text:
Verify the availability of your new name by sending a name availability inquiry letter to the California Secretary of State, Name Availability Unit, at 1500 11th Street, 3rd Floor, Sacramento, CA 95814. An inquiry letter is available online (see References). You can check the availability of three names when you submit the letter.
Reserve your name, if it is available, by sending a name reservation request to the Name Availability Unit along with a check for payable to the secretary of state. The name reservation request form is available online (see References). Send it to the same address where you mailed the name availability inquiry letter. As of 2010, the fee is $10. A name can be reserved for up to 60 days in this fashion while you conduct further searches to ensure your new name will not cause confusion as to the source of your products or services or dilute an existing trademark.
Change the name of your LLC officially by filing the Certificate of Amendment Form LLC-2. The form is available online (see References). Once you have filled it out, send it to Secretary of State, Document Filing Support Unit at P.O. Box 944228, Sacramento, CA 94244-2280. The filing fee as of 2010 is $30. You can provide up to two additional copies for certification.


text:
How do I set the terms of my raise?
StartEngine does not provide any sort of financial or legal advice, so we recommend that you refer to campaigns that are already up and running on our site. While every company is different, you can refer to companies with a similar corporate structure, in a comparable industry, who had similar revenues, to help provide some context to your offering terms. It is important to think about what is in the best interest for both your company and the investor.

industry_corpus2: Finance & Economics


text:
The ACTpro 200 is a two door expander for the ACTpro 2000/ ACTpro 3000 Controllers, complete with built-in, monitored 3 Amp power supply.
The power supply supports two doors, each with its own fuse and battery support. On-board LEDs are provided for fault indication and faults are reported to the controller and to the PC.
An 18swg mild steel cabinet provides ample room for wiring and batteries, and the lid will accommodate two ACTpro 100 pcbs.

industry_corpus2: Manufacturing


text:
Harry and Echo and boys took to the Swazi highways and byways this week. Hold onto your winter hat and read what happened at the first sweltering clinic out in the bush.
A crowd awaited The Luke Commission team in a poorer-than-most area of Swaziland. Hundreds had walked miles to get to the clinic, but for the first time a large bus brought in sick Swazis, too. They had heard that The Luke Commission was back in the country. How? On a Swaziland radio, whose managers have asked for a weekly list of clinics.
Trans World Radio also has started announcing dates and locations of The Luke Commission medical mobile clinics.
Harry and Echo and their team worked will into the night, so it was pitch black when the bus returned to pick up patients.
Excitement was high, not just because Swazis had received medical treatment, not just because many had new eyeglasses and needed medications, not just because 112 Zionists from the Jericho sect had accepted Jesus Christ, but because a big, black poisonous tarantula was on the loose. The unwelcome guest scurried under the translators' feet as they reloaded the supply trailers.
Zeb, one of Harry and Echo's 6-year-old triplets, ran towards the commotion, slipping on a rock and tripping almost under the rear tire of the loaded bus.
"Zeb landed only a few inches from that wheel," Echo said. "Emmanuel (a translator) and I hollered at Zeb to stop, but he did not hear us."
"My heart beat fast for an hour. We had a long talk about how when we are tired and hot and our senses do not work as well. It was scary," Echo continued. "I watched that bus driver take off fast and could not do a thing."
(We can do something, and that is to continue to pray for the boys and thank Jesus for His protection Monday night).
Zeb was shaken badly. He told Echo, "When you're a kid my age, you sure have a lot to learn."
By the way, the large poisonous tarantula slithered off into the bush with no further recorded incidence.
Hot it is in Swaziland these days. Echo had to take two critically-ill patients to the Manzini hospital during the first clinic. She also needed to retrieve a forgotten projector.
"After the patients were admitted, I went back to our home base to pick up the projector," Echo explained. "It was so hot, I just wanted to lie down and take a half-hour nap, but I knew the lines of people were waiting..."
The vehicles are running well with their new motors which cost about 33,000 Emalangeni or $5,000. Please pray the air conditioning in the Noah car is restored, as the rides to the bush are dusty and long and, of course, 100 degrees or more.
Harry said the national workers (translators) are working as a great team. While the VanderWals waited for the vehicle repairs, they talked and prayed with each translator individually. They held a 3-hour meeting with community leaders seeking clinics in their areas. The Manzini policeman who tackled the security problems at "home base" also has encouraged Swazis to provide security out in the country at the clinics.
So Isaiah 40:31 becomes dear once again. "But those who wait on the Lord shall renew their strength; they shall mount up with wings like eagles, they shall run and not be weary, they shall walk and not faint."
We are thankful for computer technology and Skype which allows us to talk to Harry and Echo frequently. We will keep you posted. Thank you for your prayers and donations to The Luke Commission. To God be the glory. Already, great things He hath done!

industry_corpus2: Health & Medicine


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Mr. Weekday Rambler planted tomatoes this spring. He planted about a dozen plants in his carefully tended raised beds in the backyard. The early year activity consisted of enriching the soil and turning it over and over in preparation of the summer fruits it would yield. Each morning he lovingly watched the progress of his farming attempt. He tied the plants and "suckered" the shoots. He used gallons (it seemed) of fertilizer.
Finally the tomatoes appeared. It so happened that the birds and worms liked them too. In an effort to win a battle with those creatures, he picked the tomatoes when they were large but green. They were set on our kitchen counter to ripen. Finally we were able to try them and share them. We have enough for a small army. The first ripe tomatoes had to be used in a really special recipe, so I consulted a favorite source of inspiration: Louisiana Cookin' magazine. It's published bi-monthly and a subscription for one year is $25. It's $25 well spent for the food lovers and cooks among us. I look forward to its arrival in my mailbox.
For those not familiar with this publication, it originates in New Orleans, LA and is chocked full of information from chefs of Louisiana restaurants and presents lots of ideas for using food produced in the state. Seafood and sweet potatoes are often featured. It's also a great source for cultural information. A Dining Guide is helpful for those wanting a preview of a restaurant before trying it. Annually they produce a compilation of their published recipes in the form of a CD that can be ordered from the website. The website also has many of the recipes that can be printed or downloaded and saved.
A regular department of Louisiana Cookin' is "Reader's Recipe." Once I submitted a recipe and they published it. What a thrill it was to see one of my ideas in print. My recipe was called New Year's Eve Shrimp and it can be found by clicking here. I didn't get paid, but they sent me a gift certificate to a restaurant! What fun!
The regular columns in Louisiana Cookin' include information on herbs by Sarah and Trim and Terrific ideas by another one of my favorites, Holly Clegg. Seasonal Louisiana foods are featured in each issue. The photography is mouthwatering! Can you tell that I LOVE this magazine?
The most recent cover is pictured above and I tried the recipe on the cover. It is Crabmeat and Avocado with a Spicy Vinaigrette. What caught my eye was the layer of tomatoes on the bottom of the stack of ingredients. I selected the ripest of the harvest and got busy gathering the ingredients. Since we don't live on the coast, it is not easy to find good fresh lump crabmeat. A trip to Tony's Seafood in Baton Rouge was in order. Tony's is Louisiana's largest seafood market and I found just the right product needed for the recipe I wanted to try.
Armed with the crab meat, the ripest avocados I could find and the tomatoes from the backyard, I was able to create a delicious summer supper. My rendition of it was a little different in appearance, but the flavor was superb. The recipe in the magazine states that this serves 12, but we had very generous portions and it may have served 3 or 4. I suppose it can be a starter with the smaller portions, but we enjoyed it as our main course. For our dinner, we each had a half of an avocado and a whole sliced tomato. The vinaigrette was a generous portion, so I saved about half of it for another time.
All that was needed was a loaf of hot bread to complete this light meal. I spent so much time food gathering (three stores) that I forgot to get some bread. I had a bag of Zapp's Sweet Potato Chips in the pantry, so we had those instead. Zapp's is another Louisiana company that uses Louisiana products exclusively. The Sweet Potato Chips were new for us and we enjoyed them immensely. I recommend them heartily! I didn't feel too bad about eating these chips since the package advertises they are natural, gluten free, cholesterol free and contain no artificial ingredients or additives. The best part is that they are produced about 30 miles from our house, so they are very fresh!
And what meal would be complete without a great bottle of wine? We have found one that we enjoy very much. It's Cupcake Sauvignon Blanc. This New Zealand selection has become our "house wine" since it is often available by the case where we shop. I love the crisp, dry flavor. I prefer it over the traditional sweet tea that many Southerners consume with their meals. We keep some chilled at all times. It's great with food, but stands alone well for a pre dinner aperitif.
Lately my sous chef has been spending her time outside with Mr. Weekday Rambler aka Paw Paw Allie, but I was able to find a recent photo of her that was snapped while she was enjoying some backyard time. I thought you might like to see how she has grown since last she was seen on the Weekday Rambler. Pretty soon she will be in the car with me on my "rambles" and in the kitchen to assist with the preparation of our meals that we often enjoy together. Let me know if you tried the recipe and if you liked it as much as we did. Happy rambling and cooking!

industry_corpus2: Agriculture & Fisheries


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We all have secret selves, but you’ve just gotta let ’em shine. We’ve all got actual secrets too, but maybe some of those can stay well and truly buried.
That’s what we’ve learned from a weird song performed by Jimmy Fallon alongside Breaking Bad‘s Bryan Cranston and To All the Boys I’ve Loved Before star (and heroine of our hearts) Lana Condor.

industry_corpus2: Film & Entertainment


text:
Alpaca fleece is renown for being lightweight yet luxuriously warm, which makes it an excellent fibre for filling quilts.
All of our bedding range is 100% Australian Made, from Australian Grown Alpaca fibre. We offer a 5 year Guarantee on all our quilts and underlays, and a 2 year Guarantee on our pillows. All quilts are 100% Alpaca, quilted internally and encased on the outside in a floral cotton sateen cover.
The Heritage Range - Light loft quilts - 300gms per square metre. Ideal for warmer climates or the Summer months.
The Platinum Range - High loft quilts - 430gms per square metre. Ideal for cooler climates or the Winter months.
The 4 Seasons Range - A unique 3 in 1 style of quilt - 500gms per square metre. This is a 200gms + a 300gms quilt with corners that velcro together to form one complete extremely cosy quilt. Use them both together, as one or separate, as the seasons change.
Platinum Range Pillows - Made from 60% Alpaca & 40% Polyfibre, with gusset, encased in a striped cotton cover. These pillows are soft and cosy, but maintain their loft for a good nights sleep. Just fluff up each morning and air occasionally. Platinum pillows are larger than your standard pillow, so will fit a queen size case.


text: I first came across Imogene Heap when she was one half of the band Frou Frou. "Let Go" is one of the tracks on the awesome soundtrack to Garden State. This song was on a Paste CD. I remember putting it in the CD player and listening to it five or six times the first go around. Check out some of her other live videos on YouTube.


text:
The Citizens Commission on Human Rights (CCHR), a psychiatric watchdog group, said that a study published in this month’s journal Psychotherapy and Psychosomatics revealing the incestuous financial relationship between the pharmaceutical industry and the American Psychiatric Association’s (APA) “billing bible,” The Diagnostic and Statistical Manual of Mental Disorders (DSM), is a vindication. For over a decade the group has called on governments to eliminate the DSM as a valid diagnostic manual for insurance reimbursement or for the basis of any legislation or court testimony. “It is an unreliable, pseudoscientific document with enormous power to damage lives, while being used to rake in $76 billion a year in international psychiatric drug sales,” CCHR’s national U.S. president Bruce Wiseman stated.
The study by Lisa Cosgrove, a psychologist from the University of Massachusetts and Sheldon Krimsky, a Tuft University professor, documents how pharmaceutical companies who manufacture drugs for “mental disorders” funded psychiatrists who defined the disorders for the manual. One hundred percent of the “experts” on DSM-IV panels overseeing so-called “mood disorders” (which includes “depression”) and “schizophrenia/psychotic disorders” were financially involved with drug companies. These are the largest categories of psychiatric drugs in the world: 2004 sales of $20.3 billion for antidepressants and $14.4 billion for antipsychotic drugs alone.
The manual is used in decisions to remove a child from the custody of his or her parents, to deprive a person of his or her right to vote in some countries, decide if a defendant is fit to plead “guilty” in a criminal trial or to excuse criminal conduct, and has been used to invalidate a person’s will, break legal contracts and override a person’s wishes regarding business or property. Schools and Child Protective Services can receive additional funds for a child labeled with a DSM disorder while parents have been forced to administer violent- and suicide-inducing drugs to their children and threatened with criminal charges if they refused—all because the child was said to be “disordered” based on the DSM. New York psychiatrist Ron Leifer says that the way in which psychiatrists diagnose is an “arrogant fraud” and to claim that DSM is a “scientific statement is damaging to the culture."


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It’s well known fact that the Linux mascot is a penguin, named Tux, but did anyone wondered how did the tux became the linux mascot? I’ll tell one thing about Linus Torvalds, He likes to Dive. I mean, he really likes to dive. and Penguins also dive. Proof?
So Linus was diving around and realized that Linux didn’t have a proper Opensource Software for organizing Penguins sightseeings, What he did? He wrote one. That’s what subsurface is all about. A Dive Log application from Divers, for Divers that works on Linux ( And on Mac and Windows too ). It supports acquiring the dive – data from most of the dive computers that are selled around the world via the awesome libdivecomputer, and also is pretty sleek. It was mainly written in Gtk till version 3.0, but now it’s ported to Qt ( 4.0 for the time being, since we rely on marble for the globe ) but plans for 5.x are being discussed.
But since Subsurface is not a ‘KDE’ app, why the hell it’s here on planetkde?
And While we prepared Subsurface we also killed a few Qt and Marble bugs ( upstreamed ), what about that?
More information? Go to the subsurface webpage.
It’s been a long, long while since I don’t blog here, and most of my old blogposts were about Rocs, well.. not anyomore. I joined the Subsurface team about six months ago. It was a program written in Gtk mostly by Linus Torvalds and Dirk Hohndel, and they were opened to switch to Qt, why… why shouldn’t we jump ahead and help the transition to be smooth as it could? So Thiago Macieira and Myself jumped in to help, And it’s been a lot of learning from all sides.
It’s been quite a while – but we have been hard at work. We have migrated Subsurface from Gtk to Qt over the past 6 months. And given the magnitude of this change, we decided to go with a public beta (or two, or three, depending on how things go) before releasing Subsurface 4.
I don’t even know where to begin. This is a complete rewrite of the UI. The basic concepts are the same, most of the basic features are the same, but trying to create a concise list of changes that summarizes the more than 1200 commits that have gone in since 3.1 seems a daunting task.
does require that you speak a language besides English) can help with translations. Please send us email at subsurface@hohndel.org if you would like to contribute.
You can find Windows and Mac binaries at the usual downloads location. Linux users are more likely to have to build from source. Get the source from git and follow the instructions in the INSTALL file (not from this website, those are still for the Gtk version).
Working with the Qt community has been a blast.
+Linus Torvalds still may not be a huge C++ fan – but even he submitted C++/Qt patches. Who would have thought.
It’s been a long time since my last post (as usual 🙂 – hopefully that’s going to change in next months). A lot of things have happened in QtModeling land tough. In case you haven’t read my previous ‘call for arms‘ and ‘XMI serialization and metamodel plugins‘ posts, QtModeling is intended to provide a complete and flexible infrastructure for software (meta)modeling, (automated) architecture design and analysis, model recovery, and whatever comes in mind when you think about software models. Although we are still far from have those features fully available, some interesting capabilities are quite functional.
The new refactored templates for automatic metamodel implementation make programmatic model manipulation easier by taking ownership of properties with ‘composite’ aggregation and automatically removing elements from all involved property lists when it’s deleted. While Qt properties features described in QTBUG-17301 are still being considered, QtModeling extends Qt property system by defining roles for aggregation, opposite association ends, redefined and subsetted properties, and derived and derived union constructors. Some UML functionalities defined as derived properties/operations still miss implementation but basic features involving class and components diagrams are already in place. XMI serialization, profiles and stereotypes definitions/applications, and imported elements/packages are also currently available.
QtModeling: defines base classes for model elements (QModelingElement and QModelingObject) and QXmiWriter/QXmiReader classes for XMI serialization.
QtModelingWidgets: provides two new model classes (QModelingObjectModel and QModelingObjectPropertyModel) and two new view classes (QModelingObjectView and QModelingObjectPropertyEditor) for manipulating models and model element’s properties.
QtUml: implements the full UML 2.4.1 metamodel. It comprises 239 classes which are 91.83% automatically implemented by templates. The remaining code represents derived properties and are being implemented on demand.
QtMof: implements the full MOF (Meta Object Facility) 2.4.1 metamodel. It comprises 51 classes also almost entirely implemented automatically.
QtDuSE: implements the DuSE language/metamodel (part of my PhD research) for automated software architecture design and analysis.
QtSADuSEProfile: defines an UML Profile for automated software architecture design of self-adaptive systems. This is required by SADuSE – a specific DuSE design space instance devoted to self-adaptive systems design.
Qt metamodel plugins: bind the previous model modules as Qt plugins used during XMI serialization.
While a full OCL parser isn’t already available, such kind of scripts can be really useful (actually it’s even more expressive than OCL since it’s not limited to read-only operations).
case 0: return " "
… where Relationship is a new QML item we implemented based on QPainter API (I still need to learn how to use the new SG API). With such things done, UML concrete syntax implementation becomes the simple creation of QML files with names matching the corresponding UML metamodel element (UmlNode, UmlState, and so on).
Supporting automated architecture design involves, among other things, the use of some search-based approach to find out several candidate architectures and then choose one that satisfies some specific quality attribute criteria. Elitist population-based algorithms have been successfully applied in such scenario because of their improved performance and fast convergence. If you’ve already played before with JMetal or some other framework for multi-objective optimization, that’s exactly what QtOptimization is intended to be. Currently, only NSGA-II (Nondominated Sorting Genetic Algorithm) is implemented (QNsga2 class), in conjunction with classes for bitwise mutation (QBitwiseMutationOperator), crossover (QCrossoverOperator), polynomial mutation (QPolynomialMutationOperator), simulated binary crossover (QSbxCrossoverOperator), and tournament selection (QTournamentSelectionOperator) operators.
We’re currently implementing some quality indicators for Pareto-fronts and finish integration of such features in DuSE-MT in order to support better automated architecture design and analysis.
So, interesting stuff coming … I’d really love to see those things effectively integrated in QtCreator, KDevelop, and Umbrello. If you are willing to join the effort, fell free to try it from gitorious and don’t hesitate to contact me if you face any trouble.

industry_corpus2: Computing & Telecommunications


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People of the Great White Lie?
John Paul Myburgh's film People of the Great Sandface (1986) has apparently been well received in Britain and Europe and hailed by respected, well-informed and critical South African media commentators as a breakthrough in South African ethnographic film. Yet People of the Great Sandface raises troubling questions, not only about how we portray the human dimension of southern Africa, but about the very nature of the academic enterprise known as visual anthropology. This film reaches new heights in the art of mystification; indeed, it might more accurately be titled People of the Great White Lie. Ultimately, Myburgh is concerned not with history but with perpetuating myth. And is a dangerous, even a killer myth: the myth of the wild Bushman.
Myburgh claims to have contacted and lived with the last group of "wild" or autonomous Bushmen in the Kalahari Desert, implying that he visually recorded their last days as independent foragers before they threw in the towel and settled at a government-provided waterhole. Since they do not live "traditionally" anymore, we have no way of verifying Myburgh's account and must take his footage as irreplaceable documentation of their supposed last days of hunting (thus enhancing the value of the footage).
Several filmmakers and anthropologists who have worked with Kalahari peoples have publicly expressed strong skepticism about the authenticity of this film, and it is skepticism well founded. The water-pump settlement which is the Bushmen's final destination, for example, features prominently in John Marshall's 1975 National Geographic classic, Bushmen of the Kalahari. Indeed, just prior to that film's release it was pointed out that Myburgh had rounded up a number of former foragers and gone back into the wilds to film their "traditional lifestyle" (Tomaselli et at. 1986).
People of the Great Sandface can be discussed on two fronts: What it says (and how it is said) and what it does not say. If this film had been made 30, or even 15, years ago, it would have been hailed a a masterpiece. So overwhelming has the political dimension been in southern Africa, however, that only a foolishly naïve or a conservative positivist filmmaker would not at least make some passing reference to the wider sociopolitical climate.
Moreover, even in the well-worked field of Bushman/San studies there has been a shift in paradigm from studying Bushmen as if they were the isolated last remnants of the Stone Age - people who might somehow inform us as to how our paleolithic ancestors lived - to treating them as an integral part of a larger social system. In the emergent paradigm, most powerfully and eloquently argued in Wilmsen's Lan Filled with Flies (1989), they emerge as an impoverished rural underclass.
Myburgh refers to his /Gwi objects (not subjects) not as "San" but as "Bushmen." San derives from the Name sab ("robber"); the term Bushman derives from the Dutch word meaning "bandit" or "outlaw." The term San serves to perpetuate the mystification process. (Many Namibian schoolchildren, for example, believe that while the San have always been found in the Kalahari, Bushmen have long since died out.) More importantly, however, the term Bushman was a lumpencategory used by the colonial authorities for anyone who resisted colonial rule. They did not get this label imposed upon them by living in the splendidly harsh, isolated, "survivalist" world of the central Kalahari.
Perhaps it is time to make Bushmen (and banditry) respectable again. Unfortunately, this film achieves the opposite: it panders to the dangerous myth of the "wild Bushman," offering an exceedingly narrow pair of ideological blinkers with which to survey the Kalahari. What the film does not say is in this case more important than what it says.
Of all the people living in southern Africa, those labeled Bushmen have been the most victimized, brutalized, and oppressed in the region's bloody history. It is a brutal tale of organized anti-Bushmen commandos and debates during the German colonial era in the Windhoek Landestag as to whether Bushmen should be declared vermin. Yet all Myburgh says in his film is that "Time and history have taken a toll on their numbers."
The war against Bushmen is still going on, now in more subtle forms. The main goal is still to dispossess Bushmen of their lands. In the region where Myburgh based his film, this dispossession took the following form. At the end of the nineteenth century, Cecil John Rhodes, British imperialist par excellence (and founder of the Rhodes scholarship), wanting a buffer against any German expansion eastward from Namibia, sent up an expedition that led to the creation of the so-called Ghanzi Block, an area settled by white South African farmers. Among the many - mostly Bushman - people dispossessed by this act were the /Gwi. The aboriginal owners found themselves to be squatters on their own land. (One of the academicians who provided a rationale for this land theft was Siegfried Pasarge, who was later to achieve renown as a Bushman "expert."
Many Ghanzi Block farmers flouted one of the unspoken laws of the Kalahari - namely, that one person never refuses another water. Indeed, most of them chased Bushman squatters off their land. These Bushmen were driven into the largely waterless central area where the film was made. In the late 1950s, as Botswana was being readied for independence by the British, Raymond Silberbauer was appointed "Bushman survey officer." Silberbauer was concerned about the dispossession of Bushman land, but because of the pervasive obnoxiousness of Apartheid could not very well recommend a reserve for Bushmen based on ethnicity. Instead, he managed to pilot through the creation of the 52,347-km² Central Kalahari Game Reserve in 1961. In this large, seasonally waterless tract, Bushmen would be allowed to remain and practice their "traditional" lifestyle.
As European tourism developed in Botswana, the Central Kalahari Game Reserve became a popular spot. Part of its attraction was precisely its Bushmen (or Basarwa, as they are officially known in Botswana) (Hitchcock & Brandenburgh 1990). Naturally, some of these tourists grew upset when these Bushmen did not measure up to their expectations, which were fed largely by pulp movies such as The Gods Must Be Crazy and Laurens van der Post's musings. Moreover, the Bushmen they saw engaged in such disgustingly irritating behavior as "begging" (simply an extension of foraging). These European tourists, being highly conservation-conscious and being of the bourgeoisie, carried weight back in Europe. Their clout had an impact in the Kalahari because the Botswana government, ever eager to "develop" - especially if it could lessen its dependency on South Africa - was anxious to export beef to the European Common Market. Thus pressed by the needs to open areas for cattle production and placate the European conservationist lobby (which felt that Bushmen were killing too much game), the Botswana government announced in December 1986 that "the reserve would lose its integrity if people were allowed to stay there."
While this war was raging Myburgh was filming his "isolated" band, ostensibly blissfully ignorant of the tense political climate. To proclaim as he does at the conclusion of his film that "You see, no one is to blame" is to display a dishonesty of ethnocidal magnitude.
In the film itself, the subjects are not allowed to talk. Instead the filmmaker paternalistically describes the action, rather like the BBC's Barbara Woodhouse explaining how and why our pets behave the way they do. It is a narration filled with naïve romantic psychologisms that classify the Bushmen as a contemporary throwback to some imagined primeval man ("His only reality is to be a hunter"; they have "instinctive rhythm"). It is claimed that the consciousness gap between Bushmen and others cannot be bridged. Compared to other documentaries and ethnographies, Myburgh's /Gwi seem to have an obsession with killing which can be read as a sign of manliness (both for the objects and for the filmmaker) - the theme of survival pervades the narrative. The political implications of this claptrap are deadly and need to be located firmly in the sociopolitical milieu in which Myburgh is operating.
The truth of the matter, as John Marshall so eloquently pointed out at the showing of People of the Great Sandface during the 1900 Northeastern Anthropological Association meeting, is that there have not been any "wild Bushmen" for a very long time. Moreover, many of the "kills" were setups.
So why was this film so well received? Myburgh's claim to have spent several years with the Bushmen (Tomaselli 1989) and the moving vignette of Myburgh on South African state television's Uit en Tuis dressed up like a Bushman while ostensibly revealing how he did field work (Tomaselli et al. 1986) must have convinced some of the authenticity and authority of his project. The film is vastly superior to the South African government-sponsored pseudo-scientific documentaries. And yes, it does boast superb cinematography and indeed many of the sequences are stunningly poetic.
But can a filmmaker make liberal use of "poetic license" and then claim to have produced a documentary? And why did so many South Africans believe this film to be the definitive study of the last "wild" Bushmen? It is not as if South African academics are naïve; on the contrary, academic boycott notwithstanding, they are remarkably au fait with cultural studies and other developments in communications.
The wave that took People of the Great Sandface to its modest triumph was the same one on which The Gods Must Be Crazy rode to box office success (in South Africa and elsewhere), caused by a long and old groundswell. To understand this one needs to consider the role of the Bushman as cultural icon within South African society and the way aspects of fascism have permeated the unassuming nooks and crannies of South African intellectual life.
"Wild Bushmen" are a crucial piece of the white South African self-image. Discovering the "last wild Bushmen" has become something of a South African tradition. Myburgh's project has a long intellectual pedigree.
It is not fortuitous that the largest curio-store chain in South Africa is called "The Bushman Curio Shop" or that one of the hit attractions at any settler historical celebration in South Africa is a bevy of loinclothed "wild Bushmen," courtesy of an enterprising white Namibian impresario. Nor is it coincidental that the South African Defence Force (SADF) used Bushmen extensively in its counterinsurgency operations, and that at one time the Bushmen held the dubious distinction of being the most militarized ethnic group in the world. One of the major reasons for recruiting them was the belief that Bushmen were "natural" hunters and trackers, and thus would be effective counterinsurgency operatives.
These superhuman qualities of Bushmen were grounded not in humanity but in animality. Their inability to keep cattle was attributed to their lack of self-restraint. Because they are "extremely emotional," women cannot do without the men and this determines the length of patrol (Pretoria News 2/26/81). Time magazine (3/21/81) assured us that they are often distracted from a guerrilla track by honey and that the sighting of a hyena would provoke uncontrollable laughter.
The issue of Bushman rights is still very much alive. Five days before Namibia's independence, South Africa relocated some 4,000 military Bushmen, who apparently chose not to be demobilized, to a base in South Africa. The source of their military efficiency is not their "inherent tracking ability" or any such "natural" quality, but arises rather, as Enloe has suggested, from their pariah status in the wider society (Enloe 1980).
The white bourgeoisie's love affair with "wild Bushmen" is long and complex. As the urbanizing whites grow more alienated from their society, they mythologize Bushmen as the antithesis to society's problems. But also, as Maughan-Brown has recently suggested, the myth provides whites with moral absolution from accusations of racism (Maughan-Brown 1983).
The crass use of names and icons to sustain the SADF's symbolic dominance is a phenomenon worthy of further analysis. The original base used to train Bushman trackers was called Alpha ("the first"). Omega ("the last") base was later built to house Angolan Bushman refugees who were mercenaries in the Pied Crow battalion in which emblem, needless to say, the "white head of the crow symbolized the white leadership element."
Details on the Bushman situation are to be found in a monograph (Gordon 1984). Some newspaper reports also hint at this and anthropologists agree. Some of the most knowledgeable experts believe that all Bushmen born after 1960 have lost the ability to track and most of their veldcraft (wilderness survival) skills.
1981 Ethnic Soldiers: State Security in a Divided Society. Penguin: Harmondsworth.
1984 The San in Transition, Vol. II: What Future for the Ju/Wasi of Nyae-Nyae? Occasional Paper 13. Cambridge, MA: Cultural Survival.
1990 Tourism, Conservation, and Culture in the Kalahari Desert, Botswana. Cultural Survival Quarterly 14(2):20-24.
1983 The Noble Savage in Anglo-Saxon Colonial Ideology, 1950-1980. English in Africa 10(2):55-77.
1987 SADF's Bushmen: Desert Nomads on SWAPO's Track. Soldier of Fortune (January):32-37.
1984 SADF's Bushman Battalion: Primitive Trackers Fight 20th Century War. Soldier of Fortune (March):71-75.
1989 Interview with Paul Myburgh. CVA Newsletter.
1986 Myth, Race and Power: South Africans Imaged on Film and TV. Bellville: Anthropos.


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Hey ya'll! At Buckhead Church, where I work, twittering is all the rage right now. Yes I have set up a Twitter account, but I'm not sure how I feel about it. I think I like to be incognito...and my life is really kind of boring right now...nothing exciting to update. It's kind of the same reason I have trouble coming up with things to post on here... either I've forgotten about it by the time I am ready to write...or I just don't have anything that anyone else would be interested in reading.
What do you think of twitter? Do you TWITTER?

industry_corpus2: Others


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Founded in 1998, The Tech Museum of Innovation (“The Tech” for short) in downtown San Jose, CA is an impressive facility, located in the heart of Silicon Valley. Ironically, the acoustics are far from state-of-the-art. We attended the Music for Minors gala on April 7, 2019, sitting at a table whose other guests (who included The Tech’s board chairman) agreed with us. This is a high-profile example, but we believe that most facilities lack thoughtful design (drapes, acoustical tile on the ceiling, etc.) to dampen challenging sounds or noises. We can only guess that acoustics get short shrift when buildings or rooms are designed and constructed. Restaurants, including upscale ones, are usually lacking in sound-dampening.
The famous quote from Lord Acton—“Absolute power corrupts absolutely”—is a good guide to compiling a list of the companies that are likely to need policing. The list is pretty short—Amazon, Facebook, Google (including YouTube), Twitter, and Uber (perhaps). And the effect on humankind (especially children) is pretty severe. Amazon is now so large and powerful that it is in danger of being prosecuted under the antitrust laws.
And Facebook and Google make bags of money from advertisers, and have a continuing series of privacy violations.
Fortunately, a handful of Silicon Valley notables have become activist vigilantes. And they are aiming at kids to use their smartphones for healthy purposes rather than wasting time on useless social apps.
Newly-elected congresswoman Alexandria Ocasio-Cortez was not notable enough for Wikipedia … until she beat the incumbent in the Democratic primary in New York’s 14th congressional district. Now she has her own Wikipedia listing.
How many other accomplished people have likewise been refused? Wikipedia currently shows 867,424 “Living People” (to put this in context there are currently 7.6 billion people in the world (with a median age of about 28)), very few of which would likely be known by most of us (although many of these people are athletes). Clearly there are millions more who are worthy of a Wikipedia listing, though it takes some initiative to prepare suitable material. But it must be that there are substantial barriers to getting that listing approved. Wikipedia itself cautions against preparing an article about oneself.
Click on the TAKE ACTION box if you received this message from Google, as likely all gmail users did, and you will be eternally annoyed by a repeating string of useless messages saying that someone (likely you yourself) tried to violate your security.
Every major new technology brings with it not only fascinating new capabilities, and in the case of electronic technologies also some potentially-dangerous new challenges. So many auto accidents have been caused because drivers were distracted by their gadgets that it has been proposed that those drivers be punished as if they were driving under the influence of alcohol (or other substances). And it isn’t only driving. Focusing on the small screen while walking not only puts one in harm’s way but in cities like Montclair, CA crossing a street while distracted can result in a sizable fine.
Some help is on its way. At its most recent developers conference Apple introduced a feature called Screen Time (to be available in September) that lets users monitor and limit their app use on their iPhones and iPads.
A couple has dedicated themselves to the cause, creating an app called Moment and living in their RV as they travel the USA.
And at the Hearth in Manhattan, diners are encouraged to put their cellphones in picturesque boxes provided at each table.
But isn’t the real villain the pressure to keep users connected so advertisers can continue to shovel advertisements into the users’ brains?
We have twice before posted strong pleas for the giant tech companies—especially Alphabet/Google/YouTube, Apple, and Facebook—to stop expanding their Silicon Valley facilities rather than creating/expanding sizable operations in other cities. They’re mostly software companies, which could be located anyplace with high-speed data transmission capabilities!!! Are these companies afflicted by cases of hubris?
We wonder why all those cities who were campaigning for the Amazon HQ2 aren’t similarly campaigning for expansions of other tech giants.
We also wonder why Silicon Valley communities have not been able to either (1) extract enough money from these companies to compensate the many victims (long commutes, wasted time in traffic jams, inability to find housing, homelessness, etc., or (2) tax the companies so much that it makes it uneconomic to expand there.
Other organizations that are keeping up the good fight include the San Francisco Peninsula Resident Association.
In our experience, most software asks permission before it updates itself. There is usually a “Not Now” option. But since Microsoft has a monopoly for Windows-based personal computers, they do what they please, ignoring the needs and preferences of their customers. As we noted in our March 28, 2018 post, Apple’s updates can be traumatic, but at least they ask beforehand.
Apparently this nasty behavior has been around for some time, at least since the introduction of Windows 10 in July 2015. We had seen for some time warnings against “upgrading” to Windows 10, but for some reason had not experienced any of these potentially-damaging events until the last few weeks. The advice “save early and save often” applies as much or more to files one creates on a personal computer as to retirement planning!
The “Your version of Bing search is out of date” pop-up tries to force installation of Chromium (a public domain version of Google’s Chrome browser) and the Bing browser on its victims. Victims will know immediately of the attack, because it plants itself in the middle of the screen and they will either have to reboot their PCs or (unwisely) click on “OK” Apparently this nasty behavior has been around for some time, at least since December 2012. The scammers have taken advantage of the open-source nature of Chromium to use it as a means to install unwanted “adware” and other unwanted programs. Fortunately, there are ways to remove such programs.

industry_corpus2: Technology & Research


text:
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Those are the only words I can use to describe the comments and banter I’ve seen all over social media the past few weeks. With NFL players kneeling and locking arms week after week, people are outraged. People are upset. People are questioning why others agree with it while others disagree with it.
I’ve read thread after thread of people I’m personally Facebook friends with. I’ve watched some share articles stating they’re for it, while others share articles expressing how disrespectful it is.
I’ve tried to look at the different view points and understand why some would feel one way while others may feel another. And here’s what I’ve come up with.
We live in a country where we are free to express our views, voice our opinions and have healthy conversations on our differences.
NFL players are protesting during the National Anthem because of the inequalities African Americans and minorities have experienced in recent years. I do not fall in either category and therefore, I cannot speak on how it would feel to fear my life when getting pulled over by the police. To worry about my kids getting profiled or bullied. I cannot speak to these things. So if players want to demonstrate peacefully by sitting during the National Anthem, let them.
When they’re kneeling during the National Anthem, they’re kneeling because of the turmoil in our country. And because of a president who runs his mouth on Twitter. They’re using their platform to start conversations and work towards change. And I’ll admit, it took me awhile to see that. Because at first, I viewed it as disrespectful. How oppressed could these players really be?! They’re making millions! But then I started thinking about it and realized I really wasn’t in a place to judge. They were speaking out for those who can’t speak out for themselves.
But for me, I stand because I’ve personally witnessed and experienced the sacrifice my husband and other service members I know have made for this country. I can hardly make it through the National Anthem without tears in my eyes because I know many men and women who have made the ultimate sacrifice so that we can have the freedoms we do. Including kneeling for the National Anthem. That’s what it means to me.
But for others with no personal military connection, it may mean something different. Some may stand because “it’s what we’re supposed to do”. Some may stand because they just love America. Some may kneel because they hate our president. Some may kneel because they are heartbroken over the divide in our country. Some may kneel because they want to ignite the spark in discussion.
I asked my husband, who is active duty in the military, what he thought about the situation. He said it’s their right to kneel if they want to. What he didn’t agree with was ignoring it all together by staying in the locker room.
My point in all of this? I stand because I feel a strong draw to do so. But if others don’t, that’s their prerogative. But what I don’t agree with is losing friends or ruining relationships over it. We shouldn’t spit hate and be so closed minded when it comes to differing opinions. We don’t have to agree with them but there’s no need to be so rude and try to impose our own views on others. I wouldn’t kneel just as they don’t want to stand. And it’s fine to agree to disagree.
Who knows if real change will come from these protests but if anything, it’s starting discussions around the world. It’s opening our country’s eyes to the problems that exist outside our own bubbles. It may be dividing some of us but in other ways, it’s uniting us. I don’t do politics (have no interest in it whatsoever, just being honest) so for me, this isn’t political. It’s accepting differing opinions than my own and not hating others because they don’t agree with mine.
Spread love, not hate. Be kind. Be open. Love thy neighbor. Land of the free, because of the brave. Speak your mind. Be you. Stand up for what you believe in.
Or kneel… because it’s your right to.
« Leopard print for fall + tips on how to rock it!
Thanks for sharing your perspective, Samantha! I have such mixed feelings about the issue since my dad was in the Army, but I don’t necessarily agree with a lot of the things that happen in this country. I can see why people are choosing one side or the other. The only thing I don’t understand is when people are disrespectful towards the other side. So glad to hear why you personally stand and how accepting you are of others. It’s seriously refreshing and rare to see such respect on the internet lately!
This is a great perspective on this, thank you for sharing! I do want to make one note – you say “NFL players are protesting the National Anthem” but they aren’t protesting the anthem – they are protesting *during* the anthem.


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Oh my, I’m honoured to see my story “Casual Miracles” from Has the World Ended Yet? made the 2018 Sunburst Award longlist for Short Story Fiction.
The story is one of my favourites in the collection – and one of the last to be written. I was lounging in the bath one day, as writers do, reading some news story or another about Craigslist when I started thinking about what sort of crazy services people advertise online. That’s where I got the idea of “casual miracles” – miracles that don’t really change anything in the grand scheme of things. And now here we are.
Anyway, I’m honoured to be included in such an amazing group of writers! Go read them all now!
Posted on June 11, 2018, in Uncategorized. Bookmark the permalink.	Leave a comment.

industry_corpus2: Literature & Emotions


text: 1 Remind them to be submissive to rulers and authorities, to be obedient, to be ready for every good work, 2 to speak evil of no one, to avoid quarreling, to be gentle, and to show perfect courtesy toward all people. 3 For we ourselves were once foolish, disobedient, led astray, slaves to various passions and pleasures, passing our days in malice and envy, hated by others and hating one another. 4 But when the goodness and loving kindness of God our Savior appeared, 5 he saved us, not because of works done by us in righteousness, but according to his own mercy, by the washing of regeneration and renewal of the Holy Spirit, 6 whom he poured out on us richly through Jesus Christ our Savior, 7 so that being justified by his grace we might become heirs according to the hope of eternal life. 8 The saying is trustworthy, and I want you to insist on these things, so that those who have believed in God may be careful to devote themselves to good works. These things are excellent and profitable for people. 9 But avoid foolish controversies, genealogies, dissensions, and quarrels about the law, for they are unprofitable and worthless. 10 As for a person who stirs up division, after warning him once and then twice, have nothing more to do with him, 11 knowing that such a person is warped and sinful; he is self-condemned. 12 When I send Artemas or Tychicus to you, do your best to come to me at Nicopolis, for I have decided to spend the winter there. 13 Do your best to speed Zenas the lawyer and Apollos on their way; see that they lack nothing. 14 And let our people learn to devote themselves to good works, so as to help cases of urgent need, and not be unfruitful. 15 All who are with me send greetings to you. Greet those who love us in the faith. Grace be with you all.


text:
There are 3,382 real estate listings found in Japan. Get in touch with a Japan real estate agent who can help you find the home of your dreams in Japan.
Not ready to buy yet? Find and compare apartments for rent in Japan.

industry_corpus2: Real Estate & Construction


text: A facial transformation program altered the facial bone and muscle structure of an individual to transform their physical appearance into that of another person. Obi-Wan Kenobi utilized the program in order to disguise himself as the bounty hunter Rako Hardeen, under orders from the Jedi High Council. When disguised as Hardeen, Kenobi was able to thwart Count Dooku's plan to kidnap the Supreme Chancellor.


text:
Construction blog website offers commentary about post-tensioned concrete and commercial construction industries.
Garabar is a state certified roofing and general contractor in the State of Florida.
Contains news and commentary on legal developments in the construction, real estate and design industry.
Modular home consumer guide helping to educate new home buyers.
Construction blog website containing photos, advice, and information on wet basements and waterproofing wet crawlspaces.


text:
saigon3days@gmail.com is the new email for us.
Because i am not alone today. Because we are a team, we need to create an email for a team.
So we work now about organisation.
I hope you find time for read our blog.
We need you too for talk about kiss kiss bank bank… because if everybody give 1$ we can create something good… we don’t need more… yes 1 $ for create a tour guide and create communication about saigon3days… it’s not a dream it’s just the good way.

industry_corpus2: Travel & Geography


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The regular opening times of Lloyds Pharmacy Old Exeter Street in Newton Abbot are Monday to Friday 9AM-6PM, on Saturday 9AM-5:15PM, the store is usually closed on Sunday. View the actual opening times of Lloyds Pharmacy Old Exeter Street in Newton Abbot in our branch locator.
For more information about opening times on Sunday or late night shopping make sure to view the information in the designated blocks. If this Lloyds Pharmacy isn’t nearby your location you can use the 'Map & Directions' tab to find the fastest route to Old Exeter Street in Newton Abbot. This location’s coordinates are specifically 50.6053 latitude, -3.60042 longitude. To contact this Pharmacy by phone you can dial 01626854977 during business hours.


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When you create an on-demand security group you add security policies to create the group. The security policies can be globally exposed or hidden by default. Policies are only exposed in tenants for which the associated NSX endpoint has a reservation in that tenant.
Create and configure a security policy in NSX. See NSX Administration Guide .
Drag an On-Demand Security Group component onto the design canvas.
Add one or more security policies by clicking the Add icon in the Security policies area and selecting available security policies.


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The IB Diploma Programme social and cultural anthropology course offers an opportunity for students to explore and understand humankind in all its diversity through the comparative study of culture and human societies.
In studying this course students will come to appreciate how anthropology as a discipline contributes to an understanding of contemporary issues, such as war and conflict, the environment, poverty, injustice, inequality and human and cultural rights. The study of social and cultural anthropology offers critical insight into the continuities as well as dynamics of social change and the development of societies, and challenges cultural assumptions.
Students undertaking this course will have the opportunity to become acquainted with anthropological perspectives and ways of thinking, and to develop critical, reflexive knowledge. Perfectly placed in group 3, individuals and societies, social and cultural anthropology contributes to a distinctive approach to intercultural awareness and understanding. It allows students to develop the capacity to recognize preconceptions and assumptions of their own social and cultural environments through an exploration of both the familiar and unfamiliar worlds of other people.
Teachers are encouraged to plan the teaching of the course so as to explore the relationships between the topics of study and themes. The ethnographies chosen should allow students to explore multiple themes and topics, emphasizing the interdependence of social, economic and political institutions and processes, and their dynamic interrelations to beliefs, values and practices.
Whatever ethnographies are selected for study, they must take into account the requirements indicated in the syllabus outline. Ethnographic film and other visual or virtual media may be used in the teaching of ethnography, but this must be treated in the same critical and reflective manner as written ethnography. Parts 1 and 2 of the syllabus are common to standard level (SL) and higher level (HL) students, although there is an expectation that HL students will have greater depth and breadth of knowledge. Part 3 is for SL students only and Parts 4 and 5 for HL students only.
Students of social and cultural anthropology should be familiar with the set of core terms, the methods used by anthropologists and issues associated with the construction of ethnographic accounts.
Both SL and HL students must have an understanding of all eight themes listed in Part 2. The themes are closely interconnected and should not be taught in isolation of each other. It is important that these themes should be taught in relation to ethnographic material. The teaching of the themes should emphasize patterns and processes of change in society and culture and that anthropological knowledge changes over time.
In the first six weeks of the course SL students undertake an observation and produce a written report from their field notes. About six months later they are then required to produce a critique of their written report.
HL students are expected to have an understanding of theoretical perspectives in anthropology, their application to ethnographic materials and their manifestation in particular historical contexts. They should be able to use these theoretical perspectives to evaluate ethnographic material.
HL students undertake limited fieldwork, which they plan and produce a written report of.
External assessment for SL students consists of two written papers, one based on an unseen text and one which is essay based. For HL students there are three written papers – one based on an unseen text and two essay papers.
Internal assessment for SL students is an observation and critique exercise (Part 3) and for HL students, fieldwork (Part 5). Internal assessment is marked internally by subject staff and externally moderated by IB examiners.
Learn more about social and cultural anthropology in a DP workshop for teachers.

industry_corpus2: Subject Education


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Welcome to the third week of our Positive Parenting blogging series! Today’s topic is Connection. It is probably one of the most important components of effective positive parenting – and sometimes can be one of the most difficult to do when time is crunched and moms and dads are tired.
We will look at 5 things that are critical to establishing a deep connection with your kids as well as discuss some of the benefits of spending time on building that connection.
Before we talk more about today’s topic, if you haven’t already, you might be interested in reading more about Positive Parenting – the approach that this series is based on.
Connection. What am I referring to exactly? And why is it so important?
What I’m writing about today is the basic NEED that every child has to deeply CONNECT with their caregivers on a DAILY basis, in order to feel safe, secure, happy and LOVED.
If you are having difficulty getting your child to cooperate with you, or to listen, or maybe you are feeling like your child is angry with you, or even rejecting you, it’s likely that spending some time focusing on CONNECTING could make a positive difference to your relationship.
So what can we do to ensure that our kids FEEL loved and connected to us?
After reading my way around the positive parenting literature, and talking with lots of other parents, and a few professional parent educators, I have come up with a list of things we can do that I refer to as connection enhancers!
This one can be really tough when you’re working all day and then rushing to get dinner ready before getting the kids into bed at a reasonable time. It’s far too easy to get caught up in all the tasks of life, and miss out on having that quality connection time.
Here’s good news for busy parents – according to Pam Leo, author of Connection Parenting: Parenting Through Connection Instead of Coercion, Through Love Instead of Fear, getting at least 10 minutes of daily deep connection time with you can make a positive difference to your kids and your relationship.
That being said, some kids are still going to crave or need more than 10 minutes, but it’s a good place to start – keeping in mind, that the more connection time you can give your kids, the better.
If you’re wondering what you can DO to connect in such a short amount of time, be sure to read: 30 Joyful Ways to Connect With Your Child in 10 Minutes.
After reading Lawrence J. Cohen’s book Playful Parenting , I came to realize how important it is to PLAY with our kids at their level, following their lead, and without reservation.
Taking the time to PLAY with your kids daily shows that you LOVE them more than anything else you can do or say.
Play is the language of children – at any age. If you can meet your kids on their turf, so to speak, you are showing them that they are important to you.
This may mean getting down on the floor and wrestling, or building lego structures together or having a tea party. It may mean joining them on the playground, or out in the snow, or kicking a ball around together.
For older kids – it can be fishing together, walking together, going for a bike ride, going to see a movie/concert or sporting event together, or even just having a pillow fight! Even older kids still enjoy sitting down with a parent to read at night. Try taking turns reading chapters of a book.
The idea is to let go of your inhibitions and just do it! If you’re doing it enough and with your full attention – you will soon be rewarded with smiles, laughter, eye contact, and spontaneous shows of affection. All signs of deep connection. Definitely worth it!
3. Give Kids Undivided Attention and Lots of It!
Speaking of full attention, this one is a biggie. When we are with our kids, especially if we’re consciously trying to connect and show them we love them, it’s important to give them our undivided attention.
That may mean putting the cell phone away or even turning it off for a bit. It may mean turning the background TV off and/or putting the iPad or computer away for a bit.
According to the COPE parent ed program, this is what undivided attention looks like: your body is turned towards your child, you get down on their level if they are small, and you are looking at your child. I know that sounds really obvious, but I often have to remind myself of these.
I find it helps to remember that attention is a basic NEED. Kids don’t “spoil” from getting too much attention, usually they spoil from not getting enough. The more they get, the happier and more independent they will be, knowing that they are secure in your love.
Now that being said – it’s not healthy to give your kids attention at the expense of taking care of yourself either, or the kids will learn they are more important than others. It’s all about finding balance.
It’s also worth noting that kids will find a way to get this need MET if they’re not getting enough. Sometimes…if positive behaviours don’t get them enough attention, kids try negative behaviours to get it. And so enters whining, interrupting, clinging, and other acting-out behaviours.
These are both really complex parenting skills that deserve their own posts. That’s why I’ll be writing about them both later in this series.
However, for now, it’s important to realize that kids need to be heard and validated as much as we adults do.
When they scrape their knee, or a toy gets broken, or they have a bad day at school, they are experiencing the same feelings that we get when we have a migraine, the car breaks down, or our bosses are unhappy with us.
For me, the book How to Talk So Kids Will Listen & Listen So Kids Will Talk , was a huge help in this area. It wasn’t until I read it and took a course based on the book, that I realized that many of the things I was saying to my son, that I thought were helpful, (“Oh your knee is not so bad!” or “Don’t worry – we can fix that toy.” or “Tomorrow will be a better day at school.”) were actually blocking our connection and in all likelihood making him feel unheard.
Bonus: this book is great for helping you communicate with your spouse too!
Kids need physical touch to feel loved and connected.
It’s true when they are infants, and it remains true even as they get older.
To read a fascinating summary of some research into the importance of touch including why touch helps our kids learn to regulate their emotions, visit this article by a psychology professor at The University of California, Berkeley.
Beyond the basics of daily hugs and kisses, try getting more physical touch in with tickle games (if your child likes them), wrestling and roughhousing (shown to make kids smarter, more resilient, and socially intelligent – don’t believe me? Read this!), piggy back rides, sitting together while reading, shoulder rubs, and holding hands.
Find other fun physical games you can play with your child listed in the post: 30 Joyful Ways to Connect in 10 Minutes.
That’s it for 5 Ways to Connect So Your Kids FEEL Loved. I hope you’ve enjoyed reading about this important component of the parent-child relationship and found some useful ideas and resources to help you build a deeper connection with your child or children.
By the way, I just finished creating a really neat printable resource that I’m calling Parent & Child CONNECTION COUPONS. You can print these fun play idea “coupons” off and use them with your child/children in a variety of ways to help stimulate fun connect time. Your kids will LOVE these!
To find even more fun and educational activities as well as positive parenting tips, follow me on Facebook or Twitter.
It must be because we are both teachers turned Mamas! I am very new to blogging (but have been snapping pictures of projects, activities and birthday parties for years), but love your site because it is just what I am working toward as well! You have tons of great resources that I can’t wait to check it. Looking forward to joining you on this journey!
Glad you dropped by and found us Shannon. Your site looks wonderful!


text:
For more than 40 years, USC Credit Union has proudly served the Trojan family. Keeping pace with today’s technology, we empower you to own your future with easy access to your funds and accounts no matter where you are. Manage your money when it’s convenient for you through our online office—the branch that never closes!
Your USC Credit Union MasterMoney ATM/Debit card is accepted at thousands of ATMs locally, in the United States, and worldwide—30,000, in fact.
Manage your accounts from the comfort of your own home or on the go! When you join USC Credit Union, you’re taking a big step in your financial future. We give you the tools to take care of business no matter where you are, and we want you to know we’re right there with you, every step of the way.
With our mobile banking platform, you have a USC Credit Union branch in the palm of your hand, so you can take care of business without adding one more “to do” to your list. Deposit checks, pay bills, review account balances and more anywhere, anytime.
Transfer funds electronically between your USC Credit Union accounts and other financial institutions through our Home Banking system.
Whether you have a recurring payment (rent or mortgage, loans, or monthly bills like cable or cell phone) or a one-time payment, you can avoid late fees or forgetting to make a payment by setting up Bill Pay through USC Credit Union.
Automatically deposit recurring income received into your USC Credit Union checking or savings account.
It’s convenient. Your money is deposited automatically into your USC Credit Union checking or savings account, even when you are too busy to get to a branch or ATM.
It’s fast. You have same–day access to your money on the day of deposit.
It’s safe. Never worry about checks getting lost, delayed, or stolen.
Members must provide their originating institution with the correct account format in order for their transactions to post automatically and to avoid posting errors.
Forms for Membership, Account Changes, Transfer Requests, Disputes, Wires and more.


text:
Five years in the making, Jeff Greinke’s newest release BEFORE SUNRISE explores the more acoustical side of the ambient / impressionist territory of the electronic music genre. This new work, the third Greinke title on the Spotted Peccary Music label, is a logical progression from his previous releases, painting abstract landscapes and emotive expressions with ample use of acoustic instruments such as piano, cello, viola, clarinets and vibraphone, along with electronic elements of sampled textures and synthesizers. The expansive palette of these rich timbres bring a fresh perspective to this highly nuanced contemporary electro-acoustic sound. Spanning genres of modern classical, electronic, and ambient, BEFORE SUNRISE is always evolving, flowing pastorally throughout a predominately non-linear structure. These improvisations and compositions sway to-and-fro, effortlessly creating an authentic, organic quality to the musical experience. Evocative recording techniques, like capturing the incidentals of string and bowed instruments, conjure a lonely, desolate, melancholy terrain. Greinke adds, “my music and creative process is inspired by my visual, aural, and sensual (particularly meteorological) experiences of the world around me.” Due to this inspiration, the eight tracks that comprise this new album are mostly void of any clear rhythmic component and yet pace gracefully, almost floating majestically with Greinke’s intention and direction. Highly layered and textural, BEFORE SUNRISE is impressively spacious with an abundance of subtle detail, while evoking a remarkably somber and visual sense of place.
An exquisitely nuanced collection of ambient chamber music, Before Sunrise blurs the lines between classical and electronic genres in the most striking manner imaginable. Jeff Greinke’s been crafting music and releasing recordings for decades, and the sensibility the sound sculptor, artist, and designer has refined over the course of that production period is evident in every fibre of the recording’s being.
A project like Greinke’s that pairs live musicians with electronic textures and embeds their playing within soundscape structures can produce a result where the contributions of the acoustic players feels grafted onto the backdrops crafted by the electronic artist. Not so here: Before Sunrise sees the two components integrated seamlessly, with all elements working in tandem to achieve specific ends. No account of the fifty-seven-minute release would be complete without acknowledging those who so splendidly augment Greinke’s keyboards, electronics, and samples, even if their contributions appear on only half of the album’s eight pieces: string players Paris Hurley, Alex Guy, Austin Larkin, and Dylan Rieck; trumpeter Lesli Dalaba, woodwinds players James DeJoie, and Greg Campbell on French horn, vibraphone, and hand drum.
Establishing the album’s tone, Greinke builds a multi-dimensional meditative space using vibraphone, bass clarinet, strings, samples, and electronics in “High Flyers of the Night Sky,” its sense of mystery nurtured with masterful patience by the composer. Amidst the thrum of insects and the low-pitched utterances of the bass clarinet, the trumpet’s sparse declamations call to mind the similarly lonely sound of the horn in Ives’s The Unanswered Question. Such an association aside, the material exemplifies the meticulousness with which Greinke assembles his elements into painterly wholes.
Track titles aren’t without a programmatic dimension, but even if generic titles had been used the pieces would still be strongly evocative. Strings figure prominently in the arrangement of “Slow Train on an Open Plain,” lending the piece an elegiac character that very much conveys qualities of loneliness and desolation. By comparison, the combination of muted trumpet, hand drum, clarinet, and electronics gives “The River” a somewhat exotic, even Fourth World character that suggests affinities with the music of Jon Hassell or David Toop.
With respect to the solo productions, “Night Watch” is Greinke in deep Eno mode, the atmospheric ambient soundscape powerfully suggestive of a nocturnal harbour setting when the only sounds intermingling are those of wind and water. Using acoustic piano as the front-line instrument in the peaceful, New Age-styled reverie “Rain, Then Snow” adds a wholly different dimension to the recording, as does the prominent role accorded DeJoie’s flute in the slow-motion title piece, a move that deepens the quiet grandeur of a twelve-minute moodscape that in its closing minutes approaches the profound stillness of an Arvo Pärt composition.
Nuance and sensitivity extend not only to the material itself but to the recording approach Greinke applied to the project. By design, the string instruments were recorded in such a way that the extra-musical sounds that naturally arise during performance, such as the sound of a bow moving across the strings, would be retained. In the composer’s own words, “I instructed the musicians not to shy away from squeaks and scrapes that sometimes happen while playing such instruments … I find that those sounds evoke a lonely, abandoned landscape that appeals to me.” The result is music obviously rich in texture and mood but music rich in humanity, too.
An artist cannot really be represented by a single release, but rather is suggested through an accumulation of work. Throughout his lengthy and varied career Jeff Greinke has gone through an evolution – or maybe, because of its length and so many interesting twists and turns, this aspect of his life may be better described as a convolution. While his earlier albums searched through the rubble of the unconscious, Before Sunrise(57’20”) switches from the cerebral to the specific. With the rigorous organization of the interplay of texture, melody and harmony, and stemming from a developed instinct, he organizes Ambient forms to give his creativity a lucid expression. As usual, Greinke approached the task of producing Before Sunrise with a point of view all his own. Due to the presence of cello, clarinet, piano, vibraphone, flute, French horn, violin and viola this release may be thought to fall in the category of Ambient Chamber Music – and certainly, if you like this sort of thing, then you will not be disappointed. But Greinke has always been a musical outsider – not even faintly trying to get inside – and so these eight tracks do retain that feel and integrity to one degree or another. Some sections of Before Sunrise flow like a spiritual quest for life’s meaning, while others celebrate the outlaw life this remote genre of music may support. As the unwinding ribbon of notes from a violin bend plaintively, droning strings support a melodious narration. Further in a wooded wild place materializes, where we wait, under stars, in the cool of night, well in advance of the first sign of dawn. Thickening under a solemn atmosphere, we may feel a nocturnal presence – like something impending. Possessing the capacity to inspire contradictory responses, it is often very gorgeous – this strange and beautiful wayward place of sound. After all these years, decades of making records, Greinke still asks for nothing more than our quiet attention. There is something radical about that, and about such stubborn faith in one’s work – and in us.
Before Sunrise’ marks the 20th solo album for ambient artist Jeff Greinke, not counting his collaborations. It’s a shame that a number of them are out of print, although there have been some reissues. I first experienced Greinke’s work in the late ’80s to early ’90s and so am familiar with only a handful of his recordings. What I liked about them is that they seemed dark and arcane at the time; not dark in a Robert Rich or Lustmord sort of way, but less conventional ambient than what others in the genre seemed to be doing then. If you’ve been out of touch with Greinke’s music as well, you will find that it has evolved into something quite different, yet not without retaining the flavor and texture Greinke is known for. Greinke’s crepuscular vision of ‘Before Sunrise’ is a rich tapestry of acoustic instruments played by guest players (Greg Campbell- French horn, vibraphone, hand drum; Lesli Dalaba- trumpet; James DeJoie- clarinets, saxophones, flutes; Alex Guy- viola; Paris Hurley- violin; Austin Larkin- viola, violin; Dylan Rieck- cello) combined with Greinke’s signature electro-acoustic atmospheres and keyboard improvs. It’s an impressionistic kind of ambient, fairly well removed from the New Age melodic ambient you might expect to hear with orchestral instruments combined with synthesizers. This is a pretty deep work with a number of moods and soundscapes explored over the course of 8 tracks in 57 minutes; everything from rumbling darkness to splinters of moonlight piercing through a many-layered forest of sound, to sparkly fairy lights. By its nature, ‘Before Sunrise’ has an aura of melancholy mystery to it that always seems to be evolving. It is almost hard to believe that the music has been largely improvised as the instrumental coordination is so stellar that it often seems as though there had to have been some rather complex arrangements in places. The layering of atmospheres is extraordinary in its richness, yet nothing is buried. Rather than overtake Greinke’s atmospheres, the acoustic instruments enhance it and add their own piquancy to what is already a pretty heady stew. ‘Before Sunrise’ is a trip well worth taking, and is intriguing enough to warrant multiple replays.
He’s been actively recording music since the early 80s, with well over two dozen releases to his credit, yet probably not as prolific as some others in the floating ambient subgenre, but his creations are clearly different, embracing acoustic instrumentation as a fundamental part of his electronic based sound, thereby often making his music a hybrid of chamber styles and ambient electronics. I’ve not heard every release, in fact probably only around ten of them throughout the years, but they all seem to follow along in that general direction. Before Sunrise makes good on all of his previous endeavors, seeming to be a very natural progression along a somewhat expected trajectory. Each of the eight tracks of varying length stay around long enough to make an impressionistic statement without wearing down the listener with endless or unnecessary repetition or extension. The nine-minute opener, “High Flyers of the Night Sky,” is probably one of the most purely floating and subtle electronic amont them all, but even there, among the gentle keyboard sounds and textures, we hear strong melodies emerging from the drones in the darkness, flanked by baritone sax from guest player James DeJoie, french horn from Greg Campbell, trumpet from Lesli Dalaba, and soothing violin from Austin Larkin, such that by the end of the piece we are treated to a truly colorful and mystical kaleidoscope of light and shadows. “Slow Train on an Open Plain” is a perfect title for the follow-up track that emerges out of the shadow of the first, here more string-driven with violin, viola and cello, with french horn driving the main melody punctuated by beautiful piano ornamentation. “Under Falling Stars” is a piece that proceeds with a stong melodic looping cycle, it’s all Greinke here with no guest players, using a wide variety of keyboard sounds together with samples of acoustic instruments. The perfectly titled “Mountains and Clouds” evokes a moving stillness bathed in fog, a sound that Greinke has been perfecting over several decades, the changes within this beautiful six-minute piece move at a truly glacial pace. The 12-minute closing title track evokes the sounds and feelings of night, with flute, horn, baritone sax, and violin floating through the electronic textures and piano accents, like the shapes of muted colors and subtle powers emerging from the fringes of darkness. Make no mistake, this is relaxing music, be it a ticket to slumberland or a way to start your day without stress. Another excellent release from a master of organic structures.
Mixed by Jeff Greinke except tracks 1 and 3 mixed by Doug Haire and Jeff Greinke.
Recorded at Wavelab, Tucson, Arizona (engineer: Chris Schultz); Another Room, Tucson, Arizona (engineer: Jeff Greinke); and Jack Straw, Seattle, Washington (engineer: Doug Haire).
Cover and insert photography by Isabel Amorous (except photo of Will Clipman copyright Gabriel Ayala).
The time runs fast, already four years have passed since Jeff Greinke’s “Virga” album, released on Lotuspike. For all that time I didn’t hear anything about this extraordinary artist, who is based in Tucson, Arizona. So the more surprised I was when “Scenes From A Train” CD crossed my radars via Hypnos Forum (thanks “Immersion” for the hint!!!). Yes, this release went by quite unnoticed within broader ambient community, it’s a pity, because it deserves much bigger exposure even if it’s not rooted to Jeff’s older, more spookier ambient/dark ambient soundworlds. “Scenes From A Train” CD rather follows footsteps of his rhythmed, jazzy-infused side project Land. Released in June 2013 on UK label Infectious Music, Jeff Greinke is supported on this album by the long list of guests (there is no less than 13 of them!!!). Among them some which were part of above mentioned Land project.
Filigree musicianship is heard all over this entertaining sonic escapade. Richly flavored textures, merging warmer scenic vistas with lots of acoustic instrumentation and cascading from funky jazzy rhythms through weirdly tribal fields to sorrowful cinematic subtleties. Appealingly moving jazzy-funk/tribal pace of the opening title track “Scenes From A Train” immediately sets the atmosphere of a picturesque railroad travel. Bowed string mastery excels on sadly expressive piece, “The Beautiful Storm”, while the next one, “Valley And Ridge” shifts back to rhythmed rails, where sparkling percussive tinkles with gentle clackers and shakers beautifully interact with the variety of bowed strings and wind instruments. Catchy laid-back train-like pace is achieved, while mingling with warmly inviting window’s horizons. Pure beauty!!! Breathtakingly evocative mixture of trumpet, clarinet and viola leads “The Milky Way”. Few dramatic crescendos sneak in throughout this stunningly expressive track. Small amount of exquisite Middle East fragrance is thrown in too (evoking unforgettable “Ngaio Gamelan”…). Deeply immersing cinematic realms are fully unfolded, more please!!! An ultimate Hall of Fame composition!!! Jazzy and tribal ingredients are again bridged in “Strange Birds”, a piece driven by percussive downtempos, piano, cello and wind instruments. Hauntingly sculpted!!! “Haboob” keeps on the distinctive route with all the guitar and acoustic mastery, heavier post-rock infusions are featured in this oddly unique piece. Fortunately, aptly titled “Night Train” returns quickly to relaxing tribal mood surrounded by the interactions of trombone, clarinet, horn and distant dronescapes. Very nice!!! The album ends with “Autumn Moon”, which features leisurely embracing and rhythmically stirring texture, augmented by velvety tinkles and female wordless ethereal chants. A truly enthralling finale!!!
“Scenes From A Train” album offers an all-inclusive, highly distinguishing travelogue experience, presented by challenging creativity of each participant. Jeff Greinke has teamed with many virtuoso performers, who have delivered to this recording their soul and spirit. Aural bliss awaits here, definitely!!! Excuse me for not mentioning any names of the guests in this review (plus mixing and mastering engineers), but it’s the music that speaks for themselves and I didn’t want to leave someone out. And I award extra points also for the visuals, the 4-panel digipak comes with additional 8-page booklet, precisely displaying the theme and dedication of each performer. The old Jeff Greinke is gone, that’s for sure (at least on this album), but “Scenes From A Train” CD is a really big one as well, welcome back, Maestro!!!
Virga is the eighteenth release from Jeff Greinke, whose respected career as a musician, composer, performer and sound-sculptor spans 25 years. With a discography that includes album titles like Weather From Another Planet, Cities In Fog, Big Weather, Changing Skies, Moving Climates, and Before The Storm to name a few, it’s clear that Greinke draws great inspiration from the atmospheric conditions of his environment. “This music is informed by my visual surroundings, primarily the landscapes, big skies and weather of the desert Southwest,” confirms Greinke, who currently resides in Tucson, Arizona, where the Virga phenomenon is common during the monsoon season.
The music on Virga takes shape as strata of slow moving melodies stream their way through expansive atmospherics and pastoral passages of ambient chamber music, highlighted by cello, trumpet and piano on many selections; all drifting together to construct complex harmonic musical skyscapes. The cumulative result is a collection of vast, textural, cinematic, and melodic compositions with a strong sense of mood and place that gently evolve and drift… like the clouds themselves.
To these ears, Virga, the latest offering from Jeff Greinke, is a stunning soundtrack in search of the touching, beautiful, meaningful film to which it should rightfully belong. A neo-classical work edged with ambient expressions, Virga is emotionally packed and gorgeously constructed. It’s engaging from the first spattering of here-comes-the-rain notes in the opening title track and proceeds to just get deeper and more interesting from there. Greinke has always composed with a strong cinematic flair and that, along with his stated intent to capture the feel of the environment as a storm approaches, carries clearly through all the pieces on Virga. In “The Wake,” Greinke conjures darkening skies in a slow-moving, somber tone. I love the Asian-flavored edge at work in “East Facing Slope.” (Similarly, I enjoyed that same feel in “Moving to Malaysia” from Winter Light.) There’s a strong Mark Isham quality to the track–think Tibet–that makes it the musical equivalent of staring into a Japanese pen-and-ink drawing or watching the colors darken on a mountainside as weather rolls in. “Before the Storm” deftly captures its titular image as woodwinds swirl like gathering clouds and distantly rumbling bass notes carry the blue-black threat of hard rain. “Contrails” is suitably light in tone, with wispy piano notes and high synth strings describing washed-blue skies and the return of the sun. By contrast, its followup track, “Partial Light,” imparts an edge of drama with an abundance of minor chords, long-held notes and phrases that ease down the scale in short steps, all with a gentle rush of wind beneath it. There’s a pure and gentle romance to the stilted structure of “Old Friends” that quite honestly threatens to move me to tears. Greinke’s master craftsmanship is on display here, track after track. Every piece of work here is rich and full, landscapes completely described in intimate detail while still leaving space for you to create your own mental pictures. This is a disk you’ll return to often to re-explore, and it will easily stand up to the scrutiny. For its depth and beauty, Virga is a Hypnagogue Highly Recommended CD.
Jeff Greinke (joined on several tracks by cellist Christiana Morgan and trumpet player Lesli Dalaba) continues to evolve his music away from his more abstract and textural ambient beginnings, choosing to explore a more melodic neo-classical minimalist landscape on Virga, his latest CD and, from where I stand, one of the best recordings of his long career. While some cuts are less overtly “soundtrackish” than his previous CD, venturing into ambient soundscape territory, I believe that the overriding musical presence here is still closer to that of Winter Light and, to a lesser but still noticeable degree, Wide View, than it is to past works such as In Another Place, Places of Motility and Cities in Fog.
I’m well aware that some of Greinke’s long-time fans are somewhat discouraged by this new direction he is headed in, and they are entitled to that opinion of course. However, baring the obvious statement that an artist must answer the call of his/her muse if he/she is to be true to his/her musical self, I think this new direction represents a greater depth of emotion, a more complex (certainly not less so) approach to the music itself, and resonates on a more direct (i.e. less abstract) level than purer “ambient” pieces ever could. Of course, that’s only my personal opinion.
Not everything on Virga is confined to the neo-classical minimalist description from above, though. The opening title track features a rapid tempo piano theme played out against swirling keyboards, descending in a lush crescendo of sorts. “night flyers” opens amidst a nocturnal chorus of synthesized creatures set against shimmering synthesizers and a plaintive echoed piano. As he did on Winter Light‘s “Moving to Malaysia” and “Under the Pagoda,” Greinke again displays his affinity for Asian musical influences on “east facing slope” with gently plucked koto and delicate bell tones, joined by Morgan’s sonorous cello and Dalaba’s trumpet. “contrails” flows on airy layers of keyboards underneath echoed piano and the track could easily be classified as spacemusic especially when a particularly warm analog-ish sounding synthesizer is brought into focus.
In the end, Virga is less “passive” yet also more ambient, at times, than Winter Light may have been perceived, but it’s a subtle distinction for the most part. If you, like me, love this new direction that Jeff Greinke is headed in, you will greatly enjoy delving into the many pleasures of Virga, walking down its paths of beauty tinted with wonder married to despair, and serenity clouded by mystery. By the way, it goes without saying that since this is a Lotuspike release, and mastered by Ben Cox, the sound is tremendous, rife with nuance and finely captured detail and expertly mixed and engineered from every perspective.


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I attempted recently to build GMAT R2018a on a freshly upgraded Ubuntu 18.04 LTS. I had issues with STEP 1 "Download and Configure GMAT Dependencies" of GMAT CMAKE Build System - I later downloaded a binary for Ubuntu (64-bit gmat-ubuntu-x64-R2018a.tar.gz) which is what i am using at present.
Does anyone have recent experience in building GMAT on a Linux 64-bit (Ubuntu 18.40 LTS) from source? What modules did you have to include if you already had gnome desktop X-windows framework running?
Well, after several attempts, I now have a GMAT-2018a source/data repository, configured and am busy trying to compile. I am getting stuck with Python for some reason ... any suggestions welcome?
Update: I made progress today. Got 100% build - These are some notes that might help others.
In The top level CMakeLists.txt, I had to manually add in 'include(CheckCXXCompilerFlag) - otherwise the CMAKE process was complaining that the CHECK_CXX_COMPILER_FLAG was not a valid CMAKE command.
Still, I would like to ask if there is a better way to suppress the modules that I don't need/want/have, so I don't get the numerous errors messages on my terminal output. Also, I note that the installation phase / building phase intermixes regular user roles with superuser roles - does the GMAT system really need to be run as a superuser? Should I have created the system as a regular user and only install as a superuser? I ask, as the depends/configure.sh process actually failed if it was not done as a superuser, if I can recall what happened a few days ago.
*** Library "../plugins/libMatlabInterface" did not open.
*** Library "../plugins/proprietary/libMsise86" did not open.
*** Library "../plugins/proprietary/libNRLMsise00" did not open.
*** Library "../plugins/proprietary/libSNOptimizer" did not open.
*** Library "../plugins/proprietary/libVF13Optimizer" did not open.
(GMAT-xR2018a:15525): IBUS-WARNING **: 22:01:28.667: The owner of /home/haque/.config/ibus/bus is not root!
2018-11-25 22:01:29 GMAT GUI successfully launched.
*** Error loading "libMatlabInterface": GMAT could not load the MATLAB interface. Please check that MATLAB is installed and configured correctly. See the User Guide for instructions, or disable the appropriate PLUGIN line in bin/gmat_startup_file.txt to remove this error.
*** Unable to load the dynamic library "../plugins/proprietary/libMsise86"
*** Unable to load the dynamic library "../plugins/proprietary/libNRLMsise00"
*** Unable to load the dynamic library "../plugins/proprietary/libSNOptimizer"
*** Unable to load the dynamic library "../plugins/proprietary/libVF13Optimizer"
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