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Wiring and grounding in older homes
The wiring inside most older houses wasn't designed to handle the electrical needs we have today. Resist the urge to perform workarounds when doing electrical work inside your home.
Inside the wallsIf your electrical system is original to your pre-1940s house, you might have what's known as "knob and tube" wiring - single-insulated copper wires that run through porcelain tubes in wall joists, supported by porcelain knobs between joists.
Why is knob and tube wiring a problem?
- The single layer of insulation - brittle rubber or even fraying cotton - wasn't designed to last. If it hasn't completely disintegrated, it could be eaten through by rodents. This leaves the energized copper wiring exposed.
- Covering it with fiberglass batts or other thermal insulation is a significant fire hazard because it doesn't allow heat in the copper wiring to dissipate.
- It wasn't designed to support the electrical loads modern homes demand. In many cases, homeowners resort to "over-fusing" the circuits to prevent blown fuses.
- The system isn't grounded (see below).
In fact, many insurance companies won't cover older homes with knob-and-tube wiring - even if it's been inspected.
If you're not sure what kind of wiring is inside your walls - or if you're considering buying an older home - call a certified electrician to inspect the entire electrical system.
If you're planning a home improvement project, shut of the power at the service panel, and use extreme caution when removing outlets, drilling holes or removing wall boards.
Plugging in your stuff
Grounding is another common issue in older homes. Modern homes are required to have a ground connection to ensure that in the event of a short circuit, current will flow through the ground system and trip a breaker or blow a fuse instead of back through the electrical appliance.
However, many older homes have ungrounded outlets - only two slots instead of three - and this can be a problem with all the three-pronged cords that fill your home.
It's tempting to just work around the problem, but keep in mind the consequences can be dangerous.
- Never cut off the third grounding prong on an appliance plug.
- Don't try to install a grounded outlet in an ungrounded receptacle.
- Use "cheater" adapter plugs only on a temporary basis. When using these devices, make sure the small metal circle on the bottom contacts the screw in the middle of the outlet.
If you've invested in a computer, a high-definition TV or other sensitive electronics, also keep in mind that power surges carry a greater risk with older, ungrounded wiring. To protect your equipment, talk to your electrician about wiring upgrades and surge protection.
More from this category
Staying safe around buried gas pipelines
If you have buried natural gas lines on your property, make sure you know how to locate and maintain them.
Garage door app
A garage door app will alert you when the door is open and allow you to open and close the door from your smart phone.
Electrical safety and childproofing
Make sure your electrical appliances, tools and outlets are safe, and be careful around electrical equipment outdoors.
Be prepared for bad weather
Flood safety
Walking through a wet or flooded basement can be dangerous. To be safe, you should always assume that basement flood water is energized.
Portable generators & space heaters
Carbon monoxide - the invisible enemy
Find out what causes deadly carbon monoxide poisoning - and how to prevent and detect it.
Natural gas leaks
Although leaks from natural gas lines are rare, it's important to know the warning signs.


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Late report.
My guys have been doing well walleye fishing. Jigging finesse and casting both jigs and crank baits.Limits of nice fish are not uncommon.
There are several types of jigging-plumb lines, drag bites, casted bites and rippin that all work every day on old Bago.
There are definitely a lot of small fish in the system( it is a blessing but annoying too!) If you are getting a lot of shorty walleyes in one spot time to move.
There are a lot of larger year class fish out there in the 18- 24 inches, but you have to keep moving and try different depths and areas to get on the fish you want to catch.
I had Mark and Dave out on Thursday. We tried many spots and depths and finally got into some big fish 18 -24 inches with jigs, crawlers leeches and crank baits.
If you are looking to become a better fisherman or catch some nice fish come spend a day with me. In 6 months it will be almost Christmas! Get out there and have fun! Catch, and learn!
I have a opening on Friday for 1 and whole day next weekend for 2. Give me a call or email me. I am personally doing better down here jigging versus trolling!!
Jim Kleist
Green Bay,Wi

subset: commoncrawl


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About ALL JAPAN RELOCATION
Our mission is to assist assignees to have stress-free life in Japan, and to hear "I definitely want to come back" when they leave Japan.
Leave every difficult process to us when relocating, as an extended team of your corporate HR.
ALL JAPAN Group
All Japan Group is an alliance of two large groups, PLAZA HOMES Group from East area of Japan, and Planners International Group from West area of Japan.
Both groups have a long history of serving assignees of global corporations, and have independent relocation, real estate and furniture rental companies.
All Japan Relocation is a one-stop solution to global corporations planning to deploy at various locations in Japan, like Tokyo, Yokohama, Nagoya, Osaka, Kobe and other areas. The area of service includes customized support for the individual foreign customers to open new offices and find safe and comfortable homes Japan.
All Japan Relocation is based in PLAZA HOMES Group in Tokyo and Planners International Group in Kobe. The group consists of a real estate agency, a furniture lease company, and a relocation service company, all of which have been providing various services for foreign expats for many years.
By making use of the strength of each group, All Japan Relocation can introduce high quality housings and furniture that we carefully select as well as can provide one-stop and quick careful service based on cooperation within the groups.
PLAZA HOMES Group
PLANNERS INTERNATIONAL Group
High Customer Satisfaction
All Japan Relocation is popular for detailed support, quick response, and solution to any problems. Every year, we receive high evaluation from corporate assignees, corporate HRs as well as global relocation companies.
Customizable Services
All Japan Relocation offers clients solutions to implement customized corporate relocation throughout Japan based on their specific needs and requirements.
Contact Us
[East Japan Office]
- Address: 1-9-12, Azabudai, Minato-ku, Tokyo 106-0041
- Tel: +81-3-5549-8700
[West Japan Office]
- Address: 5-15, Koyo-cho Naka, Higashinada-ku, Kobe 658-0032
- Tel: +81-78-858-0868


text:
Preliminary Information:
Stated herein are the rules and regulations governing the submission of disputes involving businesses and individuals to Arbitration Resolution Services, Inc. ("ARS"). The rules and regulations stated herein have been designed for the benefit of the parties and are intended to ensure the quick, accurate and unbiased rendering of decisions. Any party who submits either an Application for arbitration to ARS or a Response to an Application for arbitration must agree to be bound by any decision rendered and all of the rules and regulations stated herein.
1.1 Any company that provides goods or services to an individual, extends credit or grants loans of any type to an individual or is a landlord who is owed money by an individual who is/was a tenant may submit a claim as an Applicant to ARS for binding arbitration provided that the agreement with the individual contains an arbitration clause for the resolution of disputes or absent a written agreement to arbitrate, both parties agree to submit the dispute to binding arbitration with ARS. Where there is a written agreement between the parties, ARS strongly recommends that the agreement's arbitration provision be highlighted and that the individual have the option at the time of execution to opt out of the arbitration process. Such shall be done by requiring the individual to initial a box or other check off indicating their specific knowledge and consent to the arbitration process or choose to forego it in favor of litigation.
1.2 Any individual who is a party to a contract whereby they purchased goods or services from a company or where a tenant and the contract provides for the resolution of disputes through arbitration with ARS, may submit an Application for dispute resolution with ARS.
1.3 In the event that the parties to a dispute agree to submit a claim to ARS where one of the parties has previously filed a lawsuit, the party having filed the lawsuit must dismiss the litigation within sixty (60) business days of the completed submissions to ARS. Submissions shall be deemed completed when a Response has been filed to an Application. Failure to withdraw the litigation as prescribed herein will be the basis for assessing the offending party all of the other party's reasonable costs and attorney's fees necessary to conclude the litigation.
1.4 In the event a party fails to dismiss litigation as required by these rules and any other party incurs any legal expenses and/or fees to have the action dismissed, such expenses and/or fees will be added to any award rendered to the party who failed to dismiss the action. In the event that the conclusion of the proceeding to dismiss the litigation goes beyond the decision of the arbitration and the decision is rendered in favor of the party required to begin legal proceedings to dismiss the litigation, any such award will be amended to reflect the expenses of such party upon proper documentation. If the party required to make the motion to dismiss pending litigation loses the arbitration, a separate award will be rendered in that party's favor upon the documentation of the action and expenses.
1.5 All decisions rendered by ARS shall be made by an attorney experienced in litigation and all such attorneys shall be impartial in their assessment of liability and award of damages. But for the basic rules of law (for example, Statutes of Limitations), the arbitrators shall conduct no independent research and shall be bound to render a decision as to the legal standards or laws provided by the parties.
1.6 The filing of an Application for arbitration, will act to suspend any relevant Statute of Limitations. In the event that a matter is dismissed from arbitration, the Statute of Limitations, it would have otherwise expired, will be extended to ninety (90) business days past the dismissal date.
1.7 Any notices required by the rules shall be given by email at the email address provided by the parties on the application. In the event that an email address is not available, the Applicant is responsible for notifying the respondent of the proceedings in accordance with the rules herein.
2.1 ARS arbitration services are limited to agreements entered into and to be executed in the United States of America and its territories.
2.2 ARS shall have the jurisdiction to arbitrate claims for monetary damages, for equitable relief and/or in situations in which monetary and equitable relief is sought. In that regard, ARS arbitrators may grant any relief that they determine to be fair and justified based on the agreement between the partiers including but not limited to specific performance.
2.3 Submission of disputes requires that all parties involved agree to participate and be bound by a decision rendered by ARS.
3.1 A party wanting to submit a claim (referred to as the Applicant) must be a registered ARS user. A party need only register one time to be able to participate in future arbitrations with ARS.
3.2 Once registered, the Applicant may begin the process of filing an Application for arbitration. ARS will then notify the Respondent that an arbitration has been filed against it/them.
3.3 If the Respondent does not acknowledge the arbitration and agree to participate within twenty-one (21) business days, the Applicant will be notified that the Respondent is in default and will be instructed to complete the Arbitration Application.
3.4 Upon receipt of the Notice to Arbitrate, the Respondent(s) shall have thirty (30) business days within which to submit a Response to the Application. The Respondent(s) may do so by viewing the filed Application and supporting documents found from the Personal Management Page (view sample management page) of the website and then completing the Arbitration Response form.
3.5 The Respondent may, as part of the Response, file a counterclaim against the Applicant. In the event the Respondent does not assert a counterclaim, their right to do so shall be deemed to have been waived.
3.6 The Respondent in their Response may request that a hearing is held prior to any decision being made by the assigned arbitrator.
3.7 The Respondent must submit the following as attachments to their Response:
a) All documentary evidence to support their position as to liability or to refute the damages claimed by the Applicant.
b) If a counterclaim is filed, all documentary evidence to support their claim for damages and proof of payment of such damages.
3.8 Upon the receipt of a Response with a counterclaim, the Applicant shall have thirty (30) business days to reply to the counterclaim. The Reply shall contain any evidence necessary to refute the claim asserted by the Respondent.
3.9 FEES: All fees are due at the time of filing any document under the rules or within thirty (30) business days after an invoice for the fee(s) is rendered. The fees are non-refundable. Except as stated in this section, once both or all parties to a dispute have agreed (as required) to submit a matter to ARS for binding arbitration and all fees have been paid, the matter will be submitted to an Arbitrator. No matters will be referred to an arbitrator for any type of action or decision unless all required fees have been paid. The following are exceptions to the general rule:
a) Where the Application has been filed and the fee paid, if the Respondent files a Response but does not pay the required fee within the time required, the Response will be stricken and the matter referred to an arbitrator for a decision on the merits based on the Application alone.
b) Where the Respondent has filed a counterclaim and the Applicant has failed to pay their required fee within the time required, the Application will be stricken and the Response with the counterclaim will be submitted to an arbitration for a decision on the merits based solely on the Response.
c) The same rules as stated in sub-paragraph a and b above apply to all situations where parties are required to file a fee for a particular purpose with the exception of the clerical review fee. No fee will be required when the request for the review is filed. Where a clerical error is not found, the party will be required to pay the clerical review fee as stated in the schedule of fees.
3.10 Defaults/Notices: Where a party fails to file or respond as required by the rules, after proper notice has been given, all arbitrations will proceed as outlined in the rules. All notices will be sent to the e-mail address of the parties as stated on their user registration.
4.1 Any party may request that a mediation session take place prior to the matter being assigned to an Arbitrator. ARS will seek to obtain the consent of the other party(ies). Where all parties agree, the mediation will be scheduled. Unless the parties agree otherwise, the parties shall bear the costs of the mediation equally.
4.2 All mediations shall be conducted telephonically unless any party requests that the mediation be held via video conference.
4.3 The request may be made at the time a party files an Application for arbitration, a Response to the Application or in their Reply, if one is filed. Any party may also request mediation at any time prior to the scheduling of an arbitration hearing. The party seeking the mediation must file a Request to mediate form with ARS and ARS will notify the other party (s). Once the consent is obtained, the matter will be assigned to a mediator.
4.4 All ARS mediators will be selected by ARS and shall be experienced, neutral, and have no connection to any of the parties.
4.5 All communications made at the mediation are strictly confidential and nothing said or done at the mediation will be reflected in any manner in the arbitration file maintained by ARS.
4.6 Any party may request a postponement of mediation one time. Any request shall be made to the Mediator who shall reschedule the mediation. In the event that a party needs a second postponement, they will be subject to a rescheduling fee. In no event will a party be entitled to more than two postponements. If any party is not available for a scheduled mediation session after two postponements, the mediation request shall be denied and the matter referred to an Arbitrator.
4.7 In the event that a resolution/settlement is reached by the parties at any time, the Applicant shall complete and submit a Stipulated Decision Award to ARS. ARS will then issue an Agreed Arbitration Award which reflects the terms of the settlement which may be converted to a judgment for enforcement purposes.
5.1 All arbitration hearings shall be conducted without a formal hearing unless any party requests that a telephonic or video-conference hearing be held. This means that the arbitrator will render a Decision based solely upon the contentions of parties along with an examination of the evidence (eg. agreements, invoices, photographs, emails, etc.) provided.
5.2 Where a formal hearing is requested, either telephonically or by video-conference, Notice of such hearing will be given no less than three (3) weeks before the scheduled date.
5.3 Where no formal arbitration hearing is requested, the matter will be referred to an arbitrator when all of the parties have completed their submissions and uploaded their evidence.
5.4 If necessary, any party may utilize the services of a translator which will be provided at their sole cost and expense.
6.1 If no formal hearing was held, a Decision will be rendered within thirty (30) business days after all submissions, including contentions and supporting evidence, has been provided and all relevant deadlines have passed.
6.2 In the event a formal hearing, either telephonically or by video-conference, was held, the arbitrator will render a Decision within thirty (30) dates from the date the hearing was held.
6.3 If the Response filed does not contain a request for a hearing, the matter will be referred to an arbitrator for a decision.
6.4 Decisions shall be rendered no later than sixty (60) business days after completed submissions have been received or the deadline has passed. In the event that a hearing is held, the decision will be rendered no later than sixty (60) business days from the hearing. The decision will be published to the file and notice of such decision will be given to the parties.
6.5 Unless an Appeal, Request for Clerical Review or other Civil Court proceeding is filed challenging the award, all decisions rendered are final and binding on all parties and must be paid within thirty (30) business days of the date the rendered.
a) In the event that an Appeal or Request for Clerical Review is filed, the thirty (30) business days period to pay any award is suspended and starts to run when a decision on the appeal or clerical review is made and notice of the decision is sent to the parties.
b) In the event that litigation is commenced challenging the award, the thirty (30) day period shall not start to run until the conclusion of the litigation where the award is upheld.
c) In the event that any party files a lawsuit to enforce or challenge the award, all parties hereby acknowledge and agree that any service of papers related to the litigation may be served by e-mail at the address provided by the parties in their Application or Response.
6.6 The rendering of a decision by ARS on any disputes shall not be considered as Res Judicata or Collateral Estoppel in any other proceedings.
6.7 Clerical Review: Any party may file a Request for a Clerical Review of a decision based on a clerical error. A clerical error is defined as a typographical error in either a number or amount related to a decision or award or the misuse, inclusion or omission of a word which is clear from a reading of the Decision that is incorrect. Such request must be filed with ARS within twenty-one (21) business days from the date that the Decision is rendered or the right is waived. If an error is found, there will be no fee for the review. If there is no clerical error found, the party will be charged a fee as indicated in our schedule of fees.
7.1 Within thirty (30) business days from the date of publication of a decision, or if a clerical review has been requested, within thirty (30) business days from the date that a decision on the clerical review has been rendered, any party may file an Appeal of the decision. The Appeal can only be based on one of two (2) reasons. First: The Arbitrator used the wrong law or legal standard or Second: The Arbitrator used the correct legal standard but applied it incorrectly as to the facts of the case as determined by the Arbitrator.
The non-appealing party(s) shall have the right to file a Response to the Appeal within thirty (30) business days of receiving the Notice of Appeal.
7.2 The appeal will be conducted by a panel of three (3) arbitrators not previously involved in the matter and a decision on the appeal will be requested within sixty (60) business days of the submitted request. No decision on the Appeal will be rendered until the applicable fee has been paid. If the fee remains unpaid for more than thirty (30) days after the invoice is issued, the appeal will be deemed withdrawn and the original decision will be final and binding.
7.3 Clerical Review: Any party may file a request for a clerical review of an appellate decision based on a clerical error. A clerical error is defined as a typographical error in either a number or amount related to a decision or award or the misuse, inclusion or omission of a word which is clear from a reading of the Appellate Decision that is incorrect. Such request must be filed with ARS within twenty-one (21) business days from the date that the Appellate Decision is rendered or the right is waived. If an error if found, there will be no fee for the review. If there is no clerical error found, the party will be charged a fee as indicated in our schedule of fees.
7.4 In the event that no request for a clerical review of the appeal is filed, the payment of any award of damages shall be due within sixty (60) business days of that date the decision on the appeal is rendered.
rev. 4/15/2019


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the opening of the Japanese mom's life
By Gloria Y. - Last updated: 水曜日, 5月 19, 2010 - Save & Share - Leave a Comment
Imagine what Japanese mom's life is like. Is the life in Utsunomiya similar to that in Tokyo?
I'm a mother of two mischievous boys: a 3-year old & a 7-month. When I first came to Utsunomiya 5 years ago, I missed "the city life" of Tokyo, Chiba, Kanagawa, and San Francisco, where I'd lived before. However, this 5 years is long enough to make this place "my home"!
At the moment, traveling around the world seems the last thing I can do. (tears!) Still, my kids always show me how to enjoy life. (smiles!)
Come and see how I struggle and enjoy life with kids in Utsunomiya! It's full of tears and smiles!!
Gloria. Y
Posted in Mama's Life with Tears and Smiles • • Top Of Page


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SAP Analysis Office – Talk to Me #SAPTechEd
In this Journal of Accountancy article, it shows how to add the speak buttons to Excel 2016. I thought why not try it with Analysis Office? What can I do to make ASUG webcast statistics more interesting?
I decided to upload the Excel spreadsheet to SAP Analytics Cloud, then use Analysis Office to "slice" / "dice" the data:
Of course this is better suited for financial data that you need to check. Just think of all the transposition errors that could be avoided!
Please also note at SAP TechEd the other week we learned that "BusinessObjects" has been dropped from the name too.
More about connecting to Analysis Office to SAP Analytics Cloud was discussed in session ANA208 from SAP TechEd Las Vegas (everything in the future is subject to change)
Source: SAP
So the Analysis plug-in is optimized for SAP Analytics Cloud but SAP Analytics Cloud is not a deployment option.
Source: SAP
Note that Analysis Office cannot connect to "live data models" from SAP Analytics Cloud
I also attended a short, standing-room only roadmap session on Analysis Office:
Source: SAP
In 2017 some features are as follows related to SAP Analytics Cloud:
- Integration into SAP Analytics Cloud
- Launch Analysis Office from SAP Analytics Cloud
Support of exception aggregation, ranking (list calculation)
Source: SAP
More in 2018, relating to Integration into SAP Analytics Cloud
- Planning support
- Access to online sources
- Analytics Cloud repository
Source: SAP
Source: SAP
In the influence session, attendees were most interesting in the upcoming improvements for publications.
In summary, SAP said that "SAP is delivering on a hybrid product strategy combining cloud and on-premise and interoperability between SAP Analytics Cloud and SAP Analysis for Microsoft Office
Upcoming related webcasts:
Oct 12 Introducing SAP Analytics Hub
Oct 26 Overall SAP Analytics strategy and direction
Nov 7 Cross-Solution Analytics with SAP Analytics Cloud


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I am looking forward to visits with the Hathors of Earth's Solar Astral Planes as Earth's EMF buffs up with the incoming Solar tide.Dear Ones,
Just after midnight (early this morning), my longer range sense of physical hearing became balanced out with my astral hearing for the first time in about 20 years. I could hear noises out on the street, which had seemed subdued to the point of being very hard to hear. Because of the astral-physical hearing balance shift I feel more grounded in the physical realm now.
I wonder if anyone else who is clairaudient has had a similar experience recently?
In the last week I have sensed the Light of Summer Solstice 2020 already flooding in to Earth in great waves of Incoming Light. I find this exhilarating to the point where it is difficult to get to sleep. One wishes to stay up through all the sunlight hours, yet nights during the time of Summer Solstice Light are full of a kind of peaceful joy, and well worth experiencing.
In addition, I note on Space Weather … https://www.spaceweather.com/ … that a second Solar Cycle 25 sunspot has appeared this week. Although we are still in Solar Minimum, I feel strongly the welcome imminence of the Solar razzmatazz.
Coronal Mass Ejections will be doing the tango with Earth's magnetosphere one day soon. I am looking forward to visits with the Hathors of Earth's Solar Astral Planes as Earth's EMF buffs up with the incoming Solar tide. I have been lonely without them! Hope you all get a chance to meet them as well, if you so desire!
For those that are new to the Hathors, here is more about them …
Link: "Morning Messages" by Peggy Black … https://www.peggyblack.com/morning-messages ..
Link: "Hathor Archives" in "Tom Kenyon" by Tom Kenyon … https://tomkenyon.com/hathors-archives ..
Link: "The Hathors of Earth's Solar Astral Planes . by Wes Annac," referral by Alice B. Clagett, published on 1 July 2016 … https://wp.me/p2Rkym-5KN ..
Also see my blog category: Hathors (see also 'All – Law of One – Ra')
In love, light and joy,
Alice B. Clagett
I Am of the Stars
Written and published on 1 May 2020; revised on 23 June 2023
Except where otherwise noted, this work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Hathors, Solar Events, CME, Coronal Mass Ejection, sunspot, Summer Solstice 2020, almanac, clairaudience, health, physical hearing, astral hearing, Incoming Light, Earth EMF, magnetosphere, space weather, clair senses, telepathy, human telepathy, interspecies communication, star brothers and sisters, star brethren, Hathors of Earth's Solar Astral Planes, Wes Annac, rambles through the brambles, prophecy, grounding,


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A tip to Bossier City Police earlier this year has resulted in the arrest of an airman on child pornography charges.
Detectives with the Bossier City Police Department's Juvenile Unit arrested Robert Betha Broadus, 27, of Bossier City on 26 counts of pornography involving juveniles following an investigation that began in June. At that time police received information that Broadus had possession of a lewd photograph of a child on a personal computer.
The investigation led detectives to executing a search warrant at Broadus' Bossier City residence where they seized computers and other electronic devices. Forensic exams conducted by the Bossier City Marshal's Office found multiple images of child pornography on a laptop computer hard drive belonging to Broadus.
As a result of those findings, detectives obtained a warrant for Broadus' arrest. Broadus was taken into custody on that warrant Thursday morning at Barksdale Air Force Base and subsequently booked into the Bossier City Jail. Bond on the arrest warrant is set at $100,000.


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I'm going to talk about the topic of reviewing books of poetry from both autobiographical and professional points of view, primarily to give you a sense of how and why I view this practice—in both senses of the word, rehearsal for an act and the act itself—as inseparable from my identity as a poet. I think it's safe to say that if I have a "name" in the wide-ranging, complex, and complicated world of U.S.A. poetry, it is as a reviewer of contemporary books of poetry. This isn't false modesty regarding my status as an American poet. Rather it's simply an acknowledgement of a fact: more American poets encounter me as a book reviewer than as a poet. This fact alone points to some of the complexities and complications I mentioned above and I'll return to them below.
I don't recall why I became interested in reviewing in general, but I've been writing various forms of journalism since high school when I was on the staff of my school paper. However, I didn't start writing reviews until my sophomore year in college. One of my friends from high school, Armond White, a year older and a class ahead of me, was writing film reviews for The South End, the college newspaper. He encouraged me to start writing for the paper and so I started sending him my reviews of pop, rock, and R & B record albums and concerts. I was so thrilled to see my reviews in print that it hadn't even occurred to me that I was a staff member and earning a salary. A full year went by before the comptroller called me and told me I had almost twenty-four checks (we were paid twice a month) waiting for me. Because I was a staff member, I wrote a few book and theater reviews, but my primary job was reviewing popular music albums (the paper already had jazz and classical music reviewers).
Reviewing records gradually came to a close when I left college and started teaching at Xavier University, gradually because I was still trying to break into national magazines like Creem (only a few miles from my house in Detroit), Crawdaddy, Rolling Stone, and The Village Voice. At the same time, I was starting my academic career, and the more time I devoted to that, the less time I had for "keeping up" with popular music. I was so focused on my own creative writing, primarily poetry, that I gave little thought to anything else, including book reviews. Nonetheless, long before I published my first book of poetry in 2002, I had already started reviewing, if not always publishing, contemporary books of poetry.
My motivation for doing so then is the same as now, one I think most reviewers of books, art shows, and music and drama performances can understand: I am always trying to figure out, or just wrestling with, a problem—aesthetic, cultural, political, etc.—by way of a specific object or performance. But of course, for poets, writing poetry is also, if only partly, about wrestling with, trying to figure out, some aesthetic, cultural, and/or political problem. This means that just as my academic and scholarly concerns gradually supplanted my popular musical ones, so too my obsession with writing poems and getting a book of poetry published. That left little mental energy or psychological room—to say nothing of time—for thinking about book reviews except for the occasional, sporadic, one-off.
Then I read—somewhere—an interview with the poet Lisa Robertson. I can't recall when or where I read the interview, but I believe it was after I'd met her and the late Stacy Doris at the Positions Conference at the Kootenay School in Vancouver in 2008. In that interview, Robertson was complaining about how academic critics tend to ignore contemporary poetry, and that it was up to poets to review books of poetry. I'd read and heard these same sentiments before but Robertson's comments really resonated with me, perhaps because around this same time I'd been thinking about the late Lorenzo Thomas, about the standard for social and aesthetic activism set by his exemplary career. Instead of following the usual trajectory that most American poets take as they enter what Nathaniel Tarn calls the "po' biz," this Panamanian American poet left New York City, moved to Houston, and began working in the local arts communities. Along with the challenge presented by Lorenzo's life, I'd also been thinking about doing the kind of capsule review I'd first seem in Creem magazine way back in the 1970s. Few people outside the record review business know the name Robert Christgau, but he was, for a couple of decades, the self-styled "Dean of Rock and Roll Critics," and his column of short reviews of primarily rock 'n' roll albums in Creem and The Village Voice inspired a slew of imitators, including yours truly. I had only occasionally used Christgau's grading scale to evaluate record albums when I was writing for The South End but, some thirty years later, I was thinking about doing a poetry book version of Christgau's music column. Robertson's notions about poets reviewing books of poetry and Christgau's capsule music reviews resonated with words I'd heard three decades earlier in the living room of Edward Hirsch's house when he taught at Wayne State University. He was sitting in front of a bookshelf full of books of poetry, all arranged in alphabetical order. He told me two things: poetry was too important to be stacked haphazardly; and poets must buy books by their peers. I've never forgotten that, which is why my shelves of poetry books are also arranged in alphabetical order while the novels, philosophy, history, art and cultural criticism are stacked in random order. For me, Hirsch's comments summed up many, but not all, the professional responsibilities of being a poet.
A few years later, I was invited by Jacket2 to do a series of columns over the summer of 2015 on anything regarding poetry. I told them I wanted to do short capsule reviews of chapbooks and books of poetry, about one per column. That was no problem. However, when I told them I wanted to cover older as well as recent publications, a couple of the editors balked. However, I think it was Michelle Taranksy who gave me the go-ahead signal. I insisted on reviewing older books of poetry because, as we all know, the majority of poetry books published in a given year are never reviewed at all. I admit this idea also came from reading those music magazines from the 1970s. Occasionally, they'd do a kind of "lost treasures" column or article, focusing on "hidden gems," albums released with little or no fanfare but retrospectively considered classics. My ambitions for the Jacket2 series were much lower: I just wanted to write about chapbooks and books that I felt were new and significant and chapbooks and books from years past that had been largely overlooked.1That is, chapbooks and books I hadn't seen reviewed. The assumption was always that my critical compass was as limited as anyone else's. I take for granted that no critic, no matter how well read, can master the explosion of new books coming out every year.
All this got me thinking seriously about book reviewing as both a responsibility to poets and poetry in general, not just to my own little niche or community. Given that there are only so many hours in a day, days in a week, weeks in a month and year, a book reviewer, like any artist worthy of the name, has to take the long view. This view—which means thinking beyond the limits of the profession, thinking, that is, of one's avocation above and beyond one's vocation, beyond the ever-expanding market and public relations overload, beyond even the end of one's life—is espoused often enough by poets, usually in the form of a cliché (I'm writing for my future audience of readers). However, too often, in actual practice, poets succumb to the po' biz, our po' boys' version of what Joni Mitchell once called the star-making machinery. I don't mean just the inevitable announcements of newly published chapbooks and books across print and social media, an unavoidable necessity for those working with small presses (defined as those unable or unwilling to publicize their publications via ads in expensive trade magazines like Poets & Writers). I also mean the road less often taken: devoting time, precious time, to reading and thinking and writing about the publications of other poets. Even rarer is the poet willing to cross the threshold of their comfort zone: reading and thinking and writing about the publications of poets working with different, even oppositional aesthetics, to those the poet espouses.
I hope it's clear that this little sermon—yes, we've passed from winsome autobiography to hectoring lecture—has nothing to do with, does not depend upon, eliciting guilt and shame. I'm not clamoring for conversion experiences. I was in New Orleans in October 2018 for the ASAP (Association for the Study of the Arts of the Present) conference and had the opportunity to meet, for the first time, the poet Farid Matuk, and reconnect with his partner, the poet Susan Briante, who I'd met in 2008 in southern Spain, where we were encamped in an artist residency for five weeks. I'd reviewed Matuk's book, This Isa Nice Neighborhood, in one of those Jacket2 columns and he expressed his thanks. But he and Susan had lots of questions for me, one of which was, how did I "find the time" to do "so many" book reviews. I basically gave them a capsule version of what I've just told you. They looked at me with somber faces; I had, they said, made them feel like couch-potato slouches, solipsistic losers. As you might surmise, that was hardly my intention. We were at dinner with a bunch of other poets and their daughter was at another table with her friend, Rose Acala's daughter. They had all been talking about the struggle of raising young children in Texas, teaching loads, tenure anxieties, and being supportive of one's partner's endeavors in poetry while trying to find time to write their own poems. In other words, they don't have time to write their own poems, much less review books of poetry.
I don't have children, so I have never had that particular problem regarding time. And like a lot of poets I am, to a large degree, a loner. I haven't been to an outdoors concert since the mid-nineties; I rarely go out to dinner (unless we're interviewing job candidates); and unless I'm invited to lunch by a friend—usually another poet—I eat at home. I have way too many books and am always sneaking more into the house. When I'm not teaching or trying to find time to exercise, I'm reading or writing, except at night when we have dinner in front of the boob tube. And I end my nights with The New York Times crossword puzzle, a book of poetry I'm currently reading, and, sometimes, a notebook where I jot down a few lines, a few words, of poetry. I've been doing this, more or less without interruption, since I was a kid, which is why my mother, at a certain point, had to make me go outside to play with my sisters and cousins. I always had, as she said, my head in a book (as did my father).
Still, given more resources of time than many people of my generation, this fact still begs the question: why review books of poetry? Is this a useful way to spend the time I don't have, and if so, for what, to whom, might it be useful? There are various answers to these questions, but I'll try to answer them. In general, reviews of books of contemporary poetry serve to inform a number of distinct, if overlapping, audiences of what—and who—is new, the latest trends, the most recent controversy, and so forth. Casual readers of poetry may find the kind of reviews one sees in Publishers Weekly more useful than those that appear in The New Criterion or The Colorado Review. On the other hand, MFA students may find the reviews in Rain Taxi: Review of Books or The Denver Quarterly more useful than those in The New York Times. The case of the critic William Logan is pertinent here. Logan is well known for his negative, occasionally sarcastic, reviews of books of poetry, his primary targets being poets with reputations heretofore presumed unarguable, poets on the rise, so to speak, and versifiers posing as poets. As a poet himself of traditional verse along the lines of Auden, Lowell, and Larkin, Logan is a fierce and honest defender of the trade as he understands it. He writes for those readers dismayed by the post-modernization of poetry, the experimenters, quacks, and outliers who, according to another cliché, have helped ruin contemporary poetry. Logan isn't, however, a modernist fuddy-duddy. He reviews, and occasionally likes, contemporary books of poetry, mostly those whose poems would have appeared in traditional outlets like American Poetry Review, Poetry, and elsewhere.
In other words, reviewing books means reviewing books for a specific audience. That specificity isn't permanent if the book reviewer writes for different publications since each publishing venture has its own audience, and even those with similar aesthetic values—say, Poetry and American Poetry Review—only have, at best, overlapping audiences. The implication here is that poetry critics, like poets, generate their own followers, their own readers, who come to trust their judgments. However, like the poet too restless to remain self-satisfied with a comfortable coterie, the adventuresome book reviewer will want do what they can to enlarge the following by reading and reviewing books by poets working with aesthetics alien, even hostile, to those of the reviewer, even if doing so risks alienating or losing some of the faithful. That kind of book reviewer will risk losing and gaining adherents in the pursuit of vital poetry wherever and whenever it is being published, has been published.
If the book reviewer is also a poet, that usually means they will occasionally wind up reviewing books by poets they know. As you perhaps know, many journals and magazines have various policies for evaluating whether or not book reviewer Z should review a book by poet X. Generally speaking, these policies presume that the more "distant" the relation between reviewer and poet the better chance the publication will receive an "objective" review. If the reviewer and poet are mere acquaintances, objectivity becomes less certain. And if the reviewer and poet happen to be friends or colleagues, objectivity evaporates. As incontrovertible as this ethos underwriting most magazine and journal policies on book reviews might appear, it actually substitutes one mode of pretense for another since every critic, like every poet, cannot avoid revealing their biases and presumptions. This doesn't mean, however, that the book reviewer has no obligation to strive for an even-handed evaluation of the book under consideration. That too is part of what it means to be a professional.22] I have written elsewhere on the flaws at the heart of this logic.
Even when reviewer and poet share the same or similar aesthetics the elephant in the room doesn't vanish into thin air. The basic question remains: is this a good book of poetry? As someone who began by reviewing books of poetry by friends and colleagues, this question can test one's mettle, especially when the friend in question doesn't like the review. Despite my misgivings about doing so, I've sometimes succumbed to pressure from friends to write blurbs and reviews of their books and the results haven't always been pleasant. I've had blurbs rejected because I refuse—on general principle—to use superlatives (the first, the best, the most, etc.)—or unsustainable claims ("the most important book of poetry published this year"). It won't surprise you to hear that I've had friends become upset over even "positive" reviews of their books because of the tenor or direction of the positive observations, about things included, about things excluded, in the review. If, then, friends shouldn't review each other's books, these unfortunate outcomes—not some misguided presumption of objectivity—are the best reasons for obeisance to that dictum.
But what happens when the tables are turned, when the poet-reviewer is on the receiving end of a bad review? I certainly have had more negative than positive reviews of my work. And as we know, the most devastating review may well be the silence that swells month by month, year by year, after you publish a book. Self-doubt is the faithful partner of the artist. Was my book simply overlooked or is it simply that people are trying to be kind by not saying anything at all? Why didn't all those Facebook "likes" under the announcement (and photo) of my new book turn into actual sales? You can drive yourself crazy and spend sleepless nights trying to answer these questions. I subscribe to the advice Ernest Hemingway supposedly told F. Scott Fitzgerald, who tried so hard to write screenplays for Hollywood: just throw the book over the wall, and when they throw a bag of money back over, walk away. In other words, I don't get too excited about positive reviews or comments and I don't get too down about negative reviews. It's all about keeping the long view in focus, reminding yourself that writing well, following one's own star, is the best revenge. And whatever your status as a poet, that should not, cannot, bleed into your job as a book reviewer. I'm not denying the obvious, that your identity as a poet has a strong bearing on your identity as a book reviewer and vice versa. The traffic between these two facets of your sense of selfhood is continuous and, yes, sometimes accidents occur. Those too are inevitable.
The point is simple: having chosen a profession that allows me time to read and write, I've tried to balance my own reading and writing ambitions with some semblance of a commitment to a larger reading and writing community. It isn't the best of all possible worlds—that would have been earning a living as a songwriting lyricist while reading and writing poetry in my "spare" time—but it has been a pretty good one.


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Your Lord or mine, it does not matter
With a quiet mind, meditate with humility
The Lord, pleased, gives what you seek
and happily offers more.
Make the asana practice effortless, focusing for the breath and surrender to the divine.
Yoga Sutra of Patanjali 2 / 47
There is no bondage like illusion,
There is no power stronger than yoga,
There is no friend better than knowledge,
And there is no worse enemy than ego.
All human beings are born free and equal in dignity and rights.
They are endowed with reason and conscience and should act towards one another in a spirit of humanity.
The Sanskrit translation for the Universal Declaration of Human Rights in 1948.
Petri Räisänen (born August 13, 1967) is internationally known and respected Ashtanga Yoga teacher.
Petri Räisänen (born August 13, 1967) is internationally known and respected Ashtanga Yoga teacher. Petri started practicing Ashtanga yoga in 1989 and teaching in 1991. He is co-owner and director of Ashtanga Yoga Helsinki, Finland, which he found with his friend and colleague, Juva Javanainen, in 1997. Since 2000 Petri has been teaching Ashtanga yoga internationally around the world. He got his teaching authorization from K. Pattabhi Jois and Sharath Jois in 2001. For the last 10 years he has been teaching together with his wife Wambui Njuguna-Räisänen.
Petri focuses on integrating healing and therapy with yoga, meeting student's individual needs and guiding their progress. Petri's yoga pose adjustments are gentle, effective, therapeutic and, according to some, almost magical, and originate (besides his own practice and teaching) from his past work as a traditional Finnish folk healer and naturopath. His friendly, relaxed behaviour and intuitive perception give an open, energetic and meditative atmosphere to his classes.
In 2005, Petri wrote "Ashtanga Yoga – The Yoga Tradition of K. Pattabhi Jois" in collaboration with K. Pattabhi Jois and his grandson, R. Sharath Jois. The book introduces the primary series (1st series) Astanga Yoga "vinyasa" method and philosophy, as well as its potential as a physical, mental, intellectual and spiritual practice. His intermediate series (2nd series) book "Nadi Sodhana" was released in 2008 and is written from the interviews with K. Pattabhi Jois and R. Sharath Jois from 2006-2007 in Mysore, India. Both books are written as part of Petri's ongoing pilgrimage into Astanga yoga's inner word, with a great sense of respect towards the Yoga Tradition.
Wambui Njuguna (November 29th, 1980) is a wellness advocate and spiritual activist working at the intersection of social action and wholeness.
Born in Kenya, Wambui moved to the USA at the age of ten. She took her first yoga class when she was 16. It proved to be the therapy she needed during rigorous, professional dance training. She continued to practice different types of yoga throughout college and graduate school.
She came across Ashtanga Yoga in 2008 when she was living in Abu Dhabi. The structure and consistency of the method was the grounded discipline she needed at that time. For the past ten years, Wambui has been immersed in Ashtanga yoga and feels deeply grateful for all what the practice has brought to fruition, both in her personal and professional life.
Currently, in the wake of #metoo and the collective shift towards decolonialization, Wambui's plans involve teaching yoga through an explicitly trauma-informed, anti-oppressive lens. BIPOC and/or LGBTQIA+ communities have been the voices most silenced, and are the bodies most left out of the healing space while simultaneously being the most impacted by systemic trauma. Therefore, creating wellness spaces that feel more welcoming, inclusive and accessible is of utmost necessity and importance. Together with her massage training (Chavutti Thirumal) and meditation advocacy, Wambui strives to work at the intersection of social inclusion, equity and wellness.
Wambui was born in Nairobi, Kenya to an English-Danish mother and a Kenyan (Kikuyu) father. She was raised in the United States, has worked and lived in Chile and the United Arab Emirates and is now based in Helsinki, Finland where she lives with Petri and their two sons.
Visit her website to learn more.
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August 15, 2019
Drawing in Design: Student Perspectives
Drawing in Design is a quarterly series of public lectures and weekend workshops for students that focus on representation in design and bring leading landscape architects and designers from across the country to our Department.
Student Perspective: Allison Ong, MLA
The workshop
Alan Maskin started with a presentation about his personal history and relationship with drawing, some of his work, and inspirations. On Saturday we spent the first half of the day doing some very quick exercises, which forced us to think about lineweights, shadows, perspective, and section. The rest of the weekend was spent on a group project that we worked on furiously through Sunday afternoon.
The workshop challenged us both technically and emotionally. On the technical side, we were constantly working at a large scale. At no point was the paper I was working on any smaller than 2' x 4'. We worked in mediums I am uncomfortable and inexperienced with such as chalk and collage. On the emotional side I was constantly struggling with hesitation to make permanent marks, fear of messing up, anxiety about whether I could come up with anything original and creative, etc. It was really a weekend-long deep-sea dive into the wringer of drawing. Yet through all of these challenges our instructors created a very comfortable and supportive environment.
Why drawing is important to being a designer
Drawing is a way of communicating. Like any language, you get more fluent at using and understanding it through study and practice, which is what we did during the workshop. I think drawing is especially important for designers because it can convey an idea immediately and often with more persuasive detail than can a verbal or written explanation.
My experience as a student
Typically in the landscape architecture department, the only time we see professionals is for reviews and critiques. It felt very refreshing to work together with students and professionals from other disciplines. As landscape architects, we know that we will work with architects, planners, engineers, construction management, etc. once we are professionals. However, as students we rarely have the opportunity to interact with any of these groups.
This experience gave us an opportunity to work side-by-side as equals, which was really liberating. The weekend served as an inspiring reminder of the practical and impractical applications of our schoolwork as well as a reminder of the joy of creativity.
Student Perspective: Jean Ni, MLA
The workshop
We began with a Friday night lecture filled with inspirational ideas and images. Saturday began with several rapid-fire warm-up exercises, then transitioned into our 6-person collaborations on a larger project. I often get lost in the computer programs that are essential to creating graphic documents in school, and the weekend was a wonderful break to allow full exploration in the single medium of hand drawing. Some moments transported me back to elementary school-level exploration and play with materials, methods, and interactions with my team. This course felt like a no-stakes, fun, and experimental form of visual play and intellectual expansion. It is important for me to get outside of the academic pressures and that I often impose on myself during studio work, and develop skills while remembering that I actually enjoy drawing.
Why drawing is important to being a designer
Drawing is a way to communicate your ideas with others – being able to see rather than hear or read what someone is proposing is an effective way to share what is mentally perceived in your brain.
My experience as a student
I value interdisciplinary work in my everyday academic work, but have often sought this out in departments even outside of landscape architecture. It was great to engage with people in different specialties especially from CBE. I made some great contacts, got to know other people better, and enjoyed working outside of landscape architecture. Thanks to Olson Kundig and GGN for engaging with the UW students in this! It was awesome to work with professionals in the field and see their drawing process in the midst of our own.
Learn more Drawing in Design and watch previous lectures here.


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Forever Together Funeral Care is an independent, family-run business where you, the family, will always come first above all else. As a company, we aim to combine all of the traditional elements of funeral directing with a modern twist. Everything we do is for the families we serve. We specialise in providing high quality and professional funeral services at affordable prices. Our complimentary memory boxes are offered with every funeral service. Our Managing Director, Denise Chapman, is an extremely caring person with a passion for helping people going through hard times in their life. She has over 11 years' experience in the funeral industry and has had jobs in various roles and sectors. Denise has an excellent knowledge of the industry - particularly with DWP claims - and is always willing to help as best she can. Our Funeral Director, Ian, has been in the business for over 10 years as a casual operative. He is a keen member of the team, with an eye for detail, and is always happy to offer help where he can. Ian is a hard-working and caring gentleman, and will always go the extra mile to help console families through the pain of losing a loved one. We have 2 branches in Portsmouth which can be found at, 8 Charlotte Street, PO1 4AJ and 197 Allaway Avenue, PO6 4HG both offering low cost funerals in Portsmouth, Southampton and the surrounding areas.
Our services
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Microsoft LifeCam VX-2000 is budget-friendly
Microsoft announced a new webcam today that's aimed at the budget crowd. It's called the LifeCam VX-2000, which is perfect for people with desktop computers that need basic video chat capabilities without all the extra features.
This camera has a VGA resolution and can take still pictures as well at a 1.3-megapixel quality. There is a Windows Live Call button, intended for those that use the Microsoft IM network and you can even add visual effects to your images and videos.
You can leave video messages for people as well, like a video answering machine. While intended for use with Microsoft programs, the LifeCam VX-2000 can be used with just about any instant messaging program that supports USB-based webcams. You can get this new webcam starting next month for $29.95.


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Just when it kind of looked like the Eagles were ready to shrug off that solid first half and fold as usual... They didn't . At least no far. After Dallas tied the game at 17, Nick Foles led the Eagles offense on an 11 play, 80 yard drive that was capped off by a fantastic, one-handed TD grab from Riley Cooper.
Heading in to the 4th the Eagles are up 24-17.


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Here are some more of my 57 yr old wife J. As you know she loves to read your comments, as she gets "GREAT PLEASURE" from them. She loves to read the dirty ones that you would like to do to her.
Get complete and unrestricted access to all photos and videos - Upgrade Today


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Immigration to Canada. Job Fair in Kiev (Ukraine) and Bucharest (Romania)
On November 17th, 2018 in Kiev (Ukraine) and on 20-21 November in Bucharest (Romania), several Canadian companies will be on location recruiting directly for long term employment and providing immigration support.
The companies attending this JOB Fair will be looking for:
NOC 7511 – Long Haul truck driver
NOC 8441 – Maintenance vessel deckhands
NOC 2221 – Aquaculture technicians
NOC 0823 – Aquaculture site manager
NOC 9533 – Construction Building Assemblers
NOC 9431 – Sawmill Machine Operators
The applicants who will receive job offers may be eligible to apply for permanent residency through the Atlantic Immigration Pilot or the Provincial Nominee Program.
• Language exams, i.e. IELTS General Training with a level 4.0
• Educational credential assessment (ECA)
• Proof of work experience (make sure you prepare letter of references, tax documents, pay stubs)
• Sufficient liquid settlement funds ($3,118 – $8,253 CAD, depends on size of a family)
For more information please contact us at email@example.com or book a consultation with Canadian certified immigration consultant.


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We have worked on the most demanding of security domains - from extremely rare genetic diseases, through to systems with intellectual property worth hundreds of millions of dollars. We have delivered systems with advanced authentication, authorisation, auditing and accounting capabilities (amongst many others aspects of security!)
A large part of our work is in supporting scalable infrastructures utilising mainstream Cloud infrastructures. This includes the full gamut of Cloud models from Infrastructure-as-a-Service (IaaS), Platform-as-a-Service (PaaS) and Software-as-a-Service (SaaS). These are based around mainstream Cloud technologies such as VMware, OpenStack and Amazon Web Services. We teach Cloud computing and have educated over 500 Masters students in the kinds of technologies that are shaping the IT landscape.
A common demand for eResearch is in supporting the many challenges associated with big data such as its volume (e.g. dealing with multi-Terabytes of data); its velocity in rapid production/capture of data; its variety of data and the issues associated with heterogeneous and distributed data sets; its veracity of data and the history (provenance) of data amongst other challenges. Tackling such issues often requires novel data management technologies, e.g. support for distributed data management systems and algorithms such as MapReduce and ElasticSearch. We have worked with these technologies for many years in domains such as genomics, urban research through to social media analytics.
All research domains are generating and/or needing access to data at unprecedented rates – often these are increasingly diverse data sets. In this context a rich range of data management solutions now exist: noSQL databases such as CouchDB, CouchBase and MongoDB; distributed data solutions such as Hadoop Distributed File System and Apache Swift, as well as more traditional data solutions such as relational databases such as MySQL, PostGres and Oracle (amongst many others). We have used all of these technologies in a range of application domains and have considerable expertise in their deployment, configuration and utilisation more generally.
Development of scalable systems typically comprises access to decentralised resources. These are often accessed and invoked through programmatic means over the web. Service-oriented architectures are one model for delivery of such solutions however a rich variety of solutions exist to support such systems. We have worked extensively with all flavours of web-service, from ReST- and SOAP-based solutions, through to more targeted flavours of web service such as geospatial services based around Open Geospatial Consortium Standards and health services utilising HL7 systems (amongst many others).
For many researchers, their computing depends on access to and use of large-scale computing facilities to support high performance (or more commonly, high throughput) computing. We have worked with the development and delivery of algorithms and solutions that support seamless access to and use of such facilities. We also teach the fundamentals of high performance computing and the trade offs and approaches that can be taken to tackle large scale computing problems.
We have worked extensively with many flavours of geospatial data sets and tools. The ability to analyse and visualise data that includes spatial references is a common denominator to many research disciplines. We have decades of experience of developing and provisioning solutions to non-geospatial information systems (GIS) experts. This includes mapping services, processing services as well as data access services.
Many researchers require mobile applications to support their research. We have extensive hands-on experience in developed a rich variety of mobile apps including all flavours of the Apple iOS platform using Objective-C and Swift as well as the Android platform. These have included systems that interact with secure web-based solutions, e.g. for clinical trials, apps for data mash-ups, through to games used to capture clinical information on patients with rare neurological conditions.
Many researchers want more than a prototype system, but an enterprise-level professionally developed end product. We follow a rigorous agile software development methodology with daily stand-ups and scrums/sprints for all of the projects we are involved in. Implicit to our approach is to support rapid and continuous development and delivery of software solutions. This is supported through integrated code versioning systems such as GitHub; checking of code through Gerrit; support for integration and testing using tools such as Selenium, Cucumber, Jenkins and Sonar; feature request and tracking tools such as Redmine and Jira, through to automated production of systems following using advanced scripting environments such as Ansible, Puppet and Chef. These solutions reflect current best practice in software development.


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Big Gay News: 490
BigGayNews from Virginia:
Second Virginia Legislator Announces He's Gay
The Blue Ridge Muse reports that the Commonwealth of Virginia now has two members of the General Assembly – one delegate and one senator – out of the closet and acknowledging they are gay.
Delegate Mark Sickles (Democrat), said that the blatant homophobia that he sees repeatedly demonstrated on the floor of the Virginia legislature prompted him to come out of the closet and make his sexuality public.
Sickles stated in an Op-Ed column: "hearing such caustic remarks yet again on the House floor, coupled with the overturning of the marriage ban, has motivated me to state publicly here what many close friends and family have known for decades: I am a proud, gay man."
BigGayNews from New York:
Jason Collins, First Openly Gay NBA Player, Signs With Nets And Appears In Game
The New York Times reports that Jason Collins, a 35-year-old center, signed a 10-day contract with the Brooklyn Nets on Sunday afternoon and played against the Lakers hours later, appearing in an NBA uniform for the first time since last spring, when he announced that he was gay.
This milestone represents the first time that an openly gay player has appeared on the court; the NFL, Major League Baseball and the NHL have yet to have an openly gay player compete within their ranks.
Historically, it should be noted that Brooklyn was also the setting for another sports first when the Brooklyn Dodgers signed Jackie Robinson as the first black player in a national sports team.
BigGayNews from Florida:
'Dear Abby' Shuts Down Homophobic Couple With Gay Neighbors
The Huffington Post reports that beloved advice columnist "Dear Abby" received a letter this week from an anti-gay couple who have a pressing questions: "Who is the true bigot here?"
The letter was from a couple who had moved to Tampa, and who were concerned that although they had previously been welcomed by neighbors, they began to be shunned in the social circle when they refused to extend invitations to gatherings to the gay couple and lesbian couple. The couple wrote to the columnist, upset that they were being painted as "bigots" by their neighbors because they disapprove of the "gay lifestyle."
Abby's answer to the couple, which ran in the nationally syndicated column, was that they had no room to complain about being unwelcome if they were being unwelcoming themselves, and that they should use this as an opportunity for growth by getting to know people who are different from them.
BigGayNews from Arizona:
Pizzeria Reserves Right to Ban Lawmakers After Anti-Gay Bill
NBC News reports that an Arizona pizzeria threatened to ban lawmakers who passed a bill allowing shopkeepers to refuse service to gays on religious grounds.
Customer approval for the Tucson-based restaurant's action has been "overwhelming."
Pizzeria owner Rocco DiGrazia said he reserved the "right to eject any State Senators we see fit to kick out."
BigGayNews from Uganda:
Uganda President Signs Anti-Gay Bill
Aljazeera reports that Museveni has signed into law a bill that sets life imprisonment as the penalty for "aggravated homosexuality".
According to a presidential spokeswoman, Museveni wanted to sign the so-called "landmark" bill into law in public, to show international media that Uganda is standing firm in the face of Western pressure in regards to their stance on homosexuality.
First-time offenders can be punished with a sentence of 14 years in jail, while the penalty for "aggravated homosexuality" is a life sentence. While popular in Uganda, the bill has been widely condemned by various rights groups as being overly strict in a country where being homosexual is already illegal.
BigGayNews from Gambia:
Gambian President Says Gay People Are 'Vermin' And Should Be Tackled Like Malaria-Causing Mosquitoes
The Independent reports that the Gambia President has described gay people as "vermin" and warned the government will tackle them in a similar way to malaria-causing mosquitoes, as part of a renewed crackdown on same-sex relationships
Yahya Jammeh, who seized power in the heavily Islamic nation in a 1994 coup, has referred to homosexuality as one of the three "biggest threats to human existence", and compares gay people to diseases.
In a recent speech on state television, Jammeh said that he is not concerned by threats of Western nations to cut aid to nations that pass anti-gay laws.
BigGayNews from Uganda:
Desmond Tutu Condemns Uganda's Proposed New Anti-Gay Law
The Guardian reports that Archbishop Desmond Tutu has condemned Uganda's proposed law against homosexuality, saying there is no scientific or moral basis ever for prejudice and discrimination – and accusing the Ugandan president of breaking a promise to not enact the law.
Tutu spoke out against the bill, which would prohibit even such acts as "suggestive touching" in public to discrimination perpetuated by the German Nazis and by supporters of apartheid in South Africa.
The former archbishop then appealed to Museveni to instead work on ending sexual exploitation in Uganda rather than sexual orientation, asking the president to strengthen laws against those committing sexual acts with children, those who commit rape, and those who are involved with commercial sexual transactions and trafficking.
BigGayNews from Iran:
Iranian Pop Queen Googoosh Promotes Gay Rights In New Music Video
The Raw Story reports that Iran's queen of pop, Googoosh, has released a video in support of her country's gay and lesbian community, becoming the first prominent Iranian with such a huge following to speak out against homophobia.
Her latest song "Behesht" (Heaven) appeared on her Facebook page, and features a fictional lesbian couple in a relationship that builds over the course of the video, despite the women's relationship being banned by society and their families.
Although the singer has been denounced by many for promoting "obscene" and "hideous" acts, there has also been a very positive reaction from many who applaud her for standing up for the GLBT community in a country where homosexuality can be punished by severe fines, heavy jail sentences and even the death penalty.


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The Music of Recovery
Accredited in 2009, SPU's new music therapy program equips student musicians to bring healing and hope to people of all ages — and with all conditions.
SPU: A Best Value
Enrollment remains strong and U.S. News and World Report ranks SPU as a top value in the West.
Exploring Chemistry and Creation
Associate Professor of Biochemisty Benjamin McFarland gives the 2010 Weter Lecture, mixing science and Scripture.
20 Years of Art and Faith, 10 at SPU
Image journal celebrates its 20th anniversary with the publication of a book-length anthology, Bearing the Mystery.
Thinking Big About Health Care
Renowned surgeon Ben Carson is the speaker for SPU's 2010 Downtown Business Breakfast.
Grants Support New Programs in Biblical and Theological Education
With $1 million in grant awards, the School of Theology begins two graduate programs and a new center.
Faculty Honored for Service Beyond Campus
Three faculty members receive recognition for longtime service to communities beyond the SPU campus. [Expanded version.]
Founded in 1891, Seattle Pacific University is a leading Christian university that equips people to engage the culture and change the world. Find out more about SPU's mission, core themes, and vision.
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Key Features of Pigeons
The feral pigeon is descended from the rock dove and is well adapted to life in an urban environment. The dependence of the feral pigeon on man for food has led to it becoming a serious pest.
These pest birds are about 33cm long and weigh on average 330g. There is a wide variation in the colour of the plumage.
Both old and modern buildings contain a large number of ledges, girders and gaps which can be used by feral pigeons as nesting sites. Large numbers of nests are often found inside lofts of houses and commercial premises.
If conditions are favourable the birds will breed throughout the year, but the main breeding period is from March to July. Two white eggs are laid and are incubated by both sexes for 17-19 days. Young birds are independent at 30-37 days and 4-7 broods may be reared in a year.
Many pigeons in town centres are regularly fed by members of the public. They feed in flocks and tend to rely on food scraps and spillage in town centres and at food premises. Each feral pigeon eats about 80g per day.
Social Structure
Each flock of feral pigeons occupies a distinct territory which includes feeding, roosting, perching and nesting sites. The flock is usually in balance with the availability of food and breeding sites within the territory.
Within a flock there is a distinct order. The dominant birds feed first. Lower ranking birds are under more pressure to find alternative food and harbourage. When dominant birds are removed, competition is reduced and the vacuum created makes the area more attractive to lower ranking birds from adjacent flocks where competition is more intense.
Alternative Control
There are several methods available for controlling feral pigeon populations and preventing problem flocks. These include the installation of net prevention, point prevention or spring wire system as well as strategic population management.


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Review: Ruckus at The Arts Fund
Perhaps the most common way we experience how technology transforms art is in music. Depending on your age, you might remember the first time you heard a song by Chuck Berry, Jimi Hendrix, or Nine Inch Nails that forever changed what music could be. As with music, when we encounter this kind of quantum leap in the realm of visual art, it is at first disorienting. But as soon as we get over the initial shock, it can also produce an incredible sense of wonder.
The collection of work on view through August 16 at the Arts Fund Gallery is full of these kinds of awe-inducing moments, where technology is put to creative use to make something thoroughly unfamiliar. As you enter the gallery space, you immediately encounter "The Font," an imposing metal cauldron filled with water of ever-changing colors. Connected to this is a microphone that transmits to a speaker inside "The Font," creating a complex series of Faraday waves on the surface of the water that responds to the pitch of your voice. This display is then projected onto the walls above. The piece is collaboration by artists Carlos Padilla, Alan Macy, Jonathan Smith, and Ethan Turpin, who have produced something that is unique and remarkably captivating.
Macy's solo effort for this show, "Sensory Perception Chair — Breathing," comes in the form of a plush red chair adorned with similarly colored wings. When the chair is occupied, it slowly syncs with the breathing patterns of the sitter, and within moments the wings begin to move back and forth in rhythm. There are no obvious sensors in the chair to explain how this interaction takes place, amplifying the sense of mystery that such an object creates. However, the experience of sitting in the chair itself is so soothing that it is easy to want to linger there.
On the opposite side of the gallery, Turpin uses antiquated video equipment from the 1980s and '90s to produce "Video Feedback Temperatures," part of his Video Feedbackteria series. This iteration takes a video of the viewer and their surroundings to produce colorful abstract patterns that slowly evolve into biomorphic shapes. As with the rest of this series, the astonishment here comes from just how organically this feedback seems to behave. It is absolutely mesmerizing.
The final two exhibitors for this show come from UCSB's Media Arts and Technology graduate program, one of this country's single greatest centers for this kind of avant-garde art. Tim Wood's "Kodama" uses a repurposed Xbox video sensor to detect the viewer's body movement and translates that motion into a digitally rendered tree on the screen above. Wood is also a dancer, and this piece is a beautiful exploration of the intersection of the physical and the virtual. Marco Pinter has created what is probably the most cerebral piece in the show, "Object Permanence 3: Non-Dual." Over the course of four-and-a-half minutes, three digital screens depict a variety of shapes that move from one screen to the next, at times seeming to interact with the sculpted elements installed in the spaces around the screens. The interaction confuses our understanding of how the real world affects the virtual world, and vice versa.
From an artistic standpoint, it can be a challenge to discuss this kind of work, which seemingly requires an entirely new vocabulary. But there is certainly a distinct kind of beauty in the way this work asks us to redefine what art can be. For the art lover who gets excited by the idea of exploring the cutting edge, this show will not disappoint


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TomTom has announced the TomTom Connect: a semi–integrated navigation solution tailored specifically to Opel and Vauxhall cars. This is the first time that drivers of these cars will have access to all the benefits of connected navigation.
"Opel and TomTom have been working closely together to offer Opel and Vauxhall drivers the full advantages of real time navigation services"
TomTom Connect is neatly integrated in the car and provides a great navigation experience; offering LIVE Services, including TomTom HD Traffic and dynamic routing. It gives drivers the fastest route to their destination based on the latest traffic situation. The system software and content can be updated through the online portal MyTomTom.
"Opel and TomTom have been working closely together to offer Opel and Vauxhall drivers the full advantages of real time navigation services," says Giles Shrimpton, Managing Director TomTom Automotive. "This is an important step in our relationship and I look forward to developing the opportunities this brings for both companies."
TomTom Connect will be available on the following Opel and Vauxhall models: Astra J, Corsa D, Meriva B, Combo D, and Insignia via Opel and Vauxhall dealers as of December in Europe.
Key Features
- HD Traffic – a combination of real time traffic and unique dynamic routing
- The real time traffic information is generated from a network of over 80 million probes in Europe
- It covers 99.9% of the road network, reports more traffic jams in real-time and is also refreshed more frequently than any other service
- One year LIVE Services included in 30 countries
- Up-to-date speed camera information on both fixed and mobile cameras en route
- Live weather updates and local search which is sent directly to your in-dash system
- The navigation solution can be easily updated; anything from maps, to new software can be downloaded to the device via MyTomTom
- Latest generation voice recognition
- Car specific and crash tested cradle, which automatically charges the PND
- Software customization, including dealer POIs and specific vehicle icons


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Day 2:
Unfortunately, all of yesterday's snow had melted this morning. The morning weather was mild and rainy. That's why I first visited the Oslo Cathedral. As with every visit, I lit candles today for deceased family members and friends.
I later drove out to the Bygdøy museum peninsula. There I visited the Norsk Folkemuseum, but the weather was not suitable for taking a lot of photos.
In the afternoon, when I came back from Bygdøy, I was on Slottsplassen in front of the royal castle. There on the statue of King Karl III. Johann, citizens can light candles and lay flowers, in memory of the late Ari Behn. It is impressive how much sympathy is shown there.
Tomorrow I will take the train to Lillehammer early. A visit to the Maihaugen open-air museum is on the program, and of course I also visit my friends at Peppes Pizza.


text: Dry Steam Generators - The model 246 is a portable dry steam generator. This one of a kind low water volume dry vapor steam cleaner has many industrial applications. The primary use for the 246 is cured-in-place liners in the trenchless pipe repair industry. Along with use in the trenchless pipe repair industry, the 246 is used thawing frozen drains, tanks, piping systems, culverts, also used by street and highway departments, manufacturing and processing plants, pipelines, and other industries. Other uses include: Thawing railroad tank cars to accelerate removal of viscous liquid contents. Degassing fuel tanks for welding preparation. Melting and removing wax or grease from traps and drains in wastewater treatment plants, oil refineries, and for similar use in other industries. Industrial steam cleaners from Alkota feature our industry leading hydro insulated coil. The hydro insulated coil provides user safety and well as money saving performance. Alkota steam cleaners protect you with a 7-year coil warranty. Along with all that Alkota provides a winterizing valve to help you protect your investment against freezing. With the support of your local Alkota dealer we can find the correct solution for you.


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About us
The Tangasseri-Australian Association is a community based non-profit organization The seeds of our Association were sown when 11 families resident in Melbourne, Australia met in June 1994 and founded this Association, which has since grown to over 100 families. The concept of family values is highlighted in all our Social activities.
Geographically Tangasseri is a coastal Palm grove that strategically abuts the Arabian Sea and is located at the tip of South India in the State of Kerala. It has a proud history of over 500 years and mainly affected by the Dutch, Portuguese and English who resided in this town over periods of time. These diverse influences together with the vibrant Indian culture has enabled us to successfully migrate and assimilate in different countries like UK, USA, Canada and Australia. The Tangasseri Australian Association is all embracing and fosters multi-culturalism, displaying qualities of respect, trust, and tolerance. Our Committee together with the members volunteer our services in reaching out to the Community socially.
Our activities are an Annual dance, AGM, Hopper night, X'mas Family day celebration, X'mas Dance, Long weekend getaway, an Annual Cricket Match and an Activity for the benefit of the community at large.
The Tangasseri-Australian Association contributes financially to natural disasters. We recently established a Trust fund with the Association in Tangasseri to assist with needy projects. The Association has also contributed towards Breast Cancer research. We formed the Cricket Club for the youth, which is a successful endeavour as they participate in the local grade Cricket Matches. Social outings are also programmed for the Seniors in our Association.
Our objectives are :
1. To promote and foster the culture, family values and traditions of the Tangasseri Community in Australia
2. To provide the members of the Community in general, a Community Hall with Recreational Facilities through Fund Raising activities..
3. To provide elderly citizens of the Community with a Nursing Home/Retirement Village in the foreseeable future.
4. To engage in social and cultural activities that would make possible the establishment and fulfillment of these objectives.
5. To provide facilities for the improved health and well-being of older persons/senior citizens of the community and
6. To establish affiliated groups sponsored by the Association for the benefit of older persons/senior citizens/youth of the community.
We look forward to increasing our membership and welcome anyone interested in joining this Association.
Our registered Office is : 2 Fairview Road, Springvale, Vic 3171
The Founder Members
The 22 Founder Members who formed the Association
Back Row: L- R : Philroy D'Rozario, Oswin Allen, Pat Cooper, Lioyd D'crus, Herwin Allen, Duncan Bartholmeusz,
Winburne Fernandez, Jim Allen, Harold Gonsalvez, Grenville D'Crus, Osmund Bartholmeusz
Front Row L- R: Ann D'Rozario, Linda Allen, Avelyn Cooper, Celine D'Crus, Jennifer Allen, Rose Bartholmeusz, Flavy Fernandez, Trudy Allen, Flossy Gonsalvez, Zita D'Crus, Dilys Bartholmeusz
Our Association comprises of a Management Committee and an Executive Committee.
The Management committee comprises of Founder Members while the Executive Committee comprises of :
President - Mr Herwin Allen
Vice President - Mrs Rose Bartholomeusz
Secretary - Mr Grenville D'Crus
Asst. Secretary -Mr. Philip D'Rozario
Treasurer - Mr Winburne Fernandez
Public Officer - Mr Lloyd D'Crus
Committee Member - Mr Don Gresseux
Committee Member - Mr Roy McNerney
Committee Member - Mr Osmond Bartholomeusz
Committee Member - Mr Harold Gonsalvez
Committee Member - Mrs Avelyn Cooper
Committee Member - Mr Clyde Harding
Nominated Member - Mrs Linda Allen
Nominated member - Mr Jim Allen


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Work starts at Liverpool FC's new training complex
Liverpool FC held a special 'breaking ground' ceremony at the club's Academy in Kirkby today to mark the beginning of work on its new training campus.
Reds manager Jürgen Klopp, Academy director Alex Inglethorpe and LFC's chief operating officer, Andy Hughes, joined club staff, the leader and chief executive of Knowsley Metropolitan Borough Council and representatives from building contractors McLaughlin & Harvey to celebrate the start of a new chapter for the club.
The state-of-the-art redevelopment of the existing Academy site will see the first team and youth football operations come together at a combined training facility for the first time in Liverpool's history.
"Today marks another significant milestone in the club's history," said Hughes.
"This development will not only provide first-class amenities for our players and staff - in which a clear pathway through to the first team will be created - but it will vastly improve sports facilities for the community of Kirkby.
"We're extremely pleased to be investing in the Knowsley area and look forward to building relationships with our neighbours as the project progresses."
The new 9,200sqm training complex will provide an elite performance centre for the first team and a state-of-the-art training area for the club's development squads, alongside new pitches, two gyms, a full-size sports hall, pool, hydrotherapy complex and specialist sports rehabilitation suites. There will also be dedicated TV studios, press conference facilities and office accommodation.
Knowsley Council's Eddie McArdle community playing fields, which neighbour the Academy site, are also being redeveloped as part of the ambitious project. Improvements will include upgraded football pitches, new changing rooms and facilities, enhanced security and lighting as well as a new pedestrian and cycle pathway.
Work starts on LFC's new training complex
Cllr Graham Morgan, leader of Knowsley Council, said: "I am delighted to see work beginning on this exciting project.
"The club's investment into its training complex in Knowsley will not only provide world-class facilities but will bring great benefits for our community in Kirkby.
"We are pleased to be working in partnership with LFC with the aim of creating a sporting hub that will enable the development of more grassroots football and hopefully inspire the next generation of players.
"This is a project we are very proud to be involved in and very much look forward to seeing this development progress in the coming months."
Building work on the community playing fields will be completed later this year and, following a period for the grass to establish, the new pitches will be ready for use around August 2019.
The entire project is expected to be completed in spring 2020, with the first team moving across from Melwood during the close season.


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How many government 'partnerships' does one town need?
The answer, apparently, is quite a lot. A quick trawl through the web came up with the list below.
- Swindon Local Area Agreement (Swindon Borough Council, the Government Office for the South West, Swindon Strategic Partnership and other quangos)
- Swindon Strategic Partnership (Swindon Borough Council, parish councils and voluntary groups, with observers from the South West Regional Development Agency and the Government Office for the South West)
- Swindon Strategic Economic Partnership (Swindon Borough Council, the South West Regional Development Agency, the New Swindon Company, Swindon Learning Partnership, other quangos and local companies.)
- New Swindon Company (urban regeneration company owned by Swindon Borough Council, the South West Regional Development Agency and English Partnerships)
- Great Western Community Forest (an unincorporated association of Swindon Borough Council, other local councils and the Forestry Commission)
- inSwindon (town centre management company, set-up by Swindon Borough Council with town-centre companies on the board)
- Swindon Learning Partnership (seemingly not a partnership at all, just an office of Swindon Borough Council but with over 120 'members')
Now, I'm sure some of these do worthwhile work but, looking at that list, it does seem rather incestuous, with partnerships forming further partnerships, all with the added cost of yet another bureaucracy. A bit of digging on these organisations' websites reveals that they are all a consequence of one or other central government 'initiative', wherein getting hold of some extra money for Swindon from central government (or stopping central government taking money away) is dependent on setting up a new quango.
If national government thinks that a way to improve local participation in democracy is to add multiple layers of bureaucracy, then its understanding of democracy is clearly very wrong indeed.


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Russell Edson said, "A good prose poem is a statement that seeks sanity whilst its author teeters on the edge of the abyss."
As for me, I haven't yet decided. Is there a difference in compression? in the predominance of figurative language? in the music of the language? Yes. No.
No end words:
Poetry yields as many end words as there are lines in the poem. End words are particularly important in poetry. They are usually very important: nouns or verbs. They can be used skillfully to develop enjambment and to increase meaning through a line break and ambiguity. Prose poems have but one end word. This may allow a poet to give the emphasis to the word that ends the prose poem. In microfiction or flash fiction, not much attention is paid to the end word of a paragraph. Maybe not enough attention.
Stanzas or paragraphs
Stanzas are poetry's paragraphs. Turns occur between stanzas. Leaps can be made in time and space. In prose, there are transitions, associations, and leaps but the paragraph might be barely noticed. It is easy to conclude that form is less important in prose. One still can use music, rhyme, rhythm, and sound patterns. They are "buried' inside the paragraph.
The form of a poem might be considered a container. Poetic forms have history, patterns, associations: sonnets, villanelles, sestinas, quatrains, etc. Prose forms are more loose and flexible. A poem or a prose might be a letter, a list, a story. Content is perhaps more important in prose. The intention might be to entertain, investigate, or illuminate.
Perhaps the answer resides in which audience one wants. Naming the genre or using a genre form sets up an expectation. In prose, genres are sci-fi, fantasy, murder mystery, romance, western, or nonfiction. Poetry is a genre. Prose poetry might be blend of genres, a hybrid form. Of course writers of both poetry and prose explore and widen the boundaries. There is plenty of genre-bending.
According the Poetry Foundation, "A prose composition that, while not broken into verse lines, demonstrates other traits such as symbols, metaphors, and other figures of speech common to poetry. See the prose poem,"Information" by David Ignatow: https://www.poetryfoundation.org/poems/43416/information-56d222285400c
Perrazo and Dal wrote an academic paper examining the differences and similarities between these two forms. They identify criteria: brevity, fragments, ambiguity, and pivots. Either the prose poem or the flash fiction (or microfiction) could be narrative. The difference might be that the microfiction suggests a larger story or is a pivotal moment in a larger story.
Amy Hempel has written brief fiction. "Sing To It," in the book of that title, is less than half a page. Of her writing, Amy Hempel said, "I leave a lot out when I tell the truth. The same when I write a story." In a review of Hempel's work, Ruth Franklin said, "For Hempel, a story often takes place not at the moment of crisis but in its aftermath." Hempel recalls a writing class with Gordon Lish. For his students' first assignment, Gordon Lish instructed them to write about their worst secret: the thing they had done that, as he put it, "dismantles your own sense of yourself."
Lydia Davis is a master of short fictions. "Letter to a Funeral Parlor" is simply that, a brief and amusing (and poignant) demand for an explanation of the use of the word "cremains." Davis cites the influence of Russell Edson. She is interested in stories, and she is interested in etymology. In her work, they often come together in ways that are comic and profound.
Diane Williams writes very brief narratives. They are elliptical, associational, and sometimes even musical. See https://lithub.com/bang-bang-on-the-stair/ and https://www.vice.com/en_us/article/mvx79p/five-very-short-stories-0000667-v22n6, plus http://www.thewhitereview.org/feature/diane-williams-two-stories-and-an-interview/
Diane Williams writes very brief narratives. They are elliptical, associational, and sometimes even musical. See https://lithub.com/bang-bang-on-the-stair/ and https://www.vice.com/en_us/article/mvx79p/five-very-short-stories-0000667-v22n6, plus http://www.thewhitereview.org/feature/diane-williams-two-stories-and-an-interview/
Peter Orner dislikes the term flash fiction. This form is not new, he says. "How many lines are in the story of Adam and Eve?" he asks. Well, I looked it up. Chapter 3 of Genesis is less than 700 words. Electric Literature has samples of flash fiction. https://electricliterature.com/7-flash-fiction-stories-that-are-worth-a-tiny-amount-of-your-time/
Nick Ripatrozone wrote an essay examining this question. He says, "...genres are not spouses. Monogamy has no place here: the writer should–and must–be flexible to genre. Genre, mode, form: these considerations are contextual and situational."