William Byrd: the First Rock Musician

A former chorister of mine texted me the other day to let me know he’d be in a concert of William Byrd’s Mass for Four Voices, a work that we used to love performing together. I couldn’t get there in time, so I decided to pull out my earbuds, find a recording on Google Play, and walk home while reliving old memories.

Every time I hear this Mass, my spine tingles. It might be hard for some to imagine something so thoroughly religious to be so exciting, but Byrd was writing back before religion was countercultural, before radios, before anyone lower than a king or queen had regular access to professional music. For most people, church was the place to hear great music.

Byrd’s three Masses were written in the 1540’s—one for three voices, one for four, and one for five. The fewer the voices, the harder they are to perform. All of them are stunningly beautiful, but surprisingly, Byrd wasn’t writing these works for a great cathedral, but rather underground, illegal Catholic Masses in newly-Protestant England. These ceremonies would’ve been in someone’s house. I imagine it being similar to going to semi-illegal rock shows that lack the required municipal permits. Not that I would know anything about that.

Byrd, though he maintained good relations with the crown, was a rebel, back when rebels could be something other than harmless entertainers. Musicologists have even speculated that his motets were frequently intended as double entendres, perhaps most famously the epic Vigilate, which emphasizes keeping watch for the master of the house—a Gospel quote but possibly also a reference to the king’s charges who went around raiding Catholic establishments.

That being said, Byrd was one of the first, if not the first, beneficiaries of copyright, a new privilege granted by the crown. Before this, there was no such legal category as intellectual property. This allowed him to make money on his published compositions, a rarer feat in those days than it is even now.

How he was able to play both sides like this escapes me, and maybe even historians too. He was even able to avoid the tax levied against those who failed to show up to the services of the state-sanctioned Church of England. One gathers he was a shrewd politician, not an image we tend to conjure up when thinking of many musicians. The volatility of those days cannot be emphasized enough. In his book The Stripping of the Altars, Eamon Duffy gives some sense of this, how government officials seized monasteries and religious paraphernalia, often destroying them. At the same time, those resistant to Protestantism frequently did the bare minimum to assure compliance, drawing a single line through a page, for instance, in order to technically liquidate it, but obviously preserving its usability. It is hard to envy Byrd’s position in the midst of this frenzy.

While the Reformation was raging in Northern Europe, the Catholic Church was doing its best to quell the exodus from its ranks. This effort, known as the Counterreformation, included not only the usual authoritarian tactics (Many statements of the Council of Trent read, “If any man says x, y, or z, let him be anathema.”), but also an appeal to the human appetite for beauty. Music was a part of this—think of the Gabrielis in Venice—but at the same time a concern for the clarity of the liturgical text called for simpler musical textures in which the words being sung could more easily be heard by the listeners.

Cardinal Charles Borromeo led the push for less ornate counterpoint. The debate was so intense at one point that there were even calls to ban polyphony from the church completely, not only because of its complex and artsy nature, but also because those ornery musicians were always hiding naughty secular themes in their work and pulling other such pranks. One thinks of the way Michelangelo depicted a well-known cardinal of that time roasting in hell in his famous Last Judgement painting in the Sistine Chapel.

Palestrina stepped into this panic against polyphony with his Missa Papae Marcelli II, which ingeniously wove two groups of homophonic textures in a semi-polyphonic way, not unlike the way Gabrieli’s brass choirs would play cori spezzati, i.e. against each other.  (Knud Jeppesen wrote a fantastic book, The Style of Palestrina and the Dissonance, that goes into the composer’s technique in great detail.) This not only made the text more audible; it also rescued the music from an unduly simple homophonic texture that was often the result of similar efforts in other areas—Byrd’s England, for instance. Palestrina was considered by many to have saved polyphony from the red pens of the Fathers of the Council of Trent. It probably helped that he named his Mass in honor of a pope, too—one who reigned for a mere three weeks and likely enjoyed the popularity that often comes with such a tragic fate.

But looking at Byrd’s Masses and motets for Catholic worship, he seems not to have gotten the memo, even though his own works for the Church of England take the clarity of the text into account, a concern the Protestants shared. A student of Thomas Tallis, who was himself a student of John Taverner, Byrd claims a contrapuntal freedom that might not have existed again until the Second Viennese School, when Arnold Schoenberg emancipated the dissonance and disregarded vertical, “harmonic,” considerations in deference to the development of each individual line on its own terms, not entirely unlike Medieval and early Renaissance polyphony. (Bach was the master synthesist of counterpoint and harmony, but that is a subject for another day.)

The English were known not only for introducing the third as a consonance—until the late Medieval or early Renaissance, it, like the tritone, was avoided—but also for their sweet dissonances—a product of vertical carelessness and playfulness, for example, the cross-relation, which is a prominent feature in Tallis.

While Byrd’s counterpoint was far from the melismatic tomes of Taverner, he was not shy about making music first and letting the words fall where they may.

Where he does “fall short” in floridity, he excels in tricky vivacious rhythms that suggest the people of the Renaissance were far better dancers than we are. I like to joke that he was the first rock musician. When I shared this thought once with a friend of mine, he countered that “Gesualdo was punk.” I’ll take it.

In some places Byrd’s music is homophonic–interestingly, for instance, at Et unam, sanctum, Catholicam…ecclesiam in the Credo. In others, he employs syllabic counterpoint, yet the listener feels jostled around by the text in each vocal part being in deliberate disagreement as to what beat it falls on. This would create as much confusion about the text for the listener as the long melismas of Taverner, likely violating the “Spirit of the Council” of Trent, and I’m totally ok with that.

The Gloria and Sanctus of the Mass for Four Voices illustrate Byrd’s rhythmic dynamism. Hear how in the Et in terra pax the voices are all dropping syllables on different beats. It’s as if one doesn’t know which way to turn one’s head. Pleni sunt caeli in the Sanctus, if it is not performed at a slovenly solemn tempo, gives Take Five a run for its money. Those complicated rhythms were always the diciest part of any performance of this piece I ever took part in, but it was always the most thrilling moment in the end.

In spite of all this, Byrd is not all edgy dissonance and tricky rhythms. Frequently a cyclic Mass is tied together from movement to movement by a recurring motif. Think of the descending cells that are the building blocks of the first movements of Beethoven 5 or Brahms 4, for instance. The Mass for Four Voices is no exception. The Kyrie and Agnus Dei are particularly related, and if there’s a more beautiful melody on earth I haven’t heard it. The Dona Nobis Pacem is riddled with dark, goosebump-inducing suspensions, giving the impression that, in the midst of asking for peace, Byrd’s commentary is more like, “Yeah, right,” not unlike a similar line in the Gloria of the Bach Mass in B Minor.

This exquisite, painful beauty described above is, I feel, another hallmark of rock music. It doesn’t quite descend to irony, but someone who loves Hurt by Kurt Cobain, for instance, is likely to love Byrd, too. Both men employed a similar knife’s edge kind of beauty. This is not to glibly claim that such disparate music sounds the same, but rather simply to point out certain similarities in approach that can make otherwise unlikely musical friendships.

In my experience people of all stripes have taken well to Byrd’s music, save for a few intellects I’ve known who are hampered by a circumscribed view of what “good Renaissance polyphony” should sound like. When I first met the guy who introduced me to Townes Van Zandt, we started trading playlists. He introduced me to his world, and I introduced him to mine. I included William Byrd in his homework.

A few weeks later I asked him if he’d gotten to my playlist.

“No, not really,” he said, “but I did listen to William Byrd. That sh*t’s f*ck*n’ beautiful.”

You better believe it is.


Equation of Straight Line Graphs

To find the equation of straight line graphs students need to calculate the gradient using two pairs of coordinates and the intercept which is the y value of where it crosses the vertical axis.  Examiner’s reports of past exam questions show students are more able to find the intercept of a straight line than they are at calculating the gradient.  This lesson on interpreting straight line graphs is available here.

Equation of a line using coordinate pairs

Equation of Straight Line Graphs

The starter recaps the learning in the previous lesson on using graphs to solve equations by interpreting the x and y values of a line. By adding the x and y values together students can see the equation of the line is x + y = 5.

As an extension I ask the class to imagine the line extended beyond the grid and to show me other coordinate pairs the line would pass through.  We have a short discussion about coordinate pairs with decimal numbers and move on to the main teaching part.

Finding the equation of straight line graphsEquation of Straight Line Graphs

To introduce the main part of the lesson we discuss how the steepness (gradient, M) and position (intercept, C) of where the line crosses the y axis define how the graph looks on a grid.   Equations of linear graphs can be written in the form y = mx + c.

The gradient (M) can be calculated using two coordinates that lie along a line.  The gradient is the change in vertical distance divided by the change in horizontal distance.  This gives a measure of the steepness of the line.

The intercept (C) is the point where the line crosses the y axis.  The intercept can also be defined algebraically as the value of y when x = 0.

Explaining how to find the equation of straight line graphs

I work through the first two examples on the second slide with the class and encourage the students to attempt the third question on their mini-whiteboards.  If more practice is needed I use the Interactive Excel File to generate further questions.  When they are ready students work through the questions on the third slide independently.  All the answers are provided in the lesson plan.

Extending the learning in the plenary

Equation of Straight Line Graphs

The plenary extends the learning because the line now has a fractional gradient, negative intercept and students need to choose their own coordinates to use.

Rather than calculating the gradient they are asked to explain why it is 2/3.  To do this they simply use the method as before leaving the answer as a fraction.  I encourage students to use two sets of coordinates, so they can check their working.  This also consolidates their method.  The equation of the straight line is y = (2/3)x – 1.

The next lesson in the Functions, Graphs and Equations unit goes onto plotting quadratic graphs from a table of results where students explore the properties of parabolas.

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Mr Mathematics Blog

Teaching Reciprocals of Numbers and Terms

To introduce teaching reciprocals of numbers and terms I begin the lesson explaining that everything has an opposite.  The opposite of shutting a door is to open it.  The opposite of saying hello is to say goodbye.  Numbers have opposites too we call them reciprocals. Teaching Reciprocals of Numbers and Terms To start the lesson […]

Surface Area of Cylinders

When I teach how to find the surface area of cylinders I like to add a constant level of challenge and enjoyment to the lesson.  Rather than repetitively calculating the surface area of a cylinder I introduce more complex cylindrical shapes. How to find the Surface Area of Cylinders To find the surface area of […]

Teaching Mathematics for a Growth Mindset


Europe Day 1- The Dark Side of Storytelling

The Berlin Holocaust Memorial is a series of 2,711 gray monoliths, which all together take up an entire block near the center of the city. On the outskirts of the Memorial, each monolith is about waist high. As you walk toward the center, they get taller, and the ground begins to dip lower, as if the entire thing is built on the inside of a giant, shallow bowl. By the time you reach the middle, you’re lost in a forest of stone slabs, unable to see anything but slate gray and, if you look high enough, the sky above.

There are no words on the Memorial, so at first glance, you might wonder at its purpose. It seems an odd thing for a series of unmarked gray stones to take up such a large swath of land in one of Europe’s most bustling cities.

But if you look closer, you see that not all the slabs are the same. Some are crooked, leaning slightly in one direction or the other, and the top surfaces aren’t entirely flat. If you look across the top of the memorial, at the undulating field of stones, your mind wants to find a pattern, but it can’t. Is it just a group of stone blocks, slowly rising in the center, or is something deeper going on?

I’m an idealist when it comes to storytelling. I believe strongly in the power of stories to promote empathy among human beings: when a person shares his story with another, those two people can then relate in a way they couldn’t before. I believe that storytelling, whether through writing, or film, or some other medium, is the greatest unifying force in the world, and maybe, if enough people of different backgrounds are able to tell their stories to each other, maybe there really will come a day when things like wars can be relegated to the history books.

Good stories can bridge individuals, and cultures, and countries… stories remind us that people who are different from us are still people, with hopes and dreams and families and friends of their own, and that those people aren’t just abstractions, they aren’t just stereotypes, they’re full-fledged human beings. I think this is true for both fiction and nonfiction; any story where you have to relate to characters different from you, where you have to put yourself in the shoes of someone else, whether that “someone else” is real or not, helps us learn to empathize.

But in Berlin, the strange gray stones stand as a stark, disturbing reminder that stories can be twisted.

In the 1930s, Adolf Hitler and the Nazis weaved a story of their own. But it didn’t break down stereotypes, it reinforced them. It was a story which denigrated and demonized an entire group of people, taught that those people were not worthy of empathy, respect, or even the slightest shred of human decency– it taught that they were vermin, or lower than vermin. Mired in problems, economic and otherwise, the German people were looking for someone to blame for their plight, and the Nazis told a story that gave the Germans the villain they had been looking for: the Jews.

A story like that has many things in common with the Holocaust Memorial in Berlin. It’s not something that hits you all at once. But if it’s told enough, over and over again, it builds into something sinister, and slowly it skews your perspective. The facts and details don’t line up, but you may not even notice, so lost are you in the greater overall mass of the structure.

And then, like the Germans of the late thirties, you get totally surrounded by the field of oppressive monoliths, losing sight of the real world for this alternate world of inescapable wrongness, looming over and consuming you. You completely lost sight of the real world, when all you thought you were doing was exploring a field of simple gray stones.

Even if you do manage to stay outside of the slabs, they still warp the landscape, corrupt the horizon. Whether you’re standing on the edge of the thing or right smack dab in the middle, they will affect your worldview, and not for the better. The Memorial is a wordless reminder that words have power, and like any great power they can be misused, sometimes to horrible, horrible effect.

I’m still an idealist. But as I leave the Memorial behind, heading back toward the Brandenburg Gate, I can’t help but feel chilled by the very real power of storytelling’s dark side.

Europe Day 1- Back in Berlin

I’ll be back-dating these entries to the day they happened. There probably won’t be a blog entry for each day, just whenever one pops into my head and I finally get a chance to write it.

By my count, this flight was my seventh round trip over an ocean since 2000, so they’re kind of becoming old hat. But I haven’t gotten any better at sleeping through them, which is disappointing. Heck, for this trip, I even bought one of those pillows that are shaped like a horseshoe and wrap around your neck. Dang– I thought for sure that would do the trick.

In the end, I got maybe twenty minutes of sleep, which is pretty much par for the course for me. (Actually, to be honest, I might have been able to get more, but Invictus was on, and I wanted to see Morgan Freeman playing Nelson Mandela.)

(Yes, I’m a weak man.)

So we landed at the airport at about 9:30, and I got to the train station shortly after 11 (getting there was WAY more of a chore than it should be, thanks to the otherwise-efficient Berlin public transport system.) I’m meeting a couple of friends, Mark and Roberta, in a little town called Quedlinburg this evening, but Quedlinburg is only a three-hour train ride away– which means I’ve got time to kill.

So I stash my luggage in a locker to go for a walk around Berlin. I love walking around the city– I got to do in 2008, and I loved how green and modern the city feels, while at the same time retaining a lot of character in buildings like The Reichstag and Brandenburg Gate.

The day is beautiful, sunny but not too hot, and despite operating on no sleep and almost no caffeine, I’m feeling no sign of jet lag as I walk. So far so good.


5 paragraph Book essay On a Wrinkle In Time

5 paragraph Book essay On a Wrinkle In Time

Create your bibliography using the information provided in our citation guides. Read on to learn how to write essays like an expert! No, the real key is fully utilizing the that anyone can write using the steps described in this article. Yet, the purpose of this article is to show you precisely how easy it is to write the perfect 5 paragraph essay. Body Paragraph One will deal with one theme for your argument. This specialized T-Chart supports students in analyzing text evidence and make inferences about a character's thoughts, traits and personality. So get practicing! Write the concept or term inside the inner circle.

This T-Chart also includes visual prompts to ensure that students are citing and analyzing specific evidence from the text/work. Essays come in various forms, as do subjects, professors, writing styles, and graders. While you can never know exactly what a teacher will like, as long as you have proven a point, you will write a successful essay. 5 Essay In in Miracle paragraph theme Work. If you do that, then your essay should be successful, regardless of whether or not it is liked. The basic high school essay should be organized in the following five paragraph structure: This list is a basic guideline by which to structure all your essays. Some pro accounts may receive partial refunds - please visit support. )Before getting into the basic essay format, let’s take a look at the overall structure of a great essay. It is essentially a mini-thesis for the paragraph. It s been really of a great help. Being able to write a strong academic essay is a critical skill for college and university students.

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5 Essays That got People Into Harvard Business School

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5 Page essay on Why it s Bad to Hit People

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There are also numerous citation examples to help you learn to cite nearly anything! Once your essay is drafted, make sure you’re handing in your best possible work by checking it over thoroughly and making any necessary edits. And the paragraphs may be arranged into an essay, a chapter, or an entire book. The beauty of writing is that the power is in your hands. Español: Português: Italiano: Русский: Deutsch: Français: Bahasa Indonesia: العربية: Thanks to all authors for creating a page that has been read 569,555 times. And the quickest path to great essays is sticking to the basic essay structure until you feel like an expert. In order to continue using your account, you have to agree to the Terms of Use and Privacy Policy. Com and a little bit of knowledge! The key to excellent essays isn’t magic or simply being born a gifted writer. This T-Chart also includes visual prompts to ensure that students are citing and analyzing specific evidence from the text. 5 essay in Iraq Issue Paragraph Social War. These sentences are arranged into paragraphs. Check out a few and figure out which one makes the most sense to you).

Read our guide to learn what MLA is and how to make properly formatted citations. Then, we'll explore how to write narrative, persuasive and expository essays. You must agree to the changes in order to access your account, and all the work associated with it. This article will show you how to write, and then revise, all types of essays. Citing is easier with EasyBib. You simply have to select an argument and back it up. You’re not here to learn merely how to write an essay. Obviously, they can vary in length and in paragraph number. 5 different Types of Hooks in Essay writing. Our comprehensive guide will teach you how to format your paper and create accurate citations. Once you use a piece of evidence, be sure and write at least one or two sentences explaining why you use it. Need an overview of APA? Then, have students brainstorm and write down all of their thoughts related to the topic inside the larger circle. Before you start writing, research your topic using good, reputable sources. Click below to let us know you read this article, and wikiHow will donate to World Possible on your behalf. Visual guides are also included to help you locate information needed for citations.

Organize your essay clearly, and support your arguments with strong examples and evidence. If you do not agree to these changes, you will be logged out and your account will be deactivated. Throughout your academic career, you will often be asked to write essays. This graphic organizer can be used across grade levels and subject areas. The Body Paragraph One should open with a transitional sentence. If writing an essay was easy, you would not be reading this article. (There are many, many, many. Again, thanks a lot. In order to write a successful essay, start by following any assigned instructions carefully. G. We teach students appreciation, so the least we can do is to truly thank you for your effort. You’re here to learn how to write an excellent essay. If you put too many different themes into one body paragraph, then the essay becomes confusing. A full exemplar model and the passage from Tortilla Sun is included. The T-chart prompts students to cite textual evidence related to both character dialogue as well as character action. Grade 8, 9, 5, 6, 7, 8, 9, 65, 66, 67 Reading, Writing 7 pagesA Circle Map is used to define and demonstrate understanding of a term or a concept.

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Public Release:

Eat Mediterranean: Your brain will reap the benefit

Eating a Mediterranean diet can slow down cognitive decline

Eating a Mediterranean diet can slow down cognitive decline.

The Mediterranean diet can improve your mind, as well your heart, shows a study published in the open-access journal Frontiers in Nutrition.

Following a Mediterranean diet was shown to be associated with slower rates of cognitive decline, reduced conversion to Alzheimer's, and improvements in cognitive function.

The main foods in the Mediterranean diet (MedDiet) include plant foods, such as leafy greens, fresh fruit and vegetables, cereals, beans, seeds, nuts, and legumes. The MedDiet is also low in dairy, has minimal red meat, and uses olive oil as its major source of fat.

Leading author Roy Hardman from the Centre for Human Psychopharmacology Swinburne University of Technology Melbourne Australia and his colleagues evaluated all the available papers between 2000-2015 that investigated if and how a MedDiet may impact cognitive processes over time. In total, 18 out of the 135 articles met their strict inclusion criteria.

Attention, memory, and language improved. Memory, in particular, was positively affected by the MedDiet including improvements in: delayed recognition, long-term, and working memory, executive function, and visual constructs.

"Why is a higher adherence to the MedDiet related to slowing down the rate of cognitive decline? The MedDiet offers the opportunity to change some of the modifiable risk factors," he explained.

Moreover, the benefits to cognition afforded by the MedDiet were not exclusive to older individuals. Two of the included studies focused on younger adults and they both found improvements in cognition using computerized assessments.

The researchers stress that research in this area is important due to the expected extensive population aging over the next 20-30 years. They envision that the utilization of a dietary pattern, such as the MedDiet, will be an essential tool to maintain quality of life and reduce the potential social and economic burdens of manifested cognitive declines like dementia.

"I would therefore recommend people to try to adhere or switch to a MedDiet, even at an older age," Hardman added.

Like many researchers, Hardman takes his research home: "I follow the diet patterns and do not eat any red meats, chicken or pork. I have fish two-three times per week and adhere to a Mediterranean style of eating."


V001, 2015, oil on canvas, 190 x 130 cm ( 74,8 x 51,1 inch.)

V003, 2017, oil on canvas, 190 x 130 cm ( 74,8 x 51,1 inch.)

The Monshine

a project painting

Matteo Mezzetta starts as hyperrealistic classic painter. He has always been interested in aesthetic and semantic gap, which comes from the transposition from photography to painting, in grey shades. During his life he has developed various preparatory researche before reaching the actual artistic maturity.

Mezzetta comes to an original elaboration of hyperrealistic codes in an abstract and anti-narrative function, an innovative and experimental result, if compared to a traditional and realistic painting.

His new modus operandi, which we can see in his first greenery inspired painting serie, consists in splitting a picture, previously taken by the artist himself.
Natural elements, as plants, animals and minerals create specular and symmetrical compositions, projected on the canvas and then painted.

The result is a series of symmetrical “totem”, familiar and alienating at the same time, with a great evocative meaning.
These compositions resend to the dynamic rhythm of nature and non-Euclidean geometries as the bilatera symmetry, typical of the nature.

Inside the paintings, the elements of a bordering area (flora and fauna, fractal geometries and organic morphologies, structures and shapeless objects) create a kaleidoscope of evolving templates, as the biological life is overall considered.

Preview placement


Consultant: Negar Kiany

Administrators: Betül Ece, Sascha Getzinger, Joseph Patrik Ndiga Ngue and Joseph Salib
Consultation Hours: available by appointment

The Department works with international and exchange students to support you in your everyday life. They can help you in a variety of ways such as accompanying you to various public agencies like the town hall or the registrar’s office. If you have any problems, they are more than happy to help you.


Wednesday, June 20

Gapers Block

From potential employers, anyway. Gov. Quinn signed into law a measure forbidding companies from requesting Facebook and other social media passwords of employees and applicants.

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Dan + Shay Speechless Wedding Video

Many of us will not maintain course get audio with your hosts, we just find via additional options and also provide the idea to you personally. I am definitely not responsible for that which you are generally getting because i am just like engines like google, almost any threat of the task involving downloading it AUDIO records is going to be responsible completely.


CumInCAD is a Cumulative Index about publications in Computer Aided Architectural Design

PDF papers
authors Find in CUMINCAD Wolfram, Stephen.
year 2006
title Find in CUMINCAD How Do Simple Programs Behave?
source Architectural Design 76 (4):34-37.
last changed 2016/04/22 10:30
pick and add to favorite papersview how record was changing over timeHOMELOGIN (you are user _anon_952246 from group guest) CUMINCAD References Powered by SciX Open Publishing Services 1.002


positive and negative space

barry john raybould:

limited value study: quick painting in 3,4 or 5 values.

Designing a print

Designing the image
  1. 3 quick 15 minute sketches of the same scene. Concentrate on capturing the sense of the place by recording the scale of the elements in the scene in relationship to each other. For each quick sketch change your viewpoint so that the relationship between the objects varies. Think carefully how the features appear on the page and the perspective.
  2. Line drawing: Spend up to an hour drawing the scene in detail using only lines. Pay particular attention to the shapes of leaves, trees, buildings and hills and try not to take any short cuts. You can draw some of the bricks in a wall, or grass in a field, for example, without drawing them all but make sure you have enough information in your drawing to remember everything.
  3. Tonal drawing: Make a couple more drawings of the scene in different lights. For example, make one during the morning and one in half light at the end of the day, or even at night. Concentrate on the tonal relationships between the features and the sky. Identify the lightest and darkest areas and work the middle tones into your sketches between these two extremes.
  4. Colour: Make descriptive colour notes from your scene. Use coloured media to record the colours – watercolour, pencils, crayons or similar.
  5. Photographs can be used as a reminder but always use them after your sketches. Sometimes it can be useful to sketch from your photograph to help understand the scene you are trying to represent.
  6. Final design: Try a few ideas out by making quick sketches in the middle of a piece of paper so that you can extend the image out in any direction. Develop the idea to cover the page using elements from your drawings. Then try masking off sections of your drawing with a pair of L-shaped cards, looking for a balanced design which has visual interest from tonal contrast, detail, texture, and so on.Then draw this composition again taking into account any changes you consider necessary.

Gestalt laws and principles

  1. Law of Proximity. Visual elements are grouped in the mind according to how close they are to each other.
  2. Law of Similarity. Elements that are similar in some way, by form or content, tend to be grouped.
  3. Law of Closure. Elements roughly arranged together are seen to complete an outline shape. The mind seeks completeness.
  4. Law of Simplicity. The mind tends towards visual explanations that are simple; simple lines, curves, and shapes are preferred, as is symmetry and balance.
  5. Law of Common Fate. Grouped elements are assumed to move together and behave as one.
  6. Law of Good Continuation. Similar to the above, this states that the mind tends to continue shapes and lines beyond their ending points .
  7. Law of Segregation. In order for a figure to be perceived, it must stand out from its background. Figure-ground images exploit the uncertainty of deciding which is the figure and which is the background, for creative interest.

‘Grouping plays a large part in Gestalt thinking, and this is known as “chunking.”

  1.  Emergence. Parts of an image that do not contain sufficient information to explain them suddenly pop out as a result of looking long enough and finally grasping the sense .
  2.  Reification. The mind fills in a shape or area due to inadequate visual input. This includes closure (above).
  3. Multistability. ln some instances, when there are insufficient depth clues, objects can be seen to invert spontaneously. This has been explolted more in art (M. C. Escher, Salvador Dali) than in photography.
  4. Invariance. Objects can be recognized regardless of orientation, rotation, aspect, scale, or other factors.

Michael Freeman The Photographer’s Eye p38

Patrick Caulfield

Patrick Caulfield (1936–2005)

Patrick Caulfield images

Nick Serota & Dexter Dalwood on Patrick Caulfield

TateShots: Mavis Cheek & Antonio Carluccio on Patrick Caulfield

Patrick Caulfield and Gary Hume at Tate Britain

English painter and printmaker. From the 1960s, Caulfield has been known for his iconic and vibrant paintings of modern life that reinvigorated traditional artistic genres such as the still life.

Patrick Caulfield was born in west London. He began his studies in 1956 at Chelsea School of Art, London, continuing at the Royal College of Art (1960–63), one year below the students identified as originators of Pop art. Patrick Caulfield came to prominence in the mid-1960s after studying at the Royal College of Art where fellow students included David Hockney. From the 1960s his paintings are characterised by flat areas of colour with objects defined by simple outlines.

See for example:

In the 1970s he began to combine different artistic styles including trompe l’oeil to create highly complex paintings that play with definitions of reality and artifice. This coincided with a subtle shift in subject matter to topics that directly engaged with the contemporary social landscape and the representation of modern life. Such approaches remained his practice for the rest of his career.

See for example:

  • Tandoori Restaurant 1971 (WAVE Wolverhampton Art Gallery)

See for example:
Later works include: The exhibition will also include later paintings such as  and the artist’s final work Braque Curtain 2005 (Tate).
See for example:

The tree’s visual texture is represented here in this image.
Meaning the way a surface feels or is perceived to feel. Texture can be added to attract or repel interest to an element, depending on the pleasantness of the texture.[5]

Types of texture
Tactile texture is the actual three-dimension feel of a surface that can be touched. Painter can use impasto to build peaks and create texture.[5]
Visual texture is the illusion of the surfaces peaks and valleys, like the tree pictured. Any texture shown in a photo is a visual texture, meaning the paper is smooth no matter how rough the image perceives it to be.[5]
Most textures have a natural touch but still seem to repeat a motif in some way. Regularly repeating a motif will result in a texture appearing as a pattern.[5]


autox professor x Jianxiong Xiao
AutoX CEO Jianxiong Xiao, also known as Professor X.
In the spring of 2016, Dr. Jianxiong Xiao — affectionately known among students and staff as "Professor X" — said goodbye to his plum professorship at Princeton and his post as the founding director of the school's Computer Vision and Robotics Labs.

His startup, dubbed AutoX, has done its best to stay under the radar to date — apart from a filing with the California DMV to test self-driving vehicles.

But Xiao isn't worried about getting run over by the giants, saying that his small team of academics possesses the kind of expertise in computer vision that big corporations just can't match. Exhibit A: after only six months on the job, Xiao says he's already developed a prototype vehicle that can do the same things as the cars made by his deep-pocketed rivals, at a fraction of the cost.

AutoX gave a first peek at its creation on Friday, with a debut video showing its prototype system in action. The car itself isn't anything special in terms of style (it's basically just a regular 2017 Lincoln MKZ that's been rigged with AutoX technology), but it deftly navigates residential streets near San Jose, seeming to handle driving situations such as cloudy days and night-time, historically a challenge for self-driving cars, with ease.

As noted in the video, AutoX's system doesn't rely on the LIDAR laser arrays or other expensive sensors that most self-driving cars, including Waymo's and Uber's, require to function. Instead, AutoX uses advanced artificial intelligence to "see" through cameras mounted on the car and steer the car accordingly.

Better yet, Xiao tells Business Insider that the cameras that power this AutoX prototype were purchased at Best Buy for $50 a pop. "It could not be cheaper than that," he says.

While Waymo's self-driving cars sport cameras to "see" around them, they mostly rely on LIDAR laser arrays and other radar sensors to function.
Waymo; Business Insider/ Skye Gould

"Self-driving [cars] shouldn't just be a luxury, but be available to every citizen," Xiao says.

Purely academic

A thoughtful speaker, Xiao says he got the nickname Professor X because some of his peers at Princeton found his actual name "very complicated" (his personal web page includes a link to hear a sound of how his name is pronounced).

The term for Xiao's specific field of study is "computer vision," a branch of artificial intelligence that's just as applicable to self-driving cars as it is to Snapchat puppy filter selfies.

For Xiao, it's been a long-time area of interest. Over the years, he's won recognition from the likes of Google and Amazon for his and his team's advancements in the field of computer vision. In 2013, Xiao received his PhD from MIT, right before he went to Princeton.

This readout from an Uber self-driving car shows how it uses a LIDAR laser array to "sense" the world around it. AutoX just uses ordinary cameras in its current form.

It's that academic pedigree that gives AutoX an advantage, Xiao says, as it "enables us to to tap into the academic research network." With artificial intelligence experts in such high demand in Silicon Valley, it helps with recruiting that Xiao and his team already have personal relationships with many of the best and brightest in the field.

"We've known these people in person for many years," Xiao says.

And with all that brainpower on board, Xiao says that they were able to build their prototype from scratch in only six months, without using anyone's technology. With the Waymo/Uber self-driving car IP lawsuit rocking Silicon Valley, that's a huge plus.

Xiao says the shift from academia to startup has required a subtle change in how he approaches problems. In academia, you tend to flit from one project to the next. At a private company like AutoX, you "actually make things work, actually get things done" in service of one big idea. In this case, self-driving cars.

Driven to success

While Xiao stresses this system is still a prototype, he does say it indicates the way he wants to see AutoX go, with a focus on building real self-driving technology that can handle every situation, versus more limited driver-assist features like Tesla's autopilot, which can only be engaged on freeways.

AutoX isn't much interested in manufacturing cars and going head-to-head with Tesla, Xiao says. He's equally uninterested in following the controversial into helping people give their existing cars limited self-driving features.

Residential streets can present a challenge for self-driving cars.

Xiao also wants to distinguish between AutoX and the technology from companies like Mobileye, which Intel bought for $15 billion this week — Mobileye helps self-driving car "see," sure, but other software has to take its perceptions and translate it into action for the car. AutoX is the whole package, says Xiao.

"We're building the brains for self-driving vehicles," Xiao says.


Architecting The Modern Software Manufacturing facility

technologyIt’s laborious to imagine how a lot the world has modified in the last 30 years ago. In his article, Jared Bernstein , a Senior Fellow on the Center on Finances and Coverage Priorities , seventy nine questions the widespread concept that automation , and extra broadly, technological advances, have primarily contributed to this growing labor market downside. His thesis appears to be a 3rd manner between optimism and skepticism. Basically, he stands for a impartial strategy of the linkage between technology and American issues concerning unemployment and declining wages.

Every year since 2001 we have picked what we call the ten Breakthrough Technologies. Individuals usually ask, what precisely do you mean by breakthroughâ€? It’s a cheap queryâ€”a few of our picks have not yet reached widespread use, while others may be on the cusp of turning into commercially obtainable. What we’re actually in search of is a technology, or even perhaps a set of technologies, that will have a profound effect on our lives.

The protection and performance of our purchasers’ land-primarily based applied sciences is of utmostÂ importance. Jacobs supplies assist for the ground automobiles and weapon techniques in use by the world’s protection organizations. Our support includes the event, testing, analysis, and life cycle administration of armor methods, ammunition and ballistics, and quite a lot of automobiles.

Jacobs presents an extensive vary of program help capabilities to protection businesses, including U.S. Particular Operations Command (USSOCOM), Joint Employees, Unified Command, and others. With expertise in particular operations, intelligence, and knowledge technology, we help operational mission planning and execution, special-mission training, intelligence evaluation, cyber security, knowledge administration, acquisition and logistics management, and enterprise operations and monetary management. Jacobs works at a wide variety of locations, as properly serving USSOCOM employees in coaching, equipping, and deploying fight-ready troops.

With the passage of time, technology has turn out to be very important to human beings and it has gotten to the point the place most individuals fall asleep with their telephone or pill next to them. Prevent private data from proliferating across your techniquesâ€”in both testing and preproduction environments.

We’re a software program company and a neighborhood of passionate, goal-led individuals. We think disruptively to deliver technology to deal with our shoppers’ hardest challenges, all while seeking to revolutionize the IT industry and create positive social change.

A pilot energy plant just outside Houston, in the heart of the US petroleum and refining business, is testing a technology that could make clear power from natural fuel a actuality. The company behind the 50-megawatt project, Net Power, believes it can generate power at the very least as cheaply as customary natural-gasoline crops and capture basically all the carbon dioxide released within the process.


Dogs love food. Some love it more than others, and some of those are Labrador retrievers—the bottomless pits of the canine world. Scientists announced today that they’ve found a gene variant in labs that may explain that constant state of “Please Feed Me.” The findings were published in the journal Cell Metabolism.

Dog obesity isn’t something we talk about a lot, but there sure is a lot of it. In the U.S. and other wealthy countries, between 34 and 59 percent of dogs are overweight. And yes, fat dogs are cute, but they’re also in danger of some serious health problems. Canine obesity can cause heart disease, strain on a dog’s joints, diabetes, and can even shorten a dog’s lifespan.

Some breeds, like black labs, chocolate labs, and golden retrievers, are more obesity-prone than others. This is likely because, like many of us, they are highly motivated by food. Labs’ human companions learn quickly that a treat is the trick to getting their dog to behave. But those treats add up.

The domesticated dog, Canis familiaris, is a single species with a lot of variations. Great Danes and Chihuahuas are both dogs, but their bloodlines, and therefore their genes, are dramatically different. And all those differences within a single species make dog breeds a great resource for scientists studying genetics.

Researchers recruited nearly 400 adult Labrador participants. Of those dogs, 310 were pets recruited through an email invitation from the UK Kennel Club, and 80 were part of an assistance-dog breeding colony. Some of the dogs were fat, while others were not, but all of them were healthy, with no pre-existing conditions.
First, the dogs were weighed. Then the scientists collected drool samples from 33 of the dogs and sequenced the DNA within. The dogs’ owners then completed a survey about their labs’ eating habits.

As relatives, of course, the labs had a great deal of genetic material in common with each other and with other dog breeds. But they also had one gene variant that stood out: the deletion of 14 base pairs from a gene called pro-opiomelanocortin, or POMC. Previous studies of this POMC variant have shown a relationship with appetite and a feeling of fullness.

Each dog could have one copy of the POMC variant, two copies, or none. The more copies a dog had, the fatter and more food-motivated it was. And about 23 percent of labs are carrying at least one copy of the variant.

“People who live with Labradors often say they are obsessed by food, and that would fit with what we know about this genetic change,” Cambridge University metabolism expert and lead author Eleanor Raffan said in a press statement.

#Please Share. Thank you.


These online courses include information to support local authorities to publish data, improve the quality of data, and use common standards to be able to more easily share, combine and compare data for further use and analysis across authorities. Including case studies from councils demonstrating the benefits of data publishing and the use of standards.

The three learning modules are:


(Before reading this, have you read ? The references to Marshall Ruthven will make more sense if you do.)

Plato said ‘necessity is the mother of invention’. As part of our original design, we are imprinted with creative impulses. We are in the imago Dei (image of God).

We are meant to take responsibility and create ways to act out God’s best impulses for Creation.

If you simply take what you already have and look at what is needed, you have the starting point of creativity.

Marshall Ruthven took his skills and resources as a machinist and built a portable church. He knew he was supposed to go tell people about Jesus and that need was directional for inventing a plan.

When he was too old to drive and live in a plywood trailer, he returned to the thing he most needed to do. He found new ways to get door-to-door and kept the idea moving forward.

When you are a compassion entrepreneur, you constantly adapt to live within your calling. It does not depend on pay cheques, funding or perfect opportunities. Entrepreneurs will always take new risks for their cause.


Planter Wives Blog

There are many examples of bravery in the Bible. Esther. Moses. Ruth. Joseph. Rahab. Paul. The list goes on, and it's tempting for me (as one who likes her checklists) to look at each example and attempt to create a bravery profile; gather up all the goodness from each valiant story and implement those traits into my moments. But the stories of Scripture are not meant to be prescriptive. They do not primarily point the way to become a better, braver person. These records of bold obedience are provided to show us to the real victor.

If we tried to analyze each brave soul and their actions, we'd drive ourselves crazy trying to find the correct action points. Almost every situation is set in a context we would never find ourselves. So, we must find the common denominator of the stories, keeping in mind the whole counsel of Scripture and its big-picture themes.

You and I have the benefit of viewing the deep and detailed landscape of Biblical history. With this hindsight, when we slow down and look carefully at the examples of obedient, brave men and women in Scripture, we see the calling of God into the unlikely. We can see this statement made—formed over centuries—through the lives He's used to bring His will about: God calls unlikely man to be used for extraordinary feats.

Moving forward in bravery is a declaration that the difficulties we face are not about us; the mountains that need moving, the relationships that require reconciliation and the souls that need saving can be removed, repaired, and rescued by God alone. The Creator and Sustainer of all—the One who does not need assistance to bring His will to pass—choses to use unlikely souls and often unconventional means again and again so that all can see the that true rescuer, hero and victor is not us, but God.

Take Moses, for example. He was right to think he was a clumsy speaker—not the best pick for a job that would require eloquent communication as an advocate for God's people—yet he was wrong to think this unlikely choice made him exempt from obeying. We too must be careful not to dismiss or shirk God's unlikely plan for our lives, but instead walk forward in brave, obedient trust in the One who calls.

Though we can look back and see this thread throughout the stories of bravery in the Bible, we still have our own scary, uncertain situations God calls us into. We may be an unlikely candidate for the job, but we must obediently move forward. Following God's will requires us to be brave. If we're not scared to walk forward, if we're certain of the outcome, and/or if the end result is predictable, God will not receive the glory. And His glory is why we exist.

When we stay in our safe space we rob our days of their purpose: to reflect the goodness and glory of our God to those who have yet to truly see it. So, the next time you're called into something that seems unlikely, remember the records of the past and the results of their story: God exalted.

When have you been called to something that requires bravery lately? How have the examples of the past fueled your obedient bravery?


Two-time world chess champion Magnus Carlsen won his third title yesterday, defeating Russian challenger Sergey Karjakin after three weeks of gruelling play in a competition with international prestige on the board.

Fans greeted the Norwegian with a "happy birthday" chorus and huge cheers after his victory in the World Chess Championship. He turned 26 on the same day he beat the Russian, winning two of four tie-breaking "rapid games".

The grandmasters started yesterday's chessboard battle with a tie after 12 games, with each winning one game. The other 10 games were draws. They'll share a prize of US$1.1 million, the winner getting 60 per cent.

The New York championship did not escape the shadow of East-West rivalry reaching back to the Cold War days when American Bobby Fischer beat Russian Boris Spassky in 1972. This time, a key figure in chess was absent in New York: Kirsan Ilyumzhinov, a Russian businessman and longtime president of the governing World Chess Federation who was accused by the US Government of collaborating with the Syrian regime and barred from visiting.

Chess is almost a matter of national pride in Russia, which is no surprise when you consider that Russians, except for a three-year period, held the title from 1958 to 2000.

During the Cold War, the Soviet Union used its dominance of chess as a propaganda weapon to demonstrate communist superiority over the decadent West. But in 1972 when Fischer beat Spassky, the Soviet dream was metaphorically crushed. Later, when Fischer refused to defend his title, chess entered the eras of Anatoly Karpov and Garry Kasparov.

But since 2007 the country has suffered a drought. No Russian has held the title of world champion since Vladimir Kramnik. Vladimir Putin was keen to get the title back. The chess-loving President's interest is well known and he avidly followed the match online.

- Telegraph Group Ltd, AP


Senior accountant

Hyundai Dymos Slovakia s. r. o.

Place of work
Bratislavská cesta 119, Žilina
Contract type
Basic wage component (gross) and other rewards

Information about the position

Job description, responsibilities and duties

* Preparation of monthly/quarterly/annual reports for the mother company
* Control the correctness of local accounting system - ensure accuracy and compliance with Slovak accounting standards (IFRS is the advantage)
* Reconciliation of accounts
* Maintenance of the chart of accounts (local and group accounts)
* Cooperation with financial auditors
* Payroll processing in SAP
* Prepare ad hoc reports for internal purposes

Employee perks, benefits

* Perspective and stable employment
* Background of powerful international company within the Hyundai Motor Group
* Working in modern automotive plant close to the Žilina center
* New and clean working environment in close contact to the most modern technologies
* Extra 13th/14th salary, production bonus
* Company catering at the plant
* Discounts from business partners
* Employee benefits
* Full-range social programme, corporate events, teambuildings, etc.

Information about the selection process

If you meet stated requirements & are interested in this job position, please send us your CV in English to our e-mail address or Thank you in advance.

Requirements for the employee

Candidates with education suit the position

University education (Bachelor's degree)
University education (Master's degree)

Educational Specialization

Language skills

Other knowledge

Double-entry bookkeeping - advanced
Invoicing - advanced
Microsoft Excel - advanced
Microsoft PowerPoint - advanced
Microsoft Outlook - advanced
Microsoft Word - advanced
SAP - advanced

Driving licence

Number of years of experience

Personality requirements and skills

* Experience in accounting and reporting
* Ability to keep deadlines
* Loyal and energetic personality
* Can - do attitude
* Team player

Brief description of the company

DYMOS is an abbreviation of Dynamic Motor System. Putting top priority on customer satisfaction with advanced technologies and quality products, DYMOS is actively practicing R&D, employee-centered and global management to become the leading automobile parts manufacturer. Through these efforts, DYMOS makes its best for customers to create more value to enhance their competitiveness.

DYMOS has satisfied customer’s needs with its quality products, positioning itself as one of the most reliable suppliers of key auto parts. Based on its high reputation, DYMOS is a global firm with its parent company, Hyundai-Kia automotive group.

Number of employees

250-499 employees

Company address

Hyundai DYMOS Slovakia s.r.o.
Bratislavská cesta 119
010 01 Žilina
ID: 3210036   Dátum zverejnenia: 17.10.2017   Základná zložka mzdy (brutto) a ďalšie odmeny:   Agreement


Dark Contemporary Graphic Tattoos by Lenad Nada

By JenTheRipper -
Dark Contemporary Graphic Tattoos by Lenad Nada

Unique and gorgeous tattoos from the dark side.

Lenad Nada (aka Nad) is part of the generation of young tattoo artists shaping the graphic tradition. Based in Lille, in the north of France, Lenad Nada is exploring the dark side of graphic tattoos. Mixing many artistic techniques such as sketch style, abstract and blackwork, Lenad Nada creates stunning tattoos. His universe is dark, but also beautifully melancholic and poetic.

'To Separate with Flying Thoughts' - Abstract Tattoos by Mowgli for more amazing graphic tattoos by a talented artist!

Images from Lenad Nada's Facebook and Instagram.


cakes cupcakes cookies wedding cakes birthday cakes

Latest Cakes

"Coolcakes made a gorgeous Wiggles cupcake tower with my son Zac's favourite characters: "Wags", "Dorothy" and "Henry" on each cake for his 2nd birthday. It was magnificent! He unfortuately wasn't feeling well that day but seeing his cake brought the biggest smile of the day from him. Thankyou so much to my Mum for organising the cakes and Coolcakes for making them. It made his birthday very special..." - Sam


References in periodicals archive ?
This means, if you have a half dozen cases like this in a year, you can expect two of them to fall short of the break-even point, and four of them to exceed the break-even point, with the average settling somewhere near the break-even point.
Using the data from the LACH example, where the unit CM = $250 - $50 or $200 and CM ratio = 80%, the break-even point in traits = $650,000/$200 or 3,250 patient days.
Using the same data given in Example 1, where unit CM = $250 - $50 = $200 and CM ratio = 80%, we get: break-even point in units = $650,000/$200 = 3,250 patient days and break-even point in dollars = $650,000/0.
This break-even point increases substantially at higher marginal shareholder rates.
In addition, the break-even point of a bull call is 95 points less than the break-even point of a long call.
The break-even point for Airbus Industrie's A3XX superjumbo jet aircraft is apparently less than is expected by industry analysts.
The break-even at cost point is the most commonly used break-even point, but break-even points at required return and required return after taxes are now receiving more consideration in profit evaluations.
That is, the break-even point will be exactly the same whether refinancing costs are paid out of pocket, or financed by increasing the new loan by an amount exactly sufficient to cover these costs.
After each break-even point is calculated, a graph of the percent amortizable and average amortizable life for each point is generated for each probability factor, yielding five separate curves.
However, the impressive sales figure is still "under the break-even point," according to Verhoeven.


Info    -

  Journal   -

Samsung S9W TV

Fuseproject and Samsung have an ongoing relationship. The CE brand came to us to design a piece that would showcase their latest technology: the curved screen. Under Yves Béhar’s direction, we developed a concept that would exhibit the curve in the purest way possible: as if it were a piece of art and placed on a plinthe. The plinthe  does more than just act as a display for the screen, it contains a subwoofer and technology that brings the seemingly static object to life. After nearly a year of development the product was showcased at CES in 2015 and is currently in production.

Industrial Design Team: Noah Reinhertz, Arthur Kenzo, Casey Lewis. Under direction of Yves Béhar.


Monday, 4 September 2017

Ancient Stepped Ponds (Kalyanis) of Bengaluru region

Overview: Stepped Wells have been a part of Indian civilizations from the ancient past. Stepped wells were built for multiple purposes, be it for drinking or storage purposes, or as a bath. Several stepped wells with interesting architecture can be seen all over India, from Kashmir to Southernmost parts of India. Stepped Ponds are a smaller version of stepped wells, with mostly square or rectangular dimension. These stepped ponds are seen mainly near temples, and are used mainly for temple usage.
Bengaluru also has a few interesting stepped ponds, almost all of them in a state of neglect, and some of them over 1000 years old. Inscriptions on some temples mention about grants offered by the rulers and local chieftains to build these wells.
The tanks are referred to as 'Vav' in western part of India and 'Baoli in the regions of Rajasthan and Sindh. But why were the kalyanis built is an important. One of the main purpose of installing a temple pond has been rain water harvesting. The water collected in the tanks are the direct source of ground water recharge. Sadly, over a period of time, for the greed of money and the wish for finding buried coins underneath a kalyani has put these tanks in a state of neglect. Of all the Kalyanis in Bangalore region, only a handful are still in usable form. One such kalyani is in the Subramanyaswamy temple premises in Halasuru, which is popular among people performing religious ceremonies under the peepal tree. The temple itself dates back to the Vijayanagara period. Not far from this place is a kalyani excavated near Someshwara temple, which was built probably during the Kempegowda’s period in the 15th century.
Subramanyaswamy temple Halasuru

Another small kalyani in the city is the Prasanna Krishnaswamy temple at Tulasi Thota, Chikkalalbagh. The tank is now sealed due to space crunch and encroachments. This temple was founded by Nalwadi Sri Krishnaraja Wodeyar in the 18th century, though the outer structure was built much later.
Prasanna Krishnaswamy temple
A huge Kalyani can be seen near the Anjaneyaswamy temple at Gottigere on Bannerghatta. Efforts are being put by the residents to save this kalyani, which once was the source of water for travellers and the local villagers. This kalyani is believed to have existed on the trade route between Bengaluru and Tamil Nadu.
One live kalyani can be seen at Ghati Subramanya temple near Doddaballapura. The water from this kalyani is pumped out for watering the plants in the surrounding areas.
Several legends are told around the Kalyani inside Chikkajala fort. The kalyani stands next to a temple and a badly ruined residential complex, dating back to pre-Kempegowda era.
A beautiful Kalyani can be seen at the Kashi Vishwanatha temple at Sondekoppa, around 36 kms from the city centre. This is another live kalyani, which is revived during the monsoons.
Perched in a silent surrounding, amidst farmlands, is a small kalyani at Sorahunase in East Bengaluru near Varthur. The tank is now renovated with concrete, but the principle of water conservation is still retained. A few hero stones from the past can also be seen near the pond. This is one of the best examples of how a kalyani can be revived and also made to use in today’s world.

Suvarnamukhi near Bannerghatta is another kalyani which is considered sacred. People throng to this place to have a dip in the holy waters.
In the north eastern corner of the city lies the quaint village of Kondrahalli, where a huge kalyani can be seen next to the 11th century Dharmeshwara temple, dating back to the Cholas. Also as per a legend, the Yaksha Kaanda from the Mahabharata is believed to have happened at the site where the pond can be seen now.
A beautiful kalyani can be seen on the Vasanthapura main road, near the Vallabharaya swamy temple in South Bengaluru. The once beautiful tank, developed by the Maratha ruler Shahaji Raje Bhonsle in the 17th century, around the same time when the Bhavani Shankar temple was built in Vasanthapura. This tank is in a sorry state today, with the area being awarded to a builder for construction purposes.
Several other Kalyanis can be seen in dilipidated condition, like the one in Kalkere (north Bengaluru), Kashi Bhavi at Bidrahalli which is waiting to be encroached, Anekal (60% already encroached), Kashi Vishwanatha temple at Bettadasanapura, Kalyani at Manne, and several other tanks and ponds which are lying neglected or have been already buried under some building. There is a need to preserve such heritage, and even better, if they are revived so that they act as mini reservoirs in crises situations.
Kashi Bhavi Bidrahalli

  1. Nice to know about these stepwells. That's quite a collection.
    Thank you for these awesome sights, Arun.

  2. Great information. I can understand the study, exploration, roaming you have done to collect these information and pictures. Thank you. If possible pls pass this information to social service organisations like Yuva Brigade as they are working for cleaning and reviving of Kalyaanis.


• Dietary Coordinator - HPoint (034)

    Posted Date 1 week ago(6/12/2018 9:17 AM)
    Requisition ID
    Service Line
    Hope Network-Behavioral Health Services
    # of Openings
    Combination Shift
    Hours per Week
    Position Type
    Regular Part-Time
    Department : Name
    Harbor Point East
  • About Us

    The Dietary Coordinator is a key associate at Hope Network whose primary responsibilities include: Ordering and preparing food, and maintaining a kitchen in accordance with current applicable Federal, State and local standards, guidelines, and regulations, our established policies and procedures, to assure that quality food service is provided at all times.  A Dietary Coordinator is delegated the administrative authority, responsibility, and accountability necessary for carrying out all assigned duties.

    2. Supervise the planning of special events for consumers and staff including, but not limited to the following: Holiday events, family functions/picnics, etc.

    3. Participate in all team meetings and staff meetings as assigned

    4. Attend and participate in workshops, seminars, etc. as directed (i.e. Proper food handling, sanitation procedures, etc.). Successfully complete all required training

    5. Participate in all inspections performed by authorized government agencies as needed.

    6. Maintain confidentiality of all resident information.

    7. Assure that the preparation, storage and service of food is in accordance with sanitary regulations and established policies and procedures.  Follow established Infection Control and Universal Precautions policies and procedures when performing daily tasks.  Dispose of food and waste in accordance with established policies. Plan and prepare meals for therapeutic diets in accordance with planned menus, utilizing standardized recipes and diet orders.   Document any menu changes and make only authorized substitutions. Assure that food and supplies are readily available for the next meal’s preparation by reviewing the upcoming menus

    8. Assure that daily and weekly scheduled cleaning duties in accordance with established policies and procedures. Assure that dietary service work areas, storage rooms, and equipment are maintained in a clean, safe, and sanitary manner, and in compliance with all applicable regulations.

    9. Develop and maintain a good working relationship with inter and intra departmental personnel within the facility to assure that food service can be properly maintained to meet the needs of the residents and staff.

    10. Other duties as assigned.

    Addendum for Essential Functions if Applicable for multiple departments:
    1. Safe Serve Certification required by Senior Meals- Side By Side Program
    2. Order Meals based on attendance
    3. Provide those with special diets alternative meals
    4. Follow guidelines set by Senior Meals on Wheels for a congregate meal site
    5. Heat food to appropriate temperature
    6. Serve participants hot meal once it is at a safe temperature
    7. Follow participants dietary preferences and restrictions
    8. Sanitize kitchen area before and after serving
    9. Check all fridge temps that have food items in them and report any concerns to management
    10. Document participants and volunteers who receive meals
    11. Prep afternoon snack and create snack menu
    12. Complete inventory check supplies monthly

    Educational / Talent Requirements:

    1. High School Diploma or equivalent
    2. Demonstrated ability to communicate in both written and verbal formats to meet position responsibilities.
    3. Ability to cook a variety of foods in large quantities
    4. Must be able to taste and smell food to determine quality and palatability
    5. Ability to actively support the mission of Hope Network Behavioral Services corporate policy.
    6. Ability to work independently with some flexibility
    7. Ability to self-direct
    8. Demonstrated leadership skills

    Work Experience Requirements:

    1. Prefer 1 to 2 years of dietary experience in a hospital, skilled nursing care facility.
    2. Excellent Written and verbal communication skills.
    3. Previous work experience required

    Performance Requirements:

    1. Demonstrated ability to manage resources, make decisions and exercise good judgment.
    2. Ability to self-direct.
    3. Must be able to work a flexible schedule between the hours of 7am- 8pm, seven days a week. Weekends and Holidays may be required.
    4. Maintain a detailed log of daily work related activities such as tasks completed.
    5. Perform administrative tasks such as completing all necessary and required forms, reports, etc. and submitting to your direct supervisor in a timely fashion.

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Shanghai positions itself as nation’s AI hub

Shanghai is looking to become China’s hot-spot for artificial intelligence and wants to expand the industry scale in the city to more than 100 billion yuan ($15.06 million) by 2020, according to a new municipal plan issued.

The Opinion on Promoting the City’s Next Generation of AI Development was published on the municipal government website, outlining 21 measures to boost the industry. These include steps like forming a world class industry cluster, nurturing 10 benchmark AI innovative enterprises with substantial influence, building six AI innovative application demonstration areas and launching more than 100 application demonstration projects.

“Shanghai’s rich big data resources, wide application of smart technologies, sufficient industries, as well as its affluent research talents have laid a solid foundation for the development of the AI industry,” said Chen Mingbo, director of the Shanghai Commission of Economy and Information Technology.

According to Chen, although Baidu, Alibaba and Tencent, the trio of Chinese internet giants, are not based in Shanghai, the city could be the birthplace of AI unicorn companies, as its conditions are mature.

But to achieve such a goal, Chen said Shanghai should deepen the integration of AI and related industries including high-end equipment, integrated circuits, biomedical, and automotive to establish a set of innovation centers for intelligent manufacturing and industrial internet.

In addition, AI industrial clusters will be built across the city with different focuses like intelligent driving, intelligent robots, intelligent software and hardware. Tailor-made policies will be in place for attracting better talent both from home and abroad to Shanghai, and a strategic advisory committee for experts will be established to aid the city’s AI planning and development, Chen said.

“Shanghai is currently building an AI development alliance, and nearly 300 major enterprises, investment and financing institutions, as well as research institutions have been tapped. We will work on attracting global AI enterprises to locate their regional headquarters and innovation centers in Shanghai,” Chen said.

As a cutting-edge technology that is sought after worldwide, the AI industry is regarded a new growth engine for Shanghai, a city with special advantages in big database, industrial foundation, and sufficient talents from universities and institutions, according to Chen, adding that the massive data resources are the first and foremost element for developing AI technology.

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An Interview With Sandra Meek by Allyson Hoffman

While driving Sandra Meek from the Tampa Airport to the University of South Florida for a reading, I spent much of the trip asking her questions about her travels and trying not to be too enthusiastic about her writing. Be cool, don’t overwhelm her. About halfway into the drive I cracked. I probably said something along the lines of “Sorry for fangirling, but I am in love with your poetry.” Her sincere humility and appreciation of my praises speaks to her character: she is not writing for applause or acclaim, but rather to offer readers a new lens on the world.

Sandra Meek is the author of five books of poetry—Road ScatterBiogeography, winner of the Dorset Prize, Burn, and Nomadic Foundations, as well as a chapbook, The Circumference of Arrival. Her newest collection An Ecology of Elsewhere was released today, May 3, 2016. She is Co-founding Editor of Ninebark Press, Director of the Georgia Poetry Circuit, Poetry Editor of the Phi Kappa Phi Forum, and Dana Professor of English, Rhetoric, and Writing at Berry College.

Meek’s poetry is grounded in the nature, and she describes setting and images with the eye of an ecologist and the precision of a poet. Her careful inquiry and exploration of the relationships between earth and bodies is stunning. I admire the way her poems beg questions of me as a reader and leave me yearning for more, much like her responses to these interview questions do.

AH: In creative writing we often talk about the gray areas among genre—fiction, nonfiction, and poetry. Where do you see your work falling? Has it always been this way for you?

SM: For me, it’s always been poetry. I love how poetry itself is a “gray area,” how, for instance, while at a bookstore prose is stacked by “fiction” or “nonfiction,” and within nonfiction, categorized still further, e.g., “memoir,” “nature writing,” etc., poetry is simply “poetry.” I love how open the genre is, how these boundaries don’t exist, don’t matter, unless the poet herself decides to embrace a particular mode—the documentary, the confessional—over others.

That said, I see my own recent work as increasingly fusing documentary elements, particularly those associated with place–natural history/environmental concerns, political history and currency—with personal experience. My new book, An Ecology of Elsewhere, though it “begins” in personal experience—my extended returns to southern Africa twenty years after my time as a Peace Corps volunteer in Botswana, as well as the travels my sister and I took with my father the last years before he died—draws much more on the documentary than does the book before it, Road Scatter, which was largely about my mother’s illness (lung cancer) and death.

AH: Several of your poems press into the intimacies of illness and grief without the melodrama associated with these subjects. How did you craft the structure of poems such as “Cumulative Sentence” (which is a cumulative sentence divided by sections that begin with the phrase “mother of”) and “In Case, Since You Left, You’ve Been Wondering” (which is a series of responses to unasked questions) instead of writing a traditional illness narrative? How does creating unique structures shape the way you reflect on illness and grief?

SM: When my mother was dying, those last months, she would do things like call my sister and shout “mother” into the phone when one of my sister’s kids answered. The word “mother” often came up in my mother’s increasing confusion, as well as in moments of clarity, when she’d remember things about her own mother and her death.

I actually looked back at my notebooks from that time in order to consider your question. When my mother was dying, those last months she couldn’t stand to be alone, so I’d sit there in her room—all day, often, that last summer. To keep myself sane, one thing I did was write down whatever she would say, things, I see looking back, like “Can Mother go to the bathroom?” Or, when the nurse gave her pills, her asking me, “Mother, are these the right ones?”

After writing these things down, I see I began freewriting about “mother,” how that word seemed to go to the brain’s core, how it seemed all words came from that fundamental one–and of course this felt true for me, too: this was my mother dying, and on one level the very plain fact of that remained incomprehensible. From there in my drafting came the repetition of “mother” and the evolution of the form, which felt true to me to that overwhelming experience of watching the advancing stages of someone you love dying from cancer—especially when that person is the one who brought you into this world. We had nine very bad months. It did feel like a sentence, in the other sense of the word, not just for my mother, but for my sister and me; it felt endlessly cumulative—until it did end.

So, to your primary question—the structure emerged from the nature of the grief. This is true, too, I think, for other poems in the book—for instance “Last Rites,” the only pantoum in the book, the only one I’ve ever written, found that form because in that shock and numb of grief, when I was writing about my mother, I kept repeating phrases; when I saw that happening, I decided to formalize it further into the pantoum, and that helped me to get through what was for me difficult material and hopefully to find a form which isn’t “other” to content, but a part of it.

AH: I’ve often been told to end creative writing in image(s). In your work I see this “rule” bent; some poems end in images with vivid colors, others with sharp sounds or resounding ideas. How do you approach endings? How do you know when you’ve reached the end of a poem?

SM: This is such a hard question! I don’t have any rules or guidelines, beyond just wanting something that resonates without being a heavy-handed “wrap up.”

I think there are actually two questions here, one about when you’ve reached the end of the poem in terms of revising, and another when you’ve settled on the final endpoint of the poem. The ending often changes very late in the process for me. For instance, with “River Horse (Hippopotamus amphibious), Okavango Delta,” the second poem in An Ecology of Elsewhere, when I received the notes back from my (brilliant) editor, he’d identified its original ending as problematic, which at that point made an allusive connection between Shadrach, the name of the man in the poem, and the biblical Shadrach. This ending itself I’d added late in the process of writing the poem because I had a conversation with a scholar friend who’d told me the biblical story of Shadrach (who was thrown into a fire, but not consumed), and there were such strong overtones with the poem that I couldn’t resist adding it. But instead of it being resonant for what was really going on in (and not just in a narrative sense) the poem, it was a distraction. My editor said it needed to be cut, and he was absolutely right. It then took more work, of course, to find the new ending, which, it turned out, was already embedded in the poem. Is it the final ending? Who knows! But I’m much happier with it now, and I’m good with letting it go, with its appearance in the book. It feels final, for now.

AH: So much of your poetry is grounded in setting drawn from real-life experiences. How do you capture a setting when you’re there in the moment, and how do you transport yourself back to those places when you’re writing at the desk?

 SM: Of course, in the moment I try to see as much and as closely as I can. I also take a lot of photos, which for me is an aid, as an alternative view, to observation in the moment, not a replacement for it. Besides notes I also sometimes take, I use these photos as memory triggers and as documentary “evidence” to draw from. I’ll often place one of these photos on my desk, of a place or “object” that feels key to a poem I’m drafting, then when I finish I’ll swap it out for the next poem. I take endless pictures when I travel or when I’m looking at something I’m fascinated by. Recently, I’ve been taking photographs of the progression of a cedar apple rust gall on a juniper tree—really!

cedar apple rust gall copy.jpg

(photo credit: Sandra Meek)

AH: What is one of your favorite writing exercises you’ve given yourself or your students?

SM: One of my favorite exercises I give my students is one that came from my own work–this sounds weird, but once I was writing a poem that I felt needed more blue, and I decided to get some blue paint samples from the home improvement store. Then I realized how fascinating the names of paint colors are. On multiple visits, I collected a lot of these, and now what I do, as an exercise to pay attention to how language occurs in the world outside of formal texts, is have the students sit in a circle on the floor; I throw the pile of samples in the middle of the circle, then give them ten minutes or so simply to grab cards and write down as many names as they can that attract them, for any reason. They have a lot of fun with this, and they’ll shout out to the group particularly funny or strange ones—e.g., “Postmodern White,” which isn’t white at all, but gray. Then, the assignment is to write a poem with a good number of these—I might tell them to use at least ten or fifteen. They always come up with great stuff from this!


A wise person told me to avoid using the words “never” and “always” in negative ways when talking to family members. That worthy advice has served me well. Those damaging words “never” and “always” if used in the heat of a word-tussle can inflict harm because they leave no wiggle room for exceptions.

An angry mom might address a tweener’s failure to put away her wet towels, “You never pick up your towels.” The almost teen has probably put them on the towel rack a few times. If the exception had occurred, that daughter may think poorly of her mom’s word choice. A dad might correct a son’s bad table manners and exaggerate, “You always chew with your mouth open.” You get the drift. If the son had even once chewed with his mouth closed, he’d remember and feel hurt by the overall labeling of him as an open-mouthed muncher.

Conversely, I read three excellent uses of “never” in the Bible. They astounded me. I’d read them before, but here I am at a different time in life, and they mean more. I love the absolutes that these “nevers” represent: Jesus declared himself the bread of life, and whoever comes to him will “never go hungry,” “never be thirsty,” and he “will never drive them away” (John 6: 35-37).

The feeding of the 5,000 preceded Jesus speaking these unconditional “nevers.” A miracle outlined in John 6 (and the three Gospels) reveals the power behind Jesus’ “never” promises: The setting was when Jesus fed 5,000 people (that count didn’t include the women or children). The late afternoon sun glowed. Suppertime neared. Stomachs rumbled, and yet, there were too many mouths and not enough food.

Then, Jesus asked Phillip, “Where shall we buy bread for these people to eat?” Philip didn’t have deep pockets and replied, “Eight months’ wages would not even buy enough bread for each one to have a bite!” (v 5-7). He clearly saw that needs far outreached the resources.

That’s when the Creator of wheat and all the little fishes in the deep blue sea speeded up processes to bypass the usual seasons of growing and harvesting and baking. God sidestepped around fishing, cleaning, smoking and drying of seafood. The disciples had found a lad with five meager barley loaves and two small fish, and when Jesus prayed over the skimpy meal, he created fast food that was good for them.

What a fish story! If kids today eat alphabet soup, the kids that day ate a numerical meal. How can five plus two add up to over 5,000 meals? Pay attention to the crowning glory of that story found in Matthew’s closing remarks, “They all ate and were satisfied, and the disciples picked up twelve basketfuls of broken pieces of bread and fish” (Matthew 14:20). After those leftovers were stored away is when Jesus spoke three “nevers.”

The supernatural growth of bread and fish displayed God’s power that backed up all of Jesus’ claims and promises. Imagine yourself in that crowd with a family of eight to feed. Remember, family chefs, your entire family had eaten supper, and you did no shopping, no cooking, no dishes, no cleanup. Besides that, no whines were uttered, “I don’t like miracle bread and fish,” because “all ate and were satisfied.”

Then Jesus spoke three breath-taking promises: never hungry, never thirsty, or never driven away. The temporary gift of bread fed the hungry for that day. However, Jesus offered more than casual dining; he offered to feed them for an entire lifetime. He could become to each a lifelong feast instead of a supplement. He wanted the position of chef and life-healer to individuals and nations.

Needs often stretch beyond resources. That’s when humble people look to gracious Jesus because he takes care of physical needs and offers soul-deep sustenance. We can’t do it on our own, no matter how much we stress, worry or try to make things happen. He alone nurtures nations and souls as they trust in his power-backed three “nevers:” never hunger, never thirst, and never driven away (John 6:35-37).

Comments welcome at www.cathymessecar.com


Helen Background

Helen Background

Hilda Doolittle—known professionally as H.D.—developed an identification with the figure from Greek myth and history whose faced launched a thousand ships to commence the Trojan War: Helen of Troy. So deep and profound was the evolution of this psychic connection across time and space and language that H.D. published in 1961 a long, complex epic poem titled Helen in Egypt that most critics place second only to her recognized post-World War II masterpiece Trilogy. Nearly four decades before that, however—in 1924—H.D. published a much less dense minor masterpiece titled simply “Helen.”

At eighteen lines, “Helen” is a mere fraction of the length of the more mature later work. The shorter poem is actually less about the real Helen—if, in fact, she ever existed—than about her representation through statuary. The opening line asserts that this statue of one of the most famous women in history has long been reviled by the people of Greece and that hatred expressed toward the beautiful but lifeless statue grows more as time passes. The striking whiteness of the skin of this Helen in a region of the world where olive complexions are the norm is an indication that the poem is directed not to Helen herself, but the memory of her that has become all inextricably confused to the myth. Thus, the revulsion is toward what Helen of Troy represents to the people of Greece, but one step removed from historical fact and always and forever preserved among the ancients.

For a writer whose themes would focus increasingly on gender, sexuality and male dominance in society, the meaning of the poem becomes quite clear: it is about the objectification of women into objects onto which people project their own meaning and interpretation of identity. Toss in the fact that the poet felt such a strong connection to her subject and the next great leap is also a fairly short one: “Helen” is autobiographical more than it is anything about the actual Helen of Troy. If she ever existed in the first place.

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Sunkist Ridge Topo Map

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The trail is located west of Pincher Creek, Alberta, at the West Castle Ski Area. This 9.9-mile out-and-back trail is for adventurous, expert riders only. With a total length of 19.8 miles and an elevation gain of 2,560 feet, this trail will test the strongest riders. It begins at the West Castle Ski area and follows the river of the same name. The area is alive with snowshoe hares and coyotes, so keep your eyes open. It is also a good area for grizzly bears, so ensure that you make some noise as you continue on. As you ride beneath towering Barnaby Ridge to the east and Rainy ridge to the west, the trail crosses numerous washouts from the floods of 1995. The scenery in this area is spectacular, and the valley is narrow. It feels like a box canyon, but the pass, although it may not seem like it at times, does exist. currently offers topo maps from the entire United States. We plan to expand our topomap database in the future, however this map is not available at this time. Thank you for your understanding.


2011-08-30 | 00:40:07 | 1 Kommentarer

- Noah"

Åh. Det är allt jag kan säga.

Sailor Jo

2011-08-30 @ 22:20:11

Fy vad jag har gråtit till denna filmen....

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