text:
Publication number | US5309482 A |
Publication type | Grant |
Application number | US 07/859,981 |
Publication date | May 3, 1994 |
Filing date | Mar 30, 1992 |
Priority date | Mar 30, 1992 |
Fee status | Paid |
Also published as | CA2092859A1, CA2092859C |
Publication number | 07859981, 859981, US 5309482 A, US 5309482A, US-A-5309482, US5309482 A, US5309482A |
Inventors | Andrew S. Wright, Theodorus J. Smit, Martin C. Alcock |
Original Assignee | Novatel Communications Ltd. |
Export Citation | BiBTeX, EndNote, RefMan |
Patent Citations (3), Referenced by (59), Classifications (19), Legal Events (7) | |
External Links: USPTO, USPTO Assignment, Espacenet | |
The present invention concerns radio receivers used for digital communication. It has particular, although not exclusive, applicability to matched filters used in such receivers.
Digital symbol transmission over the narrow-band channels allocated, for instance, to cellular-telephone traffic imposes stringent filter requirements on the transmitters and receivers used for such communication. The stringency is a result of the need to extract symbols from the transmitted signals without suffering errors that could result from intersymbol interference.
Such requirements can be understood by reference to FIG. 1, which depicts a typical transmitter and receiver employed for digital communication. The example system is of a type that might be used to implement the IS-54 standard proposed for North American cellular-telephone communication. A handset microphone 10, for instance, produces an analog signal that front-end-processing circuitry 12 converts into digital form, encoding it in ways not relevant to the present invention. The result is a bitstream that a π/4-shifted differential quadrature phase-shift-keying ("DQPSK") modulator 14 receives in two-bit pairs. Modulator 14 generates a complex-number output dictated by that bit pair in accordance with the DQPSK scheme. Specifically, the complex output is one of eight points equally spaced about the unit circle in the complex plane, and each of the four possible input bit pairs represents a different angle shift from the previous modulator output, the four possible shifts being plus or minus π/4 and plus or minus 3π/4.
Analog modulators 16 and 17 modulate in-phase and quadrature components, respectively, of a carrier that a source 18 generates, and respective bandpass filters 19 and 20 pass the desired sum or difference components of the resultant signal. If the analog version of the raw modulator-14 output were applied directly to the amplitude modulators 16 and 17, the abrupt phase changes would cause the spectrum of the resultant signal to be much wider than is allowed for single-channel cellular-telephone communication. Digital filters 21 and 22 therefore subject the two DQPSK-modulator outputs to low-pass filtering before the resultant signals are converted to analog form in digital-to-analog converters 23 and 24 and used to modulate respective carrier components. Accordingly, when an adder 25 combines the two thus-modulated carrier components, the bandwidth of the resultant signal is within limits. An amplifier 28 increases that signal's power for transmission over an antenna 30.
An unfortunate but unavoidable result of the filtering that filters 21 and 22 perform is a "smearing" of the sharp pulse outputs of the modulator 14; the filter's response to each such pulse is significant for many symbol periods. Generally, therefore, the output signal at any given time contains contributions from the responses to several input symbols: there is inter-symbol interference.
At the receiver end, a receiving antenna 32 applies its output to a receiver front end 34, whose intermediate-frequency output is mixed in (typically, but not necessarily, analog) mixers 36 and 38 with respective intermediate-frequency signals, produced by a source 40, that are equal in frequency but 90� out of phase with each other; i.e., the intermediate-frequency signal is mixed with a complex sinusoid. Low-pass filters 42 and 44 extract the baseband results of the mixing process, respectively producing in-phase and quadrature components.
We interrupt the receiver description at this point to observe that, although the preceding receiver components are, of course, typical, a receiver, as we use that term here, may be a device used in the transmitter itself to extract symbols from the transmitted signal for certain feedback purposes such as predistortion adjustment. For present purposes, therefore, a receiver does not necessarily include an antenna and related front-end components, although most receivers to which the present invention is applicable will include them.
The outputs of filters 42 and 44 are analog signals, which respective analog-to-digital converters 46 and 48 convert to digital form to produce respective data streams that so-called matched filters 50 and 52 filter digitally. A decision device 54 then determines, from the levels in the matched-filter outputs, what symbols the DQPSK modulator 14 initially produced, and it thereby determines what the modulator's inputs were. The decision device typically would also reverse the front-end processing performed by circuit 12.
Although the segregation between digital and analog processing and between in-phase and quadrature sections described above is typical, the conversion to the digital domain can in principle be performed earlier in the processing chain, before the processing is bifurcated into parallel in-phase and quadrature sections. For instance, a single analog-to-digital converter could convert receiver 34's intermediate-frequency output directly to digital form, and the mixing with the complex sinusoid could be performed in the digital domain. In that case, there would ordinarily be no need for elements corresponding to low-pass filters 42 and 44 separate from the matched filters 50 and 52, which themselves perform a low-pass function.
As was mentioned above, inter-symbol interference results from the pulse-shaping process that filters 21 and 22 perform. Although the resultant "smearing" of the incoming pulses is unavoidable, judicious selection of filter parameters enables the receiver to avoid the confusion that this interference would otherwise cause. Specifically, filters 50 and 52 form "Nyquist filters" with pulse-shaping filters 21 and 22, respectively, in the transmitter. A Nyquist filter is one whose impulse response has zero crossings at delays equal to all non-zero numbers of symbol times. There is thus a point in each symbol time at which the responses of the filter to all of the input pulses except the current one are zero, and if the outputs of the matched filters 50 and 52 are "sampled" only at those times, the effects of inter-symbol interference can be avoided.
(For the sake of convenience, we refer to filters 50 and 52 as "matched" filters because as a practical matter they conventionally are the same as the pulse-shaping filters 21 and 22 and thus match those filters' impulse responses. In principle, however, they need not be the same, so we use matched filter here to mean filters used in producing the Nyquist response, regardless of whether their characteristics are the same as those of the transmitter's pulse-shaping filters.)
The Nyquist-filter approach, which is the one that typically is employed to extract the symbols despite intersymbol interference, naturally depends on accurately approximating ideal Nyquist filters. Among other things, this means that the relative timing of the digitally implemented transmitter and receiver filters must be proper. The transmitter timing is based on a transmitter clock 56, while that of the receiver is based on a separate, independent receiver clock 58. The relative timing between the filters therefore will tend to drift unless appropriate countermeasures are taken.
To prevent such drift receivers of this type conventionally employ a timing-recovery circuit 60 to measure the timing error so that appropriate compensation can be performed. One type of timing-recovery circuit receives the output of one of the matched filters 50 and 52 and digitally correlates it with a complex sinusoid whose frequency is half that of the symbol frequency. This sinusoid is produced by a source 62 timed by the receiver clock 58. For the IS-54 scheme, in which the symbol frequency is 24.3 kHz, the frequency of the complex sinusoid is 12.15 kHz. The source 62 applies its output values to a digital multiplier 64, which multiplies these complex values by the real-value output of, say, matched filter 52 and applies the result to a digital low-pass filter 66.
The output of this low-pass filter 66 is a complex number representing the amplitude a d phase of the 12.15-kHz component present in the output of filter 52. Because of certain aspects of the higher-level encoding performed in the front-end processor 12, this component is ordinarily significant in the resultant signal, and, averaged over time, it indicates the relative timing between the sample times and the symbol times in the filter output and thus whether the phase of the clock is that required to minimize intersymbol interference. Accordingly, an averaging circuit 68 determines the average value of this component, which is then used for timing adjustment.
As those skilled in the art will recognize, various of the digital elements, such as the filters 46 and 48, the multiplier 64, etc., are typically implemented in a common digital signal-processing circuit. Therefore, most of the digital elements do not individually add significantly to the size, cost, or power requirements of the receiver. But a significant addition can be caused by the use of, say, a variable-frequency oscillator for adjustment of the clock phase in response to the recovered timing offset. This is particularly disadvantageous in a cellular-telephone receiver, in which space and power consumption are at a premium.
Rather than employ such a circuit, therefore, a typical receiver employs a fixed clock 58 whose output is not directly used for timing but instead is applied to a sample-pulse generator 70 that includes a tapped delay line so as to impose a variable delay between clock 58 and the circuits that require the timing signals. The tap output used as the sample pulse is selected in accordance with the output of averaging circuit 68. That is, if the phase is proper, the tap remains the same, but it is advanced or retarded if the phase is improper. As a result, the sample-pulse generator adjusts for the clock phase difference so as to ensure that the matched filters 50 and 52 form respective Nyquist filters with the pulse-shaping filters 22 and 23.
The use of a variable-delay-line type of pulse generator 70 yields space advantages over, say, a variable-frequency oscillator, but it still requires extra space. Moreover, the timing resolution that it can achieve is ordinarily not as good as that of a variable-frequency oscillator; it can achieve only discrete values of delay, and the number of delay values is limited in a reasonable-sized tapped delay circuit.
The present invention provides the possibility of considerably greater delay resolution than would ordinarily be obtainable in a tapped-delay-line arrangement of a reasonable size, and, in the typical receiver implementation, imposes negligible space or power requirements.
In accordance with the present invention, the matched filter is a variable-coefficient filter. This typically requires no additional space, since most digital circuitry in such receivers is implemented in digital-signal-processing circuitry in which the coefficients are necessarily programmable. A coefficient generator, typically also embodied in the digital signal processor, produces filter coefficients that depend on the phase-offset output of the timing-recovery circuit.
Specifically, coefficients of a reference matched filter, which would yield the desired Nyquist filter if the proper timing relationship prevailed between the transmitter and receiver sample clocks, are treated as samples taken at the sampling rate from a continuous-valued impulse-response curve. New coefficients are determined by interpolating between those samples to find the curve's values at points spaced from the reference-coefficient "sampling points" by a compensation delay adjusted in accordance with the phase output of the timing-recovery circuit. These new coefficients are then used as the actual matched filter's coefficients. The result is that the impulse response of the actual matched filter is delayed or advanced by an amount that compensates for the phase offset between the transmitter clock and the receiver clock.
One way to embody the invention is to implement the coefficient generator in a look-up table addressed by the sum of the previous compensation delay and the timing-recovery circuit's phase-offset output. This embodiment requires enough storage to contain all coefficients for every delay to a desired resolution. To avoid such a storage requirement, the coefficient generator can instead be implemented in a device for performing the actual interpolation calculations in response to the phase-offset output. In this case, the storage requirement is only that necessary for the reference filter coefficients, and the timing resolution is limited only by the resolution with which the various involved calculations are performed.
These and further features and advantages of the present invention are described below in connection with the accompanying drawings, in which:
FIG. 1, described above, is a block diagram of a prior-art transmitter and receiver;
FIG. 2 is a block diagram of a receiver that implements the teachings of the present invention;
FIG. 3 is a more-detailed block diagram of on of the matched filters employed in the receiver of FIG. 2; and
FIG. 4 is a graph used to illustrate the interpolation process.
FIG. 2 depicts a part of a receiver that changes the matched filter's coefficients, rather than the clock signal upon which its operation is based, in order to achieve the proper relationship between the matched filter and the pulse-shaping filter in the transmitter. For the sake of simplicity, FIG. 2 omits the part of the receiver circuitry that develops the baseband output. Of that part of the signal-processing train downstream of the baseband-generation components, moreover, FIG. 2 depicts only the quadrature section, since the in-phase section is largely identical to the quadrature section.
The analog-to-digital converter 48', the symbol-decision device 54', the clock 58,, and the timing-recovery circuit 60' of FIG. 2 operate in substantially the same manner as analog-to-digital converter 48, symbol-decision device 54, clock 58, and timing-recovery circuit 60 of FIG. 1 do. Rather than being applied to a variable delay, however, the clock-signal output of the clock circuit 58' of FIG. 2 is applied directly to the analog-to-digital converter 48'; that is, the sampling instants are not adjusted in response to the output of the timing-recovery circuit 60', and they accordingly drift in time with respect to those in the transmitter.
Additionally, the matched filter 52' of FIG. 2 performs a function similar to that of the matched filter 52 of FIG. 1, except that its filter coefficients vary. From a hardware point of view, this makes little difference; filter 52', as well as other digital elements, are typically implemented in a digital-signal-processing integrated circuit, and the filter's coefficients would be programmable in any event, even if they were not to be changed during operation.
The matched filters of FIGS. 1 and 2 would typically be implemented as transversal filters of the type depicted in FIG. 3. In that drawing, a series of delay elements 74 imposes successive delays of T, the sample period, of which the symbol period is typically an integer multiple. The output of each delay element is applied to a respective multiplier 76, in which it is multiplied by a respective filter coefficient fk. A summing circuit 78 produces the sum of these products as the filter output.
The coefficients fk employed in the filter 52' of FIG. 2 do not in general remain the same from one "time slot" to the next. (In the digital-cellular-telephone application to which the illustrated embodiment is directed, signals for different stations are time-division multiplexed onto the same frequency channel; i.e., each receiver "listens" only during its respective time slot.) Instead, a coefficient generator 80 produces a set of filter coefficients whose values depend on the output of the timing-recovery circuit 60'. Specifically, a filter-coefficient store 82 contains reference-filter coefficients. These are typically, although not necessarily, those that would have been employed in the corresponding, fixed matched filter 52 of FIG. 1. FIG. 4 depicts those coefficients graphically as a function of their indices--i.e., as a function of the delays that produce the values that they multiply.
As is true of transversal filters generally, such a graph of the coefficients also represents the filter's impulse response; a single impulse applied to such a filter produces successive outputs whose relative values are proportional to the successive coefficients. The principle of our invention is to treat these coefficients as samples of a continuous impulse response and determine the values of that impulse response at instants spaced from the "sample times" of the reference-filter coefficients by a compensation-delay interval determined by the delay output of the timing-recovery circuit 60. That is, after each time slot, the positions at which the new coefficients are to be determined are adjusted from their previous positions by a delay that the timing-recovery circuit 60' indicates.
Suppose, for instance, that the coefficients employed during one time slot had been selected to produce a compensation delay of Δtold and that the timing-recovery circuit measured an error of δold for that slot. For the next time slot, then, the filter employs the coefficients f'k depicted in FIG. 4 as being "samples" of the continuous-valued impulse response taken at points delayed by Δtnew =Δtold +δold from the "sample times" of the reference-filter coefficients.
As that drawing indicates, the reference filter coefficients fk can be thought of as the values of an ideal filter's continuous-valued impulse response sampled at times t=kT, while the actual coefficients fk are chosen to approximate the values of that response at times t=kT+Δt.
This result could be realized by employing a memory that contains the values of that impulse response, and such an embodiment of the invention may be practical in appropriate circumstances. But the memory size required to achieve the desired resolution in Δt with this method may be too great for some applications. In such situations, it would be preferable to store only the reference coefficients and to interpolate between those reference coefficients to obtain the filter values for actual use.
Many existing interpolation approaches would serve to achieve this result. An approach that we have employed is to use a Lagrangian polynomial approximation. Specifically, we compute an actual filter coefficient f'k, fk <f'k <fk+i, in accordance with: ##EQU1## where τ=Δt/T and L is a 2N+1-efficient interpolator-window function given by: ##EQU2## The effect of this interpolation for a given fk ', is (1) to find the unique curve of degree 2N or less that passes through 2N+1 fk+1 's and (2) to sample that curve at a point Δt to the right of that at which the corresponding reference coefficient fk was evaluated.
Preferably, a filter that is to use M filter coefficients will store M+2N reference filter coefficients, i.e., an extra N coefficients at each end of the coefficient sequence so that the 2N+1-coefficient-wide interpolation window can always be centered on the reference coefficient fk corresponding to the actual coefficient fk ' to be calculated. Appropriate window changes at the ends of the coefficient sequence, of course, would enable one to dispense with the extra coefficients and obtain the new coefficients by interpolating (and, possibly, extrapolating) through the use of less-centered interpolation/extrapolation windows.
The illustrated embodiment calculates both the interpolation-window function and the new filter coefficients between each receive slot. For the contemplated, time-division-multiplexed application, in which there is enough calculation time between time slots, we consider this the best approach; it requires little data storage, and the delay resolution is limited only by the calculation quantization, not by the available memory size. For applications in which calculation time is at a premium, on the other hand, one can pre-calculate and store a different set of coefficients for each of as many delay values as memory capacity permits. And a third, intermediate approach is to pre-compute and store interpolation-window functions Li (τ) for different delay values and perform only the operation of equation (1) in real time.
It should be apparent that the invention is equally applicable to arrangements in which the analog-to-digital conversion is performed, say, on the intermediate-frequency signal rather than on the baseband signal; the converter timing is generated in the same way, and the filter coefficients are similarly determined, although possibly on the basis of different reference coefficients.
In light of the foregoing description, it is apparent that following the teachings of the present invention enables one to ensure the proper timing relationship between a transmitter's pulse-shaping filter and the matched filter in the receiver without the space and power requirements imposed by adjustable-clock circuits conventionally employed. The invention thus constitutes a significant advance in the art.
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U.S. Classification | 375/350, 375/354, 375/232, 333/18, 708/323, 375/343 |
International Classification | H04L7/02, H04L25/03, H03H17/02, H04B1/30 |
Cooperative Classification | H04B1/30, H04L2007/047, H04L7/0029, H04L25/03853, H03H17/0254 |
European Classification | H04L25/03E1, H03H17/02F4, H04B1/30, H04L7/00C1D |
Date | Code | Event | Description |
Mar 30, 1992 | AS | Assignment | Owner name: NOVATEL COMMUNICATIONS LTD., CANADA Free format text: ASSIGNMENT OF ASSIGNORS INTEREST.;ASSIGNORS:WRIGHT, ANDREW S.;SMIT, THEODORUS J.;ALCOCK, MARTIN C.;REEL/FRAME:006075/0563 Effective date: 19920325 |
Feb 20, 1996 | AS | Assignment | Owner name: HARRIS CANADA, INC., CANADA Free format text: ASSIGNMENT OF ASSIGNORS INTEREST;ASSIGNOR:NOVATEL COMMUNICATIONS LTD.;REEL/FRAME:007824/0339 Effective date: 19960123 |
Sep 30, 1997 | FPAY | Fee payment | Year of fee payment: 4 |
Nov 2, 2001 | FPAY | Fee payment | Year of fee payment: 8 |
Nov 27, 2001 | REMI | Maintenance fee reminder mailed | |
Nov 3, 2005 | FPAY | Fee payment | Year of fee payment: 12 |
Apr 19, 2007 | AS | Assignment | Owner name: HARRIS STRATEX NETWORKS CANADA, ULC, CANADA Free format text: ASSIGNMENT OF ASSIGNORS INTEREST;ASSIGNOR:HARRIS CANADA, INC.;REEL/FRAME:019181/0465 Effective date: 20070126 |


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Home › Forums › General Forums › General Lightweight Backpacking Discussion › Off weights
Apr 1, 2007 at 10:46 am #1222635
I just purchased a Golite Gamut jacket and a Mountain Hardware Drifter pack, both are very nice pieces of gear, but I was surprised that their listed weights were off. They were 12-15% higher than the listed weights, which to me was not worthy of too much complaint, but a little frustrating when I had expected them to be lower. I want to make sure my scale is accurate in the near future, but it's fairly new and measures down to single grams. Thinking back, I think all my items were slightly higher than listed weights, but these were the most off I've had. Is that just normal? Should I contact the companies and let them know I was a little dissapointed?
Apr 1, 2007 at 3:52 pm #1384468I suggest an easy and "precise enough" calibration test for a scale that weighs to the individual gram (i.e., an inexpensive type electronic scale). Find some coins that look quite new & shiny and not in any way visually worn or nicked. The weights of U.S. coins can vary to some degree, but there are specs and — you should get a sense for whether your scale is at fault or (as is unfortunately too often the case) the manufacturers err on the optimistic side in their given weights.
A U.S. dime should be 2.268 grams; get a bunch of 'em and see what your scale says. A quarter is supposed to be 5.67 grams. A nickel is exactly 5 grams.
http://www.usmint.gov/faqs/circulating_coins/index.cfm?flash=yes&action=faq_circulating_coinIf it's the manufacturer's being overly optimistic — that might make a good thread here (which one's stretch the truth the most, and the most consistently?). It certainly can't hurt for all of us to directly express our dissapointment — while reiterating that at the same time that we *do* want weights given. So long as they're not too far off, I'd rather somewhat optimistic weights than no weights given at all …
Brian Lewis
Apr 2, 2007 at 4:16 am #1384520Yes, it is a let down. I recently bought a daypack that weighed in at 1087g but advertised as 900g which is a 20% difference. I'm very happy with the pack but 900g was the upper limit of the weight scale for me. I've only been able to cut off about 50g of straps etc.
Apr 5, 2007 at 7:01 pm #1385007Thanks! I tried it with quarters and the weight of 100 quarters came to 567.1 grams, so I guess my scale is pretty accurate.
Ian, same happened with my pack. It was 4 ounces over the listed weight, but I took off about 12oz so it's ok now.
You must be logged in to reply to this topic.


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TPM Livewire
Clinton Slams GOP Anti-Muslim Rhetoric: Shameful, Offensive, Dangerous
Clinton was asked by a Muslim woman who had served in the military how she would make sure America was a safe place for the woman to raise her family.
"It's not only shameful and contrary to our values to say that people of a certain religion should never come to this country or to claim that there are no real people of the Muslim faith who share our values and to have the kind of dismissive and insulting approach," Clinton said, "It's not only shameful and offensive, which it is, I think it's dangerous."
She said she has met with Muslim parents who say their children do not feel safe going to school. Clinton also argued the rhetoric made it harder to counter terror threats by straining the U.S.'s relationship with the Muslim community both here and abroad.
"It's pretty hard to figure out how you are going to make coalition with the very nations you need if you spend your time insulting their religion," she said.


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"Nothing Can Make You Suffer, Without Your Silent Permission"
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"Sacrificing your whole life for the sake of the 'outer world goals' is not the way to live.The one and only achievement that a man could do is working towards "ENLIGHTENMENT"."
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Gail Marie MacLean


text:
Cowboys' Hurd in line for special honor
Published 12:00 am, Tuesday, September 7, 2010
IRVING — Three days ago, Dallas Cowboys receiver Sam Hurd barely survived the team's cut to 53 players. Now he's on the verge of ascending to a place of prominence in the locker room.
"We haven't voted yet, but I bet you he is going to be the special-teams captain for sure," head coach Wade Phillips said Monday. "He's been outstanding on special teams, and he's a very good leader."
The Brackenridge alum was on the bubble because of his $1.8 million salary, a hefty price tag for a special-teams ace. But his value came into focus after the club traded receiver Patrick Crayton to San Diego on Friday.
"We kept our best players that are going to help us win, and Sam is one of those guys," Phillips said.
Hurd wasn't available for comment but did acknowledge earlier in the day that he rejected a request to take a cut in pay.
There apparently are no hard feelings.
"His attitude is great," Phillips said. "You ask him how he's doing, and he says, 'great' every day. And he is doing great. He's just a good guy to be around."
Hurd, 25, had a team-best 19 special-teams tackles last season. But he's caught only 31 passes in four seasons.
"Sam is a little like Miles (Austin) was in that every time he's had an opportunity to play as a receiver, he's kind of gotten hurt," Phillips said.
Phillips also praised former UTSA sprinter Teddy Williams, who earned a spot on the practice squad as a cornerback despite not playing football the last five years.
"If you are going to take a shot on (putting) a guy on the practice squad, I'd say (do it with) the fastest guy," Phillips said. "But I will say this, he has improved. A lot of fast guys haven't been able to play at all. But this guy has improved remarkably fast at defensive back, and we're also going to look at him at receiver.
"It's pretty amazing that a guy who never lettered (in college) is playing pro football right now."
The Cowboys took a flyer on Williams one week into training camp.
"I'm going to keep working hard," Williams said. "I'm never content."
An ankle injury his senior season as a receiver at Tyler John Tyler put Williams' football career on hold. After earning All-America track honors four times at UTSA, he turned back to football.
He has been flooded with congratulatory messages from San Antonio.
"I have a pretty nice support team," he said.


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With climate change at the front and center of today's political debates, the other indicators of the Earth's environmental health are not always top of mind in the public conscience.
Featured as part of the cover story of Scientific American magazine's April issue, University of Minnesota professor Jon Foley makes the case for why we need to pay more attention to all environmental processes that contribute to the Earth's health.
In his article, "Boundaries for a Healthy Planet," he argues that while climate change gets ample attention, species loss and nitrogen pollution exceed safe limits by greater degrees. In addition, other environmental processes such as ocean acidification and stratospheric ozone depletion are also moving toward dangerous thresholds.
Foley calls for swift action to address these developments and push back from planetary "tipping points" that would thrust the global environment and human life into dangerous new territory. First steps include promptly switching to low-carbon energy sources, curtailing land clearing and revolutionizing agricultural practices.
Foley is director of the University of Minnesota's Institute on the Environment. Originally trained as an atmospheric scientist, he works primarily on the nexus of land use, agriculture and the global environment.
Story Source:
Materials provided by University of Minnesota. Note: Content may be edited for style and length.
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Joan Sutherland's career was so solid and durable – and those are miserable words for a thing of such brilliance – that it might seem perverse to fix on one night of it. But 17 February 1959 was the date, and the occasion, a performance of Lucia di Lammermoor at the Royal Opera House, Covent Garden, the stuff that legends are made of. "Yes, yes," people say as if to wave away the subject, quieten the old opera-bore, soothe a child who tells of improbable adventures which you know the real world lacks resources to supply, But no: that night was one of the great events of a lifetime, and the voice of wonder is not so easily silenced.
Besides, this scepticism about Sutherland was familiar from the start. Outside the theatre I had arranged to meet a friend who had not been to the show and whom I found talking with some critics and other important people who had. A lustreless, unimpressed little group stood there: mouths were set like those of mothers who observe the delinquency of next door's horrible little Dennis, eyelids droops and unseeing gazes fixed upon some indifferent object in the middle distance. "Didn't she look awful with that red hair!" said someone. And all the while within myself there struggled for coherent expression the sensations of one who has seen (and heard) miracles. Then, eventually, the important ones sighed their "Ah wells" and drifted back to Highgate or St John's Wood, and the lid could begin to bob up and down on the kettle, and something of the wonder steaming away inside managed to find release.
It would be much more satisfactory if one could say that what had so impressed had been the newly revealed dramatic impact of the work, that the producer's insight had shown it to be an opera about the subcutaneous disorders of a gain-motivated society. And certainly the opera had proved its power over the emotions and the production had gladdened eye as well as ears. Moreover, it had been well acted. Everybody who was there remembers Lucy's first appearance on the spiral staircase in the Mad Scene, and the way horrified and fascinated onlookers flinched as she turned towards them. Sutherland herself acted with complete conviction and moved with touching beauty and grace. But the great thing, the quality that set this as a night apart, was something else. It was the triumph of voice.
Sutherland's voice was then completely steady. It was also (and so remained till very near the time of her retirement) entirely free from surface-scratch, those layers of extraneous sound which the majority of professional voices acquire, often in a very short time: hers remained pure. It was also quite exceptionally ample in volume. There are problems about comparing the "size" of voices, but my strong recollection is that Sutherland's was a more house-filling tone than Callas's even in her prime; it was certainly much fuller than others we heard at that time in the same or comparable roles. The middle range was not its glory, yet there was warmth and substance in it. She also had a chest voice which, though sparingly used, helped to colour and give dramatic force: Lucy's cry of "il fantasma" remained vivid in the memory because of it.
But the thrills came from on high. It is ridiculous to talk about high notes as though they don't matter or are some kind of stunt irrelevant to the real art of music. When music is written with high notes, the music itself is spoiled if the high notes are shrill or thin or strained in tone; conversely, when the notes are beautiful the music can begin to glow. It was so with Lucia.
There was one breathtakingly beautiful phrase in the cadenza of the Mad Scene at which, if one is to pinpoint a certain moment in the performance, a thrill passed through the whole house. This was the reminiscence of the melody from Act I, "Verranno a te", sung now without words. The phrase is usually broken off before the melody spans its highest, to spoil the suggestion of a fitful, fragmented memory, but to draw us closer to the character through the sheer loveliness of sound. It was pure and natural, and its fullness of tone seemed to come from a full heart: I have never heard anything quite like it. When she took the final high E flat – again with such fullness and assurance – it brought the singer's triumph and the audience's joy in sound to their fitting culmination. But it was in that earlier moment, and in the surrounding phrases, that the house had held its breath and silently acknowledged that here was what in Italy they were soon to know as "La Stupenda".
For her fluency in scale-passages one had to go back to the most accomplished work of earlier singers to find anything comparable: Marcella Sembrich, Nellie Melba, Margarethe Siems. Her staccatos were as finely pointed as Tetrazzini's though the tone had not that brightness and sparkle. Her trill was precise and capable of being sustained long enough to be (as it never was in practice) a delicious menace, a show-stopper à la Selma Kurz (who would walk round the stage holding a single trilled note till on one occasion an exasperated conductor brought down his baton and the orchestra cut her off with a final chord).
There was also something of the limpid, unaggressive style of Galli-Curci in her coloratura: she never used the brilliance of her florid technique to impose awareness of herself as prima donna, or if she caught herself doing something of that kind it was at once despatched with a deprecatory flash of humour. That (the element of "send-up") was to come later, with La Fille du Regiment.
In this first Lucia one of the most refreshing features of the performance was its unself-consciousness. The most brilliant things were done in the most unostentatious way. The Fountain Scene in Act I introduced a Lucia who went about her business with such apparent ease that the audience could have been excused had they failed to recognise the extent of her technical achievement. As I remember it, the applause, even at this early stage, suggested that we had from the start a fairly sure appreciation of the marvel we were witnessing.
The critics whom I met afterwards in their huddle of real or assumed boredom may not, after all, have been typical, for the papers next day were full of praise. Andrew Porter, for instance, found Sutherland's singing "exquisite" and explained exactly why; moreover "there was a meaning in everything she did". The few openly dissenting voices included that of Victor Gollancz, who was heard to remark, "By God, she's as dull as Melba". And, more seriously, there were several good judges who had misgivings which concerned a feature of the singer's art not yet mentioned: that of "legato".
There is a phrase in Tom Stoppard's Jumpers about the futility of trying to construct a gothic arch out of junket. Later on in Sutherland's career and particularly when listening to her records, there were times when the image would come to mind. No doubt it all depends on what you mean by "legato", literally the art of "binding" the notes or, to change the metaphor, making them flow. Every singer "binds" and makes the voice "flow" in some degree, but the degree relates to evenness, which may be a question of voice-production or of style or both.
Also related is the concept of "line". Sutherland, with her conductor husband Richard Bonynge, came to specialise in operas from the first half of the 19th century, which of all periods was the one that most assiduously cultivated the voice as an instrument for melody. The melodic line may have its points of special emphasis and it may be shaped with a rise and fall of volume, but essentially the notes must be "bound" and the line must preserve a certain integrity: it is a unit in the sequence of phrases which constitute the melody. Sutherland, it was felt, either lacked something in the technique of binding evenly or, perhaps encouraged by Bonynge and other influences (such as the example of Callas) which urged her to be "expressive", developed a style that fussed and fidgeted too much.
This, as a source of dissatisfaction, was exacerbated by three other features of her singing. One was the particular character of her tone, which had about it a quality that was more of a liability on records than in the flesh. Hers was a round voice rather than sharp-edged, warm rather than shiny. So if one compared Sutherland in (say) "Ah, non credea mirarti" from La sonnambula with the recording by Toti Dal Monte, Sutherland's lack of a firm line was felt as much in the contrast of tones as in the treatment of the melody (whether technical or stylistic).
Then there was the question, much more clearly stylistic, of the Sutherland "droop". Portamento, the carrying-over of one note into the next by a gentle curve of sound rather than a clean-cut interval, is a feature of the legato style, and that is not what is in question here. It is more a device which I think Sutherland learnt to use when seeking pathos; it then became a mannerism and grew tiresome. In his book on Sutherland in the short-lived Record Masters series (1972), Edward Greenfield sees the early 1960s as the worst time for this, and it is true that later years brought some tightening-up in this respect. Yet it is part of the "sound-picture" one retains: try to listen to Sutherland inwardly, and this is part of what you hear.
The third feature that contributed to this perceived want of definition in Sutherland's singing was the somewhat amorphous nature of her diction. Consonants lacked sharpness, but that would have mattered less had the full range of vowel sounds been available. Just as Walter Pater thought that "all arts aspire towards the condition of music", so it seems all vowels aspired towards the condition of "ah". Degrees of difference were preserved, but you certainly could not say of Sutherland that she (as David Hamilton wrote of Martinelli) "quickened the language". With the verbal life of it so drained, her music needed still more urgently sharpness of tone and cleanness of interval in order to preserve its vitality.
Misgivings about such matters increased during the early years of her stardom. But the post-Lucia years were not the whole of Sutherland's career, and some of her best work was done before that great night in 1959. Sutherland had already demonstrated her star-quality the previous year, singing "Let the bright Seraphim" at the end of Handel's Samson. Samson may have brought down the temple but it was Sutherland who brought down the house. In those years I remember two moments of bewilderment. One was in Tippett's Midsummer Marriage, in which bewilderments were manifold, but my own special problem was this: everyone had told me, and I had believed, that no florid singing was to be heard in the present that could be remotely compared with that of the past, yet here was this not so very celebrated girl singing with such assured virtuosity that it was hard to imagine Tetrazzini herself doing better.
The other occasion was in 1952, in Norma. Norma held the stage, but in her shadow came the nearly anonymous confidante, Clotilde, who was occasionally allowed a phrase or two. I, whom gramophone records had taught to regard the "great" singer as virtuiially a separate species from the non-entities who played roles such as the confidante, was disconcerted to find the two voices, side by side, not such worlds apart after all. A reviewer in Opera magazine referred to the "weak, fluttering sounds" emitted by Clotilde, but this was not so in the performance I attended. Her voice was clear and firm. The name Joan Sutherland meant nothing; the name Maria Callas (who sang Norma) already meant a great deal. The apparent levelling threat to my view of the singers' hierarchy turned out to be no such thing, for the confidante was soon to join the ranks of the great ones; but it is a testimony to the quality of Sutherland's voice even then, and in such a tiny role, that it should have called a whole system of judgement into question.
What happened immediately following the great triumph at the Royal Opera House was also impressive. The diva went down the road to sing in the Handel Opera Society's Rodelinda at Sadlers Wells. It was a fine cast, with the young Janet Baker as Eduige and, as a feast of singing, was in no way inferior to the Lucia. The following year a glittering production by Zeffirelli of Alcina was created for her at La Fenice in Venice, with repetitions in Dallas and in 1962 at Covent Garden: famous occasions all of these, adding lustre to the annals of the houses.
But then again she did the same honourable thing, and, under Charles Farncombe, sang in Giulio Cesare back in Sadlers Wells. As a Handel singer she met with some criticism, especially from Handelians who would have preferred a more moderate style of embellishment and a cleaner treatment of the melodic line. There were nevertheless things that she could do in Handel which no one else could rival, and for many her participation in them was the means of their introduction to a field of opera still largely unknown to the general public.
Composers, titles, theatres, dates: through all of these a singer has a private life to maintain. After the Lucia, as Sutherland's biographer, Norma Major, remarks, nothing was ever to be the same. She became a world-citizen. With a home in Switzerland, a loyalty to London, an annual season in New York, and from 1965 onwards a renewed and ever-stronger association with her native Australia, these were still other great calls upon her: Milan, Paris, Vienna, San Francisco, Chicago, Vancouver, Madrid, Amsterdam, Stockholm, these and many more were the scenes of tumultuous receptions which were only proportionate to the special place she had acquired in the musical world.
She was also a mother as well as a wife. She appeared to the public to be in radiant health, but had serious and often gruelling afflictions to contend with. Equally, everyone who knew her has their story of her cheerfulness, generosity and sheer good nature.
Sutherland was born in Sydney in 1926 to Scots parents, She studied first with her mother, a mezzo-soprano, and then with John and Aida Dickens in Sydney, where she made her concert debut as Dido in Purcell's Dido and Aeneas in 1947. Four years later she made her stage debut in Eugene Goossens' Judith, then moved to London to study at the Opera School of the Royal College of Music with Clive Carey. She joined the Royal Opera House as a utility soprano, and made her debut there in 1952, as the First Lady in The Magic Flute. She remained resident soprano there for seven years, culminating in her triumphant Lucia in 1959.
Her retirement on New Year's Eve at Covent Garden in 1990 was unforgettable as an event in which all this great warmth of feeling was concentrated. Her singing of "Home, Sweet Home" showed that the time had come, though the scales and roulades of the Semiramide duet with Marylin Horne had much of the old brilliance. I prefer to think of her final Lucia at Covent Garden, in 1985, as the last time I heard her, and even then, impressive and moving as the occasion was, it was not the Sutherland we had known, nor was it anything approaching.
Further back than that, records had exposed (and exaggerated) a beat on sustained notes. A whole generation must have come into being that thought it had heard the great Sutherland when truths to tell it had not. Increasingly now, we shall have to go back to theearlier records, perhaps up to 1970;and even then they need supplementing by reference to the world press and to the accounts of those who heard her in her prime.
There was an amplitude, a potent glow of sound, which records hardly capture, just as there was something in her own presence and her relationship with an audience which photographs capture not at all. She simply, at her best, gave to opera-goers of this century, singing of a kind which they thought belonged to another age. She may not have "quickened the language"but she quickened a love of the singing voice and of the operas that best preserve it.
Joan Sutherland, soprano: born Sydney, Australia 7 November 1926; CBE 1961, DBE 1979, OM 1991; married 1954 Richard Bonynge (one son); died near Geneva, Switzerland 11 October 2010.
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Local anaesthesia
Local anaesthesia (anesthesia) is the reversible loss of sensation in a defined area of the body and is achieved by the topical application or injection of agents that block the generation and/or journey of nerve impulses in tissue.
Regional anaesthesia or field block is essentially local anaesthesia but covering a larger area of subcutaneous tissue or larger peripheral nerves.
Tumescent anaesthesia is carried out by injecting large amounts of fluids containg diluted local anaesthetic and adrenaline (epinephrine). It is used for liposuction and other plastic, cosmetic and dermatological procedures involving large areas of skin surgery.
Local anaesthesia is used in many dermatological procedures and surgical operations. The aim is to minimise pain and suffering and maximise patient comfort.
What types of local anaesthetics are there?
There are basically 2 classes of local anaesthetics, the aminoamides (amide ethers) and aminoesters (amine esters). Some of these are available in many different formulations including topical sprays, patches, ointments and injections. Duration of action depends on the agent and formulation chosen.
Class | Agent | Available formulations |
Aminoamides | Lignocaine (lidocaine) | Spray, patch, ointment, injection |
Bupivacaine | Injection | |
Mepivacaine | Injection | |
Prilocaine | Injection | |
Aminoesters | Procaine | Injection |
Chloroprocaine | Injection | |
Tetracaine (amethocaine) | Injection |
Lignocaine (lidocaine) is the local anaesthetic most frequently used as it is effective, acts rapidly and is relatively free from toxicity and sensitivity. It is the local anaesthetic by which all other anaesthetics are compared. It is also the only local anaesthetic available in many different formulations.
Painless dermal local anaesthesia can be achieved with the topical anaesthetic Emla®. This is a combination of lignocaine (lidocaine) and prilocaine and comes in the form of cream or patches. It is particularly useful for numbing areas that require injection, especially in children. Emla® is also used in many dermatological procedures, including curettage, split-skin grafts, and different laser techniques.
Adrenaline (epinephrine) is sometimes added to local anaesthetic formulations. It is used to:
- prolong duration of anaesthesia
- reduce systemic absorption
- reduce surgical bleeding
- increase the intensity of blockade.
Can I be allergic to local anaesthetics?
True allergy to local anaesthetics is rare, the estimated rate of allergic reactions caused by these agents is less than 1%. Often an adverse reaction is the result of the rapid rise in circulating local anaesthetic, or the absorption of adrenaline, or an allergy to the preservative (most local anaesthetics contain parabens preservative).
Aminoesters are more allergenic than aminoamides because of their cross-reactivity to other drugs of the para-aminobenzoic acid ester type. Patients with a history of allergy to benzocaine, sulphonamides, paraphenylenediamine or other para-type substances should avoid using aminoester local anaesthetics.
Prior exposure to parabens or para-aminobenzoic acid may sensitize you to local anaesthetics containing these substances. In such cases, preservative-free aminoamide local anaesthetics such as lignocaine (lidocaine) can be used.
Are there any other side effects or complications?
Local side effects such as bruising and a temporary sensation of stinging or burning are common.
When administered correctly the chances of more serious side effects occurring are minimal. Signs and symptoms of systemic toxicity include:
- severe numbness or tingling
- dizziness and drowsiness
- tinnitus (ringing in the ears)
- slurred speech
- metallic taste in mouth
- mental status change
- muscle twitching
- seizures
Any facility that provides local anaesthesia should be well equipped to deal with these problems should they occur.
Which local anaesthetic is right for me?
The choice of which anaesthetic to use depends on a number of factors:
- Patient factors
- Age
- Pregnancy status
- History of allergies
- Other medical conditions such as renal or hepatic failure, cardiac problems
- Current medications
- Procedure being performed
- Consider site
- Consider area involved
- Consider duration of operation
- Doctor's own preference and experience.
After consideration of all necessary factors your doctor will be able to make an informed decision about which local anaesthetic will be best for the situation.


text:
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Monday, November 22, 2010
Another Low Point
Sad. Depressed. Rained all day. Short sentences appropriate. I feel like a wreck. I'm lonely. I'm exhausted. I look and feel like a mess. In fact, I feel on the inside just how I look on the outside! As I collapsed onto my couch after throwing on my pajamas I wondered to myself, "How pathetic do I really look right now?" The answer is, this pathetic:
Bags under eyes. Little to no makeup. Hair untamed. PSA: this is what grad school does to you. Maybe I just can't handle it.
Like I said, just a low point. I'll be better tomorrow. Or at least, one would hope.
18 comments:
Hey babe, I'm right there with you. I'm in pharmacy school right now and it's crazy...I just finished my 2nd round of midterms (which are more like 1/3 terms here) and I'm incredibly burnt out and bitchy.
My sister just waltzed in the door with a bunch of her friends so I've been exiled to my room because I don't feel like being around them and all their fjkafal; happy.
Let's open a bottle of champagne and chill on your couch :P
I love, love, love your comments, guys! Thanks so much for leaving them! I try to respond to questions either in the comments section or in forthcoming posts, so check back later!
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Wearable Electronics Are Making a Statement – Novelties – NYTimes.com.
If you want to try your own hand at creating a computerized, electronic glow, Adafruit Industries, a New York company that makes and sells kits and components, will soon introduce a small, wearable microprocessor called Flora to control LEDs or other electronic adornments. Becky Stern, who leads the company's wearable electronics group, will develop projects and kits based on it for crafters. "Pop stars have costumes made by ateliers at huge cost," Ms. Stern says, adding that her company's products would "let you make these electronic wearables at home for a fraction of that."
The Flora platform from Adafruit should spur the wearable-computer movement, Professor Hartman says. "It has built into it all of the hardware needed to program," she says, as well as the ability to link to GPS and Bluetooth, among other components.
One Flora kit, meant for a handbag, will offer a GPS sensor linked to a LED display. "You won't have to take your cellphone out to check for directions," says Limor Fried, an electrical engineer and founder of Adafruit. "The bag will have a big arrow to tell you which direction to go." The kit's price will be less than $100, not including the cost of the handbag, she says.
A future kit based on Flora will create video displays on the back of a jacket, says Phillip Torrone, a senior editor at Make magazine and creative director at Adafruit. "The display will be low-resolution at first," he says. "But it will be recognizable as video."
Adafruit will also develop apps for iPads, iPhones and Android devices, Ms. Fried says. Hobbyists can then make T-shirts for joggers, for instance, that include LEDs that glow red or orange when air quality is poor, with a Bluetooth connection to tweet the information to other joggers.
Ms. Fried at Adafruit says she looks forward to a time when people will routinely modify the style of their shoes, jackets, T-shirts or handbags with circuitry. Then, she says, Bill Cunningham, the fashion photographer for The New York Times who has long roamed the streets for the latest looks, will have a new trend to cover: LED fashions.
Read the whole thing – great overview, in print too. A version of this article appears in print on February 26, 2012, on page BU5 of the New York edition with the headline: "Which Way to the Ball? I'll Ask My Gown".
Check out all the Circuit Playground Episodes! Our new kid's show and subscribe!
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Electronics — Cool your FETs!
Biohacking — NinjaPCR – Open Source #iot DNA Amplifier
1 Comment
Congratulations on the publicity! The lead grafs in the article show that the technology is rapidly going mainstream.
It was fun to point out the company name to my wife and connect it to the Ice Tube clock I made for my brother-in-law.
Take care,
(username 'brand' in your forums)
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text:
Problems? Is your data what you think it is? | |
PerlMonks |
FILE::PATH questionby erbin (Novice) |
on Jan 05, 2010 at 09:56 UTC ( #815721=perlquestion: print w/replies, xml ) | Need Help?? |
erbin has asked for the
wisdom of the Perl Monks concerning the following question:
Dear Monks, I met a problem when using modules FILE::PATH.I try the code in perldoc as follow Error occurred when compile "make_path" is not exported by the File::Path module "remove_tree" is not exported by the File::Path module My OS is windows and the Perl is ActivePerl5.10 Could you help me? thanks!
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The Original Packaging Store
Tel: 01332 821200
Tough and reliable box openers and strap cutters
Like the Martor Ruck-Zuck, these safety cutters have been designed for completely safe and trouble free work with box strappings, leather, thick plastic sheeting and even seat belts. The comfortable handle has been made out of tough glassfibre reinforced plastic and
All Prices Exclusive of VAT
comes with a concealed 0.4mm blade. However, the Combi strap cutter also has an integrated metal tin (removable) for slitting the adhesive tape on cardboard boxes. It also has a simplified blade change operation. All Martor safety knives and safety cutters have been fully tested and approved by the German Safety Control Board TÜV. For a tough and reliable strap cutter why not try our Ruck-Zuck Packaging Opener? For a cutter specially designed with the packaging operative in mind see our Opticut Sheet Cutter. Do you need any Replacement Blades?
This product has not been reviewed yet. If you would like to add a review simply rate the product, make a comment and click 'Submit'.
Just send us the size... It's simple and fast!
Get a quote before you order, normally the same working day.


text:
By now, most people have heard the term "robo signing", and also are aware that this practice has been widely challenged as a contributing factor to the current foreclosure woes.
Recently a settlement agreement was reached to assist homeowners who obtained a mortage with certain lenders. The agreement has been approved in 49 states.
You can read more about it: "Robo-Signing" Agreement Assists Homeowners
Wednesday, February 22, 2012
2 comments:
- Chris Adams said...
Chris Adams
Thanks for this great update. "Robo-signing" is indeed a great help for loaners. This will not just help them with their mortgages but also secure them of their properties. - 1:18 PM
- Houses for Sale in Louisville said...
I've been interested on this agreement though!
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text:
Peter Leaver, the chief executive, has contacted officials to sound them out, and the key issues will be discussed shortly as fears grow about the effect of the proposed BSkyB buy-out.
Chairmen will be called to a meeting, probably within a fortnight, to thrash out worries about the effect of the pounds 625m Murdoch bid on competition and future TV deals involving the Premier League.
The League is in the forefront of this organisation, as revealed by the Independent yesterday, and it has confirmed its submission to the Office of Fair Trading will be asking some tough questions.
Mike Lee, a League spokesman, confirmed that a submission would be made - as requested - to the OFT, which is investigating the proposed takeover. "This is a matter for the competition authorities. We will be seeking clarification on competition issues," he said last night. The Professional Footballers' Association is preparing a submission which will back up the argument that United could become too powerful for the Premiership. Some Premier League chairmen have expressed reservations about the takeover, suggesting it could lead to a conflict of interests in television negotiations.
Liverpool's Paul Ince, the former Manchester United midfielder, may miss tomorrow's Premiership encounter with his old club at Anfield. The England stalwart is doubtful because of a knee injury which has kept him out of his club's last two fixtures.
Liverpool's German international centre-forward Karlheinz Riedle is fit again after a groin strain and is ready to compete with Michael Owen and Robbie Fowler for a place up front.
United's injury problems worsened yesterday, with Ronny Johnsen struggling to overcome the ankle injury which has caused him to miss the last two games. He is unlikely to be fit in time.
David May and Teddy Sheringham, who both have knee problems, are also losing their race for fitness.


text:
David Morse & Ciaran Hinds: The Devil to Pay
by Eugene Lovendusky BroadwayWorld.com Jan. 26, 2008In a season brimming plays from some of the world's best and brightest writers, audiences are staying warm by spending an evening with five Irish men in a chilly cabin on Christmas Eve. The Seafarer, a new play by Conor McPherson, sends play-goers a tingle of fear, a tickle of laughter, and a buzz of humanity.
Pitting legend and superstition against the risk of card-playing and the drink, The Seafarer balances upon polished performers like Hollywood film and TV star David Morse and acclaimed-actor Ciaran Hinds. Morse portrays droll-sapped Sharky, a genuinely good-boy who can't seem to steer clear of trouble, and now whipped into caring for his blind brother. On a winter evening with friends, Sharky's life takes a spin with the appearance of a distant-stranger, Mr. Lockhart (Hinds), who places an enormous bet on the table.
BroadwayWorld News Desk Editor, Eugene Lovendusky, met in the depths of the Booth Theatre to discuss the extraordinary characters who fill each inch of Conor McPherson's powerfully engaging and humorous new play...
Eugene Lovendusky ≈ Congratulations and a warm thank you for talking with BroadwayWorld this evening. The Seafarer is a definite thrill-ride. Tell me about the its title ≈ Conor McPherson read a short poem, correct?
Ciaran Hinds ≈ He picked it up, a pre-medieval eighth or ninth century poem from the Dark Ages. It's basically about this soul who lives precariously "out there" and on their own. I think people have different ideas to whom it refers. Which character?
Eugene ≈ Who do you think it is?
Ciaran ≈ I think it's him. [points to David]
David Morse ≈ I think it's him. [points to Ciaran] I do, because I get to stay on land. He doesn't.
Ciaran ≈ At the same time, you're the one who's kind of flailing around in life with no protocol. You go from job to job in search of something. I mean, I don't know. Neither of us know!
David ≈ For a while, the character of Lockhart is doomed. There is a possibility for me for some kind of redemption. Sparky has certainly spent my time out on the sea and could be out there─ but things intervene in his life. Nothing is intervenes in his.
Ciaran ≈ There's a moment where he asks "Am I worth saving?" and he realizes, no. There's a possibility of redemption for just about everybody except him. It's very hard the way Conor's structured it. It's so funny, this piece. It's set-up with these very funny quirky characters that exist in this low-life kind of way; but they all have their own fantastic sense of comedy and connection before the dark side comes into it. In the second-half where the darkness is introduced ≈ these guys are playing cards with witty fast asides ≈ when we're playing that last hand of cards, there is a silence. A palpable silence in the audience to see who is going to come up with the winning-hand. And then a sense of relief followed by laughter.
Eugene ≈ I want to talk about that card game. It's such a roller-coaster watching it. What is it actually like when you're playing it?
David ≈ For me, there's a real card game going on. There is real stuff going on that's way beyond these hands. There is so much underneath it all. The unknown with some of these characters, I just love.
Ciaran ≈ They do play proper hands of cards with bets and wins. But the under-currents of five different people can be interrupted when somebody starts something. Where is this going to lead to?
Eugene ≈ You both joined these quirky characters here in New York. Jim Norton and Conleth Hill started from the very beginning in London. What was it like integrating with them?
David ≈ They made it incredibly easy. They happen to be very generous. There was a real sense of exploration. Even now on-stage, it hasn't ended. It began in rehearsals, it goes on every night.
Ciaran ≈ There's still journeys being made, in different corners going around at different corners. There's life and that moment of "where are we now?" can still arrive.
David ≈ It's amazing when you watch Jim. It's like watching an incredible symphony. They set that bar pretty high.
Eugene ≈ The Devil is more like a man of legend with so much literature and faith over so many centuries that have created him. How did you come to shape Mr. Lockhart?
Ciaran ≈ In the end, there's Conor McPherson's interpretation through the writing. From Mephistopheles, Satan, Lucifer─ there's different images of spouting fire and horns and tails. The idea that the Devil would come back into human form, their shell, he says: "These insect bodies─ and being left-handed is a really pisser as well." The idea of the Devil that Conor arrives at is a quiet rage that he can never ever be redeemed. Even though he believes he's more intelligent and true, he's made a mistake, a big one for which he will be eternally punished. He's back on Earth to reach out to try to find some human contact, even if he despises it, because he's so lonely. And then the Devil gets drunk!
Eugene ≈ Should we have sympathy for him that he's so lonely?
Ciaran ≈ Everybody has choices, don't they? I know there's a sense of relief whenever he's beaten.
David ≈ I think what Conor has done is created a really full kind of creature that invites you to have sympathy. But he's not just one thing and there's no "should you feel."
Eugene ≈ Lockhart has a phenomenal monologue where he describes Hell as a place where it is so cold, and you're so alone; nobody cares about you and you can't be a part of any warmth with people. I felt like I took offense because I know that Hell. We all have felt that kind of Hell. To have it spoken out-loud that this is what Hell is─? Why do you think Conor made Hell sound so familiar?
Ciaran ≈ It's a personal version; but people can also touch on that sense of loneliness. Instead of fire and brimstone, but an awful coldness we feel as human beings sometimes, that hopefully doesn't last too long. Instead of these huge paintings with the pageantry of torture and terror with moments of panic and no relief. It's worse!
David ≈ This was not a description of Hell that I had heard anywhere before, but it sounded absolutely perfect. I don't think I'd ever read anything that so clearly said that is what eternal suffering is.
Ciaran ≈ It's a good laugh as well! You feel these words tumbling out. The audience doesn't know these people. Who are they? You smell them. Like Irish trash. But then finally their life stories rush in and there's a great rush of humanity.
Eugene ≈ To feed a terrible stereotype, but it's not an Irish play without one main character: Alcohol. Curiously enough, Sharky stays away from the drink a lot, while everyone else, including the Devil, is bottoms up. What role does that play?
David ≈ Because he has such a problem with alcohol, until he finally drinks, he doesn't feel like himself. He finally has to give-in so he can take on that last battle just to feel himself. Of course that creates all kinds of problems of its own. But it's been the trouble he's had all his life. It's not just a fight he gets into ≈ but he tells the truth! And people just don't want to hear it.
Ciaran ≈ You see what happens when he drinks─ all Hell breaks loose!
Eugene ≈ This is a play about five men, so masculinity is very present. Sharky is at the mercy of not just one man, but two: His brother and The Devil. What does Sharky lose or what does it mean for him to be at the mercy of another man?
David ≈ It starts with being at the mercy of his own father. He's never dealt with that. It's the road of what has happened to him; his father and his fists. He's really trying to be the good kid and the good son his whole life.
Eugene ≈ Jim's character, Richard, just rips on Sharky so much, over and over again─ Sharky is a genuinely good guy (sure, he has faults), so for much of the play I wanted him to get off your back!
David ≈ When Sharky gets up in the morning, he thinks to himself: "I'm not going to let him get to me today. Not today. We're going to get through it─" and it just hits him and wears him down.
Ciaran ≈ He's a cantankerous, curmudgeon of a man. It's this need of the older brother to keep bullying the younger brother. And yet there's this kind of deep-bond he needs as well. He likes it when Sharky's in good-form and balanced, but he can't resist just poking him and scratching him. It's very human and can be funny as well.
Eugene ≈ David, your recent work has been TV and film. What's it like devoting yourself to the stage again?
David ≈ I've longed to do it. It's been ten years since How I Learned to Drive. To be out there on-stage with these fellows ≈ it's probably one of the greatest gifts to have. These are incredible men and a tremendous play. And I would give Conor a good deal of credit for that.
Ciaran ≈ He's remarkable. He's not like a director in the theatrical-way, but more of a psychological kind of way of how we are as human beings and how we connect. There has to be fun, but also the edge ≈ and he constructs them in a very organic way.
Eugene ≈ You're both adding some great meat to a great season of plays. After a night at the Booth Theatre, what are audiences walking away with?
Ciaran ≈ You genuinely see this warmth of people having been to a real shared-experience with an audience and actors. You know that they're full of something─ full of humanity.
The critically acclaimed production of Conor McPherson's The Seafarer performs at the Booth Theatre (222 West 45th Street). The production, directed by McPherson, stars Conleth Hill, Ciaran Hinds, Sean Mahon, David Morse and Jim Norton. Tickets ($98.50 - $76.50) are available at Telecharge 212-239-6200 or www.telecharge.com. Show times are Tuesday ≈ Saturday at 8 PM. Matinees on Wednesday and Saturday at 2 PM and Sunday at 3 PM. For more information visit www.SeafarerThePlay.com
Photos by Joan Marcus (top-bottom): David Morse and Ciaran Hinds; Ciaran Hinds as Lockhart; David Morse as Sharky
Related Articles
From This Author Eugene Lovendusky


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Oskaloosa, Kan.
Oskaloosa A 36-year-old man has been sentenced to more than 22 years in prison for killing a northeast Kansas farmer who gave him a place to stay.
Adam Hooper will have to register for 10 years as a violent offender following his release from prison, under the sentence imposed Tuesday in Jefferson County District Court.
Hooper was convicted in April of second-degree murder in the beating death of Dale Kingsbury. The 50-year-old farmer was found dead last August in a cistern on his rural Oskaloosa property. Oskaloosa is about 22 miles north of Lawrence.
Kingsbury and his wife, Genie, had offered Hooper work as a farmhand and he was living in a tent on their property when the killing occurred.
The Topeka Capital-Journal reports the 267-month sentence was the maximum allowed under Kansas guidelines.


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The WebDT 362 Mobile tablet is the latest variant of DT Research line of hand-held touch based tablet computers. The DT362 is based on an Intel Atom Z530 Processor running at 1.6Ghz providing the processing & GMA500 graphics processor and comes with 1Gb of Ram and between 1Gb & 16Gb of internal flash memory. The 8.6" Resistive touch screen has a resolution of 800x600 pixels. In all other respects the 362 is identical to the 366 model.
Configuring Ubuntu 9.04 & the touch screen
After installing Ubuntu 9.04 using a USB Optical drive you need to then download the PenMount touchscreen driver and install that. Download it from here; Ubuntu 9.04 Driver
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