text:
A dependent select is when a form select box's options depend on the values of a previous form select box. Two examples of this would be a USA State selector, which then filled the next box with cities from that state. Another example would be a car make selector (ie. Ford) which then displayed models (ie. Taurus, Bronco, F-150).
Why would you want to do this? Primarily for useability. In the case of car make/model, there are about 130 makes, but there are over 2000 models. If you didn't use javascript, you'd have a model select that was 2279 items long! That's pretty unwieldy.
Remember the source code for this project is attached at the end! (Both a sample HTML document, and the javascript)
01: Pick A Data Source
In making a plug-in like this, your first decision has to be about how it's going to work. Where is the data for the 2nd select going to come from? There are two options:
* Load Data via AJAX request
* Store all the data on page in javascript arrays
In many cases you want your web pages to work without javascript, relying on script to only enhance the user experience. If we use AJAX to load the data, then users without javascript won't see any data in the second or subsequent selects. All 2000+ options is better then no options.
02: Design the API
API means "application programming interface" -- or in more simple terms, we mean "how will the plug-in be used?". The first thing I'm going to do is create a call to the mythical plug-in.
$('#master_select').dependent({ chain : ['#slave_select', '#slave_to_slave_select'] });
#('#country').dependent({ chain : ['#state', '#city'] });
03: Other Assumptions
We're going to assume that slaved selects are already pre-populated with data because we want the page to work without javascript.
We're also going to assume the code for the selects has been set up properly, so our script can know what information is related to what options. To make that happen, we're going to use optgroups. Optgroups are part of HTML that allows you to put a non-selectable label above a group of options in a select. The label of each optgroup will identify which options belong with the choice from the previous select. Here's an example to help make it more clear:
<select id="country"> <option value="USA">USA</option> <option value="Australia">Australia</option> </select> <select id="state"> <optgroup label="USA"> <option value="IL">IL</option> <option value="TX">TX</option> </optgroup> <optgroup label="Australia"> <option value="New South Wales">New South Wales</option> <option value="Western Australia">Western Australia</option> </optgroup> </select> <select id="city"> <optgroup label="IL"> <option value="Chicago">Chicago</option> <option value="Springfield">Springfield</option> </optgroup> <optgroup label="TX"> <option value="Houston">Houston</option> <option value="Dallas">Dallas</option> </optgroup> <optgroup label="New South Wales"> <option value="Sydney">Sydney</option> <option value="Taree">Taree</option> </optgroup> <optgroup label="Western Australia"> <option value="Perth">Perth</option> <option value="Albany">Albany</option> </optgroup> </select>
04: Processing the Selects
When the plug-in is called on a select there's not going to be much to do outside of the main this.each loop (see the previous article for the general plug-in architecture). However once we get into the loop, we have to parse the select options and stuff them into an array for later use. The array we're going to put everything in will be stored as opts.data.
The first thing we're going to process is the selects listed in the chain option. Here's the beginning of our main loop:
this.each(function() { $.each(opts.chain, function(index, selectID) {
array['TX'] = "<option>Dallas</option><option>Houston</option>";
// substr is used to strip off the # at the start of the string var ident = selectID.substr(1); var selectHTML = $(selectID).html(); opts.data[indent] = {};
$('<select>'+selectHTML+'</select>').find('optgroup').each(function() {
var optGroup = $('<div>').append( $(this).eq(0).clone() ).html(); var group = $(this).attr('label');
Then, store optgroup HTML in our data array:
// an example is: opts.data[city][IL] = optGroup's HTML opts.data[ident][group] = optGroup;
05: Binding the events
Next we need to create some event bindings. If we are linking more then two selects, then the chain will be at least two values. In fact, we need to keep binding selects until the select we're working on doesn't have one following it. Heres how we'll check for that:
if(opts.chain[index+1]) {
$(opts.chain[index]).bind('change', function() { // returns the bare ID like "state" var next = opts.chain[index+1].substr(1); $('#'+next).html(opts.data[next][$(this).val()]); $('#'+next).trigger('change'); });
The next line changes the contents of the 'next' select to the optgroup we want. Here's a more readable version of that array value, for clarity:
The final line triggers the change event in the select because programmatically changing the values of the select does not fire this event. This means when you make a change on any select, it filters all the selects following it in the chain. You can see this pretty clearly in the attached example files, because that code includes 4 dependent selects.
06: The Last Step
There's one last step in the main $.each loop -- and outside the loop created for the values of opts.chain. Can you guess what that is? We need to bind the original select passed into the plug-in!
$(this).bind('change', function() { var next = opts.chain[0].substr(1); $('#'+next).html(opts.data[next][$(this).val()]); $('#'+next).trigger('change'); });
Now that you've read the tutorial, have a look at the source code file attached to see the complete code in one place. Because it's packaged as a plug-in you can put the javascript in its own file and include it in any page, and then use it just like any other jQuery plug-in.
In our next jQuery article, we're going to explore turning your standard forms into AJAX submitted forms. We'll continue with the theme of putting our custom code into a reusable plug-in so we can write once and reuse.


text:
My little brother wants to learn drumming, and seeing that I have a cheap RockBand drums clone lying around I wanted to know if there are is some kind of didactic software for drums that accepts MIDI input. This way I could hack something up with that little toy and he could interface with the software.
I'm not a drummer myself, but I'm imagining something that shows rhythmic patterns, drum techniques and has some guided lessons. A quick search did not show anything like it.

subset: commoncrawl


text:
Want to include an event of your own? Click here
- This event has passed.
Starting a Business
November 2, 2016 @ 9:00 AM - 11:00 AM| Free
Event Navigation
This course is designed for individuals who are considering self-employment, or who may be at the beginning stages of starting a business. Delivered in a workshop format, this introductory session helps aspiring entrepreneurs assess their abilities to lead and manage a company, as well as evaluate market and sales potential for their products/services. Start-up costs, financing options, and business planning are introduced, along with necessary steps to getting started.


text:
Currency Displayed in
Hover over image to zoom
This is an 12X12 premium quality photograph of Marlon Brando as Peter Quint and Stephanie Beacham as Miss Jessel in The Nightcomers professionally printed on archival photographic paper.
Copyright 2019 Moviestore Inc.. All Rights Reserved. Sitemap |
Bigcommerce Premium Themes by PSDCenter
All prices are in USD.
Compare Now
Click the button below to add the THE NIGHTCOMERS FINE QUALITY 12X12 PREMIUM PRINT 603494 to your wish list.


text:
e5 Business 15" Solar Bag + eJaguar E-60 BatteryFor more information please visit the e5 Business product page under:www.e5solar.com/products/e5businessor just click here:
Dimensions: 38cm x 32cm x 11cm- Suited for Laptops up to 15.4"Weight: 1'300g (with battery)Solar PanelInput: SunlightOutput: 3.5 Watt, 22V DC / 160mAConnection: DC Car JackBatteryInput: 15V...20V DC, 1.2A max. Output: 5V DC, 2.1A max.(USB) / 12V/16V/19V, 60W max. (DC)Capacity: 16'000mAh, 60Wh max.Connection: In: DC 5.5/2.1mm Out: USB, DC 5.5/2.5mmBENCHMARKS*
- Charging time until Battery full: 10-12h (With extra Module "Maroshi": 5-6h)
- Gathering Sunlight and Charging Device Simultaneously: OK
iPhone up to 8xiPad Air + 10hiPad Mini + 120%Galaxy S Series: 6-7x
- Ratio:
1 Min. Sunlight = 2.5 Min. talk time on iPhone1 Min. Sunlight = 2 Min. talk time on Galaxy S Phones1 Min. Sunlight = 1 Min. surf time on iPad(* All charging times are approximations tested by e5 in real-life conditions.Your experience may vary due to sun's intensity and surrounding temperature.)


text:
In the end, six years and 120 episodes of "Lost" came and went in the blink of Jack Shepherd's eye.
The groundbreaking ABC show's finale Sunday pulled heavy on the heart strings, rewarding loyal fans by staging emotional reunions that involved characters who'd died in seasons past while staging a thrilling showdown for control of the island.
As for finally explaining the island's central mysteries, the series creators wouldn't -- or couldn't -- deliver. Just as the "Sopranos'" open-ended final scene provoked a polarized response among the show's faithful, the final half-hour of "The End," at first glance, disappoints for "Lost's" we-want-answers crowd.
Did all the otherworldly drama of the last half-dozen years occur in some spiritual dreamstate? Were the characters all acting out an eternal fable in a place resembling purgatory? Did they survive the crash, or was the entire tale comprised of the fleeting images that flash through the mind as life ebbs away?
The climax occurred in a church where the former castaways gathered for a sublime reunion full of smiles and hugs. Jack reconciles with his dead father Christian, whose body had been aboard the doomed Oceanic 815 flight.
"I don't understand," says Jack. "You died."
"Yes, I did."
"Then how are you here right now?"
"How are YOU here?" his father replies.
"I died, too," says Jack, beginning to weep.
"That's OK, son."
And yet it's all real, his father assures him.
"Everything that's ever happened to you is real. All those people in the church, they're all real, too."
"They're all dead?" Jack asks.
"Everyone dies sometime, kiddo," his father replies gently.
Suddenly, the church is flooded with light reminiscent of the underground beacon at the heart of the island that must be protected from extinguishment. The impression left is that the light still shone because of an epic "Star Wars"-esque fight scene between Jack and the Locke-embodying Smoke Monster on the cliffs of the island.
The good guys win, and Kate and Jack declare their love for each other.
Many fans expected to learn nothing about polar bears and other small mysteries. Too bad after Sunday's show we can't even know for sure that the passengers on Oceanic 815 survived the original plane crash. As the finale credits roll, that fuselage is shown scattered on the beach, no survivors in sight.
And the show which opened so many mysteries ago with a prone Jack Shepherd's eyelid fluttering open, ends with the hero's eye closing.


text:
- Quantum mechanics (1)
- Wannier-Stark systems (1)
- lifetimes (1)
- resonances (1)
- two-dimensional (1)
Faculty / Organisational entity
- Fachbereich Physik (1)
- Fraunhofer (ITWM) (1)
In the Finite-Volume-Particle Method (FVPM), the weak formulation of a hyperbolic conservation law is discretized by restricting it to a discrete set of test functions. In contrast to the usual Finite-Volume approach, the test functions are not taken as characteristic functions of the control volumes in a spatial grid, but are chosen from a partition of unity with smooth and overlapping partition functions (the particles), which can even move along prescribed velocity fields. The information exchange between particles is based on standard numerical flux functions. Geometrical information, similar to the surface area of the cell faces in the Finite-Volume Method and the corresponding normal directions are given as integral quantities of the partition functions. After a brief derivation of the Finite-Volume-Particle Method, this work focuses on the role of the geometric coefficients in the scheme.
A simple method of calculating the Wannier-Stark resonances in 2D lattices is suggested. Using this method we calculate the complex Wannier-Stark spectrum for a non-separable 2D potential realized in optical lattices and analyze its general structure. The dependence of the lifetime of Wannier-Stark states on the direction of the static field (relative to the crystallographic axis of the lattice) is briefly discussed.


text:
Kabbalistic Zodiac Taurus Pendant
Celebrate your own personal uniqueness each day with this beautiful zodiac pendant. Numbers Pendant for both men and women featuring the Taurus Zodiac sign. Made of 20 grams sterling silver by one of the great silversmith artists of this era.
* Measures 2″ x 1″.
* Comes with silver chain.
** These are made to order, please allow 2 to 3 weeks for final delivery. **
* This pendent could be worn as a necklace or attached to a charm bracelet or even used as a key chain. *
In stock


text:
In a recent interview about the Colorado wildfires, a CNN reporter told Bill Nye The Science Guy he's the "kooky guy who doesn't know what he's talking about," then asks him to defend the idea of human-fueled climate change. She cut him off in the middle of his explanation.
Bill Nye has been a respected science educator for decades. He has a degree in Mechanical Engineering and multiple honorary science doctorates.
Do you think she took the question too far? Watch the video for yourself below.


text:
Celeb Fave: Kim Raver's Secret To Keeping Her Baby Diaper Rash Free? Mayron's Barrier & Diaper Cream!
Stars like Kim Raver, Ricki Lake and Brooke Shields use this all-natural cream to keep their babies comfy!
No mommy wants their little bundle of joy to feel the discomfort of diaper rash, and celeb moms have a secret weapon in their arsenal — Mayron's Goods Barrier & Diaper Cream — which was created by fellow Hollywood mom (and former thirtysomething star) Melanie Mayron!
This all-natural cream contains essential oils and vitamins A, C, D, E and F to prevent, ease and get rid of diaper rashes! Mom of two, Kim Raver, 41, loves the stuff and used it on her own two boys, Luke and Leo, but she's not the only celebrity mom who uses it. Her former Lipstick Jungle co-star Brooke Shields, 45, also became a fan of the skin care line (which also includes Body Wash and Hydrating Body Milk) when her daughters, Rowan and Grier, were babies. This Hollywood fave is gentle enough to use at every diaper change and, best of all, it comes in little travel-size packs (12 for $18). Each 2 oz. pack is good for two to three diaper changes — great for a mom-on-the-go!


text:
Mobile, desktop and cloud based application packages for retail, manufacturing, and warehouse control.
VoIP phone systems, wired and wireless network design, support, and help desk services.
Serving manufacturing, warehousing, retail, accounting, and healthcare industries.
Internet Circuits, Printer and Device Repair, Ribbons and Labels
VoIP Phone Systems
Nursery Management Software
Small Business Network Support
Custom Mobile Web and Cloud Apps
Hardware Repair and Maintenance
Inventory and Warehouse Managment
Ribbons and Labels
Vista's new ConnectPlus software package is a suite of programs that facilitate movement of data between RF devices and host computer systems. This version is designed for integration efforts requiring native interfaces or highly specialized procedures. Benefits include low cost of ownership, quick turnaround for application development, modifications are easy and one source for multiple applications.
Read More (pdf)
At Vista Data Systems, we are committed to keeping your business productive by maintaining and keeping your computer systems at maximum efficiency. This is accomplished by proving trained staff, highest quality hardware, and fast response time. While providing aggressive pricing with quick response time, you can be assured your data network needs are always our highest priority.
Read More (pdf)
Our application development division specializes in creating custom business applications to your specifications. From mobile devices to databases to the desktop, we produce reliable, robust software solutions tailored for your unique situation.
Request Information
Vista Data System can fulfill all your technology related requirements to keep your business running smoothly. From fast, reliable internet circuits to hardware repair services and consumable items like printer ribbons and labels, we are your one-stop technology shop.Request Information
Working with our global channel partner community, Zebra Technologies reaches an extensive customer base, from small businesses to Fortune 500 companies. Our focus is on developing integrated end-to-end solutions that deliver a clear return on investment, and our products empower individuals through seamless connectivity.
Digium®, Inc., the Asterisk® Company, created and is the innovative force behind Asterisk, the most widely used open source telephony software. Since its founding in 1999 by Mark Spencer, Digium has become the open source alternative to proprietary communication providers, with offerings that cost as much as 80 percent less. At Digium, we're changing the way businesses communicate.
No events are currently scheduled. Check back again soon.


text:
zh-CN:FVWM FVWM is a stable, powerful, efficient, and ICCCM-compliant multiple virtual desktop window manager for the X Window system. It requires some effort to learn to use it well, since it is almost entirely configured by editing configuration files with a text editor, but those who persist end up with a desktop environment that works exactly the way they want it to work. Although using FVWM does not require any knowlege of programming languages, it is possible to extend the power of FVWM with M4, C, and Perl preprocessing. FVWM has a Perl library that makes creating FVWM modules in Perl possible and easy. Development is active, and support is excellent. And for those who wonder, FVWM means Feeble Virtual Window Manager.
Installing FVWM
You can also install fvwm-patchedAUR, or if you have archlinuxfr (see Unofficial user repositories) added to your
/etc/pacman.conf it can be installed with pacman like a regular package.
Starting FVWM
FVWM will automatically be listed in kdm/gdm in the sessions menu. Otherwise, add
exec fvwm
to your user's
See xinitrc for details, such as preserving the logind session.
Bringing Out its Power
When you start FVWM for the first time, you will get something that looks very blank. When you left-click on the desktop, you will be able to select a very basic configuration for FVWM. Choose the modules you want and you are ready to get started. You will undoubtedly want to do more to create your desktop, so here are some tips:
- Although it is outdated, the Zensites FVWM beginners guide[1] helps to understand how FVWM functions and how to build your basic setup.
- The Gentoo Linux Wiki has a useful guide on configuration.[2]
- The FVWM homepage[3] includes documentation[4], a FAQ [5], and links to a Wiki[6]) and the FVWM forums[7].
- The best way to come up with the desktop you want is probably to check out the configurations in the FVWM forum[8] or at Box-Look.org,[9] choose one you like, install it, and modify it to taste.
- As you work with what other people have done, you may find it helpful to look at the tips on configuration files by Thomas Adam, the most active FVWM developer.[10]
- A page[11] in the Internet Archive is outdated, but seems to be the only significant online documentation for fvwm-patched.
- FVWM-Crystal, which is also in the Arch repositories as package fvwm-crystal, is an add-on that makes FVWM much easier to configure, although the easier configuration allows much less flexibility than direct editing of configuration files.
- XdgMenu is a useful utility for generating menus.
- Fvwm plays well with xcompmgr for simple compositing effects.
- Zensites FVWM beginners guide.
- FVWM Homepage.
- FVWM Homepage documentation.
- FVWM Homepage FAQ.
- FVWM Wiki.
- FVWM Forums.
- Gentoo wiki about Fvwm.
- Debian wiki about Fvwm.
- Ubuntu wiki about Fvwm.
- Configurations in the FVWM forum.
- Box-Look.
- Thomas Adam on common mistakes in configuration files.
- Fvwm Patches in the Internet Archive.
- An example of a Fvwm module written in Perl


text:
You agree you accept our Terms & Conditions for posting this ad.
We recommend you check the details of Pricing Plans before changing. Click Here
Do you want to change pricing plan? Proceed Here
Pay Per Listing
Unlimited Days
180 Days
Select this option to see therapists who speak Japanese
Click To GET
English/Japanese bilingual, culturally competent and sensitive therapist


text:
Dec. 6, 2003
Santa Clara Head Coach Cameron Rast
Opening Statement:
"We are very excited about qualifying for the college cup. It is something that we set our sights on at the beginning of the year and it is something that we are very proud to have accomplished. It's great when you can represent your University on a national stage and we are very excited to do so."
On Goal Late in Second Half:
"I don't think it made (Michigan) let down at all. They have had typically some very good results in the second half this year. It was unfortunate for them of course, but it was definitely a situation where the linesman saw it very clearly and had a great line to it and felt that the Michigan defender purposefully played it. With that being the case he had to make the call because that is his job to make those calls."
Santa Clara Midfielder Will Weatherly
On What it Means to go to the College Cup:
"It was one of our goals at the beginning of the year. It is not our ultimate goal, but it was one of them. Another was to go undefeated at Buck Shaw this year, which we did and are very proud of that as well. So far we have hit a lot of our goals and hopefully once we get there we can get to our ultimate goal."
Michigan Head Coach Steve Burns
Opening Statement:
"I think that you have to give a lot of credit to Santa Clara. They are a very strong team with very good discipline in how they play. There are a team that really tries to disrupt the way you play and they were successful at it tonight. I wish them the best of luck in the College Cup."
On Michigan's style of play:
"I think too many teams try to play to direct to the style of play that their opponents are playing. I though that with the alignment that we were in we would be able to win second balls and it just didn't happen. They are a good team playing that direct style and with that I think they carried a lot of the momentum of play. We are a team that tries to play both ways, both direct and indirect. I think one of the things we learned tonight as a team was when we only play direct the possession game falls apart because the players stop moving."


text:
Free & Fast Shipping Over 99$ - No Duties - Discreet Shipping
Regular price
Add & Get Free Shipping
Congratulations! Your order is eligible for FREE Delivery.
All orders over 99$ placed through Indoor Growing Canada qualify for FREE Shipping.
Indoor Growing Canada ships all over Canada from Canada and we provide all shipments with a tracking number.
Once your order has been shipped, you will receive an email update with shipping details along with the associated tracking number.
Indoor Growing Canada delivers packages through these carriers : Canada Post, FedEx, Dicom, Canpar, Purolator and UPS.
Most shipping carriers do not ship to PO boxes. If you enter a PO box for your shipping address, Indoor Growing Canada might have to contact you to provide an alternative delivery address.
Please note that tracking information might be updated only one (1) business day after your order has been shipped.
There may be up to 2 business days of Handling Time before your order is shipped.
2 to 3 business days for Quebec and Ontario. 3 to 7 business days for other provinces.
All orders placed through Indoor Growing Canada come with discreet shipping.
Before returning any items, please contact us via email (email@example.com) to request a Return Authorization Number (RMA).
Items sent back without authorization may not be refundable.
To return a purchase, your items must meet the following conditions :
1. Be returned within 30 days of your delivery date.
2. Be in its original and unopened box.
3. Be returned with a receipt or proof of purchase.
Buyer will receive a prepaid return shipping label.
Indoor Growing Canada reserves the right to reject returns which do not comply with our return policy.
Upon successful inspection of returned items, a refund, less the restocking fees, will be issued back to your original payment method within 5 business days of receiving your return.
Once your refund has been processed, a refund confirmation will be sent to the email address provided at checking out. Your financial institution may require additional time to process the refund to your account.
Stay tuned about our news, sales and new products available on our store !
is added to your shopping cart.


text:
Table of Content
NetCDF (Network Common Data Format) is a set of software libraries supporting machine-independent data file formats that are useful for accessing and sharing array-oriented scientific data.
Versions and Availability
Softenv Keys for netcdf on supermike2
|Softenv Key
▶ Softenv FAQ?
The information here is applicable to LSU HPC and LONI systems.
A user may choose between using /bin/bash and /bin/tcsh. Details about each shell follows.
System resource file: /etc/profile
When one access the shell, the following user files are read in if they exist (in order):
- ~/.bash_profile (anything sent to STDOUT or STDERR will cause things like rsync to break)
- ~/.bashrc (interactive login only)
- ~/.profile
When a user logs out of an interactive session, the file ~/.bash_logout is executed if it exists.
The default value of the environmental variable, PATH, is set automatically using SoftEnv. See below for more information.
The file ~/.cshrc is used to customize the user's environment if his login shell is /bin/tcsh.
SoftEnv is a utility that is supposed to help users manage complex user environments with potentially conflicting application versions and libraries.
System Default Path
When a user logs in, the system /etc/profile or /etc/csh.cshrc (depending on login shell, and mirrored from csm:/cfmroot/etc/profile) calls /usr/local/packages/softenv-1.6.2/bin/use.softenv.sh to set up the default path via the SoftEnv database.
SoftEnv looks for a user's ~/.soft file and updates the variables and paths accordingly.
Viewing Available Packages
The command softenv will provide a list of available packages. The listing will look something like:
$ softenv These are the macros available: * @default These are the keywords explicitly available: +amber-8 Applications: 'Amber', version: 8 Amber is a +apache-ant-1.6.5 Ant, Java based XML make system version: 1.6. +charm-5.9 Applications: 'Charm++', version: 5.9 Charm++ +default this is the default environment...nukes /etc/ +essl-4.2 Libraries: 'ESSL', version: 4.2 ESSL is a sta +gaussian-03 Applications: 'Gaussian', version: 03 Gaussia ... some stuff deleted ...
Managing SoftEnv
The file ~/.soft in the user's home directory is where the different packages are managed. Add the +keyword into your .soft file. For instance, ff one wants to add the Amber Molecular Dynamics package into their environment, the end of the .soft file should look like this:
To update the environment after modifying this file, one simply uses the resoft command:
% resoft
The command soft can be used to manipulate the environment from the command line. It takes the form:
$ soft add/delete +keyword
Using this method of adding or removing keywords requires the user to pay attention to possible order dependencies. That is, best results require the user to remove keywords in the reverse order in which they were added. It is handy to test out individual keys, but can lead to trouble if changing multiple keys. Changing the .soft file and issuing the resoft is the recommended way of dealing with multiple changes.
Softenv or Module defines some variables which point at the library home directory.
For clusters using softenv, use soft-dbq to determine it's name, then use it to add a link option to your build. You may see something like this (the output has been edited for brevity):
$ soft-dbq +netcdf-4.1.3-Intel-13.0.0 . . . Name: +netcdf-4.1.3-Intel-13.0.0 Description: @types: Library/IO @name: netcdf @version: 4.1.3 @build: Intel-13.0.0 @internal: @external: http://www.unidata.ucar.edu/software/netcdf @about: NetCDF is a set of software libraries and self-describing, machine-independent data formats that support the creation, access, and sharing of array-oriented scientific data. Flags: none Groups: none Exists on: Linux . . . PATH = ${PATH}:/usr/local/packages/netcdf/4.1.3/Intel-13.0.0/bin netcdf_HOME = /usr/local/packages/netcdf/4.1.3/Intel-13.0.0 . . . $ ls /usr/local/packages/netcdf/4.1.3/Intel-13.0.0/lib libnetcdf.a libnetcdff.la libnetcdf.la pkgconfig libnetcdf_c++.a libnetcdff.so libnetcdf.so libnetcdf_c++.la libnetcdff.so.5 libnetcdf.so.7 libnetcdff.a libnetcdff.so.5.1.0 libnetcdf.so.7.1.1
The libraries are used at link time by the compiler, so the following options could be used:
-L${netcdf_HOME}/lib -lnetcdf
For clusters using module, use the module disp command to determine the location of the netcdf path and then add it to your build options:
$ module disp netcdf/220.127.116.11/INTEL-140-MVAPICH2-2.0 ------------------------------------------------------------------- /usr/local/packages/Modules/modulefiles/apps/netcdf/22.214.171.124/INTEL-140-MVAPICH2-2.0: . . . module-whatis Description: NetCDF (network Common Data Form) is a set of software libraries and machine-independent data formats that support the creation, access, and sharing of array-oriented scientific data. - Homepage: http://www.unidata.ucar.edu/software/netcdf/ conflict netcdf module load hdf5/1.8.12/INTEL-140-MVAPICH2-2.0 prepend-path LIBRARY_PATH /usr/local/packages/netcdf/220.127.116.11/INTEL-140-MVAPICH2-2.0/lib prepend-path MANPATH /usr/local/packages/netcdf/184.108.40.206/INTEL-140-MVAPICH2-2.0/share/man prepend-path PATH /usr/local/packages/netcdf/184.108.40.206/INTEL-140-MVAPICH2-2.0/bin prepend-path PKG_CONFIG_PATH /usr/local/packages/netcdf/188.8.131.52/INTEL-140-MVAPICH2-2.0/lib/pkgconfig setenv LHPC_ROOTNETCDF /usr/local/packages/netcdf/126.96.36.199/INTEL-140-MVAPICH2-2.0 setenv LHPC_VERSIONNETCDF 220.127.116.11 . . . $ ls $LHPC_ROOTNETCDF/lib libnetcdf.a libnetcdf.la libnetcdf.so libnetcdf.so.7 libnetcdf.so.7.2.0 pkgconfig
The libraries are used at link time by the compiler, so the following options could be used:
-L${LHPC_ROOTNETCDF}/lib -lnetcdf
Please refer to the documentation in Resources for a discussion of the API and how to choose the correct library.
Last modified: August 22 2017 15:10:53.


text:
Police investigate homicide inside Milwaukee food store
Family to bring victim's body back to Lebanon
Milwaukee police are investigating a homicide that happened late Friday night.
Police said an armed and masked man entered a food store near 32nd and Brown streets around 9:00 p.m.
Officers said the store owner, Fawzi Abu-Hamdan, 52, was shot and killed.
The suspect fled the scene in a dark-colored SUV.
Police said they are still searching for the suspect.
"He was a good man, and this shouldn't happen to him. His life just ended like that, and now, he's just a 53-year-old man in the news. That's what he is," said the victim's nephew, Zaid Abu-Hamdan.
Zaid Abu-Hamdan said his uncle was so much more. Originally from Lebanon, the victim was a father of four, who had just become a grandfather two months ago.
"I saw him with his grandson. He was just the happiest man ever," said Zaid Abu-Hamdan.
According to customers, Fawzi Abu-Hamdan welcomed everyone into the store and treated them with kindness.
"He used to always, like I said, save bananas for my son because he loves all fruits," said customer Donna Lee.
"Fred was such a nice man, he was so sweet. If I didn't have enough money for something, he would just be like, 'Go ahead and take it,'" said neighbor Robin Gordon. "There's no one in this neighborhood that can say anything bad about him, so I don't know who would want to do something like that."
Zaid Abu-Hamdan is joining in the renewed call for gun control in the wake of shootings.
"The first thing that comes to mind now is the ridiculous gun laws in America. Now this, then it's going to be somebody else's uncle, then somebody's brother or son, and this is ridiculous," said Zaid Abu-Hamdan.
Neighbors said they can't help but feel it all could have been avoided.
"I think if they needed something, he probably would have given it to them," said Lee.
The victim's family told 12 News they will be taking Fawzi Abu-Hamdan's body back to Lebanon on Monday. His nephew said they plan to sell the store.


text:
Yes you read correct; I'm hosting a giveaway.. I know I've said I'm not the biggest fan of giveways and some months ago I mentioned I wanted to do a nail art contest, but time has run away from me and there's not much more than a month until I'm in the biiig USA :) So a giveaway it is!
This is kind of a 'thank you' to you guys for sticking with me even though I post very sporadic and kind of an apology in advance, because it's going to be even more sporadic when I'm in the US ;)
So I'm going to keep it simple.. You have one way to enter and it is by leaving a blogpost comment with the following info:
- How you follow Swååfie (GFC, RSS, whatevs)
- Your email, so I can contact you if you win
- Your blog adress (if you have one)
- A comment about what you want to see more on this blog :) (This is just a way for me to see what you guys like - your wish probably won't come true, but maybe I'll get a good idea and incorporate new stuff)
- PLEASE leave only one comment on this post - that'll make it easier for me ;)
It's open internationally :) Since I don't have much time before I leave it will only run for a short period of time - until July 18th (as long as it's the 18th somewhere in the world). I'll pick the winner when possible, and the winner then has 48 hours to answer or I'll pick a new one..
Oh and you are interested in what the prize is? Oh well, okay, I'll tell you :)
Gosh: Sweet Peach and Green Hawaii
H&M Ocean Sand and Blue Wave (looks awesome over a darker color!)
Essen In Style TE Style me holo (duochrome!)
These are all brand new and are purchased by me =)
If you have a question don't hesitate to post a comment (even though I said only one comment per person) :)
I'm looking forward to your comments =)
Have fun and take care!


text:
Doré's Dragons, Demons and Monsters
by Dover
Richly detailed, brilliantly imaginative scenes taken from The Bible, Paradise Lost, Don Quixote, The Divine Comedy, and other works fill this book with amazing creatures of land, sea, and air. It's an invaluable source of royalty-free art for illustrators and designers, and a delight for lovers of fine art and anyone fascinated by creatures of myth and fantasy. The book contains over 90 illustrations.
Book specifications: paperback, 80 pgs., 8 1/4 in. x 11 in.
?Ask a question about this product
Be the first to write a review on this product!
Share this Product
Enter Quantity & Click 'Add to Cart'
Please wait...
You May Also Like...
How to get VIP Club Prices
Anyone can be a VIP Member with:
Only $25/year
Learn More »
Tips For Your Question
Your email will not be shared. We will only use your email address to respond to your question. When asking your question, please be as descriptive as possible, it will allow us to give you the most accurate answer possible.


text:
Medications to Treat Hands and Wrists
What you need to know about the many medications used for hand and wrist problems.
Medications to ease pain, relieve inflammation, slow bone loss, modify the course of an inflammatory disease or prevent joint damage are an important part of treatment for many hand and wrist problems. The medications used to treat arthritis and other problems that affect the hands and wrists will depend largely on the form of arthritis or related condition that is diagnosed. The types of medications commonly used in arthritis treatment are:
Nonsteroidal anti-inflammatory drugs. Including more than a dozen different drugs, some of which are available without a prescription, nonsteroidal anti-inflammatory drugs (NSAIDs) are used to help ease arthritis pain and inflammation. They are used for all forms of arthritis.
Corticosteroids. These quick-acting drugs, similar to the cortisone made by your own body, are used to control inflammation. If inflammation is due to a systemic inflammatory disease, your doctor may prescribe oral corticosteroids. If inflammation is limited to one or a few joints, your doctor may inject a corticosteroid preparation directly into the joint.
Analgesics. Analgesics are among the most common drugs for many forms of arthritis. They also may be used to relieve pain from hand and wrist injuries and surgery. Unlike NSAIDs, which target both pain and inflammation, analgesics are designed purely for pain relief. For that reason, they may be safe for people who are unable to take NSAIDs due to allergies or stomach problems, for example. When used as prescribed, they're also an appropriate, and possibly safer, choice for people whose arthritis causes pain but not inflammation.
If hand pain is in the soft tissues, you may find relief from an analgesic salve, rub or balm available over the counter under trade names such as Aspercreme, Ben-Gay, Capzasin-P, Eucalyptamint, Icy Hot, Voltaren Gel and Zostrix. These topical preparations work through a variety of active ingredients and may be helpful if you are unable to take oral medications, or if medications fail to relieve pain or reduce it to a manageable level.
Disease modifying anti-rheumatic drugs. Disease-modifying anti-rheumatic drugs (DMARDs) are drugs that work slowly to modify the course of inflammatory disease. Different DMARDs may be useful for a number of different forms of arthritis including rheumatoid arthritis, lupus and psoriatic arthritis, all of which can affect the fingers and/or wrists.
Gout medications. Some medications for gout are designed to reduce levels of uric acid in the blood to prevent future attacks of joint pain and inflammation. Others are designed to relieve the pain and inflammation of an acute attack. Many people with gout take both types of medication.
Biologic response modifiers. The newest category of medications used for rheumatoid arthritis and a few other inflammatory forms of arthritis are the biologic agents. There are currently eight such agents approved by the FDA. Each blocks a step in the inflammation process without suppressing the entire immune system. In addition to rheumatoid arthritis, certain biologic agents may be used in juvenile arthritis, ankylosing spondylitis and psoriatic arthritis.
Osteoporosis medications. Osteoporosis medications are those used to slow the loss of bone or help the body build new bone. Although they are not used specifically to treat hand or wrist problems, strong bones are less prone to fracture. Wrist fractures are among the most common osteoporotic fractures.
The Arthritis Foundation is the leading organization
providing support and funding research to improve the
lives of individuals with arthritis. You can help!


text:
Earlier this week, the Archbishop of Canterbury was quoted by the Telegraph saying that "economic growth is not enough to make Britain a 'healthy society'" and that creating a more caring society is just as important.
Certainly, a strong economy is important to funding our homes, food and energy as well as the public services we all need and the care that many people need. But the way in which we generate wealth is also important.
Care for employees and customers is equally as important as caring about shareholders.
We started pleaseandthanks.co.uk back in 2004 because we noticed a lack of courtesy in business. We don't just mean not saying 'please and thanks' but people being utterly miserable because of an oppressive work environment. We saw that much of this could be improved simply by changing behaviour. Courtesy and caring costs nothing but can achieve a great deal. From a purely economic point of view, we recall the late Albert Humphrey's research which showed that an atmosphere of 'fair play' increased the amount of energy employees put into their work.
Material conditions such as fair wages and employment facilities and conditions are important, but so is the way businesses treat their people and their customers.
As we emerge from the recession, it is time to consider how we want to behave as we see the prospect of pressure easing. While it is reasonable to expect those who can to work hard, it is also reasonable expect them to be treated fairly.
From the prices customers pay for products and services to the treatment of staff, there is massive opportunity for businesses to practise fair play. And we don't believe it need be a cost but could offer considerable opportunity.
• Written by Robert Zarywacz | UK writer, PR and journalist | founder of pressme.co.uk | partner in Zarywacz | chairman of COMBEbusiness | courtesy consultant at pleaseandthanks.co.uk and the National Campaign for Courtesy | Find me on Google+


text:
On the morning of December 1, 2004, Sotheby's offered at auction one of the last great private troves of American art. Daniel Fraad, who died in 1987, made his fortune supplying fuel to airlines; in the late forties, he and his wife, Rita, began amassing American paintings from the nineteenth and twentieth centuries, including works by Winslow Homer, John Singer Sargent, and Edward Hopper. When the Fraads started buying, their taste was not especially fashionable—French art was more in vogue—but by the time of Rita Fraad's death, in May, 2004, American art was highly sought after, and the seventy-eight works on the block at Sotheby's were estimated to be worth between thirty million and forty-five million dollars.
The sale got under way at a quarter past ten, and the first lot, a portrait by the naturalist painter Gari Melchers, sold to a telephone bidder for more than nine hundred thousand dollars, seven times what was expected. The sixth lot, "The Little White House," a 1919 landscape by Willard Metcalf, sold for just over a million dollars—nearly three times its estimate, and also to a buyer on the phone. As a reporter for Maine Antique Digest noted, "People began to wonder: with almost every collector one could think of present in the room, who the heck could be on the phone?"
One of the phone bidders that day was a collector whose activities had thus far gone largely unnoticed by the art world: Alice Walton, the daughter of Sam Walton, the founder of Walmart, who died in 1992. The youngest of Walton's four children, Alice, who was born in 1949 and grew up in Bentonville, Arkansas, was a member of the richest family in America. The Waltons were worth some ninety billion dollars at the time—as much as the fortunes of Bill Gates and Warren Buffett combined. Alice had started buying art in the seventies, mostly watercolors by American artists, but by the late nineties she had become a more serious collector; she hung the works on the walls of her ranch outside of Fort Worth, where she raised, bred, and rode cutting horses, which are trained to work with cattle. In fact, as the auction got under way in New York, Walton was at the Will Rogers Coliseum, in Fort Worth, preparing to compete in the first qualifying round of the National Cutting Horse Association Futurity.
So it was from the saddle of a three-year-old gelding named IC Lad that Walton successfully bid for several lots from the Fraad collection: "Spring," a gorgeous watercolor of a rural scene, by Winslow Homer; "A French Music Hall," by Everett Shinn, the Ashcan School artist; and "The Studio," by George Bellows, which depicts the artist at work with his children playing at his feet. Collectively, these works cost Walton more than twelve million dollars. She competed with IC Lad before lunchtime—they were in the third round, fourth horse—then returned to making bids during the afternoon session at Sotheby's. From the collection of Pierre Bergé, the co-founder of Yves Saint Laurent, she bought several notable works, including "The Indian and the Lily"—an exquisite rendering of a muscular Native American, by George de Forest Brush—and "October Interior," a sunny, celadon-hued painting of a domestic scene, by Fairfield Porter.
By the end of the day, Walton had spent more than twenty million dollars on art. She had also prevailed at the Will Rogers Coliseum, placing sixty-second out of three hundred and seventy-four entrants, which allowed her to advance to the next round. Indeed, she made it all the way to the finals, which took place on December 10th. Walton came in nineteenth out of twenty riders—not a spectacular result but one that came with a prize of nearly thirteen thousand dollars.
"There is a lot that horses and art share in common," Walton told me one morning not long ago, when I visited her in Bentonville, which is in the Ozarks, near the Missouri border, and is where Walmart has its headquarters. "I have found that most horse people are art lovers, and vice versa," she went on. "I think it is more of an intuitive, circular kind of personality, for starters. And, as I say of horses, the secret to breeding great horses is the three 'B's: bones, brains, and balance. If you look at art, it shares some of the same qualities."
Walton does not have the expensively curated look of a Park Avenue matron: her face is tanned and weather-beaten, and shows no signs of having been submitted to the surgeon's knife. She wears her steel-gray hair pulled back in a straggly bun. For a very rich person, she lives relatively modestly: the house on her ranch in Texas, where she spends most of her time, is a simple one-story affair, apart from the masterpieces that have hung on its walls; when guests visit, she cooks dinner herself, though she has help to do the cleaning up. She speaks with a broad Arkansas accent—Bill Clinton at his most down home—and when she talks about her museum project she avoids loftiness. "One of the great responsibilities that I have is to manage my assets wisely, so that they create value," she told me. "I know the price of lettuce. You need to understand price and value. You buy the best lettuce you can at the best price you can."
As Walton spoke, we were in the boardroom of the Crystal Bridges Museum of American Art, which is being built in Bentonville to house Walton's acquisitions in perpetuity. After four years of construction, Crystal Bridges is scheduled to open in November. Looking out of floor-to-ceiling windows, we could see that a large pit had been dug in the red soil several stories below us. Half a dozen cranes and other pieces of heavy machinery were active at the site, transporting hardware and pumping water from the pit—Bentonville had recently suffered almost two straight weeks of rain. Dozens of construction workers had been toiling since dawn. The pit was flanked by two lozenge-shaped bridge structures, each with a convex ribbed roof, which museum employees liken to the shell of an armadillo. One armadillo was to house two galleries; that morning, glass panels were being carefully inserted into the structure. The other armadillo was to be a restaurant. Eventually, the area between them would be a reflecting pond, filled with creek water. On the far end of the pit was another gallery space, a curvilinear concrete structure with a concave roof. In the end, eight pavilions, made from concrete and inlaid with wood, would be linked by bridges and walkways that offered visitors views of the trees and the water—breathing spaces from looking at art. The site was wedged in a tight ravine, and hemmed in by dense woodland: a two-hundred-thousand-square-foot cultural palace-to-be, nestled beneath the tree line. This would not be a triumphal acropolis, like the Getty Center, in Los Angeles. Crystal Bridges aimed to complement its natural setting, rather than crown it.
The paintings that Walton bought at Sotheby's in 2004 will be among those on the walls at Crystal Bridges, which will present a survey of American art from the Colonial period to the present. Connoisseurs who know some of what Walton has acquired say that it will be one of the best collections of American art in a museum. "It will transform our field," Eric Widing, who heads the American Art Department at Christie's, says. Walton has been a valued customer there, too: the day after the Fraad sale, she paid more than seven hundred thousand dollars for a Sargent drawing of his teacher Carolus-Duran. Widing told me, "Once, when I was in the saleroom, on the phone with Alice bidding, I heard something in the background and I said, 'Are you on a horse?,' and she said, 'Yes.' I said, 'That's the first time I've sold a painting to someone on a horse,' and she said, 'No, it isn't.' "
Walton's ambition to found a major museum of American art first came to public attention in the spring of 2005, when she paid the New York Public Library a reported thirty-five million dollars for "Kindred Spirits," a masterpiece of the Hudson River School, by Asher B. Durand. The library's decision to deaccession the work was controversial. Durand's painting commemorates the friendship between Thomas Cole, the landscape painter, and William Cullen Bryant, the nature poet, depicting them standing on a rocky promontory that overlooks an idealized Catskills vista. In the Times, Michael Kimmelman compared the sale to the destruction of Penn Station.
At the time, Walton was tied with her mother, Helen, for the title of richest woman in the world. Each had a fortune of eighteen billion dollars. (Helen died in 2007.) Critics characterized Alice as an exorbitantly wealthy heiress whose aim was to snap up icons and display them as kitschy Americana: Wal-Art. And the Waltons' retail empire—which sold ever-cheaper goods to Americans by outsourcing jobs to labor markets overseas, by forcing the closure of small stores in downtowns across the country, thanks to its vast hypermarkets—was denounced as antithetical to the values underlying the art that Walton was acquiring. "Durand's painting is a touchstone for a set of American ideals that Walmart has been savaging," Rebecca Solnit wrote, in the Nation. "Crystal Bridges Museum seems like a false front for Walmart, a made-in-America handicrafted artifact of idealism for a corporation that is none of the above." Just as bad, some of Walton's critics said, the art works were being spirited off to Bentonville, a town of twenty-eight thousand people whose main cultural attraction was the Walmart Visitor Center.
Walton, whose fortune now stands at twenty-one billion dollars, has become a powerful force in the art marketplace. In 2005, the American Jewish Historical Society commissioned Sotheby's to find buyers for half a dozen paintings that it owned, all eighteenth-century portraits of members of a merchant family, the Levy-Franks. Walton, who was at Sotheby's on other business, spotted them and bought the series—one of the finest collections of Colonial portraiture in existence. Two years later, Walton, in collaboration with the National Gallery, struck a sixty-eight-million-dollar deal with Thomas Jefferson University, in Philadelphia, to buy the Thomas Eakins masterpiece "The Gross Clinic," which depicts Samuel D. Gross, a surgical professor, removing a tumor from a man's leg. Under the arrangement, Crystal Bridges and the National Gallery would share the painting. "The Gross Clinic" is considered one of Philadelphia's treasures, and the art establishment there was appalled. Working together, the Philadelphia Museum of Art and the Pennsylvania Academy of the Fine Arts raised sufficient funds to thwart Walton's plan, in part by selling Eakins works of their own. "We were obviously disappointed," she told me. "You don't get everything you want." She disputes the notion that she has loosened from the walls of venerable institutions paintings that otherwise would have hung there securely. "I don't think our presence in the marketplace has made a difference in anything—these institutions were going to sell because they needed the money," she said, briskly. "They are there to fulfill a mission, and that is not to keep 'Kindred Spirits' two stories up, in a narrow hallway."
Over time, Walton has earned the respect of the museum establishment, although only those closest to her know the full extent of Crystal Bridges' collection: just sixty-six purchases have been announced, a tenth of what has been acquired. Philippe de Montebello, the former director of the Metropolitan Museum, told me, "I suspect it is going to be a substantial and fine collection of American art." (The Met and the National Gallery made a combined offer for "Kindred Spirits," but Walton bested them.) The director of Crystal Bridges, Don Bacigalupi, is highly regarded for the work he did as the director of the Toledo Museum of Art, in Ohio, where he oversaw the successful construction of a new building; and his effort to exchange works with the Louvre, among other institutions, has allayed fears that Crystal Bridges' collection will be simplemindedly nationalistic.
Art-world visitors to Bentonville have been impressed by the museum's attempts to draw in the regional community. Amy Cappellazzo, the chairman for contemporary art at Christie's, recently gave a talk at a Bentonville school that Walton and her brothers had attended. "It was a full house on a Sunday—and Sunday in Bentonville is all about church," Cappellazzo told me. "People asked very intelligent questions, and there was this incredible setup of lemonade and homemade cookies."
Of course, it's hard to withhold respect from such a powerful institution: the Walton Family Foundation recently gave eight hundred million dollars to Crystal Bridges, whose endowment is now four times larger than that of the Whitney Museum. Graham Beal, the director of the Detroit Institute of Arts, which has struggled financially as the city has declined, says of Walton, "Normally, one would say she doesn't have a chance of establishing a new museum of this scale, but with the resources she has—it's enormous."
The goal is to make Crystal Bridges a necessary site of pilgrimage for art enthusiasts. "Like it or not, Alice envisions this as a destination point," John Wilmerding, a Princeton art scholar who is on the museum's board, says. Whether it will have the popular appeal of, say, the Guggenheim Bilbao remains a question. A boutique hotel is scheduled to open in Bentonville in late 2012, but construction has yet to begin, and in the meantime the town offers the kind of hospitality-chain establishments guaranteed to dismay bicoastal types. It has a thoughtfully renovated nineteenth-century town square equipped with a bike-rental store and a jewelry shop, but its dining options are limited. There was considerable excitement among recent Crystal Bridges transplants when it was rumored that a new restaurant called Tuscan Trotter was opening downtown; expectations had to be revised when storefront signs announced the grand opening of a place called Tusk & Trotter.
About a decade ago, Walmart began asking its venders to establish satellite offices in Bentonville, and unsightly office parks and gated subdivisions with names such as Liberty Bell have swiftly replaced farmland. Bentonville has become an odd hybrid—a diminutive country town with suburbs on a scale befitting Dallas. The sprawl is at odds with Crystal Bridges' celebration of nature. Even Walton wishes that Bentonville had stronger zoning laws, but she is proud that the town is thriving and dismisses the argument that Walmart has marred the American landscape. "I haven't ever heard of anything that Walmart hasn't been blamed for," she told me, laughing. "I don't think Walmart causes anything. The question is, does a merchant best figure out how they can best serve their customers? Look at downtown Bentonville—it's a very healthy downtown. It's always been very healthy, and we've always had a Walmart."
The Bentonville region is growing rapidly: with a population of nearly half a million, it is the twelfth-fastest-growing metropolitan area in the nation, according to recent census estimates. Bob McCaslin, the mayor of Bentonville, says that, five years from now, he can see "a really, really pretty Santa Fe-type city, except a lot nicer place to live—prettier topography, and easier to get to."
Walton bought her first work of art when she was about ten years old. It was a reproduction of Picasso's "Blue Nude," and she got it from the first store that her father owned, a franchise of the Ben Franklin dime-store chain. "I saved my twenty-five-cents-a-week allowance—it was about two dollars, I think," she told me early one chilly spring morning, as we tramped along the Crystal Bridges Trail, one of seven paths that are being laid through the woods surrounding the museum. She was wearing black pants, a black cashmere sweater, and a marled gray wool jacket under a fluorescent-yellow windbreaker that was embroidered with her name and that of Crystal Bridges. She had a brown North Face fleece cap pulled over her ears, fleece gloves, and a pair of slip-on shoes. "I've never been much of a shopper—maybe it's my retail background," she told me. "Maybe I've been in one too many stores. I'd rather be outside. Shopping for clothes is not one of my favorite things."
Sam Walton began his retail career in the nineteen-forties, when he became a management trainee at a J. C. Penney in Iowa. He moved to Newport, Arkansas, and opened the Ben Franklin store. In 1950, determined to build his own business, he opened Walton's Five-and-Dime, in Bentonville, which now houses the Walmart Visitor Center. Artifacts on display include Helen Walton's wedding dress and Sam Walton's 1979 Ford F-150 pickup truck. The family lived in a house designed by Fay Jones, a disciple of Frank Lloyd Wright; one wing of the low-slung structure formed a bridge over a stream. The house, which is still used for family functions, is adjacent to the Crystal Bridges site. At the time, the town had a population of twenty-nine hundred. "I grew up riding my horse here," Alice Walton told me as we walked the trail. "We all hiked and followed the creek bed. It was a beautiful, rural, American childhood."
Walton did not often go to museums. The nearest one, the Gilcrease Museum, a collection of Western American art, is in Tulsa, Oklahoma, two hours away. But she and her mother painted watercolors on camping trips; it is no accident, she says, that she started her collection with works in that medium. John Wilmerding told me, "I was quite startled when I first made a visit to her home in Texas. In the bedroom there were watercolors by Childe Hassam and Sargent and Homer, and Alice Walton, and they were not embarrassing."
After graduating from Trinity College in San Antonio, in 1971, Walton entered the family business, but she did only a brief stint, as a buyer of children's clothes. "They are still trying to get rid of the children's dresses I bought, and that was a while back," she said. "I had fun, but it wasn't my interest." Sam Walton, in his 1992 autobiography, "Made in America," said of Alice, "She's the most like me—a maverick—but even more volatile than I am." After leaving Walmart, she became an equity analyst, and started raising horses. Like her siblings, she sought to avoid the publicity that can come with great wealth. She maintained a low profile even after a traffic accident in 1989, in which she hit and killed a pedestrian. (No charges were filed.) "You don't get over something like that—it's a tragedy," she told me, her eyes filling with tears. "It never leaves you. It becomes a part of who you are."
Walton ramped up her civic efforts, becoming the first president of the Northwest Arkansas Council, a nonprofit development group that included business leaders such as John Tyson, the poultry magnate. (Tyson is on the board of Crystal Bridges.) In 1991, largely owing to Walton's efforts, Congress approved funding for the construction of a four-lane highway connecting Bentonville with Oklahoma City, to the west, and with Little Rock, to the east. (On a map the highway looks like a loose thread.) She also spearheaded the construction of the Northwest Arkansas Regional Airport, which opened in 1998. Direct service from New York City is on a small American Eagle jet, which has the familiarity of a commuter-train car, with frequent fliers comparing their urban diversions.
By the early aughts, Walton had begun to contemplate building an ambitious art collection and a museum. "Collecting has been such a joy, and such an important part of my life in terms of seeing art, and loving it," she told me. "And I was absolutely fascinated by the view of American history that art gave me. It was much more real to me, and much more closely tied to the political and social context of the country, and the changes, when I saw it through the eyes of the artists." About ten years ago, she brought the idea of a museum to her siblings and the Walton Family Foundation. "They said, 'What?' " she told me. Jim Walton, the second-oldest brother, who has been very involved with investment in Bentonville, says, "Our initial reaction was to ask a lot of questions and do a little head scratching. As with most visionary ideas, we wanted not only to understand the concept but to look at the practical considerations."
One practical consideration was resolved in 2005, when the Arkansas legislature passed a bill exempting a "qualified museum" from the state's six-per-cent sales tax. This was a boon to Crystal Bridges, given that it has since bought hundreds of millions of dollars' worth of art. Walton notes that other states have similar art-acquisition laws, and bats away the suggestion that the law was designed to benefit solely her museum, or that paying taxes might be another way of giving back. "It is not unlike tax incentives given to major corporations when they move in," she told me. "If Crystal Bridges does what it should do, in terms of tourism, in terms of the number of jobs it has already created through a very difficult economic period, then it has already made that back in spades."
Walton began seeking advice about architects. She recalled, "I had lunch with the very nice president of Huntington Gardens"—the art museum established by Henry Huntington, the railway and real-estate magnate, outside Los Angeles—"and he said, 'You must go and see the Skirball Cultural Center.' " At the Skirball, which is in the Santa Monica Mountains, the natural setting is artfully complemented with concrete and pink stone. "I fell in love with the flexibility of the space, with the indoor-outdoor," she told me.
Walton called Moshe Safdie, the Skirball's architect, and invited him to visit her in Arkansas. "It was a fairy tale," Safdie told me. "We had dinner the evening I arrived, at her cabin in the woods, and the next day we went out to look at numerous sites in Bentonville. I told her what I thought, and at the end of the day, as I was about to leave, I said, 'I guess you are beginning your architectural selection process,' and she smiled and said, 'I am ending my architectural selection process.' " Safdie and Walton travelled to Europe, looking at other museums for inspiration. They were both struck by the Louisiana Museum of Modern Art, near Copenhagen, which was built in the fifties by the Danish architects Vilhelm Wohlert and Jørgen Bo. "It is set on a very pastoral site on the seashore, with a series of pavilions which interconnect, and you really feel you are experiencing art and nature together," Safdie says.
Originally, Crystal Bridges was projected to open in 2009, but construction delays pushed the date back. (The museum's cost has not been released, though tax forms estimate that in 2009 the fair market value of its buildings and equipment was more than a hundred million dollars.) A natural spring that runs through the property, Crystal Spring, had to be temporarily diverted underground, since Safdie had chosen not to build on the ridge—which would have meant clearing many more trees—but to build within the ravine itself. "I thought it would be a very powerful sense of place if you built on both sides of the creek, and dammed it to create ponds," he said. Walton told me that there were times when she wondered if the museum would ever get built. "The Ozark Mountains have many caverns," she said. "Most streams run aboveground part of the time and underground part of the time, so every time we'd drill a bore to put in pilings, we'd either hit the fountain of youth or a mammoth cave, which, obviously, you have to fill up with concrete."
From the outset, Walton did not want her name on the museum, and she has not commissioned a portrait of herself. "I would just as soon not see my wrinkles," she says. She and her initial circle of advisers considered calling the place the Benton Woods Museum. The town is named for Thomas Hart Benton, a senator from Missouri in the mid-eighteen-hundreds who advocated the westward expansion of the United States; his namesake and great-nephew was an important artist from the region. "The Benton Woods Museum would have been a perfectly appropriate name," John Wilmerding told me. "We all went to bed, and the next morning she said, 'I have decided on Crystal Bridges.' I said, 'Oh, Alice, that is so kitschy—it sounds like a second-rate country singer.' She laughed at me and said, 'Well, I like it.' I said, 'Oh, Alice, I do, too.' "
Collecting the artifacts of high culture with the proceeds of big business is a familiar progression for titans of industry. Henry Clay Frick was a coke-and-steel manufacturer and a railway financier before he became the founder of the jewel-box museum on the Upper East Side that bears his name. The core collection of American art at the de Young Museum, in San Francisco, was donated by John D. Rockefeller III, with wealth originally generated by his grandfather, the founder of Standard Oil. In 1903, Isabella Stewart Gardner used an inherited industrial fortune to build a Renaissance palace in the swamps outside Boston. Wilmerding says, "Alice absolutely belongs in that lineage of Isabella Stewart Gardner and Abby Aldrich Rockefeller"—the driving force behind the foundation of MOMA. Although the works at Crystal Bridges have been bought with art history foremost in mind, Walton's taste and interests are much in evidence. Wilmerding told me, "She is constantly trying to give up smoking, which has led to two fabulous smoking pictures. One is an Alfred Maurer, a full-length Sargentesque figure of a woman smoking, and then damned if she didn't go and buy a huge Tom Wesselmann cutout of a smoker's mouth."
Joan Washburn, a gallery owner in New York, who has been involved in a number of the museum's purchases, including a set of screen prints by Jackson Pollock, says, "She says what she likes and what she doesn't like, and she isn't the least bit timid about that." Abstract Expressionism has been one of the harder categories of American art in which to buy, since it is so coveted and so expensive, even for the third-wealthiest woman in the world. (Walton is now outranked by her sister-in-law Christy Walton, whose husband, John, died in 2005, and who is worth twenty-six billion dollars, and by Liliane Bettencourt, the L'Oreal heiress, who is worth twenty-three billion.) For the time being, Crystal Bridges will represent some Abstract Expressionist artists with works on paper and with sculpture, rather than with monumental works in oil. "She does happen to have a very small, beautiful Pollock drip painting, but she is not worrying about competing with what is on MOMA's walls," Wilmerding says. She can be insistent about sticking to a budget. William Agee, an art historian at Hunter College who has advised Walton, recalls, "There was an Edward Hopper painting that came up, and I felt it was a good Hopper, and they are rare. They wanted something like twenty-seven million, and we said it was too much money, and so the dealer sold it the next day to someone for twenty-eight million."
Walton has bought in depth in some areas—the collection contains works by Stuart Davis from all periods of his career, several great works by George Bellows, and several masterpieces by Marsden Hartley. "Marsden Hartley is one of my favorite artists—he was a very complex guy, somewhat tormented, but a very spiritual person, and I love the emotion and the feel and the spirituality of his work," Walton told me. "And Andrew Wyeth—the mystery, the loneliness that is expressed. How do you paint loneliness? I don't know, but they do express it." Walton, who was married briefly in her twenties, has no children, and she has encouraged several of her nephews and nieces to develop an interest in art. "Last year, she went to Basel with some of her family members," Joan Washburn told me. "The NetJets people—the big collectors—go to all the obvious dealers. But she was walking around, seeing everything, taking it all in, having a wonderful time."
Thanks in part to the influence of Don Bacigalupi, who is a specialist in contemporary art, Walton has lately focussed more energy on that sphere: recent purchases include a Warhol silk-screen of Dolly Parton and a Chuck Close portrait of Bill Clinton. One of Crystal Bridges' signature pieces is a monumental sculpture by Roxy Paine of a treelike form, "Yield," which will stand at the entrance. Another contemporary work, "After the Last Supper," by Devorah Sperber, is a bravura reimagining of Leonardo's fresco made from hanging spools of thread, and it is already revealing some of the challenges that the museum may face as it attracts people who have rarely, if ever, visited a museum. When Bacigalupi and Sandy Edwards, the deputy director for museum relations at Crystal Bridges, were showing me some slides of works in the collection, Edwards recalled having shown the Sperber to a local group. "The Christians really got into that 'After the Last Supper' idea," she said. "They said, 'After the Last Supper, things just weren't the same.' " Bacigalupi laughed loudly. " 'Nothing was ever the same'—I never thought of that," he said, before remarking that this would be an excellent opportunity to use a wall text to explain the role that visual quotation plays in contemporary art.
In "The Golden Bowl," the novel by Henry James, Mr. Verver is a retired financier who plans to create, in a place called American City, a museum that would be "positively civilization condensed, concrete, consummate, set down by his hands as a house on a rock—a house from whose open doors and windows, open to grateful, to thirsty millions, the higher, the highest knowledge would shine out to bless the land."
Walton has a similarly educative spirit. For some years, she has given money so that children from the county in Texas where she lives can visit the Amon Carter Museum, in Fort Worth. The thank-you letters she has received from the children, Walton said, have reinforced her commitment to the creation of Crystal Bridges: "They say, 'We didn't know we could go to a museum,' 'We thought that was for rich people,' 'We didn't know they would let us in.' " In its mission, Crystal Bridges has something in common with the great institutions of the late nineteenth and early twentieth centuries, which sought to infuse a populace with high-cultural literacy.
Unlike Mr. Verver's museum, Walton's is set amid rocks rather than atop one. "You think about urban museums, and the traditional neoclassical façade and the ascent of the grand staircase into the temple of culture, and this is quite different," Bacigalupi told me last winter, as he conducted me through the then skeletal structures of Safdie's curving galleries. "The museum is to be discovered in the center of this one-hundred-and-twenty-acre wilderness, and, instead of ascending, you really descend into the museum. The tree line surmounts everything we have built, and that is a metaphor for the intersection between art and nature. It is also a kind of technique for viewing art—the idea that being in nature opens you up for the experience of engaging with a work of art."
Bacigalupi regularly points out that the Ozarks can look quite similar to the landscapes depicted by Durand and his circle: a PowerPoint presentation he gives includes a slide showing a rocky promontory over a valley with glorious fall foliage; the image deliberately echoes the Catskills composition of "Kindred Spirits." Such an elision, it might be argued, glosses over the painting's history, confirming the fears of critics who lamented Alice Walton's purchase of it. But when Bacigalupi was reminded that the Times had likened the painting's purchase to the destruction of Penn Station he expressed bafflement. "How bizarre to think of that analogy, when in fact a Penn Station is being built here, where there is enormous traffic and development and growth, and people living without art," he said. "You could extend that argument, and say no works of art belong in Arkansas, and that is an absurd thing to say."
As it happens, another work of art that Walton has brought to Arkansas is "Excavation at Night," by George Bellows, a dark, gritty canvas depicting the early stages of the construction of Penn Station, when it was nothing more than a hole in the ground. Bellows painted it in 1908, when New York was first asserting itself as a cultural and economic capital, just six years after Richard Morris Hunt's imposing Beaux-Arts façade of the Metropolitan Museum was completed, giving the city a museum as grand as it thought it deserved.
A few years ago, the staff of Crystal Bridges underwent the corporate exercise of crafting a mission statement. They settled on this: "We invite all to celebrate the American spirit in a setting that unites the power of art and the beauty of landscape." Bacigalupi told me, "The idea of the American spirit as an underpinning for all these creative acts was something we really liked, and it resonated strongly with some of the themes in the collection: the idea of American ingenuity, innovation, and engagement with nature."
When I met with Walton, she said that the focus of her collection was, to her mind, an obvious one. "My parents were both very patriotic, and I just would never have considered collecting anything but American art," she told me, as if it were traitorous to even consider buying, say, a Lucian Freud. "I love American history, so it was just a natural thing for me. And we are kind of in the heart of the country—in heartland America, you might say." She'd woken very early that morning, she explained, and had been going over invitations for the opening, and thinking about what to put on the walls of her home in Texas once the art hanging there was sent to the museum. "I can't wait to see people see it, but it is going to be traumatic," she said. "I say that when that truck leaves I am getting my pillow and following."
We walked through the grounds of her museum, through clusters of native trees. Near a stone footbridge, water tumbled over a series of rocky ledges upon which children will be permitted to clamber. They will also be encouraged to play on a work called "Shore Lunch," a sculpture of a bear by Dan Ostermiller, which stands nearby. "We hope children crawl all over him and get paw prints on him," Walton said.
We ascended to an observation deck over the construction site, which has allowed locals to monitor the museum's progress. As we looked down on the workers below, I asked Walton if she had formulated her own definition of the American spirit. "I don't know that I can put that into words," she said. "It's just a feeling I have. I have a spiritual side that is important to me—it's not religious, I don't mean religious—and it's part of the history and the fabric of this country as well." Of "Kindred Spirits," she said, "There's a majesty and a mystery to that painting that, to me, is really all about the American spirit." She went on, "I guess we are a part of that story as well. What my father has done is a part of that. It is the ability to be the best you can be, and to take the opportunity that we have in this country to grow and learn and be the very best we can, and to help other people."
On the site below, a team was placing a copper roof on one of the pavilions, and it glinted in the morning sun like a newly minted penny. By the fall, when the museum opens, it will have started to tarnish, gradually turning to a dull brown; by next summer, it will look like old money. ♦


text:
This single location in Western Australia: None of your libraries hold this item. Found at these bookshops Searching - please wait We were unable to find this edition in any bookshop we are able to search. These online bookshops told us they have this item: Tags What are tags? Public Private login e. Add a tag Cancel Be the first to add a tag for this edition. Lists What are lists? Login to add to list. Be the first to add this to a list. Comments and reviews What are comments? State Library of Western Australia.
The Moon relates to our conditioning, habits, vices, and learned responses; in other words, the Moon is our memory. The Moon is not just our memory of this lifetime; it is our soul's memory, and it is what our soul wants us to remember from other lifetimes. The Moon is our unconscious and our subconscious. The Sun, on the other hand, is our conscious, active life force. The Sun is our will, our power, and our sense of purpose.
The Sun is the heart of our existence; it is the motivation for our life this time around.
The Sun is how we are seen, how we shine, and how we express and project ourselves. The Sun is how we want to be a hero in our life; it is how we want to become an individual. The ecliptic, the apparent orbit of the Sun around the Earth, describes the path that our journey will follow in this lifetime. When we look at a natal chart, what we're actually looking at is a two-dimensional representation of the positions of the planets as viewed from the Earth, flattened to the plane of the ecliptic.
In other words, in a chart, the ecliptic is the chart wheel itself. When we look at the positions of the planets along the ecliptic, we are looking at where along our journey we encounter these energies. The position of the Sun at birth shows the point where we chose to begin our quest for self-expression and self-realization in this lifetime. The ecliptic, the chart wheel, represents the actual course that we will follow. Viewed in this way, the nodes represent the places in the chart where our past, our soul memories the Moon , intersect with our current conscious experiences and our current cycle of lessons and growth.
The South Node is the point where we are able to dip below the ecliptic into our past and access our memories from previous journeys. The North Node is the point where our past lessons intersect with our present journey, the point where we emerge from the past and move into new territory. It is the point where our past lessons come up into the light of conscious awareness and enable us to look at this piece of our past in an entirely new way. Since the South Node relates to our past soul lessons, and the North Node relates to our current soul lessons, the traditional association of the South Node to our past and our karma, and the North Node to our future, or dharma, makes sense.
Planets are said to be in opposition when they occupy points across the wheel from each other, at an angle of degrees. Traditionally, oppositions were considered "hard" or "challenging" aspects, but fortunately this opinion has been largely updated. When I look at oppositions, the keywords I start with are balance and perspective. Others also use compromise , but I find that limiting.
To me, compromise means that each person has to give up something that they want in order to get something that they want. Balance just means that there is agreement and harmony. The thing about oppositions is that both planets really "want" the same thing; they just approach it from different ends of the spectrum. If we can get each planet to see things from the other's point of view, then we can find that middle ground where they can work together and both get what they want.
This process is made easier by the fact that, being directly across from each other, the two planets can "see" each other easily and are able to gain greater perspective on the big picture. The nodes are not planets; they are mathematical points in the chart. This doesn't make them any less important than a physical body; it just makes them a bit different to work with. The planets, remember, represent physical urges for want of a better word and drives that we all have.
We can either choose to work with our Mars, for example, or to ignore it. Either way, we're going to be very aware of its presence in our chart. When Mars is activated by transit, or when transiting Mars triggers activity in our chart, we feel it. If we choose to become aware of it and own it, we can learn to use the energy in the most constructive way possible. If we don't, we're still going to experience it. The nodes, on the other hand, have to do with the spiritual or soul lessons that we can encounter in this lifetime.
The nodes are where the path of our soul development intersects with the path of our physical experiences. Since we're presently incarnated on the physical plane, that is where our focus naturally lies. If we don't choose to work with the nodes and their lessons on a conscious level, we are probably not going to be very aware of how they manifest.
The Complete Node Book: Understanding Your Life's Purpose [Kevin Burk] on linawycatuzy.gq *FREE* shipping on qualifying offers. This book is the first. The Complete Node Book has 21 ratings and 0 reviews. This book is the first comprehensive guide to the Moon's nodes--probably the most misunderstood poin.
In order to really work with and experience the nodes, we have to become consciously aware of our spirituality, of our soul connection and our connection to the universe. We have to accept that we came here with a lesson that we chose to work on in this lifetime, and we have to be ready to ask what that lesson might be.
Are we learning it now? But the soul path lesson is far more subtle than a Mars transit. The nodal axis is not our spiritual path in this lifetime. What it is, or rather, what it can be, is a spiritual compass, pointing us in the right direction. The nodes show us where our spiritual path and our soul lessons intersect with our physical path, and they are the points where we can most easily align with our spiritual path.
So with the nodes, it's not just about perspective and balance, it's about learning how to consciously work with and integrate the lessons, gifts, and experiences indicated by the North and South Nodes. The nodes can tell us what we have to work with, and show us what direction to go in to experience our lessons and to look for our true path in this lifetime.
By its location in the chart, the South Node represents the types of experiences and memories that our soul wants us to have in this lifetime to help us on our developmental path.
If our soul has gone to all of the trouble of bringing up these experiences, shouldn't we pay attention? And would a soul filled with love and light intentionally send us back into the material realm with only excess baggage? The South Node represents gifts to us from past lives. The lessons, skills, talents, and abilities that we struggled so many years to develop and master are still available to us through the South Node. The South Node is our soul's report card. It tells us what subjects we have passed: Just because we can now look at the South Node in a more positive light doesn't mean that the traditional warnings about the South Node being a "trap" don't have merit.
Every planet and point in the chart has a highest potential and a potential trap. With the South Node, the trap is to mistake summer vacation for graduation.
We may be able to take a break, but we're still in school. So long as we are incarnated on the Earth, we are here to learn. Even though the South Node represents lessons and skills that we have learned, used, and often mastered in the past, it also is an indication that we still have more to learn about them in this lifetime. We may have learned the skills too well and limited our growth in other areas.
We may have misused the information in the past, learning the letter of the lesson but not the spirit. Or it may merely be time to learn how to use the skills in a different way, to expand our mastery. In any event, for higher education, we look to the North Node. True, the trap of the South Node is a tendency to stick with what is familiar, which can mean that we miss opportunities for growth and repeat old patterns.
Also true, the way to avoid the trap of the South Node is to work with the North Node, which is why the North Node got such a great reputation. But the North Node also has a trap: The temptation of the North Node is to forget where we've been, and to focus only on where we are headed. The North Node, after all, brings success, happiness, abundance, luck, and freedom from the patterns and habits of the past. The North Node is the spiritual equivalent of the trip to the Bahamas that we've always wanted to take.
And just like that trip to the Bahamas, the trap of the North Node makes us feel that much as we want it, we probably can't afford it. The North Node can seem to say, "You can get to the Bahamas, but you have to leave your nice, comfortable boat and swim there on your own. Oh, and by the way, there are probably sharks in the water. We buy into the idea that we have to sever our ties to the past and create a new future. We dive into the water to swim out to the Bahamas, get part of the way there, and either get too tired or too scared of the sharks in the waters, and hurry back to the comfort and familiarity of our boat, the S.
And if we've really bought into the trap, we may feel like a spiritual failure on top of it all. Obviously, this is not an interpretation that is very supportive.
My intention is not to bash the North Node, only to point out that the traditional interpretation of the nodes encourages us to stay away from the South Node to reap the rewards of the North Node, and that is just not what it is all about. The true process of the North Node is not about turning our back on the past.
The North Node is about taking stock of the past, honoring it, working with it, building on it, and learning how to use it in a new way. Instead, it tells us that we are now going to learn how to use our Gemini experiences in a Sagittarian way. It tells us that part of our path, part of our lesson in this lifetime, is to recognize that there is a point of balance between Gemini and Sagittarius, and finding it will be a key to our spiritual growth and development. By working with both the North Node and the South Node, we get to take the boat to the Bahamas instead of having to swim there.
Interpreting the Nodes Before we can begin to integrate and interpret the nodal axis, there is one more factor to consider: The single most important thing to remember about the houses is that the houses are NOT the same things as the signs. Every book on the Moon's nodes that I have come across makes the same assumption and claim that, for example, the North Node in Aries is the same thing as the North Node in the 1st house.
This is simply not the case. Remember that the signs are the roles the actors play and the costumes they wear, while the houses are the scenery, the locations, and the places where the actors go to play out their roles. The signs represent the underlying motivations and the evolutionary lessons that we must learn. The houses represent the areas of life where we are most likely to encounter these lessons.
The signs, then, are the "What" and the houses are the "Where. The houses, too, have their lessons, and like the lessons of the sign axis, the house axis teaches the importance of balance and perspective. The opposing houses, like the opposing signs, represent areas of life that we must learn to integrate and harmonize. Just as we may tend to get a little too comfortable with the gifts of the South Node, we may also tend to focus more on the area of our life represented by the house of the South Node.
We may also occasionally focus too much on the North Node or spend too much time involved in the affairs of the North Node's house, and forget to draw on the support and resources of our South Node. Because the houses represent the places where we will naturally encounter the nodes, if we want to work with our nodes, we can simply devote time to activities that relate to the houses in question, and then we will naturally encounter our nodes.
When interpreting the nodal axis, the first and most important factor to consider is the sign axis of the nodes. What do the two signs have in common? All opposing signs share some common theme; they simply approach it from different perspectives. Next, we look at the sign placement of the South Node and the North Node within this axis. What are the gifts that the South Node offers? What are the best and most wonderful expressions of the sign of the South Node?
How can working with the North Node balance and enhance these gifts? By exploring these questions, we can discover some of the lessons of the specific nodal axis. Now, we can take this understanding and look at the house placement of the nodes to learn more about where in our life we will be able to experience and encounter these lessons. Finally, let's try to put things into perspective.
Remember that the nodes are not physical bodies, and because they are not physical bodies, they operate on a far more subtle level than the planets do. Unlike the planets, the nodes do not play a very big part in the development of an individual's personality. The nodes, however, are the key to understanding more about what our spiritual purpose is in this lifetime.
Sometimes the nodes are closely connected with the planets in a chart, and the connection between the individual's physical life and his or her spiritual path is obvious. Sometimes the nodes seem to exist on their own, separate from the rest of the action in the chart. Whichever way the nodes appear to be linked with the other elements in the chart, the nodes can help us step back and see beyond the limitations of our time on Earth, and once again glimpse the bigger picture of the evolutionary journey of our soul.
Would you like to tell us about a lower price? If you are a seller for this product, would you like to suggest updates through seller support? Learn more about Amazon Prime. This book is the first comprehensive guide to the Moon's nodes--probably the most misunderstood points in astrology.
The nodes are not planets, but the points on your birth chart where the orbit of the Moon around the Earth crosses the ecliptic. The nodes are the key to understanding your spiritual purpose for this lifetime. The South Node reveals the lessons, talents, and abilities you mastered in past lives, while the North Node shows you how to best use your past-life skills for spiritual growth, happiness, and success in this life.
It defines and analyzes the specific lessons and challenges presented by each of the possible placements of the nodes. Both sign and house placement of the nodes are considered for extraordinarily insightful and accurate interpretations. For advanced astrologers, it will serve as the definitive reference manual on the Moon's nodes.
Read more Read less. Add all three to Cart Add all three to List. Some of these items ship sooner than the others. Buy the selected items together This item: The Complete Node Book: Ships from and sold by Amazon. Customers who bought this item also bought. Page 1 of 1 Start over Page 1 of 1.


text:
A More Resourceful Way to Manage Benefits
In the ever-changing landscape of employee benefits, delivering health and retirement benefits that are competitive, cost-effective, and compliant with new legislation takes vigilance and expertise. Outsourcing benefits administration to Mercer allows your HR department to weather the changes while keeping your strategic mission on course.
A Results-Driven Approach
At Mercer, we're focused on delivering health and retirement benefits that produce tangible, measurable outcomes tied to your strategic business goals. Outsourcing benefits administration to Mercer can help relieve the headaches of running a benefits program: cost increases, administrative burdens, pension risks, and legislative issues. Mercer's innovative approach to benefits administration streamlines the process for you while educating employees and empowering them to make better decisions.
Global Scope, Local Expertise
Mercer's global footprint means we have resources in the market that speak the language, understand the culture, and follow the new laws and regulations. Rules and regulations regarding health care and retirement plans vary dramatically from country to country.
Holistic and Client-Focused
Working with Mercer Benefits Administration means taking advantage of our over 22 years of insights and experience. We work closely with clients, using a strategy-first consultative process that surfaces issues and leads to real-world solutions.
Defined Benefit Administration
Total Benefits Administration
Mercer BenefitsCentral℠
Participant Services
Defined Benefit Pension Plans
Mercer can help Defined Benefit plans manage persistent risks like: market volatility, uncertain liabilities, and pressure to reduce expense and contributions.Learn more
Pension Risk Management
Mercer provides clients with a holistic approach to Pension Risk Management. One that aligns strategy with the plan's overall funding status.Learn more
Defined Contribution Plans
Mercer can help design, plan, optimize and manage customized Defined Contribution programs globally and locally.Learn more
Employee Financial Wellness
Mercer Financial Wellness programs help employees reduce financial worries while employers increase workforce engagement and productivity.Learn more
Alternative Investments
Mercer Alternative Investments provide a solid means to guard against the volatility of equities, hedge against inflation, and achieve better returns.Learn more
Endowments and Foundations
Mercer is dedicated to helping Endowments and Foundations not only realize higher risk-adjusted returns, but also fulfill a higher mission.Learn more
Financial Intermediary Partnerships
Mercer can help financial intermediaries bolster resources, generate investment ideas, perform due diligence, and assess operational and fiduciary risks.Learn more