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This essay is © 2001 by Charles Johnson, and is freed for credited reprinting and derivative works (but not, of course, for plagiarism) under the terms of the Creative Commons Attribution-ShareAlike 2.0 copyleft license. If you have any questions or comments about the essay, feel free to contact the author.
They are deeply immersed in illusions and dream images; their eye glides only over the surface of things and seesforms; their feeling nowhere leads to truth, but contents itself with the reception of stimuli, playing, as it were, a game of blindman's bluff on the backs of things.
—Nietzsche, On Truth and Lie in the Extra-Moral Sense
In Some Main Problems of Philosophy, G.E. Moore
famously holds up an envelope and directs his audience to inspect it. In
inquiring with them as to what happened, Moore launches into one of the most
hotly debated issues in the past century of Analytic philosophy: the nature of
apprehension, our cognitive relationships to the external objects amongst which
we live, and our ability to make judgments about the world in virtue of what we
see. In his effort to complete the story about the envelope, Moore comes to the
topic of just what
seeing is and what sort of cognitive relationships we
bear to the things we see. In so doing, he turns to the issue of the knowledge
of things, or apprehension, the cognitive relationship by which I am able to
pick out a thing in the world and speak of it. In order to complete his
story about the envelope, Moore must make a distinction between direct and
indirect apprehension of things, which allows him to explain how we speak of
those things which are not immediately picked out by their presence in our
awareness. In considering similar problems in the similarly titled The
Problems of Philosophy, Bertrand Russell develops a distinction that is
in many ways similar—the famous distinction between knowledge by
acquaintance and knowledge by description. Although Russell and Moore's
distinctions address a common problem and seem in almost every respect to be
similar, a tension lurks beneath the surface between the two accounts. The
tension arises from the different standpoints from which Moore and Russell
attack the problem of knowledge of things, and it is cast in the starkest relief
by consideration of their diverging views on the problem of memory and our
awareness of the past. Careful consideration will show that, although neither
Moore nor Russell's approach to our awareness of objects is likely to be
fruitful, the considerations that such comparisons raise highlight a crucial
issue for any doctrine of apprehension, and Russell's account will prove
superior to Moore's in expressing what it is to speak of a thing as it
was. (I.1)
Moore's distinction between direct and indirect apprehension
arises in his effort to complete the story about the envelope. Both Moore and
Russell have thus far agreed that when I beheld the envelope,
a part of what
happened to me was that I saw certain sense-data—a particular whitish
patch of colour, of a certain size and shape (46). In the course of
developing this part of the story, Moore is greatly worried by the apparently
mutually exclusive properties borne by the sense-data observed by each of us.
From different perspectives, it seems as though the envelope appears with many
different patterns of color, perhaps even with different sizes and different
shapes (from different distances and different angles). It seems, then, that the
sense-data impressed upon me cannot be identical with the one envelope that we
all see. Nor can they be identical with the other, mutually exclusive sense-data
seen by the others around me. Moore—in the midst of a great deal of
caviling—lays down three principles, described as
accepted view (because of their supposed widespread acceptance by
philosophers) which he proposes as the most convincing account of how all of
this is: (II.1)
absolutely no part of the sense-data, which I ever apprehend, exists at all except at the moment I am apprehending it.(M. 40) (II.2.1)
no two of us ever apprehend exactly the same sense-datum. They would allow that we might, perhaps, apprehend sense-data exactly alike; but they would say that even though exactly alike—the same in quality—they cannot ever be numerically the same.(M. 41) (II.2.2)
none of the sense-data apprehended by any one person can ever be situated either in the same place with, or at any distance in any direction from, those apprehended by any other person.(M. 42) (II.2.3)
Now, however, we are in something of a pickle. At the beginning of the
exercise we had wanted to say that we all saw the same envelope. But if all we
are aware of is the sense-data that present themselves to us, then there is
nothing common to all of us that we can bring before our minds and say that we
saw the same thing. The sense-data before our minds, on the
accepted view, are different from one another just because they
are before our minds, rather than a single mind. And thus,
having for the
moment accepted the philosophical view that all the sense-data seen by any one
of us are seen by that person alone, we are committed to arguing
if we do in fact all see the same envelope, this seeing of the
envelope cannot possibly consist merely in our seeing of those sense-data
In order to resolve the tension between philosophical reflection and
common-sense intuitions, we must now distinguish (at least) two different ways
for a thing to be before the mind. With the
accepted view of
sense-data in hand, one way of knowing things will be the apprehension of
sense-data that has already been explored. This relationship Moore dubs
direct apprehension, and characterizes in terms of apprehension
of sense-data under the
accepted view, i.e.,
that which
happens when you actually see any colour, when you actually hear any sound, when
you actually feel the so-called (M. 46). Moore later also allows that we have direct apprehension
of propositions, but his basic characterization of direct apprehension is
carefully tailored to accompany sense-data under the
sensation of heat …
etc., etc.
view. In any case it will seem as though anything which counts as the object
of a direct apprehension, except for propositions, will be something
sense-datummy and subject to the conditions of the
view. (II.4)
However, our ability to bring one and the same envelope before all our minds
and say,
We all see the same envelope, there must be another way of
knowing things, another mode in which something can be brought before the mind.
This relationship Moore characterizes as
the relation which you have to a
thing when you do directly apprehend some proposition about it, but
do not directly apprehend the thing itself (74), and he gives it
the name
indirect apprehension. Whereas both forms of
apprehension places us in
some cognitive relation (M. 78) which
enables us to know truths about the thing that we apprehend, direct apprehension
is the picking out of data that are directly confronting the mind in their
experiential richness, whereas indirect apprehension is a much barer relation,
only obtaining in virtue of having the ability to make judgments about the thing
indirectly apprehended. Direct apprehension will be phenomenologically basic,
whereas indirect apprehension will depend upon bringing various propositions
before the mind. (II.5)
With this distinction in hand, the story about the envelope can
now be completed. We all
see the same envelope before
see here is being used in a sense other than
the direct visual sensations that we have of its color, shape, position, and so
on—for the objects of these sensations are, on the accepted view,
essentially private. Rather, our seeing of the same material envelope
consists, partly in directly apprehending certain sense-data,
but in addition to this, being endowed with a cognitive relationship that can
allow direct apprehension of a proposition connecting those sense-data to a
material object, that is,
knowing, besides and at the same time,
that there exists something other than these sense-data (M. 51). Picking out
the material object for all of us to talk about requires our perceptual faculty
to convey the
double existence that Hume so vigorously denied, presenting
to us both a private sense-datum (directly apprehended) and also the ability to
speak of a
something quite other than these sense-data (M. 51). (II.6)
Russell's parallel distinction between knowledge by
acquaintance and knowledge by description also takes its cue from
Russell's efforts to work out a story about the perception of office
supplies. Like Moore, he is confronted with the question of how to string
together many people's radically private sense-data and connect them to
the common envelope (or table) that is being observed. However, Russell leaves
much of the ontological story about sense-data open, and he does not commit
himself to the
accepted view of sense-data in its
entirety—in particular, he does not seem to take any particular stance on
the esse-is-percipi thesis
(1). The worry driving Russell in making his distinction is primarily a concern
about how the sentences regarding a material envelope can be made
meaningful. (III.1)
Russell frames this worry in the familiar terms of knowing what
you're talking about:
it is scarcely conceivable that we can make a
judgement or entertain a supposition without knowing what it is that we are
judging or supposing about (R. 58). Our ability to talk about things (such
as the material envelope) which are not brought before our minds in an
unmediated confrontation requires us to have some cognitive relationship with
the thing of which we intend to speak. But how can we account for the ability to
bring things before the mind beyond the range of that which we primitively know?
In order to get out of this pickle, Russell develops his
distinction between knowledge by acquaintance and knowledge by
description—a distinction which will, initially at least, track many of
the same things as Moore's distinction between direct and indirect
apprehension. We have acquaintance, Russell writes,
with anything of which we
are directly aware, without the intermediary of any process of inference or
knowledge of truths (R. 46). In acquaintance the thing that we know presents
itself, as it were, nakedly before the mind, placing us in a cognitive
relationship to, for example, the color of the envelope such that
I know the
colour perfectly and completely when I see it, and no further knowledge of it
itself is even theoretically possible (R. 47). Acquaintance, like direct
apprehension, is an essentially simple relationship between the knower and the
thing known such that the thing is indubitably identified and available for
judgments, without any need to refer outside of the experience of acquaintance
itself. (III.3)
So far, so good. But Russell has already examined the phenomenology of seeing an object before us, and he has confessed that he failed to find in it any acquaintance with material objects such as the envelope. If he is to speak of the one envelope that we all say we see, then he will need to distinguish a second way of knowing things, which does not require this primitive acquaintance with the thing known. Russell finds this in the notion of knowledge by description. Anything which does not disclose itself to the mind in its full richness, as objects of acquaintance do, must be known to us indirectly, through a description. On Russell's account, like Moore's, our ability to speak of things to which we do not have a direct cognitive relation requires us to pick them out in virtue of our ability to make statements about them. For Russell, this ability is explained in virtue of picking out the object by a description phrased in terms of other things. Thus, (III.4)
There is no state of mind in which we are directly aware of the table [qua material object]; all our knowledge of the table is really knowledge of truths, and the actual thing which is the table is not, strictly speaking, known to us at all. We know a description, and we know that there is just one object to which this description applies, though the object is not directly known to us. (R. 47-48) (III.5)
The table itself does not show up on our cognitive charts, but we can use our knowledge of other things to, as it were, triangulate to the table itself and speak of it, even though it is not directly before the mind. (III.6)
If we are, then, to pick out objects outside of the range of acquaintance by
speaking of them in terms of other objects which we have cognitively picked out,
it soon becomes clear that all of the terms we use in the description must
ultimately be reduced to the names of things with which we are acquainted. On
Russell's view, only objects of acquaintance present themselves as already
picked out; therefore, only objects of acquaintance can provide a foundation
from which to pick out objects beyond the range of immediate experience. He must
introduce the principle of acquaintance as the basic requirement for
any meaningful cognitive relationship involving description. Thus Russell:
The fundamental principle in the analysis of propositions concerning
descriptions is this: Every proposition which we can understand must be
composed wholly of constituents with which we are acquainted (R.
With this distinction in hand, Russell can now survey the field
of human experience to see what sort of things might count as objects of
acquaintance, and what sorts of things will have to be triangulated by a
description. Sense-data have already been taken as paradigmatic examples of
objects of acquaintance, but this is not enough for Russell. In order to connect
objects of immediate acquaintance with things outside of our acquaintance, we
clearly cannot be acquainted only with self-contained particulars. Otherwise
there could be no descriptions that identify anything other than a laundry list
of objects of acquaintance. Russell, therefore, adds acquaintance with
universals (according to what he describes as a roughly Platonic theory of their
nature and self-disclosure) alongside our acquaintance with sense-data. With
these two objects of acquaintance in hand, along with a rich set of logical
operators, he can now begin to form descriptions that pick out objects outside
of the range of acquaintance, as when he speaks of a material envelope or table
the physical object which causes such-and-such sense-data. Such a
description can now be broken down into an existential quantification (logical
operator) for a thing which is (1) a physical object (universal), and (2) causes
[universal] such-and-such sense-data [various particulars]. By combining
universals and particulars with which we are acquainted, we can reason outward
beyond the range of immediate acquaintance and thus
pass beyond the limits of
our private experience (59). As long as a thing to be spoken of can be
completely described in terms of other things which are directly before the
mind, we can say that (in a certain sense) we know it, and we will be able to
speak of it even though our native faculties do not allow us to have it disclose
itself directly to us. (III.8)
Given the outline of Russell's distinction, we can see that there are very close parallels with the distinction made by Moore between direct and indirect apprehension—with acquaintance being roughly equivalent to direct apprehension and knowledge by description being roughly equivalent to indirect apprehension. However, Moore and Russell have approached their doctrines from different directions. Moore developed his distinction between direct and indirect apprehension in order to complete the story about the envelope in light of a doctrine about the ontological status of the objects of our direct experience. On his view, direct apprehension is a phenomenon tightly fitted to sense-data, and indirect apprehension will have to cover nearly everything else. Russell, on the other hand, develops his distinction in light of a principle about the meaningfulness of sentences, and his distinction has far fewer ties to a particular view on sense-data. Because of this, Russell can—and, ultimately, must—add much more to the roster of objects of acquaintance than simply sense-data. Acquaintance less narrowly constructed than direct apprehension, and and it will turn out that this difference in approach leads Russell and Moore's apparently congenial distinctions come into conflict. (III.9)
The most dramatic separation between Moore's and Russell's accounts can be seen when we turn to their accounts of memory. Returning to the envelope, Moore observes: (IV.1)
I look at the envelope again and I see the whitish colour. I turn my head away, and I no longer see it. But I remember that I did see it a moment ago. I know that I did see it. There is nothing that I know more certainly than this. Moreover I know that that whitish colour was: that there was such a thing in the Universe. (M. 49) (IV.2)
What is the nature of the presentation of the envelope in memory? One
potential confusion must be mentioned in order to dismiss it immediately. Both
Russell and Moore note that
memory of an object is apt to be accompanied by
an image of the object, and yet the image cannot be what constitutes memory
(R. 114-115). This is shown clearly enough by the observations that (1)
image is in the present, whereas what is remembered is known to be in the
past (R. 115), and (2) that if the image itself were memory, then
I could
not possibly know that the image which I now see was at all different from the
colour which I saw a moment ago (M. 50), but in fact we can and do evaluate
the images that accompany our memories and speak of whether or not they justly
portray the thing remembered. (IV.3)
Remembering an object, then, is having that object, safe at home in the past, before my mind now, presented to me by the faculty of memory. But what is the nature of this presentation? Is it knowledge by acquaintance or knowledge by description? Is it direct apprehension or indirect apprehension? (IV.4)
Moore argues that memory
is one way of having before the mind,
which is not direct apprehension (M. 47)—indeed, in this
passage he introduces it as a paradigm case of indirect apprehension.
When you remember an object, Moore claims,
you are no longer directly
apprehending the coloured patch which you saw (M. 47). Moore draws an
analogy between the relationship between present sense-data and the material
object with which they are connected, on the one hand, and the relationship
between the present image and the sense-data remembered, on the other. Just as
direct apprehension of present sense-data somehow also elicits indirect
apprehension of the material object, direct apprehension of the mental image
also elicits indirect apprehension of the remembered object. When you turn your
eyes away from the envelope and remember what you saw, there is—so to
speak—a leftward shift in the ledger: (IV.5)
|Material envelope
|Direct app. (Sensation)
|Indirect app.
|Direct app. (Imaging)
|Indirect app. (Memory)
|Indirect app.
Russell, on the other hand, introduces memory as a paradigm case of the
extension [of knowledge by acquaintance] beyond sense-data (R. 48). On
the account of memory he develops,
the essence of memory is not constituted
by the image, but by having immediately before the mind an object which
is recognized as past (R. 115, emphasis added). Here the image is, at most,
a psychological illustration that accompanies the essential acquaintance with
past objects, and our relationship with these objects is no more strained, just
as immediate and cognitively simple, as it was when we had seen them face to
face. In light of further deliberations about problems of fallacious memory,
Russell will eventually recognize that some memories (or
memories so-called, at least) are examples of knowledge by
description, but here as always they are rooted in the primary knowledge of
things, which is the acquaintance—here the acquaintance conveyed in
(primary) memories. (IV.7)
Moore and Russell are each driven to the conclusion that they adopt by the prior commitments that structured their respective distinctions. For Moore, the driving force is his ontological theses about the objects of direct apprehension. For Russell, it is his semantic and epistemic commitments in the analysis of knowledge by description. (IV.8)
We reviewed earlier the three theses which Moore presents as the
accepted view about sense-data, and noticed how
Moore's notion of
direct apprehension is tailored to
fit sense-data under the
accepted view. It should come as no
surprise, then, that the
accepted view theses weigh heavily
in Moore's efforts to place memory in terms of the various ways of knowing
a thing. The first of the three theses, the esse-is-percipi principle, holds
a decisive weight here. Remember that on this principle, a sense-datum exists as
long, and only as long as it is the object of direct apprehension. (IV.9)
As of yet, the thesis does not say anything about memory: whether
I directly or indirectly apprehend something in memory, I apprehend what was
then, not anything that is now. Nevertheless, when (1) is
conjoined with the other two theses (privacy and dislocation), the doctrine that
emerges does bear heavily on memory. Sense-data exist only as long as they are
apprehended because they essentially dependent upon the act of apprehension. The
relationship between the object of direct apprehension and the act of direct
apprehension, in fact, is so tight that wherever there are two distinct acts of
direct apprehension, there must be two numerically distinct sense-data to
accompany them. And now, the pressure of the
accepted view
is brought to bear on memory. If, after turning away from the envelope, I
directly apprehended the envelope's sense-data in memory, then this would
be a second, different act of direct apprehension. As Moore writes, the quality
of the relationship changes such that (IV.10)
the relation which you now have to the image is obviously different from that which you have now to the sense-datum, which you saw but do not now see; while this relation which you now have with the image, is the same as that which you had to the sense-datum, just now when you actually saw it. (M. 47) (IV.11)
And since we have here two separate acts of apprehension, if both
were acts of direct apprehension, rather than indirect, then that very fact
would constitute two numerically distinct acts of direct apprehension, and thus
two numerically distinct objects apprehended. You could not, then
be thinking
of the colour which you saw, and therefore having it before your mind
in a sense (M. 47). Thus it must be that
you are no longer directly
apprehending it (M. 47), that you pick it out by entertaining propositions
about it, but you do not have a direct apprehension of the thing that you
remember. (IV.12)
For Russell, on the other hand, the looming issue in understanding memory is the principle of acquaintance. On his account, in order for me to have a thing before my mind, it must be picked out entirely by things with which I am acquainted. And so it is with judgments about the past just as much as judgments about the present. But here a worry arises: if the only vocabulary with which I can pick out a past thing is what is contained in the directory of objects of my acquaintance, then in order to describe anything before the present moment, I must have some acquaintance which allows me to speak of what has gone before, which is to say, some acquaintance with something in the past. Russell mentions his reasoning briefly twice: (IV.13)
This immediate knowledge by memory is the source of all our knowledge concerning the past: without it, there could be no knowledge of the past by inference, since we should never know that there was anything past to be inferred. (R. 49) (IV.14)
Thus the essence of memory is not constituted by the image, but by having immediately before the mind an object which is recognized as past. But for the fact of memory in this sense, we should not know that there ever was a past at all, nor should we be able to understand the wordpast, any more than a man born blind can understand the wordlight. (R. 115) (IV.15)
We can understand the arguments as a sort of elliptical transcendental argument, and reconstruct Russell's reasoning more or less as follows: (IV.16)
The crucial step in establishing that memory must convey at
least some acquaintance is the introduction of the principle of acquaintance at
step 4, and then the introduction of a principle at step 5 which we may call the
flatness of the present principle. Roughly speaking, on
Russell's account, my acquaintance with present things (sense-data, acts
of consciousness) and timeless things (universals) leaves me with a
perspective on time. There are no objects of acquaintance in either of these
categories which give me cognitive license to speak of a duration of time beyond
the present moment or the view sub specie
aeternitatis. Unless I have acquaintance with past things as
past, I have no way of spreading my judgments outward in time from the
present moment. Flashbacks in the cinema of my awareness would be
indistinguishable from the ordinary forward motion of the plot. (IV.17.9)
It seems, then, that in spite of the initial similarities between
Russell's and Moore's distinctions, there is a deep conflict between
them. If we have knowledge of past things, then Moore's
accepted view with regard to objects of direct apprehension and
Russell's principle of acquaintance come into conflict with one another.
Moore's view requires an essentially ephemeral character for direct
apprehension. Russell's requires acquaintance with past things in the
present. What, then, are we to do? (V.1)
Such questions may themselves be questionable. There are, after all, very good reasons to reject both Moore's account of sense-data and Russell's principle of acquaintance. Nevertheless, even if we reject the motivations for Russell and Moore's solutions on memory, we still must come to some kind of peace with how it is we speak of things that we experienced in the past. How do we get a cognitive grip on such objects? Will a Moorean indirect apprehension do, or do we need Russellian knowledge by acquaintence to account for our knowledge of how things were? (V.2)
Moore, if he were prone to saying such things, might tell the
Russellian that she has the phenomenology all wrong.
When, immediately after
directly apprehending some sense-datum, Moore writes,
you remember that
sense-datum, or remember that you did just now directly apprehend
it, there is nothing more obvious than that you now stand in a different
relationship to the object than you did when you were looking at it. It seems
you are, ex hypothesi, no longer directly
apprehending the snese-datum in question (M. 74). Otherwise, you would still
be seeing it, rather than remembering it. (V.3)
Such a response, however, will only work by begging the question. On Moore's account, it is true that the only way you could still have direct apprehension of the sense-datum is by it continuing to present itself visually to you. A Russellian account, however, can just as easily account for the phenomenological change. Memory, for Russell, simply is a different faculty of acquaintance from the sense of sight. In this way, one is acquainted with the past sense-datum, and why should the phenomenal character of this relationship be like the phenomenal character of being acquainted with a present sense-datum? If Moore assumes that the change from sight to memory requires a change in the underlying cognitive relationship, then he has in fact merely ignored one of his own principles about direct apprehension: with each of the different sensory faculties, Moore argues, (V.4)
what I mean bydirect apprehension, namely, the act of consciousness, is exactly the same in quality: that is to say, the actual seeing of a colour, considered as an act of consciousness, differs in no respect at all from the actual hearing of a sound, or the actual smelling of a smell. They differ only in respect of the fact, that whereas the one is the direct apprehension of one kind of sense-datum, the other is the direct apprehension of another kind. (M. 47) (V.5)
And so, with memory, the phenomenal difference can be understood not in terms of the difference between direct apprehension and indirect apprehension, but rather in terms of the difference between a past object of acquaintance and a present one. (V.6)
Russell, for his part, can renew his transcendental argument on
behalf of acquaintance with the past, even without the demands of the principle
of acquaintance. If the present is inferentially
flat in the way that
Russell argues that it is, then quite apart from Russell's semantic
worries, there will simply be no way to get an epistemic grip on the past unless
I am able to stand towards past objects of awareness independently of the
present objects around me. Without an independent epistemic grasp on the past,
as Russell writes, we will not be able to infer anything about the past, because
we will have no basis on which to suppose that there are past things to be
inferred. Russell's division of our epistemic and semantic lives into
acquaintance and description is certainly not to be accepted uncritically, but
examination of his distinction and comparison with Moore's highlights the
crucial need for a theory of apprehension which respects the timeliness of
things in the world, and raises concerns for anyone explicating our relationship
to the things of which we speak and think. (V.7)


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James Blunt's gay lover is Daniel Powter. Their songs "You're Beautiful" and "Bad Day" were conceived during a homo-erotic orgy in which thousands of innocent hamsters lost their lives. For this reason (but not only this reason), I will now boycott such pathetic attempts at "music." How can the American public enjoy this crap..?
(image: animal photo archive)

subset: commoncrawl


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Tag: Apollo Group
Whatever Happened to Being Self-Sufficient? | Article
Outsourcing your copy center and mailroom can provide more than cost savings.
You are here: Home » Archives for Apollo Group
Outsourcing your copy center and mailroom can provide more than cost savings.
|Value-Driven Sourcing in the Digital Era: The New Playbook
R. Arun Kumar, Capgemini. Sameer Bhagwat, Capgemini. Duncan Aitchison, Capgemini
|Top Ten Reasons Why Outsourcing Fails
Outsourcing Center, Karthik Nagendra, Business Writer
|Customizing Service Level Agreements
Outsourcing Center, Karthik Nagendra, Business Writer
|Transition to Cloud: Challenges and Best Practices
Moninder Bhogal, IMS Solutions Architect, NIIT Technologies, Inc.
|Unlocking Media Industry Innovation with the Cloud
Jeremy Greening, Dell Cloud Services. Jerry Maier, Dell. Barbara Lewis, Outsourcing Center
|Insurance Forecast: The 13 Big Challenges of 2013 or How to Leave the '80s Behind
Beth Ellyn Rosenthal, Senior Writer
|Five Tips for Surviving Outsourcing Orals
Ben Trowbridge, Chairman, Outsourcing Center
|Ten Key Questions for Developing an Effective Service-Level Agreement
Brad L. Peterson, Partner, Mayer Brown LLP
|Running IT at Two Speeds
Alex Martins, TaaS Global Capability Leader, HP
|Is Your Maintenance & Support Approach Making Your IT Sick?
Debbie Fisher, Business Writer, Outsourcing Center


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GBIF data are being used in scientific publications. This page provides an overview of scientific publications, through the literature aggreation service Mendeley, of publications that mention GBIF data or use GBIF data.
Infection by powdery mildew Erysiphe cruciferarum (Erysiphaceae) strongly affects growth and fitness of Alliaria petiolata (Brassicaceae)Garlic mustard (Alliaria petiolata) is an invasive biennial that negatively impacts plant and animal communities throughout North America and lacks significant herbivory in its invasive range....


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Music is essential to the life of our congregation. If you want to join a musical ensemble or an event, please simply show up.
Check out individual events and dates on Music Events at Unitarian Universalist Fellowship of Raleigh MeetUp.
You can listen to many of UUFR's musical offerings on our YouTube channel.
For more information, contact UUFR's Music Director, Yuri Yamamoto.
UUFR Choir
The UUFR Choir welcomes everyone! The choir sings traditional and contemporary SATB (Soprano-Alto-Tenor-Bass) music from the Renaissance to the 21st century.
Choir rehearsals are held each week on Thursday evenings at 7:15 pm during the fall, winter, and spring and at 9:20 am on Sundays when the choir is singing.
Chime Choir
The Fellowship's Chime Choir performs at special worship services throughout the year.
JoyUUs Singers
JoyUUs Singers rehearses and Sings for select Sunday worship services during the year. This is an intergenerational pick-up choir.
Summertime Singers
Summertime Singers rehearses and sings for select Sunday worship services during the summer. This is an intergenerational pick-up choir.
UUFR Coffeehouse
Monthly open mic musical performances. Third Fridays at 7:30 pm in Founders Hall.
Folky Friday
An evening of singing and playing in the folk and acoustic music tradition. Second Fridays at 7:15 pm in the Clara Barton room (Peace Hall).
Lunchtime Inspirational Music
A moment of solace in a busy day featuring mostly improvisational music without talking or applause. Fourth Tuesdays at 11:45 am in the Sanctuary.
Ministry of Music (MOM)
Fellowship musicians and singers bring music, joy, and love to people who are at nursing home, hospice, hospital or home. We usually sing old favorites that are easy to sing along. Once you join the MOM Google Group, you will hear about upcoming visits. You can join whenever you are available.


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Homework for Nov. 9, 2015
The order of operations worksheet is due tomorrow. The Q1 folder quiz will also be tomorrow.
Homework for Oct. 16, 2015
ALL CLASSES: The inequality worksheet is due on Monday. The quiz will be on Tuesday. There will also be a test next week on inequalities and coordinate planes.
Homework for Oct. 15, 2015
ALL CLASSES: The inequality worksheet is due tomorrow. Students need to study their notes on inequalities. There will be a quiz next week.
Homework for Sept. 23, 2015
1st, 2nd, and 7th Periods – Study all notes and examples on integers. There will be a quiz on Friday.
6th Period – The worksheet on integers and absolute value "Sum it Up" is due tomorrow. There will be a quiz Friday on integers.


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Mayor Richard Daley, Gov. Pat Quinn and a host of other Democratic politicians gathered Monday at a South Side park to boast of a new law mandating prison time for gun-toting thugs -- but ended up facing a barrage of questions about whether they are doing enough to combat crime.
The setting, Cole Park in the Chatham neighborhood, was chosen because Chicago police Officer Thomas Wortham IV recently was gunned down outside his parents' nearby home. The suspects are young men, including one who Daley said was recently paroled on the kind of gun charge targeted by the new law.
The Daley-backed law, signed by Quinn at the park, sets a minimum sentence of one year in prison for someone convicted of carrying a loaded handgun without a state firearm owner's identification card. Previously, probation was possible.


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Prospective parent visitations offer a chance for parents to observe classes in session, receive a campus tour, and hear about our Curriculum and the Admission process. Parent visits are held throughout the year at all times by appointment.
Please call: 214-507-0130
or email: firstname.lastname@example.com
The German International School in Dallas admits students of any race, color, national and ethnic origin to all the rights, privileges, programs, and activities generally accorded or made available to students at the school. It does not discriminate on the basis of race, color, national and ethnic origin in administration of its educational policies, admissions policies or any other school-administered programs.


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Smutty Tingles
The judgy moms came for a dad this time (Dlisted)
Taylor Swift has to explain her selfies, I don't understand why (Just Jared)
Alicia Vikander looks great in white. But is this too much belt? (Cele|bitchy)
Dawson and Pacey! (Pop Sugar)
They're talking about a third royal baby already (Celeb Dirty Laundry)
Selena Gomez on Broadway? (OK!)
Katherine Heigl in a cute outfit, actually (Popoholic)
Mary-Kate and Ashley don't pay well? (College Candy)
So, I don't want to defend that family but isn't this something he should have addressed before going to air? (Jezebel)


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The MSR Hubba NX Footprint is protection for the Hubba NX Tent. Cut to the specifications of the Hubba NX, it won't do for any other tent. Lay it out, then pitch and let the water and grime touch the footprint instead of your tent.
So sorry, but only 4 items are allowed for comparison, so we're comparing the first 4. I blame the gnomes and so should you.
Would you like to compare the products you have selected now?


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everyday wonderful IMAGINARY-MUSEUM to enhance your feeling of well-being!
viewed by more than thousand of everyday visitors from 182 countries
- World Gallery welcomes your Posting, Exhibit and Selling of your Paintings, Photos and Artimages -
Wednesday, December 24, 2014
Niklaus Manuel Deutsch
Pyramus and Thisbe
ca. 1520
distemper on canvas
151.5 × 161 cm
Kunstmuseum Basel, Switzerland
Niklaus Manuel Deutsch (1484-1530) was a Swiss painter, engraver, stained-glass designer, dramaturg and statesman. He was a gifted artist who made highly realistic etchings and became known locally for his satirical plays. He became known internationally as a friend of Huldrych Zwingli from his teenage years and a strong supporter of the Protestant Reformation. In Bern, he campaigned for the reformed cause with the priest at St Vincent Munster. He devoted much of his life to furthering the Protestant Reformation as a soldier, writer, and statesman. He was a true "Renaissance man."
He was a son of an Italian apothecary who had immigrated to Switzerland. Scholars know nothing of his training and assume that he was self-taught. His earliest dated painting shows the influence of a local artist and of the graphic work of Albrecht Durer and Urs Graf. He primarily painted large, colorful works on religious and classical themes. He often depicted witches and stressed the theme of the power of women.
In 1516 and 1522, he fought as a mercenary soldier for the French in Lombardy, where he was injured. After 1521 he devoted increasing energy to poetry and to building support for the Reformation through government service and political writings, mainly plays. He signed his works as NMD.
Posted by merryhaha at 02:50


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Vehicle flees after causing crash on Holmes Road
PITTSFIELD — A Dalton man was injured Wednesday when the van he was riding in was struck by an SUV that was involved in a road rage incident, according to Pittsfield Police.
The SUV driver, who fled the scene, was arrested a short time later and is facing several charges.
Trevor Maffucio, 20, was heading north on Holmes Road about 10:20 a.m. in red Ford Escape when he crossed the double yellow line to pass another vehicle at high speed just south of Shetland Drive, police said. The driver of that vehicle told police Maffucio had been tailgating him since they were both on Route 7 in Lenox.
An employee of Pignatelli Electrical Contractors in Lenox was heading south in a company van with another passenger Maffucio veered into his lane, police said. The driver swerved out of the path of a head-on collision, but the vehicles still collided.
After the crash, Maffuccio lost control of the SUV, which spun out, struck a bridge and went off the road and into the woods, witnesses told police.
Maffuccio then drove back on to the road and left the scene, continuing on to Williams Street, where an officer heading toward the crash spotted him driving the damaged vehicle slowly with its hazard lights.
The vehicle's side airbags had deployed and one of its wheels had been pushed sideways underneath the body of the SUV. He was the only occupant of the vehicle.
Maffuccio was arrested and charged with leaving the scene of a personal injury accident, leaving the scene of a property damage accident and reckless operation of a motor vehicle.
He was arraigned later in the day in Central Berkshire District Court; his bail status was unknown. He did not appear to be injured.
Scott Pignatelli, owner of the contracting company, praised the quick reaction by his driver, which he said likely avoided a much more serious crash. The driver was not injured.
Shaun Delmolino, 50, a passenger of the van, was transported to Berkshire Medical Center, where he was treated for injuries that were not believed to be life-threatening, police said.
Reach Bob Dunn at firstname.lastname@example.com, at @BobDunn413 on Twitter and 413-496-6249.
If you'd like to leave a comment (or a tip or a question) about this story with the editors, please email us. We also welcome letters to the editor for publication; you can do that by filling out our letters form and submitting it to the newsroom.


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Source: Menswear Trends, 2018, Fairchild Books Library
In trend forecasting we are not initially researching one particular area of interest, but gathering information on as many areas as possible. Even in fashion, one needs to be aware of what is happening in areas as diverse as politics and the economy. These areas are intertwined and ultimately influence fashion. Politics directly influences society and economics, which will ultimately influence spending. At times of economic uncertainty, spending goes down and also becomes more concentrated on es
Source: Dress and Ideology. Fashioning Identity from Antiquity to the Present, 2017, Berg Fashion Library
François Rabelais (1494–1553), a major French RenaissanceRenaissance writer and humanist, dedicated five novels to a family of giants and their adventures. Although these books are written in an amusing and satirical vein, through them Rabelais denounces Middle Ages backwardness and promotes Renaissance values; according to David M. Posner, "[t]he comic or parodic aspects of the text are, for Rabelais, inseparable from the hermeneutic act, and are essential both to accurate reading and to a recog
Source: Paris Fashion. A Cultural History, 3rd Edition, 2017, Berg Fashion Library
La toilette est l'expression de la société.
Source: Paris Fashion. A Cultural History, 3rd Edition, 2017, Berg Fashion Library
Chacune de ses robes m'apparaissait comme une ambiance naturelle, nécessaire, comme la projection d'un aspect particulier de son âme.
Source: The Superhero Costume. Identity and disguise in fact and fiction, 2016, Berg Fashion Library
Superman's othernessotherness is firmly established in a costume that is identical from day to day. Wearing only one costume, Superman reduces his core values to a single, consistent message which is not compromised by daily adjustments to his wardrobe. This kind of "distinctive persistent dress," finds Gregory Stone (1981, p. 144), is more commonly associated with professional responsibilities than with personal identity, and so through consistency of dress, Superman presents himself as acting i
Source: The Superhero Costume. Identity and disguise in fact and fiction, 2016, Berg Fashion Library
Those superhero costumes that remain most static over time are largely symbolic. When costumes are utilitarian, as with Iron Man (character)Iron Man's suit, extreme transformation is justifiable as a technological development. By contrast, the costumes of Superman (character)Superman and Wonder WomanWonder Woman, which do little to enhance their performance, remain relatively consistent. Such garments function through stylistic or, following Barthes, RolandBarthes, linguistic expression, more tha
Source: Fashion Photography Archive, 2015, Fashion Photography Archive
Source: Fashion and Jazz. Dress, identity and subcultural improvisation, 2015, Berg Fashion Library
There has been a narrative of narcotics in American popular culture. Narcotics are one of the five classes of drugs regulated by the Controlled Substances Act (CSA)Controlled Substances Act (CSA) in the United States. Classified as a Schedule I substance under the CSA, 21 U.S.C. § 812, heroin has "a high potential for abuse, no currently accepted medical use in treatment in the United States, and a lack of accepted safety for use under medical supervision" (Drug Enforcement Administration 2012a).
Source: Fashion and Celebrity Culture, 2012, Berg Fashion Library
'Celebrity culture' in a recognizably modern but still rudimentary form could be said to have emerged in the late eighteenth century. The period witnessed the new scientific discoveries and consequent technological developments associated with the Industrial Revolution. They would transform Western society from a predominantly rural one into one increasingly centred on urban and industrial life. Some of the new technologies also made possible the wide circulation of printed material—newspapers, b
Source: Fashion and Celebrity Culture, 2012, Berg Fashion Library
An installation at the Venice Biennale of 2009 set out to provide a picture of, or commentary on, the contemporary art world. But it proved, in retrospect, as problematic as trying to portray or parody fashion on film. The Dutch and Nordic pavilions were twinned that year, to display linked installations created by Michael Elmgreen and Ingar Dragset, two artists whose installation 'The Collectors' was intended, presumably, to illuminate the activity of that species. The Dutch Pavilion was created
Translated by Sveva Scaramuzzi
Source: Berg Encyclopedia of World Dress and Fashion. West Europe, 2010, Berg Fashion Library
The concept of human "race" was extended for the first time from its meaning of "lineage" or "descent" by Georges Cuvier (1769–1823) who gave it a classificatory, hierarchical meaning. During the nineteenth century, this conception led to racial biology and eugenics. Notwithstanding the researchers' intentions, the idea of "race" constituted the basis for nineteenth- and twentieth-century racist ideologies. The idea of feminine beauty also evolved in relation to the genesis of racism. Fashion bec
Source: Berg Encyclopedia of World Dress and Fashion. West Europe, 2010, Berg Fashion Library
Miser's purses were one of the most popular purse styles in the nineteenth and twentieth centuries. Crafted in myriad colors and designs, they were made for personal use, as gifts to loved ones, or for commercial sale. These purses were deeply embedded in nineteenth-century popular culture as well. The development of the purse's form and its social and symbolic roles can be explored by relating references found in nineteenth-century literature and paintings to accounts of these accessories found
Source: Berg Encyclopedia of World Dress and Fashion. Global Perspectives, 2010, Berg Fashion Library
Details about identity are conveyed through dress, which plays an important role in the arts worldwide. The visual arts comprise painting, sculpture, photography, printmaking, rendering, illustration, tapestry, mosaic, and masks. Visual evidence of people using dress dates to the Upper Paleolithic, forty-five thousand to ten thousand years ago; the plump stone "Venus Figures" appear to have styled hair and skirts made out of string fringe. In the visual arts dress acts as a shorthand method of co
Source: Berg Encyclopedia of World Dress and Fashion. West Europe, 2010, Berg Fashion Library
The stories of Beatrix Potter would have no plots, someone remarked, if the animals had no clothes. This cannot be said of fictional characters in general, but all the same, authors do not usually send their characters naked into the world—dress can play a surprisingly important role in their narratives. The clothes described and illustrated by Potter anchor her animals to a workaday rural society. They bridge the gap between nineteenth-century reality and Potter's version of it: a miniature worl
Source: Berg Encyclopedia of World Dress and Fashion. East Europe, Russia, and the Caucasus, 2010, Berg Fashion Library
Among many French travelers who described Russia's native attire were artists, politicians, and historians. The most popular memoirs were those of Louis-Philippe de Ségur (1753–1830), French ambassador to Russia under Catherine the Great. The count stated that in Russia, "red" (krasniy) is equivalent to "beautiful" (krasiviy), because, observing the predominance of red in peasant festive dress, he perceived it as the color of national holidays. Court painter Vigée LeBrun (1755–1842), who emigrate
Source: Berg Encyclopedia of World Dress and Fashion. South Asia and Southeast Asia, 2010, Berg Fashion Library
Sewn garments are rarely seen in early Indian sculptures, although they were worn by attendants or foreigners. Stitched garments were allegedly introduced in India in the early Christian era, when tribes migrated from Central Asia, or through the coming of Islam. Early Buddhist literature, however, contains several references to stitched clothing. During the Gupta period (approximately 280 to 550 c.e.), fully tailored, partly stitched, and unstitched costumes were fashionable. By the late twelfth
Source: Berg Encyclopedia of World Dress and Fashion. East Europe, Russia, and the Caucasus, 2010, Berg Fashion Library
In 1900 Edith Durham followed medical advice to take an annual trip. She traveled to Montenegro, beginning an involvement with the Balkan peoples that lasted the rest of her life. In the next twenty years Durham traveled widely through areas broadly comprising the former Yugoslavia. She documents her early travels in her first book, Through the Lands of the Serb (1904). She was asked to undertake relief work in Macedonia in the winter of 1903–1904. The political situation was increasingly unstabl
Source: Berg Encyclopedia of World Dress and Fashion. Central and Southwest Asia, 2010, Berg Fashion Library
The Ottomans were a world power in the Mediterranean for several centuries, with their empire extending at its height from Tabriz in the east around the Arabian Peninsula, the Levant, Egypt, and across North Africa to Algiers. In Europe, they controlled much of Hungary, the Balkans, and Greece. Although it took nearly two hundred years to assemble this vast empire, their role as a world power was assured with their conquest of Constantinople in 1453. From that point until the defeat of the Ottoma
Source: Berg Encyclopedia of World Dress and Fashion. Central and Southwest Asia, 2010, Berg Fashion Library
Information on dress in Southwest Asia (also referred to as the Middle East or the Near East) is derived from both primary evidence, such as actual textiles and garments or tools for textile production, and secondary evidence, which includes textual and pictographic sources. Textual sources incorporate not only written references to dress in prose or poetry but also laws, trade accounts, inventories, wedding contracts, travelogues, and so on. Depictions of dress can be found in paintings, frescoe
Source: Berg Encyclopedia of World Dress and Fashion. Central and Southwest Asia, 2010, Berg Fashion Library
The expansion of the Ottoman Turkish Empire—from modest beginnings in Anatolia during the thirteenth century to control over territories spanning the Balkans, the east coast of the Mediterranean and Egypt, much of North Africa, Iraq, and Arabia by the late sixteenth to early seventeenth centuries—provoked much concern and curiosity among the European states who encountered its power. From the late fifteenth century on, Europeans visited the capital, Istanbul, and the rest of the Ottoman world in
Source: Berg Encyclopedia of World Dress and Fashion. Central and Southwest Asia, 2010, Berg Fashion Library
As with many areas of academia, the study of dress is not homogeneous. Many individuals and groups throughout the world are working (and often working in isolation) in the field of Central and Southwest Asian dress. In particular, there are scholars in Iran, Turkey, and parts of the Arab world who have a vast knowledge of their regional forms of dress, but this knowledge, for various reasons, is not widely available. Ironically, although dress is one of the easiest ways to gain access to another
Source: Berg Encyclopedia of World Dress and Fashion. Central and Southwest Asia, 2010, Berg Fashion Library
The early medieval period in Southwest Asia was a time of change, with an increase in wealth and trade, especially via Central Asia with China, along the so-called Silk Road. In addition there was political and social stability following the establishment of the Abbasid dynasty in 749 c.e. The Abbasid caliphate flourished for two centuries before going into decline and was one of the great Muslim caliphates of the Arab Empire, known for its arts, literature, and architectural achievements, and al
Source: Berg Encyclopedia of World Dress and Fashion. East Asia, 2010, Berg Fashion Library
A continuous written record concerning Chinese dress dates back to the fifth century b.c.e. It coincides with, and partially informs, the very extensive archaeological record for China and parts of Inner Asia that came under Chinese control at various times in history. Some of the most ancient records describe the role of appropriate dress in ensuring the efficacy of state rituals. Later, these writings would be used to promote ideals of social order and reinforce the notions of the superiority o
Source: Berg Encyclopedia of World Dress and Fashion. East Europe, Russia, and the Caucasus, 2010, Berg Fashion Library
The processes of imitation and adaptation are central to understanding creativity. Human cultures evolve through a continuous exchange of ideas, beliefs, habits, and forms. The rise of a Western-type society in Greece in the nineteenth century provides an example of the interplay between different ideas. Dress and fashion in particular constitute a fertile field where such exchanges take place. Exaggerations of Western fashion, as well as in other manifestations of imitating the West, became a so
Source: Berg Encyclopedia of World Dress and Fashion. East Europe, Russia, and the Caucasus, 2010, Berg Fashion Library
Only a few Western travelers have focused specifically on the dress they encountered, and travel books generally devote a very small proportion of their texts and illustrations to clothes or national dress, often observing simply that they were "picturesque" or "colorful." Most include at least one photograph of a woman in national dress, but without precise information. Many travel writers focused more on architecture, although this can include early dress depicted in frescoes, paintings, and th


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personal style
Genuine confidence and positivity about your appearance is a hugely powerful thing.
Exploring and discovering your own personal style gives you the boost to clear whatever hurdles have been put in front of you - job woes, a tricky relationship or simply a slightly unfulfilling lifestyle.
I don't believe that uncovering your own personal style is as simple as deciding to fit into a particular 'own this classic capsule wardrobe and all your troubles will disappear' shaped box; finding out the clothes that make you look and feel amazing is a much longer, slower process. It is absolutely worth it though. Finding the right wardrobe for you brings with it a whole host of super powers.
I've got lots of tools planned to help you uncover and explore your own personal style, but meanwhile there's an ever-increasing exploration of my personal style journey on the blog, I hope you'll take a moment to stop by.
If you're looking for my work as a personal colour and style analyst, please visit my House of Colour page.


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Festival of the Arts
Known as Oklahoma City's annual "rite of spring," the Festival of the Arts is a six-day community celebration of the visual, culinary and performing arts. Come to the Festival of the Arts to view the creative works of over 140 artists from across the nation. Also enjoy a large-scale Sculpture Park exhibit on the Stage Center Lawn.
The Festival of the Arts is famous for its International Food Row. Sample delicious ethnic food or stay with tried-and-true festival favorites. From scrumptious Indian tacos to heaping platters of Brazilian food and Mexican ...
- Start:April 25, 2017
- End:April 30, 2017
- Where:Bicentennial Park, 500 Couch Dr, Oklahoma City, Oklahoma, United States
- Phone:N/A
- Event Type: Festivals & Fairs
- Ticket Price:N/A


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The Foundation and the SAG-AFTRA Motion Picture Players Welfare Fund (MPPWF) have started a Hurricane Relief Fund to provide urgent financial support to SAG-AFTRA members and families affected by all of the recent storms and flooding. We are partnering with The Actors Fund to administer the relief efforts on the ground, ensuring all SAG-AFTRA members receive the help they need.
If you, or a SAG-AFTRA member you know, is facing hardship due to the devastation caused by Hurricanes Harvey, Irma, Jose, or Maria, we are here to help in this difficult time.
SAG-AFTRA members are eligible to apply to the Hurricane Relief Fund if they are currently active and have paid their dues through April 30, 2017.
Affected and eligible members may apply by contacting the Actors Fund intake services directly:
For those impacted by Hurricane Harvey, please fill out the application for assistance at www.actorsfund.org/GetHelp. For questions, please contact The Actors Fund's Los Angeles Office — (323) 933-9244, ext. 455 or email@example.com
For those impacted by Hurricanes Irma, Jose and Maria, please fill out the application for assistance at www.actorsfund.org/GetHelp. For questions, please contact The Actors Fund's New York City Office — (212) 221-7300 ext. 119 or email@example.com
The process has been streamlined to speed relief, and consists of a quick, confidential and non-invasive application and consultation to establish need. During the consultation, the social services professionals will also assess each applicant's need for additional assistance, programs or services.
In times like these, we are not just SAG-AFTRA members, we are family.
The SAG-AFTRA Foundation is currently taking donations for the Hurricane Relief Fund. Every donation counts, big or small, and 100% of your donation will provide relief to hard-hit SAG-AFTRA members in the affected regions.


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Paul Pogba pictured in Los Angeles for Manchester United medical as deal nears completion
Paul Pogba has arrived in Los Angeles to undergo a medical ahead of his world record move to Manchester United, according to numerous reports.
The deal is picking up pace again after appearing to stall in recent days and is now expected to be completed by the weekend.
Paul Pogba arriving in Los Angeles yesterday ahead of undergoing his Manchester United medical. pic.twitter.com/n4FE6kH9o7— Transfer Related (@TransferRelated) July 29, 2016
United look set to pay Juventus £92m for the Frenchman while a further £20m will go to agent Mino Raiola. All issues involving the agent's fee also appear to have now been resolved - the Italians will contribute £4m while United will cover the remaining £16m.
Back at Old Trafford, Bastian Schweinsteiger looks set to be axed as the first big-name casualty under Jose Mourinho, according to the Daily Express.
The German did not train with United's first-team squad on Thursday and was absent from training footage released by the club.
It's thought the midfielder has been told he can leave the club 12 months after signing from Bayern Munich in a £6.5m deal.
It's expected Schweinsteiger will be joined by a handful of younger players who have also been told they can pursue the option of first-team football elsewhere.
Read more here:
- Here are the nine players ready to leave Old Trafford as Paul Pogba arrives at Manchester United
- Shots fired: Jurgen Klopp hits out at Manchester United transfer policy
Independent News Service
Related Content
- Here are the nine players ready to leave Old Trafford as Paul Pogba arrives at Manchester United
- Shots fired: Jurgen Klopp hits out at Manchester United transfer policy
- Pics: Manchester United reveal classy looking new third kit for next season


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Paul Wells
The Longer I'm Prime Minister: Stephen Harper and Canada, 2006 –
Random House Canada
Veteran political columnist Paul Wells has crafted a fast-paced, romping great read about a Prime Minister who is frequently described by the Parliamentary Press Gallery as dull, plodding, and inscrutable. Though viscerally funny and often biting, this book is never partisan or unfair. Impeccably researched, gorgeously written, and deeply insightful, The Longer I'm Prime Minister is an essential read for all political junkies.
Picking up where he left off in Right Side Up: The Fall of Paul Martin and the Rise of Stephen Harper's New Conservatism, veteran political writer Paul Wells delivers an authoritative, engaging, and critical account of Stephen Harper since his Conservative Party won the federal election in 2006. Relying on a trove of sources, Wells explores how no matter the ups and downs, the triumphs and the self-inflicted wounds, Harper has been moving to build the Canada he wants – the Canada a significant portion of Canadian voters want or they wouldn't have elected him three times. The Longer I'm Prime Minister explains Harper not only to Harper supporters but also to readers who can't believe he's already been in power longer than Lester B. Pearson and John Diefenbaker.
Paul Wells is the political editor of Maclean's magazine. His previous book, Right Side Up, was chosen as one of the Best Canadian Political Books of the Last 25 Years by the Writers' Trust of Canada and Samara. Wells has worked for the National Post, the Gazette (Montreal), and has written for L'actualite, La Presse, Time, and the Literary Review of Canada. He lives in Ottawa and can be followed on Twitter at @InklessPW.
September 19 for books published between June 20 and September 18, 2018
We asked some of Canada's finest writers about what they are reading this summer.
Read their Recommendations.
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5 production days
- characters without faces
- simple background
- minimal movement
Funk-e makes 75 second explanation animations that can be used to clearly explain your product, concept or internal policy. Watch our awesome animations below!
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How much explanation do you need in your animation? We have three levels of explaining: simple, basic and extended. More explaining means, amongst others, more elaborate backgrounds and characters. This allows for more humor and visual jokes.
Are you wondering what your animation would look like?


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Fill out the information below. You will receive the link where you can download the Annex.
Solutions General Industry
Welding cell for sprinkler tubes
With AWL's Basic welding concept you are able to weld sprinkler pipes in an automatic way, ensuring an excellent weld quality and an output of up to one socket per minute.
In order to produce these prefabricated tubes in a cost-effective way, AWL has developed three unique concepts which, being based on your requirements in flexibility, level of automation and output, will meet your needs. All AWL concepts are based on standard proven building blocks, making them reliable, safe and fast to integrate into your production facilities. There is also the possibility to include pre-production processes like grinding and grooving.
This basic entry-level concept is a stand-alone welding machine developed for welding small mixes of pipes with an
average output. Loading and unloading is manual, while the welding is automated.
Flexibility is important with the manufacture of prefabricated pipes. Each building has its own special requirements. AWL's machines are designed to work with different ranges of pipe diameters and lengths, as well as with different sockets.
AWL has integrated an HMI panel in the machine, in which the operator only has to enter the requirements of the pipe, such as length, number of sockets, positions of sockets and number of pipes, in order to produce a pipe with those characteristics.
A leaking pipe can be a big problem. With the AWL machines the welds are done by a robot. This allows a weaving to be done while welding, thus making a thicker weld seam. Optionally, the welding system can monitor the welding parameters. If one of the pre-established parameters is out of the defined values, it means that the socket just welded could have a fault. Our system automatically marks the sockets suspected of having a welding error.
Robots are the most common solution for welding in many industries. By integrating commercial elements which have been proven in other industries, AWL brings state-of-the-art equipment to the sprinkler segment.
AWL is a key supplier of welding machines for the manufacture of prefabricated sprinkler pipes.
- AWL - Techniek
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Monday, September 25, 2006
DICK HECKSTALL-SMITH – ONE FOR THE ROAD A Sunday morning, April, 2004 Dick Heckstall-Smith is being driven by a neighbour and accompanied by his manager as they journey from Fortune Green in North West London to Bristol. After several years of slowly failing health, resulting, in the last year at least, in many cancelled gigs, DHS is travelling to play a come-back/warm-up show with British blues performer Eddie Martin. Sax players need to practice every day, play live whenever possible, just to maintain their craft, just to keep their lungs in shape. In the last year, he has regretfully had to pull out of both legs of a Colosseum reunion tour of Germany. The prospect of summer shows with his old band in Germany loom, but first Dick has another major show to prepare for, an appearance at the Odense Blues Festival in Denmark in the company of the British Blues All-Stars. First of all though, the matter of today's gig with Eddie. Dick is sitting in the back of the car resting, reading the Observer newspaper, engaging in fragments of conversation about a bewildering variety of topics. How it will be good to see Eddie again, how arrangements for Odense are going, and where exactly are those weapons of mass destruction? Fifty years of motorways, service stations, check-ins, checkouts, sound checks and one-night stands have not diminished Heckstall-Smith's hunger for playing, his total enthusiasm for music and the people who create it. A friend and colleague of Dick's, fellow tenor player and former Gil Scott-Heron sideman Ron Holloway described him as being "so in love with playing his horn and the act of creating music." On this cold wet day in April, Dick must know at some level that for him the road is winding down, but his far from ready to accept this, rather electing to concentrate on forward planning. There is much talk in the car of a new-recorded version of his 1995 suite "Celtic Steppes." The original piece, recorded with a twenty plus piece big band, a flawed yet whole-hearted and at times brilliant attempt to marry Celtic themes and history within the structure of a large jazz band. Now, the plan is for a vocal parts to be added to the original work, and to expand the whole with the addition of "Midi-Evil", an existing piece first premiered with Heckstall-Smith's DHS$ band in the early 90's. Dick's great wish is for the newly invigorated "Celtic Steppes" to finally get a public performance. The thought of this project, allied to the prospect of getting out on the road again to play the blues, and to play once again with Colosseum, is what is keeping him going. They arrive in Bristol by mid-afternoon. Dick first played with Eddie Martin some nine years before, after invited Dick to sit in with him at a Sunday lunchtime gig in Weston-Supermare. That show was the first time they had ever met, but in the intervening years, a friendship has developed, based partly on mutual admiration. Heckstall-Smith has enjoyed many such relationships during a long and eventful career. From early days playing jazz at Cambridge University, through days with The Sandy Brown Jazz Band, much freelancing, and notable spells with Alexis Korner's Blues Incorporated, Graham Bond ORGANization, John Mayall's Bluesbreakers, and of course Colosseum, one of the first bands to marry jazz and rock themes together. In the years since Colosseum first folded, in 1971, Dick Heckstall-Smith has recorded four solo albums, quite a few collaborative projects, many guest spots, and worked live with a stream of bands in a variety of styles. He has worked all this time because it has been a financial necessity, but also because music is what he does, an essential part of who he is. As Ron Holloway says of him now, "He was a force of nature when he put a tenor saxophone to his lips." As Eddie Martin and his wife clear the plates away after Sunday lunch, the force needs recharging, and Dick takes a nap, before the get in for that nights show. We turn up at the waterfront pub an hour or so before the show. Already a few people are getting into position for the show. One very drunk kid, no more than twenty, approaches Dick and his manager. He has a small VHS recorder in his hand, and tells us that his father has been a lifelong fan of Dick, but is unable to get out of the house these days. Would it be ok if he filmed the show so he could show it to his Dad later? The manager tends not to believe this story, but Dick does, and gives his consent. Later in the evening, the would be filmaker will be seen standing outside the bar throwing up. No filming is made. Onstage, Eddie Martin transforms himself from a soft spoken, gentle guy into a driven blues performer. This is his home territory, and with his small tight band, he rips into the packed sweaty audience with fine searing blues guitar. Dick joins him onstage to great applause. The manager listens to the reaction of the crowd. Some are aware of Dick's history, talking of the legends he has played with, from Jack Bruce and Eric Clapton to beyond. Others say Dick who? They all respond as he plays though. His playing is a little hesitant by his high standards, lacking the confidence and energy of his greatest performances, but the pleasure on his face, in his stance, is there for all to see, and there are moments when he hits a note to die for. There are always moments like these when he plays. Towards the end of the set, he is tiring visibly, but both he and the crowd are having fun, and Eddie is in his element, choking more life out of his cherry red Gibson. The manager, a player a long time before, gets up for the encore. Dick is generous in every way as he does so, and then it is over. Dick sits on the stage as people gather to talk to him. One person has a collection of old Decca LPs which he wants Dick to sign. He is deathly pale by this time, and on leaving, has to be supported on either side by the manager and the neighbour. Playing has taken everything he has out of him, and he has nothing left to make his legs work to any useful degree. Most people feeling as ill as he is would have been home in bed, maybe for the whole day, but Dick still has music to make, and that comes before anything. To be playing, to be around musicians, to be up there on the stand, in his own words, "The Safest Place In The World" Dick sleeps most of the way home, surfacing now and then, still full of plotting and new plans. He makes it to the Odense show the next month, he and Long John Baldry both pushed around in wheel chairs by volunteers. It will be his last major show. Six months later, he will have passed away, leaving so much music unplayed, so much undone, but leaving a warm feeling within those who loved him and loved his music. PETER GRANT PORTERVILLE< SEPT 2006
Posted by Johnny Luddite on 09/25 at 02:18 AM | Permalink
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A technology similar to Olympus' Live View technology that allows you to get a live image on the LCD screen on its digital SLR cameras just like most compact models has come to Nikon, Canon, Pentax, Sony and other brands.
Well sort of.
Created by a camera accessory maker Argraph, the Zigview S2 Eyepiece Adapter slots over your camera's optical viewfinder and shows a live view of what it sees in its swiveling screen.
The Zigview-S2 display module rotates 300 degrees and flips up and down 180 degrees.
Argraph say that it will also detect variations on the viewfinder image to fire camera shutter and you can divide the screen image into nine sections and vary sensitivity in each section for a wide range of applications.
The sensing module and display module can be separated using an accessory video transceiver cable.
This enables you to remotely monitor the viewfinder image from up to 40ft away and also fire the shutter remotely from the remote monitor.
Three models each at $500 are available and they come with optics tuned for specific camera models.


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Open Sesame Door Systems
At the touch of a button, the Open Sesame automatic door opener gives complete independence to enter and exit a residential or public/light commercial door. This professional grade access system unlatches a locked door, then opens, pauses and closes it – all automatically. Their remote controlled door opener can be operated with a variety of wheelchair mounted remote controls, wall push pads and other specialty controls customized to accommodate almost any physical disability.
You can view an Open Sesame brochure here.
2B Accessible wants to help you find the product that best allows you to enter and exit your home or business. Give us a call for a FREE on site assessment.


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I have a system monitored with protection manager generating this message:
"truanap0006.amcs.abnamro-net.com:Host truanap0006 has IP address (188.8.131.52) which is different from the primaryHostAddress (172.21.124.51) stored in the database. Change the IP address in the database using hostPrimaryAddress option or use global option processHostPrimaryAddress to disable this message or to select a different behavior."
I cannot find any reference to the "processHostPrimaryAddress" option except for the release notes. I believe it needs to be added to the Protection & Provisioning Manager Admin Guide.
What are the different values for the global "processHostPrimaryAddress" option and what does it do?
Can it be added to the Prov/Prot Mgr guide?
Hi Chris,
All options are documented in the man pages.
Which can be accessed from the command line in case of linux and also from
The web-ui of Ops-Mgr.
ContorlCenter->Help-General Help and Man pages.
For your convinence I am pasting the same below.
processHostPrimaryAddress: Action to take when the Primary IP
address of the storage system in DataFabric Managerâs database is
different from the IP address given by the DNS. The options are
off, warn, error
If the option is off, check for IP address mis-match. If the
option is warn, check for IP address mis-match and give a warning
if the address do not match. If the option is error, give an
error if the IP address do not match.
The default value of the option is warn.


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Last updated on August 15th, 2018 at 12:17 pm
Kitchen Faucets Under $100
There comes a time when it is no longer possible to delay the purchase of a new kitchen faucet. The buyer who is forced to buy at the entry level of the price range should, however, be pleased with the extensive range of faucets available at less than $100. All the main manufacturers offer faucets at this price level. There is a comprehensive variety of designs and finishes available, and many provide functions such as pull down and pullout spray hoses, often associated with more expensive products. This review should assist the buyer to select the design which complements the kitchen décor and the functions which best suit the needs of the household.
Kitchen Faucets Under $200
There is a surprisingly large selection of options for the buyer who is in the market for a kitchen faucet, but who has a budget restriction of $200. Faucet manufacturers aim for this price range, as they are aware that these faucets will attract the many customers, who have limited budgets. The extensive range includes faucets from all the great manufacturers, offering features and functions which are commonly associated with the more expensive models. This review will help the buyer to ensure that the faucet which he purchases will provide all the elegance and functionality that he requires without breaking the budget.
Kitchen Faucets Under $500
At this price level, the buyer can expect to be introduced to some of the newest innovations in faucet technology. These innovations include touch technology, which allows the user to activate the water flow by touching any part of the faucet, and touchless technology, allowing for activation of the water by motion detection. Many of the manufacturers offering the product at this price level include their patented technologies as part of the faucet design. The buyer has a broad choice of exciting new features, superior designs, and finishes that should last a lifetime. This review should help the customer to make the best option for kitchen style and utility.
Kitchen Faucets Under $1000
In this price range, we can expect to find the very best products that the manufacturers have to offer. These will be the flagship products, boasting the latest innovations in faucet technology, and the newest and most unusual designs and finishes, that not only last a lifetime but that stand out in the kitchen in dazzling splendor. The buyer of these faucets knows what he wants, expecting the best that the industry has to offer, and he is prepared to pay for it. In this review, we discuss the awesome array of top of the range faucets available to the discerning buyer.


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what is meta tag optimization in SEO ?
Meta tag optimization is choosing meta tags that best target the audience you are trying to reach, or the keywords you are trying to rank for. But for most modern day search engines (especially Google) meta tags mean essentially nothing. Some people even say they shouldn't be used at all because they reveal your keywords to your competition.
write unique and relevant meta title, description for every page of website.
Meta tag optimization means creating unique description for each page and proper keywords for that page.
Meta tag optimization is an effective On page SEO Technique and keywords should be added to Meta Keywords & description tags.
what is meta tag optimization?>you want to get your website higher in the search results from a search engine by the correct use of meta tags.>if you want your website indexed then consider using meta tags.>meta tags go in the head of your wenpage, in-between the HTML tags,<head>and</head>.
meta tag optimization is the best seo on page optimaization technique for geting your website on top of SERP...This post has been edited by pfdsales: Nov 18 2013, 12:13 PM
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App Aid 2013 was a Vodafone Foundation initiative designed to help create apps for five Australian non-profit organisations. We were partnered with Starlight Children's Foundation to refine their app idea and to understand how implementing their idea would add value to both the organisation's business processes and its supporters.
The App Aid competition was designed to leverage crowd-funding to fund the full development of the apps, beyond the prototypes created as part of App Aid 2013.
We created a working prototype to demonstrate the functionality and user experience of the app. We worked with Starlight Children's Foundation to setup the Happy Space App crowd-funding profile on Australian crowd-funding platform, Pozible.
Our crowd-funding initiative went on to raise a total of $35,000 towards the continued development and implementation of the Happy Space App.
Learn More About App Aid 2013
See Starlight Childrens Foundation Blog
My name is and I'd like to create a new websiteupdate my websitecreate a mobile appcreate a web app
My email is and my number is
I found you through the Leafcutter Blogan ad from GoogleGoogle search resultsa referralan eventother
Leafcutter is a digital innovation agency specialised in accelerating change within organisations through technology. Contact us today about how we can transform your organisation using websites, web applications or mobile apps.
Get in touch · 02 9438 1280 · firstname.lastname@example.com · Sitemap Suite 401, 272 Pacific Hwy Crows Nest NSW Australia 2065© 2018 Leafcutter Creative Digital · Digital Agency Sydney


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Welcome to Rosco's Milford Kayaks!
Come on a paddling adventure with us in New Zealand's beautiful Fiordland...
We offer a variety of trips suitable for the first-time paddler through to the seasoned kayaker, and we promise you the finest kayak trips on Milford Sound.
Let us show you why TripAdvisor consistently rates us the top activity in the sound and why Lonely Planet called us the best way to see Milford!
Rosco pioneered sea kayaking in Milford 27 years ago, making us the longest established owner-operated kayaking company in New Zealand.
Choose an adventure and let our fun, expert, local guides show you round our backyard!
Rosco's Milford Kayaks and Te Waka Lodge have come together to offer you a fantastic winter deal - checkout our Winter Kayaking & Accommodation Package.


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Apart from constructing buildings for your people to live and work in, there will be plenty of opportunities for tackling the other mobs in the city and trying to either take them over or completely liquidate them. But remember, the other families have long memories and you might find yourself facing an enemy that already knows your tactics and will come after you first.
In addition to direct combat between characters, there is also plenty of opportunity to use your wits; constructing buildings in strategically important locations, bribing the police (or maybe just killing them), taking over opponent's buildings and business interests, robbery and intimidation. And for a little something extra, try the "undesirables", with a range of specialist skills, that are associated with your family.


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Team Fortress 2
Team Fortress 2 is a class based action First Person Shooter. It was originally a commercial game but has been released as free to play. The classes in TF2 are as follows: Scout, Soldier, Pyro, Demoman, Heavy, Engineer, Medic, Sniper, Spy. Each class has a very distinct way of playing, for example as the engineer you can build turrets or as the spy you can disguise yourself as the opponent team.
TF2 features extremely high end graphics and production values not found in most free to play games. There is a large player base very dedicated to this game. A must have game if you did not purchase it when it was commercial.


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Hark! A Shark!: All About Sharks (Cat in the Hat's Learning Library)
In this latest installment of the Cat in the Hat's Learning Library, the Cat introduces beginning readers to all kinds of sharks! From the smallest (the dwarf lantern) to the largest (the whale shark), the most notorius (the great white) to the most obscure (the goblin), the Cat explains why sharks have lots of teeth but no bones; how their tough skin helps them swim fast and stay clean (inspiring scientists--and bathing suit manufacturers!); how pores along the sides of their bodies help them sense...
Discovered by Manayer Alarab in Sharks


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Steady Tray for GoPro
Is your GoPro footage inducing motion sickness? Let's be honest, there's only so much post-editing work you can do to correct the unavoidable outcome of shaky video. Share your underwater footage with confidence by simply adding this lightweight, precision-machined aluminum tray to your GoPro camera.
While light will improve footage taken in shallow water, it's a must-have the deeper you go. At only 30 feet below the surface, red, orange, violet, and yellow are lost. At 60-120 feet, you're left with only blue and green. In order to bring the truly vibrant colors of the underwater world to life, Steady Tray for GoPro encompasses two mounting points, designed to meet both your comfort and lighting needs.
Like every Ikelite product, Steady Tray for GoPro is built and tested in the USA. Premium anodizing delivers rugged, corrosion resistant performance. Best of all, we back our products with over 50 years of experience and service within the dive industry.
GoPro, lights, and arms not included.
- Aluminum Steady Tray
- Mount for GoPro
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|1-Year Warranty by Ikelite
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