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- Part 1, Public Talks Saanen Part 2, Public Dialogues Saanen
- Meghan Sharp
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2 - Part 1, Public Talks Saanen Chapter 1 - The Act Of Looking Chapter 2 - Freedom Chapter 3 - Analysis Chapter 4 - Fragmentation Chapter 5 - Fear And Pleasure Chapter 6 - The Mechanical Activity Of Thought Chapter 7 - Religion - Part 2, Public Dialogues Saanen Chapter 1-1st Public Dialogue Chapter 2-2nd Public Dialogue Chapter 3-3rd Public Dialogue Chapter 4-4th Public Dialogue Chapter 5-6th Public Dialogue Chapter 6-7th Public Dialogue Chapter 7-8th Public Dialogue
3 IMPOSSIBLE QUESTION PART I CHAPTER 1 1ST PUBLIC TALK SAANEN 16TH JULY 1970 'THE ACT OF LOOKING' In a world that is so utterly confused and violent, where there is every form of revolt and a thousand explanations for these revolts, it is hoped that there will be social reformation, different realities and greater freedom for man. In every country, in every clime, under the banner of peace, there is violence; in the name of truth there is exploitation, misery; there are the starving millions; there is suppression under great tyrannies, there is much social injustice. There is war, conscription and the evasion of conscription. There is really great confusion and terrible violence; hatred is justified; escapism in every form is accepted as the norm of life. When one is aware of all this, one is confused, uncertain as to what to do, what to think, what part to play. What is one to do? join the activists or escape into some kind of inward isolation? Go back to the old religious ideas? Start a new sect, or carry on with one's own prejudices and inclinations? Seeing all this, one naturally wants to know for oneself what to do, what to think, how to live a different kind of life. If during these talks and discussions we can find a light in ourselves, a way of living in which there is no violence whatsoever, a way of life which is utterly religious and therefore without fear a life that is inwardly stable, which cannot be touched outward events, then I think they will be eminently worthwhile. Can we give complete and sensitive attention to what we are going to discuss? We are working together to find out how to live in
4 peace. It is not that the speaker tells you what to do, what to think - he has no authority, no `philosophy'. There is the difficulty that one's brain functions in old habits, like a gramophone record playing the same tune over and over again. While the noise of that tune, of that habit is going on, one is not capable of listening to anything new. The brain has been conditioned to think in a certain way, to respond according to our culture, tradition and education; that same brain tries to listen to something new and is not capable of it. That is where our difficulty is going to lie. A talk recorded on a tape can be wiped out and begun again; unfortunately the recording on the tape of the brain has been impressed on it for so long that it is very difficult to wipe it out and begin again. We repeat the same pattern, the same ideas and physical habits, over and over again, so we never catch anything fresh. I assure you one can put aside the old tape, the old way of thinking, feeling, reacting, the innumerable habits that one has. One can do it if one really gives attention. If the thing one is listening to is deadly serious, tremendously important, then one is bound to listen so that the very act of listening will wipe out the old. Do try it - or rather do it. You are deeply interested, otherwise you would not be here. Do listen with full attention, so that in the very act of listening the old memories, the old habits, the accumulated tradition, will all be wiped away. One has to be serious when confronted with the chaos in the world, the uncertainty, warfare and destruction, where every value has been thrown away in a society which is completely permissive, sexually and economically. There is no morality, no religion;
5 everything is being thrown away and one has to be utterly, deeply serious; if you have that seriousness in your heart, you will listen. It depends on you, not on the speaker, whether you are sufficiently serious to listen so completely as to find out for yourself a light that can never be put out, a way of living that does not depend on any idea, on any circumstance, a way of life that is always free, new, young, vital. If you have the quality of mind that wants to find out at any price, then you and the speaker can work together and come upon this strange thing that will solve all our problems - whether they be the problems of the daily monotony of life or problems of the most serious nature. Now how do we go about it? I feel there is only one way, that is: through negation to come to the positive; through understanding what it is not, to find out what it is. To see what one actually is and go beyond that. Start looking at the world and all the events of the world, at the things that are going on; see if one's relation to that is either with or without separation. One can look at the world's events as though they did not concern one as an individual, yet try to shape them, try to do something about them. In that way, there is a division between oneself and the world. One can look that way with one's experience and knowledge, with one's particular idiosyncrasies, prejudices and so on; but it is looking as one separated from the world. One has to find out how to look so that one sees all the things that are happening, outside or inside oneself, as a unitary process, as a total movement. Either one looks at the world from a particular point of view - taking a stand verbally, ideologically, committed to a particular action and therefore isolated from the rest - or one looks at this whole phenomenon as a
6 living, moving process, a total movement of which one is a part and from which one is not divided. What one is, is the result of culture, religion, education, propaganda, climate, food - one is the world and the world is oneself. Can one see the totality of this not what one should do about it? Does one have this feeling of the wholeness of mankind? It is not a question of identifying oneself with the world, because one is the world. War is the result of oneself. The violence, the prejudice, the appalling brutality that is going on, is part of oneself. It depends on how you look at this phenomenon, both inwardly and outwardly, and also on how serious you are. If you are really serious, then when you look, the old momentum - the repetition of the old patterns, the old ways of thinking, living and acting - come to an end. Are you serious to find out a way of life in which all this turmoil, this misery and sorrow does not exist? For most of us the difficulty lies in being free of the old habits of thought: `I am something', `I want to fulfil myself', `I want to become',`i believe in my opinions', `This is the way', `I belong to this particular sect'. The moment you take a stand you have separated yourself and have therefore become incapable of looking at the total process. As long as there is the fragmentation of life, both outwardly and inwardly, there must be confusion and war. Do please see this with your heart. Look at the war that is going on in the Middle East. You know all this; there are volumes written explaining it all. We are caught by the explanations - as though any explanation is ever going to solve anything. It is essential to realize that one must not be caught in explanations, it does not matter who gives them. When you see `what is' it does not demand an explanation; the man
7 who does not see `what is, is lost in explanations. Please do see this; understand this so fundamentally that you are not caught by words. In India it is the custom to take their sacred book, the Gita, and explain everything according to that. Thousands upon thousands listen to the explanations as to how you should live, what you should do, how God is this or that - they listen enchanted and yet carry on with their usual life. Explanations blind you, they prevent you from actually seeing `what is'. It is vitally important to find out for yourself how you look at this problem of existence. Do you do so from an explanation, from a particular point of view, or do you look non-fragmentarily? Do find out. Go for a walk by yourself and find out, put your heart into finding out how you look at all these phenomena. Then we can work out the details together; and we will go into the most infinite details to find out, to understand. But before we do that you must be very clear that you are free from fragmentation, that you are no longer an Englishman, an Ameri- can, a Jew - you follow? - that you are free from your conditioning in a particular religion or culture, which tethers you, according to which you have your experiences, which only lead to further conditioning. Look at this whole movement of life as one thing; there is great beauty in that and immense possibility; then action is extraordinarily complete and there is freedom. And a mind must be free to find out what reality is, not a reality which is invented imagined. There must be total freedom in which there is no fragmentation. That can only happen if you are really completely serious - not according to somebody who says `This is the way to
8 be serious; throw that all away, do not listen to it. Find out for yourself, it does not matter whether you are old or young. Would you like to ask questions? Before you ask, see why you are asking and from whom you expect the answer. In asking are you satisfied merely with the explanation which may be the answer? If one asks a question - and one must enquire always about everything - is one asking it because in that very asking one is beginning; to enquire and therefore share, move, experience together, create together? Questioner: If there is someone, say a madman, loose and killing people, and it is within one's power to stop him by killing him, what should one do? Krishnamurti: So let us kill all the Presidents, all the rulers, all the tyrants, all the neighbours, and yourself! (Laughter) No, no, do not laugh. We are part of all this. We have contributed by our own violence to the state the world is in. We don't see this clearly. We think that by getting rid of a few people by pushing aside the establishment, we are going to solve the whole problem. Every physical revolution has been based on this, the French, the Communist and so on and they have ended up in bureaucracy or tyranny. So my friends, to bring about a different way of living is to bring it about not for others but for oneself; because the `other' is oneself, there is no `we' and `they', there is only ourselves. If one really sees this, not verbally, not intellectually, but with one's heart, then one will see there can be a total action having a completely different kind of result, so there will be a new social structure, not the throwing out of one establishment and the creating of another. One must have patience to enquire; young people do not have
9 patience, they want instant results - instant coffee, instant tea, instant meditation - which means that they have never understood the whole process of living. If one understands the totality of living there is an action which is instantaneous, which is quite different from the instant action of impatience. Look, see what is going on in America, the racial riots, the poverty, the ghettos, the utter meaninglessness of education as it is - look at the division in Europe, and how long it takes to bring about a Federated Europe. And look at what is happening in India, Asia, Russia and China. When one looks at all that and the various divisions of religion, there is only one answer, one action, a total action, not a partial or fragmentary action. That total action is not to kill another but to see the divisions that have brought about this destruction of man. When one really seriously and sensitively sees that, there will be quite a different action. Questioner: For someone who is born in a country where there is complete tyranny so that he is totally suppressed, having no opportunity of doing anything himself - I feel most people here cannot imagine it - he is born in this situation and so were his parents, what has he done to create the chaos in this world? Krishnamurti: Probably he has not done anything. What has the poor man done who lives in the wilds of India, or in a small village in Africa, or in some happy little valley, not knowing anything that is happening in the rest of the world? In what ways has he contributed to this monstrous structure? Probably he has not done anything, poor fellow, what can he do? Questioner: What does it mean to be serious? I have the feeling that I am not serious.
10 Krishnamurti: Let us find out together. What does it mean to be serious - so that you are completely dedicated to something, to some vocation, that you want to go right to the end of it. I am not defining it, do not accept any definition. One wants to find out how to live quite a different kind of life, a life in which there is no violence, in which there is complete inward freedom; one wants to find out and intends giving time, energy, thought, everything, to that. I would call such a person a serious person. He is not easily put off - he may amuse himself, but his course is set. This does not mean that he is dogmatic or obstinate, that he does not adjust. He will listen to others, consider, examine, observe. He may in his seriousness become self-centred; that very self-centredness will prevent him from examining; but, he has got to listen to others, he has got to examine, to question constantly; which means that he has to be highly sensitive. He has to find out how and to whom he listens. So he is all the time listening, pursuing, enquiring; he is discovering and with a sensitive brain, a sensitive mind, a sensitive heart they are not separate things - he is enquiring with the totality and the sensitivity of all that. Find out if the body is sensitive; be aware of its gestures, its peculiar habits. You cannot be sensitive physically if you overeat, nor can you become sensitive through starvation or fasting. One has to have regard for what one eats. One has to have a brain that is sensitive; that means a brain that is not functioning in habits, pursuing its own particular little pleasure, sexual or otherwise. Questioner: You have told us not to listen to explanations. What is the difference between your talks and explanations? Krishnamurti: What do you think? Is there any difference or is it
11 just the same verbiage going on? Questioner: Words are words. Krishnamurti: We explain, giving the description of the cause and the effect, saying, for example: man has inherited brutality from the animal. Someone points that out; but if in the very pointing out you act, you cease to be violent, is there not a difference? Action is what is demanded; but will action come about through explanations, through words? Or does this total action come about only when you are sensitive enough to observe, see the whole movement of life, the whole of it? What are we trying to do here? Give explanations of `why' and the cause of `why'? Or are we trying to live so that our life is not based on words but on the discovery of what actually is - which is not dependent on words. There is a vast difference between the two - even though I point it out. It is like a man who is hungry; you can explain to him the nature and the taste of food, show him the menu, show him through the window the display of food. But what he wants is actual food; and explanations do not give him that. That is the difference. 16th July 1970
12 IMPOSSIBLE QUESTION PART I CHAPTER 2 2ND PUBLIC TALK SAANEN 19TH JULY 1970 'FREEDOM' There are many things we have to talk over, but first, it seems to me, we have to consider very deeply what freedom is. Without understanding freedom, not only outwardly, but specially inwardly, deeply and seriously - not merely intellectually, but actually feeling it - whatever we talk about will have very little meaning. The other day we were considering the nature of the mind. It is the serious mind that really lives and enjoys life - not the mind that is merely seeking entertainment, some particular gratification or fulfilment. Freedom implies the total abnegation and denial of all inward psychological authority. The younger generation thinks freedom is to spit in the face of the policeman, to do whatever it wants. But the denial of outward authority does not mean complete freedom from all inward, psychological authority. When we understand inward authority, the mind and heart are wholly and completely free; then we will be able to understand the action of freedom outwardly. Freedom of action outwardly, depends entirely on a mind that is free from inward authority. This requires a great deal of patient enquiry and deliberation. It is a matter of primary importance; if it is understood, then we will approach other things which are involved in life and daily living with quite a different quality of mind. According to the dictionary the meaning of the word `authority' is: `one who starts an original idea', `the author of something
13 entirely new'. He sets up a pattern, a system based on his ideation; others follow it, finding some gratification in it. Or he starts a religious mode of life which others follow blindly, or intellectually. So patterns, or ways of life, of conduct are set up, politically or psychologically, outwardly and inwardly. The mind, which is generally very lazy and indolent, finds it easy to follow what somebody else has said. The follower accepts `authority' as a means to achieve what is promised by the particular system of philosophy or ideation; he clings to it, depends on it and thereby confirms the `authority'. A follower then, is a secondhand human being; and most people are completely secondhand. They may think they have some original ideas with regard to painting, writing and so on, but essentially, because they are conditioned to follow, to imitate, to conform, they have become secondhand, absurd human beings. That is one aspect of the destructive nature of authority. As a human being, do you follow somebody psychologically? We are not talking of outward obedience, the following of the law - but inwardly, psychologically, do you follow? If you do, then you are essentially secondhand; you may do good works, you may lead a very good life, but it all has very little meaning. There is also the authority of tradition. Tradition means: `to carry over from the past to the present' - the religious tradition, the family tradition, or the racial tradition. And there is the tradition of memory. One can see that to follow tradition at certain levels has value; at other levels it has no value at all. Good manners, politeness, consideration born out of the alertness of the mind that is watching, can gradually become tradition; the pattern having
14 been set, the mind repeats it. One opens the door for someone, is punctual for meals, and so on. But it has become tradition and is no longer born out of alertness, sharpness and clearness. The mind which has cultivated memory, functions from tradition like a computer - repeating things over and over again. It can never receive anything new, it can never listen to anything in a totally different way. Our brains are like tape recorders: certain memories have been cultivated through centuries and we keep on repeating them. Through the noise of that repetition one is unable to listen to something new. So one asks: `What am I to do?' `How am I to get rid of the old machinery, the old tape?'. The new can be heard only when the old tape becomes completely silent without any effort, when one is serious to listen, to find out, and can give one's attention. So there is the authority of another on whom we are dependent, the authority of tradition, and the authority of past experience as memory, as knowledge. There is also the authority of the immediate experience, which is recognized from one's past accumulated knowledge; and being recognized, it is no longer something new. How can a mind, a brain, which is so conditioned by authority, imitation, conformity and adjustment, listen to anything completely new? How can one see the beauty of the day, when the mind and the heart and brain are so clouded by the past as authority. If one can actually perceive the fact that the mind is burdened by the past and conditioned by various forms of authority, that it is not free and therefore incapable of seeing completely, then the past is set aside without effort. Freedom implies the complete cessation of all inward authority.
15 From that quality of mind comes an outward freedom - something which is entirely different from the reaction of opposing or resisting. What we are saying is really quite simple and it is because of its very simplicity that you will miss it. The mind, the brain, is conditioned through authority through imitation and conformity - that is a fact. The mind that is actually free, has no inward authority whatsoever; it knows what it means to love and to meditate. In understanding freedom one understands also what discipline is This may seem rather contradictory because we generally think freedom means freedom from all discipline. What is the quality of mind that is highly disciplined? Freedom cannot exist without discipline; which does not mean that you must first be disciplined and then you will have freedom. Freedom and disci- pline go together, they are not two separate things. So what does `discipline' mean? According to the dictionary, the meaning of the word `discipline' is `to learn' - not a mind that forces itself into a certain pattern of action according to an ideology or a belief. A mind that is capable of learning is entirely different from a mind which is capable only of conforming. A mind that is learning, that is observing, seeing actually `what is', is not interpreting `what is, according to its own desires, its own conditioning, its own particular pleasures. Discipline does not mean suppression and control, nor is it adjustment to a pattern or an ideology; it means a mind that sees `what is' and learns from `what is'. Such a mind has to be extraordinarily alert, aware. In the ordinary sense, `to discipline oneself' implies that there is an entity that is disciplining itself
16 according to something. There is a dualistic process: I say to myself, `I must get up early in the morning and not be lazy" or `I must not be angry'. That involves a dualistic process. There is the one who with his will tries to control what he should do, as opposed to what he actually does. In that state there is conflict. The discipline laid down by parents, by society, by religious organizations means conformity. And there is revolt against conformity - the parent wanting one to do certain things, and the revolt against that, and so on. It is a life based on obedience and conformity; and there is the opposite of it, denying conformity and to do what one likes. So we are going to find out what the quality of the mind is that does not conform, does not imitate, follow and obey, yet has a quality in itself which is highly disciplined - `disciplined' in the sense of constantly learning. Discipline is learning, not conforming. Conformity implies comparing myself with another, measuring myself as to what I am, or think I should be, against the hero, the saint, and so on. Where there is conformity there must be comparison - please see this. Find out whether you can live without comparison, which means, not to conform. We are conditioned from childhood to compare - `You must by like your brother, or your great-aunt; `You must by like the saint', or `Follow Mao'. We compare in our education, in schools there is the giving of marks and the passing of examinations. We do not know what it means to live without comparison and without competition, therefore non-aggressively, non-competitively, non-violently. Comparing yourself with another is a form of aggression and a form of violence. Violence is not only killing or hitting somebody, it is in this comparative spirit, `I must
17 be like somebody else', or `I must perfect myself'. Selfimprovement is the very antithesis of freedom and learning. Find out for yourself how to live a life without comparing, and you will see what an extraordinary thing happens. If you really &come aware, choicelessly, you will see what it means to live without comparison, never using the words `I will be'. We are slaves to the verb `to be', which implies: `I will be somebody sometime in the future'. Comparison and conformity go together; they breed nothing but suppression, conflict and endless pain. So it is important to find a way of daily living in which there is no comparison. Do it, and you will see what an extraordinary thing it is; it frees you from so many burdens. The awareness of that brings about a quality of mind that is highly sensitive and therefore disciplined, constantly learning - not what it wants to learn, or what is pleasurable, gratifying to learn, but learning. So you become aware of inward conditioning resulting from authority, conformity to a pattern, to tradition, to propaganda, to what other people have said, and of your own accumulated experience and that of the race and the family. All of that has become the authority. Where there is authority, the mind can never be free to discover whatever there is to be discovered - something timeless, entirely new. A mind that is sensitive is not limited by any set pattern; it is constantly moving, flowing like a river, and in that constant movement there is no suppression, no conformity, no desire to fulfil. It is very important to understand clearly, seriously and deeply, the nature of a mind that is free and therefore truly religious. A mind that is free sees that dependency on something -
18 on people, on friends, on husband or wife, on ideation, authority and so on - breeds fear; there is the source of fear. If I depend on you for my comfort, as an escape from my own loneliness and ugliness, from shallowness and pettiness, then that dependence breeds fear. Dependence on any form of subjective imagination, fantasy, or knowledge, breeds fear and destroys freedom. When you see what it all implies - how there is no freedom when there is dependence inwardly and therefore fear, and how it is only a confused and unclear mind that depends - you say: `How am I to be free from dependency?' Which is again another cause of conflict. Whereas, if you observe that a mind that depends must be confused, if you know the truth, that a mind that depends inwardly on any authority only creates confusion - if you see that, without asking how to be free of confusion - then you will cease to depend. Then your mind becomes extraordinarily sensitive and therefore capable of learning and it disciplines itself without any form of compulsion or conformity. Is all this somewhat clear - not verbally but actually? I can imagine, or think that I see very clearly, but that clarity is very short-lived. The real quality of clear perception comes only when there is no dependency, and therefore not that confusion which arises when there is fear. Can you honestly, seriously, bring your. self to find out whether you are free from authority? It needs tremendous enquiry into yourself, great awareness. From that clarity comes a totally different kind of action, an action that is not fragmentary, that is not divided politically or religiously - it is a total action. Questioner: From what you have said, it seems that an action
19 which at one point can be thought to be a reaction to some outward authority, can be a total action at another point, by another individual. Krishnamurti: Intellectually, verbally, we can compete with each other, explain each other away, but that does not mean a thing; what to you may be a complete action may appear to me as incomplete action - that is not the point. The point is whether your mind, as that of a human being, acts completely. A human being of the world - you understand? - is not an individual. `Individual' means indivisible. An individual is one who is undivided in himself, who is non-fragmentary, who is whole, sane, healthy; also `whole' means holy. When you say `I am an individual', you are nothing of the kind. Live a life of no authority, of no comparison, and you will find out what an extraordinary thing it is; you have tremendous energy when you are not competing, not comparing and not suppressing; you are really alive, sane, whole and therefore sacred. Questioner: What you are saying is not very clear to me. What can I do? Krishnamurti: Either what is said is not very clear in itself or you may not understand English properly, or you are not sustaining attention all the time. It is very difficult to sustain attention for an hour and ten minutes; there are moments when you are not giving complete attention and then you say, `I have not quite understood what you are talking about'. Find out whether you are sustaining attention, listening, watching, or if you go wandering off, vagabonding. Which is it? Questioner: Do you think it is possible to learn all the time? Krishnamurti: When you ask that question of yourself, you have
20 already made it difficult. By putting a question of that kind you are preventing yourself from learning - you see the point? I am not concerned with whether I am going to learn all the time, I'll find out. What I am concerned with is: am I learning? If I am learning, I am not concerned as to whether it is `all the time' - I don't make a problem of it. The question becomes irrelevant if I am learning. Questioner: You can learn from anything. Krishnamurti: That is, if you are aware that you are learning. This is very complex: may I go into it a little? `Can I learn all the time'? Which factor is important here? `Learning', or `all the time'? - obviously it is `learning'. When I am learning I am not concerned with `the rest of the time', the time interval and so on. I am only concerned with what I am learning. Naturally the mind wanders off, it Gets tired, it becomes inattentive. Being inattentive, it does all kinds of stupid things. So it is not a question of how to make the inattentive mind attentive. What is important is for the inattentive mind to become aware that it is inattentive. I am aware, watching everything, the movement of the trees, the flow of the water, and I am watching myself - not correcting, not saying this should be or this should not be - just watching. When the mind that is watching gets tired and becomes inattentive, suddenly it becomes aware of this, and tries to force itself to become attentive; so there is a conflict between inattention and attention. I say: do not do that, but become aware that you are inattentive - that is all. Questioner: Could you describe how you are aware that you are inattentive? Krishnamurti: I am learning about myself - not according to
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Mortality Amongst Illicit Drug Users: Epidemiology, Causes, and Intervention
Darke, Shane
Degenhardt, Louisa
and Mattick, Richard
Bibliographic Citation
Cambridge/New York: Cambridge University Press, 2007. 191 p.
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subset: commoncrawl


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Mitsubishi Mulling Mirage Sedan for US Market
Life is hard for U.S. Mitsubishi dealers. The brand's sales are among the industry's worst and as of October 1, its vehicles were sitting on lots longer than any other automaker except Fiat.
Last year, the company vastly deflated its product portfolio by cutting four of its U.S.-built models from the product lineup. The company vowed to regain volume and a new report from Automotive News suggests executives are considering a sedan version of the Mirage sub-compact hatchback.
"We have to first watch how the Mirage is received in America. Is it selling well?" Mitsunori Kitao, COO of Mitsubishi Motors Thailand Co. told Automotive News.
SEE ALSO: 2014 Mitsubishi Mirage Review
Built in Thailand, the Mirage is powered by a 1.2-liter three-cylinder engine. The pokey five-door currently makes do with only 74 hp and 74 lb-ft of torque. While that's arguably adequate to power the lightweight hatchback, its sedan sibling is heavier and might feel too slow for U.S. drivers. But sedans are historically more popular with Americans.
"U.S. people might require more acceleration. So we are not sure if it has marketability or not," says Ryujiro Kobashi, corporate general manager in charge of North America marketing and global small-car projects.
Mitsubishi is considering a turbocharged version of the engine to answer potential power concerns because layout restrictions prevent a larger engine.
GALLERY: 2014 Mitsubishi Mirage
[Source: Automotive News]
Discuss this story at our Mitsubishi forum.


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SHOCKING !!!DSS stripped my husband of mattress': Nnamdi Kanu's Wife Says He Is Being Tortured
Uchechi Okwu-Kanu, wife of Director of Radio Biafra, Nnamdi Kanu, speaks about how he is being tortured in custody of the Department of State Services (DSS) who arrested him in October 2015.
Mrs Kanu, who is eight months pregnant, speaks about how her husband is in pain and terrified in detention. She says Kanu slept on the floor and had no medical attention until the UK Ambassador went to see him and requested the DSS to provide a sleeping mattress for him.
In a three minute video uploaded on Youtube, Mrs Kanu narrates how when the UK Ambassador left, the DSS seized the mattress and Kanu is back to sleeping on the bare floor.
"The man I saw (in court) is not my husband anymore. He is gradually becoming a ghost," she says.


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Carrasco among pitchers that could provide second-half boost
Building a deep starting rotation for your fantasy team is all about timing and profit. The key is to identify which pitchers give you the most profit potential. Then you have to target them at the right time.
It is tempting to mine for profit in the crop of top prospects. But for every Michael Pineda, you risk grabbing multiple Kyle Drabeks — young pitchers who will do more harm than good to your rotation in the short term.
A more effective approach is to target pitchers who once were good prospects but have fallen out of favor. These post-hype hurlers can provide more profit potential than current top prospects.
That said, knowing which post-hype pitchers to target is not as easy as looking at surface stats such as wins and losses or ERA. Our method at BaseballHQ.com is to examine a pitcher's underlying skills, such as strikeout rate (K/9), walk rate (BB/9), command ratio (K/BB), and ground-ball rate. These skills have been shown to be correlated with good surface stats.
Targeting pitchers with strong or emerging skills can help you pick the right time to bid. Here are several pitchers fitting this profile (statistics through Sunday):
•Cleveland Indians right-hander Carlos Carrasco no longer gets a lot of attention as an up-and-comer.
Expect that to change. His skills have improved every month this season. In fact, his 2.4 K/BB and 60% ground-ball rate in June show he knows how to command the strike zone and keep the ball on the ground. Digging deeper, his K/BB spikes to an elite 5.8 mark when he faces right-handed batters.
Most of his struggles have come vs. lefties. He owns a 4.6 BB/9 vs. left-handed bats, and he has suffered from an abnormally high .347 batting average on balls in play (BABIP). While he has kinks to work out, there are seeds of something good here.
•Texas Rangers lefty Derek Holland has not posted stats many people would want on their rosters, such as his 4.78 ERA and 1.48 WHIP. But he owns a solid 7.3 K/9 and decent 3.5 BB/9. More important, his ground-ball rate has increased by 10% compared with last season's, an approach that will serve him well, given his homer-friendly home park.
Like Carrasco, Holland has struggled against opposite-side batters. Righties have managed an .848 on-base-plus-slugging percentage (OPS) vs. him, while lefties own a modest .668 OPS. His command of the strike zone also shows a significant lefty/righty split. He has a 3.0 K/BB against left-handed bats but a 1.9 K/BB vs. righties.
At age 24, Holland will emerge quickly once he refines his approach against right-handed batters.
•Atlanta Braves righty Brandon Beachy has been out for more than a month because of a stomach muscle strain. Before his injury, his skills were some of the best of any young starting pitcher, including a 9.3 K/9 and 2.4 BB/9. His surface stats — 3.45 ERA, 1.08 WHIP — were close to what you would expect from a pitcher with his skill foundation.
While Beachy, 24, has emerged quickly, keep in mind his skills at Class AA and ClassAAA last season were some of the best. The main risk comes from his propensity to allow fly balls at a high rate. If he can find a way to induce more ground balls, Beachy has the makings of a future rotation anchor.
•It has been a frustrating last few seasons for Edinson Volquez. The Cincinnati Reds righty had an electric first full major league season in 2008, but Tommy John elbow surgery wiped out most of his last two years. Things have not improved much for him in 2011. He struggled to throw strikes, a common problem for a pitcher in his first full season after coming back from that surgery. He was demoted to Class AAA.
But he is back, and he has a 9.0 K/9 and 3.5 BB/9 in June. He also has solidified his standing as a ground-ball pitcher, as shown by his 54% ground-ball rate. If he can sustain his control gains, his K/9 and ability to induce ground balls give him the potential to become an elite pitcher. Now is the time to buy low.
•Brandon Morrow of the Toronto Blue Jays has yet to fulfill the breakout potential he had coming into the season. His ERA remains above 5.00. Blame an early-season forearm strain for some of his struggles. An unlucky .349 BABIP has not helped, either.
But a closer look reveals his skills have remained electric. He has an elite 10.6 K/9 — the highest strikeout rate of any starting pitcher age 26 or younger with at least 40 innings pitched in 2011.
While he is no control artist, his 3.8 BB/9 is pretty good for a pitcher with his strikeout potential, and this marks the second consecutive season he has improved his control.
He is a fly-ball pitcher, so improved control will help him to limit the ERA risk that comes from his potential to allow a lot of home runs.
Do not bail on Morrow. He possesses ace upside.
•Florida Marlins right-hander Chris Volstad has a 5.65 ERA and 1.49 WHIP, results that would suggest he is too risky to put on your roster.
While that might be the case if you play in a shallow league, Volstad has plenty of profit potential in deep leagues.
He posted elite skills in May, including a 3.1 K/BB. An inflated .360 BABIP during that month sabotaged his surface stats. And Florida's bullpen has not done a good job of stranding runners Volstad has put on base, which also has caused his ERA to spike.
While Volstad does not have rotation anchor upside, his solid skill base and poor surface stats mean you can earn a lot of profit on him.
•Minnesota Twins righty Scott Baker owns some of the best skills of any starting pitcher. They include a quality 8.6 K/9 and an elite 3.7 K/BB. These marks confirm his 3.24 ERA and 1.17 WHIP are not flukes, even though his surface stats have been much worse than those numbers during the last two seasons.
Baker has struggled with durability in the past, but if his elbow cooperates, all signs point to him being able to sustain his excellent first half.
Contributing: Follow BaseballHQ.coms Stephen Nickrand and Ron Shandler on Twitter @ BaseballHQ .com
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A fantasy otome RPG about three young thieves with special skills
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5 posts • Page 1 of 1
- Franka
- Elder Druid
- Posts: 1047
- Joined: Fri Nov 30, 2012 3:07 pm
Re: leveling
You don't need to level to 25 for the end game when playing on easy. There's only one difficult fight in the end game, and that's the first one, so you'll immediately know if you can finish. You may want to bring some bombs though, just in case.
- Young scout
- Posts: 3
- Joined: Tue Sep 20, 2016 12:11 am
Re: leveling
my characters are only level 11 and 10 so they only have about 100 hit points.
- jack1974
- Pack leader
- Posts: 13186
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Re: leveling
To level up in Easy, doing the catacombs is the fastest way I think (has been a while since I did a playthrough). Anyway I think that finishing the catacombs you should be around level 20 at least, enough to finish the game at that difficulty level!
- Franka
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Re: leveling
Agreed, catacombs give faster leveling than robbing. (I did manage to finish Easy with my characters at level 6 for the end game, but that wasn't so "easy.")
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Jason Varitek
March 1, 2012 by staff
Jason Varitek, The retirement of Boston Red Sox catcher and team captain Jason Varitek, just short of his 40th birthday April 11, had his former teammates reminiscing about a man who helped his team win two World Series titles.
For 14 seasons – 15 if you count his token game in 1997 – Varitek provided a presence behind the plate and in the clubhouse.
Varitek finished his career with a .256 batting average, 193 home runs, 757 RBIs and 1,307 hits.
But it was Varitek's presence as a catcher and work with his pitchers that Josh Beckett will miss the most. Beckett said it made sense for Varitek and knuckleball pitcher Tim Wakefield to end their careers at the same time.
"It's still going to be fun," Beckett said of the 2012 season. "Obviously, he's not going to be catching me this year. I hope he's happy with his decision. I think it's pretty cool that they both did it the same year and the same time. I just hope he's OK with his decision.
"I loved working with him. I've never had a catcher before that I've felt like cared more about wanting me to be successful even before he wanted to be successful. He would do that in the clubhouse and on the field."
Beckett several times said he hoped Varitek was happy with retirement. The Red Sox invited Varitek to spring training but would not give him a big-league deal. Varitek hit .221 in 68 games last season.
"It's unfortunate," Beckett said. "I think he wanted to play another year, but I don't think he wants to go anywhere else. He's a guy you could always bounce something off of. It didn't matter what it was. It could be personal stuff. You were pretty confident he was going to be honest with you and would try to help you."
Beckett and fellow starting pitcher Clay Buchholz said they learned early not to shake off any of Varitek's pitching recommendations.
"He's a guy when you're on the mound and you shake him off, he sort of just stares at you, and you're like, 'OK, I'll go ahead and throw that pitch,'" Buchholz said.
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Before Duke Nukem Forever finally released, I went out on a limb and said I'd buy it regardless of the reviews. I've now beaten it and suffered through numerous multiplayer matches, and I feel enough time has passed that I've digested the game and am ready to share my thoughts on it. Put simply, it's a bad game, but it's not quite as bad as critics would lead you to believe. The reviews were negative to the point of grandstanding, and there were widely cited flaws with which I disagree.
The game has obvious problems, and on many points, I can't argue with the critics. The tech (specifically the graphics and enemy A.I.) is embarrassingly dated. The interactivity is not as deep as advertised, and the mini-games are garbage. The load times are frequent and ridiculous. The multiplayer is downright abysmal, a limp, laggy, tacked-on afterthought with poor mechanics. As Charles Onyett stated in his review, it just feels old. As a joke, I played it throughout the recording of an entire podcast, and there was not an ounce of fun had in the whole two hours. The game is uncomfortably misogynistic. It also inexplicably adopts modern shooter conventions that it didn't need to, and in one instance, it hurts the game. I can live with the regenerating "ego meter," but was there any reason to only allow Duke to carry two weapons at a time? It's a step back from the full arsenal of weapons you could cycle through in Duke Nukem 3D that hinders the freedom (and fun) of the combat. A simple weapon wheel is all the innovation that was needed. The underwater level near the end also kind of sucked. But that's probably where my agreement with the critics ends. I think IGN's score of 5.5 is fair and accurate, although I had more fun with the campaign than that score suggests.
One of the strangest complaints is that the game mocks other (better) games while simultaneously copying those games' mechanics. I don't think Duke Nukem Forever should have copied Halo's two-weapon limit, but I don't see any inherent problem with copying Halo and poking a little fun at the series. I honestly think critics misread that humor/parody as disdain for games like Halo and Half Life when it was clearly meant as loving homage. After all, if the jokes were meant to be serious jabs at other series, why would the game use the mechanics it is mocking? The "power armor is for pussies" line gave me one of the biggest smiles in the whole game. I also enjoyed when Duke said, "I hate valve puzzles," and it didn't confuse or insult me when I was forced to do a simple valve puzzle afterward. I don't know why it bothers me so much that critics missed the point of these jokes, but it's probably because it seems so obvious to me that they weren't meant to be serious. Condescendingly pointing out that the game borrows from the games it mocks is less clever than most of the humor in the game, and that's saying a lot.
I will agree that Duke would work better if the humor was still crude but more self-conscious. It would be great if Duke was presented as a sad relic of a forgotten time instead of this alpha male we're supposed to think is cool. It would be much funnier if only Duke thought he was cool. The developers could get away with just as much raunchy humor, but it would work better. And please, there could still be "babes," but tone down the misogyny.
More troubling than the misread homage, the majority of critics attacked the game for having variety and not being a straightforward shooter. They argued that Duke should be all about shooting and blowing stuff up. This is the same kind of false, fuzzy nostalgia that plagues the Sonic the Hedgehog series when people say things like, "Sonic is supposed to be all about speed!" Go back and play the Genesis Sonics; speed was a major factor, but there were also breaks in the speed with more traditional platforming and clever level design. Go back and play Duke Nukem 3D. It was a cutting-edge parody of the best shooters of its time, such as Doom and Wolfenstein 3D. Yes, you shot stuff, but the levels were also sprawling mazes with secrets, dead-ends, and keys all over the place. It was just as much about exploring as it was shooting. Duke Nukem Forever is a decent parody of the best shooters of its time. It just arrived 10 years too late. Its time was 2001, but I kind of miss how shooters weren't always so streamlined and focused shooting galleries back then.
Critics smugly pointed out that half the game was filled with all these elements you don't see often in modern shooters because they just don't work all that well. Really? I love the non-shooting portions of the game. For me, they were the most interesting and enjoyable parts of it. There are enough shooters out there without them. Don't take away my driving, platforming, and physics puzzles. Critics didn't necessarily knock these elements for being poorly done; they knocked them for existing at all. If there is another Half Life, will they bash it for having physics puzzles? If there is another Metroid Prime, will they once again claim that platforming doesn't work in first-person shooters? Will Rage lose points for featuring prominent driving segments, including a vehicle-based multiplayer? I doubt it, but it would be consistent with how they bashed Duke Nukem Forever for straying from the Call of Duty mold. The driving, platforming, and puzzles made Duke Nukem Forever a throwback rarity. It made the game worth playing, at least for me. There is a level titled "Duke Burger," in which you platform around a fast food restaurant as a miniaturized Duke, and for my time and money, it was easily the most satisfying level in the game. I'd like to see more levels like that in a sequel. Anything but a straightforward run-and-gun shooter; I have plenty of options for that.
People who thought the game would be great are crazy. Assuming it would be great because it spent more than a decade in development is as foolish as thinking a movie will be better for length. I expected to Duke Nukem Forever to be flawed and dated, but some of its perceived flaws I found to be strengths. If you think you might enjoy it despite its flaws, it is worth playing. If your curiosity is gnawing at you, it's worth playing as a fascinating study of what can happen to a game in development hell.
Critics not only lobbed strange, lazy complaints against the game, but they attacked it for daring to be anything but a standard shooter in an increasingly crowded standard shooter market. Given the chance, I bet some of these critics could make a more technically-sound game, but I doubt it would be as varied, or interesting.


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Water of Life, or Lifewater, may refer to:
- The Mix ability from Final Fantasy V.
- The Compounding ability from Bravely Default.
- The enemy ability from Bravely Default.
Aqua vitae, Latin for "water of life", or aqua vita is an archaic name for a concentrated aqueous solution of ethanol.
This is a disambiguation page: a list of articles associated with the same title. If an internal link referred you to this page, you may wish to change the link to point directly to the intended article.


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LESSON 2 - Camera Tutorial, Part 2
(Zooming, Focusing, Macro, Camera Body, CCD/CMOS Sensor, Megapixels and Resolution)
Article by Stephen J. Kristof
© 2010, all rights reserved
In the previous tutorial, you learned about focal length and how it affects the apparent size and closeness of an object. You also learned about the importance of wide lenses with wide apertures (holes) in order to compensate for the necessary loss of light as focal length increases. Next, you'll learn about clarity as it relates to zooming.
2.2.1 Zooming and Clarity
Limit your use of zoom to circumstances when you cannot get the lens close enough to your subject because of physical restrictions. For instance, you cannot run out onto a baseball diamond to get a close shot during a game, but you can zoom-in. Getting closer to a human subject is always a better idea than zooming-in from a distance.
Heavy use of zooming (ie. long focal length) usually increases image blur. Average DSLR lenses have a certain degree of barrel distortion, which essentially means that the image will begin to stretch at the edges. Zooming with an average priced camera or inexpensive-to-average priced DSLR lens may give your human subject the classic but unflattering "adding ten pounds" effect. Barrel distortion is less of a problem or may even be eliminated in more expensive lenses that retail out for more than $1,500, but this level of optics is out of reach for most camera users.
Using Long focal length also comes with the disadvantage of decreasing the amount of light that enters the lens, which may cause an underexposure problem. WHY does this happen? Put very simply, consider that when you reduce a scene of a certain size into a frame that is far smaller, less of the subject matter - and less of the light - gets into the camera.
Notwithstanding all of the above, remember that FACES are much more interesting than are full-body shots. As you learned in our Quick Tips #1, the best portrait advice is to, "Get closer. Then get closer. Then get closer again." At that point, you may be ready to press the shutter. Practise by shooting 'faces', head and shoulder 'portraits' and longer shots of the same person/people, rather than shooting only one and hoping it looks OK.
Having said this, try to get closer using your physical proximity rather than letting the lens do all of the work for you. As mentioned, a little zoom is OK for human subjects, but not a lot. Get closer by getting the lens closer!
Pro Secret You Need to Know:
What About Cropping? If you're thinking that you can crop on photo editing software down the road, yes, you can use Photoshop and a multitude of other software programs to zoom-in after the fact, but this also comes with a cost; the photo will not be nearly as sharp as it otherwise could have been if the subject's face had taken up the entire frame in the first place. Put it this way; if your camera is capable to producing images of 18 megapixels, those roughly 18 million dots that comprise the image run across the entire frame.
When an image is cropped, a portion of those cutting-out dots (pixels) are eliminated. If that image was cropped in to 1/4 of the original frame in order to get a closer view of a subject's face, this also means that the resulting image will be comprised of only 1/4 of the camera's optimal pixel depth. Your are then using an 18 megapixel camera to shoot images with a mere 4.5 megapixel resolution. In short, not good practice if you want sharp images.
2.2.2 - Auto-Focus Feature and Procedure
Do you know how to focus your camera? Believe it or not, most digital camera owners have no idea that they need to follow a specific procedure in order for their "auto focus" camera to - well - focus!. All automatic focusing systems need the photographer's intervention in order to get a clear image.
Below you will find the basic procedure involved with focusing. (If you want a more detailed, explanation, click HERE, as this is covered in our Quick Tip #5)
1. Center your subject (or subject's face) in the middle rectangle.
(See RIGHT for an illustration of how a single area, center-weighted auto focus icon appears in a digital point and shoot camera.)
2. Push the shutter button half way until the camera indicates that the subject is in focus by changing the colour of the middle
3. CONTINUE PUSHING HALF WAY as you reposition the framing and then push the shutter all the way when you are ready to snap the photo.
*If you focus and then take your finger off the shutter button, the lens will lose its focus and you'll still get blurry shots.
If you are using a more expensive DSLR ("Digital Single Lens Reflex") camera, that has interchangable lenses, you should try to focus the image manually rather than automatically. Therefore, you control the focus on exactly what and where you want to focus rather than the camera doing it for you (perhaps unsuccessfully).
Pro Secret You Need to Know...
If you are photographing fast moving subjects, particularly when they are constantly changing their distance from you, you will likely have to use automatic focusing. A good example of this would be trying to photograph a sporting event such as a football game. There's nothing wrong with using the "Auto Focus" feature on a DSLR; in fact, these more advanced cameras (and many of the top-shelf point-and-shoot cameras) have multi-point auto focus and metering (exposure) features that do an outstanding job.
(see image to the right for an illustration of a multi-point auto focus viewfinder indicator).
However, all serious photographers should learn how to focus manually as it is an essential skill that will routinely come in handy; particularly when working on a tripod for long exposures, when using the self-timer or when you need to pre-focus on a fixed distance prior to capturing some action.
2.2.3 - Macro Mode
You may be wondering, "How do the pro's get images like the ones below? I've tried making these super-close-up images by either getting the lens very close to the subject or by zooming in all the way... Either way, my images look blurry, too bright or too dark! What gives!!??"
The answer is - You need a macro lens or a camera with a macro setting. Macro mode is for photographing objects at close proximity to the lens. Most point-and-shoot digital cameras have a macro mode that may be adequate for basic close-up photos. However, when you look at interchangeable lenses that are available for DSLR cameras, options and flexibility expands dramatically. Expensive 'dedicated' macro lenses allow for extremely close photography with outstanding depth and clarity. Macro options for DSLR lenses also include zoom models that very often also have a macro range.
Below, you will find some examples of very small subjects captured using a macro lens. Click on any image to see a larger version in a slideshow format: (More information about using Macro Mode or Macro Lenses is found further down the page below the images.)
In general, an inexpensive camera without a macro function will have limited flexibility when it comes to photographing objects from a close proximity. These cameras generally have a minimum focus distance of about 1 or 2 feet (1/3 to 1/2 meter). Anything closer than that will look blurry without a macro function. If your camera has a macro feature, it will have a button or menu-based setting with an icon of a tulip. (see icon below)
Novice photographers who have tried using macro indoors in low light conditions share a common and frustrating experience. If using the automatic exposure mode on the camera, the flash will engage and at such close distances, you might as well be using an arc welder for light. At macro proximity, the flash will result in extreme overexposure, with your object appearing way to bright or completely white.
Pro Secrets You Need to Know:
(1) When shooting in macro, try taping a small piece of white paper over the flash. This will
will both diffuse and reduce the light. Of course, if you have a flash diffuser, try this
(2) Set the camera to "No Flash" and, instead, illuminate your object with a desk lamp,
flashlight or daylight from a window. This will look better and will allow you to take
advantage of shadows and increased texture (depending on the angle of your added
(3) Your background is very important in all photography, but particularly so in macro
photography! Pay attention to what lies beyond your object or to what your object is
lying on top of. Texture, patterns, shapes, colors and detail can easily take the
limelight and take over. Your best bet is to try solid white or black paper or cloth.
Alternatively, shoot outdoors with very short depth of field so that the background's
detail does not show.
2.2.4 The CCD or CMOS Image Sensor
The body of the camera is, basically, a light-tight BOX that holds the all-too-precious light-sensitive chip, the shutter, a viewfinder and other electronics. The inside of a camera is always black and matte (so it is non-reflective).
The light-sensitive "chip" is called a CMOS or CCD. These are essentially silicon semi-conductor nano-circuit chips that replace the role of film in traditional cameras and work in a non-chemical way to register images created by focused light that falls upon the face of the chip. The CMOS or CCD is responsible for the pixel depth (resolution) or number of mega-pixels a camera is capable of producing.
There is a strong parallel between this light-sensitive, image-rendering chip and the retina at the back of a human eye. The lens in our eye gathers light, focuses an image and projects it onto the retina. The retina ir rather like a network of microscopic nerves or sensors that respond to the tiny bits of light that make up the scene we are looking at. Each of these sensors will create and send an electro-chemical signal along our neural pathways to the occipital lobe of the brain. (It's actually far more complicated than that, being thatdifferent parts of the brain are involved with the overall processing.)
Suffice it to say for the purposes of understanding photography, that the neural pathways from the retina run to the lateral geniculate to visual cortex in the occipital lobe.) Once there, the brain will process, interepret colors and shading, and reassemble an image out of the multitude of individual nerve signals that it received. This is an ongoing and very complex process that suggests most of the work of "seeing" actually takes place in the brain rather than in the eyes.
Therefore, as noted above, the CMOS ("Complimentary Metal Oxide Silicon") or CCD ("Charge Coupled Device") shown above in a digital camera works in a very similar manner in comparison to the human retina, in very general terms. The CMOS and CCD are made of millions of microscopic dots arranged in a silicon substrate. This semi-conductor may also use other elements or chemicals such as germanium, which is sensitive to light. The overall process is such that when a microscopic portion of the chip (for instance, an area represented by only about 100 individual pixels) is exposed to light that is focused from the lens, the sensors in that particular part of the chip create tiny electric charges. Those electric impulses, along with millions of other individual electric charges, are then sent to the camera's processor, much like an eye's retina sends millions of tiny signals to the brain for processing.
Much happens in processing and that is why cameras from two different manufacturers that use the same exact chip and have the same lens properties can produce images that vary significantly in appearance and quality. What the camera's processor does with the multitude of electronic charges, with respect to detecting colors, contrast, shadows, highlights, etc., can be quite different from camera to camera.
2.2.5 "Megapixels" and Resolution
This is a lot of information to digest, but to keep it simple, remember that the CMOS or CCD is responsible for the number of megapixels. The word "megapixel" refers to the overall number of pixels that comprise an image. The more "dots" or pixels it takes to make-up an image, the more pixel depth or resolution the image will have. This means that the higher the megapixel rating, the sharper the photo will be. (Remember that the lens is the first step in creating an image that is sharp and bright; so the CMOS or CCD is only as good as the lens. If the lens is flawed, too tiny to allow adequate light or simply not clear enough, it really doesn't matter how many megapixels a camera is capable of producing.)
1 megapixel = 1 million (1,000,000) pixels (number of dots that create the image).
If you purchase a camera with a 24 megapixel rating, this means that at the highest quality setting, your camera will produce an image that is comprised of around 24 million dots. However, if the lens is incapable of producing a clear image, you will still end-up with a blurry image that is made from 24 million dots!
Pro Secret You Need to Know...
Many amateur camera owners go out of their way to acquire equipment that is capable of producing the highest number of pixels. They then adjust the quality setting in the menu in order to get more images on their photo memory card. Doing so greatly reduces the pixel rating of your images and does not fully take advantage of the camera's pixel depth advantage. For instance, if your camera is rated at 21 megapixel (MP) and you choose to drop the quality from "highest" to the "lowest" setting, your pixel rating has dropped to as low as 8 MP.
CLICK HERE for Camera Tutorial, Part 3
(The Shutter and High Speed Imaging)
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House In Bagnols Sur Ceze
Rue du Parc Chamont, Bagnols sur Ceze, Languedoc-Roussillon Midi-Pyréné, France
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Description of House In Bagnols Sur CezeThis semi-detached holiday house is located near the countryside and Bagnols sur Cèze, between the calley of the Rhône and the wild and lovely valley of the Cèze. The house offers a small enclosed garden, a large east facing terrace with a BBQ and a covered patio. The interior is bright and cosy. You will be amongst many charming and authentic villages such as St Victor Lacoste dominated by its perched castle perched or Sabran and its chapel of the Templars. In the neighborhoods, you will discover the oppidum of Gaugac and Caesar's Camp in Laudun, remains of the Gallo-Roman occupation, the picturesque village of La Roque sur Cèze erected on a rocky peak, the exceptional natural waterfalls of Le Sautadet, the village of Goudargues, nicknamed the? Venice of the Gard?, the medieval town of Uzes with a rich historical heritage but also the magnificent Pont du Gard and the high gorges of Ardeche riddled with caves (the Madelaine and the famous Chauvet cave). You will enjoy the preserved landscape of Scrubland, olive groves and fruit trees along with the famous vineyards of the Côtes du Rhône. Access to the accommodation is via a narrow street, and steep descent at an angle of 45 °.
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Location details for House In Bagnols Sur Ceze
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Gard home.Other locations within the Languedoc-roussillon area: