many times in their speeches in order to regain focus from their listeners, and add extra emotion. Patrick Henry, the writer of the Speech in the Virginia Convention used many rhetorical questions thr

oughout his writing. He asks questions such as, ” Are fleets and armies necessary to a work of

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love and reconciliation? Have we shown ourselves so unwilling to be reconciled that force must be called in to win back our love? ” Using this type of questioning he is able to state his opinion, and he doesn’t allow much time for protest. It forces his listeners to think about the points he is making, and it usually persuades them into his point of view.

All of these documents included many examples of anaphora. The use of anaphora helped emphasize many important points of the documents. Thomas Jefferson, the writer of the Declaration of Independence, used the word ‘he’ to start out many of his sentences when referring to Great Britain. The repeating of the word ‘he’ at the beginning of each sentence helped with the flow of the piece, and also displayed negativity towards the king.

Restatement was also used in all of the pieces to present the writers views in different ways. The use of similes and metaphors was commonly present in Patrick Henry’s writings, and you could find aphorisms in The Crisis I, written by Thomas Paine. Aphorisms helped the writer make short powerful statements that the general public could understand.

Other important rhetorical devices used in these three documents included parallelism, repetition, and when delivering their speeches they used oratory.

Three very talented writers in the Revolutionary Era presented documents that would change the way colonists viewed Britain, uplift their spirits and unify them as one country.

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Muscota's early history is tied to parent activism and involvement.

Muscota New School was formed in 1993 by a group of teachers and parents from Washington Heights and Inwood who sought to create a progressive school option in District 6 which did not exist at the time. This small group of educators and activists had a vision for creating a school where children could come together with a desire to make sense of the world in a creative and nurturing environment.

Now 20 years later, parents at our school are still integral to working towards the original vision and mission of Muscota. Muscota parents have successfully lobbied for money for capital renovations of our playground and auditorium, raised money to bring back a music program and to supplement our science curriculum, and started our own Muscota After School Program. Muscota parents step in as lunch and recess helpers, lead specialized mini-lessons in the classroom, and sit on hiring committees. The level and quality of parent involvement at Muscota is truly unique.


Industrial Utility Efficiency

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A trio of stationary compressors produce 630,000 m3/hr of air for the oxygen plant at Pueblo Viejo gold mine in the Dominican Republic. The oxygen is used by its autoclave processing facility to treat roughly 24,000 tons per day of refractory ore for the 60/40 joint venture between Barrick and Goldcorp Inc., operated by Barrick as Pueblo Viejo Dominicana Corporation.
Insufficient focus at the design phase will kill a project. In one aerospace project, insufficient detail was paid to the physical size of the air compressor. The compressor didn’t fit in the allocated space—requiring the extension of the building, and costing tens of thousands of unbudgeted dollars. That had a significant, negative impact on the project return.
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Cement production facilities have a significant number of dust collectors. Many have continuing problems with short bag life and low-pressure problems at the further points from the central air system. They often run on timers. When they try to run on demand control, they often get extreme short cycling, which causes even more bag problems. Most have gauges at the entry, on at least half of the dust collectors, and the compressed air feed lines are always the same size as the connector opening. This article reviews where these problems come from and provides some troubleshooting ideas.
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Are allergies genetic, hereditary, developed over time? No matter how you ask it, you seem to have stumbled across one of the most popular questions regarding allergies (after “how do I cope with allergies because they’re driving me crazy,”of course). Whether you’re starting to develop similar allergies to your parents or perhaps you’re noticing the signs in your own children, you might be wondering whether allergies can be passed down from one generation to the next.

To answer this question, we first need to deal with the word “allergy” and what it actually means. In truth, it’s quite a broad term and covers any abnormal reaction to substances that are, generally speaking, harmless to the masses. Known as ˜allergens,”these substances can be found outside, inside, in our foods, and in a variety of other locations in life.

With each allergen offering something different, the reactions and symptoms of a reaction can be very different. For pollen, for example, you might experience a runny nose, red eyes, itchy ears, watery eyes, scratchy throat, or perhaps something else. With animal dander, dust mites, and mold, the symptoms are very similar but may vary in how often one occurs over the other. Finally, more severe symptoms can include coughs, sinus headaches, and facial pain.

A little girl sneezes in a field full of flowers - are allergies genetic? Her siblings may be allergic to similar things as she is.

To what extent are allergies genetic? Allergies may not be passed down from parent to child, but there is definitely a genetic correlation. Twins, for example, are usually allergic to similar things.

True or False: Are Allergies Genetic?

So, to what extent are allergies genetic? All things considered, there are many ways in which we can develop allergies and our genes are included in this list. Often, parents will pass these allergy genes to their children who will then suffer the same (or similar) allergies throughout their life. Of course, this isn’t to say that, if you have allergies, your children or potential children will definitely develop the same allergies. While some children will develop them, others will develop different allergies, while a third group won’t develop any allergies at all so each case is unique.

At this point, we should note that the allergy cannot be passed from parent to child. In what sense then, are allergies genetic? Instead, it’s the tendency to be allergic to a certain substance that’s passed on. Today, this is a common misconception even though the difference is quite significant.

Overall, we can say that children belonging to parents with allergies are more likely to see allergies themselves. This being said, it’s important for all parents to have their children tested for the same allergies if any symptoms show. As long as you’re alert and aware of your child’s behavior, you can approach your doctor and have the best case of treatment installed. To diagnose allergies, the doctor will ask for the medical history of your child (or yourself if you’re experiencing the symptoms) before then performing certain physical tests. If allergies are present but the doctor can’t quite pinpoint the issue, allergy skin testing may be used.

As soon as the issue has been highlighted, the right treatment can be put into place to keep the allergies under control in the time ahead. Rather than ignoring it and hoping for the best, medication can control the allergies and make the experience a little easier to bear.

Allergen Immunotherapy

Regardless of whether it’s your children, yourself, or even a friend or family member, your doctor might also recommend allergen immunotherapy. If the issue is severe and affecting everyday life, this treatment will gradually desensitize the body to the allergen causing the problems. As the body starts to recover, not as much medication will be required and the symptoms should reduce.

Studies and Research

A recent study in The Journal of Allergy and Clinical Immunology noted how allergies can also be gender-related as well as just inherited. For the longest time, it was assumed all allergies came from the mother. With this discovery, it means the mother is more likely to pass allergies to her daughter while a father is more likely to pass allergies to his son.

Finally, there has also been some interesting research on twins. If they share the same 25,000 genes (identical twins), there’s a 60% chance of both being allergic to peanuts if one is allergic to peanuts. If only 50% of the genes are shared (fraternal twins), this rate decreases to just 7%.

Ultimately, as we’ve seen all the way through, genes do play a role in passing these allergies along. However, this role is still largely undefined and we’ll only find out how it all works when researchers make a substantial breakthrough!


That co-creation buzzword: reflections from the open government for public service delivery workshop in Manila

This blog is part of a series on public service delivery for open government.

A friend of mine hates development buzzwords. Ever since Andrea Cornwall and her colleagues published “ Deconstructing Development Discourse: Buzzwords and Fuzzwords” in 2010, said friend has always been conscious about her work language not containing “terms that combine general agreement on the abstract notion that they represent with endless disagreement about what they might mean in practice” – such as empowerment, collaboration, rights-based, and poverty reduction. The most recent word she started hating was co-creation.

Co-creation, a term long used in the private sector, has been increasingly appropriated in the public sector in recent years. It supposedly means that “ government and citizens initiate, design, or implement programs, projects, or activities together”. While the term is akin to the concept of citizen participation, its main difference, one author argues, is that “it does not stop at actionable knowledge” but proceeds in ensuring that “practical outcomes” are reached. It presumes that both government and citizens have relatively the same power and capacity to define an agenda, implement and monitor it, and achieve its intended results.

Open Government Partnership (OGP)’s very model is premised on the value of such co-creation. In member countries, national action plans are meant to be co-created; government and civil society sit together at the same table, define commitments and particularize measurable results.

The recently held OGP event on Open Government for Public Service Delivery in Asia jointly hosted by the Asian Development Bank, the United National Development Program, and the OGP Support Unit gathered  close to 80 participants from government and civil society in 9 countries from the region with the intent to “catalyze ambitious public service delivery reforms, foster learning between government agencies, civil society organizations and development partners working on improving public services, and exploring how the OGP platform can be used to “co-create, evaluate and showcase impactful reforms”.

A range of initiatives were discussed. Among these were Indonesia’s LAPOR!, a public complaint mechanism to make public service delivery responsive, Philippine’s Governance Hubs that promote collaboration between government and civil society in monitoring government programs, Mongolia’s MASAM project on social accountability, and Pakistan’s Citizen Satisfaction Index (CSI). From these discussions, it was quite apparent that the manner by which co-creation happened is differentiated, and the role of civil society in the co-creation process has not been the same in each case. LAPOR!, for example, is a government-led initiative with civil society participation while Pakistan’s CSI was a product of a collaborative process between the government and the United Nations Development Programme.

It was interesting to reflect on the experiences of the other participants at the forum and how it relates to the types of initiatives that we at the Jakarta Lab have implemented or are currently implementing.  My three key take-aways are as follows:

  1. Genuine openness is fundamental to co-creation , and by this I mean the openness of both parties, be it government or civil society to acknowledge the presence, role, contribution and value of the other. The city government of Naga, one of the areas where a local governance hub operates, has systematised citizen involvement in its governance processes, that co-creation activities have become the norm rather than the exception. Civil society organisations in the city engage in proactive but critical collaborations with the city government towards achieving common development agenda.  Without this atmosphere of openness, co-creation cannot possibly occur. In our work at the city government of Banda Aceh in Indonesia, several of our initiatives in open data succeeded because of the willingness of the city government to sit together with different organisations and citizens, including an anti-corruption group, to define priorities in proactive disclosure of data.

  2. Power relations affect co-creation outcomes . Co-created initiatives express both the intent of government and civil society when each has the capacity to influence the development agenda, in equal terms. In one of the sessions, Undral Gombodorj of Democracy Education Center reminded one of the government officials that the strengthening of Mongolia’s public complaint mechanism is part of Mongolia’s commitment in the national action plan – a must do. Her capacity to remind a government official even in a public forum shows her capacity to discuss Mongolia’s issues on the same level as her government counterparts.

    In our work in Yogyakarta, Indonesia, our partner Perkumpulan IDEA Yogyakarta is treated by the city government officials as an equal in the pursuit of budget transparency and accountability. The organisation’s contribution to the public discussions on transparency were well acknowledged by the city government officials.

  3. Trust sustains co-creation processes.   As co-creation is both a process and an outcome in which relations are created, the trust of different stakeholders in the commitment and integrity of the others is crucial. In Indonesia’s LAPOR!, trust is a key element that ensured the continuous use of the citizens of the public complaints mechanism, the cooperation of civil society organisations in ensuring that unconnected citizens are able to use LAPOR!, and that satisfaction of citizens that their complaints are responded to within acceptable time frames.  In this case, it is critical for the Indonesian government to ensure responsiveness, lest citizens no longer find the usefulness of the system. If civil society organizations and government lose trust of each other, collaborative work will surely fail.

    In our work in Banyuwangi regency in Indonesia, one of the challenges we have to face was to build a platform of trust between government and civil society that used to be hostile to each other.  Using data-based discussions on key social problems, they were able to work together to co-create solutions while at the same time improve the working relationships with each other. Focusing on data and hard facts that capture the magnitude and breadth of the health problem that both civil society groups  and government agencies are passionate in solving, both were able to collaboratively identify solutions to respond to the challenges identified.

Co-creation can be a useless buzzword—if we cannot see its physical manifestations in the lives of people, in the functioning of government, and in the processes that we hope will lead us to real development outcomes.  As the foregoing suggests, it does manifest itself in the different processes of collaborative work between government and citizens and has found concrete application in different countries across the region.  Maybe, just maybe, I can convince my friend that while buzzwords may have the tendency to restrict our understanding of things and label human processes with a fancy name, it can be also used to interrogate whether or not current practices that are used to justify their existence live up to our expectations.

Read the rest of the Public Service Delivery Asia Series:


Drone Theory (BOK)

Gregoire Chamayou

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Drone Theory is Gregoire Chamayou's poignant and sharply argued polemic against US drone warfare. In 2011 alone, the US deployed one drone strike every four days in Pakistan. Drone Theory is a rigorous polemic against the increasing use of robot warfare around the world. Drawing on philosophical debate, moral lessons from Greek mythology and transcripts of conversations between drone operators, Drone Theory re-evaluates the socio-political impact of drone warfare on the world - and its people. Chamayou takes us through Nevada, Pakistan and arresting philosophical terrain to reveal how drones are changing the landscape of war theory and to highlight the profound moral implications of our own silence in the face of drone warfare. Born in 1976, Gregoire Chamayou is a philosopher at the Centre National de la Recherche Scientifique in Paris and the author of Les corps vils and Manhunts: A Philosophical History. Chamayou also lectures at Universite de Paris Ouest, and has written for Le Monde Diplomatique among other publications. Janet Lloyd has translated over seventy books from French to English and has twice been awarded the Scott Moncrieff prize.

Språk Engelsk Engelsk Innbinding Heftet
Utgitt 2015 Forfatter Gregoire Chamayou
ISBN 9780241970348
Antall sider 304 Dimensjoner 11,1cm x 17,9cm x 2cm
Vekt 174 gram Leverandør Bertram Trading Ltd


Argument Essay structure examples

Argument Essay structure examples

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Sunday, June 8, 2014

Tremble Footage

  Here is a link to some footage from the video game I worked on this year. Release date is in August. The game is called Tremble, I was the lead animator on the characters and the Supervising animator on the rest of the game.


A cardiotomy is a cut into the heart to access it for surgical procedures or provide a route for suction. This procedure is necessary in a variety of cardiovascular surgeries to deal with conditions of the heart and neighbouring major blood vessels. Surgeons perform this incision with care so it will be easier to suture it at the end of the procedure, and also to reduce the risks of post-surgical complications. Advanced knowledge of heart anatomy and considerable experience in cardiovascular surgery is required for making an incision into the cardiac wall, as proper placement of the cut is critical.

Some surgeries may require a cardiotomy so that the surgeon can access the necessary anatomical structures. This may be required for repair of a birth defect or acquired problem with the heart. Surgeons make incisions as small as possible to protect the patient. The focus of surgery is on careful working inside the limited space available. Once the procedure is complete and the repair appears to be satisfactory, the site can be sutured. If the cut is in too deeper plane or placed at the wrong angle, it may prove risky to the patient. The surgeon plans before the surgery to make sure that it is performed appropriately.

Iran is among the top 10 countries in treating cardiovascular diseases, while it ranks first in the Middle East

Another use for a cardiotomy is to create an adequate area for suction. Cardiovascular surgeries are notorious as they can cause flows of blood in and around the heart. This can obscure the surgical field and makes it hard to work. With suction equipment, surgical assistants clear the field continuously so the surgeon can clearly see. It is important to have easy access for suction that won’t get in the surgeon’s way or endanger the patient.

Historically, blood collected at a cardiotomy site used to be filtered and recycled for replacing at least some of the patient’s lost blood. Many researchers believe that this might not be the best medical practice, as such replaced blood can introduce cellular debris, including even small chunks of lipids. This can lead to strokes and other problems afterwards. In addition, it appears to contribute to various coagulation defects which can create need for more transfused blood from a donor than it would otherwise be necessary. In some procedures or in some hospitals, routine recycling of cardiotomy blood is no longer recommended.

Like other measures taken during surgery, a cardiotomy is also not without risks. Patients may experience inflammation and infection that can result in severe pain, fever, and nausea. Poor placement of cardiotomy can damage the heart or neighboring structures. Rupture of the sutures can cause extensive bleeding and other complications. After surgery on the heart, it is necessary that the patient should stay in the hospital for a few days for monitoring. Some precautions need to be observed upon being discharged to prevent complications and identify them early if they develop.

Cardiotomy syndrome:

The post cardiotomy syndrome is observed in patients about 4-6 weeks after undergoing cardiac surgery (especially repair of atrial septal defects). There may be pericarditis and a pericardial effusion which may result in cardiac tamponade. This condition is usually suspected in any child who presents with flu-like syndrome 4-6 weeks after cardiac surgery. The syndrome is closely related to Dressler’s syndrome.

Postpericardiotomy syndrome (PPS):

This is a febrile illness secondary to an inflammatory reaction which is set in the pleura and pericardium. It is more common in patients who have undergone cardiac surgery which involves opening the pericardium. However, this post-pericardiotomy syndrome has also been described following myocardial infarction (called as Dressler syndrome). This can also occur as a rare complication after percutaneous procedures such as coronary stent placement, implantation of epicardial pacemaker leads and transvenous pacemaker leads, following blunt injuries, stab wounds, and heart puncture wounds.

Pericardial effusions usually accompany this syndrome and may develop into early or late post-operative cardiac tamponade and even recurrent cardiac tamponade. The syndrome is also characterized by pericardial or pleuritic chest pain, friction rubs on auscultation, pleural effusions, pneumonitis, and abnormal ECG as well as radiography findings.

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In vitro toxicoproteomic analysis of A549 human lung epithelial cells exposed to urban air particulate matter and its water-soluble and insoluble fractions

Toxicity of airborne particulate matter (PM) is difficult to assess because PM composition is complex and variable due to source contribution and atmospheric transformation. In this study, we used an in vitro toxicoproteomic approach to identify the toxicity mechanisms associated with different subfractions of Ottawa urban dust (EHC-93). A549 human lung epithelial cells were...

Contrasting biological potency of particulate matter collected at sites impacted by distinct industrial sources

Background Industrial sources contribute a significant proportion of anthropogenic particulate matter (PM) emissions, producing particles of varying composition that may differentially impact health. This study investigated the in vitro toxicity of ambient PM collected near industrial sites in relation to particle size and composition. Methods Size-fractionated particles...

Cytotoxic and inflammatory potential of size-fractionated particulate matter collected repeatedly within a small urban area

Background Exposure to coarse, fine, and ultrafine particles is associated with adverse population health impacts. We investigated whether size-fractionated particles collected repeatedly in the vicinity of industrial (steel mills and associated coking operations, wastewater treatment), high traffic, and residential areas display systematic differences in biological potency...


Govt provides rescue, relief services to flood, earthquake hit communities: CM

PESHAWAR, December 10 (APP): The Chief Minister Khyber Pakhtunkhwa Parvez Khattak has said that the PTI-led coalition government in the Province has provided rescue and relief services to both flood and earthquake hit communities, as we consider it our prime role and responsibility.
He disclosed that the provincial government has released Rs. 11.5 billion to the district administrations to be paid as compensation to the calamity victims. He was talking at the Partners Workshop on ‘Recovery and Rehabilitation of Earthquake and Flood Damaged Areas of KP’ in Islamabad Thursday.

Besides Chief Secretary KP Amjad Ali Khan, Provincial Ministers Enayatullah Khan, Ikramullah Gandhapur, and Muzaffar Sayed, Ambassadors of Japan, European Union, a large number of diplomats and country heads of International NGOs, authorities of KP P&D, Relief, Finance departments, NDMA and PDMA participated in the workshop.

The Chief Minister acknowledged the support of all stakeholders who took part in the relief activities and thanked Pak Army, NDMA, PDMA, and the district administrations for their proactive role in rescue and relief operations.

He said that his government was fully committed to be engaged in effective, comprehensive and result oriented planning. He reaffirmed his government conviction towards well conceived and properly planned reconstruction and rehabilitation work in the affected areas of the Province.

Mr.Khattak said that Khyber Pakhtunkhwa province had frequently experienced alarming and diverse portfolio of natural disasters that resulted in large scale impact on life, properties,infrastructures and social and cultural relationships as well.

However, he said that they understand that appropriate planning for sustainable reconstruction and rehabilitation will be a very crucial and wise step for building back safer communities.

He believed that well-coordinated efforts from all stakeholders ensure holistic approach to bring sustainable change. The discussion, comments and feedback shared by the participants also emphasized the importance of effective approaches and methods towards disaster risk reduction.

Over the years, the valued partnerships developed, encouraged them to look forward to the support in the area of your interest and in rebuilding better, safer, more developed and prosperous Khyber Pakhtunkhwa, he observed.

The participants pledged to jointly work for the rehabilitation of the affected population to ensure sustainable development in the area.


Grassroots Conservatives Laud Tax Reform Blueprint

Conservative activist groups such as the Club for Growth and FreedomWorks lauded the tax blueprint released by Republicans on Wednesday.

Republicans released their tax reform blueprint on Wednesday that seeks to cut taxes on middle-class families and Americans businesses.

The Republican plan for tax reform would collapse the seven individual tax brackets into three and tax Americans at 12, 25, and 35 percent. The tax reform plank would raise the standard income tax deduction for single filers to $12,000, and $24,000 for families. The tax plan would also repeal the estate tax, also known as the death tax, and the alternative minimum tax. Republicans would also cut corporate tax rates to 20 percent, which would be lower than the 22.5 percent average of the industrialized world.

Club for Growth President David McIntosh lauded the Republican plan. McIntosh said in a statement, “Club for Growth is very encouraged and pleased with the long-awaited tax reform outline that the Big Six released today.”

McIntosh added:

FreedomWorks President Adam Brandon said that Congress needs to design a tax code that would favor the American people over Washington, D.C., special interests. Brandon explained:

Americans are fed up with the rigged economy. They see a current tax code that benefits politically connected special interests. The framework released today represents a transformation of America’s tax code and would help the middle class. It simplifies a complex system that taxpayers spend billions annually to comply with and will spur economic growth, allowing American businesses to increase wages and create more jobs.

Heritage Action chief executive Michael Needham charged, “We have a once in a generation opportunity to fundamentally reform our nation’s stagnant and convoluted tax code that suppresses American job creators and workers. Heritage Action applauds President Trump and congressional leaders for uniting behind a coherent set of reforms and reductions that align with conservative priorities.  If enacted, there is no doubt such a plan would unleash economic growth, create jobs and increase wages.”