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Review of abstract critical 2012
Back in London, I've been catching up with the debates on abstract critical, since in my Scottish fastness I have no computer. Much the best article has been Robin Greenwood on early Gillian Ayres, and it seems the admiration is mutual between us (Robin and myself) in the writing department at least.
Most puzzling, however, is the amount of chatter generated by David Ryan's "Ha Ha what does this represent?", which manages to "reference" not only the polarity addicted Wilhelm Worringer and Ad Reinhardt, but the hauntingly obscure (for the arts of painting and sculpture at any rate) hence de rigeur amongst cultists, Walter Benjamin, in whom extreme subjective idealism clashes with the horrors of actual life, and The End of Paintingharbinger Douglas Crimp (who he?) as well as sundry other theorists. That Ryan can even dignify the likes of Groys and Lyotard says much about the climate within which painting is currently languishing (if you can languish in a climate), or its plight.
The trouble with polarised thinking is that the skin and bones of an issue are dealt with, while the meat of the matter remains untouched. I remember assailing Clement Greenberg with a rather different polarity gleaned from my readings in Matisse (in 1970), to which he replied "Yes, that's right, but I wouldn't want to be categorical about it". This was consistent with his hyper-pragmatic stance as a critic, honed by experience of the waywardness of artistic inspiration, and the folly of predictive gambits, his own included, meaning that quality can come from anywhere, and in unexpected packages.
From 1920 to 1937, Naum Gabo had already shot Worringer's fox with "shapes exult and shapes depress; they elevate and make desperate; they order and confuse; they are able to harmonise our psychical forces or disturb them….." and the history of abstract painting almost since its inception with the Delaunays, Kandinsky, Klee, Mondrian and Van Doesburg, has been to humanise, "spiritualise", imbue with emotion, geometric shapes and their three-dimensional implication, whilst acknowledging the spatial ambiguities of planar construction.
During the 1920's and 30's, in Europe and America painters strove to reconcile the diverse strands of influence from these pioneering masters, interweaving their sign languages and habits of craftsmanship as if a giant computer were at work, in which they were immersed, Neo-plastic purism vying with Kandinsky's "aura" – tinged expressive geometry and Klee's pictographic short-hand. Critics and uninvolved observers are always ready with the epithets "impasse", "crisis" for such an endeavour. Only much later can it be seen that a meltdown was taking place, (which might well merit re-examination now if only as a warning of what not to do), rigidities of thought fraying at the edges.
The J. Donald Nichols collection of the American Abstract Artists Group, now housed in Wake Forest University, North Carolina well illustrates the melding of styles at work in these years, (a situation somewhat akin to today, without the sense of mission of those years). Ad Reinhardt was a distinguished exponent of one of these styles, veering towards the purist end of the spectrum. (His Untitled 1938 may even have influenced Mondrian's conversion to colouring his bars, and dropping black from his palette?), but his desire to "neutralise" led him on a one-way ticket to palukaville. By suppressing the emotive and space-creating capacity of colour; by suppressing the varying textures of paint handling from delicate transparencies to viscous saturated opaques, effecting the plasticity of surfaces also, Reinhardt left himself no alternative but the "death of painting" – and thence to the total inertness of Frank Stella's early black pictures.
Perusing these card-carrying abstractionists of the 1930's, it is Arshile Gorky who stands out for his willingness to explore and conjoin apparently antithetical styles, and for his evident conviction that, abstraction or not, it was the superior plasticity (i.e. disregard for wafer-thin eggshell fragility of surface) of Picasso's linear impulsiveness, his unconstraint, and Matisse's aesthetic of "feeling through colour", which reaped the biggest rewards; and it was Gorky's engagement with the Picassos of the 1920's, combined with surrealists input from De Chirico, and then Matta and Miro, in short his "convictions of taste" which opened things up for others.
Of course the difficulty for today's young painters faced with this panoply of antecedence is compounded by awareness of the protean self-confidence of a Picasso, whereas their confidence in any form of impulsive or intuitive gesture, any form of unbridled affective life has been undermined, gnawn away by decades of neo-marxist and neo-freudian literary theory, pushed in the "cultural studies" departments of the universities, where according to the great literary critic Prof. Harold Bloom, the counterculture is institutionalised, undermining the work of practising artists (those who are not embedded) – so that every mark, every touch has to be carried out under the crushing weight of ironising self-regard, an analysis of motive fatal to the discovery of any creative source in oneself.
This, and a vogue for literalness, affectless statement of the bleeding obvious, material and process – "look! – I am applying a skin of coloured pigment to a piece of stretched fabric delimited by strips of masking tape", suppressing any tendency for such a manoeuvre to generate a spatial illusion (other than by accident); and other forms of dead-hand, dead-pan neo-pop attitudinising.
Evidently the rich heritage in England of engagement with issues of abstraction has been buried under the post-modern tsunami – after the "purist" commitments of Circle with Nicholson, Hepworth etc. in the 1930's, there was Victor Pasmore's newsworthy conversion to abstraction in 1949; the constructivism of Kenneth and Mary Martin, Anthony Hill and Gillian Wise; Patrick Heron's conversion to abstraction following the Vanguard Americans at the Tate in 1956; William Scott's ambivalence on the issue of abstraction/representation during the 1950's and early 60's; Frost's and Hilton's perceptive writings on such issues; the shaped-canvas episode of the late 1960's, in which I was a participant, and Sean Scully is a very belated descendant; then came minimalism and op-art. Perhaps that's where it all began to go wrong. (But that's another story).
You don't have to be a synaesthesic, (though it might help) to be aware that the harmonised (essential) reciprocal influence of a chain of colours has the capacity to move by association in the same way that contrast or harmony between chords in music can create emotion in the listener (a belief as old as Nicholas Poussin with his modes, echoed by Baudelaire in poetry and prose following the Wagnerian cult in France, and thence to Gauguin's prophetic manifesto, and continued by Matisse.
But only if given room to do so, and not if trapped in some cage or linear labyrinth undercutting its space-opening potential. People talk of Hofmann's "push and pull", for instance, as if they knew all about it, how to achieve it, as if it were yet another cliché of modernist painting (understood merely as a pattern of words it may be), whereas it is one of several ways out of the "impasse" created by Reinhardt's reductionism, another being Adrian Stokes' "carving conception" (see the following).
At times Ryan writes as one following Reinhardt's dictum, for whom the emotional potential of colour (expression in Matisse's terms) is regarded as incompatible with clarity of conception. Reinhardt inaccurately implies a dichotomy between expressive purpose (whether semi-conscious or unconscious) and the internal coherence of a free-standing work of art.
Ryan's essay, though highly intelligent, testifies to a presiding confusion as to the aim of painting by devotees of latter-day abstraction- "its meaning can still be found in the actual painting activity"- I don't know of any painter I admire who ever held that view- "a form of labour to particularise its forms"- says nothing about what these "forms" do pictorially together, (to Reinhardt they should not "do" anything), or what the expressive content of the end result is or might be.
You don't, as a practitioner need to know what this is, but you certainly must want to have it happen, and the observer to be open to it.
I am not in the least implying that geometric abstraction as a mode is inevitably trapped in cages, or that it is incapable of plastic expression (Mondrian and Nicholson would turn in their graves), but "a form of labour to particularise its forms" will just not cut it.
I think Reinhardt's extreme separation of picture purpose and picture reason was a reaction against the self-deception of the "Subjects of the Artist" alliance (Still, Newman, Rothko, Motherwell, Gottlieb etc.), sensing rightly that these artists had put the cart before the horse- that the "subject", however defined did not precede the painting or lie behind it, but that the painting led up to it, concretised it (in Gabo's term), discovered or revealed it. As I have said elsewhere, painting is not an attempt to recapture something but a movement towards something.
The "Subjects of the Artist" alliance "was meant to emphasise that our painting was not abstract, that it was full of subject matter" (Motherwell, Art Forum 4 : 1 1965). But "it was easier to assert the presence of a subject matter than to define it" (Breslin, Rothko: A Biography, University of Chicago Press, page 264).
Rothko worried that "his paintings might be mere facades, beautiful decorations lacking human or spiritual sustenance". (Breslin) This recapitulates the nagging doubts of Kandinsky at the very outset of abstraction, that it might lead to painting that was only decorative, without "spiritual" content, but this to me rests on a misconception both as to the role of decoration, and as to how "the spiritual" manifests itself in painting, if it does. (On how secularists can still be spiritual, see Harold Bloom's book Genius).
Reinhardt's acid tongue and cynicism regarding other artist's motives turned to ridiculing the self-important rhetorical stances (even Rothko's silences) and promotional strategies of his former friends. The Abstract Expressionists are easy to satirise, there outré stances preposterous in the light of their meteoric rise following the death of Pollock.
In retaliation, for his pains Reinhardt was then comprehensively ripped off by Rothko with his Houston murals. His star has faded while the Abstract Expressionists continue to shine, if a little less brightly.
So why is Reinhardt considered relevant today? I'm blessed if I know. It can only be because he pricked pretentiousness and humbug, for he offers nothing for anyone in search of a mode of painting which allows the full spatial eloquence of which oil paint is capable, without ceding to the sort of anachronistic pseudo-naturalism of the likes of late Twombly / Maggie Hambling which, without foundation in a richly observed spatial reality, inevitably serves up a half-baked half-way house of vapid, vapourous impressionistic effect. And why not Turner/Monet/Hambling? Is she not post-modern enough? – does she not scribble lines of Latin and Greek poetry across her canvases? Why is Twombly any less old hat than Hambling? Is formless scribble still in vogue after all these years? David Sweet has the answer at least in part.
Back in the real world, it is interesting to compare Reinhardt's Untitled 1938with Nicholson's 1937 Painting (Courtauld Collection) or 1940-43 (Two Forms) (Cardiff), where the same kind of sometime synchronous, sometime sequential pulsing of colours around the rectangle occurs, that I mentioned in my article on Mondrian-Nicholson, though the Reinhardt is much cluttered. [both the Nicholson images are reproduced in Gouk's article on the Mondrian/Nicholson exhibition]
Perhaps in the Reinhardt this effect is exaggerated on the silver screen, but in the absence of the paintings' presence, further than this it is not possible to go – and then to look at the later developments of both artists.
Compare Nicholson's relief Mycenae-Axe Blue October 1961with one of Reinhardt's black on black pictures of 1954-60. Adrian Stokes' "carving conception" of space fits the Nicholson sensibility well (having helped to shape it) as well as "a total identity, something laid out and instantaneous…. something that is calm, clear and demarcated" (Stokes 1937) or as Christopher Green explains "of 'equal intensity' to every part of the picture surface- instantaneity and integration through clarity of colour identified with surface, colour which is both attached to the picture surface and locates forms in pictorial depth, colour whose prime characteristic is as 'something out there, resistant to the eye'"(Stokes 1937 Colour and Form) (from Christopher Green's Courtauld Catalogue Essay on Mondrian/Nicholson.
The death of painting?- I don't think so. As to the fertile ground of the English abstract pioneers left fallow as a result of wave after wave of seductive(to some) but shallow distraction by the saviours of painting from abroad- there's plenty of room there for every kind of sensibility to flourish. I urge a close reading of Christopher Green's essay. Surely someone can pick up on it.
I'm not quite as pessimistic as David Sweet about the evident disruption with the painting of the past wreaked by the destruction of the art schools. As long as there are writers like Fry, Heron and Stokes, and historians like Golding, Bloom and Green to access, all is not lost, even if the current vogue is to see art not as a self-validating dialogue with its past, though not only that, but as a symptom.
Incidentally, I am not recommending a plundering of the same sources as Gorky, since at its worst that could lead to a kind of illustration favourable to the creation of animated cartoons, (Gorky's post-1943 style would be a prime target for just such a Fantasia-style animation) and pretty soon we would arrive at Fiona Rae.
Robert Storr's piece in the Tate catalogue for the 2009 Gorky retrospective, The Painter's Painter ends with this "Moreover, here was a painter who took it upon himself to embody nearly the whole of the modernist tradition as he found it, and to do so on the highest formal and poetic levels by dint of unrivalled command of its conventions- as conventions! – rather than by strategically tinkering with them or by making any pretense of sweeping them aside altogether. The realisation of that ambition spanned 25 years during which modern art spiralled out in myriad directions in ways that made and still makes Gorky seem less like one of its offshoots than its gyroscopic center at the mid point of the 20th century……………….. Most of the artists we call either modernist or post-modernist fall within categories three, four, five and six (of Ezra Pound's hierarchy, six being starters of crazes), these last being the biggest catch basins of intermediate talent. Then let me say unequivocally that Gorky was a great talent, (category two) while conceding that he was in no sense an inventor (category one)…. there are ways in which critical irony and the countervailing quest for absolute authenticity can be suspended. Gorky personifies that dual suspension, and his work bespeaks the transcendent understanding and beauty such selfless immersion in multifaceted otherness can make possible".
Post script
Regarding Sam's somewhat cheap shot about my "disingenuous" video; of course my paintings are the way they are because of the whole history of the past hundred years of painting. Everything I have said and done testifies to that, as Sam is in a better position than most to know.
But to link me with Linda Karshan on the theme of grids is stretching the notion of "grid" too far. "Grid" means Agnes Martin, Edwina Leapman, Bridget Riley, Sean Scully, and a thousand others.
Patrick Heron was probably the first to show that even Bonnard composes on the basis of a kind of subliminal grid – "I think we may best conceive this underlying abstract rhythm in Bonnard if we think of a piece of large scale fish-net drawn over the surface of the canvas; – it is through an imaginary structure of loose, connected squares – sometimes pulled into oblongs and sometimes into diamond shapes- that Bonnard seems to look at his subject"(Heron 1947) – and much more brilliant aperçus in that vein which would in turn begin to influence his own paintings, and thence to mine.
I defy anyone now to read Pierre Bonnard and Abstractionwithout exclaiming- "this man is a genius" (Heron I mean) – and the greatest writer on painting since the death of Roger Fry, and hence hated for it by inferior critics and artists alike. Why bother with Lyotard, Groys, Benjamin and Adorno, who have so very little to say that pertains to the concerns of painters or sculptors, when there are the likes of Heron and the more theoretical Adrian Stokes, who have so much.
The point I was making since I approach the question of "subject" from the opposite end of the scale from Bonnard, is that if one is stretching across a large canvas laid out on the floor, applying turpentine thinned paint with sponges and rags (this to avoid paint running down the surface, and neither Bonnard nor Heron worked in this way) it is hard to avoid the creation of roughly oblong or ovoidal areas. The alternative is a ragged edged splash (which carries its own history); and when one ragged edged splash meets another it takes a good deal of contrivance (and I'm against contrivance if possible) to avoid one colour being adulterated by another, and thus losing clarity; and in any case this would be early Gillian Ayres.
Comparatively few of my pictures conform to an "orthogonal" pattern, which is where the conversation began with Robin's article. So the link with Karshan is specious. I might even be tempted to say "disingenuous". I'd rather link with Kim Kardashian!
Alan Gouk
31st of December 2012
Mr Gouk,
I couldn't agree more with you on the genius of Patrick Heron, his writing, insight and of course his artwork. I also greatly admire his term for the works of another artistic hero of mine – Pru Clough, her works were '…machines fo seeing…' I see potential Cloughs every single day!!!! Thank you!
I apologise to Maggi Hambling. Her Erosion is not vapid or vapourous. She is a better painter than Twombly. ________
No such thing as formless scribble, it's total form scribble, utterly exact representation, that's why it works.
Comment on Review 2012 from Alan Gouk.
The qualities that attracted me to Heron's paintings had nothing to do with orthogonal design. Those that I felt I needed to assimilate from him, to get beyond heavily impastoed surfaces, in preparation for large-scale pictures were : –
1. "Utter directness" – trusting one's first impulses, and letting them speak, without overlaying them with consciously and laboriously worked up formal ambitions which bury the eloquence of brush moving on canvas – which I have been calling since the late 1960′s one's "involuntary response to surface".
2. "Brushwork is spatial" – the realisation that the same hue laid on with different touch (or by different people) will alter the spatial effect of an area. And incidentally so does palette-knifing – a smooth buttery surface in which colours grade into one and other has a markedly different spatial result from one composed of firm strokes.
3. From my Patrick Heron II., Artscribe number 35, 1982 – "The question that Heron is posing and answering in the paintings of these years (the late 1950′s) is this. Can painting create a palpable sense of depth without the sense at the same time that that depth is filled by or mediated by the sensation of the solidity of real objects? The answer would seem to be an emphatic Yes! – And a less equivocal Yes than one meets in Hofmann"
The intellectual or conceptual grasp of such an insight says nothing about one's ability to realise it in one's own painting. That takes a lifetime of trying, otherwise everyone would be a great painter just by taking thought.
Heron, Stokes and Hofmann all agree on one thing: –
Heron – "I believe absolutely in the formal equality of all sections of the painted surface – no section of the picture surface should be less of a shape than any other…."
Stokes – "A total identity, something laid out and instantaneous…..something that is calm, clear and demarcated"…… – "Of equal intensity" (to every part of the picture surface) – "something 'out there' resistant to the eye" Stokes, 1937.
Hofmann – " When the two-dimensionality of a picture is destroyed, it falls into parts – it creates the effect of naturalistic space. When a picture conveys only naturalistic space, it represents a special case, a portion of what is felt about three-dimensional experience. The layman has extreme difficulty in understanding that plastic creation on a flat surface is possible without destroying the flat surface. But it is just this conceptual completeness of a plastic experience that warrants the preservation of the two-dimensionality."
I know Robin will answer that there is nothing partial or incompletely realised about the best Constables – but Hofmann is talking in the context of the abstract picture and its own "special case" requirements. You cannot have both.
Matisse appears to have both, which is why he exerts such a magnetic pull for all tuned in painters still, but in Matisse's most "abstract" pictures there are sly perspectival hints, and sometimes emphatically delineated ones, in for example Interior with Goldfish and Sculpture, 1914 (Barnes Foundation) Interior with Violin and Case, 1918-1919. As with all pronouncements in art, everything is relative and comparative and requires endless qualification.
I referr you to my article Letter from New York, on this site since April 2011, and To the Young Painter of Today in my book, published by Poussin Gallery in 2009.
Alan Gouk
19th of January 2013
See my upcoming comment No 99 on your article What is Abstract etc.
Well, Mr. Gouk, you appear to have read at least half of the authors David Ryan refers to, and good luck to you, because it's more than I have.
I have read some Heron though, and your comments about 'Pierre Bonnard and Abstraction' had me rooting out my copy of Heron's 'Selected writings'. Heron does indeed make a good case for Bonnard's direct contribution to abstraction; in particular, to the sort of abstraction that Heron himself produced – now there's a coincidence.
The trouble is, it directly promotes all of the worst symptoms of flatness in Bonnard's work and the abstract painting which it influences. The concept of a fish-net dragged over the surface of a painting as a means of structuring the activity is one I find, to be perfectly honest, abhorrent. Imagine doing that to a Matisse! But in Bonnard, I can unfortunately see it; I can see all those little pockets of colour lined up in a shaky orthogonal grid; I can see all those separate and flattening shapes, pressurised into conforming to a picture plane of sorts; and I can see directly how Heron's work in the late fifties takes very directly from those roughly squared-off circular shapes derived from plates and jugs and bowls on an upturned-toward-the-viewer tabletop. Heron is right to point it out, but wrong to think it is worthy of praise; It's why I don't really much care for Bonnard – he's just too flat. He may be something of a colourist, though I need convincing of that too, but it seems to me he differs totally from the great Matisse, who harnesses colour to the service of the robust spatial architecture of his paintings (even, and perhaps especially, when he appears to be 'decorative'). Bonnard, by contrast, seems to spend much of his time filling in shapes that are adjacent, without bothering too much, if at all, about what they do spatially.
Nevertheless, I can agree Heron is a genius (at writing); move on through his collected essays to 'Late Matisse' and he makes a brilliant case for Matisse's 'interior Rouge; Nature Morte sur un Table Bleue' and it's complete lack of flatness; he enumerates its implied distances by the foot; he demonstrates its extraordinary ability to communicate a darkened interior with blazing colour; and he unpicks the means to the magical separation of outer and inner space by the window-frame. All and any of which, for me, leaves Bonnard trailing in the dust…
Even better (and it takes some bettering) is Heron on 'Constable: Spatial Colour in the Drawings'. It's one of the most brilliant bits of art writing I've ever read. OK, so Constable is my favourite artist, but I would never have given too much time to his drawings without Heron sticking my nose directly into them and pointing out exactly what they are doing and how they are doing it so well. And it is in this essay that Heron cracks his own conundrum, about the reconciliation of depth with flatness in painting, which he has so eloquently set up in the Matisse essay:
'Penetrating across the river, and over and across and through the meadows opposite, Constable's eye proved over and over again to be the most accurate eye in the history of painting for recording recession. Yet always the deep distances and horizons are perfectly accommodated to the picture surface. Never in Constable was profound spatial accuracy disruptive of the most delectably organised surface-design.'
I could quote paragraph after brilliant paragraph from this profound essay, but let that suffice.


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Recent Patents on Computer Science (v.8, #1)
Editorial: by Hamid Mcheick (1-1).
A Review on Pedestrian Crossing Detection and Behavior Analysis: In Intelligent Transportation System by Ronghui Zhang, Fuliang Li, Jiali Zhou, Feng You, Wenxiao Zeng, Tonghai Jiang (2-12).
Pedestrian detection and behavior analysis is an active research area with challenge in ITS. This text mainly emphasizes the research methods and the pedestrian detection fruits. According to the frame of pedestrian detection system, the pedestrian detection method based on machine vision, the pedestrian detection method under multi-sensor information fusion, the principle for pedestrian tracking and pedestrian behavior analysis are summarized in turn. Classifying the research methods above, it divides machine vision detection method into static background and dynamic background. Considering the pedestrian detection principle with multi-sensor information fusion, it was divided into the one based on classic mathematics and the other one based on AI. Pedestrian tracking methods are divided into the matching step and the probability prediction step. For the Pros and cons, they are also analyzed and concluded. Finally, some currently problems are proposed. Besides, the pedestrian detection method patents combining the future tendency of communication, automation and computer technology are expected by authors.
Intelligent Financial Fraud Detection and Analysis: A Survey of Recent Patents by Paulius Danenas (13-23).
Financial fraud investigation, detection and risk evaluation are essential to either bank (as well as other financial institutions) or business entities. This topic continuously receives significant amount of attention from different stakeholders, including the financial institutions and regulators, investors, researchers, community and merchants. Maximum level of decidability and elimination of uncertainty in fraud likelihood estimation are essential to ensure financial stability, evaluate risk and minimize possible financial loss. Artificial intelligence techniques prove to be efficient solution and worth of attention to any inventor. This paper surveys recent patents related to financial fraud detection, which apply one or more artificial intelligence, machine learning or statistics based techniques, identifies main features of modern intelligent solutions for fraud risk detection and summarizes main trends.
Transform Visual Data Among Vehicles For Driver Assistance by Hao Li (24-31).
More and more researchers have been making effort on developing intelligent vehicle systems. In contrast with single vehicle operation, multivehicle cooperation can bring considerable benefits to intelligent vehicles that operate in common areas. In the spirit of multivehicle cooperation, this paper describes a method that realizes a function (cooperative augmented reality, shortly as CAR) via which a vivid visualization of occluded situation can be generated for driver assistance purpose. This paper details the knowledge on 3D perspective transform of the vehicle visual data and describes an improvement for the original CAR solution presented in a related conference publication along with recent patents related to it. Experimental results are given to demonstrate the effect of the CAR solution.
A Front Vehicle Detection Algorithm for Intelligent Vehicle Based on Improved Gabor Filter and SVM by Zhonghua Zhang, Xuecai Yu, Feng You, George Siedel, Wenqiang He, Lifang Yang (32-40).
Front Vehicle Detection is the key and difficult point of the key technology research for the intelligent vehicle. In this paper the digital image is firstly binarized through the image enhancement, threshold segmentation and noise eliminating along with recent patents described. Then hypothesis generation is done according to the structure, shape, aspect ratio of the vehicle and shadow at the bottom of the vehicle. On this basis, features extraction is performed with a Gabor features extraction method based on the improved features weightings for the selected vehicle samples and background samples. The extracted features vector is regarded as the input of the support vector machine (SVM) for training. Finally, the trained SVM classifier is used to conduct the vehicle classification and recognition. Thus the vehicle detection is completed. The experimental results show that the approach can improve the recognition rate and the robustness of preceding vehicle detection for the intelligent vehicle.
Traffic Incident Automatic Detection Algorithms by Using Loop Detector in Urban Roads by Weiwei Guo, Zhijian Wang, Wuhong Wang, Heiner Bubb (41-48).
This paper proposed an improved California Algorithm and recent patents for detecting traffic incidents in urban roads. Traffic incidents in urban roads contribute 50% to 60% of the total congestion delays. Incident detection involves the collection and the analysis of traffic data. The common loop detectors were selected as the collected tool in this research. The existing incident detection algorithms are more abundant, and mostly apply in freeways where the traffic flows are steady. The traffic incident detection algorithms in urban roads should be developed. Based on the existing detection algorithms, an improved California Algorithm was presented, which contained the adoptive dynamic threshold with the characters of traffic incidents and traffic flows in the road network. Further detection results of the improved California Algorithm were judged by the OD matching regularity of the volumes at the signal intersections to make the detection results fit with the actual flow feature. Finally, the data collected by loop detectors was used to validate the proposed algorithm. The results showed that the improved algorithm could predict the traffic incidents effectively, but there are still some false positives.
Real-Time 3D Reconstruction of Wood Logs in a Production Line by Lu Yang, Luis Diago, Ichiro Hagiwara (49-57).
The wood log is an important material in industry. These wood logs need to be cut for use. In wood cut production line, the wood information is necessary. Currently, laser is widely used to obtain the wood logs information for cutting. However, laser is usually very expensive. In this paper, we try to use camera to replace laser for reconstructing 3D information of wood logs and recent patents associated with it. For this purpose, we propose a vision system, which can provide the necessary information to the cutter machine. The obtained 3D information can be used to create aesthetically pleasant wooden patterns for accurately cutting the wood. Matching is the key technique for 3D reconstruction in our vision system. In this paper, we use area-based matching approach which has the result of dense disparity map and saves running time. Our vision system uses two cameras to collect original image of the wood logs. These images are preprocessed for matching with SAD (Sum of Absolute Differences) similarity operator. Several constraints are also proposed to obtain disparity map for 3D reconstruction. Finally, the experiment results indicate that the proposed approach can offer accurate 3D measurement to automatically cut the wood.
Modeling Uyghur Speech Phenomena with Morphological Rules by Huajian Xue, Ronghui Zhang, Haiwei Wang, Wenxiao Zeng, Chongke Bi (58-66).
Due to the morphology of Uyghur, it poses a challenge to state-of-the-art speech recognition systems. This paper describes our work on Uyghur speech recognition technology and a Uyghur voice search application with recent patents on them. Firstly, we introduce the morphology of Uyghur and Uyghur speech phenomena. Secondly, we investigate the use of morphemes in Uyghur auto speech recognition. When speech phenomena happen, variant surface forms of the morpheme are produced. Then, we describe a new approach utilizing the morphological rules to model speech phenomena. In this new approach, variant surface forms are replaced by their corresponding original stems. This creates a better pronunciation lexicon and a more robust language model in Uyghur speech recognition experiments. Finally, we apply the new morphemebased speech recognition approach to a Uyghur voice search application. Experimental results show that this new approach gives the best results in both speech recognition experiments and voice search experiments.
Computer Memory with Parallel Conflict-Free Sorting Network-Based Ordered Data Access by Anatoliy Melnyk (67-77).
The memory types used in conventional computers are analyzed and a new patented ordered data access method and apparatus are proposed. Recent patented data access method and apparatus are described and challenging problems of their use in high-performance computers are discussed. Distinctive features of the new method compared to known data access methods are discussed. Input data, their indices and output data of the ordered access memory are described. The ordered access memory organization and interface as well as their advantages compared to the random, associative, and sequential access memories are discussed. Four variants of the ordered access memory are described, and the examples of the ordered access memory usage in computer systems are demonstrated. The results of the ordered access memory implementation in FPGA are presented.
Patent Selections: (78-80).


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A cold but beautiful day, with seawatching producing single Red-throated and Great Northern Divers, 8 Great Crested Grebes, 3 Red-breasted Mergansers, a first winter Little Gull and 8 Guillemots. 2 Stonechats were around the Observatory and a Water Pipit was reported from Thornham Harbour.
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Norfolk 8.Shorelarks still 2.25pm Holkham Bay on saltmarsh east of Holkham Gap
Norfolk 8.Shorelarks still Holkham Bay on saltmarsh east of Holkham Gap
Norfolk 30.Snow Buntings Winterton North Beach at 11am
Norfolk Hen Harrier ringtail Cley NWT flew west over Billy's Wash late morning
Norfolk Caspian Gull 1w Thetford on SW side off London Road at Burrell Way at recycling centre at 10.25am
Norfolk Water Pipit Thornham Harbour
Norfolk 7.Long-tailed Ducks Titchwell RSPB still on sea +Slav Grebe Velvet Scoter
Norfolk c80.Snow Buntings Eccles still at North Gap
Norfolk 6.Snow Buntings Sheringham still on golf course west of hill
Norfolk 19.Snow Buntings Winterton North Beach
Norfolk 6.Shorelarks still Holkham Bay on saltmarsh east of Holkham Gap
Norfolk 2.Glaucous Gulls (both juvs) flew west past Overstrand: 1.at 8.17am, 1.at 9am


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Christian leaders plan to bless Norwich decision-makers
A group of Norwich Christian leaders met at the House of Prayer on Monday with representatives from the national charity Cinnamon Network to kick-start plans for a Civic Prayer Event, a gathering to listen and pray into the challenges of leaders from all spheres of city life.
Around fifteen Norwich Christian leaders met on
Monday, March 19
at the
House of Prayer
to hear from representatives of the
Cinnamon Network
and discuss the possibility of hosting a
Civic Prayer Event
The meeting was initiated by
Jill Gower, Director of Call to Prayer
Methodist Minister Rev Nigel Fox
Dominic De Souza, Leader of One Church
with the aim of drawing together a wider group to help shape, support and organise a Civic Prayer Event.
Civic Prayer Events have been run in towns, villages and cities across the country with the equipping and inspiration of the Cinnamon Network. These events, which often include breakfast or lunch, gather together leaders from the area's police, council, education, health, business, sport and media and invite them to identify the issues they are facing within the city. The aim is to build relationships and have the opportunity to pray into the challenges identified.
Dominic De Souza, who is on the
National Advisory Council of the Cinnamon Network
, introduced the charity's
Church Engagement Manager Gareth Brown
Gareth explained: "It's about listening to the wider community – to the challenges of the health service, to the priorities of the police service, listening to local government leaders and MPs and the situations they are going through. And it's about praying for these things."
He said: "I'm always struck that in Matthew 5:14 it talks about not a church on a hill but a city on a hill shining its light. That's about gathering everybody together to say look at what we can do together and look at what we can do in Norwich for the glory of God".
Gareth relayed some of the practical challenges and learning from past Civic Prayer Events. He encouraged the gathering to put serious consideration into choosing the right venue, the appropriate date and time, planning the finances and the right method of inviting people.
Nick Amis
, who from
April 1
will take on the role of
Cinnamon Network Advisor for East Anglia
, also spoke to the gathering. Nick, who already fulfils the same role in the
East Midlands
, said: "Civic Prayer Breakfasts aren't just about a one off event. Once those that have come from non-church backgrounds see that the people of God are genuinely interested and have no agenda – that they just want to see the city blessed, they want to pray and support those who are having a tough time to make the budgets meet the need – they often can say let's do this every year."
The meeting which included
Danny Doran-Smith of ENYP
Val Dodsworth of The House of Genesis
PS Marie Reavey
from the
Christian Police Association
Mark Fairweather Tall
Norwich Central Baptist Church
Phil, Jo and Jono Thorne
Alive Norwich
, split into groups to discuss the practicalities of hosting a Civic Prayer Event in Norwich.
Following group discussion Rev Nigel Fox concluded the event saying: "This isn't just a bright idea. This, I believe, is something of God and I believe the end result will be of God. Our country needs fixing – the sooner the better. It is plain common sense that it is God's will that the city of Norwich be blessed."
There is an open invitation to be involved in the planning of the event, which will likely take place in Autumn 2018. Jill Gower said: "If you want to get involved in the steering committee please do get in touch. We just feel like cogs in the wheel with it, we don't the whole thing, we want a group of us to take it on board, so let us know if that is something you want to be part of".
To find out more and to get involved with planning the Norwich Civic Prayer event, please contact Dominic De Souza on
or Jill Gower at
Photo: Dominic De Souza of One Church, Norwich and Gareth Brown from the Cinnamon Network
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Thursday, June 16, 2005
The Story That Unveils the Real Dark Knight
By Reymundo Salao
I have been a longtime fan of Batman since childhood. It was especially when I saw the comic books in the late 80's that was refurbishing the Batman concept away from it's campy late-60's image popularized by the cartoons and the Adam West television series, into a serious, brooding crime fighter who doesn't resemble a children's cartoon at all. I have loved the Batman genre, not only because of his cool gothic demon-like anti-hero persona but because he's the only prominent superhero who does not have superpowers. He just relies on his quick wits, his agile strength, and his more-than-Houdini tricks & illusions. He can't fly like Superman, but he can glide, leap distances. He can't walk on walls with his bare hands like Spidey, but he has gadgets like claws that could let him do the same. He doesn't shoot lasers or power rays out of his eyes or fingertips to stop crime, he uses his skill in martial arts and a cunning sense of intimidation, his power of striking fear into the hearts of the evildoers with his image itself. He is Batman, the Dark Knight of Gotham City.
The 1989 adaptation of Batman by director Tim Burton was phenomenal. But it may have upset diehard fans, for it was a film that made changes in the origin of the Batman. Its sequel "Batman Returns" also made alterations in the storyline, not to mention the level of Batman's gadgets that was pushing the limits of wackiness. But the unhappy fans were very very few, because everybody who loved the Batman was happy enough with the way Tim Burton was directing the film; his balanced sense of bizarre style that captured the gothic, the "seemingly-30's era- yet-strangely timeless" style: it made Batman the serious, caped crusader that he is, and not the colorful silly style of the Adam West version or the 1980's cartoon version.
Burton's style was so good, and his Batman films so popular that it spawned the animated TV series which (may consciously or unconsciously) adapted Burton's sensibilities. The animated series itself also became a phenomenal success in TV history, becoming one of the first successful cartoons series that touched on mature issues such as Vengeance, Hatred, Crime, and Social Prejudice. While Burton's movies altered the original Batman storyline, the animated series was more true to the comicbooks, as each episode seemed like it could also serve as a dissection of the criminally insane.
All hell broke loose and the Batman reputation crumbled at a quick instance when Warner Brothers decided they want more money; in doing so, they wanted the Batman franchise to be more kid-friendly. Joel Schumacher was hired to direct the new Batman movies. It was a disaster. Schumacher wanted Batman to be less brooding, less angry, less stoic. The result was that the two Batman movies: "Batman Forever" and "Batman & Robin" became replicas of what seemed to be a cross between Power Rangers and Michael Jackson. They were the two ugliest movies in film history. Apart from making it too childish was its odd over-queer approach: Batman's costume had nipples, in one scene, Batman's butt was intentionally focused in zoom, and the sets were too glamorous that it seemed to become a drag-queen version of Moulin Rouge. Schumacher was lambasted by fans, his career severely tarnished, and the Batman franchise was closed down in shame, as it watched other comicbook adaptations become successes because they didn't follow Schumacher's mistake. "Batman Forever" and "Batman & Robin" were two very very ugly films that fans would rather forget about, or deny ever having existed.
Several years have passed and may other comicbook adaptations have become critically and financially great successes. Superman's already signed up for a sequel due next year entitled "Superman Returns" Everybody was asking "When was Batman's turn to grace the new millennium?" Well, if you look back at the last Batman movie, you'd ask, "How can you make a decent sequel out of THAT PILE OF CRAP?" At least Superman can make a comeback in continuity because the last Superman movie was decent enough. Batman also had the flaw made by Burton, which was the storyline alteration. Warner Brothers, along with its director Christopher Nolan (who directed the mind boggling MEMENTO and the thought-provoking INSOMNIA) and its writer David Goyer (who wrote the screenplay of BLADE) perhaps have thought that they had no choice but to remake the whole thing; retell the deeper story of the Batman, and start from the very beginning, a beginning that will once and for all, serve as the foundation of what is to be the saga of the Batman. That is why this summer, BATMAN BEGINS…
This film is very expensive. I'm not talking about film sets, costumes, and explosions, I'm talking about its intoxicatingly stellar cast: You have the respectable Japanese actor ("The Last Samurai) Ken Watanabe as the mysterious Ra's Al Ghul, Cilian Murphy ("28 Days Later) as The Scarecrow, Katie Holmes as Rachel Dawes, and "Oskar Schindler" himself, Liam Neeson as Ducard. That's only half of it. There's the mainstay cast of the entire Batman saga; Christian Bale is Bruce Wayne/Batman, Michael Caine is Alfred, and Morgan Freeman as Lucious Fox. It is clear that this film is bent to be precious in its acting weight and impact rather than stunts and special effects. There isn't much to tell about the cast: they were all superb.
Understandably, this tells the origin story of how Batman came to be, so we really can't expect to see Batman in his full costumed form up until halfway through the movie. It finally tells how Bruce Wayne's parents were murdered. The previous films tells that Joker was the one who killed them, but this new version is more faithful to the original storyline: That the one who killed them was just a nobody from the slums, just a clumsy thug who was resorting to violence in his desperation in poverty. And Bruce Wayne never was able to exact vengeance on this person, that is why he takes his war, not only against one criminal, but a war against all crime; all evil. This storyline is beautifully orchestrated into film by its director Christopher Nolan, who takes a very heavy dramatic treatment into the film, making Bruce's tragedy very real, and his transformation into a fighting machine of justice very realistic. The screenplay of David Goyer is a touch of genius as he bridges the origins of how Batman came to his learn skills of martial arts and deception, with the storyline of one of the villains Ra's Al Ghul. And how that bridge came to be connected with why Bruce cannot fully become an ally of Ra's Al Ghul, who believes that death is a worthy punishment of those who do evil. Halfway through the fiulm, you'd wish Schumacher was beside you so that you can shout at him "Teh? Kaya Mo NA?!"
What makes Batman the superhero is his firm belief that killing is not the ultimate punishment, not the ultimate solution to uphold justice. Though dark and demonlike as he may be, his is not the evil that he fights, and draws a line between them. His moral virtues stand proud and unflinching, a shade of black that shines in the darkness.
Although the film is meant to entice a more mature audience because of its heavier storytelling elements rather than eye-candy, parents should not be afraid to bring along their kids with them to watch this film, because Batman's morality serves as a good example of self-discipline and humanity. And for those who would have wanted a bit more eye-candy for the Batman franchise, at least you can expect that the sequel (which was clearly hinted at the epilogue) can be crammed with action and explosions, it is because the foundation has already been established. And Batman has already begun…
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An email came in early that the team were in need of another player for a one day game on Saturday. With the finger still quite sore, I'm a bit reluctant, but I guess I'll only have to field for 32 overs so I shold be able to look after it. I said yes.
The office I am working in this week is a bit of a circus. There is a permanent state of panic, with people walking fast up and down the corridors and the lift well constantly full of people heading to meetings clutching a wad of important documents. I get to see it all from the vantage point of the crappy hot desk that I've been allocated for the week – you know, the one no one else wants to sit at because it's near the entry to the floor – so people are always asking you for directions – and the door of the men's toilet.
Just after lunch, a large group of people marched in from the lift well looking for one of the meeting rooms. I assumed they were going to attempt one of those university student pranks where you see how many people you can fit into a Mini Minor or a phone box (remember those?), because they sure as hell weren't going to fit into the room for a meeting.
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The noise didn't die down until the ambulance drivers had manoeuvred the stretcher carrying the patient – whose head was wrapped up like a mummy in crepe bandage – off the floor.
Note to office designers, when you plan a cubical-farm for knowledge workers, leave enough space to evacuate them by stretcher when the die of boredom.
Read the next entry in Dad's Cricket Diary here
This work of fiction © Dave Cornford


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Chester Bennington's final interview has surfaced online.Rapper Juice Wrld dies aged 21 after seizure
The singer was a guest on Apple TV show Carpool Karaoke, with fellow Linkin Park band mates Mike Shinoda and Joe Hahn.
The episode has been streamed on Linkin Park's official Facebook page with the full support of Chester's family.
Chester died by suicide at the age of 41 on July 20.
Actor Ken Jeong from The Hangover movies hosts the episode instead of Corden, appearing alongside the band in the car.
Chester's wife Talinda announced the news that the band would be sharing the final interview recently on Twitter.
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MORE: Brian 'Head' Welch to perform at Chester Bennington tribute gig after calling his suicide 'cowardly'
MORE: Jay-Z pays tribute to Chester Bennington on Radio 1's Live Lounge and gives fans goosebumps


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PRECIOSA ORNELA - News
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PRECIOSA ORNELA has supported the "KORÁLKIÁDA" project with a donation of 34 kg of seed beads.


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Windows Live Messenger Version 8.1Microsoft LifeCam Version 22.214.171.124; I can see and hear my side and the other side, the other side can hear me but not see me. i have had enough with this "CRAP" from Microsoft ... Thank u in advance! 1.3.07 Anonymous said... Was it something I did? click site
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Responda perguntas Se usar diariamente o HDMI no pc para tv , o computador fica ruim ? Windows Update Error Code 80072ee2 Mark this thread as solved please so others will see this and look to see what resolved it . i just got a girlfriend monday and i cant talk to her!
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Você pode carregar apenas fotos com tamanho inferior a 5 MB. But it didn't I get the same error, I can get it to log in on occation but wont let me send MSG's to ppl and I cannot resieve messages.One of I can't check my emails, sign in to MSN, I can't even open the hotmail page at all. my review here And its really unfair as our firewalls are all working fine etc. 17.2.07 Beto said...
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To do this, follow these steps: -Open Internet Explorer. -Click Tools, and then click Internet Options. -Click the Connections tab, and then click LAN Settings. -Click Advanced, and then type the Test to determine if your Internet connection is preventing you from reaching the Windows Update Web site. and i'm so confused . This is right place for you!
microsoft is shit for making no choice but to upgrade msn and have these probs they need a patch or something to fix it!!


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Product Information
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|Special Features
|*Ceramic coating - The ceramic coating distributes the heat uniformly across the sole plate and helps smooth gliding providing effective and nonstick ironing. *Self clean - Self-clean feature enables you to expel boiling water through the steam vents to clear mineral build up. • Ceramic coating • 70g/min shock steam • 25g/min continuous steam • Dry ironing • Vertical ironing • Water spray • 280ml water capacity • Self clean function


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What is an all purpose cleaner (APC)
Written by: Vinnie van Rooij
An all purpose cleaner (often abbreviated into: APC) is a multipurpose, liquid, spray-on cleaner that can be used on several types of dirt. It is one of the most common products used by a detailer due to its versatility.
What is an all purpose cleaner
The ingredients that make an all purpose cleaner can be very different, but in general they are basically medium to light degreasers. They are not as strong or effective as an engine bay cleaner or traffic film remover, but they are stronger then shampoo, partly because they work in a different way. Most regular cleaning products (such as shampoo) are designed to remove common types of dirt in an effective way without affecting the protective layer. An APC is designed to remove the most common types of dirt as best it can, even if it has an affect on the protective layer. In many cases they also design an APC to be low foaming, but not all.
In terms of strength, you could class an APC between a shampoo and an engine bay cleaner. However, since these products are different in their chemical make-up, this is just a very loose comparison.
APC and paintwork
APC should be safe with any type of surface. Even though it can have an affect on the protective layer, it should not have any affect on the surface itself. So an APC should be perfectly safe on paint, gelcoat, glass, rubber, plastic or metals.
APC and fabric
APC can be used safely on fabric. In fact, many APC's are very effective at cleaning seats, carpets and other types of fabric.It can easily be used in combination with an extractor (wet-vacuum cleaner). The only thing you might want to look out for is if it is low foaming or not. If it is not low foaming, the solution you suck up with the extractor will start to foam inside the machine. Eventually this foam will mimic the effect of a full container, causing most machine to either stop sucking or to leak water/foam.
APC and it's many uses
Among many other possibilities, APC can safely be used for these tasks:
- Cleaning door shuts and hinges
- Cleaning tires and wheelarches
- Cleaning stubborn dirt from paintwork
- Cleaning fabric
- Giving the engine bay a light clean
- Wiping down light dirt from varies surfaces
- Cleaning of grime and oils from a window prior to using a glass cleaner
- Clean polish pads after use
- Loosen up dirt by soaking it in APC
- Pre-cleaning the roof of a convertible
- Cleaning tools
- Loosen up dirt in MF towel before washing
- Cleaning of polish residue (not a substitute for IPA or another panel wipe!)
- Cleaning a tailpipe
- Cleaning small spaces and crevices you can't get into


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Hi all, last year I completed my Hiwatt DR201 (4xKT88circuit) which I use for my bass guitar. Its worked fine, sounds great and has had no reliability problems despite being used regularly at high out puts at band practice and gigs for several hours at a time. However, when the amp is turned from standby to on (regardless of warm up time) there is a loud thump. I've copied the original Hiwatt circuit and used almost identical transformers (Partridge). Can anyone suggest what might cause this and how I might modify the circuit to prevent it? Also I recently read that modern KT88's dont handle the plate voltage that the originals did-is this true? I've got a plate voltage of 700vdc. I'm currently using sovteks of which I've had one failure, but I'm sure thats more down to it being moved about alot than an issue with the valves. Any help much appreciated.
Cheers Just


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Doing this now will let your yard and gardens shine again in the Spring
Preparing your yard for winter
Lawn Care
Now is a great time to aerate your lawn, while it is still green. Aerating helps to break up the soil enabling water and nutrients to penetrate deeper and get to more roots. A stronger root system will help your grass bounce back well in the spring.
Over-seed with a blend of grass seed. Spread seed after your lawn is aerated or even if you do not aerate. This will help thicken up your lawn and fill in bare spots. The cooler temps of our fall season are ideal for seeding, best to get the seed down in September to early October.
Apply a Fall or Winterizer fertilizer. If you have some perennial weeds annoying you (like dandelions) then apply one with weed control in it. This will help to kill them yet this fall so they don't come back to haunt you in the
Plant Care
Fall planting can be done all the way until the ground begins to freeze, usually as late as Thanksgiving. Roots grow best in cooler soil and since the air is cooler your plants won't be as stressed as when you plant them mid-Summer! Don't forget to plant tulips and daffodil bulbs now so you have their great flowers in the Spring.
Water evergreens and newly planted plants until the ground freezes. Water only as needed to keep the ground moist so be careful to not over-water them as excessive water for an extended period of time can rot the plant's roots due to a lack of oxygen in the soil.
Spray evergreens with an anti-desiccant, often referred to as Wilt Proof. This helps seal the moisture in the needles and leaves to prevent them from drying out over winter.
Wrap tree trunks with light colored tree wrap to keep the rabbits, voles, mice and deer from damaging the bark. It also prevents against frost cracks.
Cut back perennials to about 2" from the soil, making sure not to scalp the crown of the plant. If you prefer winter texture, it's also okay to do this in the Spring.
Trim spent blooms off shrubs and trim long branches to give a nice shape to the shrub but do not trim any lilacs or oaks at this time of the year. You would be removing the flower buds of the lilac and therefore you would not get any flowers in the spring. It's best to trim Oaks (and most other trees) in Feb. while they are dormant to reduce the risk of diseases.
Rake up leaves and compost them. Pull out dead annuals and add mums or fall pansies to your planters. Blow out your sprinkler system. Do this before a freeze to prevent possible cracks or future repairs if ice were to form in the lines and heads. Consider covering any backflow preventers to extend their life and possible damage from hard freezes.
For more information on how to prepare your yard for Winter fo to www.themustardseedinc.com or stop in to see Kelly and their team.


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The miseducation of America
Growing up in Greenville, I had the opportunity to attend what may be considered a "nyeusi shule", which means black school in Swahili. The all African-American preschool/kindergarten taught me some very important lessons about knowledge-of-self.
Those life lessons would be valuable weapons in an arsenal needed to liberate my mind from a system that would prefer to label me less than the descendant of kings and queens that I am. I learned very early that my history did not begin with slavery, but was interrupted by slavery. I learned that the first universities of the world were in Northern Africa, and that all that invaded the continent tried to destroy or hide any evidence of the advanced civilizations and cultures.
Study the true history of Spain, Italy, Germany, and even Russia and you will find that African Muslims brought those civilizations out of the Dark Ages. Education was such a part of the African DNA that it was against the law for enslaved Africans to have a book in their hands, yet alone know how to read it.
The concept of knowledge-of-self allowed me to witness contributions from people that resembled me. For example, without African ingenuity, Columbus would not have made it to the so-called Americas.
Truth be told, Africans were in the so-called America's before Columbus. What proof do I have? Read the journals of many explorers and see the entries that illustrate the presence of Africans. Look at the various archeological finds that show an African presence.
The beautiful thing is not that Africans arrived before Europeans, but that Africans lived in peace with their new world brothers and sisters. No disease or hatred planted a seed of genocide.
Black History can coexist with other histories. But truth has to be the common denominator. Accepting the truth of African contributions does not mean you are advocating hatred. It means you are advocating that all have contributed value to humanity.
Black History cannot be captured in one month, because Black History is World History. There are many in positions of influence that feel that all contributions to civilization came from those of European descent.
If I had 365 days to submit articles on Africans' contributions to the world, I still would be short on time. It is by design to hide the truth of history and only showcase his story. This helps to perpetuate the fallacy of racial superiority.
If you believe you come from nothing, you will believe you are nothing. Black History does not begin with American enslavement of the African. Africans in America are more than the limited narratives in the few pages tucked away in the third grade history books. Africans in America and the world are not only a part of history, but are still making history.
(Rev. Steven L. Evans is a pastor and lives in Clinton.)


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Mulay's Sausage is made according to Loree Mulay Weisman's family's centuries old recipes from Sicily. The family crest dates back to 1326 AD when ancestor Nicolo' was the Senator of Palermo! Through the centuries the family moved around and settled in the village of 'Lucca Siccula' in Sicily, Italy. The families of her grandparents, Nanu and Nana, emigrated from Sicily to the United States around the turn of the century and settled in Pueblo, Colorado. Today, the tradition lives on! Mulay's Sausage is proudly brought to you by Loree's family living in Crested Butte, Colorado.
Follow their story on Instagram @mulayssausage


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Which of the following statements about anchor text is true?
For non-commercial queries, anchor text is less influential on a result's rankings.
If a URL itself is the linking anchor text, Google will treat the page's title element as anchor text, while Bing will use the URL.
When an embedded image is linking, the alt attribute of the image may be treated as anchor text.
Anchor text is mostly ignored by Google in 2014, but was powerful in years past.
© 2017 QuizBucket.org


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Attorney Profile
Why Am I a Criminal Defense Attorney Defending People Accused of Breaking the Law?
People arrested by the police come from all walks of life. They are young and they are old. They may be advantaged or disadvantaged. As a criminal defense attorney I've helped teachers, doctors, students, police officers, soldiers, immigrants, professionals, and the average working man and woman, not just the hardened criminal. I represent good people, people who really need my help – people who may have simply made a mistake. Getting arrested is a complex problem and helping people navigate those frightening and dangerous waters has been rewarding to me. I'm also good at it. It's the reason I have focused exclusively on being a criminal defense attorney.
What Makes Me Uniquely Qualified to Defend You?
I've concentrated on criminal law for over 27 years and I am a Board Certified expert in the field. I've been tested by fire in every manner possible, trying the most complicated criminal cases imaginable. For over 22 years I've represented more than 5000 clients since starting private practice in 1994. My AVVO rating is 10 (Superb) and I was selected to the Texas Super Lawyers (Thomson-Reuters Service) in 2011 and 2012. I have extensive trial experience and I'm a member of the National College of DUI Defense. I also know how prosecutors think having worked for the district attorney early in my career. Equally important is my appeal experience. My unique combination of legal and scientific expertise gives me a special advantage when advising you on the best course of action when you're confronted with criminal charges.
I Have Defended Cases Like:
High BAC Breath and Blood DWI Cases
Hit and Run Charges
Death Penalty Defense
Family Violence and Assault
Drug and Narcotics Offenses
Sexual Assault
Stalking and Harassment
Fraud and Theft
Computer and Internet Crimes
Public Intoxication & Minor in Possession Charges
Student University Discipline Matters
All Felonies
All Misdemeanors
Stephen Gustitis in the News
We Are Accessible
My Firm offers free initial consultations to discuss your case. We accept ALL MAJOR CREDIT CARD payments. Our office is conveniently located in downtown Bryan, Texas, near the courthouse, and we keep flexible hours to accommodate your schedule. I also handle criminal cases in Burleson, Washington, Grimes, Madison, and Robertson Counties, and other surrounding areas.
To schedule your 5-Step Case Review . . .
About Steve:
1. Licensed since 1990
2. Board Certified in Criminal Law since 1995
3. Selected to Texas Super Lawyers (Thomson-Reuters Service), 2011-2012
4. Practice dedicated to criminal and DWI defense
5. Felony prosecutor with the Brazos County District Attorney's Office (1990-1994)
6. Received B.A. (Geology/Chemistry) from Susquehanna University, Selinsgrove, PA (1981)
7. Received J.D. from University of Denver College of Law, Denver, CO (1990)
8. Member of the Texas Criminal Defense Lawyers Association
9. Featured author in the Texas Criminal Defense Lawyers Association "Voice for the Defense"
10. Member of the Brazos County Bar Association
11. Admitted to practice in Texas courts, the United States District Court of the Southern and Western Districts of Texas, and the United States Court of Appeals, Fifth Circuit
12. Approved by the Texas Court of Criminal Appeals for capital murder – post conviction writs of habeas corpus
13. Approved for capital murder lead counsel and appeals in the Texas Second Administrative Judicial Region
Community Involvement
I proudly sponsor the following:
Connect with me on Google+ at Google


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Rules Regulations
Our goal is to keep the Ellington Cemetery a safe and peaceful place for reflection,
meditation and walking. In order to preserve the safety and serenity of our cemetery,
there are certain regulations that must be adhered to. The non-permitted items have
caused safety hazards to both the maintenance personnel and those visiting the cemetery.
These items also add to the cost of maintaining the cemetery and do not meet our goal
of keeping the Ellington Cemetery a peaceful resting place for reflection, meditation and
Permitted plantings include: Annuals (such as pansies geraniums, and marigolds) and bulbs (such as iris, daffodils, and tulips) that can be planted on any burial plot within one foot of the headstone. Additional items permitted are mulch; ceramic, stone or wooden planters; low stone, concrete or wooden borders; and medallions with a United States or public service flag placed as close to the stone as possible. Non-permitted plantings include trees, shrubs, perennials (including hosta), and vines. Non-permitted items include statuary, figurines, candles, pictures that are not an integral part of the stone monument, food stuffs, beverages, glass vases, plastic flowers, plastic flower pots, pennants and flags that are not United States or public service flags, wire fencing, wire or plastic hooks, artificial lights, knickknacks, personal items or decorative items. The Sexton can answer any inquiries about questionable items. All non-permitted items will be removed weekly from April to November. Winter decorations are allowed after November 15th and must be removed by April 1st.
A concrete vault is required for all full interments.
When an interment is to be made in a plot for someone other than the owner(s) of record, written permission must be presented to the ECA by the owner(s) of record prior to such interment. However, if the owner(s) of record are deceased, the person(s) with rightful use of the burial plot must notify ECA in writing of their intentions.
Monuments will not be permitted until the burial plot(s) are paid in full.
ECA reserves the right to control the type, size and location of monuments and markers, and ECA shall have the right to refuse permission for the erection of same which would detract from the uniformity and appearance of the cemetery, or in any way interfere with the use or maintenance of the cemetery. More information is on the website at www.ellingtoncemetery.com.
All memorial work must be installed on solid concrete foundations by the Cemetery. This work is coordinated with the Sexton by permit.
ECA has the right to move any memorial stone for burial purpose and return it to its original position.
Lot owner(s) are responsible for the up-keep of monuments and stones. If any memorial becomes dilapidated or a hazard in the judgment of Sexton, ECA shall have the right either to correct the condition or if necessary, to remove the memorial. Costs may be billed to the plot owner(s).
Polished black flat stones are only allowed with an understanding that the cemetery is not responsible for damages.
ECA shall not be liable for vandalism.
Resale and transfers of plot(s) must be made through the ECA.
The purchaser agrees to abide by and comply with all rules, regulations and bylaws of the ECA presently in force or as may be amended in the future.
The Sexton can answer any inquiries about questionable items. All non-permitted items
will be removed weekly from April to November. Winter decorations are allowed after
November 15th and must be removed by April 1st.
There are no trash barrels at the cemetery. Visitors are asked to take all discarded items with them off the premises.
From dawn to dusk, seven days a week.
Posted speed limit is 10 miles per hour. Western driveway is a one-way entrance. Eastern driveway is for entrance and exit.
The walking of dogs is prohibited.
ATVs, DIRTBIKES, AND SNOWMOBILES ARE STRICTLY PROHIBITED.


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for the 1953 collection of stories and essays by Zealia Bishop Te Curse of Yig (book)
"The Curse of Yig" is a short story by H. P. Lovecraft and Zealia Bishop in which Yig, "The Father of Serpents", is first introduced.
Bishop supplied the story idea and some notes, paying Lovecraft to flesh it out in 1928. It could be said the tale was "ghost-written"; however, others class it as a "collaboration". Bishop then sold the story under her own name to Weird Tales magazine. It was published first in the November 1929 issue (volume 14, number 5) on pages 625-36.
It was the first of three tales Lovecraft wrote for Bishop, the others being "The Mound" and "Medusa's Coil".
Based in Oklahoma around 1889, a newly arrived couple learn about the local legends surrounding a "Snake God", Yig, who takes vengeance on anyone who kills a serpent by killing them or turning them into a half-snake monster. The husband has a snake phobia which isn't helped by the wife disturbing a nest of rattlesnakes.
The husband and wife go through rituals to keep Yig away, but in the end it fails and in fear the woman kills her own husband in the dark, thinking he is Yig. She is taken to an asylum, and dies there... But not before giving birth to a half-snake creature.
The story has appeared in a number of horror anthologies, including:
- A Treasury of American Horror Stories, ed. Frank D. McSherry, Jr., Charles G. Waugh & Martin H. Greenberg, Bonanza/Crown Books 1985, ISBN 0-517-48075-1
- Tales of the Dark #3, ed. Lincoln Child, St. Martin's Press 1988 ISBN 0-312-90539-4
- The Horror in the Museum and Other Revisions, H. P. Lovecraft, Arkham House 1989 ISBN 0-87054-040-8


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Almost half of UK adults (48 per cent) have taken at least one prescribed medicine in the last week, according to a new survey commissioned by NHS Digital.
The survey of more than 8,000 adults also showed that one quarter of people are on at least three drugs and 82 per cent of those aged 85 and over are on at least five types of medication.
The use of 10 or more prescribed medicines in the past week was shown to be relatively uncommon overall at just three per cent of all adults. Among older adults, the proportions who had used 10 or more prescribed medicines in the last week was six per cent of those aged 65 to 74 and 13 per cent of those aged 85 and over.
The survey was part of the Health Survey for England series which monitors trends in the nation's health and covers a differing variety of topics each year including obesity, smoking and drinking and wellbeing.
The wider report revealed that nearly two thirds of men (66 per cent) met national aerobic activity guidelines (a minimum of 150 minutes of moderate intensity activity per week) in 2016 compared to 58 per cent of women. London had the highest proportion of people aged sixteen or over meeting the guidelines for aerobic activity, at 65 per cent, whereas the West Midlands had the lowest, at 53 per cent. On average, 62 per cent of adults in England met the guidelines.
When it came to mental health and wellbeing, most age groups showed some increase in probable mental ill health, with the largest increases reported among men aged 16-24 and 25-34 and women aged 16-24.


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Matt Harvey reported for work Thursday at 10:44 a.m. wearing a trench coat cinched at the waist. He leaned his black umbrella against the back of his clubhouse chair, then embarked on the process of preparing for the 24th start of his major league career.
Rain was in the forecast for the Mets' afternoon game against the St. Louis Cardinals at Citi Field, but Harvey was as meticulous about his preparation as ever. He tossed the ball in the outfield. He threw in the bullpen. He conferred with catcher John Buck on the game plan. He stretched. He jogged. He glowered.
It turned out to be a typical day for Harvey, who pitched seven sharp innings. The problem once again was the Mets' offense, which has been stymied this season by pitchers with far less ability than Adam Wainwright. Facing him, the Mets were even more ineffectual than usual in a 2-1 loss.
Wainwright (10-3) scattered four hits over seven scoreless innings to outshine Harvey, whose reward for allowing five hits and one run over seven innings was his first loss of the season. Harvey, whose earned run average improved to 2.04 from 2.10, now owns a 5-1 record with eight no-decisions. Run support has been an issue.
"I don't like to lose," Harvey said. "I wanted to go out and put up zeros, and I wasn't able to do that."
Despite pitching well, Harvey has not won a game since May 17. Sensing that his frustration might be building, Manager Terry Collins approached Harvey after the game. Collins said his message was simple: Harvey threw a terrific game, and he can control only his performance.
"This guy is a different animal," Collins said, citing Harvey's competitive drive. "He's very, very aware of what he needs to do, and what major league pitchers have to do. They can't worry about lack of offense or not making plays. They have to go do their jobs, and he's done that."
Harvey's starts this season have been box-office draws for the Mets (relatively speaking), but Thursday's game had a different feel. It was an early game on an overcast day, with an announced attendance of 25,471, which a team spokesman said was the number of tickets sold. A fraction showed up.
When Harvey took the mound in the top of the first, he found himself performing for dozens of fans. The organist's rendition of Bon Jovi's "Livin' on a Prayer" echoed against the many vacant seats — an anthem of sorts for the franchise.
Still, it was a marquee pitching matchup featuring Harvey and Wainwright, a right-hander who notched his 1,000th career strikeout. His mere mention still generates bad feelings for Mets fans, who remember his bases-loaded strikeout of Carlos Beltran to end Game 7 of the 2006 National League Championship Series.
Wainwright has since solidified his status as one of baseball's most consistent pitchers, and he motored along against the Mets, retiring the first 11 hitters he faced before David Wright singled in the fourth.
Since demoting three players to Class AAA Las Vegas last weekend, Collins has sought consistency from a new-look lineup that features Daniel Murphy at first base. For the third straight game, the Mets had the same batting order (with the exception of the pitcher). They squandered the few chances they had against Wainwright, however. With two outs in the fourth, Lucas Duda flied out to the warning track in center, stranding runners at first and second.
"We couldn't get anything going," said Wright, who collected three of the Mets' seven hits.
Harvey's lone blemish came in the third, when the Cardinals' Matt Carpenter scored Pete Kozma on a triple that skipped past a diving Marlon Byrd in right field. The Cardinals tacked on a run in the eighth against the Mets' bullpen.
In the ninth, the Mets left the tying run on third base when Josh Satin struck out to the end the game.
"I can't control what the offense is doing," Harvey said. "I can just go out there and pitch and try to put up as many zeros as I can."
Terry Collins will serve as a coach in the All-Star Game next month at Citi Field. The National League team will be managed by the San Francisco Giants' Bruce Bochy, who made the selection. "I realize it's in New York, and that's probably why they asked me to do it," Collins said. "It's an honor. I mean, it's a blast." ... With David Wright trailing the San Francisco Giants' Pablo Sandoval in All-Star Game voting, the Mets' marketing department has been toying with some unorthodox get-out-the-vote campaigns. A report on Deadspin.com revealed that one involved soliciting a dating Web site, CougarLife.com, to try get its members to punch ballots for Wright. (The site had named Wright its "hottest cub" in a poll last month.) The Mets, in a statement, said they ultimately rejected the idea. "It's nice when the organization is trying so hard to do something for one of their players, and I can't thank them enough for that," Wright said. "But at the same time, I've asked them to kind of back it down a little bit."