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To make a proper exposure, you need a good understanding of the three main camera settings. I'll quickly run through them and review each setting and it's general purpose. Plus we will talk about the pitfalls of using certain setting combinations. There are many different setting combinations… but for specifically taking landscape, all you really need to change is the shutter speed 😉 You'll see why…
Film Speed (sensitivity to light).
Setting Range = (ISO 100/200/400/800…)
Pitfall = Higher ISO (higher sensitivity like 800 and up) introduces noise into your photo and reduces image quality. As photographers, we usually want max quality for all our images, so only look to use a low iso like 100/200.
Shutter speed
Camera's speed in which it captures light.
Setting Range = (1 sec, 1/2 sec, 1/30 sec, 1/60 sec…)
Pitfalls = Generally you want everything in sharp focus, if there is wind, you are going to need a fast shutter speed like 1/30 of a sec. Other things like moving water, birds etc. try to opt for faster shutter speeds.
*Sometimes having blurred grass or even clouds can add a nice effect, so don't be afraid to experiment, just be aware your whole image doesn't turn out blurry in the areas that you want max sharpness.
2nd Pitfall is camera shake. If you're using shutter speeds slower than 1/30 and your not using a tripod, say good bye to clean details. Treat your camera as a sniper, any form of shaking will make you miss your clean shot, get a pair of legs and a good trigger for the shutter.
*Use a tripod! and avoid this pitfall. A tripod that is made to hold the weight of your camera. For Focus Stacking and HDR(High Dynamic Range) blending, a tripod is required, and it is not an option! Some of my favorite images I've made, have been with a pair of legs.
3rd Pitfall is noise (a grainy like texture that is usually unwanted in most cases. I'll go into grain later, some cool techniques of adding noise to an image to increase detail.) Noise is introduced into the image by a long shutter speed, long story short, pixels are heating up on your sensor because it's being used for an extended time, and in return you get hot pixels… Keep shutter speeds fast, the time it takes for it to overheat is based on the camera sensor.
Aperture – Controls depth of field in an image (DOF = how much will be in sharp focus from front to back) – Setting Range = (F/4, F/8 , F16…)
Pitfalls = Diffraction(how sharp the details can be using a certain aperture, do some research on this.) For most camera lenses, the sharpest aperture will be F8, it will give you the sharpest details and decent depth of field.
2nd Pitfall is shallow DOF distance. In order to get everything in focus you will have to use a higher aperture, also know as a larger F# (there are some camera techniques you can use to get around this pitfall , focus stacking is my 1st choice, usually. We will talk about focus stacking later…) If you tried to shoot a scene using an aperture setting that is away from F8, you are sacrificing image quality. This is some what counter intuitive, more on that later though.
So each of these settings are used to control how much light is coming into the camera and hitting the sensor. With ISO's -generally you want the best image quality so what I do is leave my camera's ISO setting to 200 to get a clean image free of noise but still having a good sensitivity for light to enter the camera.
Next, I leave my aperture at F8 to make sure I get the best sharpness out of my lens, I get pretty good depth of field with F8 with my 24mm lens so I try to stay close to that setting at all times. For scenes that require a larger depth of field, I'll shoot additional images focused on the other parts of the scene to get all the sharp details, than blend all those shots together (I'll show you guys how I go about doing that, some what an advanced technique, will most likely make a video for it.)
Lastly is the Shutter Speed, This is the only setting I adjust for letting light into the sensor. The only time I will consider adjusting other settings is when I have to make a sacrifice to get sharp foliage, in case the wind is blowing. It can be difficult when your camera needs a slow shutter speed to let the proper amount of light, into your light buckets.
Based on what we talked about with light buckets, each camera setting increment is usually increased/decreased by 1 stop, although some cameras offer the ability to get half a stop or even a third. I'll stop there before I sound like everyone else though… I don't care about stops and shutter speeds and Fstops, The only real setting I care about is shutter speed.
The only time you should care about other settings is when you have to drop a setting by 1 stop to let in more light… to than push back 1 stop with the setting you need.
Proper exposure for imaginary scene = ISO 200/ Aperture = F8 / Shutter Speed = 1/30th of a sec
*1sec shutter speed is blurring windy grass*
*raise ISO to 400(1stop increase) to increase film sensitivity to light*
*now speed up shutter speed to 1/15th of a second (1stop decrease) to reduce light from entering camera*
New exposure combination = ISO 400/ Aperture = F8 / Shutter Speed = 1/15th of a sec
*no more windy grass* victory!
This is the part of photography that everyone chokes up on, I choked up on it the first time I learned it, it takes a little bit of time, but once you get it… you will see how simple the system really is. Here is a small chart explaining the full stop steps… you gotta let light in, than let less light in with another setting. Your changing settings but maintaining the same amount of light that is entering your buckets 😉
If you can get past the pitfalls of each setting, naturally your images will look great! but there is more to be done…the post-processing! We didn't get to talk about any of that yet, I was hoping to not explain these camera basics, but I want everyone on the same page before we blast off to the advanced stuff.
See you in the next one.


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The A300-600ST
The A300-600ST Super Transporter was designed to replace Airbus Industrie's Super Guppy transports, used by the consortium to ferry oversize components such as wings and fuselage sections between Airbus' partners' plants throughout western Europe.
Development of the A300-600ST, nicknamed Beluga and also Super Flipper, began in August 1991. The A300-600ST's tight development program - for what in many ways is effectively a new aircraft - saw the transport rolled out in June 1994, with first flight on September 13 that year. The A300-600ST then entered a 400 hour flight test program which culminated in mid 1995, with certification awarded that September and with delivery and entry into service with Airbus in January 1996. All of the first four on order had been delivered by mid 1998 (allowing the Super Guppy's retirement in October 1997). The fifth Super Transporter is scheduled to be delivered in 2001.
The A300-600ST is based on the A300-600 airliner, with which it shares the wing, lower fuselage, main undercarriage and cockpit. The main differences are obvious - a bulged main deck, new forward lower fuselage, new enlarged tail with winglets and an upwards hinging main cargo door. A design study of a similarly configured A340, the A340ST Mega Transporter, to carry A3XX components is underway.
Program management of the A300-600ST is the responsibility of the Special Aircraft Transport Company, or SATIC, an economic interest grouping formed on a 50/50 basis by Aerospatiale and DASA operating on behalf of Airbus Industrie. While much of the work on the aircraft is performed by the Airbus partners, other European companies are also involved in the program

subset: commoncrawl


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PPL and PRS joint venture simplifies permissions with one transaction
It has been a long time coming but finally PPL and PRS are entering into a joint venture to collect public performance licencing fees from all UK businesses and organisations requiring such a licence.
Currently all PPL fees are paid by BACTA members like ourselves and recouped from venues in instalments. All venues are required to take out a separate licence with PRS and in some cases obtain an additional licence from PPL if they have other (non-background) usage of recorded music, such as discos or music on hold.
The new joint venture will cover all the permissions needed in one transaction, which will be paid directly by the venue. This does not affect the collection of jukebox public performance licencing fees. Ivor Thomas will continue to administrate this on behalf of our customers.
From 5th February Ivor Thomas Amusements will no longer be issuing new licences on background music systems, including renewals, and these will need to be obtained directly from PPL PRS Ltd. This is an important change and will reduce administration costs for all concerned.
For more information please see the letter we received from PPL. Click here


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OneSprint is a completely preconfigured cloud-based WMS package that packs three decades of warehousing best-practices into a simple templated implementation offering.
Its swift onboarding gets you up and running and servicing your customers quicker than ever, and all at a lower total cost of ownership (TCO). With such a high level of responsiveness, you'll experience improved customer satisfaction and a faster return on your investment.
OneSprint offers top-of-the-line WMS capabilities that are just the right fit for your business, large or small, yet it retains the trademark robustness, scalability and performance of Tecsys' enterprise-scale warehouse management system.
Mission-critical operations that need to respond to today's volatile fulfillment challenges by servicing customers without delays, without taking risks or making compromises will benefit from OneSprint's advantages:
- Robust WMS capabilities closely matched to your business needs
- Quick onboarding to start fulfilling customer orders without delays
- No capital outlay, low monthly subscription fee
- Low-risk deployment
- Minimal application support
- Intuitive software, easy to learn and use
- Secure access from anywhere
OneSprint All-in-One WMS Package
Based on Tecsys' advanced WMS which is rated a visionary product in Gartner's WMS Magic Quadrant.
From the rich content of Tecsys' advanced WMS capabilities, features are selected to match your specific business needs.
Allows you to deploy the system across distribution operations varying in size and complexity.
Delivers world-class functionality on a leading cloud infrastructure, enabling a 99.9% up-time, swift on-boarding, high availability, reliability and security.
Combines the power of a set of tools, templates and process documentation that can quickly and easily be adapted to your distribution operations.
Visual content, a paradigm shift in warehouse management, optimizes execution abilities in all warehouse environments.
Delivers one of the industry's fastest customer on-boarding experiences to meet the distribution challenges of small operations that can scale up to larger ones.


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Rietvallei Red Muscadel 1979
By Christian Eedes, 13 July 2011
Yesterday the 2009, 1999, 1989 and 1979 vintages of Red Muscadel from Robertson estate Rietvallei. Maiden vintage under own label was 1975 and early bottlings were adorned with a crest inadvertently appropriated from the Spanish royal family, removed after a terse letter from the true owners.
Read the full story about Rietvallei Muscadel with particular focus on the reserve from a vineyard planted in 1908 in the September and last ever issue of Wine magazine (on sale in mid-August).


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Two Western Carolina University scholars and a local historian will present recent discoveries and observations relating to legendary Western North Carolina figure Horace Kephart during a program Thursday, June 13.
WCU's Mae Claxton and George Frizzell will join George Ellison of Bryson City to present the program "Horace Kephart Revisited" at 7 p.m. in the auditorium of the university's Mountain Heritage Center.
Kephart was a 42-year-old librarian looking to make a fresh start in the mountain wilderness when he came to Western North Carolina in the summer of 1904. Over the next 27 years, the numerous articles and books he wrote, including the classic "Our Southern Highlanders," captured a disappearing culture and provided practical advice for outdoor enthusiasts. Kephart also was a major force in the movement to establish Great Smoky Mountains National Park. He died in 1931.
Ellison, who also is a writer and naturalist, penned the biographical introductions for the University of Tennessee Press reissue of "Our Southern Highlanders" and the Great Smoky Mountains Association's reissues of two other Kephart works, "Smoky Mountain Magic" and "Camping and Woodcraft." Ellison co-wrote the "Camping and Woodcraft" introduction with Janet McCue, a Cornell University librarian, and the two are now working on a Kephart biography.
Claxton, an associate professor in WCU's English department, teaches classes in Southern, Appalachian and Native American literature. She recently has expanded her research interests to include Kephart, and as WCU's Hunter Scholar for 2012-13, she developed a number of projects involving the Kephart collection at WCU's Hunter Library.
Head of Special Collections at Hunter Library and university archivist, Frizzell has conducted intensive investigations into the people, places and stories relating to the Kephart collection. He also co-led the development of the library's online exhibit, "Horace Kephart: Revealing an Enigma," which showcases Kephart's journals and personal effects.
The panel discussion is being presented in conjunction with the Mountain Heritage Center exhibit "Horace Kephart in the Great Smoky Mountains," which will be on display through September. Admission to the June 13 program is free.
For more information, contact the Mountain Heritage Center at 828-227-7129.


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October 22, 2015 in Education (E)
[prMac.com] Manila, Philippines - Welcome to Choo Choo Boo! Choo Choo Apps today is proud to announce the release of Choo Choo Boo 1.0.0, a Halloween themed educational app for children developed exclusively for iPhone, iPad and iPod touch devices. Choo Choo Boo is all about inspiring creativity and encouraging discovery among children. It starts with a black and white scene of a neighborhood and every child can make the scene come to life by colouring all the different elements and Choo Choo characters. Enjoy the trick or treat activities with the funny characters that live in the village. Each house presents a unique surprise!
Crayon Rack:
Touch the crayon button and a set of 14 crayons appear at the right side of the screen which your child can use to colour every element in the scene.
Object Rack:
Touch the Choo Choo box button and an additional set of objects contained in a rack shows on the left side of the screen. Don't want an object in the scene? Just drag it on the rack to remove it. Want to add another Choo Choo character? Just drag a new character from the rack to the scene.
Capture your child's masterpiece:
Touch the camera button anytime to capture a screenshot of your child's work and save it in your device's Photos library.
Colour the Title Screen:
Yes! Even the Title Screen can be coloured, too!
Device Requirements:
* iPhone, iPad, and iPod touch
* Requires iOS 6.0 or later
Pricing and Availability:
Choo Choo Boo 1.0.0 is $1.99 USD (or equivalent amount in other currencies) and available worldwide exclusively through the App Store in the Education category.
Choo Choo Apps is a small startup based in Manila, Philippines that creates educational apps and digital toys for kids. All Material and Software (C) Copyright 2015 Choo Choo Apps. All Rights Reserved. Apple, the Apple logo, iPhone, iPod and iPad are registered trademarks of Apple Inc. in the U.S. and/or other countries. Other trademarks and registered trademarks may be the property of their respective owners.


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Specifically designed for brewing applications, the Anvil Brewing Equipment's 7.5 gallon brew kettle is perfect for doing full wort boils for 5 gallon batches. It can also work great as a hot liquor tank, and with the optional false bottom can even be used as a mash tun for 5 gallon batches! As a mash tun, due to its size, you would be limited to smaller gravity beers.
Perfect for: Full wort boil for a 5 gallon batch (boils up to 6.5 gallons of wort), and smaller partial mash or brew-in-a-bag systems.
The kettle is graduated with interal etchings that show measurements in both gallons and liters, ensuring accurate measurements every time. Anvil kettles come standard with a thermometer, 1/2 in. NPT ball valve and dip tube that reaches down to within 3/8 in. of the bottom of the kettle. Up your game with a 7.5 gallon brew kettle from Anvil Brewing Equipment!
Kettle Dimensions: Height-14" | Diameter-12 3/4"
Temp Probe Minimum Depth: 3.1 gallons
Features of Anvil Brew Kettles:
- Heavy 18 gauge 304 stainless steel with reinforced lip for durability and easy cleaning.
- Induction capable tri-ply clad bottom.
- Internal etched level graduations in gal and liters for accurate measurements.
- A dual scale F/C thermometer included standard!
- Solid cast stainless steel handles for comfort and durability - no rivets to leak or harbor contaminates!
- Lid conveniently rests on kettle handle
- Ideal 1.2 height to diameter ratio for optimum brewing performance
- Purpose built stainless steel ball valve with integral bulkhead seal is rock solid, easy to install and disassemble, and will never leak.
- Dip tube drains to within 3/8 in. of the bottom of the kettle.
About Anvil Brewing Equipment
The Anvil line of products, is a premier line of brewing equipment, designed and built by the geniuses at Blichmann Engineering, with help and inspiration from John Palmer! The entire suite of products work in unison to provide a perfect brewing experience from day one, and at a great value to you the homebrewer. You can rest comfortably knowing that Anvil equipment is backed by two of the biggest names in the homebrew industry. Anvil Brewing Equipment: Inspired by Palmer, Built by Blichmann, and Made for You!


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Welcome to Fairy Tale Tents and Party Rentals!
I am Tammy Barrow and my company specializes in the tent and party rental industry. I take my job very seriously and make sure that I have detailed information regarding your wishes so that I can (in part) envision your dreams. I will work closely with you in all stages of your event: planning, creating, designing, implementing, and executing. I am available to meet with you to discuss your needs 7 days a week, at your convenience. My entire business is built on service, quality, integrity, and total project accountability. Flawless execution is my goal. You deserve the best for your event, and that is what I deliver.
Please note, our services are not for everyone. If all you want is a cheap run-of-the-mill event, then I respectfully ask that you call someone else. However, if you truly care about your event and want it to be beautiful and stress-free, then I invite you to call us!


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Will There Be a Wardrobe Malfunction?
You'll just have to see Saturday night's show
Before you settle in to the couch for America's Celebration of Ligament Tears, check out BIG at the Mercury. Tickets don't cost five figures, and the laughs will be plenty with four mainstage troupes making the most of your Saturday: Training for Prom, Hostel, Population: 6, and Lekker.
WHEN: Saturday, February 6, 8pm
WHERE: The Mercury Theater, 1823 N Charles St., Baltimore, MD
This week, signs appeared along N. Charles Street from Lafayette to North Avenue near our theater saying there is no parking allowed on either side of the street due to construction.
So, please give yourself plenty of time to find parking when you come to our shows!
FREE Wednesday Open Mic!
The open mic is open to improv, stand-up, and sketch performances.
This week's show features the return of the FACULTY, a special project of the Baltimore Improv Group that anyone can sign up for a chance to play with!
WHEN: Wednesday, Feb 10,Sign-ups at 7pm, show at 7:30pm
WHERE: The Mercury Theater, 1823 N Charles St., Baltimore, MD


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Since you have shopped with us previously using USD , we need to change the currency to complete your transaction. Please note that future purchases too, can only be made in USD
Please reach out to Customer Service in case you require support with this setting.
MILLE GT Spring Fall LS Jersey
Alongside our valued 'triple ramp' concept pockets to secure your essentials, this long-sleeved jersey for cycling also features extended reflective stripes on the pockets for visibility. Cut in our revised Mille Regular Fit, this ASSOS jersey has a more relaxed fit than our out-and-out Racing Fit pieces, which means it's ideal for training rides.
If the behavior of our in-house test team is anything to go by, this is a riding top that will rarely be left on the hanger during spring and fall.
Type.157 Stripe Tex: A breathable, stretchy circular knit, our proprietary Stripe textile is quick to dry, fast to wick and superior in its performance on the rear panel and under arms. UPF35 protection.
Regular Fit: A body mapped performance fit that is a little less aggressive than our Racing Fit. The best of both worlds, wearability and speed converging.
Triple Ramp concept rear pockets: Three optimally positioned rear pockets with ease of access and stability. Utilizing our triple ramp concept, internal seams fashion a barely-there lid for your wares to keep them in check regardless of your exertion.
Slim, full-length zip: for individually adjusting to the conditions.
MILLE GT Spring/Fall Knickers
Engineered for cool conditions, the MILLE GT Spring/Fall Knickers employ light insulation, extended knee coverage, and our proven regularFit for long-distance comfort and protection.
SKINFOIL Spring/Fall LS Base Layer
A long-sleeved ASSOS skinFoil base layer is the ultimate foundation for riding in spring and fall.
ASSOSOIRES Spring/Fall Socks
A midweight sock for cool, low-light conditions encountered early and late in the year.
ASSOSOIRES Spring/Fall Gloves
Light insulation and full-finger coverage for cool spring and fall riding conditions.
MILLE GT Short Sleeve Jersey
An elevated jersey for summer rides, the MILLE GT short-sleeved jersey understands that not every day is race day but that every ride deserves great equipment.
EQUIPE RS Bib Shorts S9
With six years of technology developments and our most advanced race insert to date, the Equipe RS Bib Shorts S9 forge new ground, bringing unmatched stability and comfort to your most demanding speed-focused applications.


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Carson seeks applicants for airport authority
Nevada Appeal Capitol Bureau
The Carson City Board of Supervisors is seeking volunteer applications from persons interested in serving on the Carson City Airport Authority. The authority oversees all matters pertaining to the Carson City Airport. Meetings are held the third Wednesday of every month in the Sierra Room at the Community Center.
The manufacturer position will serve within a three-mile radius of the airport but not as a fixed base operator at the airport. The position will last the remainder of the 4-year term ending October 2013.
Applications may be obtained from and returned to the Carson City Executive Offices and will be accepted until Oct. 4.


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Photo: William Dickey; Styling: Buffy Hargett
How to Make It
Step 1
Place bell peppers on an aluminum foil-lined baking sheet.
Step 2
Broil 5 inches from heat (with electric oven door partially open) about 5 minutes or until bell peppers look blistered.
Step 3
Place bell peppers in a heavy-duty zip-top plastic bag; seal and let stand 10 minutes to loosen skins. Peel, seed, and chop bell peppers.
Step 4
Cut a thin slice from bottom of each onion, forming a base for onions to stand on. Remove onion centers, leaving 1/2-inch-thick shells. (Reserve centers for other uses.)
Step 5
Stir together bell pepper, tomato, and next 6 ingredients; spoon evenly into onion shells. Place onions in a 9-inch square baking dish.
Step 6
Bake, covered, at 400° for 50 minutes, and garnish, if desired.


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experimental and mainstream poetry in the UK
These are some emails I recently contributed to a discussion on the BRITISH-IRISH-POETS list on Jiscmail (the conversation, under the heading "Names", ran all through April and May 2016). My own principal interlocutor was the experimental poet Tim Allen; later I was also responding to Geraldine Monk, Peter Riley and Jamie McKendrick. For the purposes of this blogpost I'm just going to paste my own emails and leave the contexts to be inferred.
(What term to use for innovative/linguistically innovative/experimental/avant-garde/post-avant poetry?)
19th April:
Of course there's no simple answer. I think I've used all the terms at one time or another.
I think avant-garde is the most problematic because of particular historical associations, within poetry and beyond.
I kind of favour "innovative" or "experimental". (Linguistically-innovative seems to me an unnecessary clarification...) . Perhaps because those terms have the virtue of not having been taken up or associated with more exclusive groupings.
And a secondary virtue, it connects with experimental music (the term "experimental" is much more widespread in the music world). There's a hidden link there to what I consider the epitome of experimental poetry, UK stylee: John White ... Clarence Cardew ... the anti-University ... Bob Cobbing....
Of course I'd want to stress that the terms "innovative" and "experimental" are intended as descriptive rather than complimentary, they are not just an infantile way of bigging up one's favourite poets at other people's expense.
But these terms do seem to me to point to the most fundamental distinguishing feature of this body of work, compared with poetry as conceived by most ordinary people and as practised at all levels from primary school up to the poet laureate.
(And - to attempt, like Peter, to head off inevitable debate on this score - this includes a host of poets that I admire and that at their best, I'm ready to agree, are as truly inventive and original as the best experimentalists, and much more so than the all-too-often-seen work that only apes innovative styles.)
Despite these provisos, there remains an essential distinction in the practice of writing poetry as conceived by the experimentalists (And, in fact, this might be said to include the terms "practice" and "praxis", borrowed from art college like so much else on the experimental side). Whether as reader, listener or writer we begin, as it were, with the assumption that the poetry is meant to be in its essence an experiment, a provisional project. Not so much the production of poems (love-poems, elegies, and all the other good things that poems can be) as an open-ended exploration of the possibilities of poetry. Isn't that simply it, really? ... [I might add that I wouldn't consider most of my own poetry to meet this criterion...]
21st April:
Hiya Tim ...
You are right of course. Within one's own praxis, whatever that is, there are only perhaps a few days when conscious of attempting an experiment; and these may be the least valuable days, since most experiments are failures. On the other days the practitioner is most likely doing more of what they do; a work that grows and evolves rather than leaping randomly about. So from the practitioner's own point of view, this work is not literally an experiment, for the most part. Even if, in hindsight, the practitioner's work as a whole comes to be seen as strikingly original or experimental. Even if the practitioner in question is a composer of "British experimental music" or "linguistically innovative poetry".
This makes me think about terms for groups of artists. They are terms of convenience, and the people they most convenience are the audiences, the students and academics, the promoters and sellers. The artists themselves generally don't have much need for such labels, and usually when saddled with one are painfully aware of all the ways in which it isn't particularly appropriate. (It's really with my reviewer's hat on that I feel the need for a term.)
Such terms can either be coined anew ("modernism") or they can deploy a word that already exists and adapt its meaning ("romantic") - not completely, but somewhat. The sight of a ruined priory above a waterfall on the Scottish borders is romantic. Anna Laetitia Barbauld isn't romantic in precisely the same sense as the Scottish view, nor is Samuel Rogers, or Wordsworth (maybe Byron is!), but still the word Romantic is useful as a way of connecting them to each other and at least it isn't totally un-apt. That's the most I would aspire to in the case of "experimental".
It's important too that any such term is value-neutral and that it encompasses not only the startlingly original pioneers of the genre but, just as important, the enthusiasts who write in the same sort of style yet without the same originality or urgency. Just as "Romantic poets" covers the full gamut from genius to slavish dabbler, so must the term I require.
For a term to be of any use to me I need to be able to use it without in-depth assessment of whether the poetry is good or not. I need a way to name what I can see from the most superficial assessment of style and manner. I want to be able to say, for example, that such and such a mag publishes experimental poetry. That's a useful and meaningful thing to say, entirely leaving aside the merits, originality and inventiveness (or not) of individual contributors.
Today I happen to be reading Lars Gustafsson (Swedish poet who died last week, recent Bloodaxe selection) and Lisa Samuel's Tomorrowland. I admire both to distraction, but the former I should call essentially traditional poetry (for all its originality and excitement), and the latter definitely experimental, innovative, or whatever. As a reader I find the encounter with these texts involves totally different approaches and expectations. Anyway, I'm rattling on, I think you and I are in agreement about the existence of this very clear distinction, it's only the choice of terms that we're still debating.
(Tim asked if I thought of experimental and traditional poetry as different art-forms or as part of a poetry spectrum in which intermediate positions were possible).
25th April:
I've spent a bit of time thinking about your question about the spectrum and I haven't come up with an easy or fully satisfying answer.
On the whole I tend towards the view that experimental/traditional is an either/or and best treated, almost, as separate artforms. That is, I see each form as having evolved its own rules, tactics, aspirations and the practitioner either does one or does the other, but you can't really do both at the same time. My analogy would be serial/tonal music as conceived by Schoenberg. He could compose either sort, but the procedures were so different that there wasn't really a middle position between the two. Either you had a tone-row or you had a key signature.
And on the whole I think this is the best model to describe the two poets I mentioned. If you use the "new sentence" (Silliman's valuable term), then the mind-blowing polyvocality of Lisa Samuels' Tomorrowland becomes possible. But on the other hand the kind of things Lars Gustafsson can do with traditional narrative, anecdote, tone and irony and so on become unavailable. His art requires the "old sentence".
So with that kind of model in mind I am usually a little prejudiced against the hybridity promoted in recent years. But I think others might see it differently. I'm aware that the "new sentence" is only one aspect of modern poetry and that there are poets I care for very much (Lee Harwood, Peter Hughes spring to mind) for whom the on/off model seems entirely to break down, and when contemplating those poets a spectrum model of universal discourse seems to reassert itself.
May 4th:
Hi Tim,
Taken me ages to reply but not because I haven't been thinking about it.
>I see the spectrum or essential difference question as being like the wave/particle duality in electromagnetism
>depends what aspect you are measuring
>Narrative is more likely to be implied or fragmented, but it's still narrative as a device. Tone - whole areas of possible tonal manipulation are possible when a poet breaks out of the typical mainstream mode. Irony becomes something else, often twisting into something extreme. Etc.
Yes, there's a transformation. Naturally I agree with you that old excellences can still be found in new forms, - . But the transformation is radical, and it involves subtraction as well as addition. For example, the new sentence can go beyond traditional description in its extraordinary ability to suggest the multi-dimensional quality of lived experience. Still, there's a sacrifice in terms of definite assertion, though in another way the impression is needlesharp, transcending the potential of stated description. But much art and much that is possible is kind of dependent on that discursive basis. I'm not saying it well but that's how I see it.
>In the past I've put forward the idea that it is the modern UK mainstream poem that is the real anomaly within poetry as a whole, both with regard to the past and to poetry internationally, not the linguistically innovative.
I kind of have an inkling of what you mean, but it's a pity you haven't been challenged on it so I'll play devil's advocate. In all the nations whose modern poetry I have some faint acquaintance with (US, Aus, Sweden, Spain), the poetry that is most publicized, most studied in schools and most sold in bookshops is traditional poetry -. In Finland maybe the norm is more towards experimentalism but even in Finland there is plenty of what I see as mainstream traditional poetry. Is UK mainstream poetry so different in kind from what's marketed as poetry in other nations, or is their traditional poetry an anomaly too? UK Mainstream poetry appears to derive from an unbroken, respectable, well-anthologised tradition going back through the centuries (Anne Stevenson - Hardy - Keats - Milton - Sidney .... that sort of lineage). ....Horace, Catullus.... Also, does the anomaly idea apply not just to poets whose work we dislike and don't read but also to poets who I suspect you might agree with me in admiring: Elisabeth Bletsoe? Penelope Shuttle? Kathleen Jamie even... ?
I'm writing this not to be argumentative but because I'm eager to hear the other side of it. Maybe you've already elaborated on the idea somewhere.
[Tim's reply connected the anomaly with his own particular response: " my instinctive negativity to the poetry that began to flood the mainstream channels, both high and low, from the 80's onwards ". That generated a lot of replies and the conversation became more general. My own reply was delayed:
24th May
Sorry for the delayed response - I feel like an owl in daylight. I left the discussion at Tim's interesting and honest response to my questioning of his suggestion that UK mainstream poetry was in some way an anomaly.
My response has become rambling and I'm having to throw it ashore before another long interruption. I haven't had time to tidy it. I apologise in advance for repetitions, slipshod expression, incoherence, tedium, and any inadvertent annoyance it may cause.
And Geraldine's suggestion of the term "exploratory" for the kind of writing that I've been calling experimental. "Exploratory" seems entirely accurate as description of the praxis of such an author as Lisa Samuels (my exemplar earlier in the conversation). My only hesitation is because "exploring" has become such a cliche of reviewers and critics to account in the vaguest possible way for what some or other artist is doing. "both books explore the relationship between public and private…", "[Ang Lee] explored the relationships and conflicts between tradition and modernity, Eastern and Western.." Or, to come down a bit more to brass tacks, "Their poetry often has a neo-romantic character and trajectory that thrives on the natural world in order to explore human nature, especially concepts of social order, love and relationships.", … (I sometimes think the term must have originated with educationalists talking about the developing child. And maybe in a larger sphere it exemplifies the neoteny that is said to typify advanced human cultures. Maybe the issues that Tim and I have with some contemporary poetry is a debate about problematic meaning of adulthood.... anyway, I'm going way off track here... )
But back to the anomaly idea. Most of what I might have had to say about this has been subsequently voiced by Tim himself, by Jamie and by Peter. The only thing I can really add is autobiography. I came to contemporary UK poetry very late, after many years delving in the past, as a mediavalist and enthusiast of everything up to about…. Say, 1870!. Something in the first year of uni had given me a thorough distaste and contempt , ignorant of course, for everything from Auden onwards. The only modern poetry I knew and cared about was in translation, Penguin Modern Poets from mainly Europe and Latin America. Belatedly, at the end of the 1980s, I felt provoked into seeking out the poetry of my own time and place. At first, like any High Street browser of the time, I thought Faber and Oxford was the place to look. Oliver Reynolds, Craig Raine, Christopher Reid, Douglas Dunn, Heaney, Mahon, Hughes, …. I struggled to like this writing, though I had hardly any sense of what I might like better.
Funny how that era has all gone now. No poetry world is static. You don't find Raine and Reynolds in Faber any more. They're reduced to Raine's own Arete magazine, the natural heir of Ian Hamilton's New Review, with Ian McEwan replacing Julian Barnes and John Updike. (Class and ideology do come into these things.) [ TLS readers are currently re-reading… Waugh, Powell, Proust (this is the current TLS blog)…] Alan Jenkins isn't in Chatto any more, but Enitharmon. Douglas Dunn (who I don't wish to suggest has any but a left-wing ideology) hasn't published a book since 2000. But you will find Timothy Thornton in Penguin!
My overall view is that the feeling of distaste and hostility reported by Tim and to an extent experienced by myself is a proximity effect. Readers are thin-skinned at home, where they're acutely sensitive to unexpressed meanings, but thick-skinned abroad, blithely unaware of possible causes of offence.
[Why did Adorno loathe Strauss' Alpine Symphony so much? He's unable to explain, and when we listen to the magnificent music now we can't see it. But I don't doubt that the offence was there for Adorno, he heard it as clearly as anyone who hears a tone and knows they've been insulted by it. (And sometimes, we get this wrong.) You can appreciate that, for Adorno, there was a lot at stake. ]
As Tim rightly said (if I understood him right), the thing that offends is mostly not something said or meant personally by the poet in question, but something as it were encoded in his medium of expression. In fact the knee-jerk reaction may, if I can speak autobiographically, be more about an unconscious stylistic, a manner, than anything that the poet consciously put into the poem. That's why it only takes three or four lines to identify. I'm thinking of identifying markers such as the particular use of the present tense. (http://intercapillaryspace.blogspot.co.uk/2006/02/first-person-present-tense.html)
Though I am calling it a proximity effect I don't mean that the reaction is not a real insight. I don't think the mainstream poetry of today is really an anomaly (or if it is, that's rather a compliment – I'm all for anomalous poetry) ; but it certainly is unique.
For example in its extraordinarily heavy usage of the word "He'd". (Also" I'd", "She'd". But I did my Google searches on "He'd".) Anyhow, the elided past continuous (short for "he would" or "he had", both are equally characteristic).
A word that's vanishingly rare in linguistically-innovative, exploratory, experimental etc… (Prove me wrong!) . It's obvious that there's some quasi-sociolinguistic lining-up here.
A word with a great deal encoded in it. As briefly as possible, you might say it means being persuaded that poetry can be made by rehearsing narratives of the habitual past in an informal manner. Of course that's a reductive and prejudicial way of putting it. But a prejudice is what we are talking about. I frankly admit that it gets in the way of comprehending the specificity of the poems in front of me.
I'm not sure if this particular usage would be one of the things Tim dislikes, probably not, but I instance it as demonstration that what is reacted to is not merely imaginary, there is some demonstrable objectivity in the recognition of difference.
Manny Blacksher:
When he hastened
back from lunch at one each day, his heart
brim-full of blameless industry, he'd stop
to buy cigars and chew the toothsome fat
with Mister Stein, who'd bought the lobby shop
with money found inside a fresh latrine
in a dun field outside Dachau where he'd sat
and seen a shadow snake like pain in sunshine.
Michael Donaghy:
He needed a perfect cathedral in his head,
he'd whisper, so that by careful scrutiny
the mind inside the cathedral inside the mind
could find the secret order of the world
and remember every drop on every face
in every summer thunderstorm.
David Wheatley (translating SEÁN Ó RÍORDÁIN)
You could see that he understood, and his fellow-feeling
for the pain in the horse's eyes;
and that dwelling on it so long he'd finally stolen
into the innermost space
Simon Armitage ("Hitcher")
We were the same age, give or take a week.
He'd said he liked the breeze
to run its fingers
through his hair. It was twelve noon.
The outlook for the day was moderate to fair.
Carol Ann Duffy ("Eurydice")
He'd been told that he mustn't look back
or turn round,
but walk steadily upwards,
myself right behind him,
out of the Underworld
into the upper air that for me was the past.
He'd been warned
that one look would lose me
for ever and ever.
[The lineage:
Thomas Hardy ("The Man He Killed")
"I shot him dead because —
Because he was my foe,
Just so: my foe of course he was;
That's clear enough; although
"He thought he'd 'list, perhaps,
Off-hand like — just as I —
Was out of work — had sold his traps —
No other reason why.
Wordsworth (The Ruined Cottage)
Five tedious years
She lingered in unquiet widowhood,
A wife and widow. Needs must it have been
A sore heart-wasting. I have heard, my friend,
That in that broken arbour she would sit
The idle length of half a sabbath day—
There, where you see the toadstool's lazy head—
And when a dog passed by she still would quit
The shade and look abroad.
Labels: Elisabeth Bletsoe, Kathleen Jamie, Lars Gustafsson, Lisa Samuels, Penelope Shuttle, Tim Allen


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In the last few minutes of the 2014 New Mexico Legislative Session, lawmakers endorsed the idea of developing a family caregiver state plan. House Joint Memorial 4, sponsored by Rep. Tomás Salazar and shepherded through the Senate by Sen. Michael Padilla, was passed by the Senate 13 minutes before adjournment.
"We hear over and over again that people, who are taking care of a loved one, don't consider themselves caregivers. It's just something they do," said Gene Varela, AARP New Mexico State Director. "Therefore they don't look for resources and aren't aware that help is out there."
"This Memorial establishes a task force, which will be made up of a variety of organizations and government agencies, to take a hard look at family caregiving in our state. It will identify what resources and programs are available for family caregivers and what is needed as well as raise awareness that families can get assistance. It's not something people need to do alone," Varela said.
"We are very grateful to the Memorial's sponsors as well as the leadership in both houses for getting HJM4 passed. We're glad to have the full support of the Legislature as it passed both houses unanimously," he said.
Currently, about 40 percent of women and 37 percent of men in New Mexico are providing care for someone. There is also an economic side to that care. The value of that care is estimated to worth $3.5 billion annually in New Mexico. At the national level it is estimated that unpaid care provided by family caregivers would cost about $450 billion dollars. Additionally if everyday families weren't picking up that care, the long-term care system would be overwhelmed.
"Even though New Mexico is recognized as a leader in helping individuals remain independent in their own homes and communities, family caregivers and the work they do are still sometimes forgotten," Varela said.
"As a result, AARP New Mexico proposed the memorial after holding a discussion with key individuals and organizations last fall. Everyone gathered around the table believed that getting lawmakers' backing was important to bringing this work to the forefront of state policy," he said.
In the next few weeks AARP New Mexico and the New Aging and Long-Term Services Department will work together to begin the work of the memorial, which calls for the development of a state caregiving by November, 2015.
"The passage of HJM4 happened thanks to the hard work of the sponsors, support by legislative leaders and all the members of the Legislature but even more importantly the hard work of New Mexico's AARP volunteers who provided testimony, and visited with key legislators," Varela said.
"AARP New Mexico also thanks Secretary Gino Rinaldi and staff of the NM Aging and Long Term Services Department for working with us to develop a Memorial that can be accomplished. The Department recently led the effort for a State Alzheimer's and Related Disorders State Plan that also acknowledges the value of family caregivers. So we're looking forward to working with Secretary Rinaldi and his staff as we proceed," he said.
(Photo caption: State Rep. Tomas Salazar, center, discusses the progress on HJM 4 on the floor of the House, with Leonel Garza, AARP New Mexico Legislative Committe Chairman, left, and AARP New Mexico State Director Gene Varela, right.)
Memorial Creates NM Task Force on Family Caregiving
By Beth Velasquez , February 21, 2014 02:54 PM
In the last few minutes of the 2014 New Mexico Legislative Session, lawmakers endorsed the idea of developing a family caregiver state plan. House Joint Memorial 4, sponsored by Rep. Tomás Salazar and shepherded through the Senate by Sen. Michael Padilla, was passed by the Senate 13 minutes before adjournment.


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Also found in: Thesaurus, Acronyms, Encyclopedia, Wikipedia.
Related to locust: Desert locust, locust tree
1. Any of various short-horned grasshoppers that sometimes migrate in immense swarms, devouring vegetation and crops.
2. A cicada, especially a periodical cicada.
a. Any of several trees of the pea family bearing long pods, especially the black locust, honey locust, and carob.
b. The wood of any of these trees.
[Middle English, from Old French locuste, from Latin locusta. Sense 3a, probably from the resemblance of a carob pod to a grasshopper and the use of both as subsistence food in drier regions of the Near East.]
1. (Animals) any of numerous orthopterous insects of the genera Locusta, Melanoplus, etc, such as L. migratoria, of warm and tropical regions of the Old World, which travel in vast swarms, stripping large areas of vegetation. See also grasshopper1 Compare seventeen-year locust
2. (Plants) Also called: locust tree or false acacia a North American leguminous tree, Robinia pseudoacacia, having prickly branches, hanging clusters of white fragrant flowers, and reddish-brown seed pods
3. (Plants) the yellowish durable wood of this tree
4. (Plants) any of several similar trees, such as the honey locust and carob
[C13 (the insect): from Latin locusta locust; applied to the tree (C17) because the pods resemble locusts]
ˈlocust-ˌlike adj
lo•cust(ˈloʊ kəst)
1. Also called short-horned grasshopper. any of several grasshoppers of the family Acrididae, having short antennae and commonly migrating in swarms that strip the vegetation from large areas.
2. any of various cicadas, as the seventeen-year locust.
3. any North American tree of the genus Robinia, of the legume family, esp. R. pseudoacacia, having pinnate leaves and clusters of fragrant white flowers.
4. the durable wood of this tree.
5. any of various other trees, as the carob and the honey locust.
[1150–1200; Middle English < Latin locusta grasshopper]
lo′cust•like`, adj.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Switch to new thesaurus
|locust - migratory grasshoppers of warm regions having short antennae
acridid, short-horned grasshopper - grasshopper with short antennae
Locusta migratoria, migratory locust - Old World locust that travels in vast swarms stripping large areas of vegetation
migratory grasshopper - serious pest of grain-growing and range areas of central and western United States
|locust - hardwood from any of various locust trees
locust tree, locust - any of various hardwood trees of the family Leguminosae
wood - the hard fibrous lignified substance under the bark of trees
|locust - any of various hardwood trees of the family Leguminosae
Fabaceae, family Fabaceae, family Leguminosae, legume family, Leguminosae, pea family - a large family of trees, shrubs, vines, and herbs bearing bean pods; divided for convenience into the subfamilies Caesalpiniaceae; Mimosaceae; Papilionaceae
courbaril, Hymenaea courbaril - West Indian locust tree having pinnate leaves and panicles of large white or purplish flowers; yields very hard tough wood
locust - hardwood from any of various locust trees
Gleditsia aquatica, swamp locust, water locust - honey locust of swamps and bottomlands of southern United States having short oval pods; yields dark heavy wood
Gleditsia triacanthos, honey locust - tall usually spiny North American tree having small greenish-white flowers in drooping racemes followed by long twisting seed pods; yields very hard durable reddish-brown wood; introduced to temperate Old World
Robinia pseudoacacia, yellow locust, black locust - large thorny tree of eastern and central United States having pinnately compound leaves and drooping racemes of white flowers; widely naturalized in many varieties in temperate regions
clammy locust, Robinia viscosa - small rough-barked locust of southeastern United States having racemes of pink flowers and glutinous branches and seeds
tree - a tall perennial woody plant having a main trunk and branches forming a distinct elevated crown; includes both gymnosperms and angiosperms
جَرادَه، جَراد
locust[ˈləʊkəst] n → locuste f, sauterelle f
n → Heuschrecke f
locust[ˈləʊkəst] n → locusta, cavalletta
locust(ˈləukəst) noun
a type of large insect of the grasshopper family, found in Africa and Asia, which moves in very large groups and destroys growing crops by eating them. sprinkaan جَرادَه، جَراد скакалец gafanhoto kobylka die Heuschrecke græshoppe ακρίδαlangosta rändrohutirts ملخ kulkusirkka sauterelleארבה टिड्डी skakavac sáska belalang engispretta locusta ばった 메뚜기 skėrys sisenis belalang juta sprinkhaangresshoppeszarańcza ملخ gafanhoto lăcustă саранча kobylka kobilica skakavac gräshoppa ตั๊กแตนขนิดหนึ่งมีหนวดสั้น çekirge 蝗蟲 сарана ٹڈی châu chấu 蝗虫


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New York
29 January 2014
Price realised
Albrecht Dürer
(Nuremberg 1471-1528)
Adam and Eve
engraving, 1504, watermark Bull's Head with Flower and Triangle (M. 62), a superb, rich, and early Meder IIa impression, printing with remarkable clarity and depth and intense contrasts, trimmed inside the platemark but just outside the subject, in excellent condition
Sheet: 9¾ x 7½ in. (248 x 192 mm.)
Albertina, Vienna, with their stamp and de-accession stamp verso (Lugt 5 d).
C. G. Boerner, Leipzig, 3 May 1932, sale no. 178, lot 2 (8.000 Reichsmark)
(this impression cited in Lugt, cf. L. 174).
Private European collection.
Contact Client Service
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Joseph Meder, Dürer-Katalog, Vienna, 1932, Da Capo Press, New York, 1971 (reprint), no. 1 II.a (another impression illustrated). Erwin Panofsky, The Life and Art of Albrecht Dürer, Princeton, New Jersey, 1943 2005, p. 84-85.
K.G. Boon & R. W. Scheller (eds.), F. W. H. Hollstein - German Engravings, Etchings and Woodcuts circa 1400-1700: Albrecht and Hans Dürer, Menno Hertzberger, Amsterdam, 1962, vol. VII, no. 1 IV (another impression illustrated).
Walter L. Strauss (ed.), The Illustrated Bartsch, Abaris Books, New York, 1980, vol. 10, no. 1 (another impression illustrated).
Rainer Schoch, Matthias Mende, Anna Scherbaum, Albrecht Dürer - Das druckgraphische Werk in drei Bänden, Prestel, Munich London New York, 2001, vol. I, no. 39, p. 110-113 (another impression illustrated).
Unlike any German artist of previous generations, Albrecht Dürer drew, engraved and painted male and female nudes throughout much of his early career. His approach was manifold: he drew from live models and his own body, copied engravings by Mantegna, Jacopo de' Barbari and others, studied drawings after antique sculpture such as the Apollo Belvedere, and constructed studies of nudes according to Vitruvian principles. From around 1500, he became increasingly pre-occupied with this quest for ideal human proportions, culminating in 1504 in the engraving of Adam and Eve. The two figures, standing frontally in a pronounced contrapposto, their heads turned towards each other in full profile, are the final expression of a long artistic process, ranging from numerous schematic studies to preparatory sketches of individual gestures and body parts to the highly finished drawing of the two figures, executed on two joined sheets and united by a blackened background (Pierpont Morgan Library, New York; W. 333).
Created the year before Dürer's second Italian journey in 1505 and presumably made as a show-piece to take to Venice, Adam and Eve is a work of great aspiration and confidence. It is a programmatic work and the only one to bear the full name and birthplace of the artist: ALBERT DVRER NORICUS FACIEBAT 1504 reads the tablet in sober Latin script; a device borrowed from Pollaiuolo and Mantegna. Inspired mainly by Italian and antique sources, Adam and Eve was intended to demonstrate that--despite their reputation--the Germans and in particular Dürer himself was capable of depicting human figures of classical beauty.
His ambition however did not stop there: for no other print prior to this did he employ a similarly differentiated variety of graphic marks, from densest crosshatching to curving lines, short flicks and finest stipples, to render different textures and surfaces. Erwin Panofsky described the effect most beautifully: The engraving, he wrote, 'has always been famous for the splendor of a technique which does equal justice to the warm glow of human skin, to the chilly slipperiness of a snake, to the metallic undulations of locks and tresses, to the smooth, shaggy, downy or bristly qualities of animal coats, and to the twilight of a primeval forest'. (Panofsky, p. 84) Dürer thus combined the virtues of Northern art, the painstaking realism and attention to detail for which the Italians admired the Flemish masters, with Italy's own artistic ideals of the Renaissance: disegno and the depiction of nudes of classical proportions.
Yet this engraving is more still than a stupendous formal exercise and a dazzling display of technical virtuosity. Often overlooked as such, it is also a work of considerable iconographic complexity. The entire composition is an image of duality and division. The Tree of Knowledge separates Adam from Eve, and divides the image into two halves. Whilst Eve is associated with this tree, Adam grasps a branch of mountain ash, identified as the Tree of Life. The parrot and the serpent respectively symbolise wisdom and betrayal. The cat and mouse in the foreground form another pair of opposites as predator and prey--but death has not yet come into the world and they sit peacefully together. The animals in the forest furthermore allude to the scholastic doctrine of the 'four humours', which rule and corrupt the human existence since the Fall of Man. The moose, the cow, the rabbit and the cat each respectively represent the melancholic, phlegmatic, sanguine and the choleric temperaments. The mountain goat however is a traditional symbol of lust and damnation. Far in the background behind Eve, it stands on the edge of the abyss.
Adam and Eve is undoubtedly one of Dürer's most celebrated engravings and one of the most widely reproduced--and hence most familiar--images of the Fall of Man. Yet to see a fine impression in the original is an altogether different and exhilarating experience. The present example is a duplicate from the Albertina in Vienna, famous for its unparalleled holdings of prints and drawings by Dürer. It is arguably the finest impression to be offered at auction for many years.
Pre-Lot Text
Alastair Smart traces the extraordinary life and work of perhaps the finest printmaker in the history of art
How the British Museum, the Louvre, the Uffizi and more are bringing their treasures into your home
As sculpture soared to new heights in Renaissance Italy, northern Europe was having a creative surge of its own


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VPC, Interfaces and Subnets
Welcome to Module 4: Networking. One of the problems with the EC2 instances could be that if you make them publicly available, then it's not very secure. And most of the times you don't even need to make the all the resources available publicly. Let's use VPC. What is VPC? VPC stands for Virtual Private Cloud. Basically, it's a virtual network. Your own private network. And it's logically isolated from other networks. It's dedicated to your AWS account.
The benefits of VPC are multiple. It's more secure. You can control traffic going to the VPC and going outside of the VPC. You get a better application performance and bandwidth efficiency because you're not making your requests in a public VPC, in a default VPC of that region, you're using your own network. Most importantly, your private IPs would not be changed. So, every time you start and stop an instance or you scale down and up, if you're not using a VPC you would get a new private IP. An IPv4 is a scarce resource, so I can understand why AWS is doing it but because in your private VPC, your new private network, you can use any private IPs, they would stay the same. So, if you really want to, you can use the IPs of different resources. You can just use them in your user data, in your code, because they're not going to change on restart.
Let's take a look at what VPC can do for you. Let's say you have a region with three Availability Zones. Each Availability Zone could have a subnet and your VPC will span across all three Availability Zones. So, different resources will be available within the same network even when they're in the different Availability Zones. And you can connect to a corporate network or home network within your VPC. You can create subnets. They would be limited by Availability Zones. So, subnets. Typically, when we're talking about subnets, we're talking about Availability Zones or Data Centers. It's important to understand how they work because by deploying resources into different Availability Zones/subnets, you will ensure the better resiliency. Let's say you have multiple instances in your VPC, and they are spread out in different Availability Zones. So, you can see 2A, it's in a different Availability Zone than 1A and 1B. Same thing with Availability Zone. And then you have subnet 1, which is an Availability Zone, on the top and it's a public subnet because there is a internet gateway. subnet 2 is a private subnet because it doesn't have access to internet by itself. It can only talk to other subnets. And then subnet 3, it can talk to your VPN or your corporate network. So, internet gateway enables communication with the outside world, with the internet, and VPN enables communication with your corporate network. It's worth mentioning the interface. Interface, or network interface to be more specific, allows you to attach instances in your VPC. And multiple instances could be associated with one interface.
Let's take a look at this diagram. The most important things that I want to point out, and it relates to the interface, are happening in the subnet A and the subnet B. The public traffic goes to the eth1. It's a special interface. And then that traffic goes to the subnet eth0. So, it goes to a different interface. And then you have multiple instances which are not exposed directly to the publicly facing internet gateway. They are exposed to a private IP and Elastic IP via that interface. And only after the subnet B, the traffic might go to the Virtual Private Gateway. Let's talk about Elastic Load Balancer. The benefits of Elastic Load Balancer is that it could monitor health of individual nodes, which are EC2 instances, in most cases. It could reroute to multiple Availability Zones so you can deploy and build more tolerance and resiliency and robustness in your infrastructure. You can make sticky sessions, support for sticky sessions. Or you can enable some CloudWatch metrics in addition to the standard health metrics. For more details, go ahead and click on that link to find out about the Load Balancer.
One key distinction between two types of Load Balancers are that for the Classic Load Balancer, you register instances directly with the Load Balancer. And for Application Load Balancer, you do it...you work with targets in target groups. So, targets would be your instances and then you would attach them to target group and only the target group would be attached to the Application Load Balancer. So, you have an extra layer of the obstruction when you're working with Application Load Balancer. But that's not all. There are Cross-Zone Balancing and it's always enabled in Application Load Balancer. In Classical Load Balancer, it's disabled by default but you can make it enabled. There's Host-based routing and Path-based routing, which is great for micro-services because now you can reroute different traffic to different micro-services based on the different Path in the URL. For example, "/accounts" or "/users", they would go to different micro-services. And then you have support for the multiple ports, which are typically used with containers. So, you can have multiple. Typically, we use Docker containers, the most popular technology. So, you'd create a cluster, which is just another name for an EC2 instance, and you would deploy two, three, maybe five containers and they could be working on different ports.
So, Application Load Balancer allows you to do that. With Classical LB, sorry, you're out of luck. And then, one of my favorite features is support for HTTP/2. HTTP/2 already here. If you don't use it, you're already behind. The practices for web development with HTTP/2, completely different. There is multiplexing, there is security, there is a whole bunch of additions and improvements and changes. So, make sure you take my course. HTTP/2 with Node.js, course on Node University to know about HTTP/2 if you are not familiar with all the features already. And then the Websocket support. It's tricky to make Websockets work through the Load Balancer but with Application Load Balancer it's a little bit easier. And finally, there is the deletion protection for the Application Load Balancer. There are more features so go to the AWS documentation for all the differences. I'm just highlighting six of the main, in my opinion. Here's the diagram that shows how an Application Load Balancer works. You have targets, which are EC2 instances and they're grouped in the target groups. So, you can have multiple target groups, which are monitored by using special health metrics. There are certain default health metrics but you can also set up your own based on the special endpoints, based on your business logic. And let's say one target group goes down. The traffic, the load, goes to a different target group. So, your Load Balancer should work seamlessly. The client shouldn't notice any problems. And the Listeners and the Rules, that's where you would define your HTTP protocol, the port number, the Path, the routing, and all that good information. So, your routing would go there. Load Balancer schemes could be either internal, meaning it's not going to the internet, the internet is not going there. Or internet-facing.
Why would you have an internal Load Balancer? Because you want to scale internally, as well. Maybe you have an internal service, which is not publicly facing, but you have a scalability issue. So, you would be adding more instances and hiding them behind the internal Load Balancer. But that's an internal resource. It's not supposed to be publicly facing for security reasons and just for maintenance issues. So, you can do that, as well. Load Balancer could be internal or internet-facing.
It's very important to understand how ELB works. There is two points of elasticity. First step, when the traffic hits your domain, which is azat.co, for example. That domain...I use name.com. You can use godaddy.com for your domain. So, you can use one of those name servers. So, in that name servers, you would have a CNAME record, which uses the DNS. So, that DNS would have amazonaws.com in it's name. So, that's how traffic knows to go to amazonaws.com. And that's your ELB IP. So basically, AWS, in response to the DNS, will give the ELB's IP. So, that's the first point of elasticity. Amazon would not give you the IP, so you would use the DNS because Amazon wants to have that first point of elasticity. They want to be able to change what exact IP address they're using. Maybe they would add more machines behind the scene. So, they want to have that flexibility. So, that's the first point. Then the client would get the Elastic Load Balancer IP address. And that would resolve to the actual traffic going to your instance and the instance would respond to that request. So, that's the second point of elasticity, which you implement. So, you would add certain rules using Auto Scaling groups or you would just create an infrastructure that will have multiple instances hiding behind the Elastic Load Balancer. And that will be the second point of elasticity.
I mentioned Elastic IP address before but let's dive a little bit deeper since it's a networking module. The benefits of using Elastic IP address. Static public IPv4. There is currently no IPv6. So that static IPv4 would be given to you and it would not be taken away for any reasons unless you release it. And you can use it to send emails because that's an anti-spam thing. You can not really use temporarily IPv4s. You have to have the static IPv4. So, let's say you're building the next email server, service, or server, you need to have that Elastic IP, which is kind of like a permanent IP address. You can associate with instance or network interface and you can remap to other instances in the case of instance failure. A little side note. Because IPv4 are scarce resources, there is a limit of five per account per region. But you can request more if there is a need, if you can make a case to AWS. And also, when you associate that Elastic IP address, you would lose the previous public IP, if your instance ever had one. Elastic IP address remains allocated and you would pay money until you release it. It's not going to go away. The differences between Elastic IP and ELB, for some of you it's not even going to be a question because those are completely different technologies for different purposes.
For some of you, it might be a little bit confusing why we can't just use Elastic IP or why should we use Elastic IP. We cannot use Elastic Load Balancer. So basically, Elastic Load Balancer provides you more scalability and reliability. It uses DNS, which you create a CNAME record for you domain and it's limited to 20 per region. It has two elasticity points. Elastic IP, on the other hand, is just a static IP address. It uses IP, which is an "A" record when you apply it. It's specific to region, so you cannot reuse the same Elastic IP in a different region. And there is a limit to five per region. And also, Elastic IP address works in one Availability Zone. One Elastic Load Balancer work across the Availability Zones. So, all in all, Elastic Load Balancer is more scalable and you build better resiliency for your applications using Elastic Load Balancer.


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Phuket Island Radio on 91.5 FM Joins the Phuket Raceweek as Official Media Partner
Phuket FM Radio station joins with Phuket Raceweek as official media partner for the 2012 Phuket Raceweek.
Patong, Thailand, December 16, 2011 --(
)-- Phuket FM Radio Co Ltd, broadcasting on 91.5 FM in Phuket and online at http://www.phuketfmradio.com , is delighted to have been invited to join Phuket's premier boutique sailing event, Phuket Raceweek 2012, scheduled for 18-22 July, as an Official Media Partner. Phuket Raceweek, now in its 9th year, was voted "Best Asian Regatta of the Year" at the 2011 Asia Boating Awards in Hong Kong. The regatta regularly attracts up to 40 yachts and sailors from all over the world.
Byron Jones for Phuket FM Radio says, "This is indeed an exciting time for 91.5 FM as we get more involved in the larger sports events in and around Phuket. 91.5 FM brings another dimension to events, not only in pre-event and awareness promotion but also interaction with participants, sponsors and event organizers and then capturing the actual event action and utilizing its extensive network to share the Phuket news."
Paul Norris (aka DJ Doris), the anchor at 91.5 FM for nearly four years, says, "91.5 FM continues to get out in Phuket and in front of the major Phuket events. I am excited about learning another aspect of Phuket Sports activities and after the Franke Cooking Competition at last year's Phuket Raceweek, who knows what we'll be doing in 2012."
Grenville Fordham, managing director of Phuket Raceweek rights owners and organisers, IMAGE asia, commented, "We're delighted to welcome 91.5FM on board as an Official Media Partner for the first time. We're confident that this partnership is going to add several new dimensions to our exposure on the island, adding significant benefit for our event sponsors as well as spreading the Phuket Raceweek message to both Thai and expat islanders."
http://www.phuketraceweek.com email@example.com
Phuket FM Radio Co Ltd now in it's fourth year of operation on air throughout Phuket on 91.5 FM and online at http://www.phuketfmradio.com is independently owned and operated and continues to lead the broadcast environment in Phuket with innovative marketing and listener interaction.
For more information and expressions of interest in 91.5 FM promotions please contact email@example.com or call the studio on 08 9000 46 64.
"All sorts of music, for all sorts of people from all sorts of places." http://www.phuketfmradio.com
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Sunday 07 September 2014
Sermon by Dennis Jones
Jesus is alive
2 weeks ago Cozett felt lead to speak about persecution
At that time I was preparing this message on a persecutor. Saul of Tarsus.
Saul was intent on wiping out these heretics who believed that Jesus had risen from the dead.
On the way to Damascus with authority to arrest any of these people he was knocked to the ground and heard that voice.
"Saul, Saul why are you persecuting me?"
Saul asks. "Who are you Lord?"
"I am Jesus who you are persecuting"
Saul is blinded. But later healed and very shortly after that he is preaching the gospel.
There were two things that changed Saul from persecutor to apostle:- The Prayers of the people and the resurrection.
The followers of Jesus I believe had engaged in powerful passionate and persistent prayer for Saul. They were following Jesus teaching.
Lk 6:28 Jesus said "Pray for those who persecute you"
2 Cor. 10:3&4 "For though we live in the world we do not wage war as the world does.
The weapons we fight with are not the weapons of the world. On the contrary we have divine power to demolish strongholds."
That divine power is prayer.
I believe it is not a call to prepare for persecution but a call is to work to prevent it.
The other thing that changed Saul was the fact that Jesus is alive.
Jesus died on the cross and he rose from the dead? Yes, but what does that mean to us. I'll come back later.
Where do WE start in our effort to prevent persecution?
Don't you know? We are at war.
Read Eph. 6:10-18 With special attention to verse 18
We need a boost to our involvement in prayer.
This fellowship has a time for prayer and worship Tuesday nights here at 7:00pm let's accelerate our prayer.
We need to pray for:-
1. The leaders of Isis, Hamas and all who persecute our brothers and sisters
In spite of all Saul did God still loved him.
In spite of what ever those who persecute us do, God still loves them.
It breaks his heart but He still loves them.
2. For the Muslim influence upon the young men be seen by then as invalid.
3. For people in authority. Federal, Provincial and Local governments
4. Prayer walking and evangelism are other areas that would reach the lost like the Festival of Hope.
I believe that to some extent we in the west have become somewhat apathetic and complacent about the resurrection.
Let's go back to Good Friday
The disciples are like dead men. Jesus is dead.
Their life has been taken from them.
But when Jesus appeared to the disciples there was an almost delirious enthusiasm, and an amazing drive and joy of the disciples in the early church.
Without the resurrection the men and women who had followed Jesus would have just gone home.
No one would have felt lead to write the story of what Jesus did. Saul would not have gone to Damascus. So he would never have written the epistles.
Therefore we would not have the New Testament.
Where would we be?
Can we catch that enthusiasm again? Yes we can!
What does it mean for us that Jesus is alive?
In Matthew Jesus said. "Where ever two or three come together in my name I am there with them."
He is here.
Today we have been in the presence of Jesus.


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