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Maurice Sendak, the writer and illustrator, can usually be found in one of two places in Ridgefield, Connecticut: in the studio off the kitchen in his eighteenth-century clapboard farmhouse, where he works most days, or a quarter of a mile away, in a small, two-story red barn he built ten years ago, which doubles as a second studio, and where he prefers to meet people he doesn't know very well. My first meeting with him was in the barn. I took a taxi from the train station, through snow-bleached woods, until the road became a dirt road. The taxi dropped me off in front of the barn, but when I knocked there was no answer. I had been told that the door would be open. It was locked. I waited, alone in the woods. About fifteen minutes later, a man appeared, wearing a long, buttoned-up shearling overcoat. He had gray hair, a cropped gray beard, and large, slightly slanted agate eyes. He walked with a cane and was accompanied by a German shepherd, like a man in a fairy tale. He put out his hand and said, "I'm Maurice Sendak." We went inside the barn, where it was a bit warmer, but we kept our coats on: the implication was that I might not be staying long.
On the floor was a round hooked rug with the face of a Wild Thing picked out in green-gold wool. Over the sink, instead of a mirror, was a pen-and-watercolor sketch of Little Bear flying across a moonlit landscape. By the north window was a bookcase painted a pale blue and filled with literature—Henry James, Melville, Shakespeare—the spines neatly aligned. (Later, Sendak told me, "Even my loneliness is organized.") When I went to look, Sendak said, "Now that I'm old, I am reading more seriously. I can read Emily Dickinson now. It's a relief and a privilege. This fall, I reread 'The Winter's Tale.' It turns out that the dead are not dead. Perdita, the lost girl, grows up in Bohemia. My hair stood on end." He pointed out a dilapidated wrought-iron bench that had belonged to his parents. He said, "My brother and sister and I sat on that bench and listened to 'Let's Pretend' on the radio. 'How do we get to Pretend Land?' And a little boy would say, 'Let's go on a boat!' We'd stare at the radio."
Sendak asked if I would like to take a walk. The winter had been mild, but the cold weather had returned. As we went up the road, he said, looking at an early patch of skunk cabbage, wilted by the frost, "Dummkopfs. You'd think they'd learn. Nobody learns!" When Sendak was young, his good looks were saturnine—he resembled the pop singer Eddie Fisher—but now, at seventy-seven, he looks more like his drawing of the winged servant, for Isaac Bashevis Singer's story "Fool's Paradise." (Sendak likes to say that his parents didn't take him seriously until he illustrated Singer, in 1966.)
Sendak published his first work in 1947, an illustration for "Atomics for the Millions," which was written by his high-school physics teacher. He drew molecules doing the Lindy Hop, and made a hundred dollars. Since then, he has illustrated more than a hundred books, including "Little Bear," by Else Holmelund Minarik, the first "I Can Read Book"; "The Animal Family," by the poet Randall Jarrell; "The Juniper Tree," a collection of Grimm fairy tales, translated by Lore Segal and Jarrell; and "I Saw Esau," a collaboration with the British nursery-rhyme scholars Iona and Peter Opie. His style encompasses homely thumbnail sketches and detailed drawings that have their roots in the work of Cranach and William Morris. When he began illustrating, he said, he was asked, " 'Where are your blond children? They look like dumbfounded immigrants!' Which they were." But it is the handful of children's books that he has both written and illustrated that constitute his autobiography. The best known of these is "Where the Wild Things Are," a book about a tantrum and a time-out, published in 1963. When Max, a boy dressed in a white wolf suit, is sent to bed without supper, his room becomes a forest, an ocean swells outside his window, and a boat takes him to a land where the Wild Things are—lumpish creatures who roll their eyes and gnash their teeth, and were based on Sendak's own relatives in Brooklyn. Max stares the Wild Things down; they anoint him king; and he reigns until, lonely and a little hungry, he sails home to find his supper waiting for him.
Like every Sendak story, "Where the Wild Things Are" explores his preoccupations, chief among which are the vicissitudes of his own childhood, and the temerity and fragility of children in general. His narrative is almost always about a child in danger whose best defense is imagination. The book editor Michael di Capua, who has worked with Sendak for more than forty years, calls this "the story." In September, Scholastic will publish Sendak's first pop-up book, "Mommy?," about a baby who finds himself in the wrong house, and defeats one monster after another. " 'Mommy?' is the story again!" di Capua says. The cartoonist Art Spiegelman told me, "Maurice reinvented what a children's book is: it's a book."
HarperCollins, Sendak's longtime publisher, estimates that there are about seventeen million copies of "Where the Wild Things Are" in circulation. Its success has allowed Sendak to pick and choose his projects: "Max is a useful child. What other four- or five-year-old allows his father to stay home and sulk?"
In the last two decades, Sendak has turned his attention increasingly to the theatre. For more than fifteen years, he was engrossed in a collaboration with the opera director Frank Corsaro; their work together included Mozart's "The Magic Flute," Janáček's "The Cunning Little Vixen," and an opera version of "Where the Wild Things Are." With the writer and director Arthur Yorinks, he started the Night Kitchen Theatre; "Mommy?" began as a stage piece there. As an artist, too, he has veered away from the territory of children's literature. In 1993, he illustrated the rhyme "We Are All in the Dumps with Jack and Guy," inspired, he said, by a trip to Los Angeles where he saw children living on the street; the pictures incorporate headlines about the AIDS epidemic. He has illustrated books for adults, among them Melville's "Pierre" and "Penthesilea," a homoerotic classical tragedy by Heinrich von Kleist.
After the publication of "Where the Wild Things Are," the Times' art critic described Sendak as "one of the most powerful men in the United States," because he "has given shape to the fantasies of millions of children—an awful responsibility." Those children have now grown up. As a boy, the novelist Dave Eggers, who, with the director Spike Jonze, is adapting "Where the Wild Things Are" for the screen, wanted to be an illustrator, and one way he taught himself to draw was by copying the pictures in that book. "I read it and grew up on it and was scared by it. Max is in peril all the time," he told me. "I know now that Maurice also feels himself to be imperilled. But I don't think Maurice feels comfortable being safe. And I don't think he wants his work to be thought of as harmless." The playwright Tony Kushner read Sendak's books as a child, and he told me, "I wanted to be Maurice Sendak." They are now friends; Sendak played a rabbi in the HBO production of Kushner's "Angels in America," and Kushner wrote the text for the follow-up volume to Selma G. Lanes's "The Art of Maurice Sendak." He also collaborated with Sendak on the book and the opera "Brundibar." "Brundibar" and a companion opera, "Comedy on the Bridge," directed by Tony Taccone, premièred at the Berkeley Repertory Theatre last November; they open at the New Victory Theatre, in New York, later this month.
A few weeks after we met, I drove with Sendak from Ridgefield to New Haven for the first preview performance of "Brundibar" at the Yale Repertory Theatre (it played there in February and March). Sendak gave up driving several years ago, and Yale had sent a limousine to take him to the opera. Sendak said, "I wanted to be Mozart, but here I am, a wizened old Jew in the back of a hearse!" He looked out the dark window and said, "It was accepted, in my family, that everyone was nuts. My brother had his tonsils out, and after that he was convinced that the radiator pipes in the living room were going to fall on him. For me, it was the Lindbergh baby. A goyis__he child with German shepherds to protect him—I thought the solution had been to be a goyis__he child. My fear is ancient." (In Sendak's 1981 book "Outside Over There," goblins steal a baby whose face, on one page, he told me, is "an exact portrait of the Lindbergh baby.")
"Brundibar" is a children's opera, written in 1938 by the Czech composer Hans Krása, with a libretto by Adolf Hoffmeister, a Czech writer and critic. For this production, Kushner adapted the libretto, and the sets were based on Sendak designs. Sendak was nervous about the preview. "Tony called me up, and said, 'It's fine.' I said, 'I'll kill myself now.' " I'd been watching the rehearsals at Yale, and I told him that one evening the adult actors, listening to the children sing, were so moved that they missed their cues. "They missed their cues?" he said, with alarm.
"Brundibar" came about by chance. In 2000, a friend sent Sendak a recording of Krása's opera, which had first been performed by the children at the Vinohrady Jewish orphanage, in Prague, in 1942. Later that year, Krása and the children, along with most of the other Jews in Prague, were deported to Terezin, which was run by the Nazis as a "model" camp. Krása staged the opera there fifty-five times; it was also filmed, and scenes were included in a propaganda piece called "The Führer Gives the Jews a City." The libretto is a fairy tale about tyranny and kindness. Two penniless children, Pepicek and Aninku, try to earn money to buy milk for their sick mother by singing in the street, and are bullied by Brundibar, the local organ-grinder; after a trio of talking animals intercedes, a chorus of little children joins them in song, the coins pour in, and the bully runs off. Of the fifteen thousand children who passed through Terezin on their way to Auschwitz, only a small percentage survived the war.
Immediately, Sendak wanted to do something with the material. In 2001, he collaborated with the dance company Pilobolus on a piece set to music by Krása and others, called "A Selection," after the roll call at which some prisoners were sent to work and others to their deaths. In "Last Dance," a film on the making of the piece, Sendak, who can be obstreperous, suggests to the directors, following an afternoon fraught with disagreement, " 'Nazis Sending Jews to Be Cooked.' That's a good title."
Sendak asked Kushner to write the text for a picture book based on the opera. In the first set of drawings, Brundibar was Hitler, with a black mustache under a Napoleonic hat. "Children's literature, like the theatre, is telling stories with pictures," Kushner said. "In every conversation, Maurice produces something devastating. He'll kill me for saying this, but there is a quality in him that I find in a lot of Jewish people of his generation. It's amazing how much he has learned from reality." Sendak said recently, "Children know about death and sorrow and sadness. 'Brundibar' is about how children know that."
The sets for "Brundibar" were designed by Kris Stone. (As a child, she was obsessed with Max's room. She told me, "My friends are artists. When I see an installation sprouting grass, I think, Maurice!") Stone went through the book and found images—a little porch with scallops, a bucket belonging to Aninku—and when she couldn't find what she needed she used other Sendak images: the sky is from the Glyndebourne Opera production of "Where the Wild Things Are"; the moon is from a cover that Sendak did for this magazine in 1993. "In Terezin, the original set was very simple—a plank fence, a platform—but they did it that way because they were in Terezin," Stone said. "This is a universe he's dreamed. I think that a story in which children save their mother is very important, now, to that imaginative universe."
At the Yale Repertory, when the curtain came down, the audience was in tears. I went backstage with my six-year-old daughter. Sendak showed her the perch from which the beautiful yellow bird had flown down, and the painted bench where Pepicek and Aninku slept. Although the adults I spoke to about Sendak have often found him irascible, with a child he was gently attentive. (Later, he asked me, more than once, "Did she like it?") Then he said, to the waiting cast, "Thank you. That was wonderful. This was for Hans Krása. He only got one chance, and now you've given it back to him."
Sendak was born on June 10, 1928, in Bensonhurst, Brooklyn, the third child of Philip and Sarah Sendak, Polish Jews who met in New York when Philip heard Sarah reading aloud a story by Sholem Aleichem. Philip worked in the garment industry, as a pleater. Maurice and his sister, Natalie, and his brother, Jack, were born on the dining-room table. Maurice, who was called Murray, was a sickly child. His grandmother made him a white suit of clothes, so that when the Angel of Death passed over the house he would not be taken: according to her, only angels wore white (Max's wolf suit is white as well). When he was very small, a photograph of his maternal grandfather hung over his bed; one morning, he awoke from a fever to find that the picture was gone. During the night, he had stood up and spoken to the picture, and his mother, convinced that her father was persuading him to come to the land of the dead, had ripped up the photograph. After she died, Sendak and his sister found the torn pieces packed away in a closet. (Sendak had the picture restored, and it now hangs over his bed.)
Sendak believes that Sarah suffered from depression. He recalled, "My mother had no ups. There was no pleasure in her life. Feeling sorry for her was my childhood." The one time that Maurice asked another child over to his house, his friend found Sarah strange, and asked, "Is that your mother?" Maurice said no.
Philip Sendak was more voluble—in old age, he dictated a book of tales from his childhood that Sendak illustrated, called "In Grandpa's House"—but his storytelling often cloaked an emotional violence. He told Maurice that before he was born Sarah had stood on a bench; Philip had repeatedly pushed her off, in an effort to terminate the pregnancy. "I would listen in fascination," Sendak recalls. "To him, it was a funny story." When Sendak repeats a line he finds ridiculous, he draws his circumflex brows together and raises his voice to a high-pitched squeak.
Was it the bench in the barn? I asked.
"No, it was not the bench in the barn!" he said.
Natalie gave him his first book, "The Prince and the Pauper." With Jack, he wrote and illustrated picture books. (Jack, who in later years worked at a post office, also wrote several books for children, two of which were illustrated by Maurice.) Every week, Natalie and Jack took him to a double feature. He was in love with Mickey Mouse. "When Mickey appeared on the screen, I would stand on my seat and scream," he told me. "The fun was how not nice he was. In the beginning, he had teeth; he makes a Wild Thing look like Shirley Temple." Mickey became the subject of his first finished drawing.
When Maurice wasn't at school, which he detested, or at the movies, he spent most of his time sitting at a window that looked out on the street, drawing. His first book, "Kenny's Window," published in 1956, is about a boy who sits by his window and answers a series of dreamlike questions ("What is an only goat?"; "Do you always want what you think you want?"). He had recently read "One Little Boy," by Dorothy Baruch, a psychoanalyst who was doing early work with autistic children. The boy's name was Kenneth. Sendak recalled, "I was blindsided by that kid, by his inability to communicate. Kenny's troubles suggested my childhood to me. I had been that lonely."
The cartoonist Jules Feiffer, who has known Sendak for fifty years, told me, "How close as adults we can get to the feelings of childhood is a mystery. But Maurice? He's been able to stay very close. Even the stories he hasn't written himself he informs and reveals. It's Chaplin eating his shoe in 'The Gold Rush.' It's depressing, but he lives, by eating that shoe."
Sendak's book "The Sign on Rosie's Door" (1960) is a series of gemlike stories about a little girl in Brooklyn who, through personality and imagination, turns a humdrum street into a play by Pirandello, and her friends Sal, Pudgy, and Dolly into players: "I'm Alinda the lost girl," Rosie says. "Who is going to find you?" Sal asks. "Magic Man." Sendak said, "I remember them all. I could see right into Rosie's house. We lived in apartment houses very close to each other. Next door, a little girl, Helen, was being abused. My sister and I would listen. Afterward, Helen would go down and play in the street. The doors were wide open. Everything was in code."
In the nineteen-seventies, Sendak went back to his old neighborhood with a camera crew, and knocked on Rosie's door. The person living there turned out to be Rosie's cousin. She gave Sendak a telephone number for Rosie, who still lived in the neighborhood, and he called her. "I said, 'Rosie, I'm the guy who used to be in the window.' And she said, 'Yeah, I remember, what were you doing?' And I said, 'I was drawing, and making things up about you.' "
When Sendak was a teen-ager, the family moved four blocks away—"It could have been across the ocean." By then, their apartment was full of photographs of Sendak cousins in Poland—of newlyweds, of babies—who had been sent to concentration camps. Natalie's fiancé was killed in the war. Sendak said, "From that moment, I automatically began to take care of her. It became my full-time job." Every August, the family went for two weeks to Charlie's, a kosher hotel in the Catskills. In 1944, Jack was missing in the Philippines. That summer, Maurice befriended a girl named Pearl—her brother, too, was missing in action—and gave her his 1939 World's Fair ring. Jack eventually returned but, the next spring, Maurice received a postcard saying that Pearl was dead. "There was something wrong with her back; her mother had put her in the hospital for an operation she didn't want, that didn't help, and she caught an infection and died," he said. "You can die when you're a child, that's what I knew. Pearl was my Anne Frank." The dedication for "The Sign on Rosie's Door" reads, "Remembering Pearl Karchawer / and all the Rosies / and Brooklyn."
In 1946, Sendak graduated from Lafayette High School, where he had contributed cartoons to the school newspaper, and went to work at All-American Comics, drawing backgrounds for "Mutt and Jeff." He moved to the West Village, and studied with the painter John Groth at the Art Students League. "He'd say, 'Do a drawing of Marlon Brando fucking Vivien Leigh in "Streetcar." Do a Goya drawing, and do a Daumier drawing.' " Sendak taught himself to draw animals at the Central Park Zoo.
He was offered a job painting window displays at F. A. O. Schwarz. Frances Chrystie, the children's-book buyer for the store, was a friend of the editor Ursula Nordstrom, of Harper & Brothers, whose list included Laura Ingalls Wilder and Margaret Wise Brown. Chrystie arranged for Sendak to meet her, and that led to his first assignment as an illustrator, for "The Wonderful Farm," by Marcel Aymé. When Ruth Kraus, another Harper & Brothers author, saw Sendak's sketchbooks, she insisted that he do the drawings for her manuscript "A Hole Is to Dig: A First Book of First Definitions." The definitions—"A face is so you can make faces," "Dogs are to kiss people"—had been contributed by nursery-school children. Sendak recalls, "She was writing the most original postwar books in America, but no one paid any attention, because they were 'children's books.' She was very strict with me. She said about my pictures, 'Why is she doing this, and he's doing that? Why can't she do that and he this?' There are more hermaphrodite children in 'A Hole Is to Dig' than in any other work of literature!"
Published in 1952, the book brought a flood of commissions. Soon Sendak was illustrating between four and six books a year, a surge of productivity that included, in 1957, the first Little Bear book. ("It was fascinating to watch him learn how to draw," di Capua said. " 'A Hole Is to Dig' is a triumph of experience over ability, but, in the Little Bear books, you see his draftsmanship magically evolving, until, in the last one, the illustrations are darkly exquisite.") In 1962 came the "Nutshell Library," which Sendak both wrote and illustrated, a set of four tiny books—"Alligators All Around," "Chicken Soup with Rice," "One Was Johnny,'' and "Pierre"—housed in a three-inch-by-four-inch slipcase. Disobedient Pierre, whose reply to every question is "I don't care," is a forerunner of Max.
Pierre's fate—he is gobbled by a hungry lion—was recalled to me frequently during my own recalcitrant childhood, and when we were walking through the woods I mentioned this to Sendak. He stopped and poked at an ice-bound rock with his cane, his face a mask of guilt and concern. "But he was fine! The lion threw him up."
The year after the "Nutshell Library" appeared, Sendak published "Where the Wild Things Are." Publishers Weekly, while praising the "frightening" illustrations, noted that they accompanied "a pointless and confusing story"; a librarian reviewer wrote, "It is not a book to be left where a sensitive child may come upon it at twilight." The book won the Caldecott Medal for the best picture book of 1963, but Sendak encountered the same mixture of condemnation and approbation with the publication, in 1970, of "In the Night Kitchen," in which a naked, gleeful little boy called Mickey narrowly avoids being made into a cake. Even into the nineteen-nineties, because of Mickey's nakedness, it was routinely banned from school libraries, but it now sells almost as many copies per year as "Where the Wild Things Are."
"The book I didn't like," Sendak said, was his 1959 edition of Hans Christian Andersen. "For me, he's too morbid. Why did the little mermaid have to bleed? Why did the girl with the red shoes have to die? I didn't know enough to stay away from it." He added, "I don't believe in punishment. Who in life gets punished? Not Pierre. In my books, Max is the only one who, in reality, does do damage. He pushes it too far. His mother is in emotional disorder, and he's pushing her to the limit. He knows her, and she punishes him. In the end, this will happen three times a week until he goes into therapy." At the same time, Sendak's friend Philip Roth was exploring a grownup counterpart of Max in Neil Klugman, in "Goodbye, Columbus," and Alexander Portnoy, in "Portnoy's Complaint," as was, in a minor key, J. D. Salinger—Kenny and Rosie coming of age—in his stories of the Glass family. Sendak continued, "We were all feeling hot. I brought to the industry the rebellious kid, because I came with a particular disregard for what a children's book was supposed to be. My God, Max would be what now, forty-eight? He's still unmarried, he's living in Brooklyn. He's a computer maven. He's totally ungifted. He wears a wolf suit when he's at home with his mother!"
In 1967, Sendak, then thirty-nine, suffered a near-fatal heart attack, the result of a childhood fever that had weakened his heart. On hearing of his illness, Else Holmelund Minarik sat down and wrote "A Kiss for Little Bear." Michael di Capua recalls that she thought that if she wrote another Little Bear book Sendak would live. In the story, the picture that Little Bear paints to give to his grandmother is of a Wild Thing. " 'Collaboration' is an important word to Maurice," Arthur Yorinks told me. "He's done it with writers, and then with himself, as an artist and a writer."
Over the years, Sendak had been approached many times by people who wanted to make a movie version of "Where the Wild Things Are." Only Spike Jonze and Dave Eggers, he says, showed any imagination. Jonze said, "What I've learned about Maurice is that, however wise he is, he's a kid. He's sad, he's enraged. He gets frustrated. When he gets angry, he bites back. Conversation with him is raw."
Sendak has shared the Ridgefield house for many years with his partner, Eugene Glynn, a New York psychiatrist who specializes in the treatment of adolescents. About rural life, Sendak says, "You know, I always knew I was going to leave New York. I had an accumulated yearning for the country. In 'Dark Victory,' Bette Davis went to the country to die. What I didn't know is that if you fall down in the road in Connecticut the owls pick your eyes out." Sendak suffers from insomnia, so he rises late. He tries to work every day. He spends a lot of time listening to music and reading, and he watches TV and movies that Spike Jonze sends him, which he usually hates. He likes to talk on the telephone: every Sunday, he speaks to his friend the choreographer Twyla Tharp for more than an hour. Every day, he goes for a long walk with his German shepherd, Herman—named for Melville—one of a long line of Sendak dogs, the most important of whom was Jennie, a white Sealyham terrier. Jennie is the heroine of "Higglety Pigglety Pop!" and is chased by Max in "Where the Wild Things Are."
Sendak's house is low-ceilinged and comfortable. A hallway leads to the sitting room, where there are two toy Borden's milk trucks on top of a bookcase. One of them was made by Lynn Caponera, who has been running Sendak's household for almost thirty years, since she was eighteen. Her name, like Jennie's, appears on marquees and signs throughout his books. Perched on a settee is a Rosie doll, wearing a red dress and black boa, which was produced after "The Sign on Rosie's Door" was made into a film, with music by Carole King, in 1975.
At lunch, we sat at a table crowded with memorabilia: a King Kong coaster, a postcard of Caravaggio's "Beheading of St. John the Baptist," and a solid-silver Mickey Mouse from the hood of a Ford. A garland of Mickey Mouse paper dolls hangs from a white wrought-iron chandelier. Sendak said, "You have to have the right people around." He also owns a Charlie Chaplin figure, given to him by the poet Marianne Moore, who was a neighbor of his on West Ninth Street; in the nineteen-seventies, Sendak would visit Moore and read aloud to her.
We were eating an apple crisp, and Sendak suddenly moved his fork from his right hand to his left hand. "This is delicious," he said. "See, look, if I like something I switch to my left hand." As a child, he was hit with a ruler for using his left hand; he draws with his right.
Robin Shane, the costume designer for "Brundibar," had said to me, "The opera should look like what people think the book looks like. Maurice always says that in his drawings the moon is the face of his mother." I asked Sendak about this. "It's true," he said. "The moon is always there. I must have it. My mother had a round, white face. She was always watching for me." He paused, then said, "Yeah, she's there saying, 'Murray, don't put your feet in the gutter_—not one foot!_ ' The moon is purity and love."
I said, "But you didn't feel that way about your mother."
Sendak barked back, "If I had a real mother and she made me happy, and a real father who made me happy, I would be working in the computer store with Max."
A week after the preview of "Brundibar" in New Haven, Sendak was sitting at the big table in the barn. An old oil painting of his was propped up in one corner. He said, "It's an early attempt. The figure is by Bruegel, the trees are by Goya. See how the Angel of Death has raised its sword over the old man? I could have stopped right there! The other day, a woman called me up—she had read something I said recently—and said, 'Maurice, you sound like you've overcome your frightful nightmares!' But what could have made her think that?"
Sendak had been on the phone all morning with Spike Jonze, who was trying to persuade him to come to California: " 'Maurice!' he tells me. 'You can stay at the Bel-Air! ' Spike keeps sending me these sketches. It's driving me crazy." He put a piece of tracing paper over a Wild Thing that Jonze had sent him, and began to redraw its face, making the grin more affable and fixing the pupil in its lunatic eye. "Look at this! It looks like a victim of avian flu!"
We walked back up to the house with Herman, and made some tea in the kitchen. On the wall of the studio is a photograph by Lewis Carroll, of Alice Liddell as a young woman. Sendak said, "I like to think that he was angry at her for growing up: to get even, he took the picture when she slumped." On the desk was a reproduction of a skeleton of a Siamese-twin baby. On a shelf was a snapshot of Sendak as a boy, with Jack and Natalie. (Jack died, of cancer, in 1995; Natalie died, at eighty-five, in 2004.) Spread out on the drafting table is the working dummy for a new picture book, "Bumble-Ardy," an exuberant rhyme about a child who is finally allowed to celebrate a birthday when he turns nine.
"What I love is reading," Sendak said, sitting down at the table. "And air. Air when at night you open the window by your bed and the curtain lifts. Late at night, I am reading 'The Awkward Age.' James is poisonous_._ He is venomous. What I am doing now is wrestling. Do you know that beautiful letter that John Keats wrote to his brother about the making of a soul, the soul of the artist? I don't want to draw the soul. I just want to be in that life. I don't want to be a monster."
He raised his eyebrows, and said, "When my brother Jack died, I wanted to do something extraordinary for him. Five years later, I had an idea. The poem I wrote was very dark. I hope to finish it. But even if I don't finish it, or publish it, I did it. James's question is 'Why do you live?' " He paused. "The illustrations keep bubbling out." ♦


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3-week residential summer programs for students ages 9-17. All campuses offer a commuter option.
Through Summer Institute for the Gifted (SIG) programs, students experience the energy and excitement of campus life at prestigious schools and universities across America. SIG summer enrichment camps help students strengthen current skills and interests, explore new subject areas, and interact with other kids who love learning.
3-week day summer programs for students ages 5-12.
Multi-disciplinary courses are taught at levels appropriate for gifted and academically talented students who are ages 5-12. Students interact with other kids who love learning.
The mission of the Summer Institute for the Gifted is to provide the highest quality educational and social opportunities for academically gifted and talented students through programs designed to meet their abilities and needs.
A leader in gifted education since 1984, the Summer Institute for the Gifted (SIG) provides academic summer programs for academically talented children ages 5-17.
Through more than 30 years of experience, SIG has crafted a 3-week program that combines challenging academics with social, cultural, and recreational opportunities that enrich children's natural talents and abilities, as well as nurture their social development.
SIG brings the excitement of science, invention and technology to academically talented students through innovative STEM courses, as well as thought-provoking classes in Humanities and Visual/Performing Arts. This integration of science, technology, art, design, and culture gives SIG students the tools to compete in a highly competitive global environment and encourages them to pursue their passions and explore new interests, having fun and making friends along the way.
SIG•nif•i•cance {sig-nif-i-kuhns} (n.) –
A feeling of knowing who you are and where your life is headed, similar to the feeling one gets when being part of Summer Institute for the Gifted.

subset: commoncrawl


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Greenpeace and other environmetnal organisations sealed a time capsule of letters to the future, on December 13, 2009. These letters capture the hopes and dreams of people as they tackle one of the biggest challenges the world has faced.
What would you say to your children and grandchildren in 100 years? What hopes and dreams will you leave behind? These are letters to the future, from the Copenhagen climate talks.
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Facebook 'likes' can reveal your secrets, study finds
Your Facebook "likes" might be revealing more than you know about your private life.
It is possible to predict potentially private traits such as a person's sexual orientation, political leanings, religion, intelligence, emotional stability and even if they abuse drugs or alcohol, just by analyzing their Facebook likes, according to a new study out of the University of Cambridge.
Liking something on Facebook is a simple, almost mindless way to pass time on the social networking site, which says it has more than a billion users worldwide. With one click, people can "like" pages -- for brands, public figures, memes, music and groups -- as well as articles, photos or status updates from their friends. But that quick action can be a powerful statement.
"Facebook likes have a meaning that we can use to understand the psychology behind what people do," says David Stillwell, a co-author of the study.
Researchers looked at the Facebook profiles and likes, along with surveys and personality tests, for 58,466 individuals. Using that data, they developed a model that predicts personal attributes from Facebook likes with impressive accuracy. It has the best luck categorizing people as Caucasian or African-American (95% accuracy), followed by gender, male sexuality, Democratic or Republican leanings, and detecting Christians and Muslims.
One of more unusual categories was whether a person's parents had split before they turned 21, which had a relatively low 60% level of accuracy (still high enough to benefit advertisers, noted the researchers). These people were more more likely to like statements about relationships, such as "If I'm with you then I'm with you. I don't want anybody else," and "I'm sorry I love you."
"It gives us a poignant insight into the effects that parental breakup has on children even after they grow up," says Stillwell.
The likes themselves are a combination of obvious and baffling. Liking "Kathy Griffin," "Juicy Couture," or the musical "Wicked" were found to be strong indicators that a man was gay, while liking sports-related topics, "Bruce Lee" and "Being Confused After Waking Up From Naps" were more popular with straight men, according to the the study.
A person's Facebook likes can also be used to predict intelligence, say the researchers. Liking "The Daily Show," "science," "Morgan Freeman's Voice" and the mysterious "Curly Fries" indicates someone is highly intelligent. Lower intelligence was suggested by likes for "Clark Griswold," "Harley-Davidson" and "Bret Michaels," according to the study.
Likes for "beerpong," "Chris Tucker" and "cheerleading" were strong predictors of an extrovert while "role playing games," "Anime" and "Voltaire" pointed to introverted personality types. "Kurt Donald Cobain" and "Vampires Everywhere" indicated neurotic personalities, "Wes Anderson" and "serial killer" were liked by spontaneous people, and competitive types liked "Sun Tzu" and "I hate everyone."
Researchers are opening up the tool to everyone so they can get a peek at their own personal results. People can check out what their Facebook likes say about them by visiting YouAreWhatYouLike.com and logging in with their Facebook profile. The site does an instant personality test and rates how open, stable, agreeable, extroverted and conscientious a person is. While the data is analyzed by researchers to improve the overall test, any personal information is stripped out.
Don't try judging friends based on individual likes, however. Researchers looked at all of a person's likes to make their predictions, and even then the tool isn't perfect.
"It's like meeting someone for a blind date: If you just ask one question then you can't make an accurate judgment about them. But once you've had an hour-long conversation about their favorite hobbies, interests, brands, and celebrities, then you can start to have some confidence in who they are," says Stillwell.
The more likes a person has made, the easier it is to accurately predict these larger nuggets of information about their personalities. Profiles used in this study had anywhere from one to 500 likes on the social network, though the average number of things people liked was 170. The data was collected by a site called myPersonality, which turns serious data gathering for academic research purposes into fun quizzes.
A similar MIT experiment in 2009 predicted whether people were gay based on who they had friended on Facebook. At the time, the concept of deducting potentially private information about someone was more shocking. These days, it's becoming more common and expected. Stillwell says companies are already using these kinds of machine-learning models to make connections, though the companies may not know that they're measuring IQ or extroversion.
Companies like Google and Facebook decide what ads to show people by using scraps of information they gather as users go about their regular browsing and clicking routines. Amazon recommends products by looking at a customer's Amazon browsing history and past purchases.
The next step is connecting all the dots and gathering clues about a person to create a more complete picture of who they are. There are potential positive benefits, such as custom recommendations for movies and restaurants based on your location and what you've enjoyed in the past, or ads that only pitch products you might actually want to buy.
But there is also a loss of privacy when data is collected about people without their permission. Gleaning potentially sensitive information about someone that isn't explicitly shared, such as sexual orientation or drug use, could be abused by companies as well as governments and potential employers.
"My biggest concern is that people do not realize what is possible, so they think that frivolous behaviors such as liking something cannot possibly say anything important about them," says Stillwell.
文章作者:Heather Kelly


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ADVERTENCIA: Este producto contiene sustancias químicas, incluido el cromo o DINP, que el Estado de California reconoce como causantes de cáncer y defectos de nacimiento u otros daños reproductivos. Para más información ve a http://www.p65warnings.ca.gov/


text: New Era of Tax Planning July 5, 2011 11:41 AM by Tom O'Diam New transfer tax law offers opportunity for family farms. We all share a common goal of reducing the amount of taxes we pay. Unfortunately, few people take full advantage of the chance to minimize tax liability through careful planning. January 2011 ushered in a new era of federal transfer tax opportunities that never existed before—and they may not exist for long. A transfer tax applies when you transfer assets to someone without receiving equal value in return. The estate tax on transfers at death is the most well known, but two other types of transfer tax play an equally important role in planning: the gift tax applies to lifetime transfers, and the generation-skipping transfer (GST) tax comes into play for lifetime or after-death transfers to someone who is two or more generations younger. When and how you transfer assets also determines future capital gains tax treatment. Watch Tom O'Diam on "Leave a Legacy TV" Old versus new. During the past decade, transfer tax rules changed almost every year, which made planning difficult. Amounts excluded from the estate and GST tax steadily rose from $1 million in 2001 to $3.5 million in 2009. In 2010, estate and GST taxes disappeared. Gift tax exclusions remained at $1 million throughout that period. The tax rates declined from 55% to 45%. In 2011, the tax laws were supposed to revert to a $1 million exclusion and 55% tax rate. Congress made a surprising move in late December 2010 that greatly improved transfer tax planning. Instead of falling back to the old rules with lower exclusions and higher rates, we now have new rules with even higher exclusions and lower rates. All three federal transfer taxes are now the same. A person can transfer up to $5 million during life or after death without any federal transfer tax. That means married couples can pass along $10 million, tax-free. The new exclusion amounts adjust with inflation. The tax rate on anything above the exclusion is 35%. There are many other tax planning tools to further reduce or eliminate transfer taxes for amounts above the available exclusions. Special-use valuation rules and conservation easements allow you to reduce the taxable value of farm property. The type of business entity in which you hold your farming operation or land may also reduce the taxable value, while protecting the assets and facilitating easier transfer of the farm. We also still have unlimited marital and charitable deductions. This means that transfers between spouses or to qualified charities do not incur any transfer tax. Under the prior law, complex tax formulas were necessary to make sure both spouses maxed their exclusions. Under the new law, if the first spouse to die does not use all of his or her available exclusion, the surviving spouse can use it later without complicated planning. This new portability of unused exclusions may not be the best solution for some, though, as it may limit other planning goals. Farmer benefits. A simple example illustrates the financial benefits of the new tax law. Assume that Frank and Fanny Farmer built a successful farming operation, which, with other assets, puts their net worth at $10 million. If the tax law had changed back to a $1 million exclusion and 55% tax rate, the Internal Revenue Service would receive $4.4 million in federal estate tax on the Farmers' deaths before the farm could pass to their children. Their tax bill could even climb to $4.95 million if they did not both use their exclusions wisely. Under the new law, their estate tax bill is zero! With a little extra planning, Frank and Fanny could use their GST exclusions to transfer their entire estate to their children, grandchildren and future generations for decades to come with no more transfer taxes. Even the future appreciation on those assets would escape later transfer taxes. Essentially, they could shelter the family farm from future transfer taxes. At the same time, their plan could protect their entire estate from creditors, divorces and other devastating events that could wreak havoc on their family farm. Don't skip the planning stage. Just because the new transfer tax rules ease some of the financial pressure, they do not make planning any less important. Tax planning will always be crucial since maximum benefits are not automatic. Taxes are only one consideration in the big picture, though. The real point of planning is to pass your legacy to your loved ones with as little complexity, conflict and stress as possible. That can happen only if you properly coordinate a good succession plan for your family farm alongside your personal estate plan. One without the other is incomplete planning. Of course, there is a catch. There is a narrow window of opportunity because all of these new transfer tax rules last for only two years. They will automatically expire on Dec. 31, 2012. After that, nobody knows what might happen. The rules might stay the same or get better, but they might be worse. It is wise to act now while you have the chance. Careful transfer tax planning can reap far greater overall savings than any other type of tax planning. It can mean the difference between the success and failure of the legacy you have spent a lifetime creating. Estate taxes do not destroy family farms—lack of good planning does. The new transfer tax rules provide the best opportunity for farm succession and estate planning that we have seen in decades. There are several tools available to deal with transfer taxes, but you have to use them wisely to get the full benefit. Tom O'Diam is an estate and business succession planning attorney in Dayton, Ohio, and a certified specialist in estate planning, trust and probate law. Contact him at email@example.com or (937) 458-0574. Financial Benefits of the New Tax Law Ever-changing tax rules have made it hard for farmers to plan for the future of their farm. Thanks to Congress' surprising move in December 2010, farmers can now secure the legacy they've spent a lifetime creating. The new rule allows for: a transfer of up to $5 million each or $10 million as a couple during life or after death without tax. a tax rate of 35% for any transfers more than the exclusion amounts. an estate tax bill of zero if a farmer's net worth is $10 million or less. the ability to use the generation-skipping transfer tax exclusions to transfer your entire estate to future generations for decades with no more transfer tax. Back to news


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News: IFAD Funded Project- HVAP Completed
The High Value Agriculture Project in Hill and Mountain Areas (HVAP) of Nepal was completed on 30 September 2018. The completion review workshop with knowledge fair was organized on 1stOctober 2018 in Kathmandu. The project team shared the results and learning of the project among the project stakeholders as well as development partners.
The HVAP was a joint endeavor of the Government of Nepal (GoN) and the International Fund for Agricultural Development (IFAD) and was executed bythe Ministry of Agriculture and Livestock Development (MoALD) in partnership with the Netherlands Development Organization (SNV) Nepal and the Agro-Enterprise Center (AEC) of the Federation of Nepalese Chambers of Commerce and Industry (FNCCI). It has completed 7.5 years of the total project on 30 September 2018 which was started on 6 Feb, 2011.
The HVAP was a market-led initiative that sought to increase income and employment opportunities to smallholder farmers through the development and upgrading of pro-poor value chains of high value agriculture commodities. Following the inclusive business (IB) approach, the project facilitated mutually beneficial and profitable arrangements between the suppliers (producers) and buyers (traders) in high value commodity (HVC) value chains and enhanced the inclusion of socially-marginalized groups. As a result of the newly-constructed three road corridors in the region (Chhinchu-Jajarkot, Surkhet-Dailekh and Surkhet-Jumla), the project focused on the agricultural supply (primarily, supply of high values crops, NTFPs and goat meat) from Achham, Dailekh, Jajarkot, Jumla, Kalikot, Salyan and Surkhet districts. The project worked to increase production and enhanced value chains for seven different agricultural/NTFP commodities: apple, timur (Sichuan Pepper), turmeric, ginger, vegetable seeds, off-season vegetables, and goat.
The summary results were shared during the workshop. 15,965 beneficiaries supported under the projectas against the target of 13,500 households, have reported increase in production as compared to base line. The cumulative production from value chain crops during 2013-14 to 2017-18 has increased from 5,282 MT to 34,655 MT. 83% of the producers supported have reported higher farm gate prices compared to pre-project situation based on Annual Outcome Survey (AOS) 2017. Overall area under cultivation has increased from 84 ha to 207 ha. 97% of the Producers' Organizations (POs) (Groups and Cooperatives) are active and functional. 96% of POs are in profits against the target of 75%. The overall average annual increase in income is estimated at NPR 46,055 among the direct beneficiary households as against the target of NPR 30,000 based on the constant prices.
The Minister of Agriculture and Livestock Development, Secretaries of Agriculture and livestock Development (MoALD),Country Programme Manager IFAD, representatives of other line ministries, representatives from National Planning Commission, National Farmers Commission, Country Programme Office IFAD-Nepal, representatives from other development agencies SDC/SNV/UNCDF, AEC/FNCCI,IFAD PCR mission team, Project Managers of MoALD project; IFAD-Nepal Projects, HVAP funded agribusinesses, representatives from groups/cooperatives participated in the workshop.
During the workshop, the HVAP Project Manager and IFAD PCR team shared the project achievements and learning as well as recommendations for the upcoming IFAD funded project-"Agriculture Sector Development Programme (ASDP)". The farmers, agribusinesses and market actors also shared their experiences and achievements in the workshop. More than hundred participants participated in the workshop.
The Minister of Agriculture and Livestock Development, Mr. Chakrapani Khanal, Chief Guest of the workshop, addressed to the workshop participants and said that the achievements of this project have changed my thought of negative attitude towards the projects which are operational under the Ministry and requested to all to apply the practical learning of this project within the ministry and other projects as well. The workshop was conducted on chairmanship of Dr. Yubak Dhoj GC, Secretary of MoALD.


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Teacher resources and professional development across the curriculum
Teacher professional development and classroom resources across the curriculum
Defining Communication
|Introduction | Developing Mathematical Ideas Through Communication | Analyzing and Evaluating the Thinking of Others | Additional Strategies | Your Journal
Over the last two decades, the emphasis on communication in the mathematics classroom has expanded. We now know that more extensive communication, including discussing and writing about problems and ideas, can have a positive effect on concept development and retention, as well as problem-solving ability. Today, students often work in groups, communicating with their peers and teacher as they organize and make sense of information. They critique their own work and their classmates' statements to develop new mathematical understanding. As a teacher, it is helpful to consider the aspects of communication that are of particular importance to students.
|Teaching Math Home | Grades 3-5 | Communication | Site Map | © |
© Annenberg Foundation 2017. All rights reserved. Legal Policy


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This latest podcast installment of Ordinary Anthropologists Doing Extraordinary Things and guest blog post features AAA member, Tara Waters Lumpkin. Tara is the Executive Director of the non-profit Izilwane. She founded Izilwane to explore, with the help of others, how human beings can shift their perceptions so as to learn to co-exist with other species and nature. In addition, she is an environmental and medical anthropologist who has worked as an international development consultant for UNICEF, the United States Agency for International Development, and a variety of nongovernmental organizations. Prior to international aid work, she was an environmental journalist and professor of writing and media, and has published poetry, fiction, and nonfiction, as well as having won more than half a dozen writing prizes,fellowships, and grants. At this time, she is writing a creative nonfiction book and is at work on an eco-memoir.
NEW PODCAST! Ordinary Anthropologists Doing Extraordinary Things – Tara Waters Lumpkin – Listen Now
IZILWANE, which means "animals" in Zulu, is a cutting-edge multi-media platform, or e-zine, that takes an anthropological approach to biodiversity loss. As you may know, our planet is losing approximately 30,000 species each year or three species every hour. IZILWANE's goal is to raise awareness about this biodiversity crisis and create a new ecological paradigm based on enhancing the relationship of human beings with other species and the natural world.
To this end, IZILWANE publishes articles that take our readers on journeys around the globe and into the human psyche to explore why humans are causing biodiversity loss and harming the environment, and, most importantly, what we can do to stop this pattern. The IZILWANE project believes that we will change our destructive human behaviors when we are able to feel closer to other species and nature, that feeling is as important as facts in creating awareness and behavior change. This is why we have chosen storytelling to enact a positive change in our human perception of our relation with nature and other species. Our tag line is: IZILWANE—connecting the human animal to the global ecosystem.
To this end, our entirely volunteer team of editors trains individuals, including youth, from around the globe to be citizen eco-reporters who tell their own stories about our theme through writing, photography, and video. In addition, our all-volunteer core management team trains our younger support team in non-profit management skills in areas such as outreach, development, social media, and more. By working together, the entire team of editors, global citizen eco-reporters, and non-profit managers become biodiversity advocates who co-create eco-centric models of thinking, living and being, and share their knowledge and experiences with each other and the general public.
Our e-zine is at: www.Izilwane.org. We publish articles, photo and video essays, our own blog, and are blogging for National Geographic's News Watch. In addition, we share content with Ecology.com. We operate virtually and our team members are in the U.S.A, Britain, Belgium, and Rwanda, to name a few locations. Valuing our volunteers time at $35/hr, we have logged over half a million dollars in volunteer time since the birth of our project in 2009.
We work primarily with students at the undergraduate and graduate level. These are the people who become our global citizen eco-reporters, our editors, and our non-profit management support team. Many students work in multiple departments of our team, writing, editing, and doing some management. Have a look at our our team, our contributors and our past volunteers.


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Looking for tobacco, black & tobacco finish colored dinette set? Welcome this casual dining pub table into your home which has irresistible appeal in rich wood veneer. The simple design and transitional style of this dinette set is sure to lend a special and clean atmosphere in every home. Table is available in tobacco or black & tobacco finish.
The Creations II Pub Table with Single Pedestal by Liberty Furniture at Westrich Furniture & Appliances in the Delphos, Lima, Van Wert, Ottawa, and Celina area. Product availability may vary. Contact us for the most current availability on this product.
Looking for a warm and inviting pub or dinette set? Welcome the Creations collection with its irresistible appeal in rich wood veneer. Creations II pub set consists of gathering height sets and dinette sets. This collections features spindle back chairs with nylon glides, while the table tops offer a butcher block style and space saving design. The simple design of this dinette collection is sure to lend a special and clean atmosphere in every home.
The Creations II collection is a great option if you are looking for furniture in the Delphos, Lima, Van Wert, Ottawa, and Celina area.
These images are representative of this group as a whole and may differ from this item.
Browse other items in the Creations II collection from Westrich Furniture & Appliances in the Delphos, Lima, Van Wert, Ottawa, and Celina area.
This item has been tagged as: Table, Dining Tables, Table Set, Dining Table Set, Pub Table, Counter Height Table, Bar Table, Pub Table Set, Counter Height Table Set, Bar Table Set, Dining Room Furniture, Entertaining Furniture, Furniture Sets, Game Table Set, Gaming Tables, Office Furniture, Conference Tables, Meeting Tables, Serving Tables, Kitchen Table, Kitchen Table Set, Bistro Table, Bistro Table Sets, Pedestal Table, Leg Table, Dining Room Tables, Food Table, Table with Leaves, Leaf Table, Dinner Table, Dinette, Dinette Set, Extension Dining Table, Extendable Table
Nothing on this page may be copied or reproduced without explicit permission.


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Difference between revisions of "Moving Content To Long-Term Storage"
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and notify Mary
and notify Mary
11) RUN testIncoming (in /srv/scripts/qc; script available here: [[Image:TestIncoming.txt]]) and look at the output for problems.
11) RUN testIncoming (in /srv/scripts/qc; script available here: [[Image:TestIncoming.txt]]) and look at the output
for problems.
12) RUN cleanCollInfo (in /srv/scripts/qc) to clean up the collection xml record in the Admin directory of each collection.
12) RUN cleanCollInfo (in /srv/scripts/qc) to clean up the collection xml record in the Admin directory of each collection.
This removes Word encodings and checks for valid content. This also puts a copy of the collection xml record
This removes Word encodings and checks for valid content. This also puts a copy of the collection xml record
in the /srv/deposits/hold directory to be used later to feed the database that feeds our online list of collections
in the /srv/deposits/hold directory to be used later to feed the database that feeds our online list of collections
with links, descriptions, and titles, seen here: [[http://www.lib.ua.edu/digital/browse Browse Digital Collections]]
with links, descriptions, and titles, seen here: [[http://www.lib.ua.edu/digital/browse Browse Digital Collections]]
Revision as of 17:57, 25 February 2010
Currently, we are developing collections on a shared Windows drive called "Share" in the Digital Projects folder.
We are storing content long-term on a Linux server.
We are delivering content on another Linux server via CONTENTdm, and Tonio Loewald (of the Office of Library Technology) has developed an alternative (Linux-based) delivery solution, Acumen http://acumen.lib.ua./edu which runs off a web-enabled version of our storage area.
This is the current set of procedures for moving content from Share to long term storage, and linking them into manifests for LOCKSS.
These steps should happen, in order on a regular basis; weekly if content is available:
ACCESS and IDENTIFICATION
1) ssh to libcontent1.lib.ua.edu.
2) To get root access, run: sudo su (if you do not have sudo access, you cannot do this process)
3) To get access to the share drive from the libcontent1 Linux server, run: mount -t cifs -o username=jlderidder,domain=lib //libfs1.lib.ua-net.ua.edu/share/Digital\ Projects/ /cifs-mount and type in your password to the share drive. (substitute your own username there in the line above)
4) To determine what the status in on content in the Digital Services folder on share, run: /srv/scripts/qc/status This script goes through the Digital_Coll_Complete and Digital_Coll_in_progress folders, and pulls out paths to folders that end in _ready (for Mary), _store and _online (for pickup for storage) and also _check, for digital services quality control. The lists of these paths are written to files in /srv/scripts/qc/lists: forMary are things waiting for her; checkme are for the DS folks storeMe are things ready to go online and be stored
5) Share this output with Digital Services folks, to verify it is correct.
6) Once verified, look under /cifs-mount for content in share directory. Copy it over to /srv/deposits/content/. for example: cp -r /cifs-mount/Digital_Coll_Complete/u0003_0002121_Aston_1939 /srv/deposits/content/. This does a recursive copy of the entire specified directory and all its contents, and places the copy in the /srv/deposits/content directory on the libcontent1 server.
7) do a diff from /srv/deposits/content to the location of the content on share drive area to see if we got the content ok; for example: diff -r /cifs-mount/Digital_Coll_Complete/u0003_0002121_Aston_1939 /srv/deposits/content/u0003_0002121_Aston_1939 look at the output: if none, it's a match. If there's a variation, recopy the specified files, and then run the diff again. If it's a big directory, prepend the command with "nohup " so the process will continue to run if you log off or lose your connection. The output then will be in the nohup.out file in the directory where you ran the "diff" command.
8) Once you're sure you have a clean copy (no output from "diff"), delete the specified directory from the share drive. For example: rm -r /cifs-mount/Digital_Coll_Complete/u0003_0002121_Aston_1939 This is a powerful command, a recursive removal of a directory and everything in it, including subdirectories. Be careful with it.
9) look through the directories in /srv/deposits/content for anomalies, badly named things, and new categories -- any which are not listed on http://libcontent1.lib.ua.edu/lockss/Manifest.html ( this manifest is in /srv/www/htdocs/lockss/). Anomalies might be directories which do NOT match the expected structure (Admin, Metadata, Scans, Transcripts) or subfolder structure beneath them; spaces in filenames or directories, etc. Report any problems to Digital Services staff and arrange for corrections before proceeding further
10) move any item-level text files out of scans to S:\Digital Projects\Administrative\collectionInfo\forMDlib\itemMD\ and notify Mary 11) RUN testIncoming (in /srv/scripts/qc; script available here: File:TestIncoming.txt) and look at the output for problems.
12) RUN cleanCollInfo (in /srv/scripts/qc) to clean up the collection xml record in the Admin directory of each collection. More about this xml record can be found here: Collection Information This script removes Word encodings and checks for valid content. This also puts a copy of the collection xml record in the /srv/deposits/hold directory to be used later to feed the database that feeds our online list of collections with links, descriptions, and titles, seen here: [Browse Digital Collections]
13) If the collection has an icon: make sure it is in the Admin folder, named for the collection. For example, u0003_0002121.icon.png for the collection above. (You will need to copy this to the /srv/www/htdocs/digital/images/ directory, with 664 access rights "chmod 664 xyz.png"). List this icon in /srv/scripts/collstuff/icons, so the collToDbase script will know not to apply a default icon link.
14) a) open /srv/scripts/storing/relocating (script available here: File:Relocating.txt) and set $test = 1. b) run "relocating > look". It will: i) list the files it's going to move, from where and to where in "moveme" ii) write the new manifests into RelocateManifests so you can see what they're going to look like iii) write the parent manifests to parentMans, so you can see what they're going to look like iv) write errors to "look" file, as well as other info c) Look at the output in the "look" file, and the manifests concatenated in RelocateManifests and parentMans.
15) Make whatever repairs are necessary for script to work. If there are any new categories (z0004?), then add them, and create top level manifests in those category directories (copy from like directories and modify to fit).
16) WARNING! Before running /srv/scripts/storing/relocating, do a "chmod -R 755 /srv/archive". This will enable you to write to the directories as root
17) Open /srv/scripts/storing/relocating and edit out the line $test = 1;
18) Empty the file /srv/scripts/storing/RelocateManifests, and copy moveme to another filename. 19) run "relocating > look" again, this time for real. It will take hours. Occasionally check the output in "look" and the archive directory for errors. This time it's really copying files into the correct location in the archive (making a note of what goes where in 'moveme' for the 'checkem" script in a few steps), and it versions metadata and xml files, and it links versioned files and tiffs and wave files into the correct manifests, and links in new collections to the manifest pages of the holders (the next directory up from collections, such as u0003 for all Hoole Manuscript content).
20) If the output tells you to modify or create manifests, do that next (if not done already) in top level of /srv/www/htdocs/lockss directory The script does NOT create the top 2 levels of manifests, as it does not have sufficient information about new categories to fill this in.
21) check links at http://libcontent1.lib.ua.edu/lockss/Manifest.html -- drill down. If you cannot access it, modify the .htaccess file in /srv/www/htdocs/lockss to allow your IP, and restart the apache web server: '/usr/sbin/apache2ctl restart' (be sure to change it back, and then restart the web server)
22) then run 'checkem > look' in /srv/scripts/storing (script available here: File:Checkem.txt) -- it will use the "moveme" file to verify md5 sums of content that was moved, and delete from the deposits directory if there's a match. If there's NOT a match, it will output "ERROR: " and the error. So look through the "look file" for problems. Again, if there's a lot of content, precede this command with "nohup " and then look later in the nohup.out file for the content that normally would go into "look". 23) run checkArchive (script available here; File:CheckArchive.txt) and look at ArchiveERRORS; make repairs. If needed, alter and run doubleCheck to make sure things were copied over; checkMans to check that what's linked in the Manifest actually copied; addToMans to add content that was moved but not written to the Manifest. Problems occur especially when the server goes down during a transfer. Especially be aware that dozens of tiffs may have been copying when it went down, meaning multiple images are corrupted or damaged. 24) do a "chmod -R 555 /srv/archive" to protect the archive from unauthorized alteration until next time.
25) then go look in the /srv/deposits directory, make sure folders are clean, and delete them. I do this: ls /srv/deposits/content/* ls /srv/deposits/content/*/* ls /srv/deposits/content/*/*/* ls /srv/deposits/content/*/*/*/* if you find content, there's a problem. Solve it!! It may be necessary to rename things and go back through steps 13 on again. if no content: rm -r /srv/deposits/content/* (this will recursively delete all content in the directory)
26) go to /srv/scripts/surfacing and run copychange (script available here: File:Copychange.txt) to create derivatives from tiffs, wave files and copy transcripts over to the web directory for access;
27) then run /srv/scripts/surfacing/repair to remediate the doubles created from tiffs which include both thumbs and large images.
28) cd /home/jeremiah and locate the MODS for what was just moved, in the MODS directory. Run "relocate.pl" to send them live.
29) run /srv/scripts/metadata/findMissing to find out what doesn't have metadata, what doesn't have derivatives -- troubleshoot and make any necessary corrections.
30) Either index these directories immediately from the Acumen admin interface (http://acumen.lib.ua.edu/admin) or wait a little while for the cron indexer to pick up the content, then check the output: http://acumen.lib.ua.edu/. Content should appear already in the web directories located here: http://libcontent1.lib.ua.edu/content/. See Find our content online for detailed instructions.
31) Then go to the collstuff directory /srv/scripts/collstuff and run: collToDbase.holdDir to put the collection info in the database. This takes those cleaned-up collection xml files that were copied into the /srv/deposits/hold/ directory (step 12) and does a number of things. It puts them into place in Acumen, so they can be used by that software to provide a collection name and a bit of info about it. It also parses through the content, repairing encoding errors, puts the content into mysql InfoTrack.allColls, adds the expected canned link, and asks you for each collection and each delivery system whether or not the collection is online. The software will give you the expected URL to test; if it fails, and you know the content is in the system, locate the correct URL and provide it to the software, which will ask for a correction.
32) Check the database entries... mysql, InfoTrack.allColls. For example: mysql -u jlderidder -p (enter password) use InfoTrack; select * from digColls where id_2009 like "u0003_0002121" and AnalogOrDigital like "D"; (when done, enter "quit;") If not okay, make repairs from command line.
33) Verify that links and display are correct. they will show up online here: [[1]].
The current, working version of these instructions is located here on libcontent1: /srv/scripts/metadata/storing/DOTHIS.
updated 25 February 2010 Jlderidder


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See dates and times for upcoming and previous meetings. Select individual entries for access to agendas and minutes.
Committee memberships (2016-2019)
Consents and Regulatory Committee
Chairperson: Cr Michael Joyce.
Deputy Chairperson: Cr Tom Cloke.
Members: Cr Mike Davey, Cr Charlotte Littlewood, Cr Matthew McDonald, Cr Bev Raine, Cr Neil Walker.
Ex officio: Cr David MacLeod, Cr David Lean.
External appointments: Fay Mulligan, Hoani Eriwata and Keith Holswich (Iwi).
Policy and Planning Committee
Chairperson: Cr Neil Walker.
Deputy Chairperson: Cr Charlotte Littlewood.
Members: Cr Michael Joyce, Cr Donald McIntyre, Bev Raine, Cr Craig Williamson.
Ex officio: Cr David MacLeod. Cr David Lean.
External appointments: Cr Richard Jordan (NPDC); Cr Grant Boyde (Stratford DC); Cr Phil Nixon/Cr Clem Coxhead (STDC); Phill Muir (Federated Farmers); John Hooker, Emily Bailey and Mitchell Ritai (Iwi).
Regional Transport Committee
Chairperson: Cr Craig Williamson.
Deputy Chairperson: Cr Matthew McDonald.
Alternate Members: Cr Tom Cloke, Cr David MacLeod.
External appointments: Cr Harry Duynhoven/Cr Shaun Biesiek (NPDC); Mayor Neil Volzke/Cr Alan Jamieson (Stratford DC); Mayor Ross Dunlop/Cr Phil Nixon (STDC); Parekawhia McLean/Ross l'Anson (NZ Transport Agency).
Executive, Audit and Risk Committee
Chairperson: Cr David Lean.
Members: Cr Tom Cloke, Cr Michael Joyce, Cr David MacLeod. Cr Neil Walker, Cr Craig Williamson.
Taranaki Civil Defence Emergency Management Group*
TRC appointment: Cr Tom Cloke (Chairperson).
Alternate Member: Cr David MacLeod.
Other Members: Mayor Neil Holdom/Cr Richard Jordan (NPDC); Mayor Neil Volzke/Cr Kelvin Squire (Stratford DC); Mayor Ross Dunlop/Cr Phil Nixon (STDC).
Taranaki Solid Waste Management Committee*
TRC appointment: Cr Neil Walker (Chairperson).
Alternate Member: Cr David Lean.
Other Members: Cr Richard Handley/Cr Murray Chong (NPDC); Cr Alan Jamieson/Cr Jono Erwood (Stratford DC); Cr Bryan Roach/Cr Steffy Mackay (STDC).
Yarrow Stadium Joint Committee**
TRC appointments: Cr Michael Joyce, Cr Craig Williamson.
Other Members: Mayor Neil Holdom, Cr Alan Melody (NPDC).* Administered by TRC
** Administered by NPDC
Taranaki Biodiversity Trust
TRC representative: Cr Michael Joyce.
Board of Pukeiti and Pukeiti Trust Fund
TRC appointment to Board of Pukeiti: Cr Donald McIntyre.
TRC appointment to Pukeiti Trust Fund: Cr Bev Raine.
Board of Port Taranaki Ltd
TRC Directors: Cr Charlotte Littlewood, Cr David MacLeod.
Taranaki TB Free Committee
TRC appointment: Cr Matthew McDonald.
Dairy Trust Taranaki
TRC appointment: Cr Michael Joyce
State Highway 3 Working Party
TRC appointments: Cr Craig Williamson, Cr Matthew McDonald.
Stock Truck Effluent Working Party
TRC appointment: Cr Tom Cloke.
Local Government NZ Regional Affairs Committee and Zone 3 Group
TRC representative: Cr David MacLeod.
Taranaki Stadium Trust
Cr Mike Davey, M J Nield (Director-Corporate Services).
Regional Software Holdings Ltd
TRC appointment: M J Nield (Director-Corporate Services).
Alternate: B G Chamberlain (Chief Executive).


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Announcement of Renaming NAL
Dr. Glenn T. Seaborg, Chairman of the Atomic Energy Commission, announced April 29th, 1969, the Commission will name the National Accelerator Laboratory, now under construction near Chicago, in honor of the late Dr. Enrico Fermi.
Formal dedication and naming of the Enrico Fermi Laboratory will not take place until major construction work has been completed and the facility is in operation, probably in the fall of 1972. (Archivist's note: The Dedication actually occurred on May 11, 1974.)
Dr. Seaborg, in announcing the AEC's plans said: "It is particularly fitting that we honor Dr. Fermi in this manner, for in so doing we further acknowledge his many contributions to the progress of nuclear science, particularly his work on nuclear processes.
"Enrico Fermi was a physicist of great renown who contributed in a most significant way to the defense and welfare of his adopted land and to the enhancement of its intellectual well-being. His greatest achievement, the first sustained nuclear chain reaction, took place in a small laboratory in Chicago. It seems singularly appropriate, therefore, that the Federal Government recognize the memory of a man who was at the forefront of science in his day by naming in his honor a laboratory near Chicago -- a laboratory which will have a major international impact on our understanding of the basic structure of matter."
Source: The Village Crier Vol. 1 No. 2, April, 1969
Enrico Fermi, Nobel laureate physicist who became a member of the University of Chicago physics faculty, was born in Rome, Italy, on September 29,1901. He died in Chicago on November 28, 1954.
The son of a railroad official, Fermi studied at the University of Pisa from 1918 to 1922, and later at the Universities of Leyden and Gottingen. He became professor of theoretical physics at the University of Rome in 1927. Two years later, Fermi was awarded a membership in the Italian academy.
Enrico Fermi
Led Italian Physicists
Fermi became the leading figure of a group that not only revolutionized modern Italian physics but whose influence has been felt in science and physics throughout the world.
Other members of the group were Emilio Segre, Edoardo Amaldi, Oscar D'Agostino, and later Bruno Rossi. Working with his colleagues, Fermi began the career that led him to equal fame both as a theoretical and experimental physicist.
Other Contributions
Although known today primarily as "a leading nuclear physicist, Fermi also made major contributions to the statistics of electron gas, the statistical model of the atom itself, and fundamental contributions to an understanding of radioactivity.
In 1934, Fermi initiated the studies that led to his winning of the Nobel Prize. In that year, he began to bombard atomic nuclei with neutrons. The neutrons were provided by small amounts of the gas radon (produced by radium) mixed with beryllium powder. The radioactive gas gave off alpha particles which struck the nuclei of beryllium atoms and caused these to give off neutrons.
With extremely simple equipment, Fermi began systematically bombarding the elements in the periodic table, beginning with the lightest element and moving up to the heavier elements. In the process, Fermi and his associates analyzed the chemical end products of the neutron bombardment.
Discovered New Element
When at last they came to uranium, then the heaviest known element, they found that more than one element was produced by the bombardment, and that at least one of the radioactive products seemed to be none of the existing elements close to uranium. In their first report, produced in May, 1934, they did not claim the discovery of a new element, but rather related what indications they had found that such an element might be produced. Actually, they had not produced a new element, but, as later analysis showed, they had split the uranium atoms.
Increased Radioactivity
In a second series of experiments with neutron bombardment, Fermi and his associates discovered that by passing neutrons through other elements they could be slowed down and the amount of artificial radioactivity they produced could be greatly increased. At that time, Fermi and the members of his group obtained an Italian patent on this method. The patent rights were assigned to a friend, G. M. Giannini, in the United States, who applied for an American patent. The latter was granted, after a five-year delay, in 1940. The status of the patent was not clarified until 1953, when the Atomic Energy Commission awarded the inventors the relatively nominal sum of $300,000.
First Atomic Pile
Both of these studies of Fermi's were essential precursors of the eventual work that led to the building of the first atomic pile and the first controlled release of nuclear energy.
These studies led to Fermi's receiving the award of the Nobel Prize in 1938. Fermi used the opportunity offered by the trip to Sweden to receive the Nobel Prize to leave Italy. He and his family, which included a daughter, Nella, and a son Giulio, had grown increasingly restive under the Fascist regime.
Professor at Columbia
Fermi came to the United States and accepted a position as a professor of physics at Columbia University. By this time, the work of Fermi had been duplicated in other laboratories and theoretical analysis of the results had indicated that nuclear fission had actually taken place. As a result, Fermi was chosen by his colleagues to go to Washington, D.C., to interest United States government officials in the possibility of building a nuclear weapon by means of a controllable nuclear fission.
At U Chicago
Unsuccessful in negotiating for support at first, Fermi and other scientists persisted. The project began which was to become the Manhattan Engineering District and produce the first atomic bomb. Working first at Columbia and then transferred to the University of Chicago, Fermi was placed in charge of building the first atomic pile in the squash court under the west stands of the University's Stagg Field. Later he was transferred to Los Alamos, New Mexico, as chief of the advanced physics department. For his bomb work, President Harry S. Truman presented him on March 20, 1945, with a Medal of Merit.
Site of Chain Reaction
The site on the University of Chicago campus where Fermi and his colleagues achieved the first nuclear chain reaction today is marked by a sculpture by Henry Moore titled: "nuclear energy." Nearby stands a plaque which reads, simply: "On December 2, 1942, man achieved here the first self-sustaining chain reaction and thereby initiated the controlled release of nuclear energy."
On the tenth anniversary, 1952, Fermi spoke again at a gathering of many of the men who had been in the squash court at the historic occasion.
Later Research
At the war's end, when the University of Chicago decided to keep together the nucleus of the scientists who had worked in the Metallurgical Laboratory on the campus on the development of the bomb, Fermi joined the staff of the newly-founded "Institute for Nuclear Studies."
After that, he continued his investigations of the nucleus of the atom, concentrating on the nature of the particles that make up the nucleus. Particular emphasis in his investigations was placed upon the short-lived nuclear particles known as mesons.
As an aid in this investigation, Fermi served as a consultant in the design of the University's synchrocyclotron.
After the war, Fermi was active in research conducted at the Atomic Energy Commission's Argonne National Laboratory, located about 30 miles southeast of the NAL site. He was known as a great teacher who helped to stimulate the development of several men and women who have gone on to do significant research in physics at other centers throughout the world. The Enrico Fermi Institute For Nuclear Studies, at the University of Chicago, now is directed by Physicist Robert Sachs, formerly of Argonne.
Dr. Fermi held honorary degrees from the Universities of Utrecht, Heidleberg, Washington University (St. Louis), Columbia, Yale and Rockford (Illinois) College. He was awarded the Franklin Medal by the Franklin Institute in 1947, the Barnard Gold Medal from Columbia University in 1950. In 1950, he was elected a member of the Royal Society of England. He was also a member of the American Philosophical Society, American Physical Society, and Sigma Xi.
Source: The Village Crier Vol. 1 No. 2, April, 1969
More Information: Dedication of Laboratory (1974)


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Simms Womens G-3 Guide Stockingfoot Waders
DescriptionSorry guys, when you're wading chest deep through spring runoff, launching laser beam casts to 20-pound steelhead—size matters. Meaning the size that fits. Simms' Women's G3 Guide™ Waders are sized right from a slim boot to accommodating upper, with microfleece-lined hand warmer and zippered chest pockets where you need them. The women's specific cut features patented front/back leg seam construction to minimize wear and delivers enhanced mobility befitting of extra-big pursuits.
- 5-Layer GORE-TEX® with 25% more breathability featured throughout the legs for increased durability
- Women's specific cut features higher chest and patented front/back leg seam construction
- Patented front and back leg seams provide an articulated Women's specific fit & provide all day comfort
- NEW reach-through hand warmer pocket with increased volume & micro-fleece lining
- NEW zippered Chest Pocket and Integrated Utility Tabs
- NEW Flip-out Tippet Tender™ pocket with dual-entry zippers & retractor docking station
- Adjustable elastic 1.5" suspender with YKK® non-locking buckles
- Built-in low profile belt loops with nylon wading belt
- Abrasion-resistant material for more durable built-in gravel guards
APPROX. WEIGHT: 40 oz


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Sleeper Sofa Bar Cover
Sleeper Sofa Bar Cover Make your bar so sweet, so for a fun .. relaxing place.. you need to have good designing plan ..isn't it..! Here are some designing tips to design a "beautiful bar design ideas".
• Choose your location.
• Choose the material for furnishing and furniture/counters etc.
• Choose a bar design/ draft a bar design.
• Bar tone, theme or color scheme.
• Bar stools and seating.
• Bar storage area.
• Liven up your bar are with effective illumination.
Sleeper Sofa Bar Cover Picture & Photo Galleries
Draft a style for the bar arrange with proper utilization of scale the given space. Review your space and figure out the dimensions of your respective bar and also the type of design that meets it. Ensure.. your bar Isn't over crowded or under utilized in space proportion. Install Sleeper Sofa Bar Cover
You'd require a space for storing your beers and wine. Have that within your bars. You may also place wall shelves for the wines. If you need to possess a refrigerator, you are able to place one, too. Determine your needed storage space so that you could make one that's enough for everything.
Sleeper Sofa Bar Cover To enliven your bar, add some dramatic lighting using pin lights. You are able to have recessed lighting's, too. Decorate it with accessories as a lighted bar sign if you would like. Or you are able to place anything that will entertain personality. Hanging glass racks can add beauty to your residence bar. You are able to add some framed wall pictures along with other decorations. Dramatic light effect is really a key for the awesome bar counter design. It accomplishes your design idea's and work.
You'll have a classic wooden bar if you would like. You may even use tiles or stone to the counter-top. Choose the colors that could continue to keep your bar look inviting and would look right with your room. You ought to think about the tone inside the area if it features a uniform tone or contrasting colors. You are able to in addition have a sleek look out for your counter.
Sleeper Sofa Bar Cover You have to choose what suits your space. You'll have a portable bar that may be moved to different locations and become put away when it isn't used. You'll have a wet bar where you'll have a sink inside it. You'll possess a full back bar to store bottles among others with a more professional look. Wall shelves could be paired using this. If you need to store bottle and cans of beer, you'd also need refrigeration or you might want to have built-in ice machines.
Bar stool seating ought to be decided consistent with bar design and theme. It's really a plain bar stool, one having a back, a higher stool design or perhaps a fancy stool. Ensure that the spaces in between each stool are 25 inches to permit comfortable seating and movement. Sleeper Sofa Bar Cover


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Update your wardrobe for less with Dorothy Perkins Sale and offers. From essential fashion pieces to on-trend looks, you'll find the best deals right here. But hurry, savings are on selected lines and they won't be around for long.
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Quick version of the question. Let $(X, \mu)$ be a probability measure space and let $Z$, the group of integers, act on $X$ in a measure preserving way. How can I decompose $X$ into ergodic componenets? More precisely, can $X$ be equivariantly decomposed into a countable union of subspaces $U_i$, each of which is isomorphic to a product $A_i\times B_i$, such that action on $U_i$ is a product of an ergodic action on $A_i$ and the trivial action on $B_i$?
One can ask the same question also for groups other than integers.
My motivation
I'm currently learning basics of ergodic theory. More precisely, I'm interested in the notion of cost. Let me recall it for group actions: Let a countable discrete group $G$ act on a probability measure space $(X,\mu)$ in a free and probability measure preserving (pmp) manner. Call the action $\rho$. Let $\mathcal R(\rho)$ be the equivalence realtion on $X$ given by $\rho$ (i.e. two points of $X$ are equivalent iff there's a group element which sends one point to the other). Let $F=(U_i,g_i)_{i=1}^\infty$ be a countable family of pairs, where each $U_i$ is a measurable set, and each $g_i$ is an element of $G$. Let $\mathcal R(F)$ be the equivalence relation on $X$ generated by the relation $x \sim y$ iff for some $i$ we have $x\in U_i$ and $\rho(g_i)(x)=y$. Define $$ cost(F) = \sum \mu(U_i), $$ and let cost of the action $\rho$ be the infimum of numbers $cost(F)$ over all families $F$ such that $\mathcal R(F) = \mathcal R(\rho)$, perhaps after restricting both relations to subsets of measure $1$.
Theorem. Let $\rho$ be a free pmp action of $\mathbb Z \times H$, where $H$ is any countable group. Then $cost(\rho)=1$
Suppose first that restriction of the action $\rho$ to $\mathbb Z$ is ergodic. Fix $\varepsilon$. Then for the family $F$ choose pairs $(X, t), (A_1, h_1), (A_2,h_2) \ldots $, where $t$ is a generator of $\mathbb Z$, $h_i$ is an enumeration of elements of $H$, and $A_i$ is any set such that $\mu(A_i)= \frac{\varepsilon}{2^i}$.
Clearly $cost(F) \le 1 + \varepsilon$, so it's enough to see that $\mathcal R(F) = \mathcal R(\rho)$. Take a point $x$ of $X$ and fix $h_i\in H$. We're gonna show that, with probability $1$, $x$ is in relation with $\rho(h_i)(x)$. By the ergodic theorem, since we assume action of $\mathbb Z$ is ergodic, with probability $1$ for some $j$ we have $\rho(t^j)(x)\in A_i$, so we have $x \sim \rho(t^j)(x) \sim \rho(h_it^j)(x) \sim \rho(h_i)(x)$.
When I heard the argument it wasn't even mentioned that we assume that restricion to $\mathbb Z$ is ergodic. Intuitively it's clear what to do - choose $A_i$ more cleverly, "perpendicular to ergodic components of $\mathbb Z$".
Question. Which theorem from ergodic theory allows to make this choice of $A_i$ "perpendicular to ergodic components" precise?


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Black Holes
The 2007 Spring Symposium was held from Monday April 23, 2007 to Thursday April 26, 2007 at the Space Telescope Science Institute (STScI) in Baltimore, Maryland. The topic of this year's symposium was Black Holes. Aspects of black hole physics and astrophysics were discussed regarding stellar mass, intermediate mass, and supermassive black holes.
Confirmed Speakers
|Tal Alexander
|Stars Near the Galactic Supermassive Black Hole
|Roger Blandford
|Accretion onto Black Holes
|Kate Brand
|Build-Up of Supermassive Black Holes
|Joan Centrella
|Gravitational Waves from Black Hole Mergers
|Marco Chiaberge
|Radiatively Inefficient AGN
|Monica Colpi
|Birth of Supermassive Black Hole Binaries
|Giuseppina Fabbiano
|Ultraluminous X-Ray Sources
|Andy Fabian
|Spins of Supermassive Black Holes
|Reinhard Genzel
|The Black Hole at the Galactic Center
|Suvi Gezari
|Tidal Disruptions of Stars by Supermassive Black Holes
|Alexander Heger
|Black Holes from Stellar Evolution
|Gary Horowitz
|Black Holes, Entropy and Information
|Anton Koekemoer
|High-Redshift Black Holes
|Julian Krolik
|Making Black Holes Visible: Accretion, Radiation, and Jets
|Greg Landsberg
|Black Holes in Future Colliders
|Mario Livio
|Astrophysical Jets
|Duccio Macchetto
|Black Hole Masses from Gas Dynamics
|Jeff McClintock
|Estimating the Spin of Stellar-Mass Black Holes
|Steve McMillan
|The Formation of Black Holes in Globular Clusters
|David Merritt
|Dynamics Around Black Holes
|Felix Mirabel
|Andreas Muller
|Evolution of Supermassive BH Mass Function
|Ramesh Narayan
|Black Hole Event Horizon
|Bradley Peterson
|Black Hole Masses from Reverberation Mapping
|Dimitrios Psaltis
|Black Holes and Strong-Field General Relativity
|Douglas Richstone
|Black Hole Demographics
|Stuart Shapiro
|Black Hole Formation and Growth: Simulations in General Relativity
|Meg Urry
|Black Holes in Deep Surveys
|Marianne Vestergaard
|Black Hole Masses in Distant AGN
|Marta Volonteri
|Supermassive Black Hole Growth
Organizing Committee Members
|Mario Livio, Chair
|Kate Brand
|Marco Chiaberge
|Linda Dressel
|Andy Fruchter
|Anton Koekemoer
|Michele Trenti
|Roeland Van der Marel


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Once upon a time, way back in February, Ollie turned two. We had a simple family party for him later, but we tried to fill his real birthday with the things he loves. We started off the day with my favorite birthday tradition, I always like to gift them a book they love to add to their own collection to share with their own families someday and I write a little note to them in it (and someday when I'm really on top of things, I tell myself I will tape A picture of them at that age in their books).
I usually have the books ready ahead of time, but this time Ollie came along to make his selection. He picked Spot Says Goodnight and I picked up Stuck because I deserve a reward for having him, right?I had to run to Michael's on an errand so I let him go to town picking out $1 windup toys to play with at home/


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A long standing, happy client testimonial for the CCW Trust team.
I would again to like to thank you Tony, John, Phaedra and the whole CCW Trust team for all your helpful contributions in ensuring the efficient administration of the settlement, over the course of some 20 years. Your help has been very much appreciated by the settlors, myself and all the beneficiaries.


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Town officials are considering an electrical power purchase agreement with a private solar energy contractor using an out-of-town solar farm, which would save the town millions in energy costs over 20 years.
The plan also includes National Grid, which is required under the state's 2008 Green Communities Act to buy around 15 percent of its energy from renewable sources such as solar, wind, or geothermal.
According to Gloria Parkinson and Robert P. Latini, members of the Clinton Alternative Energy Committee, the proposed purchase agreement between the town, National Grid, and an independent energy developer would allow the developer to get tax credits and lower its cost to build sites to generate electricity. The lower cost is passed on to the town. A private energy developer can only claim such tax credits when it sells power to a nonprofit agency, which could be a city or town. Also, the solar facility can be situated elsewhere only if it is within the utility's service area — National Grid territory.
Ms. Parkinson said using an outside, private energy contractor, rather than building a town solar farm as was done in neighboring Lancaster, is because of a lack of suitable, available land in Clinton. The only tract large enough and facing the proper direction, she said, is the closed landfill off South Meadow Road. But a recapping project is about to begin there and is expected to take years.
Mr. Latini, chairman of the alternative energy committee, said three private solar developers were looked at: California-based SPG Solar Inc.; Chicago-based Urban Green Technologies, and Boston-based Solventerra.
SPG, with a solar farm under way in Shirley, was recommended based on its predicted $5.6 million in savings to the town during a 20-year period. Mr. Latini said the committee was so astounded by the figure, it asked SPG to recheck its math. The two other developers calculated 20-year savings of $2.5 million and $2.4 million, respectively.
SPG's first year savings for Clinton, which would use the energy to provide power to municipal buildings, including schools, is predicted to be $195,378 — about a 25 percent reduction.
Mr. Latini said while there would be no cost to taxpayers, money is needed for a consultant. He said state grants of up to $12,000 are available.
Ms. Parkinson said SPG would tie its solar-generated energy into National Grid. There would be a separate agreement between the two, in which National Grid would take a certain amount of this energy at an agreed cost per kilowatt hour. National Grid would then transmit it to the town. In another agreement between SPG and the town, Clinton would agree to buy a certain amount of power from SPG at a lower rate because of the tax credits it gets by selling to a nonprofit entity.
"Hence the term 'power purchase agreement.' In any PPA there are three necessary participants," Ms. Parkinson said in an email.
Under a 20-year contract, she said, the town would commit to purchase "X" amount of energy, whether it uses it or not. But if it does not use all of it — for example, during the summer when schools are not in session — the surplus can be banked for heavier usage months.
Mr. Latini said how that is worked out in the contract is complicated, and that's why the need for a professional consultant was stressed when they met with selectmen a few weeks ago.
Selectmen approved of the plan, but said they needed to study it. The board voted unanimously to direct Town Administrator Michael J. Ward to look into finding a consultant to be paid for with a grant.
"It's a smart move; it is the future," Selectman Mary Rose Dickhaut said.
Mr. Latini said the committee also explored capturing energy from wind, but would have needed $50,000 for a survey; and it explored geothermal energy, which he said has a huge upfront cost.


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The Malaysia Airlines Disappearance Shows Technology's Limits
Radar, Satellites Are Powerful Tools but Still Have Limited Reach
Eleven years ago, a shiny silver Boeing 727 airliner took off from Luanda, Angola, and became one of the few commercial jetliners to vanish and never be found.
Massive jet airplanes disappear more often in fiction than in real life, but it does happen. In 1979, a Boeing 707 with six people aboard was lost in the Pacific Ocean after leaving Tokyo. And dozens of smaller planes have gone missing and never been located.