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Safe Search for Kids is the child friendly search engine where safe search is always 'on'.
The safe browsing feature on this website overrides your computer search settings to help remove potentially explicit material when searching Google. No changes are made to your computer or your browser settings. Safe search happens automatically and is powered by Google.
When you make Safe Search Kids your home page, or at the very least bookmark it for kids to use from within any browser, you can be sure that strict filtering, as determined by Google, is always active. Using our search tool at the top of this page also works for schools to ensure safety on every computer in your school. This is important for those educational institutions who do not have internet filtering software on their school server. It also provides a fun and colorful environment for kids to search the internet using any chosen browser.
By no means does using this site do away with basic common sense about online safety. This isn't the same world it was even 15 years ago. You don't even need a computer to go online! Kids can connect on hand held devices including a tablet, digital reader or video game system. Technology is consistently evolving. The internet is a regular part of your child's daily life and routine. So how can you keep children safe online?
Parental Controls
Just about every device includes the ability to block, restrict, limit, or allow access to various features using a pin or password. The weakest parental control features are usually sufficient for younger children, yet most teenagers can easily bypass the best parental control features to access restricted content. So it's very important that parents don't treat Google SafeSearch as a babysitter. It is simply an additional tool to assist those overseeing the supervision of kids, including teachers. For complete filtering you should explore internet filtering software which also provide anti-virus protection.
There may be many threats out there, but the most common problem with children and the internet is actually when kids spend too much time online. Too much screen time, period, is unhealthy. So the best "parental controls" are to restrict the total time spend each day on the computer, video games, or watching TV. After that, become familiar with the threats and the opportunities where threats may present themselves. From filtering search engines (to filter inappropriate results) to monitoring social interaction online, the best approach to internet safety is to stay positive and proactive.
This website does not replace parental or teacher supervision. No safe search engine is perfect, so you may want to consider additional protection with security software beyond this free internet filter. Much of internet safety is about common sense. Having an open conversation with kids is important to setting up agreed upon guidelines when accessing in the internet. The older kids get, the more responsibility they earn and greater freedoms are given online.
This of course does not mean that parental supervision goes by the way side. No search filtering tool or software security program can replace safe parental controls and practices online, no matter the age of the user.
Unfortunately, many kids are left unattended to browse the internet as they see fit. This often can because parents and guardians have wishful thinking about what kind of troubles awaiting anyone who connects to the internet. There can be the mentality that "it won't happen to my kids" that offers up a false sense of security.
From viewing harmful material through a search engine's results, to protecting kids on social media, proactive vigilance and 'fail safes' are necessary to make sure
children and teens are not lead down a path to unsafe and unsecured practices online.
Google Safe Browsing for Kids
Part of embracing technology as an important part of this generation is accepting that (a) there may be threats but (b) that's not all the internet is! Google safe search filtering is only a start to protecting kids online.
Your parents used to worry about you talking to strangers, or walking home from school. The world was different, but there are always things for parents to worry about when it comes to their children. With proper supervision and guidance, the internet can be a safe place full of learning and opportunity for all ages.
In a nutshell, you should be aware. You should be educated. You should not be worried as long as you do your part. Children under 13 should never use the internet without adult supervision. Teens should have strict rules regarding social media and internet usage. Parents should monitor how teens are using social media and revoke access to the privilege of internet use if it is being abused.
Here are are few of our articles that deal with internet safety for everyone concerned, including kids themselves, parents and teachers:
Internet Safety Strategies:
- Protecting Teens on Social Media
- A Teens Guide to Social Media Safety
- The Parents Guide to Cyber Bullying
- Cyber Bullying Resource for Kids
- Tips for Kids Posting Pictures Online
- Internet Safety Using Software
- Internet Safety Tips for Kids
- Cell Phone Safety Tips
- Cell Phones in School
- Parental Control Software
- Google Safe Image Search
About Google SafeSearch
Normally, to turn on safe search you need to make changes within the preferences of Google's search setting. From within these preferences, you will find three search filtering levels: Off / Moderate / Strict. The default security settings on Chrome, Internet Explorer, Safari and Firefox browsers are moderate (or mid-level) which does not filter out most inappropriate images from search results. However, Safe Search for Kids is designed to over ride default browser settings to provide 'strict search filtering' and prevent inappropriate images, as well as text, from displaying in results.
You can also lock Google Safe Search on your computer if you have a Google account, such as Gmail. Once safe search is locked within your browser, no one but yourself can turn it off. It's a little more involved than just changing the browser preferences. To be clear, searches conducted from this page ensure filtered results.
In regards to kids internet safety, another important factor to consider is the use of multiple browsers. Increasing search filtering within the preferences on Internet Explorer will not implement those changes in Chrome, Firefox or Safari. This is another benefit to make our site your home page, because regardless of your browser or operating platform, using Safe Search Kids will ensure strict Google filtering is always activated. We also remove images from appearing beside text search results, no matter how innocent, as an added precaution.
About Filtering Search Results: Safe search filters out explicit material and blocks profane words. It does not however filter out neutral words or educational material on certain matters that may not be suitable for young children. The goal is to hinder kids from accidentally stumbling across illicit material. We cannot guarantee that suggestive material will not show up in search results. It simply allows kids to safely surf the web with a much lower risk of accidentally seeing illicit material.


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If there is an error when sending the mail,
use your back button on yout web browser and correct the error.
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the e-mail sent will contain information, such as your IP address (
), for purposes of tracking abuse. Use of this software to spam or harass individuals can and may result in penalties punishable by law.

subset: commoncrawl


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Book Review: Tuina Therapy. Sun, Weizhong; Kapner, Arne
by Errol Lynch
I was happy and honoured to be given the opportunity to review this book. Tuina is a very exciting therapy to teach and to be involved in. It was an honour to be given the opportunity to receive an early copy of a new Tuina book alongside reviewing it.
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Qigong for Self-Healing with Daverick Leggett (Saturday 15th October)
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If I run:
sudo chown -R user:user /
Can I revert it to what it was before I ran it?
If I run:
Can I revert it to what it was before I ran it?
In short: no.
You'll need to restore from a backup. (Some backup tools might have options to only restore only permission, others can list backed-up files with their permissions and you can use that to fix your system.)
If you don't have a backup, you'll need to fix all that manually.
Only if you know the user and group ownership of every file and directory under your
Even then, you've already clobbered the ownership of critical system files that need to be owned by root, including the
Make a copy of the entire hard drive if you can, then reinstall your operating system. Once you've done that, you can try copying files back to the newly wiped system and restoring their ownerships. You can probably assume (though not 100% reliably) that everything under
And then start cultivating a habit of double-checking any command you run under
You can store the current versions and then parse that out to revert by using the -v option.
The contents would be:
Using your favorite scripting language and regular expressions, you can execute the painful process of reverting them (if you must).
I'd strongly recommend not doing a recursive chown on / as you'll expose /etc/shadow or any other important file.
if the distro is rpm-based:


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I have an old computer which works nicely with Gnome-2 (10.04 LTS). I swapped out the hard drive and installed 11.10 for testing purposes getting ready for 12.04 LTS but Unity-2D is painfully slow, as is Gnome-fallback. I can't even run Gnome-3-shell or Unity-full. I understand that Gnome-2 has depreciated or is about to depreciate. So my question is, does this mean I only have 2 choices? Either buy a new computer which is fast enough to run Gnome-3 in a responsive manner, or switch to a lighter desktop environment, something like XFCE as Gnome-2 will no longer be an option?
I'm wondering if someone will take on the responsibility of maintaining Gnome-2 in a separate branch after depreciation...
I have a Dell GX270, which has:
Graphics: Integrated Intel Extreme® Graphics 2
RAM: 1Gb


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Facebook Messenger: As scary as some think?
Facebook's recent announcement that messages will now only be available on mobile via the app Facebook Messenger has left users of the social media site up in arms and concerned about their privacy. Some view the change as being "forced" to download the Messenger app.
With the removal of the Messenger function of Facebook's main mobile app, download of the standalone Messenger app is now required in addition to the Facebook app, in order for users to have the same mobile functionality and be able to access Facebook messages on their phone.
Why the change?
According to Facebook, the split will allow for more streamlined development of both Messenger and Facebook apps.
Facebook did not release a blog post on the change, as it generally does with larger announcements regarding functionality, and instead notified users within the Facebook app, on the site itself and via email for some Facebook users.
The Messenger app has blasted to the top of the Apple app store chart, holding the number one free spot. Despite its popularity, the app also currently has a 1-star rating (out of a possible 5), and reviews are overwhelmingly negative. The issue at large seems to be the fact that users felt compelled to download it in the first place, and there are privacy concerns.
Messenger is also the top free app for Android devices, and currently has 4.3 stars in the Google Play store. This may be because the rating for an app in the Google Play store considers all versions of the app released, and is not based on reviews of the latest version of an app.
A December Huffington Post blog article about the "insidiousness of Facebook Messenger's terms of service" has recently gone viral, fueling Facebook user concern about Messenger privacy issues.
Facebook addressed the post, and told the Wall Street Journal that the highlighted concerns are overblown and based on misinformation.
So, should social media users be worried about privacy when using the Facebook Messenger app?
Here's what we know:
In a help center article on the topic, Facebook addressed concerns of Android users worried about some of the language of the permissions the app asks for, upon download. According to Facebook, the language isn't something they have control over, noting that Android controls the way permissions are named.
Android Messenger app permissions, and what they are actually used for, according to Facebook:
- Take pictures and videos: This permission allows you to take photos and videos within the Messenger app to easily send to your friends and other contacts
- Record audio: This permission allows you to send voice messages, make free voice calls, and send videos within Messenger
- Directly call phone numbers: This permission allows you to call a Messenger contact by tapping on the person's phone number, found in a menu within your message thread with the person
- Receive text messages (SMS): If you add a phone number to your Messenger account, this allows you to confirm your phone number by finding the confirmation code that we send via text message
- Read your contacts: This permission allows you to add your phone contacts as Messenger contacts if you choose to do so. You can always stop syncing your phone contacts by going to your Messenger settings.
For Apple users, these permissions come up one at a time, during use of the app, and users can decline individual permissions (though they will then not have access to features requiring that permission).
Android users have to agree to all of the permissions at once in order to download, but that's more of an Android issue than it is a Facebook Messenger-specific problem.
Other users are concerned with how data collected by the apps is being used. Facebook offers a look at its data collection policy on its site.
It's similar to how many websites collect data on users, and users of the Messenger app are subject to the same policies regular Facebook users are (basically, if you're using Facebook, using Messenger isn't going to allow Facebook to access any more of your data than you've already given them permission to, other than the phone permissions required to run the app).
When push comes to shove, it seems downloading the Messenger app may be more of a pain than a privacy issue.


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I'm working on a part of a song where I need to strum the top two strings (B & E) together and very fast. I'm wondering if there is some sort of a damping capo that I can put over the other four strings so I don't have to worry about accidentally strumming them . . .
I think the most important things that I have learned during my years fiddling with a Guitar is to desperately work on honing the accuracy of your picking instead of going at the strings like a madman (if you'll pardon the expression :D). I often used to play with a heavy hand; any time I wasn't soloing, i.e. picking individual strings, I was hammering more strings than I needed and muting those that were unneeded with a combination of left and right hand trickery. I blame this anti-technique on learning to play on an acoustic first, where whacking out G/C/D chord progressions tempts you to sin against your right hand accuracy. Being self-taught, I had no one to correct me as I'm sure a good guitar teacher would do.
At times, playing fully muted strings in addition to un-muted strings is a very useful technique. For some great examples, see Where the Streets have no Name by U2 and pretty much any guitar work by The Edge or musicians in that similar genre. Some blues players like Stevie Ray Vaughn, would mute strings and "rake" in on the starting phrase of a solo to give it a scratchy, soulful sound. So it's not bad to play muted strings, it's just important to do it intentionally.
In conclusion, to fix this I would encourage you to work on your right hand accuracy by doing picking drills, practicing string skipping, and improving the overall precision of your right hand instead of putting a Band-Aid on the issue with capos and muting tricks. Focus on only hitting the strings you need to play the phrase. Everything from textural guitar to speed metal relies heavily on right hand accuracy if you want your playing to sound clean.
You can mute those string using your left hand fingers. Just lay them flat on the strings, to mute them. this is a very common practice, when some strings should not ring out on certain chords.
You can use an elastic band of some sort (hair band etc) to dampen the strings.
Or you can have something made and attached al la this web page (not sure if these things are still around, but im sure you could get something made).
Or as silver light suggested; use your fretting hand or picking hand palm.
If you worried about feedback and/or string noise you might also think about getting a noise gate.
EDIT: It peaked my interest as to whether you can still get string dampeners; so I looked and found The Batten String Damper.
Greg Howe uses a scrunchie the same color as his guitar body. He pulls it above the nut when he needs it. He mostly uses it to fight ringing adjacent strings when he's doing tapping, but you can use it for other things.
You should develop pick accuracy. You should develop fretting-hand muting. But while you're doing that, you can use this to quiet stuff down some.
I can offer a little bit of advice, as I have been in this position with twelve strings a couple of times, playing it to sound like a mandolin by only using the top 2 strings.
If you don't want to use your right palm or your left hand fingers to dampen/mute the string, I have a couple of ideas for you.
Hope this helps.


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James Hillman
Thompson, Connecticut, USA
Inter-Regional Society of Jungian Analysts
I would like to begin along two parallel paths: a poem by Lisel Mueller called "Monet Refuses the Operation" – a cataract operation – and a moment in the analysis of Anna O reported by Josef Breuer.
So that you may have a general idea of where we are going, I'll state again the title of this talk: "The Azure Vault: Caelum as Experience." Briefly, the Latin word means the blue sky; heaven; the abode of the gods and the gods collectively; the sky as the breath of life, the air; and also the upper firmament or covering dome, including the Zodiac. The alchemical caelum or coelum is expanded upon especially in Jung's last great work, Mysterium Coniunctionis, and, as he says, the caelum has "a thousand names." These few will also help us as we proceed: "a Heavenly Spirit that makes its way into the essential forms of things" (Ruland, p. 10); the "anima mundi in matter," "the truth itself," "a universal medicine," "a window into eternity," radiating "a magic power," "the unus mundu" as a "unio mystica with the potential world, or mundus archetypus" and the final realization of the alchemical opus (CW 14, §761-770). We are headed to the edge.
Now to the poem, and the first of many stories:
"Monet Refuses the Operation"
"Doctor, you say there are no haloes
around the streetlights in Paris
and what I see is an aberration
caused by old age, an affliction,
I tell you it has taken me all my life
to arrive at the vision of gas lamps as angels,
to soften and blur and finally banish
the edges you regret I don't see,
to learn that the line I called the horizon
does not exist and sky and water,
so long apart, are the same state of being.
Fifty-four years before I could see
Rouen cathedral is built
of parallel shafts of sun,
and now you want to restore
my youthful errors: fixed
notions of top and bottom,
the illusion of three-dimensional space,
wisteria separate
from the bridge it covers.
What can I say to convince you
The Houses of Parliament dissolves
Night after night to become
The fluid dream of the Thames?
I will not return to a universe
of objects that don't know each other,
as if islands were not the lost children
of one great continent. The world
is flux, and light becomes what it touches,
becomes water, lilies on water,
above and below water,
becomes lilac and mauve and yellow
and white and cerulean lamps,
small fists passing sunlight
so quickly to one another
that it would take long, streaming hair inside my brush to catch it.
To paint the speed of light!
Our weighted shapes, these verticals,
burn to mix with air
and change our bones, skin, clothes
to gasses. Doctor,
if only you could see
how heaven pulls earth into its arms
and how infinitely the heart expands
to claim this world, blue vapor without end."
Now Anna O as told by Josef Breuer: "She told me there was something the matter with her eyes; she was seeing colours wrong. She knew she was wearing a brown dress but she saw it as a blue one." (Breuer, p. 33) Breuer tested her colour vision; it was not impaired. So, Breuer interprets this curious "misperception" as an incursion of a secondary state of mental functioning into "her first, more normal one." Breuer writes: "he had been very busy with a dressing-gown for her father, which was made with the same material as her present dress, but was blue instead of brown." The visual mistake – or visionary experience? – is reduced by Breuer to the blue material of the father's dressing gown.
Could there be something more? Could the patient's own avowal that she saw blue despite knowing "she was seeing colours wrong" indicate a wish, not for the father only, and for dressing his body, but for clothing herself in blue? And, what might it imply for her, for that analysis, for the field of analysis itself – since Anna O is the fons et origo of our heritage – for the body of the patient, of every analytical patient, the opus itself to be clothed in blue? We shall return to both Monet and Anna O.
But first a few more blue stories.
Again one from the beginnings of our field, the devastating crisis starting at age thirty-nine in the life and work of Gustav Theodor Fechner (1801-1887), to whom both Sigmund Freud and William James pay effusive tribute, claiming him to be the most valuable thinker in psychology of the nineteenth century. Fechner was a brilliant physical psychologist, observer, micro-measurer, laboratory experimenter.
Then his eyes gave out. He couldn't observe, he couldn't read. He was not blind, but he could no longer see. Nor could he eat or drink. His digestion gone, shriveled, despairing, sleepless and silent, he protected his eyes with lead cups and retreated into a blackened room, kept alive by his wife. After close to three years in this black hole, gradually recovering physically, he emerged, lifted the bandages and allowed light into his eyes:
I stepped out for the first time from my darkened chamber and into the garden. ...
It seemed to me like a glimpse beyond the boundary of human experience. Every flower beamed upon me with a peculiar clarity, as though into the outer light it was casting a light of its own. To me the whole garden seemed transfigured, as though it were not I but nature that had just arisen. And I thought: So nothing is needed but to open the eyes afresh.
The picture of the garden accompanied me into the darkened chamber; but in the dusk it was all the brighter and clearer and more beautiful, and at once I thought I saw an inward light as the source of the outward clarity … and the shining of the plants' souls.
(Lowrie, p. 211)
Fechner felt giddy with joy of this moment of the multi flores. Fechner went on to live healthily to age eighty-six, immensely productive, exchanging his professorship from natural science to the philosophy of nature. The first lectures he delivered after his recovery were devoted to pleasure, formulating for psychology the pleasure principle later expanded upon by Freud. [Ellenberger, pp. 217, 512] The book on the soul that followed his return to life was subtitled "a walk through the visible world in order to find the invisible."
Fechner now wore blue glasses: to protect his eyes? Or to protect his vision from the materialist perspective that had led to his blindness and which he now called the "nightworld," i.e., the nigredo from which he had emerged.
Two stories from childhood, one from an Irish poet, the other from an American musician. AE, friend of Yeats, and pivotal figure in the Irish literary revival, describes a moment when about four or five years old, he was lying flat on some grass recalling a story of "a magic sword with a hilt of silver and a blade of blue steel. The word 'magic' stirred me, though I knew not what it meant. … It lay in memory … until a dozen years later its transcendental significance emerged as a glittering dragon-fly might come out of a dull chrysalis. The harmony of blue and silver at once betwitched me. I murmured to myself "blue and silver! Blue and silver!" And then, the love of color awakened … one color after another entered the imagination. … This love of color seemed instinctive in the outer nature." Here, says AE, is "the birth of the aesthetic sense," in harmony with the natural world and its colors that were, as he says, "of its nature and not of that unthinking child's." (AE, pp. 12-13)
"The very first thing I remember in my early childhood," says the incomparable artist Miles Davis, "a flame, a blue flame jumping off a gas stove. … I remember being shocked … by the suddenness of it … that stove flame is as clear as music is in my mind. I was three years old.
"I saw that flame and felt that hotness of it close to my face. I felt fear, real fear … But I remember it also like some kind of weird joy, too. I guess that experience took me someplace in my head I hadn't been before. To some frontier, the edge, maybe, of everything possible. … The fear I had was almost like an invitation, a challenge to go forward into something I knew nothing about … everything I believe in started with that moment. I have always believed and thought since then that my motion had to be forward, away from the heat of that flame."
"Away from the heat of that flame" and into the "cool:" his inventive use of the mute, his solos as "thinking" the music, the titles of his great pieces such as "Kind of Blue," "Blue in Green," his wearing "shades" already in the 1940s. I can imagine that both Goethe and Kandinsky would approve of Miles' feeling for blue. "Blue," says Goethe, gives us the impression of cold … and reminds us of shade. A blue surface seems to recede from us … it draws us after it." Kandinsky adds" "[B]lue … retreat from the spectator … turning in upon its own center … active coolness." For Davis, a challenge to go forward; for AE, the sympathy for revolt.
The call of AE's aesthetic sense and the spirit of revolt marked the Romantic impulse of which Novalis's "blue flower" is the undying example – although he himself as Friederich von Hardenberg died at twenty-nine. That famous blue flower appears in Novalis's novel of the poetic education in which the hero, Heinrich, dreams a vision. Climbing through a strange geography, the hero comes to a place filled with "a holy stillness," where "a basin of water emits a faint blue light." (Bamford, p. 228) Blue, veined cliff. … The sky was blue, clear, and he was "drawn to a tall light-blue flower. The flower then leaned towards him and … upon a great blue corolla, hovered a delicate face." (Bamford, p. 229)
Novalis regarded the blue flower as "the visible spirit of song," (perhaps a revelation of Leibniz's cosmological idea of a pre-established harmony governing all things?) Curious that AE entitles the little book describing the evolution of his poetic calling, Song and its Fountain. Novalis writes: "one thing recalls all …" (Bamford, p. 229) "No more the order of time and space … the great soul of the world moves everywhere, blooms ceaselessly. … World becomes dream, dream becomes world." (From Heinrich von Ofterdingen [by Novalis], "Eros and Fable: birth of Astralis." [Bamford, p. 230])
Another report from the history of our field. This time: Wilhelm Reich. Reich combined the libido of Breuer and Freud with the physical science of Fechner. Reich imagined that the libidinal charge flowing through the body is the orgone energy of the cosmos. Freud's later theory of Eros as a cosmic force Reich would capture in a box in which a patient could receive orgone radiation. The radiation, according to Reich, came in three variations of blue. (Adams, p. 89) Whether Reich was a crackpot or a brilliant therapist does not concern us here: but his witness to blue as the color of libidinal Eros that embraces the phenomenal world adds another page to our collection of stories. Besides, why not imagine libidinal desire as blue? Weren't porn shows once called "blue movies" and the suppression of libido attributed to puritans named "blue stockings"?
Backing for Reich's blue Eros as the universal energy that joins phenomena together comes from Cézanne. I quote from one of his most astute and studious biographers: Cézanne gave blue a new depth of meaning … by making it the foundation of the world of objects 'existing together.' Blue was now recognized as belonging to a deeper level of existence. It expressed the essence of things and their abiding, inherent permanence. …" (Badt, p. 82)
Cézanne himself wrote: "Blue gives other colours their vibration, so one must bring a certain amount of blue into a painting." (Badt, p. 57) Zola, referring indirectly to Cézanne, writes: "the flesh colours are blue, the trees are blue, surely he went over the whole picture with blue." (Badt, p. 56; cf. Zola, L'Oeuvre) In his old age Cézanne drew with a brush loaded with aquamarine. May we say Cézanne painted with the color of the caelum in order to present the unus mundus?
Again from the history of our field. Two stories from Jung's biography: In 1944 Jung suffered a heart attack. "I experienced dreams and visions which must have begun when I hung on the edge of death. … I had reached the outermost limit … It seemed to me that I was high up in space. Far below I saw the globe of the earth, bathed in a gloriously blue light. I saw the deep blue sea and the continents … its global shape shone with a silvery gleam through the wonderful blue light …" (MDR, p. 270)
Jung's vision goes on for pages. It made his return to the normal hospital situation disappointing and difficult. He writes, "Now I must return to the 'box system' again. For it seemed to me as if behind the horizon of the cosmos a three-dimensional world had been artificially built up. …" (MDR, p. 273) (That theme again of the cosmos without horizon, without partitions, as if a deeper layer of existence, "the foundation of the world of objects."
A particular moment in the three-week course of Jung's vision needs remarking. He felt the presence of "inexpressible sanctity" that had a "magical atmosphere." (MDR, p. 275) "I understood then why one speaks of the odour of sanctity, of the 'sweet smell' of the Holy Ghost." (MDR, p. 275)
Here, I want to use poetic license by inviting Heidegger to explicate Jung's moment of sanctity, the presence of holiness in the hospital room. Heidegger writes: "Blue is not an image to indicate the sense of the holy. Blueness itself is the holy, in virtue of its gathering depth which shines forth only as it veils itself." (Heidegger, p. 166) Robert Avens explains Heidegger's holiness of blue: "Holiness is not a property of a God … but a name for all entities insofar as they display a numinous aspect; it is an ingredient that awakens, ensouls, and vivifies everything. Specifically, the holy [in Heidegger] is identified with the blueness of the sky." (Avens, p. 56)
The next tale of Jung's encounter with blue occurs in Ravenna on entering the Baptistry of the Orthodox. "Here, what struck me first was the mild blue light that filled the room. … I did not try to account for its source, and so the wonder of this light without any visible source did not trouble me." It was here that Jung and his companion envisioned "four great mosaic frescoes of incredible beauty … and to this day I can see every detail before my eyes: the blue of the sea, individual chips of the mosaic …" (MDR, p. 265-66)
As you know, these mosaics on the walls of the Baptistry did not exist, simply not there – though they were seen and remembered in detail by both viewers. The light which introduced the vision was blue; the most vivid of the images: "the blue of the sea."
The last of these stories of the azure vault I take from Marcel Proust in Time Regained, the concluding part of his many-volumed masterpiece, the author as himself and as character reflecting on his lifelong literary effort recounts the rising of his psyche to joy from "gloomy thoughts" about the "life of the mind" which he calls "unfertile," "boring," "tedious," "useless," "sterile," and "melancholy." (p. 898)
While crossing a courtyard he stumbles on an uneven paving-stone, and suddenly the oppressive blue mood becomes visual and visionary. "… a profound azure intoxicated my eyes, impressions of coolness, of dazzling light, swirled around me …" (p. 899) Then, "… a new vision of azure passed before my eyes, but an azure that this time was pure and saline and swelled into blue and bosomy undulations, and so strong was this impression that the moment to which I was transported seemed to be the present moment …" (p. 901) No sooner is Proust out of this sentence then the cauda pavonis appears: "… the plumage of an ocean green and blue like the tail of a peacock. And what I found myself enjoying was not merely these colours but a whole instant of my life on whose summit they rested …" (p. 901)
Recording his reflections, he concludes with a cogitation about time past and present "and I was made to doubt whether I was in the one or the other." (p. 904) Experiences that so moved him and had given him such felicity were those that joined past and present, "outside time" (p. 904), and the doubt about the life of the mind as writer and "anxiety on the subject of my death had ceased … since the being which at that moment I had been was an extra-temporal being." (p. 904) "The being which had been reborn in me … with a sudden shudder of happiness … is nourished only by the essences of things … (p. 905) A minute freed from the order of time has recreated in us, to feel it, the man freed from the order of time." (p. 906) The azure vision had brought together the pleasures of the world and the life of the mind, placing time within the timeless, the timeless within time. And with joy he can now say, "My appetite for life was immense." (p. 905)
Proust presents this azure vision in temporal terms, where time's ineluctable continuity, as in a flash of lightening (p. 905) is intersected by the joyful certitude of his extra-temporal essence beyond the reach of death.
The harmony of world and mind, resolving doubt and death, brings us to Wolfgang Pauli's dream vision of the world clock, a centerpiece of Jung's 1935 Eranos Lecture published more fully in Jung's Terry Lectures at Yale, Psychology and Religion, and later in his Psychology and Alchemy (Vol. 12).
Your familiarity with this piece of Jung's work allows me to recapitulate only that component of Pauli's vision bearing on our theme: the vertical blue disk that intersects the horizontal one, each disk having its own pulse or time-rhythm.
A letter from Pauli to Jung – in the volume of their correspondence introduced by Beverly Zabriskie – shows Pauli still working on the world-clock dream of several years before. October 15, 1938, Pauli writes: "… I have come to accept the existence of deeper spiritual layers that cannot be adequately defined by the conventional concept of time. The logical consequence of this is that death of the single individual in these layers does not have its usual meaning, for they always go beyond personal life." Pauli emphasizes the "sense of harmony" bestowed by the word-clock vision, much as Proust wrote of joy and an appetite for life and Fechner of the beauty of the garden of flowers.
What intersects, breaks into the normal (to use the word from Breuer) world of time's minutes and three-dimensional existence, what moves one outside that "box" (to use Jung's language of his own vision after the heart attack) is blue's verticality. The break in Proust's step-by-step forward motion, his stumble, parallels Jung's late strange definition of God: "This is the name by which I designate all things which cross my willful path … all things which upset my subjective views, plans, intentions and change the course of my life for better or worse." (Letters, Vol. 2, 5 December 1959)
Proust's was the last of my stories – last of those I have collected so far. There are surely more waiting in the wings. So now the temptation arises to form the scattered occurrences into a metaphysical conclusion. It would be expected now to leave the earth for the blue yonder and a literalization of the spirit, outside of time, outside the body. Don't the stories support a hypothesis of earthly transcendence? Have we not been encountering the Celestial Kingdom, the "effulgent blue light of the Buddha body," (CW 11, §852) visitations of Sophia, of Mary in her blue dress, the ultimate anima?
Not quite; not yet; not today. I shall go on insisting until I am blue in the face that Miles's music stayed dark, that blue is the color of the deeps, as Heidegger says, that the poetic fantast AE was earthborn and earthbound, invited by the United States Department of Agriculture to lecture on rural economy; that Cézanne stood day in and day out in the fields among rocks and mountains, painting peasants and apples of this earth; that Novalis, whose degree was in mining, felt called "to cultivate the earth" (Bamford, p. 198) and that he took the penname Novalis from the Latin for "newly ploughed field" (Bamford, idem); and that Fechner acknowledged the earth's consciousness to be far superior to that of humans; and that Proust captured every fiber of the earthly emotions in nature, in body, in taste, touch and smell.
If spiritual ascension is not my intention with these tales, what am I intending to convey? First of all I am elaborating a method for psychology of story-telling. Stories claim neither proof nor truth. Instead of argument, anecdote; individual cases circumambulating a theme. The theme? The caelum of alchemy in actual lives, particularly lives open to fresh perception. The method follows Jung's method of amplification: building the power of a theme by amplifying its volume with similarities, parallels, analogies. The method is also empirical in that it starts and stays mainly with actual experiences. Further, the method is phenomenological: let the event speak for itself, bracketing out concepts of spirit, of the numinous, the coniunctio, and the self.
Most valuable of all, I believe, is the aesthetic of the method which I am attempting. I am employing a rhetorical device, peitho, as the Greeks sometimes called Aphrodite, to invite, seduce, charm, enhance, and convince by rhetorical, even poetic, means. An aesthetic method relies on texture, images, language, emotion, and sudden mysterious irrationalities. The method complies with and submits to the content. Story keeps its words close to events, logos in the embrace of psyche. Like blue itself, an aesthetic method conceals and reveals, withdraws from our prehension, tempts us to follow after it, and connects invisibly, analogously, all the stories and persons existing together in the same field. The method is relieved of interpretations and personalistic contexts. It aims to present things as they are and also as played upon the blue guitar – to use Wallace Stevens's famous phrase (CP, p. 165), following also his statement: "I am thinking of aesthetics as the equivalent of apercus which seems to have been the original meaning." (Stevens, Letters, p. 469) Sudden openings of the heart and mind and senses, especially of the eyes; insights, aha's, analogies, unique epiphanies that shake the soul, carry it to the edge, and free it from the box.
The box is also psychology: not psyche, but the 'ology, ' that parasitical suffix that sucks the psyche dry. Long before there was psychology there were tales, old-wives-tales, grandmother's tales, oral accounts of origins and great deeds, theater of tragedy and comedy, the gossip of the day carried by messenger, lessons learned at the feet of a teacher, stories passed down rich in the ways of the world and the ways of the soul. Long before psychology there were the bedside observation of physicians, of captains on the field of battle, painters of portraits, breeders of animals and trappers, of midwives and judges and executioners. Psychology's case reports are too often botched attempts to continue the story-telling tradition. Too soon we draw theoretical conclusions obliged by 'ology' to package psyche in a box. We would win from every story the trophy of meaning.
An aesthetic method, if I may call it that, ideally, would let the beauty of an event, its sweet shock instruct the soul, educate it by leading it to an edge, out of the box of the already conceived and into pondering and wondering. The method suits the correspondences that compose the cosmos itself, each thing implicating other things by likeness rather than by causality, in an implicit order of the world. Metaphors and analogies abounding. The display of images addresses the "poetic basis of mind" (Hillman, RP, p. xvii) which is our most native mode of comprehension.
Alchemy caught me and taught me with its aesthetics – its colors and minerals, its paraphernalia, freaks, and enigmatic instructions. It is like a vast collective artwork built through centuries. It offers an aesthetic psychology: a myriad of apercus, images, sayings, stories, formulae; and all the while engaged with the matters of nature. It tells us to throw away the book of conceptual systems; no need for male and female, typology, stages, opposites, transference, self. Conceptual systems may be useful as a scaffolding for better access to the massa confuse which alchemy presents to a logocentric mind. Too soon, however, the conceptual scaffold replaces alchemy itself reducing it to merely providing examples to support the conceptual scaffold. Que lastima!
Do allow me one more story, one more from Jung. This is the moment in the articulation of our field when Anna O's poetic blue is saved from Breuer's prosaic brown.
It is the moment of Jung's "steep descent," when he felt he was "in the land of the dead." "The atmosphere was that of the other world." First, he met Salome and Elijah which he interpreted as Logos and Eros; but then retreated from this intellectualization. Then, "another figure rose out of the unconscious … I called him Philemon." (MDR, p. 175) Jung had already met Philemon in a dream: "There was a blue sky, like the sea, covered not by clouds but by flat brown clods of earth. It looked as if the clods were breaking apart and the blue water of the sea were [sic] becoming visible between them. But the water was the blue sky. Suddenly there appeared from the right a winged being sailing across the sky. … He had the wings of the kingfisher with its characteristic colours." (MDR, p. 176)
You all know these pages in Memories, Dreams, Reflections, and you well recall that it was Philemon especially, Jung said, who taught him that "there are things in the psyche … which produce themselves and have their own life." "It was he who taught me psychic objectivity, the reality of the psyche." (MDR, p. 176) Jung later placed a kingfisher's wing in one of his paintings, a wing whose color has given its name to a particularly brilliant blue. That blue with its shimmer of coppery gold recalls Stevens' poetic way of stating psychic objectivity: "When the sky is so blue, things sing themselves." ("Debris of Life and Mind," CP, p. 338) The blue wing sailing across the sky announces in an aesthetic image the arrival of Jung's new knowledge of the autonomy of the psyche.
The autonomy of the psyche is preserved by an aesthetic method. Jung's term, "the objective psyche," refers to more than the spontaneous production of "internal" events. Psychic events are not atomistic particulars only; they bode forth analogous affinities such as Freud sought in free associations. Events "sing themselves" further, dream the myth onward, even "infinitely" as Mueller's poem says, and in this way they are objective, freed from the given – the psychic feeling or fact or fantasy – by their analogous implications. Events dissolve their own edges and overreach themselves, creatively objectifying psyche in the production of complex forms that bring their own norms which seem to usual judgments as irrational, amoral or abnormal, giving rise to the prejudice that the aesthetic and the ethical are incommensurables.
To the great misfortune of our tradition, Josef Breuer could not hear the transposition to psychic objectivity, the singing of things themselves. Despite his arduous devotion to his case he did not recognize the poetic basis of mind. He called Anna O's seeing blue a "secondary state" invading the "more normal view." Her dress was simply brown – basta la musica. Yet, Anna's fantasies were breaking into, and her out of, the historical, literal, and personal. Her symptoms were mainly bodily and the analysis was wrapping her body in blue material. Breuer describes Anna as "markedly intelligent with penetrating intuition [and] powerful intellect. … She had great poetic and imaginative gifts." (op. cit., p. 21) The patient was being led by her very eyes and the call of her symptoms to follow the blue in keeping with her gifts.
The blue incursion early in the case of Anna O, upon whose psyche our field is founded, requires us to make a small correction to the poem about Monet's cataracts with which I began this morning. Lisel Mueller has Monet saying: "I tell you it has taken me all my life to arrive at the vision of gas lamps as angels. Fifty-four years before I could see Rouen cathedral is built of parallel shafts of sun …" Fifty-four years! Jung, too places the caelum at the end of his opus maior and the end of his scholarly life. And an implication from Proust requires a correction. Is it only as death enters our thoughts and we are near the last page of that novel's via longissima that the azure vision, with peacock tail, flowers, and joy finds us?
Others tell a different story. Miles Davis as a tiny boy; little AE with the silver and blue of the magic sword; Anna O barely out of her teens. Fechner in his early forties; Jung with Philemon also in midlife – not at the end of an opus contra naturam, a work that struggles to arrive. Rather, we learn that the "arrival," if it be that, is outside of time altogether and what is outside of time cannot be achieved through time. Either the achievement is never reached: analysis "interminable" to use Freud's term. Or, timeless is eternally present from the beginning and potential in each moment of the work. Far out is where we start from! Hence, caelum is one of the names of the materia prima, the starting stuff and permanent basis of the work. (Jung, "Lecture Notes," 20 June 1941) The striving toward healing on the via longissima is present from day one in the very fantasy of wholeness as an impulsion of the caelum as unus mundus. The fantasy that things are improving, integrating, and Jung's synthetic or prospective method too, are modes of stating in terms of time the caelum that is always there as the mundus archetypus to which all things desire to return to their potential.
Practitioners of analysis who carry an alchemical imagination in their devotion will keep faith with the primordial firmness of their vision. Like Fechner they will wear blue glasses and like Cézanne they will hold a blue brush in their hands, hearing things as they are played upon Stevens's blue guitar. Practitioners will be remembering that practice itself is an aesthetic activity that awakens the soul from anesthesia by revisioning from the first hour. And, like Miles Davis, they will feel the blue flame pushing forward to some frontier, the edge, and out of the box, loosed from the logic of opposites and the coercion of centering, without tops and bottoms and lines of horizons. Certitude and Trepidation, both; and like Proust, with an immense appetite for life.
All along our blue theme has been haunted by nostalgia, Heimweh, a nest from which we have flown, the harbor where we have not arrived, a longing that imagines an elsewhere that is "not here." Not here: that is the essential plaint of the émigré, of the mercenary by the campfire in a foreign land, of the displaced, the exiled. A mood of wishing, "mixing memory and desire," and the disconsolate regret of heartbreak. Nostalgia gives a particular hollow ache to the "missing blue" mentioned by Jung in his Psychology and Alchemy (CW 12), and the missing blue in the opus itself, dominated by black, white, yellow and red.
Blue withdraws from us, says Goethe; it is the absence shadowing the alchemical process, the essentially missing. Not-hereness profoundly motivates the work all along the way: not enough, not right, not fulfilling, something else, something more. Intensely present in its utter absence, reminding the soul of its exile. The inevitability of exile as the necessary ground for removal of all supportive identities: the very idea of identity, of self-identity, of self itself are the structures and straws to which loneliness clutches. Exile reveals that we are each foundlings and that there is no other home but the cosmos itself from which no single particle can be severed, in which, to which each and every thing belongs and homecoming takes place continually, occur ring in our very breathing its blue air. Cézanne drenched all things in blue, keeping them from separateness, making visible "how heaven pulls earth into its arms." The azure vault folds hard edges into its cosmic comprehension. No elsewhere, no exile, no nostalgia.
Precisely here we can make a distinction on the one hand, between the blue of the unio mentalis that occurs, writes Jung, before the unus mundus and, on the other, the celestial blue of the caelum. That first blue is more mood than effulgence. Its blue roses are intertwined with lunar subjectivity, called "pleurosis" in the case of Laura in Tennessee Williams's Glass Menagerie. That first blue emerges as the nigredo clears into the albedo and the mute mind finds voice, lightens up and can sing the blues, express the melancholy. That blue I explored at length in an essay twenty-five years ago. (Hillman, "Alchemical Blue," 1981) This azure blue is the "visible spirit of Song," wrote Novalis (Bamford, p. 229), the source of song itself (AE), the blue of vision further than reflection. If the unio mentalis signifies the confluence of understanding and imagination, an understanding by means of images, the caelum is beyond understanding – though we may work at it as did Pauli. It feels unimaginable, incomprehensible – as to Jung after Ravenna. Magical. It simply happens, out of the blue, simple and evident and truthful as the sky happens, as death happens, unfathomable and undeniable both. A universal given, a gift. The eyes no longer able to grasp what they see; the eyes become the ungraspable air by which they see. It is vision.
Science fosters the separations, the exile; and the program of this conference states our sessions here belong to science. Science, its root scire, to know, has a further root in Greek, schizo (cleft, splinter, separation) and further, Sanscrit chyati (divides). Instead of science, why not séance for these sessions that invoke our common ancestor? Séance is defined by the dictionary as a meeting of a learned society and also a meeting that attempts to connect with the dead. Jung's expansive vision in hospital took him to the edge of death. Return to life meant divisions, separations: "the grey world with its boxes." (MDR, p. 275) But there are other ways out of the box, other ways for the grey world to discover a blue vision.
In this vision the world appears as analogies. All things refer, imply, connote. Likenesses everywhere and so things cure one another by means of similarities. "Objects existing together" (Badt on Cézanne). Edges banished says Monet in Mueller's poem: "I will not return to a universe of objects that don't know each other." "The human soul recognizes itself in the world, as the world" (Bamford, p. 230, on Novalis). Descartes' separations dissolve. Analogy, says William James (op cit., p. 151), is the mark of Fechner's method and genius, for it reaches in all directions and finds subtle strands of implications. "Attentiveness to subtle signs and traits …" writes Novalis. (Bamford, p. 224) The method of discovering analogies carries further than symbols, further than images as such It is a poetic connection. Reich might add, "an erotic connection." "Poetry," writes Wallace Stevens (Stevens, 1951, p. 117), "is almost incredibly one of the effects of analogy." So incredibly is healing. Analogy disrespects definitions, leaps over defenses, listens through walls to overhear meanings. The poetic mind resolves the need for meaning, Jung's underlying reason for psychotherapy. "The poet is the transcendental doctor," wrote Novalis (op cit., p. 220).
James goes on to describe Fechner's unus mundus: "All things on which we externally depend for life – air, water, plant and animal food, fellowmen, etc. – are included in her [the earth]. … She is self-sufficing in a million respects in which we are not so." (James, p. 157) Then, like an astronaut's vision of the globe, and like Jung's vision from his hospital bed, James captures Fechner's vision with this paragraph: "Think of her beauty – a shining ball, sky-blue, sunlit over one half, the other bathed in starry night … she would be a spectacle of rainbow glory. … Every quality of landscape that has a name would be visible in her at once … a landscape that is her face," Novalis saw the face of the blue flower. "Yes," writes James, "the earth is our great common guardian angel who watches over all our interests combined." (James, p. 164)
Just this Fechner perceived through his blue glasses, the unus mundus, the earth as angel, the deep ecology of the Gaia Hypothesis as truth because seen and felt, not because believed in or scientifically buttressed. "We are called to form the Earth," wrote Novalis. (op. cit., p. 220) "Doctor if you could only see …" This vision is the caelum experience, and without vision, continues James famously at the end of his rapture recapitulating Fechner's rapture "without vision the people perish." (James, p. 165) And we perish, the patients perish, our psychology perishes without reminiscence of the vision that impelled us to Jung in the first place, a vision that is there from start to finish as prima materia and unus mundus, a recollection that gives reason for Jung's turn to alchemy for the amplification and substantiation of his life's extraordinary work, leaving us with the charge to recollect that our work, however boxed and clocked, however bandaged our eyes, is always under an azure vault.
- Michael Vannoy Adams, The Fantasy Principle, Hove & New York: Brunner-Routledge, 2004.
- AE (George William Russell), The Song and its Fountains, Burdett, New York: Larsen Publications, 1991.
- Roberts Avens, The New Gnosis: Heidegger, Hillman, and Angels, Putnam, Connecticut: Spring Publications, 2003.
- Kurt Badt, The Art of Cézanne, Sheila Ann Ogilvie, trans., New York: Hacker Art Books, 1985.
- Christopher Bamford, An Endless Trace, New Paltz, New York: Codhill Press, 2003.
- Josef Breuer, "Case Histories: Fraulein Anna O." in Sigmund Freud, The Standard Edition of the Complete Psychological Works, II, London: Hogarth, 1955.
- Miles Davis (with Quincy Miles), The Autobiography, New York: Da Capo, Troupe) 1989, p. 1.
- Hénri F. Ellenberger, The Discovery of the Unconscious, London: The Penguin Press, Allen Lane, 1970.
- J. W. v. Goethe, Goethe's Color Theory, Rupprecht Matthei and Herb Aach, eds., New York: van Nostrand Reinhold, 1971, p. 170 (p. 310 of the Eastlake translation).
- Martin Heidegger, On the Way to Language, Peter D. Hertz, transl., New York: Harper & Row, 1971, p. 166, cf. 169-70. German: Unterwegs zur Sprache, Pfullingen: Neske, 1965.
- James Hillman, Revisioning Psychology (RP), New York: Harper & Row, 1975, p. xi.
- James Hillman, "Alchemical Blue and the Unio Mentalis," Sulfur 1 (1981), pp. 33-50.
- William James, "Concerning Fechner," in A Pluralistic Universe, London: Longmans, Green, 1909.
- C.G. Jung, Collected Works (CW), Princeton: Princeton University Press, and London: Routledge & Kegan Paul.
- ______Memories, Dreams, Reflections (MDR) (with Aniela Jaffé), London: Collins/ Routledge & Kegal Paul, 1963.
- ______"Lecture VIII, 20 June 1941," in Alchemy: E.T.H. Lecture Notes, Barbara Hannah, ed., Zürich, 1960.
- ______Letters, Vol. 2, Princeton: Princeton Univ. Press, 1975.
- Wassily Kandinsky, Concerning the Spiritual in Art, M.T.H. Sadler, transl., New York: Dover, 1977, p. 38.
- Walter Lowrie, Religion of a Scientist: Selections from Gustav Th. Fechner, New York: Pantheon, 1946.
- C. A. Meier, Ed., Atom and Archetype: Pauli/Jung Letters, David Roscoe, transl., Princeton: Princeton University Press, 2001.
- Lisel Mueller, Alive Together, Baton Rouge, LA: Louisiana State Univ. Press, 1996.
- Marcel Proust, Remembrance of Things Past, Vol. III, part 3, "Time Regained," Terence Kilmartin and Andreas Mayor, transl., New York: Vintage Random House, 1982.
- Martin Ruland, A Lexicon of Alchemy, A. E. Waite, transl., London: Watkins, 1964.
- Wallace Stevens, Letters, edited by Holly Stevens, New York: Alfred A. Knopf, 1972.
- ______The Collected Poems (CP), New York: Alfred A. Knopf, 1978.


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Drugs & Health Blog
First Get Drug Smart, Then Think Twice
November 02, 2010
The Shoutout is gathering volume and the message is coming through loud and clear: JUST THINK TWICE! Read More »24 Comments
We <3 Brains
October 28, 2010
What's that purple goo coming out of that big slug's rear end? Oww! That crayfish pinched me again! Read More »11 Comments
Are Video Games Addictive?
October 26, 2010
Guest Blogger, Ethan Guinn, a winner of NIDA's Addiction Science Award, describes how his interest in science (and video games) has brought him lots of exciting changes and opportunities. Read More »11 Comments
The Price of Smoking
October 21, 2010
You've already heard plenty about what smoking can do to your looks and your life. Read More »19 Comments
Small Matter with Big Potential for Smokers Trying to Quit
October 20, 2010
There's been a lot of talk about nanotechnology lately—like what does it take to be able to control things as small as atoms or molecules. Now, scientists funded by NIDA are trying to use nanotechnology to help people quit smoking. How, you ask? Read More »3 Comments


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Today in Tweet Beat, Kelly Osbourne is displeased to learn that a famous nemesis of hers is a guest in the same hotel. Plus, Lil Wayne gets out of jail tonight!
oh my god the twat in the room next to me playing music so lound the bass is making the water in my glass shake i hate him!
oh my god i know who is in the room next to me there is not 1 person in the world that would not be able to guess her voice there moving me
once a bitch always a bitch!!!!!!
i feel sorry for her anyway life is not treating her well maybe the loud music is blocking out her reality. poor thing!!!!!
FREE WEE- Oh. Never mind.
I got close friends who was nice when they got locked up, but when they came out they was BEASTIN. I bet Wayne does the same.
I'm hopin' Weezy stay out of trouble. Think he should take the Lil' off his sir name. Hope the time away made him focus the important things
Me and Sally jessie at oprah. Yay!!!
Even the women in magazines don't really look like the women in magazines RT @Sgoodling2010: I wish i looked like women in magazines..
Heading back to London to see Graham Norton and I couldn't be happier. I love him more than Charlie Sheen loves his dealer.
@Joan_Rivers you know he's gay and Irish. A winning combination!
Just swam with Grace Jones in the pool. She's soooo camp! I live!
I feel Liberace is my guardian angel, looking down on me, giggling.
I am trying very, very hard to grasp the fact that KANYE hurt the President of the United States feelings.


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KILLEEN (January 22, 2013)--Killeen firefighters were called out this afternoon after several residents on Rose Avenue saw smoke in their homes, which appeared to be coming from toilets and sink drains in bathrooms and kitchens.
The City of Killeen issued notices a few days ago that smoke testing would be done on sewage pipes to check for leaks on Rose Avenue.
The good news was that no smoke came up from the sewage drains in the street, but the bad news was that smoke did come up through drains in homes, causing some alarm.
Firefighters went door-to-door running tests to check oxygen levels and carbon monoxide levels.
They also used a thermal imaging camera to look for any abnormal heat sources and made sure there were no hot spots in attics.
Adrianna Williams received a call from her sister that there was smoke in her house.
When Williams got to the house she said smoke was "billowing" and "thick" and was not sure what it was.
Williams remembered receiving a letter from the city a few days ago that was stuck to her door saying that some testing was going to be done, but she said the letter didn't really get into specifics of the testing and said only that "there could be some smoke" and to "not be alarmed."
Williams said that she saw police and firefighters down the road and thought it might be a good idea to get them to check out her house.
"Especially since one of my neighbors said there was a gas leak in someone's home," Williams said.
"They accommodated me and put my fears to rest and I feel a lot better," she said.
She is just wondering how long it going to take for the smoky haze to clear out.
"We have been running the fans and everything for some time," she said.
"(It) Makes me feel uncomfortable and I hope it leaves rather quickly."
Firefighters said the city has been performing this test in other areas for about two weeks and will continue testing on other streets in Killeen.
They also said that the city basically hooks up a hose from their pick-up truck to the sewage pipe and blows "stage smoke" to look for leaks coming from pipes underneath streets.
"(It) seems like there should be another way, a better way," Williams said.
"Perhaps the letter (from the City of Killeen) should be a little bit more detailed so that people aren't alarmed."


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SUNY Potsdam Alumni Education Leaders Speak with Aspiring Teachers
The SUNY Potsdam School of Education Alumni Board recently brought together 22 alumni who are leaders in education for a career advice session for current students who aspire to teach.
The session, titled "Entering the Teaching Job Market: Advice from Potsdam Alumni Superintendents and Principals," was held on campus on March 9 as part of an annual conference offered by the College's Teacher Education Student Association.
The conference was organized by Assistant Director of the Center for School Partnerships and Teacher Certification Nicole Feml '02, who is the group's advisor, along with TESA Conference Chair Sarah Adams, a junior from Evans Mills majoring in early childhood/childhood education, with a specialization in mathematics.
According to Adams, the students "thoroughly enjoyed the alumni session" and are looking forward to next year's program.
"Not only was I able to learn a lot from the principals and administrators, but I was able to use their advice to reflect on myself as a teacher candidate. Many administrators even gave their email addresses for us to continue our conversations," Adams said.
More than 80 college students attended the conference, including a visiting group from SUNY Canton.
School of Education Alumni Board President Dr. Mark Davey '84 delivered welcome remarks to the group. Davey, who is superintendent of the Gates-Chili Central Schools, thanked the alumni for returning to campus to speak to the students. He spoke about the importance of preparing good teachers to enter the profession in what has become a very challenging time for education.
"The TESA conference was a unique opportunity for our students to hear the perspectives of school leaders who are alumni of our teacher preparation programs. The students were able to gain excellent career guidance, and our alumni were able to give back to their program in a meaningful way," said Dr. Peter Brouwer, dean of SUNY Potsdam's School of Education and Professional Studies.
In addition to Davey, other alumni presenters included St. Lawrence/Lewis BOCES Superintendent Thomas Burns '92 and Oswego BOCES Superintendent Christopher Todd '92. Additional speakers included a number of district superintendents: Patrick Brady '88 of Potsdam Central Schools, Dr. Harry Brooks '68, retired from the Broadalbin-Perth School District, Frederick Hall, Jr. '84 of Sackets Harbor Central Schools, Christine Holt '93 of the Inlet Common School District, Seth McGowan '96 of Tupper Lake Central School District, Dr. Randy Richards '83 of Lake Placid Central Schools and Susan Todd '88 of Heuvelton Central Schools.
High school principals who presented at the conference included: Joann Chambers '87 of Potsdam Senior High School, Jeremy McBride '95 of Webster Schroeder High School, Jonathan Parks '85 of Saranac High School, Lee Roscoe '91 of Westhill High School in Syracuse and David Treharne '83 of Auburn Enlarged Central Schools.
Middle school principals who presented included Jamie Cruikshank '92 of Potsdam's A.A. Kingston Middle School, Scott McDonald '94 of William Golding Middle School in Cobleskill and Nancy Taylor-Schmitt '84 of Indian River Middle School.
Elementary school principals included Scott Gilbert '86 of the Potomac (Virginia) Elementary School, Larry Jenne '83 of Potsdam's Lawrence Avenue Elementary School, Charity Zawatski '02 of West Side Elementary School in Gouverneur and Sharlee Thomas '89 of the St. Regis Mohawk School.
In addition to the session on entering the teaching job market, the TESA Conference also offered a session called "Best Practice Approaches to Teaching Literacy: Stories from the Field." Presenters included alumni Faith Bish '03 of Jefferson Elementary School in Massena, Randy Burlingame '90 and David Vroman '83, both of Potsdam Central Schools, Megan Leger '10 of Colton-Pierrepont School District, Amanda Chapman '09 of Gouverneur Central Schools, Tiffany Maynard of SUNY Potsdam's Rebecca V. Sheard Literacy Center and Rebecca Ouderkirk '10 of Madrid-Waddington Elementary School. Amy Schwerzmann '73 of the Watertown City School District was the keynote speaker for the conference's session on literacy.
The School of Education and Professional Studies at SUNY Potsdam has been preparing educators for nearly 200 years. For more information, please visit http://www.potsdam.edu/academics/SOEPS/.
Founded in 1816, and located on the outskirts of the beautiful Adirondack Park, The State University of New York at Potsdam is one of America's first 50 colleges. SUNY Potsdam currently enrolls approximately 4,350 undergraduate and graduate students. Home to the world-renowned Crane School of Music, SUNY Potsdam is known for its handcrafted education, challenging liberal arts and sciences core, excellence in teacher training and leadership in the performing and visual arts.


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What is the difference between nachvollziehen and verstehen? In my dictionary they both mean "to comprehend". Do they have a big difference in usage?
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Short summary:
If you are either able to retrace or to reconstruct something or able to follow someone, then you can use nachvollziehen. If, however, it's just about understanding and comprehension of the nature of something, you can only use verstehen.
Elaborated answer:
Both words have an overlapping sense but verstehen is a little broader in meaning. You can use verstehen when you are able to hear someone, as in Can you hear me?:
Or if you didn't understand someone, then you say:
Apart from that, verstehen is basically used in the sense of to understand the meaning or significance of something. Examples:
As you probably noticed, verstehen is literally quite close to understand. See also notes on Etymology Online and Wiktionary entry for forstand.
Nachvollziehen is synonymous to verstehen in many contexts. I think there's a simple way to find out if that is true. This is actually already mentioned in the other answer, I will just put it in another way again.
The meaning of nachvollziehen is to retrace or to reconstruct something in mind. Example: If you are able to retrace the feelings someone has when someone close to them died, you can say1:
Another example: Your math teacher explains how to solve an equation and you are not able to follow him, i.e. how to get from, e.g., step 3 to step 4, you can say:
In both example you can still go with verstehen though.
1: I am aware that you hardly ever will be able to fully understand what someone is feeling in such a moment; it's just an example to make my point.
"Nachvollziehen" and "verstehen" both are very similar in meaning (as you already found out), but there are some subtle differences that I want to emphasize here.
Example A:
Example B:
instead of
These details are kinda specific, so you should be fine with using both words synonymously in (most?) other places. When in doubt, use "verstehen" since it's more common.
There is also one practical detail about the difference between the two.
When there is a discussion going on and somebody replies to what another person says starting with "Das (what you say) kann ich nachvollziehen" instead of "Das kann ich verstehen" it can be a very diplomatic way to introduce a contrary opinion. Because "Das kann ich nachvollziehen" implies that although you don't really agree with him you perfectly understood why he thinks that way which lends your following contrary statement more substance. If you would have said "Ich kann das verstehen" it somehow implies to a little extent that you AGREE with his view, you agree to his thoughts in that context he explains while nachvollziehen is more UNDERSTAND his thoughts.
But the difference is still very tiny..
In English, if someone tries to explain something and you don't get it, you might say, "I don't follow." This would be a situation to use 'nachvollziehen'.
Nachvollziehen has the connotations of coming to understand, or in American English slang "getting" something after a step-by-step process.
Verstehen refers to "understanding" in the sense of fully comprehending something, or grasping the whole, with one "shot".
Nachvollziehen means to comprehend a complex situation by retracing it step by step from beginning to end until you get how this situation or outcome appeared.
Verstehen means just that you got it. Usually without having to retrace the steps. Because the thing to understand was less complex or in other words simple enough to get / understand without having to get a long explanation.
Or you had similar experience and "knew" the steps already. But then if it is complex, you can "nachvollziehen"; if it is simple, you just "verstehen".
Although far less technical than the other answers, I think of the English slang phrase "I'm picking up what you're putting down." If that phrase works better than "I understand", then you nachvollziehen is more appropriate. Again, not nearly as scientific as the explanations above, but it seems to work fairly well.


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I just wondered what are the rules of saying numbers...
For example:
10 = 十
19 = 十九
100 = 一百
1,000 = 一千
10,000 = 一萬
119 = 一百一十九
110 = 一百一
1,100 = 一千一
11,000 = 一萬一
and then
10,110 = 一萬零一百一十
Is there any rule of thumb??
I just wondered what are the rules of saying numbers...
For example:
10 = 十
119 = 一百一十九
110 = 一百一
and then
10,110 = 一萬零一百一十
Is there any rule of thumb??
For reading numbers aloud, the wikipedia page has a section "Reading and transcribing numbers" that you might find useful.
Since I think you know the basics and your problem seems to affect the reading of "zero", let me quote this passage:
"Interior zeroes before the unit position (as in 1002) must be spelt explicitly. The reason for this is that trailing zeroes (as in 1200) are often omitted as shorthand, so ambiguity occurs. One zero is sufficient to resolve the ambiguity. Where the zero is before a digit other than the units digit, the explicit zero is not ambiguous and is therefore optional, but preferred."
Note: I know you didn't ask for the writing part, but if you don't mind, I'd like to keep it. If you think it's misleading, I can delete it.
For writing numbers, I found a nice page, Chinese numbers intro, that summarizes the rules for writing numbers. I summarized it below. If you find mistakes or if I forgot something, please post a comment:
I also found a nice number converter that you can use for self-study, I think. You can output Traditional, Simplified Chinese and also Pinyin.


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Top Definition
A person who has had thier fingers replaced with penis'. The process in which this is done is using a Peenu on your fingers. It is not suggested you do this.
Dude, Tyson is a Pensi. He showed me his hands just before.
by Misfitus October 22, 2004
Trending Now
The Mispelled Version of Penis but also the special powers believed in by The Bizznatchs
Believe In The Pensi, And The Pensi Will Spit On You
by Captain Bizznatch February 08, 2003
A baby puma with lung cancer.
Damn Hays, you must be a pensi
by Pensilover November 18, 2009
The alterntive spelling for Penis
Misha Collins' Pensi calling
by Pensi The Pachycephalosaurus October 04, 2010
Si's penis.
Si has a pensi.
by Tonytherobot September 23, 2009
a cawk (see cawk)
like what travis stuffs up his ass... pensi
by Ryan loves u April 24, 2003


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Membership Levels
AUGI now has three new Membership levels that will provide more benefits than ever before. Each level will bring you more content and expertise shared by fellow members, plus provide an expanded, more interactive website, publication access, and much more!
Please click on the link below to see membership information and to find out more.
If you have a current membership, you can review your Current Membership Level (you must be logged in)
If you have not joined AUGI yet, please go to the Join page and learn more about membership.
AUGI Membership Levels
Basic Membership (formerly our Free Membership) is the new entry level. The Forums (your main resource for finding and sharing technical tips) will remain free and open to everyone in the Autodesk world. Posting will continue to require membership at some level, but read access is open to the entire world without login or restriction.
Premier Membership is the first level of the new paid membership tiers. Premier members will have access to all the Basic level benefits plus expanded site archives and early access to some publication features. This level is really designed for users who may still use older products and want access to historic AUGI hosted content.
Professional Membership is the new top level. It provides access to Basic and Premiere level features, plus AUGIWorld magazine in print delivered to your home or work address. AUGIWorld returned as a monthly print publication in 2012, and now members can receive that benefit when they join as a Professional.
Without Basic, Premier or Professional membership your access is limited (as shown below)
- AUGI Forum read only access
- AUGI HotNews - No Access
- AUGIWorld (12 months - online only)
- Surveys - No Access
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text:
Gifts You Pick - Online Toys & Gift Registry
Planning a birthday party? Why not stash a Gifts You Pick registry in the invitation for parents and take the hassle out of present shopping? Presents from Gifts You Pick can be picked out, giftwrapped and delivered with their hassle-free online system, and Junior need never know why all the presents are so exactly what they wanted!
Gifts You Pick is a full online kids' department store, with an absolutely massive range of top-quality toys, clothes, accessories and furniture, with heaps of stuff for ages from newborn right up to the teens! You can pick out what your kids will like best - or let them go mad and pick out whatever they like best! Choose a variety of gifts, or let gift-givers contribute to one big present - say, a full-size playhouse, train set and table, or even a Nintendo DS!
A gift registry is an ideal way to include long-distance family and friends in a children's birthday party - Gifts You Pick can even wrap the prezzies up before they goes to the lucky recipient!
Contact: 0437 014 411
User reviewsAdd a Business Listing FREE
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Fast postage great serviceBy Loren on 22/05/2013 10:19:38 AM
Fast postage great service
Makes gift buying so easyBy klhaby on 15/05/2013 1:11:23 PM
Excellent stock made gift buying so easy will be coming back


text:
NBA Commissioner David Stern was the target of a full-court press Saturday for answers about the future of the Sacramento Kings at his state-of-the-league conference.
He didn't give up very many answers - nor did he offer any clues about whether the Kings would stay in Sacramento or leave for Seattle - but did give Seattleites reason to mark our calendars.
Stern said he doesn't want to publicly tell Sacramento what they have to do to keep the team. But both cities can't be happy. One will lose.
Sacramento Mayor Kevin Johnson says emotions are running high in California's capital city.
"You just think about our fans and our attendance and our records and what we've done year in and year out," said Johnson.
Stern expects to receive Sacramento's bid before March - and believes it will be competitive to that of Seattle - including a new facility with a significant subsidy from the city.
"It's going to be tough for anyone to outdo what we've done," added Johnson. "That's a really competitive advantage."
Stern says only that it will be a difficult decision.
"I think the owners are going to have a tough issue to decide, but I don't want to get to it 'cause we don't have the predicate for that tough decision yet," said Stern.
Stern, who has already met with Seattle Mayor Mike McGinn, has not met with Sacramento Mayor Kevin Johnson - but expects to in the near future.
"There's a great and strong application from a terrific city to bring in a third and possibly a fourth team in a brand-new building, a well-financed ownership group," said Stern. "That's really good, and so if you're a commissioner you like that."
For Seattle fans, April 18 may be a big day. That's when Seattle's Chris Hansen and the relocation committee can give their final pitch directly to the league.
The Seattle group led by Hansen and Steve Ballmer has reached an agreement with the Maloof family to buy 65 percent of the franchise, which is valued at $525 million, and move the team to Seattle and restore the SuperSonics name. The deal will cost the Hansen group a little more than $340 million.
Meanwhile, Seattle Mayor McGinn's office said, "We are working on the review and permitting process for a new arena. And we are working to ensure KeyArena is ready for the 2013-14 NBA season."


text:
Women's Health
Image Collection:
Human Anatomy
© 2014 WebMD, LLC. All rights reserved.
The breast is the tissue overlying the chest (pectoral) muscles. Women's breasts are made of specialized tissue that produces milk (glandular tissue) as well as fatty tissue. The amount of fat determines the size of the breast.
The milk-producing part of the breast is organized into 15 to 20 sections, called lobes. Within each lobe are smaller structures, called lobules, where milk is produced. The milk travels through a network of tiny tubes called ducts. The ducts connect and come together into larger ducts, which eventually exit the skin in the nipple. The dark area of skin surrounding the nipple is called the areola.
Connective tissue and ligaments provide support to the breast and give it its shape. Nerves provide sensation to the breast. The breast also contains blood vessels, lymph vessels, and lymph nodes.
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Hybrid View
22 Nov 2010 7:41 AM #1
Understanding scrollbars
I have looked through the forum for an answer to this and have seen similar posts but not the answer...
I keep having panels where at some point the content is larger than the area so the vertical scroll bar appears. This is fine. However, when the vertical scrollbar appears it decreases the view area by some amount of pixels and the result is the horizontal scroll bar appears. This is not fine.
Can someone tell me what I'm doing wrong? More importantly, how can I avoid this?
22 Nov 2010 8:13 AM #2
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Ext can't automatically detect if a vertical scrollbar will appear, so the only solution is to reserve room for the vertical scrollbar (e.g. by using a scrollOffset or a negative anchor in a layout).
22 Nov 2010 8:51 AM #3
Is there an example of this? I'm just not sure what value to set.
So if I have p = new Panel({autoScroll:true) and l add HTML to it's body. What value should I set so the horizontal scroll won't show as the content begins to scroll vertically?
15 Nov 2012 1:37 AM #4
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The remains of a 15-year-old Warren County murder victim will be laid to rest two years after their discovery. Twilight Crooks disappeared from her Plano home on the night of Aug. 28, 2001. Missing for two weeks, her body was discovered by a man walking his dog in a remote field a few miles from her home.
Sheriff's detectives ruled Crooks' death a homicide, and say hair and fiber evidence indicates two people may have been involved. Investigators also believe the body was moved once, possibly twice after Crooks was killed. Forensic evidence indicates Crooks died around the night of her disappearance.
Phone records indicate Crooks received a call around 10 p.m. that night from a pay phone at the Plano Store, located a couple of blocks away from her home. When her parents went to wake her up the next morning, she was gone.
Crooks' biological mother is of Native American descent, and has fought to have Twilight's body buried on a reservation out West. Sheriff's detectives maintain that they need jurisdiction over the body in the event that an exhumation is called for.
A private, family burial service is planned for Saturday.


text:
I've been riding road bikes for a couple of years, but with mountain bike pedals, I've been thinking about switching over to a road bike pedal, but what's the reason? Is the performance improved or is it more about conform?
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Hmm, we're kind of hitting most of the answer but not all of it (in my opinion that is!).
Its probably better to ask this the other way round - why not use a road pedal on a mountain bike...
On a road bike you're generally going to keep your foot in the pedal, you're only going to take it out to stop so therefore you want it to be as simple and as light as possible.
On a MTB you're liable to have your foot on and off more often, you're also likely to want to be able to stomp your foot onto a MTB pedal and have it stay there so it needs to have a larger platform area. You could also make an argument about MTB shoes being softer but the designs tend to be driven by competition and so that's probably more coincidence than anything else. If we're talking about using toeclips then clearly you'll need bigger pedals and clips for MTB boots than road shoes.
And weight does matter - it may only be a few 10s of grams but a few here and a few there will add up and all other things being equal less weight will make a difference.
I use clipless pedals - which I recommend - and I have one pair of shoes that I use on all my bikes, some of the pedals are fairly minimal for road, some clearly MTB, some hybrid but more MTB than not and all work with the same SPD cleat. Paradoxically my current setup has double sided pedals on the "road" bike and single sided on the MTB type pedals on my shopping bike...
So why road pedals? Assuming clipless and further assuming that you will only wear cycling shoes then you don't need the "complexity" (no difference in my pedals) or the weight of a full platform - so why have it? But the real difference will be in the shoes you chose to use.
(As I final thought I actually have two pairs of shoes - one waterproof - and a pair of sandals and they all have the same cleat so that I can use whichever is appropriate to the weather on whichever bike I happen to be out on.)
The main difference between road and mountain shoes are the stiffness.
On road bikes, the shoes are much stiffer allowing for a more efficient transfer of energy from you -> crank -> tire -> road. When you are in a race and every tenth of a second counts, the more efficient you are the better.
On a mountain bike, you give up some efficiency, so you don't sprain your ankle every time you plant your foot. Flexibility is better than stiffness.
You'll find many differences between MTB pedals and road pedals, just like every other component on the bike. Here are some of the key differences:
As far as I'm concerned, you should ride with whatever makes you most comfortable. Most people will use MTB pedals because they are easier to clip into (due to the interface on either side). I don't think the weight savings is terribly important unless you are doing some serious climbing or racing.
For most road-bikers, the difference is weight. Modern road pedals are often much lighter weight than the typical mountain bike pedal.
The only real difference between road bike clipless pedals and mountain bike clipless pedals is weight and aerodynamics. When you consider the fact that a bicycle and rider are going to weigh over 100 pounds (unless you're a midget on some insane carbon-fiber time trials bike) a few dozen grams doesn't make a bit of difference.
Meh, I would say if it's comfortable for you and you don't need to conform to specific rules for competition or anything, keep doing what you're doing. I've been riding road bikes with mountain-biking shoes for years and don't feel like I'm Doing It Wrong.
I am a big guy, so I ride with Look pedals on my road bike, because they have the largest cleat size, and the largest area to distribute my weight to the pedal.
Shoes vs Pedal style are two different issues.
I always maintained the major feature difference b/w road and MTB pedals as being single vs multi release shoe cleat.
Road pedals typically only release when you turn the heel of your foot out - hence single release cleat. MTB pedals are multi-release (i.e. will release if you turn your foot in or out past ~45 degrees).
Dirt and mud are much more common on a MTB, but not a real concern in most road riding.
The tolerances for MTB pedals are much higher than are needed for road riding, where the pedals won't be as dirty. Also, I find myself engaging my pedals with a MTB in much more "odd" positions compared to my road bike, which is virtually always on the flat, with one foot on the ground. On a MTB, I might be stopped on a trail pointing any which way.
All of those things are perfectly fine on a road bike, but unnecessary.
Researching on this myself, the main reasons I've found is that more surface (road) is better for power transmission and more comfortable on longer rides, which you would also want on MTB but road cleat can be inutilized with mud or just natural soil not tarmac, so you could have problems stepping with road shoes on a MTB track terrain then trying to reclip with stuff inside cleat. There seem to be also range of motion (lateral?) issues, better on MTB pedals but not so needed in road.


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I remember reading something about how iron was a highly stable element. Ever since then, I have looked at iron fry pans with new-found respect. However, in a recent discussion I was unable to pinpoint this 'special' quality. So what is so special about iron?
Iron is a "special" element because of its nuclear binding energy. The very basic idea is that when you fuse two light elements together, you get a heavier element plus energy. You can do this up to iron. Similarly, if you have a heavy element that undergoes fission and splits into two lighter elements, you also release energy. Down to iron. You can see this in the plot shown in the wiki article I linked. The physical reason for this has to do with the balance between nuclear forces and the electromagnetic force.
Due to the way these energies work, and because iron is thus thought of as the most stable, if you want to get energy from fusion or fission, your best bet is to use atoms that are farthest away from iron -- very light (like hydrogen) or very heavy (like uranium).
As a side note, this is also why Type 2 supernovae happen -- the star can no longer gain energy from fusion because it can't fuse past iron, so the outward pressure from energy generation stops and the star collapses.
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Cheer for a Cure, the national community-based organization that raises funds for those affected by cancer, will be offered at Carmi-White County High School Saturday, Feb. 23. The event will feature 11 groups from the region competing in the event, which will be held in MacDougall-Evers Gymnasium.
Established in 2005, Cheer for a Cure was created to honor Stella Bertz, who succumbed to lung cancer. She was a cheerleading coach for more than 10 years and taught valuable life lessons to the girls through mentoring and leadership.
In her honor, Cheer for a Cure emerged and raises money for cancer research at the James Cancer Hospital and Solove Research Institute, one of the nation's premier cancer centers.
Competitions and fundraisers through Cheer for a Cure are held all across the United States. The event at CWCHS marks the second year the fundraiser has been held locally.
"Most of the ladies that work at Cheer for a Cure have full time jobs and they donate their time to put these competitions on for cancer research," said Lacey Moore, coach of the CWCHS cheerleaders and coordinator for the local event. "I truly feel blessed to get to work with them."
Doors open at 9:30 a.m. Saturday and the competition gets underway at 10:30 a.m. Admission is $5 and children under five are admitted free. Concessions, raffles and apparel will be for sale to help boost fundraising activities for the day.
Teams coming in for the competition include squads from both the junior high and high school levels as well as All-Star teams. As an added bonus, a group of 16 CWCHS alumni cheerleaders will perform during the event.
Several area individuals and businesses have stepped up to assist. Those making contributions and donating their time to assist with the day's activities have been tagged as "Voluncheers."
Individuals and businesses donating funds include Haley Oil, Brooks York, Madaline Lamp, Brown's Fertilizer, Wabash FS, Preceptor Alpha XI, Jeff's Car Care, Rice Motors, Roark Trucking, Tequila's, Eric Burtis, Scentsy Fundraiser, Jack Sailer Farms, People's Bank, George Mitchell Drilling, Campbell's Funeral Home, Precision Mine Repair, Masterson Farms, Burnt Prairie Fertilizer, Campbell Farms, Plum Street Pharmacy, Affordable Tree Service, Hale Body Shop, Gillard's True Value Hardware and Rental, Elastec, Coleman Tri-County Services, Inc., B & B Construction, White County Coal, Les Wilson Inc. and White County Ford.
For more information on the national Cheer for a Cure, go to cheerforacure.org.
Location, ST | website.com


text:
Recently I was asked to show "a page with code" for a job interview. Being mainly a back-end programmer, and that's the position I applied for, I first said to the person I was talking to exactly that: PHP is executed at the server and therefore not visible by just giving a "page".
However, following their desire, I sent links to the pages I've worked on before. Obviously they couldn't see anything except for the HTML, CSS, JS... They said it was not enough, they could not see the PHP.
Understanding that they probably just wanted to know my skills and/or interest I sent them my Stack Overflow profile. Among all my questions and answers, most of them with code, certainly the PHP is there. But it seems this is not what they wanted.
Well, I don't have any code put together that I can simply publish for someone to see. And I would never do it for the code I have deployed, obviously.
So my question is/are: What does "send us a page with code" mean? What should I send? Is this a typical interview requirement?